From the moment I placed this control surface on my desk, I realized that reviewing this product was not going to be an easy feat.
Not because I had some doubts a priori about the correct functioning of the device, but because a control surface for DAW is a tool you do not know you need until you use it but fear that you will not be able to do without it when for a reason or a other you are forced to give it up. Actually it's just a matter of habit, if you have it you use it all right, but if you don't have it you can do without it without major drama.
Personal experience with an old man Yamaha 01X (for those who don't know it was a hybrid between digital mixer, sound card and remote controller): used to moving in my DAW with the jog wheel, mixing with the faders and working on the EQ curves with the rotary encoder, I continued for years working with an old workstation Windows XP 32 bit (Yamaha had stopped updating drivers) just to use the 01X as a control surface. Then it broke and I never replaced it, continuing to quietly produce without ... and finally with an operating system at 64 bit!! So in this review, I will evaluate the product, as well as for the technical characteristics, also to understand the real usefulness of such an instrument in the modern setup.
How to use a control surface
First of all let's describe what one is and what it is for control surface: probably the youngest ones do not know, or they know by hearsay, that in the past the mixing phase was only possible through an analog mixer (the digital ones arrived almost at the same time as the DAWs), therefore all producers with at least 40 springs on their shoulders, they are used to keeping their hands on the “bench” during the production of a song, especially in the final stages, to make those slight changes to the volumes of the tracks and to the equalization curves with a whim. With the arrival of DAW and mix in the box, all the mixer controls are virtualized on the computer screen, and the intervention on them is done simply with the mouse.
Since habits die hard and comfort is difficult to give up, the birth of control surfaces is certainly due to the feeling of being able to recreate that feeling to the touch, and a little to that practicality of intervening with your hands on the tracks, on several tracks simultaneously simplifying above all the difficult work of writing the automations: with a control surface therefore, in addition to having the entire project at hand as in the days of the benches analogical, we also have a tool that allows us to program automations with ten fingers, saving us the tiring creation of curves drawn with the mouse track by track.
Icon Platform M +
What the product looks like
The Platform M + is distributed in a practical cardboard box with handle, protected by two solid cardboard shapes that keep it protected from bumps. In the package you will find a DVD , a small operating manual for quick setup with the most used DAWs, thepower pack 12V-2.5A and a USB cable. The controller is small in size (39.5cm x 19.6cm - height 5.8cm) that can be easily placed on a desk, even if not too deep, between the monitor and the computer keyboard. A display (sold separately) can be connected to the device which would complicate the placement in front of the monitor a bit, as it would become necessary to raise the computer screen by at least 10 12 cm.
Taking the Platform M + out of the box, the feeling of robustness is immediately felt by touching the plastic coating with which it is built. The upper surface shows a metallic layer under the plastic, visible at the edges of the grooves and guessed by the sensation of cold to the touch. The weight (almost 2kg) confirms the solidity of the object, so we immediately feel sure we can place our hands on it without fear of damaging something, indeed we can't wait to hear the classic noise of the faders that rise to stop at the phantom theoretical level 0db.
Technical features
The models of control surfaces on the market are many and with different characteristics. So let's analyze everything that the device under test makes available to us and understand what it is able to do and what not. THE faders are nine in total, all motorized and “touch sensitive” (let's see what it means later). The last fader is dedicated exclusively to the master channel while the first eight can control eight “contiguous” channels of the DAW mixer at a time.
Each of these eight channels is equipped with a rotary control (which also functions as a button), assigned to the pan-pot / balance and four dedicated buttons for the functions SELECT, MUTE, SOLO, ARM. To the right is a DAW Control section with a multifunction Jog Wheel, the (channel, bank) keys to move (by one or eight channels) left and right the assignment of the eight faders to the channels of the virtual mixer, keys REW e FFWD to move quickly in the project timeline, the classic keys PLAY, STOP, REC e LOOP, a key Generic MIXER and keys READ e WRITE dedicated to the recording and reproduction of automations. Two keys for vertical and horizontal Zoom plus a Lock key to block the transmission of the movement of the faders to the DAW close the equipment.
