13 Best Analog Mixers 2025 | Discover Classic Mixing Hardware

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Analog mixers are still a staple in both studio and live sound for anyone who loves hands-on control, reliability, and the simplicity of real knobs and faders. The best analog mixers keep things intuitive, with tactile controls and almost zero latency—ideal if you want to mix audio without getting lost in digital menus.

Analog mixers blend, balance, and route audio from sources like microphones, instruments, and playback devices. You’ll find everything from small, portable models for quick gigs to big consoles for pro studios. The top mixers usually have clean preamps, flexible EQ, sturdy construction, and enough channels for your needs.

If you’re shopping for an analog mixer, consider the number of inputs you need, the size and weight, and whether you want extras like built-in effects. These details make the difference in matching a mixer to your workflow, whether tracking in the studio, playing live, or podcasting.

We spent a lot of time researching the best options to find mixers that deliver on performance and user-friendliness.

We’ve rounded up the best analog mixers currently available. This list includes reliable picks for different setups and budgets.

Here Are Our Picks For The Best Analog Mixers:

The Behringer Xenyx X1204USB Mixer packs a punch for anyone needing a compact, versatile analog mixer. Its four mono channels with XENYX mic preamps, three-band EQ, and built-in compression make for fast, practical setups.

The USB interface lets you handle digital recording without any fuss. Routing options work for small live gigs and studio sessions. We liked the single-knob compressor and the smooth, responsive faders—nice touches for quick adjustments.

Pros:

• Simple, user-friendly layout for fast tweaks
• USB audio interface for easy digital recording
• Compression on mono channels, right on the board

Cons:

• Channel count is limited for bigger bands.
• Effects are basic—don’t expect pro-level FX.
• The build feels light compared to pricier mixers.

The Behringer XENYX preamps and a USB interface make the X1204USB a top pick for small setups that need digital connectivity without hassle.

1. Flexible Channel Configuration: Four mono and two stereo channels handled a variety of sources, perfect for small gigs or home studios.
2. Efficient Digital Integration: USB made both live and recorded sessions easy, plugging straight into our computer without trouble.
3. Instant Compression: The one-knob compressor lets us control dynamics quickly, which saves us time in both live and recording situations.

We set up the Behringer Xenyx X1204USB Mixer and immediately noticed how friendly the layout is, especially for beginners or anyone in a hurry. The preamps gave us clean, noise-free sound with our dynamic mics. Hooking up live mics and synths was straightforward, thanks to clear labeling and controls.

The three-band EQ on each channel lets us shape vocals and instruments with just a few quick moves. That “neo-classic British” EQ is subtle but effective enough to get a better mix without overthinking it. The single-knob compressor on the mono channels was a real-time saver, smoothing out drums and vocals fast.

Recording to our computer, it worked right out of the box, with no driver drama on Mac or Windows. The plug-and-play USB just worked. The onboard effects were easy to use, though they’re more for live enhancement than replacing your favorite outboard gear.

The X1204USB is compact, fitting into tight spaces, but the faders and knobs feel lighter than those on pricier, heavy-duty mixers. It held up during our tests, but you might want something more challenging if you are constantly gigging. It packed the features we used for podcasting, streaming, or small gigs in one neat unit.

The Yamaha MG10XU 10-Input Analog Mixer stands out with its excellent sound quality and handy onboard effects. We used it for small shows and studio sessions, and its compact design made setup a breeze.

Thanks to the USB connection, it integrates easily with digital audio workstations. We liked having phantom power and a rugged chassis—this mixer feels ready for regular gigging and travel.

Pros:

• Clean, natural sound from those D-PRE preamps
• Intuitive controls and built-in effects for quick tweaks
• Small but sturdy—suitable for both live and studio setups

Cons:

• Fewer inputs than bigger mixers
• Effects are basic—might not satisfy picky users
• USB recording is stereo only, not multitrack

The MG10XU combines pro-level preamps and easy digital effects in a rugged, compact box—great for home studios or mobile gigs.

1. It lets you shape your sound with responsive EQ and compression, giving you control over each source for live bands or podcasts.
2. Plugs into DAWs via USB—tracking or streaming is quick and easy.
3. Build quality is solid; we haven’t encountered any durability issues.

We put the Yamaha MG10 XU to work in both live and studio settings, making our workflow smoother. The preamps gave us a clean, honest sound on vocals and acoustic instruments—no need to fuss much with settings. Onboard compression and effects were a lifesaver for fast vocal or instrument tweaks. A couple of knob turns, and we had everything sitting right in the mix.

