Mixers are the heart of live sound, they’re what everything is routed through, processed by, and balanced in. They’re also often integral to studio setups, broadcasting, and pretty much any other audio context you can think of. But they have two different forms: analog and digital.
So, what’s the difference between them? Which workflow is right for you, where would you choose analog, where would you choose digital, and why would you pick one over the other? This is our guide to analog vs. digital mixers, where we’ll answer all of this and plenty more.
What is a mixer?
A mixer, or mixing desk, is essentially a device that combines, amplifies, and processes audio signals, and then sends them to places you want them to go. They come in many different forms, but audio routing, volume balancing, and processing is always their main purpose.
Mixers have preamps to amplify signals from instruments and microphones, and faders to set output volume. Depending on the architecture, they can also have EQ for shaping sounds, compression for adding punch and consistency in volume, and potentially effects like reverb, delay, and modulation to add space and movement to key instruments and vocals for a polished-sounding mix.
Mixers can be analog or digital and come in various forms. There are rack mixers, which can be mounted to standard 19-inch racks for portability or fixed setups in venues and public spaces, or powered mixers, which have amplifiers to drive passive PA systems so you don’t need to invest in an external amplifier unit.
Quick comparisons
| Analog mixer | Digital mixer | |
|---|---|---|
| Connecting inputs | Each channel has individual inputs and outputs on top or on the back of the mixer for simple routing. | Channels have multiple potential input sources which may need to be assigned separately, and additional connectivity beyond XLR, TRS, and RCA jacks. Extra inputs and outputs like Optical, AES, AoIP, S/PDIF, Dante, or USB may offer connectivity with digital stageboxes, personal monitoring systems, other mixers, and computers. |
| Channel adjustments | Dedicated preamp gain knobs per channel, channel strip with filters, EQ and potentially compression, limiting and/or noise gates, and a fader each. This strip is identical or mostly similar across each channel. | Select button to pick out a channel and either a screen for dialling in gain, EQ, dynamics, and extra effects, or in some cases dedicated universal controls that will impact only the selected channel or group. Assignable faders for volume control, may be switched and repeated in banks. |
| Channel sends | Send knobs on each channel with overall volume and pre-fader or post-fader switching. Dedicated effects send outputs, typically between 1 and 3 sends. | More flexible architecture allows for grouping channels to then send. Assignable outputs typically mean more potential sends or routing. |
| Groups | VCA groups assignable via channel strip, limited number of groups. | Similar VCA group architecture with unlimited or significantly expanded group numbers. Potential for layers which allow you to repeat the same faders across new and distinct channels. |
| Effects and processing | Traditionally no in-built effects, although modern analog mixers tend to incorporate either one or two digital effects processors with limited effects types as send buses. Master bus processing isn't typical outside of large-format analog recording consoles, but insert points allow for outboard processing to handle this. | Flexible, plugin-like effects architecture that reflects a DAW-based workflow. Effects are limited by internal CPU and processing, and may only be used in certain ways. Assignable sends may be used to incorporate outboard gear. |
Analog vs. digital mixers
Analog mixers
Analog mixers are a classic architecture for live sound. They’re usually more affordable than digital mixers, very hands-on, and extremely fast to mix on.
Routing can be simpler while offering more connections than small-format digital mixers, although they lack flexibility. Analog mixers are great for beginner engineers and smaller venues or events where things can change very quickly.
Controls and channels
Laid out vertically in an intuitive channel-strip format, the controls are in line with the corresponding channel inputs and outputs. This format is copied across every channel, so it’s easy to keep track of where you are and what’s happening directly on the desk.
Each channel starts with the preamps, usually an XLR or combo jack and a gain control to set the input level. You’ll also have a meter or clipping indicator light somewhere on the mixer: either near the gain control or just above the fader.
Processing, routing, and effects
Some analog mixers, like the Yamaha MG10XU, will have compression on channels, typically in a simplified single-knob control system, but you won’t always get this, or it’ll only be present on certain channels. Then you’ll get EQ and sometimes low and high-pass filters, typically three bands, sometimes four.
After the processing, you have routing options like effects, monitor, and aux sends, grouping buttons like VCA assignments or buses, and a PFL button for soloing channels. While the specifics of these elements will vary depending on the mixer’s specs, a lot of these features will be there in some form.
To round it all out, the fader will control the output volume of the channel above it only, giving you a quick and hands-on way to balance groups or individual instruments.
Analog mixers, despite their fixed architecture, can be deceptively flexible in a lot of ways. Although their channel count is limited to whatever’s on the board, and processing may not be comprehensive, their expandability and flexible routing possibilities make it easy to integrate all kinds of bands and instrument arrangements into them.
