Recording - June 2019 - 65

DAW faders with matching motorized controller
Motorized controllers are probably the
flashiest thing a studio can have. Motorized
faders are among the most iconic vision of
the great consoles of yesteryear, with magically moving faders controlling gain for all
the available channels. Today's motorized
controllers are a little different; they follow
the current position of the faders in the software, but don't actually touch the audio.
The most obvious benefit of motorized
controls is that you get visible and physical
feedback of the mix level for the channels
that you are viewing. But in many situations,
you will have dozens of tracks, but most mix
controllers only have 8 (or so) channels of
motorized sliders. How does that work?
Generally, in addition to the motorized
sliders, you will have a set of buttons that
allow you to move left and right among the
channels, usually 8 channels at a time. As
you move from channel group to group, the
faders will snap into place, and you will
see the faders match the onscreen settings.
Of course, there is a lot more to a mix
than the volume fader settings, and different controllers provide different levels of
support for the other functions. Some (like
the Mackie Control) have LED ring displays around rotary encoders that give
you crude feedback about the settings,
while others (like the PreSonus Faderport
series) will give you detailed numeric
information-and even virtual 'scribble
strips' on an on-controller display.
While not always surgically precise, motorized physical controllers feel more viscerally satisfying-you really feel connected to
your mix. There is something about using a
motorized fader that often just feels right!

Virtual controllers
Of course, you don't necessarily have
to have physical sliders and controls-

you can also take advantage of virtual indicators to get more information on your
mix. Two favorites in this area are focused on use with Ableton Live: The Ableton Push 2 and the Novation Launchpad.
These two devices lie at opposite ends of
the virtual spectrum, but they build upon a
few basic concepts: pads that allow selection of loops or tracks, and the offscreen
display of a lot of information. However,
the actual implementation is vastly different one each device. The Push is a deluxe
user interface, featuring a large color display screen that can provide a wealth of
information on the currently selected track,
instrument or effect. In many ways, that display provides as much information as you
get on the computer display-or more!
The Novation Launchpad, on the other hand, uses pads for everything: clip
selection and volume/pan/send settings.
The track controls use each vertical row
of pads as level/pan settings, and provide feedback using the backlighting of
the buttons. It's surprisingly effective, and
is particularly useful for creating quick,
on-the-fly mixes and live performances.
The most nuanced of these controllers
are those that are completely virtual. They
live on a device such as an iPad, and provide detailed software feedback while morphing (sometimes in real time!) to support
whatever the software can throw at them.
Some DAW companies depend on third
parties to provide virtual controllers, while
others (e.g. Apple, with Logic Remote) provide apps as a convenience for their users.
Until recently, these virtual surfaces, built
on generic touchscreen devices, were the
state of the art. Then along came Slate
Media with the RAVEN, an eye-catching
controller that's the virtual equivalent of the
big consoles of the past. For example, the

RAVEN (MTi2 or MTX Mk2) is a largescreen multitouch device that has deep integration with a variety of host software packages, and can be paired with the CORE
Station desk to create an eye-popping
studio layout. While an iPad will allow you
to go slim-and-portable, a RAVEN forms the
center of an impressive control room.

How to choose?
Choosing a control surface requires several considerations: cost, portability, and the
workflow you're hoping to achieve. Basic
MIDI surfaces are affordable and portable,
but virtual control apps are even cheaper-
if you have a tablet already. Mechanical/
motorized controllers and large-format touch
displays are visually impressive and serve
as a centerpiece for your workspace.
There's also the issue of tactile response.
Some people really like the feel of real faders under their fingers, while others love
the ability to swipe their fingers across a
glass surface. I would strongly suggest that
you test each of these options, take advantage of every friend and colleague that
might have something for you to demo,
and make as informed of a decision as
you can before investing a lot of money.

Conclusion
Hopefully, this gives you an overview of
what hardware is available for your use.
Next month, we'll take a look at what it
takes to use a controller in your studio, and
what the interface into your DAW looks
like. Until then, keep practicing, keep recording, and keep having fun!

Darwin Grosse (grosse@recordingmag.com) is a musician, engineer, podcast host, and software guru, living and
working near Minneapolis.
RECORDING June 2019

http://www.mag.com

Recording - June 2019

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