You're standing in front of two mixers. One has a hundred knobs and zero screens. The other has a touchscreen, four knobs, and a menu system that goes six layers deep. Which one gets your record finished faster?
That question feels newly relevant with Soundcraft's Signature Plus 22, a fresh analogue console built on the company's decades of live-sound lineage. It's not a digital board wearing analogue clothing. It's a genuine throwback with Ghost mic preamps, sweepable mid EQ, per-channel compression, and a Lexicon effects engine bolted on for convenience. Its existence is a reminder that analogue never actually left, and for a certain kind of studio owner, it might be the smarter buy.
Workflow Speed vs. Learning Curve
Analogue mixers reward muscle memory. Every control sits in a fixed physical location, so once you know a board like the Signature Plus 22, your hands find the high-pass filter or the aux send without looking. There's no menu diving, no "which layer is channel 9 on right now." For tracking a live band, running a podcast, or mixing on the fly during a session, that immediacy translates directly into speed. You hear it, you reach for it, you fix it.
Digital mixers ask for an upfront investment of patience. Consoles from Yamaha, Behringer, Allen & Heath, and others pack deep routing, onboard effects, and full recall into a fraction of the physical space, but nearly all of that power lives behind a screen and a layer system. The learning curve is real. Expect several sessions before you stop hunting for basic functions. Once you're fluent, though, digital consoles often let you do more, faster, especially for complex multitrack setups.
The honest tradeoff: analogue is faster to learn and faster to operate for simple, repeatable tasks. Digital is slower to learn but faster for complex, repeatable sessions once you've climbed the curve.
Recall, Scenes, and the Cost of Forgetting
Here's where digital wins outright for a lot of studio work. Scene storage means you can save every fader position, EQ setting, and mute state, then recall it instantly for the next session. If you run a project studio where clients book multiple visits, or you're mixing a series of podcast episodes with the same guest lineup, that recall function alone can justify the price difference.
Analogue mixers, including the Signature Plus 22, offer no recall at all. What you set is what you get until you turn the knob yourself. That's not a flaw, it's a design philosophy. Many engineers actually prefer starting from zero every time, arguing that recall breeds laziness and that a fresh set of ears on a fresh console produces better mixes. If you photograph your settings or keep a notebook, you can approximate recall on analogue gear, but it's manual labor every time.
Latency and the In-the-Box Question
If you produce entirely inside a DAW, latency and routing flexibility matter more than tactile feel. Digital mixers with tight DSP integration and USB connectivity often route audio with minimal added latency, and many double as full-featured audio interfaces with onboard recording. Analogue consoles like the Signature Plus 22 include USB-C interfacing too, in this case a 4x4 setup running at 192kHz, but it's built for stereo playback from a laptop or phone, not multitrack recording. If your workflow depends on tracking eight inputs simultaneously into your DAW, an analogue mixer without full multitrack USB support becomes a bottleneck, not a convenience.
Analogue signal itself doesn't introduce digital latency because there's no conversion happening until you hit an interface. That's part of why live sound engineers still lean analogue for monitor mixes and front-of-house work: zero perceptible delay between hand and ear. Digital mixers have closed this gap enormously, but there's still a small, real difference that matters most to performers monitoring themselves in real time.
A Simple Decision Framework
Ask yourself who you are in the room. If you're a live performer, a bar-band engineer, a house-of-worship volunteer, or someone who values speed and forgiving physical controls over deep recall, analogue fits naturally. A console like the Signature Plus 22, with its 22 inputs, switchable high-impedance channels, and built-in effects, covers a huge range of small-venue and rehearsal-space needs without ever touching a menu.
If you're an in-the-box producer working entirely inside a DAW, juggling multiple client projects, or building podcast episodes that need consistent settings week over week, digital mixing makes more sense. Recall alone saves hours over a year of sessions, and the deeper routing options pay off once you're past the learning curve.
Price tiers matter too. Entry-level analogue mixers remain some of the cheapest ways to get quality preamps and EQ into a small studio, often undercutting comparable digital options that pack in scene storage and DSP effects. Mid-tier digital mixers close that gap by replacing outboard gear, tuners, and effects units with onboard processing, which can make them cheaper in the long run even if the sticker price looks higher upfront.
There's also a hybrid path worth mentioning: plenty of studios run a small analogue mixer purely for headphone monitoring and quick tracking, then do all serious mixing and recall inside the DAW. That setup borrows the tactile speed of analogue for the moments that need it, while keeping the flexibility of digital recall for the finished product.
The Signature Plus 22 isn't trying to replace your DAW or your digital console. It's making the case that for certain rooms and certain workflows, turning a knob still beats tapping a screen. Whether that case applies to your studio depends less on which technology is "better" and more on how you actually work, session after session.
