Practising on Acoustic vs Electronic Drums: What You Need to Know

When it comes to developing your drumming skills, both acoustic and electronic drum kits offer distinct advantages and drawbacks. The choice often depends on your goals, environment, and long-term aspirations. Here’s how they stack up specifically for practice.

Electronic Drums for Practice

Pros:

• Silent Practice:
  The biggest advantage of electronic drums is the ability to practice quietly using headphones—ideal for apartments, shared homes, or late-night sessions.
• Built-In Tools:
  Most kits come with helpful practice features like metronomes, play-along tracks, loop functions, and recording options. These tools help refine timing, accuracy, and creativity.
• Sound Variety:
  With a wide range of sounds and kit emulations, you can experiment with different genres and styles, which is great for building versatility.
• Easy Setup and Portability:
  Compact and lightweight, electronic kits are easier to set up and move, making them practical for home practice or mobile teaching.

Cons:

• Feel and Response:
  Rubber or mesh pads don’t replicate the physical feedback of acoustic drums. The rebound, dynamics, and stick response are noticeably different, which can hinder adaptation to acoustic kits.
• Sound Limitations for Live Transition:
  While excellent for practising rhythms and coordination, the electronic kit may not prepare you fully for the volume, tone, and physical intensity of playing acoustic drums in a live setting.
• Long-Term Development:
  As you progress, you may find that electronic kits don’t challenge you to develop the finesse and dynamic control that an acoustic kit demands.

Acoustic Drums for Practice

Pros:

• Realistic Feel:
  Practising on an acoustic kit builds muscle memory and stick control that directly translates to live performance. The response and dynamics of real drumheads and cymbals foster better technique.
• Live-Performance Ready:
  If your goal is to perform live, acoustic practice conditions you for the power, sound, and presence needed on stage.
• Authentic Sound:
  You develop an ear for acoustic tone, tuning, and resonance, which is crucial for playing in bands or recording with microphones.

Cons:

• Volume Issues:
  Acoustic kits are loud. Practising at home can be a challenge unless you have a soundproof space or very understanding neighbours.
• Space and Portability:
  They take up more room and are heavier, making them less convenient for casual or mobile practice setups.
• Fewer Built-in Tools:
  Unlike electronic kits, acoustics don’t come with practice aids. You’ll need external gear (metronomes, recorders, etc.) to track your progress.
• Recording Complexity:
  Practising with recording or feedback in mind is more difficult—you’ll need mics, an interface, and possibly a treated room.

Hybrid Practice Approaches

Some drummers opt for a hybrid setup—acoustic shells fitted with mesh heads and triggers connected to a sound module. This provides the feel of acoustic drums with the noise control and digital tools of electronic kits.

Final Thoughts

If your main priority is quiet, flexible, and tech-supported practice, electronic drums are a smart choice—especially for beginners and hobbyists. They make it easy to focus on fundamentals like timing, coordination, and genre exploration.

However, if you’re aiming for live performance, nuanced technique, or professional-level playing, there’s no substitute for regular practice on an acoustic kit. The feel, dynamics, and physical demands of acoustics are crucial to mastering the instrument fully.

Best Practice Strategy: Combine both. Use electronic kits for convenience and drills, and acoustic kits to develop real-world chops and stage readiness.

The post Electronic Drums vs. Acoustic Drums For Practice appeared first on Andertons Blog.

If you’ve spent more than five minutes in the world of electronic music, chances are you’ve bumped into a Roland box with a number on it. The Japanese company didn’t just dabble in the future; they basically built it, gift-wrapped it, and accidentally left it in the hands of DJs, producers, and bedroom tinkerers who promptly redefined entire genres. The so-called “Number Series”, the 909s, 808s, 606s, 707s, the bassline-wiggling 303, and the occasionally overlooked SH-101, aren’t just gear. They’re cultural artefacts. Without them, a house might still be a roof over your head, techno would probably just mean “a particularly chatty washing machine”, and acid, well, you’re either trying to dissolve something or about to take a very interesting “trip”.

