A digital mixing console (DMC) is a type of electronic mixing console, typically used in professional audio and sound work. It is used to combine, route, and change the dynamics, equalization and other properties of multiple audio input signals, using digital signal processing rather than analog circuitry. The digital audio samples, which is the internal representation of the analog inputs, are summed to what is known as a master channel to produce a combined output. A professional digital mixing console is a dedicated desk or control surface produced exclusively for the task and is typically more robust in terms of user control, processing power and quality of audio effects. However, a computer can also perform the same function since it can mimic its interface, input and output.

Digital mixing consoles are typically used in recording studios, public address systems, sound reinforcement systems, broadcasting, television, and film post-production.

Most DMCs are expensive and sophisticated tools. The most common issue related to the DMC is the complex structure, which can be difficult to navigate without previous experience or knowledge of the system. The user usually requires a basic understanding of signal flow, audio terminology, and hardware implementation.

Part of the solution to alleviate operator issues is to automate whenever possible. The advent of modern digital computer technology has now made it possible to install sound system components that will, to some extent, operate themselves.

A digital mixing console can offset the lack of operator experience because it can store the settings programmed by an expert mixing engineer. After everything is properly adjusted, that set-up is assigned a name and stored in the memory. Afterwards, a less knowledgeable operator can simply select that setting on their console or computer.

One can easily program many different preset configurations or "snapshots," into the mixing console. Default configurations that are included with the DMC are known as presets. Once a stored setting is recalled, the operator can still make manual volume adjustments, etc., without affecting the stored program. In other words, they can change a lot of stuff and all one has to do is hit the recall and the mixer automatically returns to all of the correct start-up settings.

Another pitfall in terms of live applications is improper location of the equipment. No sound operator can properly adjust a live sound system unless he can hear exactly what the majority of the audience hears, yet for issues related to space, appearance and security, one cannot always locate their sound control equipment in the middle of their auditorium. This is even more of a problem if the auditorium is a multi-use building that is often converted for other events. A digital mixer may solve this problem: a sound operator can operate the whole sound system from a laptop computer. With the proper set-up, it can even be done by a wireless tablet for increased mobility. In fact, many of the digital mixer's functions are easier to operate from a computer screen than the actual mixing console.

Another advantage of DMCs is the abundance of control features that it provides for each input channel. The built-in effects of typical DMCs are robust and include gates, compressor limiters, equalizers, feedback controllers, and other signal processing hardware. One advantage of the large number of internal effects is that a DMC system is less vulnerable to failure and outside interference than a set-up using outboard hardware.