Review: Euphonix MC Mix

Euphonix packs a punch in pro audio circles. Since it went entirely digital with System 5 large-format consoles it’s been steadily repackaging that same technology into more compact, and much more affordable, controllers. The first of these was the MC Pro, a console aimed at post production duties, and capable of driving various DAW and video editing platforms via the company’s EuCon protocol. However, the MC Pro is a pricey piece of equipment, and shelling out around 20 grand for a control surface isn’t everybody’s idea of a good time.
Which leads us to Euphonix’s foray into the project studio market with its ‘Artist’ series of controllers – the MC Mix and MC Control. At the time of writing this review Euphonix was still tinkering under the bonnet of the MC Control. It features four faders and a touch sensitive OLED screen, and I’ve every reason to suspect it will be a formidable controller. For now though, we’ll look at the eight-fader MC Mix, which is actually the cheaper of the two devices.

ONLY WAFER THIN

The first thing you’ll notice about the Artist series is its size – trim and terrific. The MC Mix only stands 35mm high when sitting flat on your desk. Built-in computer keyboard-style retractable feet raise the unit to about 46mm at the rear and 32mm at the front. Additional brackets are provided to levitate the unit further, and provide an even more stable footing. Up to four units and an additional MC Control can be physically joined to create a single console with 36 faders, if that’s your bag.

Communication is via ethernet and, as mentioned, the MC Mix uses Euphonix’s EuCon protocol. Ethernet is easily a faster and more reliable medium than the MIDI and MIDI-over-USB avenue used by other controller manufacturers. But obviously not all DAW creators utilise EuCon. Which is why the Euphonix controllers will operate in HUI mode, so ProTools users aren’t left out in the cold. Ableton Live, Digital Performer, Final Cut and Soundtrack Pro and Propellerheads’ Reason will also submit to the MC Mix via the HUI protocol, while Steinberg users will have to register and download the free EuCon adapter software for integration into Nuendo and Cubase. Connecting multiple MC Mix units requires a standard 10/100base-T switch – connect your controller(s) to the switch and the switch connects to the host computer, all with Cat-5 cabling. These days, an eight-port switch is a reasonably inexpensive purchase – you should get change out of $100. However, if you’re using multiple computers, it’s worth shelling out half that again for a switch or router capable of tackling 1000base-T – the more headroom the better I reckon.

Power is supplied to each unit via a 12V DC inline adapter (no wall wart, in other words), with the only other port on the MC Mix being a 1/4-inch jack plug for a footswitch.

FADE IN

The faders themselves have quite a silky feel – there’s none of that ‘notching’ you can experience with some other controllers, and the distance between faders feels akin to a typical analogue console layout. All the buttons across the MC Mix are backlit and many take on secondary duties when either of the two Shift buttons are pressed. The Shift state of operation can be ‘locked in’ by pressing both Shift keys at once.

Alongside each fader are two backlit buttons. The first will record-arm a track or, in its Shift mode, toggle between automation modes for the track. The current automation state is displayed in the OLED display above the fader strip. Interestingly, Euphonix has dispensed with Latch mode within Logic Pro. The lower button will select a fader strip and corresponding DAW track, or, in its Shift state, allow a fader strip to be locked to a particular DAW track. Now, regardless of what bank changes are made, that fader will always represent the chosen DAW track – handy for keeping a vocal continually assigned to Fader 1, for example. Naturally, bank changes are possible or the faders can be nudged through their assignments consecutively.

Moving up the fader strip you’ll find dedicated Solo and On buttons – with ‘On’ functioning as a mute or ‘track on’ button. Why it isn’t just labelled ‘Mute’ is a mystery, especially when there’s another smaller knob labelled ‘On’ higher up the fader strip. While I’m bitching about the unorthodox labelling, I should also mention that all the labelling is quite small and difficult to read at any distance. This seems at odds with the startlingly legible OLED displays above each fader. Sure, you’ll soon get used to each button’s role without looking, but initially I found myself spending quite a bit of time assessing what each button did. Moving up the fader strip we see the aforementioned smaller ‘On’ button, used for toggling dual-state parameters on plug-ins. This sits alongside a ‘SEL’ button for alternating the rotary encoder functions. Normally the rotary encoder is assigned pan duties, but it can also be set to control aux sends or plug-in parameters. The encoders are touch-sensitive and also act as pushbuttons.