EQ Magazine - November 2008 - (Page 62)

GEAR HEAD knobs control parameters such as level, EQ, etc. Really cheapo controllers. Remember that old drum machine sitting in the corner that hasn’t been used in the last decade? Dust it off, find out what MIDI notes the pads generate, and use those notes to control transport functions—maybe even arm record, or mute particular track(s). A drum machine can make a compact little remote if, for example, you like recording guitar far away from the computer monitor. The “recession special” controller. Most programs offer a way to customize QWERTY keyboard commands, and some can even create macros. While these options aren’t as elegant as using dedicated hardware controllers, tying common functions to key commands can save time and improve work flow. Overall, the hardware controllers designed for specific software programs will almost certainly be your best bet, followed by those with templates for your favorite software. But there are exceptions: While Yamaha’s Motif XS can’t compete with something like a Mackie Control, it is designed to serve as a custom controller for Cubase AI—which might be ideal if Cubase is your fave DAW. CAKEWALK/ ROLAND SONAR V-STUDIO 700 PRICE: $3,995 STRENGTHS: Integrates Sonar 8.0 tightly with a control surface, audio interface, and hardware synthesizer. ACT knobs provide soft synth and FX control. Surround and video control. Greatsounding audio I/O. Ten individual outputs are convenient for integrating external hardware. Mackie Control compatibility. Includes V-Link. Non-cramped layout. Very cost-effective, considering what the package includes. LIMITATIONS: Takes up a fair amount of desktop space. LCD display is nothing special. When Roland started working with Cakewalk, many predicted that Sonar would soon have a dedicated hardware controller. But the pair have taken it one step further: The latest Sonar software (8.0), when combined with the VS-700C control surface, VS-700R audio interface, and onboard Fantom VS synthesizer, creates a complete studio that Cakewalk/Roland call the “next generation” V-Studio. VS-700C CONTROLLER While the VS-700C is optimized for Sonar, it’s also a Mackie-compatible controller that I’ve used successfully with Reason, Ableton Live, and other programs. This is a Big Deal, because the VS-700C isn’t tiny—you don’t want to need additional control surfaces. The controller has five main areas: displays along the top, a “channel strip” section toward the center with nine 100mm motorized faders, an area to the right with jog-shuttle wheel/transport/surround panner/Tbar controller and loop/punch controls, and two sections toward the left. These include 12 knobs for EQ, sends, or “ACT” (more on this later), and an “access panel” with view, utility, and control keys. Of course we’re just talking broad strokes; there are also buttons for automation, different views, various select buttons, and the like. The VS-700C could have been made smaller, but as designed, it has a spacious, open feel that doesn’t get in the way with serious projects. This aids workflow because you don’t have to parse the controls: The lettering is legible, and there’s enough space between controls that you needn’t concern yourself with being overly precise. Superficially, the controller may not seem that innovative; it offers familiar hardware control for familiar software parameters. But, there are a few twists. The most visually obvious is the Tbar controller, which provides front/rear balance for surround, an ACT control, or the ability to determine the transparency of X-Ray compatible plug-ins (the latter is a Sonar feature where you can make plug-ins less opaque so you can see what’s going on beneath them, or for that matter, make them disappear). While X-Ray isn’t quite like adding an extra monitor, it’s about as close as you can come in a software-only solution. Another twist is having ACT control right on the control surface. The 12 ACT knobs let you control whatever soft synth or signal processor has the focus (assuming they expose VST automation), so you can move easily from controlling mixer faders to controlling filter, envelope, LFO, and other (CONTINUED) 62 EQ NOVEMBER 2008 www.eqmag.com http://www.eqmag.com

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

EQ Magazine - November 2008 Contents Talk Box Sounding Board Punch In Brian Wilson Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Sony Acid 6 Abelton Live 7 Controller World New Controllers Analysis Room with a Vu

EQ Magazine - November 2008

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