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If you’re a content creator, having the right audio mixer can significantly simplify your workflow, particularly as your setup grows. The great news is that selecting the perfect one for your needs simply involves answering a few key questions. What Are You Using the Mixer For? Audio mixers are relatively straightforward: they merge multiple audio signals into a smaller number of outputs, generally speaking. However, they differ in several aspects, such as the number of input and output channels they offer, as well as additional built-in features ranging from basic equalization to advanced audio effects. Although it may be tempting to buy a mixer with features you might use, it’s usually wiser to prioritize what you’ll use most frequently. For instance, if you’re producing a podcast, ample microphone inputs are essential. On the other hand, if your primary focus is recording from synthesizers, this won’t be as critical. Selecting the Appropriate Number of Inputs One of the most crucial factors when choosing an audio mixer is determining the number of inputs you’ll need. Consider your typical setup—do you require multiple microphones for podcasts, or several instrument inputs for music production? Planning for your current needs while allowing some flexibility for future expansion ensures your mixer remains a valuable tool as your projects grow. When evaluating mixers, keep in mind that many advertised as “16-channel” often count both the left and right sides of stereo channels, inflating the number. While technically accurate, this doesn’t equate to having 16 fully independent channels. There’s no strict “N+1” rule for choosing channels; instead, carefully review the input types and counts to ensure they fit your needs. Lastly, remember that upgrading to a new mixer later is typically more expensive than investing in a slightly larger one upfront. If you’re uncertain about needing extra channels, it’s usually better to have them and not need them than to find yourself limited. Microphone vs. Line vs. Instrument Inputs The number of inputs on a mixer is important, but the types of connections those inputs use can be equally or even more critical. Most audio mixers support either 1/4-inch jacks or XLR connections for microphones. While some mixers may offer instrument-level inputs for directly connecting a guitar or bass, this is generally a feature more common in audio interfaces than traditional mixers. Be sure to choose a mixer that accommodates the specific connection types your gear requires to ensure a seamless setup. Combination Jacks for Greater Flexibility Many consumer-level audio mixers come with combination jacks that accommodate both 1/4-inch and XLR cables in a single input. This design provides valuable flexibility, allowing you to connect a variety of devices now while keeping your setup adaptable for future needs. Whether you’re plugging in a microphone, an instrument, or other audio equipment, these versatile jacks can be a game-changer. Determining the Number of Outputs You Need Choosing the right number of inputs for a mixer is straightforward—six microphones require six inputs. However, selecting the appropriate number of outputs can range from simple to complex, depending on your needs. For most beginners, a stereo output will suffice, and nearly all mixers provide this standard functionality. If you’re purchasing your first mixer, this may be all you need to focus on. That said, many modern mixers offer the capability to send stereo audio directly to a digital audio workstation (DAW) on your computer. While this feature won’t fully replace a dedicated audio interface, it can be a convenient addition for recording and editing audio digitally. Built-in Effects Depending on your intended use, having built-in effects in a mixer can be a valuable feature for enhancing audio signals. While these onboard effects may not compete with high-end hardware units costing thousands of dollars, they are often sufficient for most practical purposes. Common built-in effects on consumer-level mixers include basic reverb, echo, and delay. Some models even offer more creative effects, such as AM radio simulation or pitch-shifting, depending on the manufacturer. However, practical effects like compression are less common, as they typically work best on a per-channel basis. Mixers with per-channel compression do exist but tend to be significantly pricier than standard consumer models. When an Audio Mixer Isn’t Necessary An audio mixer isn’t always necessary. For most people, a few USB microphones combined with DAW software are more than enough. A mixer becomes essential when you need to combine multiple audio sources simultaneously. For instance, if you’re miking up a drum kit or hosting a podcast with multiple participants, a mixer will help you manage those audio channels. However, before deciding on a mixer, carefully assess how much mixing you’ll actually need. Additionally, keep in mind that mastering a mixer takes time, research, and practice. If you’re not prepared to dedicate the effort, a simpler setup might be the better choice.