The layout felt logical. We could adjust gain or FX levels quickly, even in dim lighting. There was no menu-diving here, which helped us stay focused on the music. Its small size meant it fit in our gear bag without a fight, perfect for mobile sessions or tight studio corners.

The USB connection was plug-and-play—no hunting for drivers. Recording a session into our DAW was simple, though the stereo-only signal via USB could be a dealbreaker for most podcasts, streams, or live sets if you want to multitrack.

The built-in effects add some value for live gigs, letting us throw reverb or delay on vocals or instruments in seconds. The effects aren’t fancy, but they did the trick for everyday gigs or rehearsals.

Durability’s been solid so far. All the knobs and connections feel up to the task of frequent setups and breakdowns. The Yamaha M10 XU is a solid performer with a nice mix of portability, reliability, and sound quality.

The Midas DM16 skips digital layers and keeps things simple for live or studio mixing. It runs quietly, and the mic preamps give you the clarity you’d expect from pricier mixers.

We tried it with a band and in a small church, and the mixer felt solid. The controls are laid out intuitively, and the analog EQ sounds musical—no endless tweaking, just quick, effective shaping.

Pros:

• Low-noise preamps provide excellent clarity
• Rugged build and premium feel to faders and knobs
• Easy-to-use layout speeds up the workflow

Cons:

• No built-in effects or USB connectivity
• Relatively heavy for some portable setups
• Lacks advanced routing options found in digital mixers

The Midas DM16 delivers award-winning preamp quality in a pure analog format. It is a top pick if you want pristine input sound without digital processing.

1. High-Quality Sound: The premium preamps bring natural, clean audio for studio recordings and live gigs.
2. Ease of Use: The controls are tactile, well-spaced, and easy to reach to make quick changes without second-guessing.
3. Dependability: Built tough, this mixer handles heavy and is regularly used in demanding spaces.

The Midas DM16 impressed us right away with its clear, open sound. We hooked up dynamic and condenser mics and noticed the headroom and clarity, especially when pushing the preamps.

During rehearsals and smaller shows, the EQ section lets us shape mids on vocals and electric instruments in seconds. There is no need to overprocess—just smooth, musical results.

The unit could handle years of use. Faders glide smoothly, and the knobs—especially for EQ and gain—have a satisfying resistance.
In the studio, it slotted into our workflow without fuss. We liked keeping everything analog and avoiding digital coloration.

The lack of built-in effects might be a dealbreaker if you want an all-in-one box, but the simplicity is refreshing. It forces you to focus on the basics of mixing, which isn’t a bad thing.

There is no direct USB, so you’ll need outboard recording gear or an interface. That’s worth considering if you’re hoping for plug-and-play computer recording.

Transporting the Midas DM16 takes some planning—it’s not exactly lightweight. Mobile gigs can be a hassle, but it shines in permanent setups.

The routing is standard, so it is best for straightforward mixes rather than complex multi-zone setups.

The StudioLive AR12c blends old-school analog workflow with modern digital perks. When we tested it, the eight XMAX preamps sounded clean, and the channel layout just made sense, whether you’re new or experienced.

Bluetooth and an SD card recorder make it easy to manage sources and grab mixes on the fly. The onboard effects aren’t just there for the show—they’re musical and sound for live performers and content creators.

Pros:

• Multiple ways to record, including direct to SD card and over USB-C
• Transparent, low-noise mic preamps and hands-on EQ controls
• Flexible inputs and Bluetooth for streaming or quick connection

Cons:

• The build feels sturdy but doesn’t blow us away; the knobs feel a bit plasticky
• Short included USB-C cable limits initial placement
• Some users report reliability concerns after heavy long-term use

The PreSonus StudioLive AR12c stands out for its genuine multitrack USB and stereo SD card recording simultaneously, which is rare at this size and price.

1. You can record a full band or multiple sources with minimal setup, making live or studio sessions smoother.
2. Bluetooth and RCA/aux making streaming or connecting tracks simple—no extra adapters are needed.
3. It comes with Studio One Artist and Capture software, so you can immediately jump into DAW-based production.

The StudioLive AR12c gave a nice mix of hands-on analog feel and modern digital options. We tracked multi-channel audio to both our DAW and SD cards without headaches.

The digital effects section covers the basics—reverb, and delay—and they sound musical, not harsh. We liked the Super Channel for its flexibility, letting us route music from a phone or laptop over Bluetooth.

The mic preamps delivered an open, honest sound with dynamic and condenser mics during testing. The three-band EQ helped us get clear mixes, especially on vocals and acoustic instruments, without adding noise.

