Let's presume you're a solo performer doing a nightclub gig. You would likely have an assortment of sound modules, possibly a keyboard, a drum machine, some effects devices, your vocal mic, and, versatile musician that you are, an acoustic or electro-acoustic guitar. Your vocal mic would plug into analog input #1. Your guitar would go into analog mic input #2 (or instrument input #3 if it's electro-acoustic) Your drum machine could go into analog inputs #3 and #4 (presuming you want to run in stereo). Let's say you have three MIDI sound modules and you also want to run them in stereo; these would plug into analog inputs 5A and 6A, 5B and 6B, and 5C and 6C. Now for your three outboard effects devices (a reverb, a vocal harmonizer, and a digital delay line, for example): Let's run them stereo as well, and plug all three into analog inputs 7A and 8A, 7B and 8B, and 7C and 8C. The last item is your keyboard, which features an S/PDIF output. It plugs into either the EZbus's coaxial or optical S/PDIF input.

Let's say you're also using a computer loaded with MIDI and audio sequences. Its stereo output would come into an EZbus Return (routed to the Main mix bus) via USB.

All together that's two monophonic instruments, five stereo instruments, three stereo effects devices, and a stereo mix from your laptop, for a total of 20 audio signals. In this configuration you would have independent control of volume, pan, EQ, and dynamics over your vocal mic, guitar, and drum machine. The sound modules would be grouped, with the EZbus's channel volume, pan, EQ, and dynamics settings affecting all three devices equally. Similarly, the effects devices would be grouped, with the EZbus channel settings affecting all three devices equally. The keyboard and computer would simply return directly to the Mix bus, with no EZbus channel-level processing on either; their settings would be controlled at the source.