That's awesome, I gotta check this thing out. Just like mixing on a real mixing board. I mix on a Behringer X32 for our worship band and Sunday Services. This looks like a great option for quickly getting a good mix. Although not as fun as mixing live and the pressure of not messing up infront of a huge room of people. 😜😁
@@Newmusicreview I don't now if you can hook any other controller into Resolve. As far as I know, it doesn't work like a traditional Mixer/DAW combo where you can mix from the DAW or from the Board itself.
Hi Casey. Yes, its a nice control surface but its pretty expensive at $3600. Blackmagic used to support the Behringer X-touch which is 3200K cheaper (also with motorized sliders), but after v16 they removed support which was a real downer. $3600 is way too expensive for the actual tech that goes into these things IMHO.
Check out Tachyon Post controllers. He makes software that lets you use either a Arturia Beatstep or AKAI APC40 MIDI controller for Resolve. I haven't tested it myself, but I'm thinking about buying a second hand APC40 mk2 just for this reason.
@@nj1255 Hi NJ, Thanks for you reply. Ive contacted Tachyon Post to see if they have a solution of if what they have could be modified in some way. I will let you know if I get a response. Also did a little digging on the internet and found another possible option. DM me and I'll pass it on. I don't want to make it public as BM may cut support for that also. Regards
I'm using a Behringer x-touch with it on V17, both on Mac and PC. It only really works in Fairlight, but I don't recall it working in other sections in prior versions. I'm using the full x-touch with the 8 channels and one master, I haven't tried adding an "extender" yet. It doesn't support all the functions, but the sliders, arm, solo, mute and the transport controls all work.
Hi Marcus, Thanks for your reply. I finally got my x-touch to work after doing a clean reinstall. Davinci can leave some files after after uninstalling that can cause an issue.I've not used it in anger yet on a projectbut from what I can see its very good value for most users and pros compared to the official Fairlight panel. @@mjlagrone
It would have been worth it if it wasnt resolve only. Barely any one doing professional audio is using Fairlight in resolve and a good controller isn't really going to solve that for them. AVID, love or hate them, have fantastic controller and software integration to and guess what, I can use them in every other program too which supports EUCON (most of which that matter in a professional environment do.)
Casey, I have seen those one covered so many times already What about the next level up. There are no videos on the console after this one. Can you do a review of that console?
A deeper dive to this would be appreciated. Not much info is available on this panel so a detailed overview of the value it can give you over the DAW controllers that this competes with would be valuable.
As it's made specifically for Fairlight, I don't think its made to compete with other controllers, per se. It's aimed at the folks who have committed to Fairlight, and want a controller specifically design for it. (Like AVID's Pro Tools control surfaces.) Now, If you look at something like the PreSonus line of Faderport gizmos, you get motorized faders for a lot less per channel (1/4 the cost?) but that's almost all you get, without a whole bunch of fiddling to make the MIDI controller work, and even then, you won't get the Fairlight functionality this thing offers.
For that price you could buy two 8 channel SSL controllers plus a SSL channel strip with as many SSL plugins as you want. They are seriously good. $3600 is a ridiculous price. Get the SSL people, it’s way better. This is totally over priced.
Here's my issue with this, Fairlight just isn't as powerful as an audio suite as the best of the best so spending 4 grand on a console for it is like putting overly expensive tires on a 1987 Civic.
Same reason why the BM's color panels are more expensive than the competition. Deep integration with the software not possible with anyone else. Though it's a tougher sell on this panel due to Fairlight's adoption being so much lower than anything else and has hardware that is similar to other DAW controllers capable of controlling many other pieces of software at a much lower price (just look at SSL UF8. You can buy 2 of them for less than the cost of the Fairlight panel). MIDI is an open standard and can be used to control more than just audio software. Because of this many colorists still prefer to use Tangent's systems over the BM Mini panel, price and the ability to collaborate with more people who use different tools.
