Stage Box

Midas DL32 Digital Stage Box

The Midas DL32 is the big-brother stage box: 32 Midas preamps and 16 XLR outputs at the stage, all travelling back to the console on a single shielded Cat5e via AES50. Two AES50 ports allow primary + redundant links — at large venues with long stage-to-rack runs, losing one cable mid-show to a crew boot shouldn't take out monitors. Replaces a traditional 48-channel analog multicore with one Cat5e. Pairs with M32/M32R, X32, and Wing consoles.

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Photos

Manufacturer product photography — the drawn faceplate stays true to panel layout; these show the hardware itself.

Midas DL32 Digital Stage Box — Photo: MidasClick to zoom

Documented outputs: 2222 destination connections
Documented inputs: 34Based on documented inputs
Rack space: 3UBuilder checks available rail space
Power draw: 45W60W documented maximum
Catalog estimate: ~$1,699Use retailer rows for current price and stock

01 · What it does—and what that changes in your rig.

Product overview

Start with the payoff, then work through how it functions, where it fits, and the details that change a real build.

The payoff

Stage Box decisions, organized around the whole rig.

The DL32 is the stage-end of a digital split: 32 Midas mic preamps and 16 analog outputs sitting at the lip of the stage, with everything — all 48 bidirectional channels — riding back to the console rack on a single shielded Cat5e via AES50. That one cable replaces the analog multicore entirely. In an IEM or monitor rig context, the 16 outputs are the workhorse: IEM transmitters, wedge amplifiers, and talkback feeds all connect directly at the stage without any extra analog infrastructure at the console end. It pairs natively with the M32, M32R, X32, and Wing families.

Documented outputs: 2222 destination connections
Documented inputs: 34Based on documented inputs
Rack space: 3UBuilder checks available rail space

Midas product panel3U · 45W

Function

How it works in the path

At 6U and 10.9 kg, the DL32 lives in a stage rack, not a FOH rack — plan accordingly. The 249 mm depth is manageable in a shallow road case, but those 32 XLR inputs and 16 outputs facing the rear mean cable management needs real thought at load-in. Power draw sits at 45 W steady, spiking to 60 W, so it's light on your stage power budget. The second AES50 port is the spec that matters most at show time: run it as a redundant path back to the console and a cable casualty under a stage-crossing boot becomes a non-event rather than a show-stopper.

Best fit

Where it earns its place in the rack

This box makes sense if you're running an M32R or Wing-based monitor rig and want all your preamps and output connectivity consolidated at the stage with only one data cable going to FOH or the monitor position. If you're running fewer than 16 inputs and don't need dedicated analog outputs at the stage, a smaller box like the DL16 is worth a look and saves you rack space and money. The DL32 is also overkill if your console doesn't speak AES50 natively — you'll need an additional interface, which defeats the simplicity argument entirely.

In the rack

Details worth deciding before load-in.

Run both AES50 ports back to the console — Port A as primary, Port B as redundant — even if it means pulling a second Cat5e. The cost of a spare cable at load-in is nothing compared to a dropped monitor mix mid-show.
Label your stage outputs at the DL32 rear panel with laminate tape before the rack goes into the case: 'IEM TX 1,' 'Wedge Amp L,' etc. At load-in under stage lighting, reading Sharpie on a black XLR is how mistakes happen.
Budget for a proper stage rack with a hinged rear door — accessing 32 inputs and 16 outputs mid-show requires that rear panel to be reachable quickly without pulling the whole unit.
If your console is at a monitor position and you're also feeding FOH via AES50, confirm your console's AES50 port assignments before doors: the DL32's 48-channel bidirectional bandwidth means the routing flexibility is there, but it has to be mapped deliberately in the console's patch, not assumed.

02 · Know the whole path before you buy.

Signal path

Learn the route as a block diagram: source, product function, transport, and destination. Select any block to see what enters, what changes, and what leaves.

Interactive block diagramAuto-looping · hover, focus, or tap to hold a stage

Port-type signalProduct functionSystem boundary

Follow one signal from source to destination

Each block answers the same three questions: what arrives, what changes here, and what leaves.

01 · Source · selected

01 · Source

34 documented inputs

XLR female + midi din5

Arrives as: 34 documented inputs
Connector: XLR female + midi din5
Signal: analog audio

03 · What this product asks of the rest of the system.