A common drawback with analog mixers used to be the lack of included effects. And while not every model includes them, many modern designs now incorporate a digital effects section with reverb, delay, and modulation effects typically, which helps avoid the need to expand into outboard effects right away.
Take the Mackie ProFX12v3, for example, which includes USB and a digital effects section on its own send that you can apply to any channels on the mixer. We’re starting to see analog mixers bring themselves into relevance in the modern era and shake some of the more traditional limitations they used to have, which is always a great thing!
Connectivity
While connectivity was traditionally quite limited to analog audio inputs and outputs, this is also beginning to change in the modern day, with many analog mixers now including USB interfaces for connecting directly to computers, as with the Behringer 502S.
This is great in the modern era of DAW-based audio production, and has helped a classic format for audio to remain relevant even as our priorities and workflows change, and lets them become integrated into home studios as well as live.
So for small-to-mid-sized venues with a large variety of acts and quick turnarounds between acts or short setup and sound-check times, an analog mixer is probably the best way to get a polished mix fast.
Sound
Many will argue that analog mixers also benefit from the sound quality offered by analog designs. These sorts of audio electronics tend to have some slight, small irregularities between channels and apply very subtle harmonic distortion, which adds some character and depth to sounds, often referred to as “warmth”.
This can be a benefit to analog in general, but does it make a noticeable difference in live sound? That’s for you to decide, but I don’t think this should be a factor in your decision-making when looking to buy a mixer over the right workflow, because there are other effective ways of adding that with outboard gear if you really need it!
Pros and cons of analog mixers
| Pros | Cons |
|---|---|
| Fast and intuitive workflow is easy to learn and works very well with short lead times and high-pressure environments | Fixed channel count and set input and output options provide flexibility up to a point, but can be limiting for larger setups and acts |
| Channel strip architecture is quick and easy to learn whilst being surprisingly deep and applicable to more advanced gear | Processing may be limited, and certain processes will require you to expand out into outboard equipment |
| Routing is fast and easy to send things where they need to be and offers plenty of options and tricks to get sound to flow how you want it to with the right cables |
Digital mixers
Digital mixers tend to replicate their workflows from the modern world of DAW-based mixing. While they mimic the form factor and hands-on controls of the familiar analog mixers, their layouts can be quite different in practice.
Controls and channels
Often, digital mixers’ faders have to be assigned to channels specifically. Their faders also tend to be arranged in banks, which you can use to group channels up into arrangements you like.
Inputs are usually fixed but will need to be linked to channels, and you’ll often need to do the same with outputs. This means you’ll probably want to expand these mixers with digital stageboxes to condense the inputs used on the mixer directly.
The number of inputs and outputs present on most digital mixers won’t directly reflect the number of available channels on the mixer. This can be great for flexibility, letting you group up a lot of instruments into a single XLR output with a mix of just drums, for example.
Channel strip layouts may still be present, as in the Behringer X32, but many digital mixers instead have individual channel selection buttons that will then apply the panel controls to whatever you’ve chosen to use them on. There will usually also be a screen for visual feedback and more in-depth editing of effects. These might be touchscreens, they might have corresponding edit buttons, or in some cases both at once.
Other digital mixers may come with stripped-back controls that rely far more on a display, like the more compact design of the Yamaha DM3-S, or rackmount mixers like the Behringer X AIR XR16, which requires external control from an app on a tablet or smartphone to operate properly. Some more advanced mixers will hybridise these interfaces for a powerful and flexible workflow.
Processing and effects
Processing in these mixers tends to require a screen to pull up the visual elements of effects.
Effects on digital desks are also far more tweakable, offering a lot of customisation and adjustment of parameters you wouldn’t have access to even if an analog mixer has equivalent effects on it. For example, analog mixer compressors tend to be fixed-ratio, have fixed attack and release times, and only offer a single knob for adjusting the threshold.
These are designed to work well with everything, but digital mixers like the Allen and Heath CQ12T by contrast will often let you dial up attack, release, input, threshold, ratio, and makeup gain on their compressors, or even place them as bus effects to send multiple channels to a single compressor with customised settings.
It’s a lot like working with plugins in a DAW, and you might even get presets to load up for quick mix-ready settings on EQs for your chosen source.
Settings recall
Digital mixers also have a lot of potential for recalling settings, loading things like “scenes” or some similar name, which you can tie to specific moments of shows and trigger whenever you need them. The Behringer X32 Rack is capable of this and becomes very powerful as a result.