@@billB101 Not an audio person myself but I don't see compression controls or a jog wheel on the Presonus. The Fairlight Console seems to be built around navigating the timeline quickly and adding details and adjustments to what is already there. As someone who owns a Speed Editor, BlackMagic's digital jog wheels are the best on the market. Most are better off with the Presonus due to being able to buy 3 of them and still spend less money than the Fairlight, but I don't know how well third party midi controllers/consoles work in the Fairlight tab specifically atm. There is more to a daw console than faders. Maybe an SSL UF8 + UC1 like I mentioned previously? You would still spend less money than the Fairlight Console.
Great, thanks, talking about a plug… :-) Can you do a video, especially about working with plugins like Waves audio or iZotope? Compressors and for example the new Clarity from Waves.
Is this yours or just review? Bcz i saw also the ssl controller and co sole 1...tbh console1 is a bit stupid bcz you have to buy every plugin for a 100bucks each and the ssl is just an ssl also chamnel and fader. I really wanna have an audio controller for faster work tired of clicking
Hey I know that what I am going to as has nothing to do with the video, but I am hoping that I can get an answer anyway. I am editing in Davinci and am trying to get better at white balancing, but I have come across a problem. I have all my whites balanced, but the black parts of the image are not correct. Do i then decrease the lift or do i switch to my Log controls and decrease the shadows? Thank you for everything you do.
Great Video Casey! Keep up the Awesome work. Im half way through your Ground Control Color training and Just Luvving it ! I was thinking about trying the End to End course at a latter point. Do you know if you're having any sales or discount codes in the next few months for this one. Keep up your tips and tricks on RUclips as I've been a long time Fan~ Thanks
Any chance you can get your hands on the Fairlight Audio Editor for a tutorial then a final video on best use cases individually and together. I could see the editor being more useful for smaller content creators, but this is just an assumption based on the marketing material, hope you are able to see if BM would lend you one!!
Fairlight user for 25 years. Awesome , reliable Hardware / Software. Forced to use Protools - stunningly awful, well marketed . Also forced to use Apple computer to operate Protools. Unbeleivably prehistoric , overpriced, underperforming waste of money. Currently building Fairlight studio , and exporting Protools session as required.
This is really cool. Not sure who is buying this for that price. It costs 3,500 and only works with Fairlight. That means it cannot be used for live streams or in any other DAWs. All the audio people we work with use pro tools and have never even touched Fairlight. For that price, it doesn't seem like a worthwhile investment. If this was a third the price, it would be worth it. Even then, it should be able to work with BMD's switchers to mix live audio.
In truth it's for facilities + speeding up time & while fairlight still needs a bit of work it's finally getting their not just because of it being in resolve but because of the future of multichannel/surround sound 😉, what do you think fairlight needs just interested?
@@mariotriforce I think Fairlight is awesome, it's just not well known enough among the audio community to justify the price tag of the mixing board. Especially since many studios use a dedicated audio person, and I mentioned this before, nobody we've worked with knows the software.
What's intresting is tho Atmos engineers are beginning to appear at the higher ends of industry as an in-between in mixing and mastering (fairlight is quite good at multichannel/onlineing audio mixes/mastering) and while I agree music people will go for the budget option and yet people still invest in consoles and their quite a pretty penny, yes fairlight needs work but it's at least useable now for people who don't want to invest and bmd will provide updates for their higher end panels so they can only get better (the touch high light ui & automation alone should be praised) & won't be just based off of midi *replys to both of you in the general sence 😉 * now that it's actually useable it can evolve 😋😋
Man I wished it at least had a very basic HUI protocol. I'd love to have it. But I can't justify it just being Fairlight as most of my work is still ProTools based. I think they really missed the boat there. AVIDs offerings cost around the same. Sure, the integration wont be as deep. But an S3 will still work on all major DAWs including Fairlight.