Now, Roland didn’t release these in sequential order as you might expect, so we have included the dates, but they’re going to go in order of their name and starting with the, drum roll.

Roland TR-1000 – 2025

New Drumheads

An obvious place to start, maybe, but your drumheads are the key to making your kit sound great, no matter what state it’s in. The drumkits that cheaper kits tend to come with often aren’t that great, so replacing them will make a world of difference! There are countless options, but a great place to start would be something like Remo Emperor heads or Evans G2! There are loads of options with different levels of muffling and unique features, so take a look at our site to find the right drumheads for you!

Take Time To Tune

Tuning drums by ear can be a tedious and time-consuming task, especially for the inexperienced. Yet spending quality time with your drums will not only pay off short term in a great sounding kit, but you will also hone the skills to make tuning in future faster, more efficient, and more accurate. To get you started, there are many videos on YouTube with expert explanations on the subject.

Dampening

Any nasty overtones that tuning couldn’t deal with – particularly problematic with cheaper drums – can easily be dealt with through a bit of smart dampening. There are loads of different options from Moon gel to E-rings! There are also lots of DIY ways to muffle your drums that we’ll get to shortly!

Snare Wires

Easily overlooked, but good snare wires can turn your snare sound around. More wires means more sensitivity, and different metal compositions can make the sound snappier and crisper, or softer and more sensitive. Plus, good wires can help to reduce snare buzz, will be kinder to the snare’s incredibly thin resonant head, and will be much more durable.

DIY tips and tricks

Unfortunately, lots of the stuff we’ve suggested costs money, but now we’ve got some workarounds that you can do using things you’ll have lying around.
When it comes to muffling, there are loads of ways to dampen drums with what you already have, such as using a bulldog clip and a cloth to clip the cloth onto the edge of the drum hoop and have it rest on the head to take some of the ring away! Alternatively, you could use a bit of duct tape to tidy up the drums’ sound, just make sure to fold a little tab into it before you stick it on so you can get it off nice and easy should you want to!
Another option would be to use only drumheads you might have and cut them up to make your own dampening rings, much like the Evans E-rings!
If your kick drum is too resonant and won’t stop ringing, put something in there to dampen the sound! You can use anything from an old jumper, stuffed toys or even a pillow!

Cymbals

A great sounding set of cymbals can be the make or break of a drum kit, but they needn’t break the bank. Take Stagg’s range of dual-hammered cymbals, for example. They sound great and can hold their own against the big competition from Zildjian, Sabian, and Paiste, yet and a fraction of the price. It’s worth remembering that it’s much more difficult to quick-fix a cymbal to sound any better than the day it was bought, but subpar cymbals can come in handy for creating stackers or otherwise experimenting with sounds.

Conclusion

Once you’ve got your kit sounding better than ever keep it that way. Regular TLC, whether it be tuning, cleaning, oiling hardware or changing heads before they’re completely ruined will go a long, long way. I’ve done too many gigs where I’ve been greeted by a house drum kit identical to my own, yet one that is borderline unplayable due to neglect and mistreatment. It’s sad because I know how good the kit can sound; it’s annoying because I still have to cart along my own drums; and it’s a shame that the drums will become useless long before their time. Don’t let your kit see the same fate.

Ever wondered how to make drums sound quieter? Read our ‘7 Ways To Make Drums Quieter‘ guide!

The post How To Make A Cheap Drum Kit Sound Great appeared first on Andertons Blog.

Put simply, drum dampening is the process of reducing or controlling the resonance, overtones, and sustain of a drum after it’s struck. Drummers use various dampening techniques and drum accessories to get a tighter, more focused, or less “ringy” sound from their acoustic drums. It’s all about shaping the tone to suit different styles of music or personal preferences.

Why dampen your snare?

1. Reduce Overtones

Snare drums can produce high-pitched, ringy overtones that can be harsh or clash with other instruments. Dampening helps smooth those out.

2. Clean Up the Sound

In studio settings or live performances, engineers and drummers often want a tight, clean snare sound that cuts through the mix without excess ring or wash. Especially in pop, rock, hip-hop, and funk, a dry “crack” is preferred over a long resonant “bwoooonnng.”

