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Every year, there are more new consoles to choose from, on both sides of the analog-digital fence. Some prefer the simplicity and convenience of knob-per-function analog desks, while other enjoy the extra features and benefits offered by digital consoles.
Digital consoles provide several workflow advantages: the ability to save or recall an entire console's settings – even from another console; copy and paste the parameters of one channel to another; storage and recall of favorite EQ, dynamics or effects settings in Libraries; and digital consoles' moving faders can be swapped or "flipped" to show aux send levels – useful in quickly mixing artists' on-stage monitors. Digital consoles often win the day in complex live sound applications.
That said, sometimes an analog console with the right features is just the ticket.
Input equalization (EQ) boosts or attenuates a range of frequencies; e.g., lows, mids and highs. Larger consoles have sweep EQ in one or more bands on each channel, where the center frequency can be adjusted. Fully parametric EQ (PEQ) allows the bandwidth to be adjusted narrower or wider. Smaller mixing consoles usually have simpler equalization controls. Some analog consoles also offer simple single-digit graphic EQ on the mains for tone-shaping speakers.
A number of newer analog consoles have single-knob compressors on some of their channels, and auto-mix can be found on a few as well. Simple on-board digital effects can also be found on various analog consoles, providing fairly complete processing for more basic mixing chores.
Digital consoles have multiple digital effects, as well as parametric input and output EQ, graphic EQ on the mains – even on auxiliary outputs for use as a monitor desk – plus gates, compressors and limiters, providing a complete palette of mixing tools.
Most mixers typically have two, four or eight stereo line-level return channels, allowing effects or playback devices to be mixed in, and sometimes these are counted in the number of channels, though they're not microphone inputs.
High pass filters (HPFs) are commonly found on mic input channels to help control excessive low-frequency information, often due to proximity effect from sound sources right next to microphones. HPFs on less-expensive consoles are often at a fixed frequency, while others can be tuned for optimum performance by sweeping them from a very low frequency well up into the midrange.
Auxiliary sends are used both to send monitor mixes and effects. Monitors are often stereo for in-ear monitors, while wedges tend to be mono, though stereo and even three-channel monitors can be powerful. On a dual-purpose console, monitor mixes are sent pre-fader and pre-EQ, so adjustments to the main mix doesn't affect them. Effects sends are sent post-fader and post-EQ, so they share the main mix attributes.
Matrix outputs can be thought of as a small mixer mixing the mains (L/R and mono) with one or more subgroups, commonly used with front-fills where the use of in-ear monitors reduces the vocals that can be heard in the front rows. Matrix outputs are also helpful for independently controlling auxiliary zones in larger venues, such as the lobby or dressing rooms.
A notable development is consoles that provide digital I/O in the form of FireWire or USB connectivity, allowing the desk to multi-track record or playback from a computer, or two-track to and from a USB memory stick. FireWire also allows consoles to employ multiple digital plugins as inserts.
This month we take a look at some of the new digital and analog console offerings.