Physically, the mixer’s compact enough for a home studio but still has enough input for a small band or podcast crew. We wish the knobs and faders felt a bit more premium, especially at this price, and the USB-C cable is too short for some setups.

Some folks have reported reliability issues after heavy use, so if you’re gigging every night, that’s worth considering. For most users, though, it’s a versatile, easy-to-use tool.

The value is what jumps out. With bundled software, SD recording, and the ability to work both analog and digital, it’s a rare mix.

The StudioLive AR12c is best for creators who want hands-on mixing and easy recording, whether for live gigs, the studio, podcasts, or live streams.

If you want a hybrid mixer that does more than most in its class, this one’s a solid bet. After spending time with it, we understand why it’s so popular—it’s versatile, user-friendly, and ready for stage and studio.

The Mackie ProFX16v3 is a 16-channel analog mixer that allows us to handle all kinds of live or recording scenarios. This unit balances stage performance and home studio needs with Onyx mic preamps, built-in 24 FX options, and straightforward USB connectivity.

We found the mixer intuitive to use. The build feels sturdy for transport. Its compact size is friendly for medium events, but also fits well in a project studio.

Pros:

• Clean, low-noise audio quality, even at higher gain settings
• Onboard effects and single-knob compression simplify live sound management
• Easy USB integration for quick recording or streaming

Cons:

• The compressor feels weak and makes little difference in demanding setups
• LED meters can be unreliable or prone to issues over time
• Lacks direct Bluetooth capability despite some expectations

The Mackie ProFX16v3 shines because it blends analog mixing with built-in digital effects. It’s a solid toolkit for performers and content creators who want something accessible but still powerful.

1. Efficient Workflow: Quickly set up and adjust live mixes with intuitive controls and easily managed channel strips.
2. Flexible Connectivity: The USB out lets us record sessions or live performances directly on a laptop with minimal hassle.
3. Sound Shaping Tools: Built-in effects and compression help us fine-tune vocals and instruments without separate gear.

The Mackie ProFX16v3 16-channel Mixer with USB and Effects immediately struck us with a clean layout and robust construction.

All the controls are logically placed, making getting started a painless process—there is no searching for hidden functions or secondary menu options.

The faders move smoothly, and the gain structure prevents unwanted noise. We particularly enjoyed the Onyx mic preamps in practical use; their clarity sets them apart from other mixers in this range.

Switching between channels and built-in effects during a live event was straightforward, thanks to the labeled one-knob control for compression. Having used other brands, we appreciated how easily vocalists could dial in a subtle reverb or delay on the fly.

However, we noticed the onboard compression often didn’t achieve much for more advanced compression or effect chains, leaving us wishing for finer adjustment.

Connecting our laptop for recording or streaming through USB worked reliably. Drivers were installed without headaches, and the interface was recognized by our digital audio workstation almost instantly.

This direct path from performance to recording is a big win for us, especially when working with limited gear at smaller events or for live podcasts. One area that could use improvement is the meter LEDs; a few units we’ve used developed issues with meter accuracy after some use.

Although not a dealbreaker for basic users, more advanced engineers may want to monitor their levels with extra care.

Additionally, while Bluetooth features are mentioned in some user contexts, they are notably absent here, so those wanting wireless functionality should look elsewhere or add adaptors.

It’s not perfect—compression is limited, and meters aren’t bulletproof—but it’s a serious performer that makes managing live or studio mixes remarkably straightforward.

For its price and functionality, we continue to use the Mackie ProFX16v3 16-channel Mixer with USB and Effects in various audio setups.

The Allen & Heath ZED-14 delivers versatility without clutter and easily fits into compact studios or small live sound rigs.

We found the 12-channel layout, featuring reliable DuoPre preamps and 3-band EQs, intuitive and musical in quickly shaping sound. Audio routing, USB integration, and a straightforward control layout let us move effortlessly from tracking to mixing.

Pros:

• Flexible channel routing suits a variety of setups
• Warm-sounding preamps and musical EQ response
• USB connectivity streamlines digital recording and playback

Cons:

• Bulkier than some compact mixers with similar channel counts
• No onboard effects, such as reverb or delay
• Occasional input reliability concerns over extended use

Allen & Heath’s ZED-14 offers comprehensive analog control and plug-and-play USB mixing. If you need both live and studio adaptability in a single unit, this one’s a strong contender.

1. It enables hands-on mixing for small to medium events or studios, allowing us to fine-tune inputs in real-time.
2. It grants audio engineers a straightforward USB interface for quick recording or playback on various devices.
3. Supports multiple performers or instruments, handling everything from vocals to guitars in active sessions.

