Bands..................... sigh..........
and as always there are more sides to one story
LDQ -
the Control 24
before I decided to get the C24 I had already worked a lot on Pro Control, and never really liked it a lot, especially as, to get 24 channels ment one master and 2 slaves, with faders very wide apart, so you have to move out of the sweet spot all the time.
Then I worked on the C24 once and was sold. The money - as in over $20k less, helped as well.
As a Pro Tools controller the C24 is great to work with. Its easy to learn, well laid out. After a small learning curve you can work xtremely fast on them.
The monitor section, which apparently had some faults in the early models, performs really well. I opened it all up and everything (including the pre's) is class A components.
The 16 Focusrite pre's are useable. We don't use them, because we're spoiled with Grace's, Precission Audio's, Neve's and Vipre's, but I have used them and they work as they should. For a comparison I'd say they are better then for instance pre's found on Mackie's D8B and the like.
On top of that, there is also a good submixer which is ideal for MIDI / multiple keyboard applications.
Don't expect high quality longthrow P&G faders, but it suits my methods of working well, its fast, has remained trouble free for a year and its exceptional value for money.
Cajonezz - the current setup is Lucid clock, Lucid sample rate converter - one digi888-24, which only works to transmit AES signals from Lucid24/96 to Pro Tools, an ADAT bridge linked to 2 8 channel Lucid converters.
Next month however we'll change to Protools HD with two 192 I/0's and an 8 channel Stagetec mastering converter (157dB!!!!), which we'll run with the Lucid clock and SRC. One of the 8 channel lucids will stay, the other one will be sold (only as they don't go over 48). The Lucid 24/96's are definately staying as well.