I use i3 99% of the time. I just have plasma on the back end because my keyboard locks when I play openarena in i3. I assume there's some buffer that isn't clearing. I just play it in wayland instead.
I don't know much about samplers, but I have an full sized Behringer x32. There's a rack version with software control. There's an android app too. The things a beast. 40 channels. 16 mix busses. 32 inputs, 16 outputs, plus two house outs. 100 full board presets. It can store channel presets too. I have mine hooked to a midas pro stage box, for the quality preamps.
But if what you're looking for is a controller (faders etc that control a virtual mixer) and not an actual mixer, presonus make some quality gear, and I believe it can be used via standard midi. They also have the "faderport" which is like an all purpose single fader controller. And it looks like they have multifader versions now.
I use one of these as a controller, because the multifader faderport didn't exist when I needed a controller. It's a hefty piece of hardware. You can shift banks if the mixer / busses exceed the number of physical channels.
Also, quick question on audio while I have you. If you were going for a budget but quality sampler rack and mixer board combo for a DnB/Jungle producer, what would be your gear ideas/choices??
And honestly, once you get into pro audio equipment, good luck with "budget." Good physical gear isn't cheap. There's why the trend has been towards software emulation.
It actually wasn't intentional per se. I used to have secretaries, and they had their own computers with dual monitors, so when I canned them, I ended up with a few extra monitors. Fuck it. I put them to use.
If you're looking for a controller to improve workflow, I'd read the faderport docs and check the presonus forums re compatibility for your use. I understand it's a decent piece of equipment, and it could avoid some use of a mouse, at least for mixing, plus the need to switch to the mixer window. At $199 new, there have to be some used going for far less.
Actual physical mixers on the other hand are rough anywhere south of $1k, and analog mixing is shit unless you can find an old studio quality board that isn't damaged, though most good analog boards will need dual 220v and functional power supplies.
I tend to avoid mixers. I bought the x32 + the midas box for getting my kit on tape. Aes50 (ethernet) midas box (in sound room) -> board (in control room) -> rednet/dante (ethernet) -> cpu
Yeah I totally understand, that's why I down for the used stuff, old stuff and maybe have to do some minor repairs tradeoff. Like in the 800$ market. Still software will be the main workhorse.
Before I had kids, I spent ever dime I had on gear. Then I had kids. Now, while I'm rich in gear, I'm poor in cash. The days of purchasing equipment are over. 😭
This beast can take 48 mic inputs, preamp them, a/d convert and then send the channels over ethernet using the aes50 protocol.
The x32 mixer can accept up to 32 aes50 channels. It can then send up to 32 channels out. I have a dante card in the board (another protocol / chip). It send 32 channels to my cpu, which itself has a dante pcie. The cpu then sums that two left and right and sends it back out dante to dual channel rednet controller I own to which my monitors are connected. Total round trip from mic to cpu to the monitors is roughly 1ms if no plugins are running. A piano key, to jammer, to string, to the ear is 7ms. 😏
I mean software can do the job, no doubt, but boy the hardware makes for sound quality that is hard to replicate, and sound effects. I want to just invest a little and get a boost on my sound, not go overboard lol.
And I mean, I'm a serious nigger when it comes to mixing. One guitar track could be 4 to 6 channels, two busses, with multiple layers of eq, compression, reverb, etc. And each channels comprising the single track will be phased aligned after careful analysis of the wave forms.
And you don't want to know what the drum portion of the mix looks like. Let's just say with busses, it's probably near 60 channels. 😏
Holy shit yeah, what a task. I seek a lot of comments about audio plugins from producers that have to do special things to reign in rock/metal arrangments. Quite a crazy artform tbh, but cool nonetheless, a metal oriented engineer recommended the Shadow Hills Master Class Compessor to me and I think it does good with DnB, it's good with making muggy sounds warm and punchy.
Yeah... when I see an edm guy on an ableton push doing shit live that sounds great, I'm like.... you mother fucker. Meanwhile, I'm spending an hour trying to figure out where a squeek is coming from and how to suppress it. 😭
It's detail work. And honestly it's hard. My best periods have been around Christmas / new years when I can literally avoid work for two weeks, so I can get weird. It takes three of four days of my working before I can really get into that mindset... kind decouple from the world and live inside my own head where I can be creative. I wish I could live there year round.
It's kinda like an X forward (of the plugin window, but not actually X) with an audio over ethernet loop. It allows for multiple cpus to be used for mixing. It's too slow to be used live, but could increase mix down power if you have a bunch of cpus laying around.
I can hardly imagine. The most "sound engineering" I've ever done is with Audacity. My best skill is to record with my mic, then open Audacity and do Noise Profile -> Noise Reduction -> Amplify.
Now do that with eight channels. Then add an eq to one. Pan half, left half right. Etc. It's not hard, just tedious. It's like learning to walk. One step at a time. At minimum, to mix, you should learn how to use a parametric eq, with shelf / cutoff, what a compressor is, and how to delay. Most other audio devices are some variation on eq, compression, or delay. Reverb is just a type of delay. High gain guitar (metal distortion) is just compression in a tube. Eq is everywhere.
Real metal amps distort by increasing the size of the natural sine wave the guitar puts out beyond the size of the tube the signal is running through. This results in a square wave, because the smooth archs are cut flat by the physical tube. The tube is said to also compress the signal because the loudest sounds and quietest sounds become largely equal because the the signal is so large inside the tube that all notes come out at the same volume. The loudest just get chopped that much more.