Why would a composer use a hardware digital mixer in 2026?
In this video, I explain why the PreSonus StudioLive 32SX completely changed the way I write music – even though I’m not a mix engineer.
As a musical theatre composer working with large orchestral templates, rock elements, and hybrid scores, I deliberately limit myself to 16 stereo channels through an external console. That limitation has transformed how I arrange, balance, and orchestrate.
In this video I cover:
- Why limiting tracks improves orchestration decisions
- How hardware faders change creative flow
- Running 32 channels in and out of the DAW
- Using console EQ and compression for composing (not mixing)
- Why I avoid DAW plugins while composing
- Printing stems back in for the final “last listen”
- Creating stereo, mono, and mastered monitor mixes
This isn’t about analog nostalgia. It’s about forcing better musical choices.
If you’re a composer wondering whether a digital console still has a place in a modern DAW-based studio, this video breaks down the creative advantages – not just the technical setup.
