Okay. I finally found the "workaround" to be able to use my SL2442AI as a monitor panel on my 96k Dante location recording network. The box is the AtteroTech unD32 BoB. It takes in 96k Dante and spits out 32 channels of analog. At up to 96k. I will plug the outputs into the 2442 and it will effectively make the panel compatible with the network like it is completely unable to do using its Dante card. It will work for me since I assign such a small job to the panel. The AtteroTech is a D to A only so I will still need a way to send feeds back to the stage; talk backs, and cue sends etc, but I will have 8 channels of Dante analog outputs available on one of my Lynx Auroras (that now have 192k Dante card available). I'd only need a few channels of Dante inputs. Also thinking that stage returns might be possible if I set my switches up with VLans to run the Dante card out of the 2442 to my RM16 at 48k while running the recording network at 96k. Still puzzling on that one. Or even as an ad hoc network which would mean another length of Cat6 but still better than 100' plus of copper snake.

For those unfamiliar with my quest, I record acoustic and classical music where my producers nearly universally request 96k for the recoding sample rate. The SL2442AI Dante capped at 48k was making my quest unattainable until I found the AtteroTech box yesterday. Hurray!

Doug

Doug

The issue you have is that the particular Brooklyn II chip that Presonus uses in their Dante card is configured for 64 in / 64 out channels.
That is enough for all the IO required by the RM/AI series at 48K sample rate. It will work at 96K (if PreSonus had allowed it) but that reduces the channel count down to 32x32 which is not enough by a long margin.

The answer would be a card capable of 128x128 channels, run at 96k (which would reduce the channels to 64x64) or even the option to use 2 expansion cards, (like other vendors do), but then there's the cost......

In other words, if you need 96k because your paying, professional clients want it then buy a Yamaha or Digico or other desk...

Yes, Karyn. But I work on location. Seen the size of a Digico panel, or a DM2000? And yes, I'd like it all Including 24 faders up and not digital banks of 16 faders up. The SL2442AI is the perfect size and form function for a simple panel to put some mics into some studio monitors, feed a few headphones, send a cue feed or two. We are not talking about Record Plant Remote, just a simple 17 or 18-mic choir CD recording. All the work will be done at the studio/stage end, at 96k, and that is all eminently doable with current gear. Feeding the control room with the simple tasks above will take a tiny amount of band width relative to 24 channels with all the FAT stuff going.

That's why the AtteroTech box will work well. Feeds (up to) 32 channels of analog out from a 96k Dante stream. That should (mostly) satisfy my needs with the SL2442AI. I'm looking into a separate 48k Dante feed out to the RM16 using VLans on my switches. Still puzzling that at the moment and not sure it is possible to send two different Dante feeds through a network at different samplig rates. That would make talk back and cueing easy. Backup record to Capture at 48k or to Pro Tools on a MacBook at 96k. Main recorder is a Dante JoeCo at 96k.

I'm getting closer without buying another (expensive) panel.

Really all about losing the weight and bulk of a copper splitter snale and replacing it with 1000' of Cat6.

It would just have been easier if the SL2442AI supported Dante at 96k. No more, no less.

Doug