This is the new Steinberg control surface. (See the hands-on video at SonicState.) It’s built to integrate out of the box with Cubase 4, which if you’re a Cubase 4 user should be good. You or I might give it a name like “CubaseControl” or something, but Steinberg has seen fit to call it the CC 121, which sounds like it was lifted off of a MIDI specification. No matter — they can call it Eustice if it’s a good controller.
But that’s not the only odd thing about the CC 121. There’s a little light that goes on to say it’s “Cubase Ready.” (The marketing materials say this gives it “instant plug and play.” I’m not entirely sure why you need an LED for that, but I guess it’s comforting or something.) Then there’s the control layout, which has so much blank space that it looks a little like someone dropped a stack of encoders and buttons on a piece of paper and glued everything where it fell.
But the oddest thing about the CC 121 is the controller choices themselves. The whole point of previous single-fader control surfaces — at least, so I thought — was creating a compact device that can sit by your mouse. The point of the CC 121 seems to be, well, EQ. There are a full twelve dedicated EQ encoders. For everything else, there’s … uh … one knob. (It’s the one that says “VALUE” on the right side.) It is supposed to be a really smart knob, at least. Here’s how Steinberg describes it:
“Ultra-precision Advanced Integration controller knob with ‘point and control’ support: controls any visual Cubase 4 parameter, internal FX setting or VSTi parameter using mouse pointer selection”
Translation: you can click on any setting in Cubase and control it with our encoder, one setting at a time. Want to control more than one setting at a time? Say, delay time and wet/dry mix? Sorry. There are four buttons so you can change the function of the one value knob, but not the obvious solution of having any more than one knob. I know what you’re thinking. There’s blank space all over this unit, so why couldn’t you just have four “Advanced Integration Controller Knobs”? I think I have the answer: if you did that, you wouldn’t have room for the “Cubase Ready” light.
You may think I’m just using this opportunity to beat up on Steinberg and be snarky, but I’m not.
The Magic of Third Parties and Broad Compatibility
No, on the contrary, this illustrates something I’ve suspected for a long time. Just as most screenwriters shouldn’t direct their own films, software developers shouldn’t necessarily make hardware controllers for their own software. Sometimes the magic works; sometimes it doesn’t. Either way, having choices beyond those the software vendor chose is a good thing. Third-party hardware can work with more than one app (in case you ever use something other than Cubase), it can provide more choices (in case your needs are different than someone else), and it provides the much-needed perspective beyond the folks who built the software. You may not get the brand name of your DAW on the unit, but smart software can still make the out-of-box experience just as integrated. That doesn’t mean I think the software vendors shouldn’t try — as Alan Kay is often attributed as saying, “People who are really serious about software should make their own hardware.” But, even assuming he did actually say that, and assuming we should all listen to him, he didn’t say that you had to make that hardware for your own software, or that you’d be successful all of the time.
Someone out there I’m sure really, really loves tweaking EQ. Congratulations: the CC 121 is for you. For everyone else, you have not one but four excellent choices: Novation’s SL line, Frontier’s AlphaTrack and TranzPort, and PreSonus’ FaderPort. They all integrate fairly automatically with Cubase (even older versions which are incompatible with the CC 121), and give you lots of control. And that’s just compact control surfaces.
Not only that, but Novation, Frontier, and PreSonus all make hardware that works with other stuff not from Steinberg. The AlphaTrack, for instance, just added extensive support for GarageBand 4 (adding to a long list of other supported software), plus software you probably haven’t even heard of — SAWStudio by RML Labs and MultitrackStudio from Bremmers Audio Design. SAWStudio support didn’t grab the Messe headlines the way a Steinberg control surface did, but I’ll bet if you’re a SAWStudio user, you’re really excited. And that’s the point: we choose our software personally, so we should choose our hardware the same way.
Here’s a quick review of the other compact control surfaces available — not only for Cubase, but a lot of other software, as well:
There are various ways to bridge the gap between vinyl records and computers, as we saw last week. You can cut records with digital timecode. You can build controller hardware that simulates the resistance of a motor, or mechanically control digital media using the turntable platter. And then there are the brute force methods, like strapping mice to turntables.
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The Prevolt has put up some photos of his Ableton Live controller, dubbed Ambassador. I love that it shares a moniker with the AMC Rambler automobile, though I suspect that wasn’t intentional (pictured at right, photo: 