It's an interesting business model which is why the hardware is basically 10x over build cost instead of more typical 4x - it's paying for Resolve R&D overhead as well. Kind of a great strategy. The logic is that capital markets have capital at 14x production cost (e.g. 14x rents, 14x gross profit, etc.) PLUS the segment (video production) is in the marketing arena that is high-yield (should be in excess of 10 to 1 but variable.) Thus everybody (that's non-capitalized users) don't just get a competitive pro-level product - they get it for free. It just takes 2x longer to use it. That difference in time leverage is at least 4x better in the cost-benefit ratio to spend the time and not buy the gear - or to adapt something else. This stuff is strictly off-limits for that reason alone - besides that it will generally go from high dollar to scrap, with zero resale value, as dedicated stuff, within the usual 4-year payoff. Finally, if you think about it, this is the only business model that makes sense. It's similar to any premium-subscription model, where you're paying up-front for a year for the pro-version of something. As more layers of product pricing are added (up to 4) that is supplemented by other things, including (for example) media subscriptions, in-app purchases, as alternative "Ups". In this simpler model you have different levels of hardware and "suites" of hardware - pretty cool to be able to do that. Very Japanese of you. Not everything is garbage beneath the surface. And BM is notably better. Yamaha does this for Cubase. And these controllers are just a league above general midi controllers.
Now that we're talking audio: Imho the midrange heaviness of the BP40 doesn't flatter you. It's really designed to cut through a mix, but you are usually not in one. The Røde Procaster might be a friendlier choice (it does need an external windshield though). Or even... a condenser: the Røde Broadcaster might be just your thing. Anyway, more importantly: keep talking, stay funny.
Love Resolve but bought Nuendo 11 as Fairlight was hit and miss. Also blackmagoc design going the apple route of tying you to their hardware, I understand as they did the revolutionary act of making resolve as software for macs, then PC. They have reduced hardware prices, but you can buy the micro panel, but as you progress the next step up is the mini panel, which is basically the micro with a back panel added. So £700 for micro another grand for the back panel. Tangent has panels that are crippled by the fact that Blackmagic won't allow access to their API for other manufacturers. I can understand why though.
There is basically nothing that you can do with this that you cant do with many other controllers ( except for the monitor section) that are less than a third of the price. Just another marketing ploy.
Totally disagree. This can control every aspect of the app. It’s seriously stunning when u get into it. I just barely showed the potential of it. Other controllers can be mapped to various things, but they don’t give you native control like this.
Nothing special. Davinci copied Presonus. Presonus created audio mixers with motorized sliders many years ago. Davinci didn't even bother to change his appearance a little.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
That's awesome, I gotta check this thing out. Just like mixing on a real mixing board. I mix on a Behringer X32 for our worship band and Sunday Services. This looks like a great option for quickly getting a good mix. Although not as fun as mixing live and the pressure of not messing up infront of a huge room of people. 😜😁
You could use a Faderport 16 ?
@@Newmusicreview I don't now if you can hook any other controller into Resolve. As far as I know, it doesn't work like a traditional Mixer/DAW combo where you can mix from the DAW or from the Board itself.
@@JasonYadlovski Ah yes...I didnt realise that..
Wow could this control behringer xr18 mixer
Hi Casey. Yes, its a nice control surface but its pretty expensive at $3600. Blackmagic used to support the Behringer X-touch which is 3200K cheaper (also with motorized sliders), but after v16 they removed support which was a real downer. $3600 is way too expensive for the actual tech that goes into these things IMHO.
Check out Tachyon Post controllers. He makes software that lets you use either a Arturia Beatstep or AKAI APC40 MIDI controller for Resolve. I haven't tested it myself, but I'm thinking about buying a second hand APC40 mk2 just for this reason.
@@nj1255 Hi NJ, Thanks for you reply. Ive contacted Tachyon Post to see if they have a solution of if what they have could be modified in some way. I will let you know if I get a response. Also did a little digging on the internet and found another possible option. DM me and I'll pass it on. I don't want to make it public as BM may cut support for that also.