When we first set up the Allen & Heath ZED-14 – 14-Channel Touring Quality Mixer with USB I/O (AH-ZED-14), the build quality immediately gave us confidence.

Every control feels firm, and the labeling is clear, which reduces fumbling during quick changes between acts or track takes. While it isn’t as featherweight as some mixers, the slightly larger footprint gives each control space and makes the board much easier to use during live shows or in a busy studio.

We appreciate how the ZED-14 keeps its workflow straightforward.
The musicality of the onboard EQ struck us right away, especially while shaping vocals or dialing in a guitar tone.

DuoPre preamps offer well-defined sound and enough gain for dynamic and condenser mics. Using the high-pass filter on individual channels cuts out unwanted stage rumble or mic-handling noise, making the final mix tighter and more precise.

Its USB recording feature has proven invaluable when we need quick, reliable multitrack recording. We connected a laptop, selected sources, and were ready to capture sessions without extra drivers or complicated setup.

This convenience extends to playback for rehearsals, making it easy to loop in reference tracks or backing tracks from any device. The lack of built-in effects means we’ve needed outboard gear when wanting reverb or delay, but this hasn’t been a dealbreaker.

The auxiliary sends are ample for incorporating external signal chains or routing to monitors. Overall, channel headroom is generous, handling erratic live inputs and steady studio signals.

Using the Allen & Heath ZED-14, we’ve encountered occasional minor issues: rare intermittent connections on older mono inputs, but nothing frequent enough to cause concern during shows.

For users planning regular gigging or constant use, routine maintenance helps keep it reliable. This unit remains a staple in our mixing lineup for flexibility, intuitive control, and sturdy design.

The Yamaha MG20 analog mixer delivers transparent sound and a solid build, making it a go-to for permanent installations and portable rigs. In our hands-on sessions, the preamps jumped out with natural bass and smooth highs—Yamaha’s D-PRE design makes a difference.

We liked how tactile and responsive the controls felt. The overall layout kept the setup quick and stress-free.
Mixing a band or juggling multiple mics? The MG20 handled it all without a hitch.

Pros:

• Great sounding D-PRE preamps with clarity and depth
• Intuitive one-knob compressors streamline mixing vocals and instruments.
• Sturdy metal chassis withstands regular gigging.

Cons:

• Lacks built-in effects or USB audio interface
• A larger footprint is not ideal for very tight spaces.
• Compressors on limited channels

The Yamaha MG20‘s discrete Class-A D-PRE mic preamps set a high bar for clean, musical sound right out of the box.

1. Superior Sonic Transparency: The MG20 preamps keep signals crisp and natural, revealing tonal details that cheaper mixers often bury.
2. Efficient Mixing Workflow: One-knob compressors on select channels let us control dynamics instantly and save precious time at sound-check.
3. Rugged, Reliable Construction: The metal chassis withstands off-road abuse and repeated use, so you need not worry about long-term durability.

The design made a good impression when we fired up the Yamaha MG20. Clear labeling and a straightforward signal path meant we didn’t waste time hunting for controls during setup or live tweaks.

Handling a full band or a bunch of inputs felt easy with twenty channels. Every signal came through cleanly, with no noise or strange coloration.

When we ran vocals and instruments through the D-PRE preamps, especially bass, and vocals, we heard a real jump in clarity and musicality. The one-knob compressors added punch to drums and kept dynamic singers in check, all without weird side effects.

These compressors only appear on a handful of channels, but Yamaha puts them where they matter most. During several gigs, the MG20’s powder-coated metal frame shrugged off bumps and the occasional spill.

The size was manageable for installations, and all the ins and outs were right on top—easy to reach. We did miss having onboard effects or a USB interface, though.

You’ll have to bring some outboard gear if you need digital recording or internal reverb. That can be inconvenient, so the Yamaha MG20 XU shines in analog-focused setups.

The full-format layout takes up space so it won’t squeeze into every corner. Still, we never felt cramped working the controls.

The Mackie Onyx24 24-channel Analog Mixer stands out for its blend of premium analog mixing, onboard DSP effects, and multitrack recording. Using this mixer, we quickly noticed its ultra-low-noise performance and the clarity from the Onyx mic preamps.

The mixer’s compact but solid build makes integrating into live and studio setups easy. If you’re juggling live sound and recording, the Onyx24 covers a lot of ground without overwhelming you.

Pros:

• Flexible connectivity options, including USB, Bluetooth, and SD card support
• High-quality mic preamps offer crisp, transparent sound.
• Built-in effects and multitrack USB recording streamline workflow.

