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One important detail that is helpful when troubleshooting control surface problems is how Logic or GarageBand "knows" when an OSC control surface is available for use, and decides if it is one it already has registered or not. When it discovers a new candidate it checks its "Bonjour name" to determine how to proceed. Part of this checking distinguishes between different types of devices, like whether the controller is running on an iPad, iPhone, or iPod touch, the type of controller, and the device's name.
All this happens automatically behind the scenes and is normally not something you need concern yourself about. The device name though is critical because it is how Logic and GarageBand decides between two different devices that may be running the same control surface app.
For example if you have two iPads and run lpTouch on both, but at different times because you learned you cannot use more than one OSC controller at the same time , Logic distinguishes between the two iPad's based on each device name.
The device name is what you named your iPad, iPhone, or iPod touch when you first set it up. However continue reading as some nuances may lead to Logic or GarageBand thinking you have two different controllers when you are actually only using one. Some users choose simple single word names but it's also common to use something like "My iPad" or "Alice's iPad". Names such as these that feature multiple words separated by spaces, or contain certain punctuation marks, will appear to Logic as different devices when TouchOSC is used versus when lpTouch is running.
If your device name is one of these types then each time you switch between TouchOSC and lpTouch, Logic will ask to register a "new" control surface.
If you do not use TouchOSC then this is of no concern. Keep your device name as it is and continue to use lpTouch without giving it another thought. But if you want to use TouchOSC's Logic "template" sometimes, then you should consider changing to a new device name that does not cause Logic to believe it is two different devices.
The "safest" style name would be one that is a single word, and contains no unusual characters underscores and dashes are OK. Note that the ' apostrophe has been discarded. You might be thinking "So? Many users will never experience issues using lpTouch, gbXRemote, or other control surfaces.
New users who have never used another control surface are very unlikely to encounter these issues. However it is possible if Logic somehow damaged the control surface preferences in the past and you never noticed it, until now. The most common instances where this could become an issue are: You use Logic Remote sometimes, and lpTouch others.
You have used TouchOSC in the past, and your iPad has a name that causes the "naming differences" mentioned previously. Since this is considered a different OSC controller because it does not run on the same iPad , Logic will attempt to have two controllers.
You just upgraded your iPad to a new model and are using a different device name from the previous iPad. You have two iPads that you use interchangeably with Logic. Your Logic set up is used by another user who has her own iPad. If your situation is similar then it is recommended that you follow the steps described in the next sections. The best strategy once you are aware of this problem, and have "fixed" your Logic control surface set up, is to avoid situations that can lead to it reoccurring.
This is actually easy if you follow some basic rules, and users with a single iPad who only run lpTouch will probably never even encounter such a situation. Basically it all boils down to one principle: Never try to use another control surface along side lpTouch, and always make sure that Logic always has but a single control surface in its set up.
Simply disconnecting or not using the other control surface is not enough! Logic must not show it in its control surface set up screen. For example, if you are currently using another controller, or have in the past, then you want to make sure that Logic's control surface setup screen looks like the screen below before you run lpTouch for the first time.
It's always best to start with a clean control surface set up before installing any OSC controller! If you should forget this and Logic shows the "New OSC device" popup like when running lpTouch for the first time , simply click "Cancel". Open up Logic's control surface set up from the Preferences menu item , delete the other control surface s , and then reconnect lpTouch to Logic, this time answering "Add" to the popup. By the way never "check" the 'Don't show again' option.
Also, remember that Logic will not save these changes until you exit. Once you have your control surface set up completed, we recommend you exit Logic so that the changes are saved. Furthermore it is a good idea to save the preference file in a safe place if you have further customized your control surface set up. Or consider the method suggested in ' For the paranoid '.
If you try to delete one or more control surfaces from Logic's set up screen this will likely cause a crash. GarageBand 10 users have a bit simpler situation since GarageBand starts each time with no registered control surfaces.
