EQ Magazine - May 2008 - (Page 58)

Hard Lines JAZZMUTANT DEXTER Can a Controller Have Sex Appeal? Yes. by Craig Anderton With the power off, Dexter looks like a giant Etch-A-Sketch. But power it up, and you’re staring at a controller with exceptional aesthetics—to say that Dexter is visually stunning is an understatement. But what about mixing? INTO THE ETHER Dexter connects to your computer via Ethernet, either directly or as part of a network. I installed the software, plugged it in, told Sonar 7 the control surface existed, and was tweak- Dexter is one gorgeous controller—no doubt about it. ing parameters in minutes— controls as your fingers can reach simulsimple. Currently, Dexter has templates taneously. The touch action is predictable, for Cubase 4 (Mac/Windows), Logic 7.2 and the housing is a confidence-inspiring (requires installing a small applet), and metal case. The name strip pulls track Nuendo/ Sonar on Windows. The comnames from your DAW, so you always pany is sketchy about when, and which, know where you are. Although not all additional programs will be supported. parameters are represented—for examFor now, users of other programs are ple, in Sonar you still need to set aux better off with Jazzmutant’s Lemur consend pre/post individually—it doesn’t troller, which is based on the same multitake long to learn Dexter well enough touch technology and costs less, but is to fly on it. more complex to customize for your needs. Although some have said that Dexter While Dexter users can download the free can’t control soft synths, that’s not quite dual-mode software that allows booting true. Sonar allows inserting soft synths as into Lemur or Dexter mode, curiously, if they were effects, and Dexter “sees” the Lemur owners must fork over $400 for instrument parameters. But if you use this option—not exactly a way to reward Sonar’s “insert” command for soft synths, early adopters. Still, it proves that JazzmuDexter doesn’t see the instrument. One tant continues to develop the product line. great addition, though, would be a touchsensitive keyboard mode where sliding USING DEXTER along notes could generate controller or Jazzmutant gets huge props for making aftertouch messages. Granted, Dexter isn’t Dexter so easy to figure out. Everything meant to be a keyboard—but this techis obvious, whether you’re adjusting EQ, nology seems well-suited to making a keychoosing different banks of faders, seeboard that’s more expressive than the ing an entire channel’s parameters at a standard mechanical type. glance, tweaking effects, or taking advantage of the amazing surround mixing capaCONCLUSIONS bilities. The manual could be clearer—I Overall, Dexter is exceptionally ergonomic. wasn’t always certain which button would But there are some warning flags: The limget me where I wanted to go—but this ited DAW support, coupled with no HUI isn’t problematic, as a few minutes spent or Mackie emulation, limits the potential playing with Dexter reveals all. market—which could impact future levThe 800 x 600 touch screen is gorels of support. Of course, the dual-mode geous, and you can manipulate as many option lets you create a customized Lemur surface, but one reason Dexter exists is because many people found Lemur daunting. Then there’s the expense. This must have cost a ton to develop, and I’d bet a multitouch screen isn’t cheap. For the same price, you could get the Euphonix Artist Series controllers (and have enough left over for a couple nice mics); some might actually prefer the hands-on feel of motorized faders—although they make noise, and Dexter is totally silent. Dexter is easier to install and shows more at a glance, but Euphonix uses the EuCon protocol, which has some distinct advantages when using multiple programs . . . actually, they’re quite different products, even though they ostensibly handle similar functionality. If I had a spare $3K, I’d spring for Dexter in a heartbeat because I use Sonar so much, as well as Cubase. And frankly, Dexter is a work of art where just turning it on is inspiring. Bottom line: Jazzmutant has come up with a groundbreaking product—but it’s priced accordingly. PRODUCT TYPE: Control surface for DAW control—or hang it on your wall and call it art. TARGET MARKET: Those who want not only a controller, but are willing to spend big bucks for awe-inspiring industrial design. STRENGTHS: Gorgeous, inspiring interface. Superb ergonomics. Easy installation. Controls effects as well as mix, pan, aux, etc. Ethernet doesn’t tie up FireWire/USB/MIDI ports. LIMITATIONS: Supports only a few DAWs, with no HUI or Mackie Control emulation. Limited ability to program soft synths. Costly. LIST PRICE: $3,399 CONTACT: www.jazzmutant.com 58 EQ MAY 2008 www.eqmag.com http://www.jazzmutant.com http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - May 2008

EQ Magazine - May 2008 Contents Talk Box Sounding Board Jamie Lidell, What the New Model of Record Deal Means to You, Part II, Andrew W.K. Tool Box Aerosmith Fast Tracks Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet DigiDesign Pro Tools LE 7.4 Cakewalk Sonar 7 Line 6 UX8 Studio Projects CS5 Art Tubefire 8 Jazzmutant Dexter MCDSP Emerald Pack Overloud Breverb KRK Exposé E8B Mackie MR5 Blue Sky Exo Monitor System Big Fish Audio Around the World in 80 Raves East West Fab Four Virtual Instrument Sony Matt Fink- Starvu Session Keys Room With A VU

EQ Magazine - May 2008

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