The DMX-R100 has 48 virtual input-channels, 36 analog inputs (12 dual A/B inputs are independently switchable for the first 12 input-channels), 24 physical faders, and one master fader for the stereo buss. 8 matrix busses, 8 sends, 8 returns, 12 inserts, control- room plus studio outs, and a few external 2-track inputs round out the built-in I/O. Four slots allow you to add optional I/O to meet your interfacing needs via TDIF, ADAT Lightpipe, AES/EBU, XLR-balanced, MADI, or 1/4'' TRS insert connections.

The 48 input-channels are accessible within two layers using the 24 physical faders. Each input-channel in each layer has a motorized fader for level and a rotary encoder for pan. The faders and pans default to normal fader and pan operation, but they can be assigned to operate instead as aux sends, matrix sends, or trims. Furthermore, the built-in routing capability allows you to send any physical input to any input- channel (or combination of input-channels) and any virtual output to any physical output. (You can even assign the talkback mic to one of the faders!) 

Each input channel includes digital trim, digital delay, buss assignment, dynamics control (expander/ gate/compressor/ducker), EQ, aux sends, pan and matrix pan, and solo. You can assign an EQ and dynamics controller to each and every one of the 48 input-channels, master aux sends, matrix busses, and main stereo buss. That's like having 65 dedicated four- band parametric EQs and 65 expanders/compressors at your disposal. (66 channels, if you count the stereo buss effects as being two channels.)

It was well ahead of its time working at up to 96khz at 24bit, it also is one of the very few desks which can chase timecode to the touch faders and vitually all parameters can be automated to timecode.

I have owned this from new and it has been exclusively in my mobile recording van not thrown around venues. 

It comes with MADI, AES cards and two EMS 6 way phantom power modules.