Analog Mixer for Live Sound: Traditional Mixing Approach

Analog mixers continue serving live sound applications with straightforward operation and tactile control. While digital mixers dominate modern production, analog consoles offer immediate, visual access to all parameters and time-tested reliability. Understanding analog mixer operation provides foundation for all live sound work.

Analog Mixer Fundamentals

Analog mixers process audio signals continuously as electrical voltages. Signal enters, passes through electronic circuits that adjust level and tone, and exits—all in the analog domain without digital conversion.

Every knob and fader directly affects the circuit it controls. Moving a fader changes the voltage at that point in the signal path. This direct connection creates immediate, predictable response.

What the surface shows is what the mixer does. Unlike digital mixers with layers and pages, analog mixers display all current settings physically. A glance reveals the entire mix state.

Channel Strip Layout

Each channel strip provides controls for one input. Standard layout proceeds from top to bottom: input gain, high-pass filter, equalization, auxiliary sends, pan, mute, and fader.

Input gain matches the incoming signal level to the mixer’s operating level. Proper gain setting prevents both noise (from too-low signal) and distortion (from too-high signal).

Equalization on analog channels typically provides 3-4 band control. Hi and low shelving bands adjust broad high and low frequency ranges; mid band(s) with sweepable frequency adjust the midrange.

Auxiliary sends create parallel signal paths for monitors and effects. Pre-fader sends maintain constant level regardless of fader; post-fader sends track with the channel fader.

Pan positions the channel in the stereo field. Center pan sends equal signal to left and right outputs; full left or right sends signal to only one side.

The channel fader controls final level sent to the main mix. Fader position represents relative channel level in the overall mix.

Subgroups and Routing

Subgroups combine multiple channels for collective control. Assigning all drum channels to a subgroup allows single-fader control of overall drum level.

Bus assignment buttons route channels to different destinations. A channel might route to the main stereo bus directly, to a subgroup, or to both.

Matrix outputs combine main and subgroup outputs in different configurations. Matrices feed zone speakers, recording systems, or broadcast feeds.

Auxiliary System

Auxiliary sends feed separate mixes for monitors, effects, or other destinations. Each aux has a master output control; individual channel sends determine per-channel contribution.

Pre-fader auxiliary sends are standard for monitors. The performer’s monitor level stays consistent regardless of FOH fader changes.

Post-fader sends suit effects applications. When a channel fades out, its contribution to reverb or delay fades proportionally.

Effect returns accept processed signal from external effects units. These returns provide level control and routing options for the processed signal.

Physical Advantages

Hands-on control allows simultaneous adjustment of multiple parameters. Ten fingers can move ten faders; digital interfaces typically allow only single-point adjustment.

Visual overview shows all settings at once. The physical positions of all knobs and faders represent current mix state without navigating menus or screens.

No boot time—analog mixers work as soon as power is applied. No waiting for software to load or systems to initialize.

Reliability of analog circuitry is well-established. No software bugs or crashes affect operation.

Limitations

Channel count is fixed by physical size. Adding channels means adding (or replacing) the mixer.

No scene recall—settings must be manually adjusted between songs or shows. Notes, photos, or memory help reproduce settings.

Processing requires external equipment. Compressors, gates, effects, and graphic EQs must be added as separate units.

Weight and size increase with channel count. Large analog mixers are heavy and bulky compared to equivalent-channel digital mixers.

Popular Analog Mixer Options

The Yamaha MG series provides reliable analog mixing at accessible prices. Built-in effects on some models add versatility.

Allen & Heath ZED series offers higher quality preamps and EQ in compact formats. The build quality suits touring use.

Mackie VLZ series delivers punchy sound with respected preamp quality. These mixers have served countless small venue applications.

Soundcraft Signature series combines analog warmth with some digital conveniences like Lexicon effects.

When Analog Makes Sense

Simple applications with few channels benefit from analog immediacy. A four-piece band playing bars may not need digital complexity.

Budget constraints may favor analog. Quality analog mixers cost less than comparable digital alternatives.

Reliability-critical applications where simplicity equals dependability may prefer analog’s straightforward operation.

Users preferring tactile control over screen navigation find analog workflow more comfortable.

Hybrid Approaches

Many setups combine analog mixing with digital processing. An analog console with digital multi-effects and speaker processors provides flexibility.

Digital recording from analog mixers captures the analog-mixed signal. Insert points or direct outputs feed audio interfaces.

Outboard digital processing on specific channels adds capabilities where needed without full digital migration.

Maintenance

Analog mixers benefit from periodic cleaning. Faders and potentiometers accumulate dust causing scratchy operation. Contact cleaner restores smooth operation.

Physical inspection catches developing problems. Loose connectors, worn cables, and damaged components should be addressed before failure.

Proper storage protects against environmental damage. Dust covers, cases, or controlled storage environments extend service life.