If you wish to change between say Logic Remote and gbXRemote, or just want to use a different iDevice, you should save your project and exit GarageBand. Obviously this is not an ideal situation but it is the only way to avoid problems until Logic and GarageBand safely support multiple OSC control surfaces at the same time. If you suspect your control surface preferences are corrupt, or you just want to absolutely make sure you are starting with a clean slate, then you should follow this procedure to delete the existing control surfaces preferences settings file.
Logic will create a new version of this file the next time it exits. Unfortunately if you have a corrupted file and that file contains your favorite control surface customizations that you laboriously slaved to create, those will be lost. This is one reason why a backup after making such additions is essential. Exit Logic and make sure your OSC controller apps are not running. If you fail to do this Logic will overwrite the new "clean" file with whatever it thinks are the current control surface settings, negating your efforts.
Locate the file com. Empty the trash to make sure it stays deleted. If you want to use multiple OSC controllers, you may need to perform these steps if you notice problems: Exit GarageBand if it is running. Locate the one named: com. Once you have created a control surface group, you can configure it in the Setup window.
For more information, see Control Surface Group parameters overview on page You can configure your control surface setup to meet your needs by editing these parameters. Important: Any changes to settings in the Setup window or from the device are saved in a preferences file, named com.
This file is saved independently of the Logic Pro Preferences file. When the device is added, the automatic setup or scan procedure sets the appropriate MIDI input and output port settings for the device. Module: Shows the name of the control surface.
Model: Shows the model name of the control surface. Version: Shows the firmware version for some control surfaces. Color: Click to select the color that indicates which tracks are being controlled by this control surface. Choose the color from the color picker that opens. In the Tracks window, the tracks controlled by this device are colored along the left edge of the track list when control surface bars are displayed.
Special parameters Some control surfaces such as the Mackie Control allow you to define special parameters such as fader touch sensitivity. When a device that offers special parameters is connected, the special parameters area appears in the inspector. For more information about supported special parameters, refer to the documentation for your device.
These parameters apply to the group associated with the selected device and allow you to set up each group to meet your needs. Many group parameters can also be changed directly from the control surface.
Control Surface Group parameters are divided into several areas. Display parameters Flip Mode pop-up menu: Choose the functions for the faders and rotary encoders of the channel strips on the device.
For control surfaces that contain a fader and a rotary encoder for each channel strip, Flip mode allows you to assign both controls to the same parameter, or to swap their assignments. The choices are: Off: Standard mode, with the fader acting as a volume control. Duplicate: Assigns both the fader and encoder to the currently selected encoder parameter. Swap: Switches the fader and encoder assignments, making the fader a pan control and the encoder a channel volume control, for example.
Mute: Disables the fader. This is useful when recording in the same room as the control surface and you want to avoid the mechanical noise of the faders. Any existing automation still functions normally. Display Mode: Click to limit the device display to only the name or only the value of the current parameter. This is helpful if there is insufficient space for the display of both the parameter name and value.
Clock Display: If your control surface features a position display, this parameter determines how the playhead position is represented. Channel Strip View Mode pop-up menu: Choose one of the following views: Arrange: The channel strips on the device correspond to Logic Pro channel strips as they appear in the Mixer window.
The layout of channel strips matches the way tracks are laid out in the Tracks window. Channel strip 1 in the Mixer window is equivalent to channel 1 on the control surface, channel strip 2 in the Mixer is equivalent to channel 2, and so on.
Instruments and channels used by multiple tracks are merged into one channel. This is the default mode of most devices, including the Mackie Control. All: The channel strips on the device correspond to Logic Pro channel strips of certain types, such as MIDI or aux channels, independent of their use in tracks.
Control surfaces that support this view generally allow you to define which channel types you want to display. Tracks: This view is similar to Arrange view, but individual channel strips are shown when multiple tracks address the same channel. Typically, this is a software or MIDI instrument channel, with several tracks routed to it. You can determine which parameters are edited by the channel strip controllers on the control surface.
