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<blockquote data-quote="Tim McCulloch" data-source="post: 125059" data-attributes="member: 67">Re: New Midas M32 ConsoleWell, I didn&#039;t address the other issues, but since you insist:96k is voodoo bullshit in LIVE audio.&nbsp; If you&#039;re recording for potential public release, you MIGHT hear a difference at the studio/mastering stage.&nbsp; IMNSHO by the time it arrives in the public&#039;s ears, any differences will be moot.&nbsp; From a live sonic standpoint, I&#039;ll wager that 99% of audio engineers could not correctly &amp; consistently identify 48/96 mixing in situ in live audio circumstances.&nbsp; There are blind studies of this in controlled listening environments and the successful identification there was &lt;15%.&nbsp; These were &quot;golden ears&quot; folks listening on gear that is specifically designed for critical listening, not PA for the masses.The only advantages I can see to the M32 are direct connectability to the K-T world of signal distribution and more robust faders.&nbsp; The nicer design of the desk itself is also welcome... but in the end, it&#039;s still an X32 in Midas drag (and drag is VERY British <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f609.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=";)" title="Wink&nbsp; &nbsp; ;)"&nbsp; data-smilie="2"data-shortname=";)" /> ).&nbsp; If there is some sonic difference, it&#039;s a DIFFERENCE (and therefore a MARKETING &quot;feature&quot;)... but to claim that a difference makes for sonic superiority, in and of itself, is disingenuous and intellectually dishonest.&nbsp; You can like, prefer, and exclusively use this difference if you like, but it&#039;s no more superior than anything else.Or if it helps the ridiculously strong placebo effect here, consider the X32 to a crippled M32 in Behringer drag....</blockquote>

[QUOTE="Tim McCulloch, post: 125059, member: 67"] Re: New Midas M32 Console Well, I didn't address the other issues, but since you insist: 96k is voodoo bullshit in LIVE audio. If you're recording for potential public release, you MIGHT hear a difference at the studio/mastering stage. IMNSHO by the time it arrives in the public's ears, any differences will be moot. From a live sonic standpoint, I'll wager that 99% of audio engineers could not correctly & consistently identify 48/96 mixing [I]in situ[/I] in live audio circumstances. There are blind studies of this in controlled listening environments and the successful identification there was <15%. These were "golden ears" folks listening on gear that is specifically designed for critical listening, not PA for the masses. The only advantages I can see to the M32 are direct connectability to the K-T world of signal distribution and more robust faders. The nicer design of the desk itself is also welcome... but in the end, it's still an X32 in Midas drag (and drag is VERY British ;) ). If there is some sonic difference, it's a DIFFERENCE (and therefore a MARKETING "feature")... but to claim that a difference makes for sonic superiority, in and of itself, is disingenuous and intellectually dishonest. You can like, prefer, and exclusively use this difference if you like, but it's no more superior than anything else. Or if it helps the ridiculously strong placebo effect here, consider the X32 to a crippled M32 in Behringer drag.... [/QUOTE]

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