For many, the ergonomic benefits of a studio console are hard to ignore. With the enormous functionality offered by the digital mixer for music, we look at the pros and cons of using one and ask whether we are overlooking a real alternative for the control room.

In Summary

Many would argue that a console-based workflow, regardless of operating principle, has a place in the studio. Digital consoles’ many functions are a step away from providing the necessary facilities for music, and the benefits of using one has great potential.

Going Deeper

Analogue Or Digital - Why Use A Mixer At All?

Many would point out that digital mixing already happens everyday in studios everywhere. While the DAW’s own mixer is now the weapon of choice for the majority, this article looks at the place of hardware digital consoles for music in place of an analogue console whatever its purpose, including as a recording front end and back end for the ITB mix. You can read more on the subject of mix MO here covering mixers versus control surfaces in our podcast with Mike Exeter and Mike Thorne.

Many larger facilities continue to run and maintain the kind of large archetypal analogue console that some engineers and many clients expect to see. While the amount of actual mixing carried out on these will vary, engineers laud the familiarity of layout, and speed with which things can be done both in record and in the mix. In this scenario the DAW frequently sits back to play the role of tape machine rather than production powerhouse. Whether analogue or digital, the mixer can have two main functions in the studio.

1 - Recording

For tracking, the console front end has advantages over the alternative of standalone pres into the convertor. Its faders and routing possibilities afford hands-on level control into the DAW, however a bigger advantage for some is the channel blending and ease of applying hardware processing on the way in.

Integrated with this front end are the cue mixing and communication facilities that fall under the hand rather than existing in software. Some will opt to use these for headphone mixes in lieu of using a hardware-accelerated DAW; those working with Pro Tools systems may instead choose to run all monitoring and cue mixing in the computer. Certainly for overdubs this can be preferable, although some consoles provide tape-style auto-input switching that flips between zero-latency console and DAW return monitoring.

2 - Mixing

The question of where the mixing is happening isn’t always dictated by the presence of a console. In music workflows, it is common to see the console take a role that works in concert with the DAW mixer. One option might see a full hardware console mix printed back to the DAW, with hybrid or fully ITB mixing being perhaps more common. Some consoles go further by providing dual-layer functionality which, for many, can provide a best-of both approach with console ergonomics in record and comprehensive physical control of the DAW for mixdown and revisions.

The console’s integrated control of loudspeaker monitoring control including Dim, Cut, Mono, and external source and B or C pair switching can eliminate the need for an external controller.

The Digital Studio Console For Music - Pros

When the console is taken primarily as a recording front end and mix facilitator (be it for monitoring, or even carrying out the mix itself without the need for conversion), there are a lot of practical reasons to consider the use of digital boards for music in the studio.

1 - Extra Features

Considering the demands of the modern recording session, even simpler digital consoles possess many more functions than those found on the traditional analogue console. Not only that, but their EQ’s, dynamics and other processing is easily swappable and upgradable. This can be done via software updates or even the kind of field-programmable chips that have gained traction more recently in some designs.

The number of channels and mixes is not governed by physical modules, with all but the smallest offering at least twice the number of inputs versus faders via expansion or existing I/O. As a result the number of mixes available for headphones often far exceeds that of all but the biggest analogue monoliths. These are usually ‘flippable’ onto the large faders. Wireless connectivity and the companion app even allow the artist to mix their own headphones on their device.

2 - Easy Recall

Any mix that needs a revision (ie, virtually all of them) needs recall. In the case of the analogue mix, this usually involves sheets, photos, and/or lining up lots of things up to lights or markings of some kind. Recall has benefits for the long-haul recording project as well. While the mix may not happen in the hardware digital mixer, whenever mic amps, headphone mixes, or internal patching to external gear are involved the advantages of recall are obvious.

