The most fundamental function of the audio mixer—or mixing console, as it is sometimes referred to—is to combine audio signals, process them, and then direct them to their destination. Nowadays, a lot of different devices can mix and match. With the right apps and interfaces, even tablets and smartphones can perform some mixing functions. Additionally, every DAW (Digital Audio Workstation) software comes equipped with mixing features.
However, a dedicated hardware mixer’s real knobs, faders, and buttons remain indispensable for many home studio owners and performers. Continue reading to determine whether an audio mixer is the best option for your situation.
Table of Contents Essential Mixer Terminology Analog vs. Digital vs. Software Mixers Powered Mixers Live Sound Packages DJ Mixers Line and Summing Mixers Things to Look for When Shopping for a Mixer Summing Up In this buyer’s guide, we will discuss three primary categories of audio mixers:
Mixers for recording, also known as studio mixers Mixers for live sound, also known as PA mixers or sound system mixers Mixers for DJs Because many mixers support both live sound and recording functions, it is not always easy to tell the difference between the two. There are numerous audio mixers available today that can meet your needs for recording and on stage.
The basics of mixer terminology As you shop for a mixer, you might come across unfamiliar terms. We have provided the following glossary to assist you in understanding the specifications and features that you will be reading about.
The basic structure of a channel is a signal path. More things can be connected to and routed through a mixer with a lot of channels. Most of the time, microphones and/or line-level devices like amplifiers, preamps, or signal processors can be incorporated into channels. Electronic signals are produced at a much lower level by instruments like guitars and basses and microphones than by line-level devices.)
A channel strip is a collection of circuits and controls that work together on a particular mixer channel to affect the audio signals that pass through it. Common examples include:
a jack for an external instrument, microphone, or other device affixed to the mixer. To reduce interference and noise, XLR inputs are balanced. Other inputs accept quarter-inch TRS connectors or RCA connectors.
a microphone preamp that raises the relatively weak mic signal to line-level strength equalization, also known as EQ, adjusts the signal’s frequency response dynamics processing, which may include compression or gating (described below) routing, which directs the signal to other mixer circuitry and external devices a fader, which slides along a track to control the input or output of a channel, and a meter, which visually displays the output of each channel I/O How you intend to use the mixer will determine how many inputs and outputs you require.
For example, if you’re mixing live sound, you’ll need a mixer with enough inputs to handle microphones and other connected devices, as well as outputs to connect your main and monitor speakers. The mixer may need to supply power to drive the main and monitor speakers, depending on the speakers being used. In contrast, when it comes to mixing recordings, you’ll want to think about how many instruments and performers you’ll need to record simultaneously. Other devices that will be a part of the signal chain and recording process should be included in the I/O calculation for studio mixers. These would include signal and effects processors, headphones, monitor speakers, microphone preamps, and instruments that use DI (direct injection) boxes to connect directly to the mixer.
Buses Buses are represented as intersections in circuits where the outputs of multiple channels meet. The signals from each mixer channel are sent to a particular bus or group of buses. The main mixer output is sent to speakers or a recorder via the master mix bus, which is fed by the channel faders. Auxiliary buses, also known as aux sends or aux buses, can send signals through their own output jacks and are fed by the volume controls of the channels to which they are connected. Post-fader sends are the name given to these things. Pre-fader sends, which operate independently of the channel’s volume, are another type of aux bus. Sending a specific mix of signals to headphones, effects processors, or monitor speakers makes use of these outputs.
Groups Mixers with multiple channels typically have a group function that lets you control and process multiple channels simultaneously. Because it shares the same signal processing and routing as a sub-mixer, a group is like a sub-mixer in that it controls all channels with a single fader, making it easier to control the output to the master bus. A drum kit’s mics, for instance, can all be assigned to a single group, making volume and sound control of the drums simple. A mute function is also present in some mixers that allow for channel grouping. When you want to silence a group of inputs or open mics, such as when making announcements on stage, this is useful. A “scene” feature, available on some more advanced mixers, lets you store various group configurations of muted and unmuted channels.
Inserts A channel insert connects specific channels to external sound processors like compressors and equalizers, typically after the channel’s preamp stage. There may be a patch bay that lets multiple external devices connect to larger mixers.
Direct Output These enable the mixer’s preamplifier output to be fed to recording systems and external audio interfaces.