Note: The View is a property of the control surface group, not a global setting. One group can display busses, while the other shows tracks, for example. Fader Bank for Tracks View: Drag vertically, or enter an integer value to offset which tracks are controlled by the channel strips of the device in Tracks view.
For example, if your device has eight channel strips, these might normally be assigned to audio channel strips 1 8 in Logic Pro.
Fader Bank for All View: Drag vertically, or enter an integer value to offset which Logic Pro channel strips are controlled by the device in All view. This parameter is only available when multiple channel strip types are displayed in the Mixer. When single channel strip types are displayed, there are separate fader bank parameters.
These aren t displayed in the parameter list. Channel Strip Parameter pop-up menu: Choose which function is controlled by the channel strip encoders on the device. The choices are: Volume: Encoders adjust channel volume. Pan: Encoders adjust channel panorama position. Format: Encoders adjust or select channel format. Input: Encoders adjust or select channel input source. Automation: Encoders adjust or select channel automation mode. Group: Encoders adjust group membership of the track.
Editing the parameter allows you to set either no group or a single group. Enabling membership of multiple groups is not possible. This can only be done directly in the Logic Pro Mixer. Displayed Par.
This is especially useful if you set the control surface to Arrange view, and your Tracks window shows multiple automation subtracks with Logic Pro parameters. Surround Parameter pop-up menu: Choose the surround parameter that the rotary encoders will control. The choices are: Angle: Encoders adjust surround angle. Diversity: Encoders adjust surround diversity direction. Spread: Encoders adjust the Spread parameter of Stereo to Surround channel strips.
X: Encoders adjust surround X position. Y: Encoders adjust surround Y position. Center: Encoders adjust the Center channel level. Note: The X and Y parameters are a different representation of the Angle and Diversity parameters, and thus are independent of them. The X and Y parameters support the use of surround joysticks.
The choices are: Frequency: Encoders adjust the frequency of the selected band. Gain: Encoders adjust the gain of the selected band. Q: Encoders adjust the Q factor of the selected band. The Channel and Linear Phase EQs feature eight bands per audio channel, with each band offering four parameters. All of these parameters can be accessed with your control surface. If your control surface does not display all EQ parameters at once, you view them by stepping through the parameter pages in sequence.
For example, if your control surface has eight channel strips, you can directly control parameters 1 to 8 with knobs or sliders 1 to 8 when you switch to EQ Channel Strip Edit view. You then need to switch by a page to access parameters 9 to Control Surface Group send and plug-in parameters The parameters in the middle of the Control Surface Group parameters let you control different operational aspects when working with send and plug-in parameters.
Send and plug-in parameters Send Slot: Drag vertically, or enter an integer value to set the currently selected Send slot. The default is 1, which sets the first top Send on each channel as the Send slot. A value of 2 sets the second send as the Send slot, a value of 3, the third Send slot, and so on. The choices are: Destination: Encoder is used to determine the bus channel number for the Send slot.
Level: Encoder is used to adjust the Send level. Send Parameter Page: Drag vertically, or enter an integer value to set the current page for the Send parameters. Up to 32 parameters are available in Send Channel Strip view for a given channel eight Send slots multiplied by the four parameters listed above.
Split: no. The remaining encoders belong to Split Lower. A value of 0 means that Split mode is off all encoders are assigned to the Split Upper area. They are called Split Upper and Split Lower. Instrument Parameter Page: Drag vertically, or enter an integer value to determine which parameter is assigned to the leftmost encoder when editing a software instrument.
The next instrument parameter is assigned to encoder 2, and so on. This applies to Split Upper when Split mode is turned on. Inst Param Page Split Lower : Drag vertically, or enter an integer value to set the parameter that is assigned to the leftmost encoder of Split Lower when editing a software instrument when Split mode is turned on.
