Choosing a console for a PA system can seem like a cumbersome thing to consider. How many channels do you need? Is it light and flexible? Should I use analog or digital mode?
Next we will analyze these requirements so that you can make an informed decision and choose the right mixer for your performance needs.
Channel Calculation (a) The mixer default signal flow is assigned from the input channel to the main bus.
(b) Channels 1 and 2 are then routed through the sub-group (Sub Group) to the main bus.
When you look at the parameters of the console, the first thing to focus on is the number of channels input, which is a key factor. To find out how much input you need at least, you can count the number of channels the show needs to enter - including vocals and instrument microphones and DI boxes. If you plan to pick up the drum with a microphone, suppose you need at least four channels (drum, snare and two top drums) or more. In case any changes are made, some additional channel backups can be added and you will have a good estimate of the number of inputs the mixer needs.
Subgroup Sub Group
The input is only part of the console. You also need to know the number of subgroups (Sub Groups) of the console.
The output of the individual channels of most mixers is sent by default to the main bus, where all signals are combined and sent to the main output (or output). If a mixer has subgroups, you can route individual input channels to any of them for control instead of sending them directly to the main bus.
Sub Groups are useful in live mixing, where you can use a fader to control multiple input combinations. If there are no subgroups and you want to increase all the volume, you have to raise each individual channel. For example, on a console with subgroups, you can assign all the vocals to a subgroup fader, and then you only need to push it up to increase the volume of all channels at the same time. If you want someone to stare at the system during the show, a sub-grouping console will make it easier for him.
Aux Send (Aux-Sends)
Another important detail is the number of Aux-Sends. Aux Sends can send an audio copy from the input channel to a separate “aux output†behind the mixer, where it can be connected to a monitor or external effect.
You can use Aux Send to create a separate mix to send to the monitor and return it to the multitrack recorder. If you are using external effects, the output of these devices is input to the mixer via "Aux Return" (aka "Effects Return"). The signal is then routed to the main bus or subpackage of the console. It is convenient to have more than two auxiliary transmissions.
Analog and digital If you emphasize simple operation and high cost performance, analog mixers are definitely the first choice. They tend to be strong and reliable. In general, they are worth the money and are easier to learn than digital mixers. In fact, many analog consoles also have digital components because they have digital effects that add reverb, delay, and other effects. This is very convenient, otherwise you will need to connect a separate effects processor.
However, despite the greater learning difficulty and higher price, the digital mixer has a superior performance. The Save Scene/show feature is especially useful, which allows you to recall the entire state of the console after the show ends. You can create a preset for each venue show, and the next show can be called quickly. Or you can create a preset for a specific song.
Digital mixers often provide more accurate EQ, better effects selection, built-in compressors in individual channels, automatic feedback suppression, and more. Considering the extra effects of the analog mixer, the high price of the digital mixer is also acceptable.
Some modern digital mixers can also be controlled from an app on an iPad or Android tablet. This way you can adjust the mixer settings around the venue, which is a useful feature during sound field inspection.
Finally, you need to balance a lot of different factors when buying a console. Budget, number of channels, performance requirements, compatibility with the equipment you already have, willingness to face the complexity of the digital mixer, and more. But you can also try a console that exceeds your needs to some extent, so you have room to grow.
Next we will analyze these requirements so that you can make an informed decision and choose the right mixer for your performance needs.
Channel Calculation (a) The mixer default signal flow is assigned from the input channel to the main bus.
(b) Channels 1 and 2 are then routed through the sub-group (Sub Group) to the main bus.
When you look at the parameters of the console, the first thing to focus on is the number of channels input, which is a key factor. To find out how much input you need at least, you can count the number of channels the show needs to enter - including vocals and instrument microphones and DI boxes. If you plan to pick up the drum with a microphone, suppose you need at least four channels (drum, snare and two top drums) or more. In case any changes are made, some additional channel backups can be added and you will have a good estimate of the number of inputs the mixer needs.
Subgroup Sub Group
The input is only part of the console. You also need to know the number of subgroups (Sub Groups) of the console.
The output of the individual channels of most mixers is sent by default to the main bus, where all signals are combined and sent to the main output (or output). If a mixer has subgroups, you can route individual input channels to any of them for control instead of sending them directly to the main bus.
Sub Groups are useful in live mixing, where you can use a fader to control multiple input combinations. If there are no subgroups and you want to increase all the volume, you have to raise each individual channel. For example, on a console with subgroups, you can assign all the vocals to a subgroup fader, and then you only need to push it up to increase the volume of all channels at the same time. If you want someone to stare at the system during the show, a sub-grouping console will make it easier for him.
Aux Send (Aux-Sends)
Another important detail is the number of Aux-Sends. Aux Sends can send an audio copy from the input channel to a separate “aux output†behind the mixer, where it can be connected to a monitor or external effect.
You can use Aux Send to create a separate mix to send to the monitor and return it to the multitrack recorder. If you are using external effects, the output of these devices is input to the mixer via "Aux Return" (aka "Effects Return"). The signal is then routed to the main bus or subpackage of the console. It is convenient to have more than two auxiliary transmissions.
Analog and digital If you emphasize simple operation and high cost performance, analog mixers are definitely the first choice. They tend to be strong and reliable. In general, they are worth the money and are easier to learn than digital mixers. In fact, many analog consoles also have digital components because they have digital effects that add reverb, delay, and other effects. This is very convenient, otherwise you will need to connect a separate effects processor.
However, despite the greater learning difficulty and higher price, the digital mixer has a superior performance. The Save Scene/show feature is especially useful, which allows you to recall the entire state of the console after the show ends. You can create a preset for each venue show, and the next show can be called quickly. Or you can create a preset for a specific song.
Digital mixers often provide more accurate EQ, better effects selection, built-in compressors in individual channels, automatic feedback suppression, and more. Considering the extra effects of the analog mixer, the high price of the digital mixer is also acceptable.
Some modern digital mixers can also be controlled from an app on an iPad or Android tablet. This way you can adjust the mixer settings around the venue, which is a useful feature during sound field inspection.
Finally, you need to balance a lot of different factors when buying a console. Budget, number of channels, performance requirements, compatibility with the equipment you already have, willingness to face the complexity of the digital mixer, and more. But you can also try a console that exceeds your needs to some extent, so you have room to grow.
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