CONSOLE 1 FADER USER’S GUIDE |
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This is an elegant way to let the engineer focus on other
things, while the musicians can fine-tune their head-
phone mixes themselves.
Please note! This only works when Console 1 Fader is in DAW
Control mode .
As a real-time controller for ambient
music (live or studio)
As a musician, you could create a number of sonic land-
scapes (tonal, rhythmic, sound effects etc.) on several,
long stereo tracks. As a performer, you could create mu-
sic (some would say world music) in real-time by playing
those tracks and pushing faders and fiddling with the
Low/High Cut and Pan controls.
A laptop and Console 1 Fader would be your ideal part-
ners for this adventure. Just imagine!
As a remote control for the producer
(studio)
Some producers take a very active part in the production
process. You may be working on a project, and the per-
son next to you (be it a co-musician, producer, or other
collaborator) wants to suggest mixing changes from time
to time.
It could be a great idea to give that person the Console
1 Fader to play with. That way, both of you would have
access to the transport controls, volumes, mute and solo,
etc. You would not have to fight about who owns the
computer keyboard or mouse.
Create a vocal backing track á la 10cc
(studio)
Do you remember the 10cc hit “I’m not in love”? It has
some of the most complex, creative, and artistic vocal
backing tracks (or should we say vocal pads?) ever cre-
ated in pop history.
It is based upon numerous, multitracked voices, where
each track on the multi-track machine consists of one
long note. By playing back those voices and pushing the
mixer faders, the 10cc members could create the chords
they wanted in real-time while listening to the rhythm
track.
There’s a video describing the process in detail here:
https://youtu.be/3oxe4mlsQos
Instead of voices, you could be using other noises (musi-
cal or not) to create your wall of sound. In real-time.
Now, try doing that with a mouse …
Organize your layers to avoid confusion
As mentioned elsewhere in this manual, organizing
groups of channels into layers can make life so much
easier. During a mixing session, it can be a good idea to
group a bunch of channels into one layer.
Or you may be working in a stem-like scenario, where
all tracks of the mix are grouped into stems (stereo audio
tracks). Backing vocals on one, lead vocals on another,
acoustic guitars on a third stem and so on.
Your brain may find it easier to sort the various groups
and stems, if the stems are on a separate page in Console
1 Fader. Even if you are using Console 1 Fader on mixer
channels 1–23, there is no reason for your layer’s master
faders to be on the first pages. You may find it easier to
give those layer master faders a separate blank page, say,
the page containing channels 41–50. That is perfectly
doable, even if Console 1 Fader is not used as an insert
on tracks 41–50.