15 Best Audio Mixers 2025 | Top Picks For Every Budget

Audio mixers are must-haves for anyone serious about sound—whether you’re making music, running a podcast, working live events, or just tinkering in a home studio. Picking the best audio mixers can upgrade a basic audio setup, giving you more clarity and control than you’d expect from a pile of tangled cables.

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The best audio mixers let you combine, tweak, and route multiple audio signals into one polished output. Musicians, sound engineers, broadcasters, and content creators use mixers to balance levels, add effects, and manage sound sources.

You’ll see analog mixers and digital mixers, each with its quirks—different sizes, channel counts, and features. The main things to look at? Number of channels, input/output options, built-in effects, compatibility, and ease of use. If you know what you need, you’ll have a harder time finding a mixer that fits your workflow.

Before buying anything, consider how you’ll use it, where it’ll live, and whether you need more flexibility. We dug into the top models—checking out their build, connections, and how they work in real life—to find the best audio mixers for most people.

The Behringer Xenyx X USB Mixer felt approachable right out of the box—even if you’ve never mixed before. Setting up channels is quick, and the built-in compression made our spoken word recordings pop. Plugging it into a computer was a breeze; there was no weird driver drama.

Its strength is simplicity. We managed mics, instruments, and even background tracks without digging for a manual. The EQs responded nicely, and the onboard effects, while basic, did the job for a singer-songwriter setup.

The build feels solid. The faders are smooth, the knobs don’t wobble, and it survived a few bumps without a scratch. It’s small enough for tight spaces. The one-knob compressor on every mono channel cleaned up our streaming vocals, a rare bonus at this price point.

It’s not perfect. You might want more routing or better USB audio quality if you’re a power user. But for podcasting, streaming, or rehearsals, it holds up. We even ran some external effects through the aux sends—they worked fine, but you’ll hit the limits of the FX section pretty quickly.

The Behringer Xenyx X USB Mixer is a smart pick to start mixing, podcasting, or recording at home without drowning in complexity or cost. For a compact, reliable, and genuinely easy-to-use mixer, it does what most beginners need.

When we set up the Presonus StudioLive AR12c, it immediately felt approachable, especially for entry-level users. The mixer sports a familiar analog layout with tactile controls, so anyone moving up from simpler gear won’t feel out of place.

Adding a USB-C audio interface changes the game for home studios. We recorded multitrack sessions straight into our DAW—no drama, no extra hoops to jump through.

The sound comes through clean and transparent. The preamps provide enough headroom for most mics and instruments, which is all you need at this level.

During testing, we were impressed by the onboard SD card recording. We captured live sessions without a computer, which makes life easier in rehearsal spaces or on the go.

Bluetooth connectivity is a nice touch. We could toss backtracks or reference material from a or tablet, which is handy for practice or jamming.

The Presonus StudioLive AR12c is bigger than some compact mixers, but the robust build and flexible I/O make up for the space it takes. The onboard effects are basic compared to pricier models, but the essentials are there for most users.

We didn’t miss motorized faders at this price point. The physical controls give enough tactile feedback to keep things fun and hands-on.

From the first session with the Mackie ProFX16v3, we saw why many entry-level users love it. The build feels sturdy—ready for the chaos of both home and gig life.

The setup was quick. All the controls and connections are clearly labeled so we can mix and record quickly. The Onyx preamps delivered impressive sound quality, with clarity and headroom that’s tough to find at this price. We liked the built-in effects, adding depth to vocals and instruments without hassle.

Dialing in effects feels easy, though we wish for more customization beyond the presets. Maybe that’s just us being picky, but it’d be nice.

USB connectivity makes recording into a DAW or streaming live content straightforward. The Mackie ProFX’s interface stays simple, allowing users to balance levels, tweak EQ, and manage effects without feeling overwhelmed.

It doesn’t have onboard SD recording or Bluetooth, but at this price point, that’s not shocking. The EQ section is limited compared to higher-end models, but it covers the basics perfectly for most starting.