Insert Slot: Drag vertically, or enter an integer value to set the current Insert slot number, both for selecting a plug-in in Plug-in Channel Strip view and for editing its parameters. The default is 1, which sets the first top plug-in slot on each channel as the Insert slot. A value of 2 sets the second plug-in slot as the Insert slot, and so on. This applies only to Split Upper when Split mode is turned on. Insert Slot Split Lower : Drag vertically, or enter an integer value to set the current Insert slot number for Split Lower when selecting or editing a plug-in when Split mode is turned on.
Note: The effect plug-in and instrument page parameters are kept separate because this allows you to quickly switch between editing an instrument and editing an effect plug-in on a channel, without adjusting the parameter page every time.
Plug-in Parameter Page: Drag vertically, or enter an integer value to define which parameter is assigned to the leftmost encoder when editing a plug-in. The next plug-in parameter is assigned to encoder 2, and so on. Plug-in Param Page Split Lower : Drag vertically, or enter an integer value to define which parameter is assigned to the leftmost encoder of Split Lower when editing a plug-in with Split mode turned on.
Channel Strip Track: Drag vertically, or enter an integer value to define which track is displayed for Channel Strip views. Channel Strip Track Split Lower : Drag vertically, or enter an integer value to define which track is displayed in the Split Lower section of the control surface for Channel Strip views, when Split mode is turned on. Track Lock checkbox: Click to determine how the control surface responds when a track is selected in Logic Pro in essence, this remotely affects the Track and Track Split Lower parameters.
When Track Lock is turned on, the control surface group continues to display the same track, independent of the currently selected track in Logic Pro. When Track Lock is turned off, the control surface group automatically switches to the track selected in Logic Pro. Other parameters Track Name Format: Choose whether the track name display shows only the track name or the track name and number.
Parameter Page Shift Mode: Choose whether the parameter is shifted by one page or by one parameter. Relative Change Mode: Choose the mode for controller assignments that support a Relative Value Change mode rotary encoders, for example. The choices are: Coarse: The parameter is adjusted in coarse steps.
Full: Rotating the encoder to the right sets the maximum value and rotating it to the left sets the minimum value. The encoder also stops at its default value. For example, when the Pan knob is left of center, turning the encoder to the right initially sets the Pan parameter to the center position its default value.
A further turn to the right sets Pan to full right its maximum value. Fine: The parameter is incremented or decremented in fine steps by one tick or other unit. In this mode, the highest possible resolution is used.
For example, when editing the Sample Delay plug-in s Delay parameter, every encoder tick increases or decreases the value by 1 sample, regardless of the resolution value. Mix Group: Drag vertically, or enter an integer value to determine which group is edited when in Group Edit mode. Group Parameter Page: Drag vertically, or enter an integer value to define which parameter of the edited group is assigned to the leftmost encoder. Important: If you want to make changes to the default assignments of control surfaces, you need to use the Controller Assignments window Easy view or Expert view.
See Controller assignments overview. Click the General or Help Tags tab to access the associated preferences. This command is useful for silencing motorized control surface faders when recording in the same room. General preferences Bypass All while in background checkbox: Turn on to allow your control surface to be shared with other applications, when Logic Pro is not the active program.
Resolution of Relative Controls slider: Drag to set the resolution of controls that change values in a relative manner. The default resolution is steps. Choose a higher resolution value to divide the value range into finer increments.
You can adjust the value if MIDI or automation playback is being affected. Touching fader selects track checkbox: Turn on to select the track corresponding to the fader when you touch a fader on the control surface.
Note: This feature works only with devices that have touch-sensitive faders. Control surface follows track selection checkbox: Turn on to automatically select the corresponding track or channel on the control surface when you select a track in the Tracks window.
To retain a consistent resolution, regardless of Logic Pro window zoom levels, deselect this checkbox. Pickup Mode checkbox: Turn on to use your control surface in Pickup mode if this mode is available.
Some control surfaces, typically those without motorized faders or knobs, do not show parameter changes caused by playing back existing automation data on their interface.
