DP24sd or DP32sd?

[Jason T. Lewis]

Hey, folks. New here have been recording for about a thousand years and have been using DAWs for a long time. Back in the early 2000s I had a Zoom multitrack I used for somgwriting and I wrote more back then than I have in years. I need to get back to something simpler and I'm thinking about a DP24sd or a 32, the prices are crazy right now and I'm tempted to just go for the 32, but there are a few weird things I'm curious about.

The 32 has 8 mono faders while the 24 has 12. I'm sure it doesn't matter inside the box, but why the discrepancy?

Is there really any benefit to going with the 32 other than track count? I don't think I've ever recorded anything that ended up with 32 tracks.

Basically, I'm curious to know people's experiences between the 2 and if it really is only track count that's the difference.

Thanks!

 

[TS-1]

Track count is the only difference.

 

[Noto]

If I remember correctly, all of the DP32's stereo faders can be set to be mono tracks.

 

[Jason T. Lewis]

Yeah, I've read they can be broken into mono track. I guess my only concern is I'd prefer to have stuff labeled on the unit the same as how the tracks are running in a song. It's a lot more likely I more than 8 mono tracks than 10 stereo tracks.

But with the 32 only being $100 more than the 24 it's hard not to go for the 32. I just don't want to spend money on something I won't need.

 

[Phil Tipping]

There are always uses for more tracks, mono or stereo, but it depends what you want to do with the machine, either now or in the future.
For example, if you're recording just a few instruments at a time, extra tracks can be handy for multiple takes. It's easier to review & compare these than virtual tracks as you can simply set them all playing and mute/solo or adjust faders to switch between them. If you're recording mono instruments, you can always 'overflow' into the converted stereo tracks.
An example for stereo tracks is to try out different mixes via bouncing. Again you can review & compare the same way as above.
Or you could make multiple submixes via bouncing, adding extra effects as required, and use these in your final mix.
If you need to record several stereo instruments and run out of stereo tracks, you can overflow onto pairs of monos... not ideal as any settings such as EQ will need adjusting in pairs, but it's handy for emergencies.
There's probably more examples, so for me, you can never have too many tracks

 

[Jason T. Lewis]

Those are all really great points. I hadn't considered the different uses for the other tracks. Still got that DAW mentality. I think you've convinced me!

 

[David Porter]

Get the 32.

 

[-mjk-]

What David said. And Phil.