![]() Possibly a better example is the venerable but still awesome SansAmp PSA‑1. In both cases, there is a sweet spot for the controls which is best found by tweaking both controls at once. The same could be said of the Pultec EQ trick, where a simultaneous boost and attenuation of the low frequencies results in a pleasing bottom‑end lift. An obvious example might be 1176 plug‑ins, which make much more sense when you can raise the input at the same time as lowering the output. Depending on exactly what is being controlled this is anywhere from a pleasing improvement to a complete game‑changer. Physical faders are hard to compete with for tactile feel, and the faders on the S1 are great quality, high resolution, touch sensitive and, most importantly, quiet (does anyone else remember the Yamaha 03D faders?).Ĭlosely related to faders are physical encoders, with multiple encoders again meaning that you can control more than one parameter at a time. Multi‑touch is of course available via touchscreen tablets, and many of the apps for them are available for free, such as the Avid Control app, but anyone who has used such devices for mixing will know how easy it is to ‘fall off’ the fader. Many people working today started out with software faders before moving on to hardware, which certainly wasn’t the case years ago when the first generation of hardware controllers were released. Being able to control multiple faders at the same time is a huge advantage, as is being able to feel the faders under your fingers. Most of us are familiar with the advantages of a physical fader over an on‑screen alternative. So what are these killer applications? Faders (Obviously) What is needed here are ‘killer applications’ things you can do with an S1 which are so helpful that they are reason enough to engage with the surface on their own. It’s never a fair competition between the mouse and keyboard and any alternative means of control, as the one thing which is virtually guaranteed is that pretty much any user of any DAW already knows more about how to use it with keyboard and mouse than they do about controlling it using a control surface. ![]() What it took me longer than it should have to appreciate was that it’s not enough for a control surface to be as good as controlling software using a mouse and keyboard: it has to be better. In a past life I used to train new users on the old Diginet control surfaces like the D‑Control and D‑Command, and after I’d shown people how to use the control surface I was occasionally frustrated to find people still using the trackball. In his April 2020 review of the Avid S1, Sam Inglis highlighted its simplicity of use and deep integration with Pro Tools thanks to EuCon, the proprietary connection technology which allows control of Pro Tools and other EuCon‑enabled applications, which can’t be rivalled by generic DAW control protocols like HUI. We explore ways to get the most out of the Avid S1 controller. The Avid S1 offers hands‑on control of Pro Tools via its eight faders, eight rotary controls and plethora of buttons. ![]()
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