Buying Guide⏱️ 3 min read💬 0 comments2026-10-19

Analog vs Digital Mixer: Choosing a Mixing Console for Live Sound

The mixer is the centre of any sound system: every microphone, instrument and playback device goes into it, and it feeds the speakers, monitors and recorders. The first decision is analog or digital. After that, the right console is mostly about counting inputs and outputs honestly.

Analog mixers

On an analog mixer every control does one job and sits in front of you: a gain knob, EQ, aux sends, a pan control and a fader on each channel.

Immediate and easy to learn: volunteers and occasional operators can find everything quickly.

Simple to troubleshoot: what you see is what you get.

Good value for small setups: speech, small bands, conference rooms and rehearsal spaces.

The limits show up as the setup grows. Effects, compressors and graphic EQs are separate boxes, nothing can be saved or recalled, and the console gets physically large as the channel count rises. Browse analog mixing consoles.

Digital mixers

A digital mixer converts the signals to digital audio and processes them inside. That brings features that would need a rack full of equipment on an analog setup.

Processing on every channel: EQ, compressor and gate, plus built-in effects such as reverb and delay.

Scene recall: save the settings for Sunday service, the school function and the band rehearsal, and recall each in seconds.

Remote control: many consoles can be mixed from a tablet, so you can walk the room and set the mix where the audience sits. For example, the Yamaha TF series and the Allen & Heath SQ series both have tablet apps.

Multitrack recording: many models record or stream every channel over USB or a network to a computer.

Stage boxes: some consoles accept a digital stage box, so one network cable replaces a heavy analog multicore.

The trade-off is a learning curve and menus. Choose a console whose layout your operators are comfortable with, and keep a saved default scene for when someone gets lost. Browse digital mixing consoles.

Count your inputs

List every source that will be connected at the busiest event, then add a margin for growth.

Each microphone (wired and every wireless receiver channel).

Instruments: keyboards are usually stereo and use two channels, guitars and bass often come in through a DI box.

Playback: a laptop or phone usually needs a stereo channel.

Digital consoles quote both the number of microphone preamps and the total number of mix inputs, which can be higher when stage boxes are added. Check which number applies to your use.

Count your outputs (this is where people get caught out)

Outputs are just as important as inputs.

Main left/right to the front-of-house speakers.

Aux sends for stage monitors or in-ear monitors: each musician or group who needs a different monitor mix needs one aux.

Matrix or extra outputs for delay speakers, a lobby feed, a recording or a live stream.

A worship team with a singer, keyboard player, drummer and guitarist who each want their own monitor mix needs at least four aux sends before you think about anything else.

Which one should you choose?

Small meeting room, speech-only events, a simple band setup: an analog mixer with enough channels is easy and reliable.

Churches, schools, auditoriums and event companies with changing setups: a digital mixer usually pays for itself through scene recall, built-in processing and fewer outboard devices.

Bands that want to record or stream: a digital mixer with multitrack USB recording.

Questions to answer before you buy

How many inputs at the busiest event, plus room to grow?

How many separate monitor mixes?

Who will operate it, and how experienced are they?

Do you need to record, stream or mix from a tablet?

Is the console fixed in one place or carried to events?

Not sure how many channels or aux sends you need? Send us your setup with the list of microphones and instruments, and our team will suggest the right console.

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