Console Layout

Image courtesy of Jiahui Huang

Image courtesy of Jiahui Huang

Based on some of the consoles I’ve seen, console layout is something that doesn’t seem get a lot of thought. However, a properly laid out console not only makes mixing more fun, it can keep us from making big mistakes during a service. 

Legend has it that in the early days of mixing, as analog consoles got larger, engineers noticed that channels farther from the master had more noise in them. So it made sense to put the money channels—the vocals—nearest to the master. As the master was typically on the right, that meant the left-most channels became home of the drums—who would notice noise in the drum channels? 

Somewhere along the line, a somewhat common layout emerged: drums, bass, guitars, keys, vocals. As consoles and input count continued to grow, we started seeing the master section land in the middle of the console instead of on the right. In that case, usually the band fell to the left while vocals and effects fell to the right.

Back then, where channels showed up on the console was completely dependent on what inputs they were plugged into Today, with digital consoles, it’s easy put any channel on any fader. But before we do any patching—digitally or analog—it’s important to spend some time thinking about why channels go where they do. 

Why You Do Is More Important Than What You Do

I’ve seen all sorts of...interesting...channel layouts on consoles. Drums spread all over the place, the lead guitar next to the pastor’s mic, vocal effects in the middle of the keyboards. It’s as if someone just patched inputs into the first open channel or floor pocket without any thought at all.

And while there are all sorts of ways you can lay out your console, the first consideration is to make sure you do it on purpose. Don’t just shove inputs into any old channel. Take some time to think about it and patch it in a way that makes sense. Keep all the drum channels together, and then keep the band together. Having all the vocals next to each other makes it a lot easier to find them. Put the channels you adjust all the time closest to you, so you’re not reaching all the way to the end every time. Think about how you mix, then organize the channels in a way that supports what you do.

For Example…

There is no “right” way to organize a console. But here are some ideas of how to do it. Personally, I like to start with drums (kick, snare, hat, toms, overheads), then bass, guitars, keys, vocals and finally effects. Other channels like speaking mic’s, music playback, video and other utility channels are either to the right or left of effects depending on the console. 

I like my VCAs on the right, which puts my vocals right in the middle in front of me. My preference is to mix more on channel faders than VCAs, but I know others who prefer the opposite.

I also know guys who put the bass right next to the kick because they like to work those two together. I used to keep my bass in my guitars VCA; but lately, I’ve been putting in with the drums. Others dedicate a VCA to just kick and bass. 

Stay Consistent

When I mix on analog consoles, I still follow the same basic layout. The advantage of a consistent layout is that I can mix almost any band on any console and without looking know where the faders are. In contrast, I’ve watched other guys mix and spend half their time searching the board for the guitar fader, only to miss the solo. 

Regardless of how you choose to layout the console, once you come up with a plan, stick with it. Adapt and change as needed, but maintain as much consistency as you can.

Small Digital Consoles are Tricky

The current trend toward smaller mixers (i.e. fewer faders) with higher channel counts makes smart layout absolutely critical. If you only have 16 handles to deal with, you simply must be intentional about what you put where. In that case, I would most likely not use up the first 8 faders on the top layer for the drums. 

In that case, it might be more prudent to put a drums VCA on channel one and treat it as one instrument (which, arguably, you should do anyway). As you fill up your fader bank and channels spill into another layer, it is often a smart idea to duplicate a few channels on every layer. For example, you might want to have the worship leader’s mic on the same fader of every layer so you can get to it quickly regardless of the layer you’re on. 

The fewer faders you have, the more strategic you need to be with grouping channels into VCAs. How you group the channels will be dependent on your band and your workflow. 

I once mixed a 28-input CD release party on 12 faders. I built multiple layers that were very similar, but expanded various sections. For example, layer one had the drums as a single VCA. But layer two gave me all 8 drum channels. Layer three split out all my effects, which were a single VCA on layer one. Things that didn’t get used often were down on layers four and five, but the lead singer’s vocal and guitar were always in the same place on every layer. 

I spent about 30 minutes initially setting up the board, then tweaked my layout during rehearsal based on what I was doing. Of course, this is easier with a digital board than analog, but the principles remain. Think about your layout and adjust it until it makes sense and works for you.