I have the line inputs of my DP-32 routed through a patchbay. I also have several line inputs on the Soundcraft Ghost on the patchbay, as well as several group outputs. The Ghost's control room monitoring system is connected to a monster power amp, and 2 vintage AR monitors that sound incredible. My Korg keyboard and Roland drum machine are normalled through the patchbay to corresponding inputs on the DP-32. This arrangement allows me to take those instruments to the Ghost console for its incredible EQ section, as well as using the AR monitors for adjustments, and then sending that audio back through to the DP-32 inputs for recording. Also, I can use the Ghost's legendary mic pres and send those signals to the DP-32 line inputs and bypass the DP-32's mic pres altogether. One of the main complaints of digital recordings is that it sounds "too clean." In the analog world, tape saturation is a very desirable sound, especially on drums. Trying that on the DP-32 however will produce unusable tracks as that kind of distortion in the digital domain is destructive to the sound. By routing the drum machine to the Ghost, applying it's 4 band EQ, and adjusting the channel gain structure right to "the hairy edge" I can get that wonderful "analog distortion" that we all love, and yet use the group output faders to send an appropriate -12 signal to the DP-32's line inputs. You can't do that with the DP-32 alone. Having an analog desk like the Ghost opens up many other possibilites too, because vintage analog mic pre distortion is desirable on things like a snare drum. One could use a Send to output a snare track to a guitar amp, and then mic up the amp and bring it back to the console mic pre, very hot. Patched to the DP-32's line input at an appropriate level, you can safely capture that explosive snare in all it's glory with no digital distortion.