3. Control Sustain

If your snare sustains too long, it can muddy up fast grooves or ghost notes. Dampening shortens the note so it’s punchier and more precise.

4. Match a Style or Vibe

Each genre has a different “snare aesthetic”:

• Funk/Hip-Hop: dry, fat, and short
• Rock: controlled but still punchy
• Jazz: maybe a little more open and ringy
• R&B/Neo-soul: very dampened, low, and thick

How can we dampen a snare?

Moongel:

Moongel is a super popular drum dampening product that you’ll find in most players’ arsenal. We use it to control overtones and reduce excessive resonance on drums and even sometimes cymbals. It’s made of a soft, sticky, gel-like material that adheres easily to drumheads or cymbals. Placing it closer to the centre gives more dampening, while placing it near the rim allows for a more open sound with just a bit of control. You can also use multiple pieces for heavier muffling.

O-rings:

O-Rings are plastic rings, usually made of a thin mylar material, that sit on top of a drumhead to reduce overtones and focus the drum’s sound. They’re shaped like a donut – hence “O-ring” – and come in different sizes for snare drums and toms. Some drummers even use both O-rings & Moongel together for max control! Some popular brands are, Evans and Remo.

Big Fat Snare Drum:

Big Fat Snare Drum is a line of drumhead overlay products designed to instantly change the sound of your snare (or toms) to give it a deeper, fatter, more vintage tone – like those thuddy, ’70s-style snare sounds you hear on classic records! It sits directly on top of your existing snare drum head, and some versions have weighted edges, foam strips, or even jingles to add specific sonic flavours. It drops the pitch, reduces overtones, and makes the drum sound darker, shorter, and more controlled. BFSD is kinda like the “big guns” of dampening – it doesn’t just control your snare sound, it transforms it!

Internal snare dampener:

An internal snare dampener is a mechanical device mounted inside the snare drum shell. It presses a piece of felt, rubber, or foam against the underside of the drumhead to reduce overtones and ring. An internal snare dampener is controlled by a knob on the outside of the drum (no harm intended). You can adjust the amount of pressure the dampener applies to the drumhead – so it’s like a built-in tone control!

Pro’s & Cons?

Moongel:

Pros:

• Reusable and repositionable: You can move it around to different spots on the drum to change the amount of dampening.
• Non-damaging: It won’t damage drumheads or leave residue.
• Versatile: Can be used on snare drums, toms, and even cymbals.

Cons:

• It gets fluffy!

O-rings:

Pros:

• Instant dampening
• No adhesives
• Consistent effect every time
• Great for live use

Cons:

• Less customizable than Moongel (it’s all-or-nothing unless you cut them)

Big Fat Snare Drum:

Pros:

• Instant “fat snare” sound without tuning
• Removable and reusable
• Doesn’t permanently alter your drum
• Great for both live and studio use

Cons:

• Can reduce sensitivity (especially for ghost notes)

Internal snare dampener:

Pros:

• Built-in, no gear to carry around
• Adjustable from subtle to heavy dampening
• Super clean look—nothing visible on top of the drum
• Awesome vintage tone and aesthetic

Cons:

• Limited to what’s built in (you can’t move it around like Moongel)
• Some models can rattle or wear out over time
• Not always easy to install if your drum doesn’t come with one

The post 5 Ways To Dampen A Snare appeared first on Andertons Blog.

There’s an awful lot of choice when it comes to snare drums. Different varieties offer different sounds, responses and aesthetics depending on your style. These varieties differ in terms of shape, size, skin, hardware, tuning – the list goes on. But arguably, the most important aspect to consider is the material.

The bottom line is this: wood or metal? In this article, we’ll dig deep into the primary differences between the two. We’ll start off by looking at the different types of wood!