Available connections include a connector USB type-B, taking of supply 12V, a connection (which looks like a firewire) for the optional display D2, four mini Din jack connections for expansion modules, Kensington security cable connector.
The non-negligible feature that immediately jumps to attention when analyzing the connections is the modularity of the Icon project, which allows you to start with a cost-effective control surface, allowing later expansion with other groups of 8 faders (Platform X +) and / or with a series of additional keys (Platform B +) plus a Display to view the parameters you are working on.
Let's make it operational
Platform M + is a device USB class compliant, so it does not need drivers to work with most operating systems (it is also compatible with windows XP 32-bit) and therefore theoretically simple to install; Unfortunately, however, the documentation provided is a little lacking therefore the initial configuration is not exactly immediate: the quick setup only indicates how to connect the controller to the power supply and to the PC and, with purely visual indications, it tries to explain how to set one of the 4 operating modes provided.
The supplied DVD has problems with the flash player and in any case the software version present is quite obsolete. In short, you go to your browser to download software and PDF manual from the Icon site. At this point the situation has not improved at all, as even the manual is poorly ordered and fairly poorly translated, so the moment of mental confusion continues further.
After a few turns among the dozens of pages dedicated to the configuration with all the DAWs in the world, dodging configurations with theX + extender and with the D2 display, I was able to understand that using the three SELECTION keys of the last three faders of the controller (left, right, daw) it is possible to select an operating mode readily indicated by the LEDs of the first four faders according to the following scheme:
led 1 - MCP (Nuendo / Cubase / Samplitude / Ableton Live / Reaper / Studio One / Reason / Bitwig / Sonar / Audition / FL Studio / Digital Performer
led 2 - Logic Pro
led 3 - HUI (Pro Tools)
led 4 - User Define
Once the MCP mode is set, in a few seconds the toy becomes operational and starts moving… sfussh !! finally the friction of plastic and metal materials is in harmony with the sound of the motors that push the 9 faders and me towards the apotheosis of the senses !!
Calibration of the faders
At the first opening and closing of the DAW, in addition to an undeniable emotion, it is immediately evident that the simultaneous positioning of all the faders is too strong, and the resulting jolt can induce cardiac arrhythmias. Since the manual does not mention calibration procedures, I decide to search the net, and so I realize that on the manufacturer's youtube channel there are several video tutorials for a wide range of products. I scroll down the page and voilà, "How To Calibrate Faders on the Platform M + by Icon Pro Audio”A video (obviously in English) that explains in detail how to calibrate the speed of movement of the faders with a relatively simple procedure.
Platform M + is turned on by holding down one of the panpot wheels and the device enters calibration mode, i.e. the faders start scrolling up and down the entire stroke all at the same time. At this point it is possible, with another panpot wheel, to lower or raise the speed of movement to your liking until the optimal setting is reached. Obviously I think it is necessary to intervene with a slight reduction in speed, making the faders more docile and less stomping. In the event that some faders are slower or faster than the others, it is also possible to intervene individually on the channel to adapt the movement to that of all the others and thus have a complete homogeneity of the motors (on the device under test there is no was needed).
But it's not over yet, because there is another problem to be solved, namely the sensitivity of touch recognition, the fateful "touch sensitivity”That is, how hard you have to touch the fader to make the sensor notices that you are touching it, releasing the motor brake which prevents you from moving the cursor up and down. For my delicacy, the sensitivity is set a little too high and it annoys me to have to push my fingers harder to make my presence felt (most likely the sensor principle is capacitive).
Also on this occasion I rely on dear youtube, but I only find a video that explains the procedure on the previous model of Platform M (the one without plus) and I must therefore hope that it also works on the model M+. That said, apart from the personal difficulty with English, everything is quite simple, just use the right panpot wheels and interpret the LEDs positioned on the 8 channels, and you can also calibrate the touch sensitivity according to your needs. Now I'm finally ready to start making Platform M + work.
What it promises to do
The Icon controller comes with a series of well-defined features and does not offer extreme customizations of the way it is used. The available scenes are only four, of which three are preset and cannot be changed. The fourth scene basically offers the possibility of modeling the basic functionalities on a DAW that is not among those listed, also because in the absence of midi out the device must necessarily communicate with a host. I do not exclude that with a little imagination you can use it in less orthodox scenarios, but for now let's focus on what it promises to do without too much effort and see if it keeps its promises.
