Studio Mixer Desk

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Studio Mixer Desk

From home recording to commercial studios, podcasting and streaming, we have an audio interface that fits your needs and budget.

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There are many options available to the modern hobbyist when creating a home recording studio. From basic audio interfaces to small digital consoles and everything in between, choosing the right device for your needs and budget can be difficult. We’ve written this guide to help you narrow down your choices. This article focuses on the benefits of using a digital mixer in your home studio. More information on how to create a home recording studio with an audio interface can be found here.

The digital mixing console offers several unique advantages when used as a home recording solution, including a variety of built-in mic amplifiers, external digital signal processing, and advanced mixing features that can simplify the recording process. In addition to providing a good front end, some digital mixers, such as the StudioLive Series III consoles, also offer DAW control modes that can be used as a control surface for your DAW.

When evaluating a digital mixer as a candidate for a home studio, the first thing you want to evaluate is the built-in audio interface. Almost all modern digital mixers have some level of integrated audio interface. The downside is that unlike standalone audio interfaces like the Studio series, many of these integrated interfaces don’t provide enough simultaneous record and playback streams to capture all of the mixer’s available sources at once. This can make routing and bussing for recording a bit more complex than using a traditional audio interface.

That’s what makes the StudioLive Series III mixers unique. Each StudioLive Series III digital mixer is equipped with a full 64×64 USB audio interface. This means you can capture every input channel, including aux and tape inputs, and every mix bus you want, opening up a new level of recording possibilities and putting the power of a large mixer into an affordable, compact chassis.

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The next consideration is determining how many simultaneous inputs you need and whether you need mic preamps, line inputs, or both. Recording a full tape requires at least 16 mic preamps, and there are many standalone audio interfaces that can provide this. For example Studio 1824c USB-C

The audio interface is equipped with 8 XMAX mic amplifiers which can be expanded to 16 by adding a preamplifier/converter such as the DigiMax DP88. Some Thunderbolt interfaces, such as the Quantum series audio interfaces, can also be stacked together to create massive I/O availability. Most digital mixers have at least 12 microphone amplifiers on board. Depending on the mixer, the complement of the onboard analog inputs may extend to an integrated digital audio networking solution, analog patching to the outboard amplifiers, digital protocols such as ADAT, or some combination of all three.

The StudioLive Series III digital mixers offer up to 32 remote-controlled XMAX mic amplifiers on board. Mixers that offer more channels than physical inputs, such as the StudioLive 32SC, can easily be expanded to 32 inputs by adding an NSB 16.8 stage box connected by a single Ethernet cable. Choosing a mixer with a remote mic amplifier has several advantages. The first is that you can save your preamp trims and recall them with the rest of your mixing session. This greatly simplifies session calls and reliably repeats the same recording sound.

A unique feature of the StudioLive Series III digital mixers and Studio One is the ability to store the mixer’s preamp levels in a Studio One session. Because the Studio One and StudioLive digital mixers are designed for remote control, you can enable and set levels for each channel by setting preamp trims, phantom power, and polarity directly from Studio One while recording. This allows you to set the input trim for your source while looking at the recording meters, greatly reducing the risk of setting levels too high or too low.

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Walk into any large recording studio and you’ll find analog patch bays. This facilitates the fast and flexible routing that sound engineers need to create a signal flow suitable for the sound they want to create.

Most digital mixers offer some level of digital patching, but only the StudioLive Series III digital mixers offer true digital patching. Starting with the Input Sources menu, StudioLive Series III digital mixers allow you to patch any input source to any channel. This means you can choose analog inputs, network streams, SD playback tracks, or USB returns to any channel you want. This provides unique processing and routing flexibility. Let’s look at a typical studio application.

You’ll often see “multi” splits in analog patch bays in professional studios. These multis allow you to patch a single audio source to multiple destinations simultaneously. This technique, called ‘parallel processing’, is used to process the same source in two different ways and then blend them to create a new and improved sound.

To start, we’ll patch the kick drum into two channels. In this example, a kick drum mic connected to analog input 1 of the StudioLive 32SC is patched to both channels 1 and 2.

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By default, analog input 1 is already patched to channel 1, so we only need to patch it to channel 2.

A popular method of parallelism is to have one channel handle sustain and big bottom end, and another handle attack and punch.

On channel 1, we put a slow attack into the compressor with a quick release. This keeps the initial transients uncompressed, allowing the kick drum attack to be emphasized and penetrate the mix. This crushes the kick drum’s low-frequency resonance and makes it sound thinner and weaker than you’d normally want from a kick drum. But that’s okay. We’ll get back to you in a moment. Use a noise gate and EQ to focus on the frequency range of the initial attack to make it as tight as possible.

Use a fast attack on the compressor on channel 2 and adjust the release to your liking. This increases the fullness of the kick drum but softens the attack. Use the EQ to enhance the low end.

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Now mix the two channels together, blending the punchy attack of channel 1 with the chunky low end of channel 2 to create the perfect kick drum sound.

Best of all, the StudioLive Series III digital mixers offer 64 channels of simultaneous recording, allowing you to record both processed and raw signals for maximum flexibility thanks to the powerful digital patching options built into these mixers.

Modern digital mixers are equipped with various processing options. As any professional engineer will tell you, the secret to making great recordings is to choose your own noise gate, expander, compressor and EQ. Most digital mixers offer a limited model of plug-ins that can be inserted into multiple channels simultaneously.

The StudioLive Series III digital mixers go one step further by providing compressor and EQ plug-ins in the state space of each input and output bus. This allows for individual processing of each channel, as well as creative bus processing. For those not ready to deal with channels and buses in their recordings, Studio One gives you the flexibility to use the same plug-in models on your computer instead. Additionally, the StudioLive Fat Channel processor can be controlled and recalled from Studio One and vice versa, making the mixer an integral part of your DAW recording environment.

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Regardless of your budget, making professional recordings has never been easier and more cost-effective. However, mixing with a mouse has its advantages and disadvantages. This has led many engineers to turn to high-quality DAW control surfaces such as the award-winning FaderPort series. DAW controllers provide tactile control over sends, fader levels, pan, and plug-ins.

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