We set up the Tascam Model 12 in our studio, and honestly, it didn’t take long to see how much value it brings. Recording multitrack sessions directly to an SD card—no computer boot-up—felt liberating for quick demos and spontaneous ideas.

The tactile controls and familiar mixer layout helped us dive in quickly. We liked how the Model 12 combines that analog feel with digital flexibility.

Using the USB interface, we plugged right into our DAW and took advantage of the DAW control features. Managing sessions and transport controls directly from the mixer sped up our workflow and made recording more hands-on and fun.

The onboard effects and compressors surprised us with their quality for an entry-level mixer. Sure, they’re not as deep as dedicated processors, but they’re enough to give some vocals, guitars, and drums shine in real time.

Flexible routing lets us set up custom headphone mixes and send signals to outboard gear. That versatility came in handy during more involved sessions.

The Tascam Model 12‘s compact size makes it perfect for small studios or desktop setups. The available inputs are enough if you’re a solo artist, duo, or podcast team.

Some advanced features require menu diving, but the learning curve isn’t too steep—mainly if you’ve used digital mixers.

The Mackie Onyx24 made a strong impression in our home studio. With 24 channels, we managed multi-instrument sessions, full bands, and even complex podcast setups without breaking a sweat.

The Onyx preamps are a highlight—they gave us clarity and warmth that felt like something from pricier gear. Vocals and acoustic instruments, especially, came through rich and detailed.

Recording every channel separately into our DAW with the built-in USB interface opened up many options for editing and mixing after the fact. We tested it on both Windows and Mac and had no hiccups.

The layout is intuitive, with clearly labeled controls and logical signal flow. Adjusting levels, EQ, and routing on the fly—even in busy sessions—felt straightforward.

We did notice the lack of onboard effects, but the clean signal path and solid EQ section made up for it. Using plugins or outboard gear, you won’t miss the built-in effects anyway.

The Mackie Onyx 24‘s size could be a challenge in tight spaces. Still, the extra inputs and flexibility are worth it if needed. The build feels solid as if it could handle years of regular use in a busy home studio.

Our time with the Solid State Logic SiX in a home studio impressed us. Straight out of the box, you can tell the build quality is top-notch—SSL didn’t cut corners here.

The SSL preamps brought detail and warmth to vocals and instruments, immediately giving our recordings a professional sheen. It’s hard to overstate how good it sounds for such a small unit.

Channel compressors and the classic SSL master bus compressor set the SiX apart. We shaped dynamics and glued mixes in ways usually reserved for much bigger (and more expensive) consoles.

Routing options, like dual headphone outputs and flexible Monitoring, made it easy to adapt the mixer to whatever recording or mixing scenario we encountered.

The limited channel count means the SiX isn’t for big ensembles, but it’s perfect for solo artists, duos, and producers who care more about sound quality than sheer input numbers. The learning curve is steeper if you’re new to SSL, but the intuitive layout and clear labeling helped us get up to speed quickly.

The lack of onboard effects beyond compression stands out, but the SSL SiX‘s stellar sound quality and professional compression more than made up for it.

For home studio users who rely on plugins or external effects, the clean signal path helps. Nothing gets in the way of that classic SSL sound!

We tested the Yamaha MG20 XU live, and its strengths immediately stood out. The 20 input channels gave us loads of flexibility for full bands, multiple vocalists, and various instruments.

The D-PRE preamps delivered a clean, transparent sound. That clarity is crucial for live audio—it can make or break a show.

The built-in SPX effects are a real asset for live mixing. Whether we added reverb to vocals or a touch of delay to instruments, the effects engine was easy to use and enhanced the mix.

Sure, the effects section isn’t as customizable as some digital mixers, but it covers the essentials for most shows. We also liked how rugged the MG20 XU feels. The chassis is solid and seems ready for travel demands and frequent use.

