Do you use a mixing controller?

[Phil O'Keefe]

I'm curious about how many people are currently using or interested in control surfaces.

 

Maybe you have a dedicated DAW controller, or one built into your analog or digital mixing console, or maybe you're completely happy mixing with a QWERTY keyboard and a mouse (or trackball), or maybe you're using a touchscreen-based control surface or mixer... whatever it is, I'd love to hear about what your current approach is, what you're using, and whether or not you have any interest in control surfaces for mixing - and if so, what product(s) you're interested in.

 

And for those who do use controllers, what advantages do you feel they offer you? Tell us a bit about why you like mixing with them please.

 

It's a public poll, so everyone will be able to see your vote.

[davie]

I use a small mixing controller called the Presonus Faderport. I use to use just my keyboard and mouse but having a fader definitely has its advantages. I mainly got it for the fader, since it allows me to have more fine control of volume and better control for writing automation. Even with only one fader, using it helps break the habit of "mixing with your eyes". The main advantages of this one is the low price and small size, it doesn't take up much desk space so also have plenty of room for my MIDI keyboard.

[mistersully]

i have a behringer bcf2000 that i no longer have hooked up

 

i have a hybrid system now, where i'm summing 16 tracks to a mixer, and the way i have everything set up makes me not bother with a controller

 

that may change at some point though... i was looking into the slate stuff, but it seems they don't work as well with logic as they do with pro tools

[Phil O'Keefe]

Why did you decide to pull the Behringer out of your rig?

 

Have you seen their latest controllers - the X-Touch and X-Touch Compact? They look pretty interesting IMO.

[mistersully]

It was mainly a real estate thing... also, I don't use heaps of plugs as i use hardware comps mostly (although i've been using a mix of both lately)... and i use the faders on the mixer

 

not out of the question to bring something back into my rig though... i just need to get my head around everything i have first lol

 

hadn't seen the new behringers... they look great!

[CME]

I had a euphonix mc mix that I liked. Especially after they were bought out by avid and were more tightly integrated with pro tools. But it was still a bit buggy. But when it worked, and that was most of the time, it was great. However when I downsized my rig it was one of the first things to go. I have bought a faderport and it's really useful. Especially if space is limited. For the future I'm keeping an eye on the Berhinger x-touch line. Harrison has also said they're working on one for Mixbus. Which is what I'm most leaning towards. And I also like the idea of the audient/focusrite 2802. It's both a control surface and analog summing mixer. However I can already sum inside my mio console, and that's about to be even better with the new 3D card. And once harrison releases v3 of mixbus and their controller that'll probably be the way I go.

[WRGKMC]

I have one of those Korg Nonkontrol I bought from Musicians Friend for $29 on sale. It works like a champ with Sonar but to be quite honest, I really don't use it that much. I thought I would when I bought it because I come from the old analog background where everything was hands on. I guess I underestimated how long I have been doing things digitally with a mouse and keyboard and found many of the work around techniques are my go to methods now and I forget I even have the controller hooked up and running.

[loganbg]

I learned the basics on a pretty big digital yamaha board and it was pretty fun, but all the real work I did was at home on a simple firewire interface. I got so used to doing automation with the pencil tool that it stuck, so there's not much need for automated faders (plus I really try and not need to automate much anyways for most of the styles of music I record. It's better to just get the dynamic right up front, do any necessary compressing/limiting and wrinkle out any small spots.)

 

If I ever get a big commercial quality studio I suspect I'll just save the money and focus on quality outboard gear, monitors, plugins, etc. and skip the big control desk altogether. All you would need is something for controlling the musicians' mix (assuming they don't have avioms or something like that and can't handle it themselves).

[ex-mixer]

 

I cut my teeth on the big analog boards from the late 70s to the early 90s, and developed a comfortable and reactive hand-to-ear coordination that is still with me today. I no longer mix professionally but assist friends and associates from time to time with demos, showcases, and even some YT recordings. I tried a friend's Presonus FaderPort with my DAW and liked it but would rather have multiple faders since my workflow typically works best when I'm moving several at once. However, since mixing now is just a hobby for me, I don't see dedicating resources to a purchase... I'd rather spend money on my axes.

 

By the way, I recommend anyone who mixes to watch the documentary on Tom Dowd, The Language of Music... very well done! In it he speaks about developing a console way back when, that had 8 of the (then) brand new, linear faders which allowed him to control an 8 track mix simultaneously with his fingers. So much for the advantages of the opposable thumb, I guess. While I did - at times - ride my subgroups that way, it was rare I moved more than 4 at a time, because the artist I was working for didn't require such nuance. However, I could see a possible need given more complex material... say a live recording of an orchestra or really big choir. JMNSHO.

[Phil O'Keefe]

I cut my teeth on the big analog boards from the late 70s to the early 90s, and developed a comfortable and reactive hand-to-ear coordination that is still with me today. I no longer mix professionally but assist friends and associates from time to time with demos, showcases, and even some YT recordings. I tried a friend's Presonus FaderPort with my DAW and liked it but would rather have multiple faders since my workflow typically works best when I'm moving several at once. However, since mixing now is just a hobby for me, I don't see dedicating resources to a purchase... I'd rather spend money on my axes.

 

Being able to move more than one fader at a time is a definite advantage of multi-channel controllers. The Faderport and things of that nature are nice, and IMHO beat using just a mouse, but I'd rather have at least eight faders in a controller.

 

By the way, I recommend anyone who mixes to watch the documentary on Tom Dowd, The Language of Music... very well done! In it he speaks about developing a console way back when, that had 8 of the (then) brand new, linear faders which allowed him to control an 8 track mix simultaneously with his fingers. So much for the advantages of the opposable thumb, I guess. While I did - at times - ride my subgroups that way, it was rare I moved more than 4 at a time, because the artist I was working for didn't require such nuance. However, I could see a possible need given more complex material... say a live recording of an orchestra or really big choir. JMNSHO.

 

Tom Dowd is one of my engineering heroes, and I totally agree - The Language of Music is essential viewing for anyone interested in recording and production.

[saturn1]

I use an inexpensive Korg nanoCONTROL for a couple of things, mainly because it allows me to use two or more controls at the same time, like push one fader up while pulling another down, or muting one track while un-muting another to compare the two. The transport controls are nice, particularly to start and stop a recording as it is easy to move that control panel within reach if I am playing guitar parts or recording vocals.