The reverb section is elegant, and the analogue inputs sound noticeably better than the DL32 stagebox.
The GEQ feels close to the M32 EQ and is generally usable and predictable. (For reference, the Apple 31-band EQ used with the Deejay app is still my preferred option in some situations.)
The MixingStation app significantly improves workflow, especially with single-tap access to key parameters.
A true line-level input option would be useful. On the Midas M32, the 6.5 mm inputs sounded very neutral and practical in comparison.
When using the remote app, the faders visibly “shutter” up and down during operation. Functionally it works, but it doesn’t feel as smooth or visually refined as the M32 motor fader response.
The WING can sometimes be too flexible. The sheer number of routing options increases the risk of mistakes or dead ends in live environments. It is easy to adjust a fader while having the wrong output layer selected—especially with multiple buses, matrices, and master paths active simultaneously.
At live events, this demands a very clear mental map of the routing structure. I had one incident where I was using subs on different outputs and briefly lost track of the routing—enough to cause a moment of panic mid-show.
It would be useful if a companion app could “lock down” or grey out unused features, faders, or routing paths depending on the current configuration. Some form of intelligent layout simplification would reduce operational risk.
That said, scene management is very strong. The ability to adapt the console for different setups—with or without stagebox configurations—makes it highly flexible in real-world use.
Overall, for this price range, it remains a game changer in terms of capability and workflow.