Such control surfaces usually offer a Pickup mode. In Pickup mode, the controller must reach pick up the current value before the value starts to change. This feature prevents sudden jumps of parameter values caused by playing back automation.
In a standard control surface configuration you can use a single control surface, or several. Each device can run independently or can be part of a control surface group comprised of multiple devices as described in Create control surface groups in Logic Pro. The number of devices that can be used simultaneously depends on the number of free ports available on your system.
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Yes, you can tune out your eyes from the computer screen and make some fun with analog-style controls. Actually, an analog environment is a basic need of any studio.
No matter how much this digital world captures the audio recording, the feel of the classic analog environment will always be in demand.
And a control surface can fulfill this demand in a better way. Control surfaces are a good example of a classic analog-style user interface with a powerful digital environment working behind it. Faders are used to control the gain of tracks in mixer and DAWs.
The gain is measured in dB. When we increase the volume by 1dB the amplitude of the wave doubles. This doubling nature of dB makes the faders more complicated in balancing low-volume instruments. And with a computer screen and mouse, you have to struggle hard to achieve your balance.
Here control surfaces help us, where you can play with subtle changes in faders and get a better mixing than computer mouse and keyboard. Obviously, a control surface can change the look of your studio. If you managed to get a big control surface you can be able to change the whole look of your studio. If you are going to automate your songs then a control surface is a must for you.
With control surfaces, you can easily achieve the best automation in no time. As compared to digital mixers with the same number of faders and controls, control surfaces are far cheaper.
You can get control surfaces with a fraction of the cost of digital mixers. I know, you are wondering which is the best DAW controller for logic pro x? There are many control surfaces are available in the market that supports Logic Pro X. They are under your pocket length, full of features, and also have a great-looking user interface. This tiny powerhouse will surprise you in every stage of your recording and mixing session. Presonus Fader Port is a perfect combination of low budget and powerful control surface.
You can get it with just a fraction of money than other standard control surfaces. This 5. If you are searching for the best control surface for logic pro x then this will be my 1st recommendation. Presonus Fader Port has dedicated transport control. However, many control surfaces have dedicated transport controls but imagine a control surface you can hold on your hands when operating. This is an added advantage of Presonus Fader Port and makes you more comfortable in a long recording session.
Due to the doubling nature of dB , in the low ends, you struggle in balancing your faders on the computer screen. In the low ends like below dB, a very small movement of fader can change the sound dramatically. Here a full-length mm physical fader helps you to optimize your mixing.
With hardware faders, you can play with those small volume changes without struggling with your computer mouse. Presonus Fader Port has not only mm standard fader but the faders are motorized too. The motorized fader helps you to create some awesome automation in your tracks.
Along with transport control at the bottom, Presounus Fader Port has a full range of dedicated transport and edit buttons. Presonus Fader Port has 24 buttons covering 40 different functions, and all these features you get in a compact 5.
This feature is useful for musicians who record individually. However, you have to spend a good amount of money, if you are going to own this amazing gear. Although, this is a high-priced gear even it is far less than a good digital mixer.
They feel sticky and not tactile enough. Akai, if you're reading this, please find better gel buttons on your devices! It is affordably priced and works great out of the box. Perhaps it's not the most full-featured controller around, but if you're looking for the best control surface for Logic Pro X on a budget, you'll love this unit.
With regards to their design, I found the Behringer X Touch to be a rather thick and clunky control surface. It is not as slim as many of the control surfaces I have tested. I'd even say that when placed on a desktop, you might have to raise your chair height an inch or two if you are sitting while operating it. The height and thickness make it a tad uncomfortable reaching for the faders and make it hard to see the display properly while sitting.
Despite the less than ideal thickness, this control device performs rather superbly, especially for serious producers. Aside from the physical dimensions, the device has connectivity options galore. While testing, I connected the device to Logic. It offers a really stunning functionality level with all the faders, knobs and buttons. The device supports the MCU protocol quite extensively. The transport buttons here feel really firm and sturdy and are very functional.