DANTE. It’s a networking protocol and it is quickly being integrated into many Production Sound Mixers’ workflow. Full disclosure, I am a Dante user, which I had to license by purchasing a Dante-enabled product. Dante is owned by Audinate, an Australian company, the seeds of which were sown by some former employees of the Motorola Research Labs, shuttered in 2003. Co-founder and Chief Technology Officer Aidan Williams explains. “I was constantly connecting my synth to a mixer, to a sound card, MIDI cables, all sorts of different connections,” he recalls. “To me, it seemed like a networking problem. Why make all those different connections when you could integrate it into a single network?” In 2006, David Myers joined Williams to form Audinate Bruce Jackson, Vice President of Dolby Labs’ Live Division, an early advocate, made the Dolby Lake Processor the first Dante-equipped professional audio device to be used at a performance of Barbra Streisand in Washington, D.C., in 2008. That same year, Lee Elison joined the company, opening its US headquarters in Portland, Oregon. Dante has played a role in numerous mission-critical events; from the 2010 Winter Olympics in Vancouver, the Pope’s appearance at World Youth Day in Sydney, to hundreds of concerts by major music performers. There are more than 170 manufacturers who have partnered with Audinate, representing more than five hundred different products that are Dante-enabled. How Dante works? In its simplest form, Dante is a protocol for communicating multiple audio channels over standard Ethernet and IP networks. Audio signals between Dante-enabled devices are routed using Dante Controller software. In the analog world, audio connections are point-to-point and individual copper cables representing each channel. In Dante, the physical connecting point is irrelevant as long as all the devices are connected to the same network, audio signals can be made available anywhere and everywhere. Patching and routing are configured in software and not over physical wired links. Depending on the application, Dante allows up to 512 bidirectional channels of audio to be sent and distributed over an Ethernet network, using CAT-5e or CAT-6 cable. Dante was built to work on Gigabit Ethernet, so it already rides a fat pipe. Those 512 bidirectional channels can be sent on a 1Gb link, uncompressed, 48kHz, 24-bit audio. Latency can be as low as .25mS. One link can simultaneously carry audio with different sample rates and bit depths. You can also set up a system with multiple network zones, each with a different latency to match the needs of your equipment. There are other AOE (Audio Over Ethernet) protocols available. The most popular are: CobraNet Peak Audio developed CobraNet in 1996. It accommodates up to sixty-four bidirectional channels of audio over a single CAT-5 or fiber-optic cable. You aren’t going to get advanced features like self-configuration, bandwidth adaptation or error correction. Since it’s a digital signal, equipment does have the ability to process the audio, but that’s a function of the manufacturer’s gear, not CobraNet itself. MADI MADI (Multichannel Audio Digital Interface) was an AES standard protocol, developed in 1991 and further improved by AMS Neve, Solid State Logic, Sony and Mitsubishi. It is a unidirectional (point-to-point) approach that allows up to sixty-four audio channels over coaxial or fiber-optic cables and less commonly CAT-5 from a few manufacturers. How to use Dante? Simply purchase a mixing console and recorder that has Audinate Dante available. Consoles such as the Yamaha 01V96 and 01V96i have a single-card slot to accommodate a Dante card. There are many other consoles that do the same; Behringer, Allen & Heath and the Soundcraft Expressions and Performer series to name a few. Many manufacturers have Dante built in like the Yamaha QL-1, the Sound Devices PIX 260i, the 970 and the Cantar X3. Dante devices have a primary and secondary port for redundancy, meaning, there are two identical but separate networks providing a failsafe if one of the networks fails. You can disable Dante Redundancy Mode and use the second port to connect to another Dante-enabled device. Daisy-chaining Dante devices can be done, with caution, but it is recommended to use a Gigabit Switch in a “star” topology to connect to multiple Dante devices. Gigabit Switches Gigabit Switches are just that, multi-port switches that can handle high-speed audio traffic with excellent management, often called QoS or Quality of Service. Some of us are using simple 5-port switches, such as the Netgear GS105, which retails for around $40 and can be powered via 12 volts. Others prefer the Cisco brand, starting with eight ports and up. Whatever you purchase, make sure they are not EEE (Energy Efficient Ethernet), also known as Green Ethernet. These units will reduce power to individual switches during periods of low network traffic, resulting in poor synchronization and even signal dropouts! Dante Controller will also work with other DAW software like Boom Recorder, Pro Tools (9 and up), Logic and Cubase up to sixty-four channels. This is achieved via Dante Virtual Soundcard software. Dante networks are not restricted to digital consoles and peripherals. You can connect analog equipment to Dante interface boxes that do the A to D conversion.