Recording - March 2018 - 54

Mackie Big

Knob Studio
Reviews by Mike Metlay
In our November 2018 issue, I wrote a review
of Mackie's new Big Knob Studio+ and Big Knob
Passive monitor controllers. I noted the practical
simplicity of the Big Knob Passive, but focused
most of my attention on a deep dive into the Big
Knob Studio+, a complete monitoring and talkback
solution for small to medium-sized rooms.
With (deep breath!) four pairs of stereo inputs, five pairs
of stereo outputs, a Talkback system with either internal or
external mic, flexible Cue and 2-Track bus routing with
independent control of two headphone outputs, a separately
enabled output for a studio headphone amp, and a 4-in/4-out
USB interface with routable ins and outs, the Big Knob
Studio+ integrates well with a mixing console's Aux section
for lots of routing possibilities. But for the small studio with
one tracking room (or no separate tracking room at all), it's
probably overkill.
The third model in the new Big Knob lineup wasn't available
at the time of the first review. I received the Big Knob Studio
several weeks after the first review was done, and after
installing it in my home studio, I felt like Goldilocks trying
Baby Bear's porridge: "This one is just right."

Features and connections

The Big Knob Studio hits the perfect sweet spot for small
rooms. It has two sets of stereo inputs rather than four,
and three output pairs rather than five, which simplifies
operation immensely. Most of its larger sibling's functions
are retained, so it's in no way dumbed-down to the point of
being less useful in studios that simply have fewer monitors
and routing needs.
Inputs 1/2 are XLR/TRS with switchable global phantom
power and a Stereo Pan switch for mono or stereo
monitoring (they're always recorded to USB separately).
Inputs 3/4 are on TRS and switchable from +4 to -10 levels;
the rear-panel jacks can be overridden by plugging into the
minijack on the front edge of the unit, right next to the two
1
/4" headphone outputs. Either or both input pairs, as well
as a USB return from your DAW, can be selected to feed
the 2-Track bus.
The Big Knob Studio has TRS outputs for Monitors A and B,
switchable from the front panel, and a separate TRS 2-Track
output pair. The internal Talkback mic feeds the Cue bus, and
54

RECORDING March 2018

$199.99; www.mackie.com
the two headphone outs are globally switchable between Cue
and 2-Track, but still have independent volume controls.
The USB interface is now a 2-in/2-out affair, which can
record from the 2-Track bus or from Inputs 1 and 2. There's a
Direct Monitoring blend knob to deliver Inputs 1/2 directly to
the headphones and monitors, great for tracking with DAW
playback. And, of course, the Big Knob level control, LED
meters, and Mono/Mute/Dim buttons are retained.

In use

In a way, the Big Knob Studio is as much an audio interface
for small recording rigs as it is a monitor controller. With the
2-in/2-out USB hookup handling up to 24-bit/192 kHz
audio, there's nothing stopping the musician from just plugging
two mics and/or guitars into Inputs 1/2, a stereo keyboard
or submixer into Inputs 3/4, and recording in stereo to their
DAW. Playback's easy, with your choice of two monitor pairs
and zero-latency blending of Inputs 1/2 into the headphones.
In my home rig, which I use for composing as well as for
streaming my weekly radio show, the Big Knob Studio
replaced three separate boxes in one go-a dedicated USB
audio interface for streaming input and monitor output, a nonUSB monitor controller (which didn't sound nearly as good
as the Big Knob Studio), and a passive stereo attenuator box
for one signal that the monitor controller couldn't adjust
on its own. I ended up with a more seamless recording and
playback path, higher-quality audio... and a pile of
now-superfluous cables and boxes.
While the Big Knob Passive is a great, affordable solution for
simple 2-source/2-monitor-pair routing and the Big Knob Studio+
can handle anything a studio with one or two tracking rooms can
throw at it, the Big Knob Studio is my favorite of the three. It will
be incredibly handy to solo and duo recording musicians working
in close spaces, solve a lot of problems, and sound great doing
it. Like Goldilocks said, it's just right-and there is no way I'm
going back to my crummy old monitor controller.

http://www.mackie.com

Table of Contents for the Digital Edition of Recording - March 2018