Regards
I'm using a Behringer x-touch with it on V17, both on Mac and PC. It only really works in Fairlight, but I don't recall it working in other sections in prior versions. I'm using the full x-touch with the 8 channels and one master, I haven't tried adding an "extender" yet. It doesn't support all the functions, but the sliders, arm, solo, mute and the transport controls all work.
Hi Marcus,
Thanks for your reply. I finally got my x-touch to work after doing a clean reinstall. Davinci can leave some files after after uninstalling that can cause an issue.I've not used it in anger yet on a projectbut from what I can see its very good value for most users and pros compared to the official Fairlight panel.
@@mjlagrone
It would have been worth it if it wasnt resolve only.
Barely any one doing professional audio is using Fairlight in resolve and a good controller isn't really going to solve that for them.
AVID, love or hate them, have fantastic controller and software integration to and guess what, I can use them in every other program too which supports EUCON (most of which that matter in a professional environment do.)
Casey, I have seen those one covered so many times already What about the next level up. There are no videos on the console after this one. Can you do a review of that console?
A deeper dive to this would be appreciated. Not much info is available on this panel so a detailed overview of the value it can give you over the DAW controllers that this competes with would be valuable.
As it's made specifically for Fairlight, I don't think its made to compete with other controllers, per se. It's aimed at the folks who have committed to Fairlight, and want a controller specifically design for it. (Like AVID's Pro Tools control surfaces.) Now, If you look at something like the PreSonus line of Faderport gizmos, you get motorized faders for a lot less per channel (1/4 the cost?) but that's almost all you get, without a whole bunch of fiddling to make the MIDI controller work, and even then, you won't get the Fairlight functionality this thing offers.
I'm looking at getting 1 of these and the audio editing panel. But what's Jean's info? I want to check out her bags!
For that price you could buy two 8 channel SSL controllers plus a SSL channel strip with as many SSL plugins as you want. They are seriously good. $3600 is a ridiculous price. Get the SSL people, it’s way better. This is totally over priced.
What is Resolve? I don;t think you mentioned
Awesome video!! Wonder if this will work in Reaper🤔🤔🤔
Fairlight usually carries a hefty price tag doesn't it?
Works in audio software? Mainly on the grounds I prefer Sauron....
Enjoy your videos! So informational and has helped me a great deal. I like those bags the lady is making. Where can they be purchased?
Here's my issue with this, Fairlight just isn't as powerful as an audio suite as the best of the best so spending 4 grand on a console for it is like putting overly expensive tires on a 1987 Civic.
What is wrong with a 1987 Civic? I love mine.
so how do you control the busses and submit with a make controller?
Nice video, 🥰
Did you even watch it?
Who asked
Wow thanks
can we hear the faders when they move automatically ?
Not sure why this device is so expensive compared with comparable devices in the DAW/audio world.
Same reason why the BM's color panels are more expensive than the competition. Deep integration with the software not possible with anyone else. Though it's a tougher sell on this panel due to Fairlight's adoption being so much lower than anything else and has hardware that is similar to other DAW controllers capable of controlling many other pieces of software at a much lower price (just look at SSL UF8. You can buy 2 of them for less than the cost of the Fairlight panel). MIDI is an open standard and can be used to control more than just audio software. Because of this many colorists still prefer to use Tangent's systems over the BM Mini panel, price and the ability to collaborate with more people who use different tools.
@@TrevorWilliams215 The Presonus faderbank 16 at £600 can do everything this controller can do and more.
