Editing Mixing console (section)

==Digital versus analog==
[[File:Com DigidesignProfile.jpg|thumb|right|[[Digidesign]]'s [[Venue (sound system)|Venue]] Profile mixer on location at a corporate event. This digital mixer allows [[audio plug-in]]s from third-party vendors]]
{{see also|Comparison of analog and digital recording}}

[[Digital mixing console]] sales have increased dramatically since their introduction in the 1990s. [[Yamaha Corporation|Yamaha]] sold more than 1000 PM5D mixers by July 2005,<ref>{{Cite web |url=http://www.yamahamusic.com.au/news/news.asp?action=view_item&resourceid=31 |title=Yamaha PM5D Sales Top 1,000 Units |archive-url=https://web.archive.org/web/20060506191523/http://www.yamahamusic.com.au/news/news.asp?action=view_item&resourceid=31 |archive-date=2006-05-06}}</ref> and other manufacturers are seeing increasing sales of their digital products. Digital mixers are more versatile than analog ones and offer many new features, such as reconfiguration of all signal routing at the touch of a button. In addition, digital consoles often include processing capabilities such as [[Dynamic range compression|compression]], [[Noise gate|gating]], [[reverb]], automatic [[Audio feedback|feedback]] suppression and [[Delay (audio effect)|delay]]. Some products are expandable via third-party [[audio plug-in]]s that add further reverb, compression, delay and tone-shaping tools. Several digital mixers include [[Spectrum analyzer|spectrograph]] and [[real-time analyzer]] functions. A few incorporate loudspeaker management tools such as [[Audio crossover|crossover filtering]] and [[limiting]]. [[Digital signal processing]] can perform [[automixer|automatic mixing]] for some simple applications, such as courtrooms, conferences and panel discussions.

===Latency===
Digital mixers have an unavoidable amount of [[Latency (audio)|latency]], ranging from less than 1&nbsp;[[millisecond|ms]]<ref>{{Citation |url=http://soundcraft.com.s3.amazonaws.com/downloads/brochures/Si-Expression-Brochure-MR.pdf |access-date=2017-10-30 |title=Si Expression}}</ref> to as much as 10&nbsp;ms, depending on the model of digital mixer and what functions are engaged. This small amount of latency is not a problem for loudspeakers aimed at the audience and not necessarily a problem for monitor wedges aimed at the artist, but can be disorienting and unpleasant for [[in-ear monitors]] where the artist hears their voice acoustically in their head ''and'' electronically amplified in their ears but delayed by a couple of milliseconds.<ref name="whirlwindusa.com">[http://whirlwindusa.com/support/tech-articles/opening-pandoras-box/ Whirlwind. ''Opening Pandora's Box? The "L" word - latency and digital audio systems'']</ref>

Every [[analog to digital conversion]] and [[Digital-to-analog converter|digital to analog conversion]] within a digital mixer introduces latency. Audio inserts to favorite external analog processors make for approximately double the usual latency. Further latency can be traced to [[Data conversion|format conversions]] such as from [[ADAT]] to [[AES3]] and from normal digital signal processing steps.

Within a digital mixer, there can be differing amounts of latency, depending on the routing and on how much DSP is in use. Assigning a signal to two parallel paths with significantly different processing on each path can result in [[comb filter]]ing when recombined. Some digital mixers incorporate internal methods of latency correction so that such problems are avoided.

===Ease of use===
[[File:Mixing console.jpg|thumb|right|16-channel mixing console with compact short-throw faders]]
Analog consoles have a column of dedicated, physical knobs, buttons, and faders for each channel, which is logical and familiar to generations of audio engineers who have been trained on analog mixers. This takes more physical space but can accommodate rapid responses to changing performance conditions.

Most digital mixers use technology to reduce physical space requirements, entailing compromises in user interface such as a single shared channel adjustment area that is selectable for only one channel at a time. Additionally, most digital mixers have virtual pages or layers that change fader banks into separate controls for additional inputs or for adjusting equalization or aux send levels. This layering can be confusing for some operators. Many digital mixers allow internal reassignment of inputs so that convenient groupings of inputs appear near each other in the fader bank, a feature that can be disorienting for persons having to make a hardware patch change.

On the other hand, many digital mixers allow for extremely easy building of a mix from saved data. [[USB flash drive]]s and other storage methods are employed to bring past performance data to a new venue in a highly portable manner. At the new venue, the traveling mix engineer simply plugs the collected data into the venue's digital mixer and quickly makes small adjustments to the local input and output patch layout, allowing for full show readiness in very short order. Some digital mixers allow offline editing of the mix, a feature that lets the traveling technician use a laptop to make anticipated changes to the show, shortening the time it takes to prepare the sound system for the artist.

===Sound quality===
[[File:BenAudioBoard.jpg|thumb|A studio engineer at a Control 24 mixing surface]]

Both digital and analog mixers rely on analog microphone [[preamplifier]]s, a high-gain circuit that increases the low signal level from a microphone to a level that is better matched to the console's internal operating level. 

In a digital mixer, the microphone preamplifier is followed by an [[analog-to-digital converter]]. Ideally, this process is carefully engineered to deal gracefully with overloading and [[clipping (audio)|clipping]] while delivering an accurate digital stream. Overloading during further processing and mixing of digital streams can be avoided by using [[floating-point arithmetic]]. Intermediate processing in older systems using [[fixed-point arithmetic]] and final output in all digital systems must be controlled to avoid [[Saturation arithmetic|saturation]].

Analog mixers, too, must deal gracefully with overloading and clipping at the microphone preamplifier and as well as avoiding overloading of mix buses. [[Noise (electronics)|Noise]] is present at all stages of an analog mixer, though good gain stage management and turning unused channels down to zero minimizes its audibility. Digital circuitry is generally more [[Electromagnetic interference|resistant to outside interference]] from radio transmitters such as walkie-talkies and cell phones. 

Many electronic design elements combine to affect perceived sound quality, making the global "analog mixer vs. digital mixer" question difficult to answer. Experienced live sound professionals agree that the selection and quality of the microphones and loudspeakers (with their innate higher potential for creating distortion) are a much greater source of coloration of sound than the choice of mixer.{{cn|date=March 2021}} The mixing style and experience of the person mixing may be more important than the make and model of audio console. Analog and digital mixers both have been associated with high-quality concert performances and studio recordings.

===Remote control===
Since the option first appeared associated with analog mixing the 1990s as wired remote controls for certain digital processes such as monitor wedge equalization and parameter changes in outboard reverb devices, the concept has expanded until wired and wireless remote controls are being seen in relation to entire digital mixing platforms. It is possible to set up a sound system and mix via laptop, touchscreen or tablet. [[Computer network]]s can connect digital system elements for expanded monitoring and control, allowing the system technician to make adjustments to distant devices during the performance. The use of remote control technology can reduce the amount of venue space used for the front-of-house mixing console, and recover space for audience seating.

===Software mixers===
For recorded sound, the mixing process can be performed on screen, using computer software and associated input, output and recording hardware. The traditional large control surface of the mixing console is not necessarily utilized. In a software studio, there is either no physical mixer fader bank at all or there is a compact group of motorized faders designed to fit into a small space and connected to the computer. Many project studios use such a space-efficient solution, as the mixing room at other times can serve as the business office, media archive, etc.  Software mixing is integrated as part of a [[digital audio workstation]].