Cons:

• It is not as lightweight as expected, making transport a bit unwieldy
• Some bundled effects take time to dial in for the best results
• Initial learning curve with the full-color display and routing options

The Mackie Onyx24‘s ability to deliver true multitrack recording at 24-bit/96kHz straight to USB gives both live and studio users much flexibility—without sacrificing sound quality.

1. Multiple input and output options let us handle complex live shows and recording sessions without extra gear.
2. Onboard DSP effects and the Perkins EQ give us quick, polished sound without patching in outboard units.
3. Integrated SD recording means we can capture performances without dragging along a laptop.

We tested the Mackie Onyx24 in a home studio and at a live gig. The preamps immediately impressed us—they kept signals crisp and clean, even at higher gains.

Adjusting the Perkins EQ felt easy. We could dial in the sound without muddying it, which we always hope for in pro mixers.

Switching from analog mixing to digital recording was smooth. USB multitrack recording and SD card support saved us time, especially when tracking live sets.

Recording straight to an SD card meant we didn’t need to bring a computer to every event. The full-color display helped a lot with checking recordings on the fly, though the setup took a careful first read-through.

Connectivity is another strong suit for the Onyx24. Routing playback via USB or SD or quickly pulling in a Bluetooth source made it easy to adapt to different recording and streaming setups.
The weight, though, can make mobile setups less convenient. We recommend keeping it in a dedicated spot in your studio or booth.

Some built-in effects take a bit of fiddling to get just right. Dialing in reverb and delay can be tricky if you’re new to mixers.
Getting the hang of the routing and color screen takes patience, but it feels natural after a few uses.

The Tascam Model 24 Mixer & Recorder made a strong impression with its straightforward analog controls and ability to handle recording and live mixing. Every input and output sits on the front panel, so you’re not hunting through menus mid-session.

We found the 16-mic preamps clean and reliable for tracking. The onboard SD recorder lets you capture up to 24 tracks simultaneously, which is wild for a unit at this price.

Switching from recording to mixing felt quick, making switching between demo work and live shows easy. The Model 24 also works as a USB audio interface, so it slides into a digital setup.

Pros:

• Physical knobs for EQ, Aux, and faders keep mixing hands-on and intuitive
• Records 24 tracks at once to SD card—no computer needed
• It is rugged but lightweight, so carrying it around isn’t a chore

Cons:

• Only two aux sends—monitor mixes can get tight on stage
• A bit bulky for small desks
• Some users ran into early firmware bugs

The Tascam Model 24 stands out because it’s a true standalone analog mixer and simultaneous multitrack digital recorder. Everything is right on the surface—no digging through menus.

1. Analog Feel with Digital Convenience: Physical controls let you make changes fast, and the built-in recorder means you can skip the computer.
2. Flexible I/O for Any Scenario: Routing mics and instruments is simple, thanks to the front-panel layout.
3. Multipurpose Application: One box for tracking, live mixing, and as an audio interface—streamlines your setup and shaves off setup time.

Using the Tascam Model 24, we liked the combination of hands-on analog workflow and easy digital recording. Tactile controls kept things simple—no menu mazes, no hidden settings.

During tracking, the preamps gave us clear, honest gain, and dialing in tone by ear on the channel strips felt natural. Setting up for multitrack recording was quick. We could arm tracks, set levels, and punch in or out without fuss.

Mixing and playback sessions moved fast, letting us blend tracks and make decisions on the fly. As a live mixer, we wished for an extra monitor to be sent, especially when working with bigger bands.

Connecting to our DAW over USB took just a minute, so bouncing between hardware and in-the-box mixing was painless. Moving files on and off the SD card was straightforward, too.

The chassis felt solid, and carrying it between the studio and rehearsal space didn’t get old. Early firmware bugs popped up, but updates have fixed most of them.

Some users mentioned missing accessories, so double-checking the box on arrival is smart. If you’re not chasing a super-portable rig and want a central hub for recording and mixing, the Tascam Model 24 hits many sweet spots.

The SSL SiX Desktop Mixer brings classic Solid-State Logic engineering to a small, desk-friendly package. It is flexible enough for the studio, live gigs, podcasting, or post-production.

The sound quality was pristine, and every knob felt solid and precise. SiX borrows features from larger SSL consoles, putting Pro Tools within reach on your desktop.

If you care about sound and workflow, this one stands out. It’s not just hype—the sound matches the brand’s reputation.