Compatibility

Treat connector names as the start of the check—not the answer. These are the boundaries that determine a complete working path.

Best fit · Stage Box

Use it when 3U and 242 mm of depth fit the case.

Plan the companion path

Complete the path with upstream and downstream gear that matches connector, direction, signal type, protocol, and wiring standard.

Protocol boundary

This product declares AES50, ULTRANET; matching plugs alone do not make other protocols compatible.

04 · Every connector, grouped by job.

I/O ports

Switch the product view and the documented port inventory updates with it—hardware and data stay side by side.

Every connector, grouped by job.

Switch panels to keep the hardware view and the documented port list in sync.

Panel view

Front panel

Rear panel

All documented ports for Midas DL32 Digital Stage Box
Port	Panel	Connector	Direction	Signal	Channels
Stage In 1	front	XLR female	input	analog audio	—
Stage In 2	front	XLR female	input	analog audio	—
Stage In 3	front	XLR female	input	analog audio	—
Stage In 4	front	XLR female	input	analog audio	—
Stage In 5	front	XLR female	input	analog audio	—
Stage In 6	front	XLR female	input	analog audio	—
Stage In 7	front	XLR female	input	analog audio	—
Stage In 8	front	XLR female	input	analog audio	—
Stage In 9	front	XLR female	input	analog audio	—
Stage In 10	front	XLR female	input	analog audio	—
Stage In 11	front	XLR female	input	analog audio	—
Stage In 12	front	XLR female	input	analog audio	—
Stage In 13	front	XLR female	input	analog audio	—
Stage In 14	front	XLR female	input	analog audio	—
Stage In 15	front	XLR female	input	analog audio	—
Stage In 16	front	XLR female	input	analog audio	—
Stage In 17	front	XLR female	input	analog audio	—
Stage In 18	front	XLR female	input	analog audio	—
Stage In 19	front	XLR female	input	analog audio	—
Stage In 20	front	XLR female	input	analog audio	—
Stage In 21	front	XLR female	input	analog audio	—
Stage In 22	front	XLR female	input	analog audio	—
Stage In 23	front	XLR female	input	analog audio	—
Stage In 24	front	XLR female	input	analog audio	—
Stage In 25	front	XLR female	input	analog audio	—
Stage In 26	front	XLR female	input	analog audio	—
Stage In 27	front	XLR female	input	analog audio	—
Stage In 28	front	XLR female	input	analog audio	—
Stage In 29	front	XLR female	input	analog audio	—
Stage In 30	front	XLR female	input	analog audio	—
Stage In 31	front	XLR female	input	analog audio	—
Stage In 32	front	XLR female	input	analog audio	—
Stage Out 1	front	XLR male	output	analog audio	—
Stage Out 2	front	XLR male	output	analog audio	—
Stage Out 3	front	XLR male	output	analog audio	—
Stage Out 4	front	XLR male	output	analog audio	—
Stage Out 5	front	XLR male	output	analog audio	—
Stage Out 6	front	XLR male	output	analog audio	—
Stage Out 7	front	XLR male	output	analog audio	—
Stage Out 8	front	XLR male	output	analog audio	—
Stage Out 9	front	XLR male	output	analog audio	—
Stage Out 10	front	XLR male	output	analog audio	—
Stage Out 11	front	XLR male	output	analog audio	—
Stage Out 12	front	XLR male	output	analog audio	—
Stage Out 13	front	XLR male	output	analog audio	—
Stage Out 14	front	XLR male	output	analog audio	—
Stage Out 15	front	XLR male	output	analog audio	—
Stage Out 16	front	XLR male	output	analog audio	—
AES50 A	rear	etherCON	bidirectional	digital audio	48
AES50 B (redundant)	rear	etherCON	bidirectional	digital audio	48
Ultranet (P-16)	rear	RJ45	output	digital audio	16
ADAT Out A	rear	toslink	output	digital audio	8
ADAT Out B	rear	toslink	output	digital audio	8
AES/EBU Out 1-2	rear	aes3 xlr	output	digital audio	2
AES/EBU Out 3-4	rear	aes3 xlr	output	digital audio	2
MIDI In	rear	midi din5	input	data	—
MIDI Out	rear	midi din5	output	data	—
USB-B (firmware)	rear	usb b	bidirectional	data	—
Power (IEC)	rear	IEC C14	input	power	—

Showing 59 of 59 documented physical ports. Scroll to review the remaining rows.

