![]() It can be a slight drag having to select the channel you want to adjust the pan as you need to on the FaderPort 8. Each fader gets its own pan encoder which is a nice touch (pun intended). For the extra investment you get slightly more bang for your buck. If the FaderPort 8 isn’t to your liking, then consider the Behringer X-Touch. To help you find the best control surface for your budget we’ve featured the following products in order of price (low to high) starting with: PreSonus FaderPort 8 Production Controller - MSRP $599 Control surfaces at the higher end of the market tend to be quite large and require a fair amount of space in a room. ![]() In this article we highlight a range of control surfaces we feel are very well designed that are fairly small in size and are suitable for placing on desks, without taking up too much space. Top Control Surfaces You Can Buy From $600 For Home Studio Mixing It was used for Pro Tools only control surfaces such as the Digidesign Control 24 and ProControl as well as the Avid C24 and the ICON line. It is now part of the MCU Mackie Control Universal protocol.ĮuCon: Originally developed by Euphonix, EuCon is a high speed ethernet control protocol which carries control information for faders, knobs and displays between control surfaces and whatever the main EuCon enabled application is in focus on your computer, such as Pro Tools.ĭiginet: The Diginet protocol isn’t used in any control surfaces currently available on the market. ![]() HUI (Human User Interface Protocol) and MCU (Mackie Control Universal Protocol): HUI was developed in 1997 between Mackie and Digidesign for use with non-Digidesign control surfaces for Pro Tools. All perform slightly differently depending on the DAW you use: There are a number of protocols that most control surfaces use to interface the hardware between a DAW you need to know about. Not All Control Surfaces Are Made EqualĮven though most modern DAW control surfaces appear similar in form and function, there is an important difference under the hood that you need to aware of that could cause you compatibility issues. It doesn’t really matter what style of control surface you use, once you’ve learned how to get the most out of one in a mixing workflow there’s a good chance you’ll never go back to mousing around in a DAW. There are also some products that provide the same kind of feedback virtually via touch screen. Most controllers provide banks of motorised faders that recall their positions when switching between sessions, encoders for panning, digital scribble strips that tell us track names, solos and mutes as well as transport buttons for enabling playback and record. ![]() Modern day DAW control surfaces generally provide a number of features not dissimilar to those of old school analogue consoles. What Qualities Define A Control Surface For Mixing? Mixing with two hands is for some the only way to mix as it’s a quick and intuitive way of working which is why using control surface is the preferred route for many to get the job done. Engineers that are accustomed to mixing with physical faders often perform a number of mix moves in one go such as balancing multiple tracks together to perfection in what seems like a blink of an eye, try doing that one fader at a time with a mouse. When you mix a session using just a mouse and keyboard you generally have the ability to adjust one thing at a time in your DAW such as setting a track’s fader level or pan position, what’s wrong with working this way? Let’s answer that question with another question… Have you ever watched a skilled engineer mix on a large format console or control surface? If you have then you would have noticed that the engineer was most likely using both their hands and all of their fingers to manipulate the board. While there is nothing wrong working this way there are a few workflow limitations with mixing with a mouse that some producers cannot live with. Most producers and recording artists typically mix in-the-box using a mouse and keyboard.
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