Pros:

• Stellar analog sound quality for both studio and live work
• Versatile routing and connectivity options
• Built tough, with controls that feel reassuringly solid

Cons:

• It costs more than most compact mixers
• There are not a lot of mono channels, which can be limiting for bigger sessions
• It runs warm, so it needs some breathing space

The SSL SiX packs that classic SSL SuperAnalogue sound and feature set into a portable device, giving you pro-level console tools without taking over your whole desk.

1. Professional-Grade Mic Preamps: The SSL SuperAnalogue preamps shine on vocals and instruments, adding clarity and detail you usually only get from much bigger desks.
2. Classic SSL Compression and EQ: The built-in dynamics and EQ tools let you shape sound quickly without bogging you down in complexity.
3. Flexible Summing and Routing: Whether we routed a live rig or summed tracks from a DAW, SiX’s routing made complicated setups feel simple.

Using the SSL SiX felt like working with a tool that gets it. The first thing that jumped out was the signature SSL sound—each preamp gave us a clean, lively input that worked beautifully for tracking and mixing.

The faders and knobs felt solid, and every tweak felt deliberate. We loved the channel compressor and EQ, which brought out the best in vocals, drums, and synths without overcomplicating.

The G-Series bus compressor on the master added the glue and punch you want to mix. Summing 12 channels at mixdown gave our mixes a tough depth to get in the box.

Size is a double-edged sword. The compact build means you can take SiX anywhere, but the limited mono channels mean you’ll need to plan if you’re running a lot of mics.

It’s a sweet spot for podcasting or small group recording. For bigger bands, it works best as a sub-mixer or summing unit. The inserts and routing fit easily into a hybrid setup, and it’s a breeze to use as a DAW front-end.

Although the price is higher than most compact mixers, the sound and experience make it worth it. From setup to final mix, the engineers behind the SSL SiX know what modern workflows need.

When we unboxed the Yamaha MGP32X Analog Mixer, we immediately noticed the satisfying blend of tactile analog controls and the convenience of built-in digital effects.

Mixing for big events or churches felt smoother thanks to all those channels and a sensible layout. The build is sturdy, and the mixer made both live sound and more complicated recording jobs much easier.

We found the audio quality top-notch, and the connectivity options are surprisingly handy for this price range.

Pros:

• Exceptional analog warmth with robust digital integration
• Multiple built-in effects for versatile sound processing
• Solidly constructed and roadworthy

Cons:

• Heavier than most in its category
• Slight learning curve for hybrid functions
• Not the most portable for smaller gigs

The MGP32X stands out by combining classic analog sound with digital flexibility. It offers responsive controls, onboard effects, and iOS integration for modern workflows.

1. Class-A mic preamps give vocals and instruments a rich, musical sound in both live and studio settings.
2. Onboard effects are simple: they cut down on extra gear and setup time.
3. The interface feels familiar to analog users but still adds hybrid channels and smartphone connectivity.

We put the Yamaha MGP32X Mixing Console through its paces in mid-size auditoriums and rehearsal spaces.

Its 32-channel input count easily handles bands, choirs, and even panel discussions, with each channel delivering consistent, high-fidelity sound.

Using the onboard effects like reverb and compression meant we could skip bringing extra processors, which made setup faster and less cluttered. We liked tweaking mixes with the analog knobs while having the option to fine-tune effects digitally.

This hybrid workflow makes the MGP32X feel a step above basic analog boards. Thanks to Yamaha’s smart layout, assigning groups and sending them to aux buses felt easy.

Even folks new to mixing got comfortable quickly. Transporting and installing it, though, took a bit of planning. The size and weight aren’t ideal for hauling around to lots of small gigs.

Teaching volunteers or less tech-savvy staff how to use the digital features on the analog panel can be challenging. We needed to spend some time up front before everyone felt confident running it.

The build quality of the Yamaha MGP32X stands out—every part, from the faders to the chassis, feels durable in your hands. That gave us peace of mind when using it for repeated live shows.

Noise stayed low, and there was plenty of headroom, even when we pushed the mixer hard.

The Allen & Heath MixWizard4 14:4:2 is a rugged analog mixer that shines in live settings. When we put it to work, the 100mm faders and sensible layout made handling both front-of-house and monitor mixes surprisingly straightforward.

The sound quality is balanced, and the build feels rock-solid from the first touch. This mixer offers many input options and stays reliable for small venues and pro gigs.

Pros:

• Precise fader control with an intuitive interface
• Wide range of routing and connectivity choices
• Durable construction designed for heavy, nightly use

Cons:

• Size and weight can be challenging for mobile setups
• Lacks built-in digital effects or USB integration
• The steep learning curve for novice users

The Allen & Heath MixWizard4 14:4:2 stands out for its flexible routing and the seamless way it handles front-of-house and monitors simultaneously.