05 · Compare the decision, not just the price.

Alternatives

The rows are organized around fit, power, I/O, and system role so a cheaper unit cannot hide a more expensive workflow.

Compare	Midas DL32 Digital Stage BoxThis gear	Midas DL16 Digital Stage Box	Midas DL251 Digital Stage Box	MOTU Stage-B16 Stagebox
Fit	📐 3U	📐 2U	📐 6U	📐 2U
Power	⚡ 45W	⚡ 25W	⚡ 55W	⚡ 35W
Weight	⚖️ 24.0 lb	⚖️ 13.4 lb	⚖️ 29.8 lb	⚖️ 7.1 lb
I/O	🔌 59	🔌 34	🔌 67	🔌 35
Estimate	💵 ~$1,699	💵 ~$1,039	💵 ~$2,899	💵 ~$1,695
Deep dive	Current selection	Full comparison →	Full comparison →	Full comparison →

06 · Resolve the questions that can change the purchase or build plan.

Planning questions

Short, source-backed answers surface rack fit, power, cabling, and connection details before they become surprises.

How will the Midas DL32 Digital Stage Box affect rack fit and case depth?

It occupies 3U. Its documented depth is 242 mm.

How much power does the Midas DL32 Digital Stage Box draw?

Typical draw is 45W and documented maximum draw is 60W.

What connections does the Midas DL32 Digital Stage Box have?

59 documented physical ports, including Stage In 1, Stage In 2, Stage In 3, Stage In 4, Stage In 5, Stage In 6.

07 · See this unit inside a real rack plan.

Builder preview

Placement is only the start. Builder checks space · depth · weight, power headroom, dependencies, and compatible signal paths around this exact catalog item.Open in Builder

08 · Related gear, in the order you may need it.

Stage Box

MOTU Stage-B16 Stagebox

2U · 35 ports · ~$1,695

Stage Box

Midas DL16 Digital Stage Box

2U · 34 ports · ~$1,039

Stage Box

Behringer S16 Digital Stage Box

2U · 34 ports · ~$579

Stage Box

Behringer S32 Digital Stage Box

3U · 51 ports · ~$689

Stage Box

Midas DL251 Digital Stage Box

6U · 67 ports · ~$2,899

Stage Box

Yamaha Rio1608-D2 Dante Stage Box

3U · 28 ports · ~$3,999

Planning guides for stage box systems.

Fundamentals · 6 min

From Stage to Ear: How Audio Flows Through an IEM Rack

A walking tour of the signal path from microphone to in-ear monitor, with what every box in the rack actually does to the audio along the way.

Workflow · 10 min

Stage Plots and Input Lists That Sound Engineers Actually Want

A plain-English guide to writing the input list, stage plot, and patch sheet that house engineers want — without the jargon, with examples, and with a free way to generate one.

Workflow · 10 min

Setting Up Stereo IEM Mixes on an X32 / M32

Step-by-step: linking aux buses into stereo pairs, pre-fader vs post-fader, routing buses to Ultranet vs physical XLRs vs AES50, and adding a bus-level limiter.

Networking · 9 min

Dante vs MADI vs AES50: Which Audio Network Should You Use?

A practical comparison of the three audio-over-network protocols you’ll encounter in a rack rig, with guidance on when each one is the right pick.

Photos

Product overview

Stage Box decisions, organized around the whole rig.

How it works in the path

Where it earns its place in the rack

Signal path

34 documented inputs

Compatibility

Best fit · Stage Box

Plan the companion path

Protocol boundary

I/O ports

Every connector, grouped by job.

Alternatives

Planning questions

Builder preview

MOTU Stage-B16 Stagebox

Midas DL16 Digital Stage Box

Behringer S16 Digital Stage Box

Behringer S32 Digital Stage Box

Midas DL251 Digital Stage Box

Yamaha Rio1608-D2 Dante Stage Box

Related articles

From Stage to Ear: How Audio Flows Through an IEM Rack

Stage Plots and Input Lists That Sound Engineers Actually Want

Setting Up Stereo IEM Mixes on an X32 / M32

Dante vs MADI vs AES50: Which Audio Network Should You Use?