@@billB101 Not an audio person myself but I don't see compression controls or a jog wheel on the Presonus. The Fairlight Console seems to be built around navigating the timeline quickly and adding details and adjustments to what is already there. As someone who owns a Speed Editor, BlackMagic's digital jog wheels are the best on the market. Most are better off with the Presonus due to being able to buy 3 of them and still spend less money than the Fairlight, but I don't know how well third party midi controllers/consoles work in the Fairlight tab specifically atm. There is more to a daw console than faders. Maybe an SSL UF8 + UC1 like I mentioned previously? You would still spend less money than the Fairlight Console.
Should be reviewing the price. Sheesh!! I think they want $3.6k for the console.
Great, thanks, talking about a plug… :-) Can you do a video, especially about working with plugins like Waves audio or iZotope? Compressors and for example the new Clarity from Waves.
… I’m combination with the console. Is it working efficiently with the console?
Looks like a cheaper made SSL UF8 with a few more channels and dedicated navigation as in the Behringer X-Touch all rolled into one…
Is this yours or just review? Bcz i saw also the ssl controller and co sole 1...tbh console1 is a bit stupid bcz you have to buy every plugin for a 100bucks each and the ssl is just an ssl also chamnel and fader. I really wanna have an audio controller for faster work tired of clicking
Please go deep! I love your content and your so good at explaining by showing so please make full tutorial 🙂
Hey I know that what I am going to as has nothing to do with the video, but I am hoping that I can get an answer anyway.
I am editing in Davinci and am trying to get better at white balancing, but I have come across a problem. I have all my whites balanced, but the black parts of the image are not correct. Do i then decrease the lift or do i switch to my Log controls and decrease the shadows?
Thank you for everything you do.
Adjusting wb generally involves balancing the brightest parts with gain, then the darker parts with lift, yes.
Great Video Casey! Keep up the Awesome work. Im half way through your Ground Control Color training and Just Luvving it ! I was thinking about trying the End to End course at a latter point. Do you know if you're having any sales or discount codes in the next few months for this one. Keep up your tips and tricks on RUclips as I've been a long time Fan~ Thanks
Glad to hear. We send out sales announcements through email, so stay tuned!
Any chance you can get your hands on the Fairlight Audio Editor for a tutorial then a final video on best use cases individually and together. I could see the editor being more useful for smaller content creators, but this is just an assumption based on the marketing material, hope you are able to see if BM would lend you one!!
From what I understand this is the newest and most applicable one.
too expensive for what it does
Fairlight user for 25 years. Awesome , reliable Hardware / Software. Forced to use Protools - stunningly awful, well marketed . Also forced to use Apple computer to operate Protools. Unbeleivably prehistoric , overpriced, underperforming waste of money. Currently building Fairlight studio , and exporting Protools session as required.
Not bad at all
Fairlight meant something completely different back in the 1980s. #earlyprosynth
I'll stick to my SSL UF8. 😉
What's with te audio? It sounds speeded up and 3 octaves too high! What's with that?
Please tell black magic improve DaVinci resolve , graphics and other things edit page...
Well, this video is kind of useless to me but, it is interesting. We live in the future. :-D
This is really cool. Not sure who is buying this for that price. It costs 3,500 and only works with Fairlight. That means it cannot be used for live streams or in any other DAWs. All the audio people we work with use pro tools and have never even touched Fairlight. For that price, it doesn't seem like a worthwhile investment. If this was a third the price, it would be worth it. Even then, it should be able to work with BMD's switchers to mix live audio.
In truth it's for facilities + speeding up time & while fairlight still needs a bit of work it's finally getting their not just because of it being in resolve but because of the future of multichannel/surround sound 😉, what do you think fairlight needs just interested?
@@mariotriforce I think Fairlight is awesome, it's just not well known enough among the audio community to justify the price tag of the mixing board. Especially since many studios use a dedicated audio person, and I mentioned this before, nobody we've worked with knows the software.
Presonus fader port 16. £600, same functionality and it'll work with Resolve and pretty much any other DAW you can hook it up to.
