The D32 and D24 share the same sound quality, operating system, user interface, and processing power—but they are designed for different workflows:

• D32: A 32‑channel digital mixer that can be split into a remote stage box and a front‑of‑house controller or used as a single integrated unit. 100mm electronic faders. Channels 1 and 2 have switchable Instrument level.
• D24: A 24‑channel digital mixer that is a self‑contained, stand‑alone console with all inputs, outputs, and controls in one chassis. 70mm electronic faders.

No — only the D32 supports physical separation.

• D32 can be separated into:
  • D32C Controller (touchscreen + controls)
  • D32R Rack Stage Box (inputs/outputs on stage)
    Connected via a digital CAT6 / EtherCon snake (up to 450 ft / 13 m).
• D24 is a stand‑alone mixer and cannot be split.
  All 24 mic/line inputs and outputs are built directly into the console.

This makes the D32 ideal for larger stages and installations, while the D24 is perfect for portable, all‑in‑one setups.

Each mixer includes:

• The D32 or D24 digital mixer
• Right‑angle and straight IEC power cables
• P-1 foot controller pedal with cable (M&W exclusive)
• Wireless antenna for Wi-Fi tablet/laptop control
• Quick Start Guide

• Simple Mixer Mode is an easy‑to‑use 10-channel interface designed for: any application where the operator may not be experienced with mixers, OR simply does not need as many channel or signal processing
• Worship teams
• Volunteers
• Corporate AV
• Small performances and events

It provides streamlined access to gain, EQ, compression, effects, monitors, phantom power, and feedback control—without complex routing screens.

No. Simple Mixer Mode uses the same audio engine and processing as Standard Mode.
It’s purely a workflow and interface simplification, not a reduction in quality.

The included P-1 foot pedal allows hands‑free control of:

• 4 Scenes
• 4 Mute Groups
• 4 FX Presets

It’s ideal for performers, worship leaders, and sound engineers who need quick changes in three important performance areas.

Yes. Each Lyric microphone preamplifier input has individually switchable +48V phantom power, controlled via a hardware button that brings up a dedicated control screen, and with each channel’s on‑screen indicator.

The BigChannel™ is M&W Pro Audio’s unified signal processing control screen plus features not found on other so-called Fat Channels. By clicking on the channel’s EQ “thumbnail” reveals:

• 4-band parametric equalization
• 32-band graphic equalizer
• Compression
• Gate

When tapped, each of the above functions displays a complete screen of processing parameters including an M&W Pro Audio exclusive graphic representation that makes Gate and Compression easier to use

• Channel delay in feet, meters and milliseconds

Our competition stops there.  We add more handy channel controls that you often need

• Mute Group Select
• FX Sends 1 to 8 select and level set
• Aux Send 1 to 12 select and level set
• Channel fader
• Master L/R Output fader
• Channel Input Gain level indicator
• Tapping the Input Gain + symbol activates a pop-up with Gain Adjustment knob, mic/line – digital input select, phantom power, anti-clip, and phase; and a Low Cut knob with three slope options
• Channel Phase

The extra feature dramatically reduce menu‑diving and speeds up live mixing.

Yes. Both mixers support:

• 2‑track stereo recording to USB
• Multitrack recording via USB‑C to a DAW
• Playback directly from USB or DAW sources

Both mixers provide:

• 8 mono aux outputs
• 2 stereo aux outputs
• Independent EQ and limiting on monitor outputs

Ideal for wedges, in‑ear monitors, recording feeds, and broadcast mixes.

Yes. Each mixer includes multiple internal reverb and delay effects, including:

• Vocal‑optimized reverbs and delay with an exclusive M&W Pro Audio Blend control that eliminates bouncing back and forth between separate Reverb and Delay screens
• Halls, rooms, plates
• Tempo‑sync Delay, Chorus, Flanger, Doubler etc.

Yes. You can save:

• 20 Scenes (entire mixer snapshots)
• 20 Channel presets (EQ, compression, gate, etc.)
• 20 Custom user presets

Scenes can be recalled instantly or triggered via foot pedal.