Whether there’s a particular song with a very different setup or a scene change in a theatre show, if things like instrumentation or mic setups need to change very quickly and suddenly, this will let you prepare ahead of time and switch back at the push of a button.
Connectivity
Digital mixers may not have the same level of direct connectivity or knob-per-function control as analog desks, but they make up for this with much more flexible processing and power.
The depth of a digital mixer means that they can be slower to set up a mix on, but especially for touring bands, theatre shows, large venues, and places with the same show happening every night, their flexibility is absolutely ideal.
Pros and cons of digital mixers
| Pros | Cons |
|---|---|
| Deep and flexible workflow offers a lot of power for complex live mixing | Significant learning curve for beginners |
| Recallable settings and in-depth effects allow for highly polished and complex mixes | Typically fewer analog inputs and outputs on the machine itself, meaning it requires expandability with external sources like digital stageboxes |
| Flexible grouping, higher total channel counts, and no requirement for outboard processors make for a great all-in-one solution |
How to choose the best mixer for you
The primary consideration when choosing a mixer for you should be how you want to use it and how you like to work.
If you’re a beginner, for example, the knob-per-function interface, readability, and comprehensive connectivity across their channel count make analog mixers a great place to start, especially for live sound. By contrast, more advanced engineers may be frustrated by the lack of options or the potential expense of buying and maintaining outboard equipment to carry out more advanced mixes may not feel worthwhile.
If you have a lot of moving parts in complex shows or repeated shows you’d like to be able to recall, the extra depth of a digital mixer may be more beneficial. Running a lot of smaller variety shows, doing home recording, and need something you can bring with you to different spaces? An analog mixer may be a better fit.
These are all subjective and personal to an extent, I’ve seen some amazing and highly experienced live engineers make fantastic mixes on very small and limited analog mixers, and I’ve worked with younger engineers like myself who’ve put in the work to learn the ins-and-outs of advanced digital mixers and started running their own events and built incredible careers from that knowledge.
But in general, analog mixers are fast and good enough for many scenarios and use cases, but their fixed architecture will always have its limits – for example, if you run out of channels, there isn’t a whole lot you can do beyond buying a desk with a bigger channel count. And their lack of effects may be either a benefit for those who want to rely on outboard or a hindrance for those who want to do everything in one place.
Digital mixers are powerful, flexible, deep, and complex. They may require expansion with digital stageboxes or optional soundcards, but their processing power outweighs analog mixers, and their ability to store and recall effects presets and whole mixes or parts of shows makes them an obvious favourite for larger shows. However, the need to expand them may be a downside in itself, and they might be overcomplicated for some users.
Whatever style of mixer appeals to you, there will be a good option for you available on the market, so make sure you know the way you like to work and look for something that fits your needs first and foremost!
FAQs
Is analog mixing better than digital?
Analog mixing is not inherently better than digital mixing; it depends on the application and desired sound. Analog mixers provide a warm, organic sound with natural saturation, while digital mixers offer precision, flexibility, and advanced features like automation and recall. Each has its strengths.
Do people still use analog mixers?
People still use analog mixers, especially in settings that need a warmth of sound and simplicity. They’re popular in small studios, live performances, and genres favouring vintage tones. Despite digital’s rise, analog remains valued for its tactile control and unique sonic character.
Do analog mixers sound different?
Analog mixers sound different due to their circuitry and components that add warmth and harmonic distortion. This creates a characteristic tone often described as “fuller” or “richer”. Digital mixers, however, are prized for their clarity and precision, appealing to different preferences.
Final thoughts
Deciding which mixer, analog vs. digital, to invest in can be daunting. The depth of digital mixers is very appealing, but they can come with a higher learning curve and initial cost, and so analog mixers may be a better choice for small shows.
But that same complexity and depth make digital mixers extremely powerful for complex tours and shows, and it’s no surprise that we’re seeing these installed in theatres, large arenas, and being used to run music festivals.
Analog mixers are becoming more advanced in short order and are a great way to get to grips with the fundamentals of audio mixing, and their simplicity may bely their power. These desks are still extremely powerful, offer most of everything you could need for live and studio recording, and are great for constantly shifting high-pressure environments so long as you’ve got the right channel count for your venue.
So, while it’s impossible to say which kind of mixer is definitively better, hopefully, you’re able to get a better understanding of what to look for, the benefits and drawbacks of each type of mixer, what the differences are, and which kind may be best for your use case.
For more live sound and music tech content, check out our related guides:
Audio Interface vs. Mixer – Which One Is Right For You?
Microphone Gain 101 – What It Is and How to Set It
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