Apogee 16X, Gigas, Sample Rate Conversion, and Summing/Monitoring

I'm trying to do an update on my home studio rig.
I've decided to get the new Quad Core 3g G5.
I've decided on the Apogee 16X/Symphony card combo.
I need to rout the outputs of six PCs into Logic; One PC is running KYMA/Capybara, one PC will be running the Native Instruments Kore/Komplete VST host; and the remaining four are running Gigastudio 3. All the PCs are lightpipe out. At present, I run the lightpipes into a Hammerfall lightpipe-to-MADI converter, and from there onto a MADI card via coax directly into my present G5, the Dual 2g.
I monitor though a Sony DMX-R100.
So far, no problem.
But, I've decided to start working at 96k, so my present scenario becomes more difficult, as my sample library (about 1.2 terrabytes) is all 48k.
I'd sort of like to get rid of the DMX, but Im considering using it as a submixer for the PCs, running analog out of it into 12 channels one of the Apogees. That would solve the problem of sample rate conversion. But it would still leave me with a pretty big piece of gear that I'm not sure I need.
The other thing I'm wondering is about summing and monitoring... I'd like to be able to avoid ganging everything rhough the Logic 2-bus, I like it better when I can spread things about a bit in groups, also there are a few other things (like the movie audio and a DVD player) that I need to be able to monitor through the same system.
I also would like to be able to use my Fairchilds and Pultecs on the 2-bus of whatever I'm monitoring through, which would mean somehow returning that through Logic, or using my 2g Dual as a sort of mix&stem storage/archive/networking computer. (Which I'm not wholly opposed to.)
Any ideas?
Dual 2Ghz G5   Mac OS X (10.4.7)  
Dual 2Ghz G5   Mac OS X (10.4.7)  

96k (at least) is pretty important, because as well as doing the normal sort of workaday film and pop level audio, I'm also doing this very intimate project for an audiophile vinyl company, and it's stipulated that I must use 96 at the very least. I'll probably be doing that stuff at 192, and I will be keeping almost everything third-party off the processor. The company would prefer that I did everything to a 2" analog 8-track, but that's where I drew the line. Thing has to be aligned every three hours of operation, cause the track widths are so high, and the thing's pretty old, I'm afraid.
For the film and pop stuff, I still like 96k, cause... I dunno why, I guess, now that you mention it. But even when stuff is downsampled, I still think it sounds better when its recorded at higher resolution.

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