Setting up and using the mixer felt intuitive, even for folks new to Yamaha’s interface. That meant we could focus on the mix instead of troubleshooting.

The integrated USB of the Yamaha MG20 XU made it simple to record live sets straight to a laptop or stream audio for online events. Venues and bands looking to capture performances without extra gear will appreciate this.

The Presonus StudioLive 16.0.2 USB impressed us in live audio tests, especially in smaller venues and mobile setups. Its compact size was a massive plus for gigs where space is tight, but it didn’t skimp on features.

We could set up fast, and the digital workflow let us save mix scenes for different acts—a lifesaver during quick changeovers. The multitrack USB recording feature proved invaluable since we could record each input channel separately and remix or edit performances later.

Bands wanting live recordings or venues offering post-event production will love this. Built-in effects and processing are surprisingly robust for a mixer of this size.

We easily added reverb, delay, and compression to various channels without needing extra gear. The display is basic but functional and easy enough to use with some practice.

If you’re new to digital mixers, there’s a learning curve. Still, we found the interface approachable, especially after a few tries.

The lack of motorized fader isn’t shocking at this price, but the tactile controls are satisfying. For anyone who wants digital power and flexibility in a portable format, the StudioLive 16.0.2 USB is a solid pick.

The Yamaha MGP32X is a powerhouse for live audio mixing. We used it at large events and saw firsthand why it has such a good reputation.

With 32 input channels, we could handle complex setups with multiple performers, instruments, and playback sources. The D-PRE preamps offered clarity and headroom, so everything from vocals to percussion stood out.

The dual digital effects engines are a real highlight. We applied lush reverbs, delays, and modulation effects to channels or groups, adding polish and creativity to the sound.

The hybrid analog-digital design combines analog’s reliability and hands-on control with digital flexibility. The build quality is excellent, ready for the rough-and-tumble of touring and frequent setups.

Despite its size, the controls are laid out logically. We made quick adjustments even during fast-paced shows.

The Yamaha MGP32X doesn’t have multitrack USB recording, but its stereo recording capability is handy for capturing board mixes. No motorized faders exist, but the smooth, responsive controls make manual mixing enjoyable.

When we took the Behringer X AIR XR18 out for a mobile gig, its portability and wireless control changed how we worked. Setting up was a breeze: we just put the XR18 on stage, powered it up, and connected our tablet to its Wi-Fi.

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We walked around the venue, made real-time tweaks, and heard what the audience would listen to. This was not possible with old-school mixers.

The 18 MIDAS-designed preamps gave us a surprisingly clear and punchy sound for this price range. Vocals, guitars, keyboards—everything came through clean and professional.

We didn’t need to haul extra outboard gear thanks to the built-in reverb, delays, and dynamics processing. The multitrack USB recording was a lifesaver.

We captured every channel straight to our laptop for mixing later, which is a big deal for bands wanting live recordings or engineers who like to polish things post-show. The app interface took a minute to get used to, but once we got the hang of it, the flexibility made up for not having physical faders.

Of course, you’ll need an external device to control the Behringer X AIR XR18, and Wi-Fi can get sketchy in crowded RF environments. Still, those are minor trade-offs for the value you get in return.

We’ve tested the Behringer X32 Compact in various portable situations, and it has been a solid performer. Its size makes it easy to move around, but you still get the power and flexibility of a much bigger board.

We used it for band gigs and corporate events where space and quick setup mattered. The motorized faders and scene recall were lifesavers, letting us save and instantly recall mixes for different acts or venues. This is huge during festivals or busy events with lots of performers. The sound quality has always impressed us thanks to high-res converters and flexible routing.

We leaned on the onboard effects and processing, so we didn’t need to drag along extra gear. Multitrack USB recording worked smoothly, letting us record shows for editing or streaming later.

The control surface has fewer physical inputs than the full-sized Behringer X32, but digital patching makes complex setups manageable. The only downside is the lack of built-in Wi-Fi, so we had to bring our router for wireless control.