For example, they have lights to show their current status. The jog wheel also enjoys this design feature. That said, it is not as firm as the transport buttons and feels rather cheap and tacky. The large, chunky size, however, makes up for this lapse. One of my favorite features — something few control surfaces in this budget offer — is the small LCD scribble strips at the top of each channel fader.
This instantly tells you which track or parameter you're controlling. The standout feature for me, however, has to be the motorized faders.
It's one of the rare control surfaces on the market with a whole array — nine — of motorized faders. As mentioned earlier, the interaction with Logic is one of the best features of this device. It has full support with Logic as well as other DAWs.
Despite the integration with Mac OS, the lack of a Mac editor is jarring. The build quality is a little disappointing considering the price. The motors on the faders is tacky and feels liable to break. The lack of customization options in the editor is also a letdown. Recommended for: Gigging musicians that have a home studio will find the functionality of this device quite ideal. It's also great if you want to move from a small home setup to something that's more professional. For our money, this is the best control surface for Logic Pro X as far as performance is concerned.
Even the design language follows that purpose. You won't find unnecessary screens and tabs and buttons. Everything is limited. Some might see this as a problem, but I see this as a perfect example of a tight, single-purpose device.
You won't have to spend hours studying the manual; everything is intuitive and easy to figure out on your own. Throw in the fact that it also has wireless connectivity though latency takes a hit and a small footprint, I rank it as the best control surface for Logic Pro X if portability is a top priority. At the bottom of the front panel, there are the long-throw faders. The top of the panel features the Mute, Solo, Record, and select buttons. This is a departure from the Kontrol 2 which had the aforementioned buttons cradled between the faders.
Aside from these buttons and the faders, the front panel has a single jog wheel and a scene button. I like the increased functionality this offers. It allows me to change through 5 controller assignment pages with ease whenever I use it in the MIDI mode. The keyboard layout on this device is also intriguing. There are an additional 8 knobs and trigger pads as well as an axis touch controller. Given the focus on simplicity, all the buttons are clearly labeled Mute, Solo, Record, Select.
This really improves the user experience, at least for beginners. Additionally, the rear panel features a switch that toggles between the USB or Bluetooth mode. While testing, I found the connections easy to make and quite seamless. However, I encountered some connectivity problems when using the Bluetooth function on a low battery. Latency is also questionable over Bluetooth mode, but if you're producing on Garageband, it's more than acceptable. The NanoKontrol Studio is compatible with a number of apps.
When I connected the control surface to my MacBook, I discovered that there are plenty of modes available. The device functions just as a normal MIDI keyboard does when connected to the computer. Mapping had to be done manually as there is no Live remote script or Logic plug-in. However, the keys afford a lot of functionality. They offer the user a built-in Arpeggiator among other functions.
The touchpad has 3 different functions that are accessed by using the buttons just south of it. You can use it as pitch bend and mod wheels, you can use it as a controller, and it can be used to play notes. It has functional issues on iOS devices — though I don't consider this a major issue since you'll be using it with Logic Pro i. A major concern is build quality.
The entire unit is housed in a lightweight plastic body. A couple of bad drops and this plastic can crack easily. Given its portable credentials, I would have preferred a tougher body. So bummed I bought this thing.
I'm in shock! I see these posts about the lack of compatibility with Logic Pro X and I just sent an email to Arturia and got a reply telling me that the Keylab 88 is not compatible with Reason 8. These are the two platforms I work in. I received no work around ideas and "No option B". The controller is lovely to look at but obviously if it doesn't work with two of the top 5 DAW's something is wrong here.
So, my option is to return my Keylab 88? Anyone have any ideas or info? Does the looming hush of silence tell me everything I need to know? Arturia: Please address this for not only myself but for the people on this thread.
I'm new to this forum. I'm a busy guy. I'm not making trouble. Just want to be informed and make a move quickly - whatever my option is.
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