if you're after a MIDI controller with a great feel and plenty of hands-on controls, I would seriously consider a Panorama controller. Unfortunately, all personal settings of the T6 are deleted then and unfortunately you have to repeat this process every time you load a Cubase project. Please note that this forum is user-run, although we're thrilled to have so much contribution from Drew, Will, and other UA folks! Note: When you transmit this file back to Panorama, it will replace everything in the Panorama’s memory with the contents of the file. Select which DAW you want to control straight from Panorama, in absolute real-time and regardless of what’s in focus on your computer.

It’s rare, but every now and then something unexpected can happen and communication between two MIDI devices can become confused. not ultra-compact but certainly not so big that space couldn’t be found for it in a fairly modest workspace. The 8 encoders above the fader section provide access to panning or one of the 8 sends by pressing the Toggle/View button. The Track and Bank (accessed via Shift) buttons allow you to navigate to individual tracks on the TFT or switch banks of channels in the Cubase Mixer.

Of course, if you are adjusting single track levels with a P4 or P6 controller then the quickest way to do it would be to simply select the track that you want to alter and use the motorised fader to set your new level. There is also the capability to save preset configurations for both the faders, encoders and eight LED buttons (beneath the faders), and, separately, for the F-Keys. As with any generic hardware control surface, there is a little work to be done in the initial configuration but, once done, the operation seemed very smooth. There are, of course, some excellent MIDI master keyboards that integrate a control surface within them and these include Nektar’s own P4, P6 and Impact LX and, while it is not quite the same tactile experience, if you already own an iPad, apps such as V-Control Pro, AC7 Core HD or, for Cubase, Steinberg’s Cubase iC Pro provide a different type of solution.

You can then move straight onto assigning a sound to another pad if you wish and audition sounds as you go.But it's also very light and rather cheap so no biggie and I don't think it's a problem in the sense that it'd break, just that it feels a bit cheap. Importantly, the Panorama P4 and P6 combine a high-quality keyboard with controls that feel solid and the addition of a motorised fader just makes the prospect of owning one even more appealing. Thankfully, the controls themselves are suitably chunky and well spaced out; you will not find yourself knocking one control while trying to get your fingers on another. After all, even if I were to use a Panorama in its current state with Ableton, it still gives me more than most other MIDI controllers on the market (e.

One of the key attractions of Panorama controllers is the number of physical controls that they provide you with. However, as we already mentioned, this doesn't mean that you can't use un-configured software with the Panorama; if the DAW/plug-in is not configured then you just won't have access to some of the deeper integration features that the Panorama currently offers with Reason and Cubase. On this note, given how much Panorama controllers can do, there is the inevitable menu diving if you want to take full advantage of its power, although the good news is that for all your most common workflow tasks, the most you'll have to do is press a button to switch modes.Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. Mix multiple channels at once like on a hardware console using Panorama’s nine 45 mm faders – and the motor fader on P4/P6: With level control under your fingertips, mixing “in the box” becomes much more intuitive. With the P1, I wonder if I would spend more time trying to figure out what each knob does, which might become frustrating?

Having briefly experimented with this mode using the Cubase Generic Remote option, it seems very easy to use and, most helpfully, the TFT still gives you very clear visual feedback for whichever set of controls you choose to display. Still no luck after 5 hours of trying different combinations in Reaper and resetting factory setting on my new P1 controller. In addition the deep instrument and device control integration technology created by Nektar for Cubase and Reason enables transparent control, as if you were operating hardware. For example, in mixer mode you can control the mute and solo statuses of each track, or in instrument mode the buttons might be used to toggle plug-in parameters.

These rotary encoders can be toggled between pan and send levels (for up to eight sends) using the Toggle/View button. While the Mixer and Instrument modes will be where most time is probably spent, the Transport mode offers some useful additional options. With this powerful feature you could for example enter edit mode, zoom in and select a tool with just one button press. In most of the VSTis I experimented with (Steinberg and third party), there were multiple pages of parameters you could control, but the TFT defaults to showing eight parameters and these are linked to the uppermost eight encoders.