Once connected, though, remote mixing via tablet or laptop worked like a charm on the X32 Compact and made things even more portable.

When we first set up the Behringer WING Compact, we could tell this mixer was built for folks who want the latest digital tech in a portable package. The big touchscreen and customizable workflow let us dial in precisely what we needed, whether for a live band, a touring show, or a broadcast setup on the move.

With 48 input channels and advanced routing, we could tackle even the most complicated portable events. Integrating digital audio networks like Dante and AES50 made expanding our system or hooking up to other pro gear easy—super handy during multi-venue tours and high-end gigs.

The modular fader banks and assignable controls let us customize the mixer’s surface to our workflow. That kind of customization, plus the touchscreen, sped up our work and made on-the-fly tweaks feel natural—even when things got hectic.

The WING Compact‘s effects and processing are top-notch, rivaling much bigger and pricier consoles. Sure, the price and learning curve are higher than most portable mixers, but it’s worth the investment for users who want the latest features and future-proof flexibility.

We fired up the SSL BiG SiX in the studio and instantly heard that unmistakable SSL sound—rich, punchy, and detailed. The preamps and EQs gave vocals and drums a musical sheen, and the SSL bus compressor tightened our mixes just as we hoped.

Despite its compact footprint, the BiG SiX feels like a pro console shrunk down for your desk. The hybrid workflow is what won us over. Switching between analog mixing and DAW production with the 16-channel USB interface felt effortless.

Tracking, summing, and mixing became easier, and we got the best analog warmth and digital flexibility. The routing options are deep, so setting up monitoring, cue mixes, or outboard processing is straightforward.

We loved the tactile controls and the solid, confidence-inspiring build. It doesn’t have as many channels as a giant desk, but it’s just right for most pro project studios, podcasts, or hybrid work. The lack of onboard digital effects nudged us back to the core SSL sound and our favorite plugins in the DAW.

It’s not motorized, but the hands-on workflow is part of the appeal. If you want classic analog sound with modern DAW integration, the SSL BiG SiX brings something special. It’ll level up just about any studio.

We set up the Midas M32R Live in different rigs—on tour and in the studio—and it quickly became the hub of our audio world. The Midas preamps sound fantastic: clean, musical, and precise, so every nuance comes through.

The digital interface might initially look intimidating, but it feels natural after a while. The color display makes channel and effects navigation painless.

Motorized faders and scene recall are game-changers. We saved full-show setups and brought them back with one button, which saved us during hectic festival gigs and multi-band nights. This automation helped us stay creative in the studio instead of getting bogged down in tweaks.

The onboard effects are deep and sound solid—reverbs, delays, dynamics, you name it. We could record multitrack sessions straight to our DAW over USB, which is perfect for live recordings and studio work.

The Midas M32R Live is heavier than some mixers, but the build could survive a few tumbles on the road. Wireless control requires an external router, but once you’ve set it up, remote mixing on a tablet is smooth.

The Allen & Heath SQ5 immediately grabbed our attention with its snappy workflow and clear, detailed sound. The 96kHz FPGA processing made everything feel tight and responsive, whether mixing in the studio or handling front-of-house live.

Touchscreen controls, motorized faders, and custom layouts let us set the SQ5 exactly how we wanted. Adapting to different gigs or sessions was quick.

We could tackle even huge productions with 48 input channels and deep routing. Digital stage box and audio network integration (Dante, Waves) made the SQ5 feel future-proof and ready for any environment.

The effects are extensive and sound great—honestly, they rival a lot of outboard gear. The learning curve is steeper than for beginner mixers, but if you are willing to put in the time, it pays off big time in flexibility and power.

It’s surprisingly portable for a high-end mixer, and the build quality feels rock solid. If you’re a studio or live engineer who wants the best, the Allen & Heath SQ5 is hard to beat. Speed, sound, and expandability—this thing’s got it all.

An audio mixer lets you combine and control several audio signals. You can blend microphones, instruments, or other sources into one clear output.