Yes. Channels can be:

• Named using custom text or instrument icons
• Color‑coded for fast visual navigation
• Grouped using Fader Groups, Sub Groups, DCAs, and Mute Groups

No masking tape. No Sharpies.

Yes. Using the included wireless Wi-Fi antenna, the mixer can be controlled from a tablet or laptop for room‑walking and monitor mixes.

These mixers are ideal for:

• Touring musicians
• Churches and worship spaces
• Corporate events and hotel ballrooms
• Law Courts
• School, lecture halls auditoriums and sports fields
• Studios and rehearsal spaces

The D24 excels as a portable, all‑in‑one console.
The D32 scales effortlessly for larger stages and installs.

Which Mixer Is Right for Me?

D32 vs D24 — Side‑by‑Side Comparison

Quick Recommendation

✅ Choose the D32 if you:

• Want stage inputs with FOH control
• Need 32 inputs
• Mix larger productions
• Are installing in a venue
• Want maximum physical flexibility

✅ Choose the D24 if you:

• Want a single, portable console (but also works great in smaller permanent installations)
• Need 24 inputs or fewer
• Value fast load‑in / load‑out
• Mix smaller to mid‑size productions
• Prefer an all‑in‑one solution

Important Takeaway

There is no “less powerful” mixer here.

Both mixers have:

• The same sound engine
• The same software
• The same processing
• The same workflow

The decision is about form factor and input count, not quality.

Peter’s preamp experience goes all the way back to the 70’s and Trident’s Di-An console that recorded hits for Fleetwood Mac and many others.  He’s been a sought-after preamp designer over the years with literally dozen of designs for familiar companies, each design better sounding than the last.

The D32 and D24 use Peter Watts’ Lyric™ discrete Class‑A microphone preamps, the culmination of his mic preamp expertise.  They are designed for high headroom and low noise and are optimized for live sound with wide dynamic range and smooth gain handling across the entire gain sweep.

The internal audio engine operates on 24‑bit /192k converters with 48k sampling. The professional internal processing architecture is designed to preserve signal integrity across all routing, processing, and summing stages.

The D32/D24 includes an Anti‑Clip protection system. When extreme peaks are detected, the mixer can automatically reduce input gain to protect downstream processing and outputs while maintaining audio continuity.

Every input channel includes full BigChannel™ processing, including:

• High‑pass (low‑cut) filter with slope control
• EQ (basic and parametric)
• Compressor
• Gate
• Channel delay
• FX and monitor sends

There are no “light” or reduced‑feature channels.

Yes. The mixer supports channel‑level presets that store EQ, compression, gating, and other parameters separately from full scenes. This allows engineers to reuse processing without affecting the rest of the mix.

• DCA Groups control fader levels without routing audio.
• Sub Groups combine audio signals for shared processing and routing.

Using DCAs preserves headroom and avoids additional summing stages, making them ideal for level control.

Yes. Each auxiliary output can be set pre‑fader or post‑fader, allowing full flexibility for wedges, in‑ear monitors, broadcast feeds, or recording sends.

Yes. Output buses include dedicated EQ and dynamics, allowing system‑level tuning, protection limiting, and tonal shaping independently from input channel processing.

Scenes can be:

• Saved internally
• Tagged or named for recall
• Backed up to USB-Selective recall and scope control allow engineers to prevent certain parameters from changing when scenes are recalled.

Yes. Scene transitions are designed to be non‑destructive when configured properly, allowing safe recall during performances without unintended audio dropouts or routing changes.

The D32/D24 supports:

• Stereo 2‑track recording to USB
• Multitrack recording via USB‑C to a DAW
• DAW playback directly into the mixer channels

Yes. Playback sources can be routed through channels, buses, auxes, and mains just like live inputs, enabling virtual soundcheck and multitrack rehearsal workflows.

The mixer’s internal architecture is optimized to keep latency extremely low, making it suitable for live monitoring even when connected to a DAW via USB‑C.

Yes. Firmware updates are supported and are installed via USB or network methods as specified in the support documentation. Updates may add features, stability improvements, and workflow enhancements.

In the event of power loss, the mixer safely shuts down. Previously saved scenes and presets remain intact, and the system can be restored quickly by recalling the last saved configuration.