What's intresting is tho Atmos engineers are beginning to appear at the higher ends of industry as an in-between in mixing and mastering (fairlight is quite good at multichannel/onlineing audio mixes/mastering) and while I agree music people will go for the budget option and yet people still invest in consoles and their quite a pretty penny, yes fairlight needs work but it's at least useable now for people who don't want to invest and bmd will provide updates for their higher end panels so they can only get better (the touch high light ui & automation alone should be praised) & won't be just based off of midi *replys to both of you in the general sence 😉 * now that it's actually useable it can evolve 😋😋
Man I wished it at least had a very basic HUI protocol.
I'd love to have it. But I can't justify it just being Fairlight as most of my work is still ProTools based. I think they really missed the boat there. AVIDs offerings cost around the same. Sure, the integration wont be as deep. But an S3 will still work on all major DAWs including Fairlight.
It's an interesting business model which is why the hardware is basically 10x over build cost instead of more typical 4x - it's paying for Resolve R&D overhead as well. Kind of a great strategy. The logic is that capital markets have capital at 14x production cost (e.g. 14x rents, 14x gross profit, etc.) PLUS the segment (video production) is in the marketing arena that is high-yield (should be in excess of 10 to 1 but variable.) Thus everybody (that's non-capitalized users) don't just get a competitive pro-level product - they get it for free. It just takes 2x longer to use it. That difference in time leverage is at least 4x better in the cost-benefit ratio to spend the time and not buy the gear - or to adapt something else.
This stuff is strictly off-limits for that reason alone - besides that it will generally go from high dollar to scrap, with zero resale value, as dedicated stuff, within the usual 4-year payoff.
Finally, if you think about it, this is the only business model that makes sense. It's similar to any premium-subscription model, where you're paying up-front for a year for the pro-version of something. As more layers of product pricing are added (up to 4) that is supplemented by other things, including (for example) media subscriptions, in-app purchases, as alternative "Ups". In this simpler model you have different levels of hardware and "suites" of hardware - pretty cool to be able to do that. Very Japanese of you. Not everything is garbage beneath the surface. And BM is notably better. Yamaha does this for Cubase. And these controllers are just a league above general midi controllers.
Now that we're talking audio: Imho the midrange heaviness of the BP40 doesn't flatter you. It's really designed to cut through a mix, but you are usually not in one. The Røde Procaster might be a friendlier choice (it does need an external windshield though). Or even... a condenser: the Røde Broadcaster might be just your thing. Anyway, more importantly: keep talking, stay funny.
£3K? You can buy a 16 fader Presonus fader port with the same functionality for around £600.
Love Resolve but bought Nuendo 11 as Fairlight was hit and miss. Also blackmagoc design going the apple route of tying you to their hardware, I understand as they did the revolutionary act of making resolve as software for macs, then PC. They have reduced hardware prices, but you can buy the micro panel, but as you progress the next step up is the mini panel, which is basically the micro with a back panel added. So £700 for micro another grand for the back panel.
Tangent has panels that are crippled by the fact that Blackmagic won't allow access to their API for other manufacturers.
I can understand why though.
to complicate used mouse better. For show up ok.
The SSL UF8 >
There is basically nothing that you can do with this that you cant do with many other controllers ( except for the monitor section) that are less than a third of the price. Just another marketing ploy.
Totally disagree. This can control every aspect of the app. It’s seriously stunning when u get into it. I just barely showed the potential of it. Other controllers can be mapped to various things, but they don’t give you native control like this.
3600K....🤣😂
Yeah, let me see if I have an extra $3600 lying around. Would be nice, though.
sooner or later the price of the console will come down...It seems to be overpriced...
...and like said, they just lowered the price 400$....
So over priced.
Nothing special. Davinci copied Presonus. Presonus created audio mixers with motorized sliders many years ago. Davinci didn't even bother to change his appearance a little.
WTF are you talking about? Motorised faders have been around since the 1970s, it has nothing to do with Presonus.