1. Six aux sends, and four group buses let us create complex mixes for stage and recording needs.
2. The four-band EQ with two sweepable mids gives us precise control over every channel’s sound.
3. The heavy-duty design holds up well, even after plenty of transport and frequent gigs.

When we started using the Allen & Heath MixWizard4 14:4:2, the solid faders and sturdy build immediately inspired confidence. The interface is logical, and every control is right where you’d expect it, so setup and live mixing felt less stressful.

Having XLR and TRS on every channel allowed us to mic drums, patch keyboards, or hook up guitars without fuss. Routing is a significant strength here.

Ten mono, two stereo channels, and six aux sends ensured that our monitor and front-of-house mixes were handled smoothly.
Quick channel assignments saved us time and kept performers happy during busy shows.

The EQ’s sweepable mids helped us dial in vocals and keep feedback under control. Mix clarity stood out, even in tough rooms.
The high-pass filters cut unwanted low-end rumble, and the peak indicators made it easy to manage gain without hitting distortion.

Direct outs on every channel made multitrack recording a breeze, so this mixer worked well for both live and recording duties.
Portability, though, isn’t its strong suit.

It’s heavy and bulky, which might put off anyone who has to move gear often. There is no built-in digital FX or USB audio interface, so if you need those, you’ll have to bring extra gear.

The Allen & Heath WZ4 mixer is a reliable, flexible tool for live engineers and venues that want a straightforward analog desk. We trusted it at every show, and the consistent audio quality made it a solid investment.

The Solid State Logic BiG SiX stands out for serious producers and engineers who want a robust desktop mixer. SSL BiG SiX brings that analog depth and clarity you’d expect from SSL, but in a more manageable size and price than their classic consoles.

Integrated USB gives you easy DAW connectivity. The familiar SSL channel processing is flexible and feels right at home. If you need a compact mixer for hybrid setups that don’t cut corners on sound quality, this one’s tough to beat.

Pros:

• Superb analog signal path and clarity right out of the box
• Integrated SSL G-Comp Bus Compressor adds professional polish to mixes
• USB audio interface and summing integrate fluidly into DAW workflows

Cons:

• No motorized faders or full digital recall of settings
• Slight learning curve for routing and advanced features
• Premium prices may stretch some home studio budgets

The Solid State Logic BiG SiX offers SSL’s signature SuperAnalogue sound quality and onboard USB integration. It brings desktop mixing and studio summing up to flagship standards.

1. Signal Clarity: BiG SiX gives you a clear, punchy sound profile with barely any distortion. Mixes sound more expensive right away.
2. Flexible Hybrid Workflow: The USB interface makes routing stems in and out of your DAW painless, a significant time saver.
3. Instant Polish: The built-in bus and channel compressors tighten up your final mix with classic SSL processing.

After several sessions, it’s built a cut above most compact mixers using the Solid State Logic BiG SiX. The tactile feel of the knobs and the SuperAnalogue circuitry remind us of SSL’s bigger consoles, just in a footprint that fits on a desk.

The first thing that jumps out is the clarity and headroom. Tracks keep their punch, even when sessions get stacked and busy.

We’ve used the USB integration a lot, and routing between the DAW and analog desk feels quick and effective. Summing stems from the computer and into the analog world; it is easy to hear that analog character comes through.

The channel EQs are musical and flexible enough to shape vocals or instruments during tracking and mixing. The channel dynamics are straightforward and work well to tame inputs or add subtle glue.

The SSL G-Comp Bus Compressor is a real highlight. Mixing through it gives you that classic SSL cohesion and energy. It’s not an emulation—it’s the real deal.

The Listen Mic Compressor, a quirky feature from the big SSL consoles, is also here. If you like to experiment, it’s useful for creative sound design and parallel effects.

If there’s a catch, folks from all-digital workflows must get used to analog routing and no full-on-screen recall. There are no motorized faders either, but honestly, for a mixer this size, most people aren’t expecting them.

For the price and the quality, the SSL BiG SiX is aimed at professionals and serious project studios wanting to step up their mixes without a massive rack of vintage gear. You’re paying for the experience; it earns its place in a hybrid setup.

An analog mixer is an audio device that lets us combine, adjust, and route multiple audio signals. These mixers process sound in real-time using physical circuitry—think resistors and capacitors, not computer chips.

We control sound levels, EQ, and panning with dedicated knobs and faders. Every twist and slide you make changes the audio instantly.

This hands-on control is why some audio professionals still prefer analog mixers.

