MusicRadar Verdict
An established, well-built product. However, there are now cheaper controllers with better functionality.
Pros
- +
Ideal for complex mixes. Built to last. Favours a hands-on approach.
Cons
- -
MIDI connectivity only. Lack of standards emulation. Increasingly outdated.
MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. Find out more about how we test.
The Control Freak Studio Edition offers a complete set of 16 faders and buttons, making it ideal for tweaking complex mixes. Like the Kenton Spin Doctor, it only has MIDI connectivity, so you´ll need to budget for an additional MIDI interface if no ports are currently available in your setup. The Control Freak feels like it´s built to last -- all of the controls are substantial enough to survive the rigours of regular live use.
The faders on the Control Freak offer roughly one third less travel than those on the Behringer BCF2000, although this is unlikely to be a serious problem (unless you want to make ridiculously accurate adjustments).
More importantly, the Studio Edition isn´t capable of emulating any of the industry standard control surfaces, which will be an issue for some users. However, Reason 3 does offer native support for the device, so owners of this software should certainly consider taking a look at it.
The Control Freak Studio Edition is a solid performer that´s been available for quite some time. However, since it was introduced, the market has moved on. Likely to appeal most to those who want to get hands-on with the mixing of larger projects, the Control Freak Studio Edition is still a sound choice, but it no longer represents the best value for money option out there.
“This is a beautiful, well-executed Les Paul, and that’s the sort of guitar you tend to hold onto for life. That’s as sound an investment as there is”: Gibson Les Paul Standard ‘50s Double Trouble review
“We were able to fire up a bass sound that was indistinguishable from the flavour of New Order’s Blue Monday in seconds”: EastWest Sounds Iconic review
“How long did it take me to get over it? Oh, quite a while”: Brian May on the “supreme injustice” of Roger Taylor’s Queen B-side "making as much money as Bohemian Rhapsody"
