When Getting A Digital Mixing Console, What To Look For

By Author: Rebbeca Lowcks
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If you are considering purchasing a digital mixing console, there are several things that you ought to consider. Your mixer will be the heart of your recording studio, and offers the outputs and inputs needed for the rest of your devices. Since mixers are expensive, and reconfiguring your setup is a great deal of headache, it is essential to pick the right type of digital mixing console, and to inspect that the console has all of the functions you require.

Studio vs Live

Studio mixers are frequently made use of for multitrack recording, and as such they have direct outputs for a large number of channels. In contrast, live mixers monitor fewer mixers and simply feed a set of mains. The line between studio and live mixers is starting to blur, so depending on the amount of money you are willing to spend you might be able to get a mixer that can serve both purposes.

Things to look at when purchasing a digital mixing console consist of:.

The variety of channels.

The more channels your mixer has, the even more gadgets you can link to it. Each channel should have its own equalizer, pan control and ...
... auxiliary sends - nevertheless keep in mind that some mixers merely offer basic channels then one master output. Take note of the number of channels are stereo and the number of are mono.

Buses.

In addition to channels, a mixer has busses. The mixer's major output is linked to something called the master mix bus, and this is fed by your channel faders.

Direct Outputs and Inserts.

In many cases, a channel's insert point is just after its pre-amp, and you can use individual send and return jacks, or an unique 1/4" put jack with an unique insert cable for this. Another alternative is to utilize direct outputs to send out a copy of the pre-amp signal. This serves to send out a single feed to an external audio user interface or recording gadget.
Groups.

If you buy a huge format mixer it could have a channel grouping feature (which is still often referred to as an old-fashioned VCA group). This makes it simple to manage a multitude of channels. You are unlikely to need this feature if you are not dealing with a lot of instruments, but if you anticipate your mixing needs to become more sophisticated then you ought to consider purchasing a mixer with enough groups for a full band.

Mute Groups.

Mute groups are a beneficial function for live efficiencies. They allow you to, for example, mute the whole band while a reporter is talking, or mute a part of the band throughout a particular song. The very best mixers permit you to set up "mute scenes" that enable you to silence particular groups swiftly and quickly.

Studio mixers are often made use of for multitrack recording, and as such they have direct outputs for a large number of channels. In contrast, live mixers keep an eye on fewer mixers and just feed a set of mains. The line between studio and live mixers is beginning to blur, so depending on the quantity of money you are eager to spend you may be able to get a mixer that can serve both functions.

Each channel must have its own equalizer, pan control and auxiliary sends - however keep in mind that some mixers just provide basic channels and then one master output. If you buy a large format mixer it might have a channel organizing function (which is still often referred to as an old-fashioned VCA group).
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