After carefully analyzing all the equipment on board the Platform M +, this is what I expect to be able to control, without fuss, on my DAW:
- change the volume and balance of the channels
- change or solo the tracks
- make multiple selection up to 8 tracks simultaneously
- control the PLAY, STOP, REC and LOOP of the DAW
- use the Jog Wheel to move the focus on the project timeline,
- zoom horizontally and vertically, use the scrub function (by pressing the Jog Wheel)
- record and play automations
- assign the 8 faders freely to 8 contiguous mixer channels
Let's start immediately with a premise: DAWs are not all the same, so I expect slightly different behaviors between one production software and another, with the hope that everything is always easily traceable to linear behavior.
To confirm my deduction, I immediately notice that the "Mixer" button of the DAW CONTROL section is described in the manual with different functions depending on the DAW used: for Logic, Reaper, Studio One e FishFinder has the function of inserting Marker, while for Cubase, New, Live e Reason performs the function of shift key. If you accidentally expected it to open the mixer window, you were wrong.
How it behaves with Reaper and Ableton Live
Having your PC close at hand Windows, for the first test I decide to open a project on Reaper (after having properly configured the Platform M + as "Mackie Control Universal). The faders 1 - 8 are immediately positioned in the positions of the first eight channels of the Reaper mixer and the faders 9 assumes the position of Master channel. The synchronization of physical and virtual faders is millimeter and constantly guaranteed with any number of channels in motion and at any speed. The same goes for the (infinite stroke) balance knobs that control the software in a fluid and composed way, without jumps or hitches and which, when pressed, reposition the value in the center.
All channel keys correctly perform the function they are assigned to by default: you select, mute, solo and arm your tracks without any problems. Also there transport section it is perfectly configured so that the software responds correctly to the PLAY, STOP, REC and LOOP commands given by the control surface. The Channel and Bank keys allow you to move through the virtual mixer left or right to take control of the channels after number 8 (fader 9 obviously remains firmly anchored to Reaper's Master Out channel).
La Jogwheel it allows us to move easily within the timeline but unfortunately during the movement the audio of the project is reproduced in "scrub" mode. It is possible to deactivate this operating mode in the Reaper preferences, but it is not possible to configure scrubbing when pressing the Jog Wheel.
For the zoom meeting both horizontal and vertical of the GUI unfortunately there is nothing to do, the pressure of the two frets in combination with the movement of the Jog do not produce any result. I have tried repeatedly to configure Reaper to have the MCU protocol, but without success (with an additional controller akai I managed to do it quietly, therefore it seems a problem of implementation of the Mackie protocol on Reaper as, by checking with a MIDI monitors, the Icon device does nothing different than the Akai one and that is send MIDI CCs to the DAW). The Mixer key, as indicated in the manual, inserts a marker at the point where the cursor is located.
The management of automations is the real strong point of the marriage between Icon and Reaper: with extreme simplicity it is possible to arrange in write mode all the channels for which you want to record track automations and immediately the DAW starts listening. Once the reproduction of the project has started, every slightest movement of the faders is received and promptly reported graphically on the timeline. Once the drafting of the automations is complete, it is necessary to switch the channels on which you have worked to the read mode, to avoid overwriting the curves and to be able to enjoy the resulting listening enjoying the spectacle of the motorized faders that reproduce our dynamic score.
The behavior of the Platform M + is completely identical to what has been described up to now even when used in combination with Ableton Live 9, except for a couple of however significant things: the mixer key, fulfills the function of shift key and not of marker, the zoom keys in combination with the Jog Wheel finally perform their task of magnifying the horizontal and vertical axes, helping not little in the editing phases of the project, while the READ and WRITE keys of the automations, considering the different architecture of the Live workflow, respectively perform the useful functions of swap between the Session window and the Arrange window, and shifting the focus from the Arrange / Session to that Edit Clip.
If you are wondering if it is possible to record track automations, the answer is yes: obviously enabling the automation arm, which on Live is not channel specific but is valid for the entire session, all the movements of the faders and wheels are recorded and subsequently reproduced.