We use mixers to adjust volume, pan between speakers, and shape the sound with EQ. That flexibility is a lifesaver for live shows, studios, and broadcasts.

There are two main types: analog and digital. Analog mixers use real knobs and sliders, while digital ones often pack in effects and software controlsHere’s’s a quick comparison:

Feature Analog Mixer Digital Mixer Controls Physical Physical/Software Effects External Built-in/External Portability Varies Often more compact Recall Manual Preset/Automated

Some core functions include:

• Channel Mixing: Combine multiple audio sources.
• Equalization (EQ): Shape tone and frequencies.
• Routing: Send signals to different outputs or groups.

Whether podcasting, running a DJ gig, or streaming, a mixer helps you manage your audio sources more effectively.

Setting up an audio mixer is much easier with the right accessories. We always look for things that simplify life, whether we’re just starting or have been at it for years.

Cables are non-negotiable. Quality XLR, TRS, and RCA cables reduce noise and signal loss. It’s smart to have a few lengths on hand since setups constantly change.

Headphones let you monitor audio in real-time. Closed-back headphones block out noise, while open-back ones give you a more natural sound for mixing.

Mic stands keep things tidy and stable. Pop filters or windshields help tame plosives and wind noise when recording vocals.

We like using a rack case or gig bag for portability. It just makes moving your gear around less stressful. Here’s a quick table of must-have accessories:

Accessory Primary Purpose Cables Connects inputs/outputs Headphones Monitoring and mixing Mic Stands Secure mic placement Pop Filters Reduces vocal plosives Rack Case/Gig Bag Storage and transport

When looking for an audio mixer, focus on what you need. Your audio sources, project size, and space all affect this.

Inputs And Outputs

Count up the inputs you’ll use. Check for XLR, line, and digital options if you have mics and instruments. Make sure you have enough outputs for speakers, recorders, or headphones.

Analog Vs Digital

Analog mixers are straightforward and fast to set up. Digital mixers offer more flexibility, effects, and routing but sometimes feel more complex. Think about how you’ll use it—sometimes, simple is best.

Channel Count

Figure out how many channels you need. More channels mean more sources, more mixers (and more to learn).

Built-in Features

EQ, effects, USB, and preamps can make a big difference. Decide what you cannot live without and what is just nice to have.

Feature Importance Use Case Example Number of Channels Critical for multi-source use Live bands, podcasts Built-in Effects Useful for creative control Vocal processing, live sound Connectivity Options Necessary for compatibility Studio setups, home recording Portability Important for travel Mobile DJs, remote interviews

Go with a mixer that feels right and doesn’t fight your workflow. You should be on the right track; it’s durable and easy to use.

When choosing an audio mixer, consider how you’ll use it. For live performances, you want reliability and intuitive controls.

In studio settings, versatility and sound quality are top priorities. Check the number and type of inputs and outputs so your microphones, instruments, and other gear fit together without a headache.

Look for mixers with features that work for your setup. USB connectivity helps with recording, and Bluetooth makes streaming a breeze. That’s your thing, be honest: budget matters.

Thankfully, you can find solid choices at just about any price point. Here’s a quick comparison table that might help you sort through the options:

Mixer Type Best For Typical Features Analog Live sound, simple setups Easy controls, lower latency Digital Studios, complex routing Onboard effects, recall options

If you move around a lot, remember about portability. Compact mixers can make life easier while still covering the essentials.

Quality and warranty support matter, mainly if you’re gigging or working in harsh environments. A good mixer is an investment, so it pays to think ahead.

Happy mixing!

First, check if the mixer works with your operating system. Then, ensure you have the right connection options, like USB or Thunderbolt.

You’ll want to see what software comes bundled. Latency matters—nobody wants annoying delays when recording or streaming.

Think about how many inputs and outputs you need. Don’t forget about driver support. If you can’t get the thing to talk to, it’s not a DAW; it’s just a fancy paperweight.

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