Cue System The cue system enables you to listen in on particular channels without affecting the mixer’s output. The signal is typically routed to monitor speakers or a headphone amplifier. Most of the time, cue systems let you listen to the signal before or after the fader has changed it. You can hear the original signal without sending it to a signal mix with pre-fader listening, or PFL. The ability to isolate the signal that is affected by the fader with after-fader listening (AFL) is useful for signal troubleshooting. A useful feature for sound checks is the Solo In Place (SIP) function on some larger mixers, which silences all channels except the one being sampled.
Mixers: Analog, Digital, or Software? Analog mixers have been around for nearly as long as PA systems and audio recordings. Digital mixers began entering the professional audio market in the 1990s. Both their affordability and capabilities have improved since then. Software-based mixing became a reality in the early years of the 21st century as related hardware and computers became more powerful. We will briefly examine the capabilities, advantages, and disadvantages of each type.
Analog Mixers Despite digital mixers’ greater adaptability, analog mixers continue to be popular due to their generally lower cost and user-friendliness. They can be easier to use than digital soundboards because their functions are controlled by physical knobs, faders, and switches. The analog mixers’ tendency to have a larger footprint due to their use of physical controls is a drawback in crowded home studios and cramped stages. Since everything is visible on the analog mixer’s hardware and signal routing rather than hidden in the menus of a digital soundboard’s numerous status screens, many people find it easier to understand at a glance.
High-quality sound can be transmitted by both analog and digital mixers. The digital mixer’s analog to digital converter (ADC) and the quality and design of its electronic circuits, particularly the mic preamps, have the greatest impact on sound quality. The majority of sound engineers concur that the greatest obstacles to absolute sound fidelity are microphones and speakers, which by their very nature exhibit a greater degree of coloration and distortion. However, for good sound, mic preamps that boost the output of the microphone without introducing coloration or distortion are essential. The hiss that is inevitable with analog mixers can be reduced by using high-quality circuitry and components in the gain stages and signal routing of the mixer.
Digital Mixers Digital mixers are hard to beat when it comes to instant changes to signal routing, flexible and extensive signal dynamics, and an incredible variety of effects possibilities. On an analog audio mixer, even a skilled octopus would be unable to achieve preprogrammed routing and effects with just a single button press! Software plug-ins that enhance tone shaping capabilities are compatible with some digital boards. They also have the ability to herd on the dreaded feedback, stopping howls and squeals before they begin. Automatic gating, which silences channels with little or no signal passing through them, is another nice feature.
The ability to save and recall mixes is one of the most significant benefits of digital mixers. Settings from previous performances are frequently saved on internal memory or USB flash drives by many. This makes it simple to set up in a saved location. During sound checks, recalling mixes from similar venues can save a lot of time even in a new venue. You can pre-program mixes on a laptop computer with some digital mixers, so you only need to tweak the sound when you get to the gig. Motorized faders that respond to saved configurations are present in some advanced digital mixers.
Due to their adaptability, digital mixers may have some drawbacks. Their tremendous adaptability comes at a cost: Mastering all of your mixer’s options may require a steep learning curve. However, as with any complex digital device, it is typically not necessary to learn every function; however, being able to save settings and tailor the interface to your requirements can assist you in navigating its complexity.
How quickly you can learn the essential features will depend a lot on how well the user interface is designed. You can find mixers with a lower learning curve by talking to other mixer users, participating in pro audio forums, reading reviews, and viewing demos and tutorials.
Software Mixers You can start mixing without having to worry about space or money like you would with traditional analog and digital mixers if you have a laptop that is set up right, some mixing software, and a small control surface. Software for music production can do almost everything you can with a physical mixer in terms of signal processing and routing. You can now perform basic audio mixing with your iOS or Android smartphone or tablet thanks to simple audio mixing apps.
Software mixers, which are used for recording, make it simple to incorporate virtual instruments, samples, drum loops, and a lot more into your productions. Using a computer-based digital audio workstation (DAW) opens up a vast world of possibilities, including the use of a MIDI controller keyboard to create and record music. The majority of mixer applications support advanced MIDI functions.
When first starting out with software mixing, the learning curve can be steep, just like it is with physical digital mixers. The same advice applies: Talk to other musicians who use mixing applications, read reviews written by experts, and peruse the numerous customer reviews on fs-elec.com.
Powered Mixers A powered mixer eliminates the need to transport and set up separate power amplifiers to drive your main and monitor speakers if you’re looking for a mixer to handle your live performances. There are many different sizes and configurations of powered audio mixers. They are able to handle anything from a solo acoustic singer-guitarist with just one or two mics, an acoustic-electric guitar, and small speakers to a full band with a lot of mics, electric instruments, big main and monitor speakers, and so on.