Undocumented oddities: by simultaneously pressing the two zoom keys (horizontal and vertical) and subsequently enabling vertical zoom, the behavior of the Jog Wheel changes from zoom to track selection.
Poorly documented oddities: by pressing the left chan and left bank keys simultaneously (combination indicated by the flip silkscreen) the faders and the wheels exchange functions for which the balance / pan-pot is controlled with the sliders and the channel volume is set with the rotary controls.
Su Ableton Live it is really easy to change the assignment of the keys of the Platform M + by intervening directly on the DAW and not on the hardware, in fact for convenience I have decided to assign the swap between the Session / Arrange window to the Mixer key and to the WRITE key the enabling of the automations, using just two seconds.
Unfortunately, even on Live it was not possible to have the "scrubbing" function by pressing the Jog Wheel.
How it works with Logic and Cubase
At this point I started wanting a DAW on which to be able to control all the functionalities that the Platform M + seems to have been designed for, which is why I inevitably assumed (I should have thought about it before) that I would have to turn to the most popular software in absolute, namely Logic or Cubase. Having only Logic Pro X on a not very recent Macbook Pro (with Yosemite operating system), I shifted my attention from the Home Studio work environment to the typically Mobile one of the laptop. In an uncomfortable position, I set the control surface to “Logic” mode, plugged the USB cable into the Macbook, set up the Mackie Control Universal on Logic Pro, and opened an old project and started fiddling around.
Wonderful!! An excellent working environment, perfect correspondence between hardware and software, channel control and management of the automations flawless even on the Apple environment and in addition all the DAW functions available: horizontal and vertical zoom, Jog Wheel that enables scrub when pressed. It is visibly clear that this device was developed with Logic Pro in mind and subsequently declared compatible with other DAWs as well. Surely the same satisfaction of use will be obtained with Pro Tools one of the four modes being provided exclusively for this software (which also has a completely different communication protocol for remote control) and most likely also on Cubase. But maybe on Cubase we can get rid of our curiosity, a moment that I call a friend and I introduce myself in his studio 😉
As we wanted to prove, even with Cubase 9, the operation of Icon Platform M + has been compliant with 100 %, a clear sign that the project was developed (and tested) mainly for these work environments. Moreover, it is not conceivable to create a universal product considering the often substantial differences that characterize audio production software. It probably would have been a good idea to offer more factory preset and better documentation on the behavior of the controller with the various DAWs, perhaps with some suggestions on how to best customize your work environment.
Touch sensitive faders and comfort of use
Regardless of the production software with which we are interacting, the comfort of use of the Platform M + is always of a high level, clearly above expectations considering the price range in which it is placed. The faders are robust and pleasant to the touch, and the rotary controls, despite the small surface available, are well spaced, allowing you to intervene easily without unlikely contortions of the hands. The rotation of the knob is favored by a movement in small clicks, which allows a certain precision in setting the desired value. The keys, all backlit with light Verde, red o blue depending on functionality, they offer immediate tactile and visual feedback, and are arranged in a decidedly order logical ed efficient.
La touch sensitivity it is an important plus, as it allows greater precision in the recording phase of the automations (the writing of the curve begins when the fader is touched and not when the software realizes that it has been moved, losing the first part of the movement) complete safety during the playback of the automations, because by touching the moving fader, the playback of the automation is stopped, preventing forcing (with possible damage) the motor that pushes the cursor.
La Jogwheel it is ergonomic and very comfortable: high enough to allow an easy grip between thumb and forefinger for small movements and with the upper surface curved inwards to comfortably rest one or two fingers and perform fast scrolling (would have been appreciated an additional notch to ensure greater adherence to the finger). The only thing missing is the classic four cursor keys for moving in the four directions (and for zooming without keeping the Jog Wheel engaged) but actually in this project so compact and economical they just didn't fit. The Jog Wheel is also favored by a precision small-click movement. Certainly the optional display would greatly improve the user experience, offering the possibility for the engineer to stay focused on the controller without having to look up at the monitor to orient himself in a project with a large number of tracks.