3 - Smaller Footprint

There are few studios that have too much space. The smaller footprint of many digital consoles can make room for other things such as furniture or people (on second thoughts…). Some also cite the acoustic effects of the large analogue board itself, with smaller alternatives avoiding some of the disturbances and considerable reflections from the large console.

4 - Audio Quality

Often lauded is the sublime euphonic character brought about by the classic analogue console. On the understanding that low noise, ample headroom, and wide bandwidth are desirable, the modern analogue console manufacturer has since striven to achieve audio specs that approach the theoretical limit of precision.

While the vintage console’s charms are undeniable, the modern console is wide, quiet and clean. If workflow is taken as the primary consideration, the digital console can deliver that and also take the audio side of things close to its logical conclusion.

5 - Lower Costs

Digital boards are not only cheaper to buy, but also to run. Less talked about by anyone who hasn’t felt the heat from a classic console is the potentially huge electricity bill of something that is both hungry and constantly powered up. As a result of its frugality, the digital board can also avoid the need for air conditioning in some environments, and will not spend its life cooking itself and its components into a life of constant maintenance.

Those who like the idea of extra console resilience will appreciate some digital boards’ features such as Allen & Heath’s ‘built for the hostile environment’ faders that are mounted at 90 degrees to the top panel to ensure that spilt drinks don’t stop the show.

The Digital Studio Console For Music - Cons

1 - Live Sound Origins

While many digital consoles possess the necessary physical form to perform studio duties, there are some software features and functions that are missing even when the main mix is happening upstream in the DAW. These live sound leanings run throughout many consoles, but for workarounds, the digital mixer’s routing flexibility and scenes can help things. Some functions can be used and mapped to soft keys to bring a more studio-like orientation. Features such as OLED button displays can accommodate labels that reflect various monitoring states such as Dim or Mono, for example.

2 - Perception

Notions of purism surrounding things like the analogue ‘sound’ sometimes need to be fulfilled by studios looking for clients who prize what they perceive as the traditional studio experience. This can extend to those studio engineers who are rightly revered for doing their ‘thing’ on an analogue board, who request facilities that house familiar equipment. One way or another, for many the analogue board still has the face that fits.

3 - Operation

One of the strengths of traditional gear such as the analogue console is its familiarity in use. Being able to walk up and work is certainly a huge advantage, and for some, getting the electrons flowing on a big old board with familiar controls comes as second nature. While digital mixers can be perceived as being mysterious or complicated to operate, much of this stems from unfamiliarity rather than actual complexity in use. This may be down to the lack of buttons and knobs opposed to analogue’s One Control-Per-Function paradigm. Having one set of controls shared by all channels is however entirely understandable in use as those who know both approaches may agree.

Too Good To Overlook?

When considering the binary choice of Digital versus Analogue for the studio’s most conspicuous piece of gear, it’s perhaps helpful to consider the bottom line of what the client wants. After all, with all the best intent of the owner, if clients or engineers do not like the idea of something that looks like it’s arrived from outer space there won’t be any business to pay for that new digital centrepiece.

That said, the digital console in the studio provides the tantalising possibility of superior technical performance and function without a prohibitive price tag. Surely those manufacturers that provide DAW layer control for HUI or MCU are alluding to their products’ studio potential? For now, digital mixers’ usefulness in studio music workflows is limited only by products’ gravitation towards live sound-specific functions, and any user learning curve involved in making the switch.

So is the digital mixer a worthy antidote to some of the analogue board’s shortcomings? Where objective need takes precedent over subjective preference, and with some intent from both the user and the manufacturer, the digital mixer could be a viable contender.

A Word About This Article

As the Experts team considered how we could better help the community we thought that some of you are time poor and don’t have the time to read a long article or a watch a long video. In 2023 we are going to be trying out articles that have the fast takeaway right at the start and then an opportunity to go deeper if you wish. Let us know if you like this idea in the comments.

Photos credits:

SoundGirls Women in Audio on Unsplash

Clement Felix onUnsplash

Tymur Kuchumov on Unsplash