In terms of options for routing, effects processing, EQing, and many other features, powered mixers offer the majority of the features found on unpowered mixers. Like with any mixer, you’ll need to figure out how many inputs and outputs you need and how much power is needed to drive your stage monitors and PA speaker cabinets.
Ease of use is a crucial factor to take into account because the majority of solo acts and bands that perform in smaller venues are responsible for their own sound engineering. In recent times, portable integrated PA systems with speakers, mixer, and power amplifier all in one unit have entered the market.
Live Sound Package When looking for a mixer to handle your live shows, a live sound package is something to think about. The majority, if not all, of the audio gear you’ll need to perform live is included in these bundles of live sound equipment. Speaker stands, powered mixers, main and monitor speakers, and all necessary cables are typically included in packages. Mice are also included in some. These bundles usually cost a lot less than buying the individual parts because they are carefully matched for compatibility.
DJ Mixers Due to their numerous turntables and/or CD players, DJs require specialized mixing techniques in order to maintain a seamless flow of music. DJ mixers have the right inputs to handle DJ gear and integrate with PAs and club sound systems to meet these requirements.
There is a wide range of capabilities among DJ mixers. Low-cost, simple units may only have two or three inputs and outputs. They also come with basic EQ and volume controls as well as crossfader functions that let you mix the output of a few turntables or CD players. Kill switches for instant control over particular frequencies, hamster switches that reverse crossfader channel operation, and metering that displays clipping (distortion) and output levels are all added features to DJ mixers that are more advanced. The DJ is able to easily communicate with the audience thanks to talkover switches and mic inputs.
The most advanced DJ mixers integrate with DJ software applications that enhance the mixer’s capabilities and permit connection of laptop computers. Beat slicing and dicing, advanced EQ controls, and even video and light control are all features of high-end DJ mixers.
The crossfaders on a DJ mixer get a lot of use, so it’s important to think about how easily they can be replaced.
Choosing the right DJ mixer is like choosing any other type of mixer: you need to think about the I/O you need, the features that are important to your show, and your budget.
Mixers for Line and Summing Line-level signals are the focus of line-level mixers, as the name suggests. They typically only have one volume control per channel and are almost always analog in design. They are also fairly straightforward. When used live, they can be connected to multiple players to free up channels on your main mixer and provide music between sets.
Summing mixers are used in studios to consolidate and tweak final mixes by adding warmth to what some engineers call the “cold” output of final digital mixes. Summing mixers are typically analog in design. To bring back the warmth of analog recording technologies, some high-end summing mixers are outfitted with tube technology.
Things to Look for in a Mixer If you’ve looked through fs-elec.com huge selection of mixing equipment, you know there are many options. In addition to the obvious question of your budget, here is a list of things to keep in mind as you select the mixers that are most suitable for your needs.
Application: Will you use your mixer to record or perform live? The ability to connect external processors and the quality of the mic preamp are crucial if you intend to use it only for recording.
Make sure the mixer is compatible with your existing sound system and provides sufficient connectivity and sound processing to handle your entire band when using it for live sound. For more information on this, see I/O and Channels below.) Rugged mixers are also important because they won’t stand up to the rigors of the road for long.
Channels and inputs: Think about how many microphones you’ll need to connect. By itself, a miked drum kit can use up to five inputs.) Mic inputs that provide phantom power for condenser microphones are necessary if you intend to use them. Additionally, you’ll need enough stereo channels to accommodate stereo keyboards and other instruments in your band. Direct inputs are also required if you intend to connect guitars or basses directly to the mixer. By acquiring more channels and I/O than you currently require, it is always best to allow headroom. Over time, bands frequently expand in terms of both players and equipment.
Routes for buses and signals: When it comes to recording, these functions may be more crucial. You’ll need more flexibility in your routing and signal paths if you use a lot of special-purpose mixes like feeds for recording gear, monitors, headphones, and external effects mixes.
Capabilities in EQ How complex are your EQ requirements? To sweeten your mix, studio recording typically necessitates finer sound adjustments. It’s possible that you’ll need multiband parametric equalizers to get the sound quality you want. On the other hand, all that is required for simpler live-sound mixing is straightforward control over the low, mid, and high frequencies.
Other Sound Processors and Effects: Do you get the sound you want before the mixer by using external mic preamps, effects pedals, and other tone-tuning equipment? If this is the case, internal sound processors and mixer effects are less important. When playing live, on the other hand, a mixer with built-in effects and sound processing makes for a very portable setup.
Summary: By this point, you should have a pretty good idea of the essential features to look for in a mixer. Now that you know more, you can find a portable live sound mixer or recording mixing console that meets your needs and your budget.