From an aesthetic point of view, I think I can say that the Platform M + is at the height of the functional one and deserves a fairly high score: the black livery of the upholstery, enriched by the colored lights of the keys and the silver reflections of the sliders and knobs of the channels , has an attractive and decidedly professional appearance, easily placed in any context Home o Pro.
In a short home session of vocal recording (with Ableton Live), I immediately found myself at ease interacting with this controller, significantly speeding up the whole process of monitoring volumes on the headphones, writing takes, replaying and choosing the best takes. pre-mix of countertops. In short, definitely a nice help for me and my carpal tunnel. Passed with full marks
Editing and Customization Software
The supplied software basically performs two functions: updating the firmware and customizing mode 4, which is the only memory scene available to the user. The firmware update procedure is a bit convoluted, but all in all quite fast (I updated to the 2.05 before starting this review). Each time the software is run, it is necessary to select the device in use (by virtue of the modularity of the system) before being immersed in the editing of all the controls and keys present on the Platform M +. Although the first three scenes are not editable by the user, the software offers the possibility to explore all midi codes with which these configurations have been preset, a very useful thing also to understand the operating principle of the implemented protocols (MCP e HUI) from your DAW.
The configuration of scene 4 is obviously completely editable, making it possible, with a lot of patience, to model the operation of this controller to your needs. Surely I imagine DAW alternatives to those contemplated in the specifications, or completely different situations, such as virtual instruments or, why not, photo and video editing software.
Remote Controller for Skorpio devices
The Platform M + does not have MIDI connections therefore it is restricted to use with host systems, ie computers. Actually an exception is a mode of use with the device Scorpio of Sound Devices, a hybrid digital mixer e SSD recording. Using a D2 display and a special version of firmware (available on the manufacturer's website), the Icon controller can be connected via USB to a Scorpio device, effectively transforming it into a total remote controller for this digital recording system. An interesting feature that could be extended to other devices of this kind.
Documented oddities in the wrong place: at the end of this test, in the Skorpio firmware user guide I find the explanation of the faders calibration procedures and the touch sensitivity.
Conclusions
It is difficult to sum up after this experience with the Platform M + control surface, a low-cost device that nevertheless allows you to greatly facilitate work in the studio. There is a lack of appropriate layers (or scenes) selectable on the fly (as on the famous Yamaha 01X) to quickly switch from volume and balance control to control of equalizers or Aux sends, but I realize that Icon offers this potential on models high-end (series Qwith). While it is possible to use the custom scene in a variety of ways, being forced to turn off the controller and turn it back on (or open the editing software) to change presets is not the best of convenience. However, limiting itself to the control of the basic operations of a DAW, the service offered is of considerable depth and usefulness.
Working mainly with Ableton Live, an environment where it is very easy to reassign keys, faders and wheels to what is most useful and save the settings within the project, I can imagine a nice and creative use of this control surface also for the realization live performance (the dimensions and weight of the device allow it without trauma).
Surely the modern producer will be able to do without this controller in his production workflow (and here I always keep in mind the scene of the video "Making of" Break'n A Sweat "where Skrillex in a working session with the Doors, with an incredible speed sequences a series of clips working exclusively with the touchpad of the macbook), but for those who feel the need to physically own their project and their channel strips, Platform M + proves to be a perfect, simple and functional tool.
Undeniably the analog mixer style feeling, with the physical movement of an object in space, favors the mental process of association action-result: placing a sound in the stereophonic landscape by turning a knob with your fingers is extremely more natural than pointing an object on the screen with the mouse. Furthermore, being able to intervene simultaneously on several variables reduces the number of plays necessary to evaluate the changes made, avoiding distorting the original idea of the piece you are working on.
I believe that at the moment, in this price range there is nothing comparable to this beautiful device and I hope that Icon will continue to develop the project, with firmware updates in step with the evolution of audio production systems, especially by virtue of the next arrival of MIDI 2.0 which could open up really interesting scenarios.
Pros Cons
Value for money Inaccurate documentation
Faders Touch Sensitive Only a custom user scene
System modularity Selection of scenes only at power on
Robustness Lack of MIDI OUT
Good compatibility with different DAWs
Pasquale Tarricone
Useful Information
Official website: IconProAudio
Italian distributor: Mogar Music
Product: Icon Platform M +
Price: € 280,00