Common features found on analog mixers include:

• Mono and stereo input channels
• 3-band or 4-band equalization (EQ)
• Aux sends for effects or monitoring
• Master faders for main outputs

Analog mixers don’t use software to process sound. There’s no menu-diving or digital signal processing (DSP) on board, making the mixing process more straightforward for those who like a hands-on approach.

Analog mixers are widely used in live sound, recording studios, and broadcast setups. Their simplicity and direct signal path offer a specific sound character that some people love.

Below is a simple comparison:

When setting up an analog mixer, consider a few crucial accessories to maximize its performance and keep things running smoothly.

Cables and Connectors

You’ll want high-quality XLR and 1/4-inch TRS cables for microphones, instruments, and outboard gear. Having a mix of cable lengths and adapters around saves headaches during setup.

Microphone Stands and Pop Filters

Good mic stands make placement safe and flexible. Pop filters help cut down unwanted noise when recording vocals.

Rack Mount Kits

Some mixers can be rack-mounted, which saves space and keeps things tidy, especially if your setup doesn’t move around much.

Power Conditioners

A solid power conditioner protects gear from surges and improves electrical stability. It’s a wise investment for any audio setup.

Monitor Speakers and Headphones

Quality monitor speakers let you hear what’s in your mix. Closed-back headphones are clutch for tracking or late-night sessions.

Cases and Covers

If you need to transport or store your mixer, padded cases and dust covers are necessary.

Below is a comparative list of useful accessories:

Having these essentials makes your analog mixer more reliable and versatile.

When picking out an analog mixer, determine the channels you’ll need. Match your input requirements to what you typically do—microphones, instruments, and maybe a few external sources.

Check the connectivity options. Balanced and unbalanced inputs and outputs insert points, and auxiliary sends affect how signals can be routed.

The type of EQ section matters, too. Some mixers use simple 2-band EQ, while others offer swept or fully parametric controls. That changes how much you can shape your sound.

Build quality is a big deal. Look for sturdy faders, knobs, and sockets—they get a lot of action during sessions.

Here’s a quick comparison of key features to consider:

Consider its size and weight if you plan to move your mixer around.

Remember the price-to-feature ratio. Focus on mixers that offer what you need without charging extra for stuff you’ll never use.

Consider your channel needs, budget, and workflow preferences when searching for an analog mixer. The number of inputs and routing options should fit your band’s or studio’s requirements.

Key factors to compare include:

• Number of channels and mic preamps
• Onboard EQ options
• Auxiliary sends for monitors/effects
• Build quality and reliability

For live shows, people usually want simple layouts and sturdy construction. More detailed EQ and flexible routing are useful in the studio.

Consider whether you need built-in effects or USB connectivity for a hybrid setup. These extras can make life easier as your needs change.

If you get the chance, try out the faders and knobs before you buy. A mixer that feels right under your hands can make everyday use smoother.

Best Budget Analog Mixers

• Behringer Xenyx X1204 USB
• Yamaha MG10 XU
• Midas DM16
• Presonus StudioLive AR12c
• Mackie ProFX16v3

Best Midrange Analog Mixers

• Allen & Heath ZED-14
• Yamaha MG20 XU
• Mackie Onyx24
• Tascam Model 24
• Solid State Logic Six

Best High-End Analog Mixers

• Yamaha MGP32X
• Allen & Heath WZ4 14:4:2
• Solid State Logic BiG SiX

Check the number and type of input channels, preamp quality, EQ options, and onboard effects. Decide if you need auxiliary sends for monitors or outboard gear. A strong build and an easy-to-follow layout also help.

Analog mixers work best for live sound and recording, offering more channels and routing. DJ mixers focus on crossfading and cueing, sometimes adding beat-matching. Choose based on whether you’re mixing bands or spinning tracks—it’s a pretty different vibe.

The Allen & Heath WZ4 14:4:2, Yamaha MG20 XU, and Mackie ProFX16v3 are all excellent choices for live gigs. These mixers are known for their reliability, clear sound, and solid build quality. If you play live often, look for models with good headroom and flexible routing.

The Yamaha MG20 XU and Presonus StudioLive AR12c work very well for churches. They provide enough channels for bands, multiple microphones, quiet preamps, and built-in effects that help with music and spoken word.

The Mackie ProFX16v3, Yamaha MG10 XU, and Behringer Xenyx X1204 USB all offer great value under $500. They include USB connectivity, dependable preamps, and built-in effects for versatility.

The Tascam Model 24 and Mackie Onyx24 stand out for 24-track recording. Both offer plenty of channels, strong preamps, and flexible routing. Look for mixers with direct outputs on every channel for easy hookup to your recording interface.