Most Popular Snare Drum Woods

• Birch – birch offers a punchy sound with lots of attack. They tend to have a brighter, more focused sound with a slightly shorter sustain.
• Maple – slightly more well-rounded than Birch, but still with a healthy bass response. They have a slightly warmer tone that’s slightly more resonant.
• Beech – this hardwood offers a balanced tone not dissimilar from Maple, but with a slight mid-boost and accentuated low-end. Great for a super-fat snare sound.
• Mahogany – known for a rich warmth and resonance in the bass and low-mid frequencies. Mahogany used to be a gold standard for shells, so it is associated with a vintage sound.
• Poplar – a softer wood with a well-balanced tone. It has a focus on low-end, but not quite as much as mahogany. It has a good balance of attack and sustain, making the poplar snare quite versatile.
• Bubinga – a super dense wood, bubinga shells typically have a deep, dark tone with a rich, fat low-end sound. They tend to have loads of attack, so they’re great for drummers who need to cut through the mix a bit more.
• Walnut – walnut drums tend to have a quite dry sound with little resonance. They’re fairly dark and mellow-sounding but with a great ‘crack’ when you lay into the drum.

Popular Wooden Snare Drums

Most Popular Snare Drum Metals

• Brass – as the earliest metal snare material, brass is the most familiar. Accentuated top-end but not without some bass/low-mid warmth.
• Aluminium – a sharp, dry sound with a sparkling treble response. Great for cutting through pretty much any mix, but not for the faint-hearted.
• Steel – boosted mids and even more treble than aluminium, Steel also offers improved sustain and presence. Generally, it’s pretty affordable too.
• Copper – a darker, more rounded sound with less emphasis on top-end and a warmer response in the bass and mids. Often found in orchestral ensembles.
• Bronze – often used for cymbals but far less common for shells. Tend to offer a warmer and darker tone with a lot of resonance. Capable of a wide range of tunings and have a massively powerful sound.

Popular Metal Snare Drums

In summary

It depends on what you’re after – once you know that, you’ll be able to narrow down your choice. What isn’t immediately obvious is that wood and metal snares aren’t as drastically different as they once were. In a nutshell:

• Sound – yes, metal snares generally sound brighter, whereas wooden ones sound more resonant. However, you can now get a metal snare that offers a fair bit of warmth and sustain; similarly, opt for a Birch wooden snare for an immediate, pronounced attack. Consider the sound you’re after and consult the choices above to hone in on the material that’s right for you!
• Price – Some materials can be a bit pricier sometimes,  like bell brass or bronze, but overall it’s a pretty even playing field, so focus more on the sound than the price tag!
• Looks – I mean, there’s no right or wrong answer here. Personally, if I were shopping based purely on looks, I’d go for a nice Maple grain. Fancy something blingy? Try Steel or Brass. Fancy an eye-popping finish? Any material will do, perhaps a wood with a less-pronounced grain.
• Practicality – we may be stating the obvious, but metal snares can be a tad heavier. Consider where your snare will be: at home? In the studio? On a plane every week? If you’re travelling frequently, consider your shell’s weight!

The post Wood vs. Metal Snare Drums appeared first on Andertons Blog.

A master keyboard workstation is essentially the Swiss Army knife of the keyboard world. Unlike single-purpose instruments, workstations blur the line between keyboard and computer, combining multiple functions into one comprehensive unit. You essentially get a synthesiser, sampler, sequencer, audio interface, effects processor and multi-track recorder all built into a single keyboard.

The term “master” refers to the instrument’s ability to control and coordinate multiple sound sources, both internal and external. This means you can layer sounds, split the keyboard into different zones, and even control other MIDI devices from one central command station. It’s this versatility that makes workstations so effective in a range of performance settings.

Fundamentally, a workstation isn’t just for playing like a traditional instrument, it’s a tool for composing, creating sounds and programming full musical projects all within the unit.

How Workstations Differ from Other Keyboards

• Digital Stage Pianos:
  These are designed primarily for realistic piano sounds and basic electric piano tones. They’re fantastic for what they do, but they’re focused instruments. You won’t find big sound libraries or many capabilities aside from playing as a standard piano.
• MIDI Controllers;
  These are essentially just buttons in an instrument-like format that trigger sounds from external sources like computers or sound modules. They don’t produce any sounds themselves, making them dependent on other equipment. They can be great tools for studio or stage use, but most of the work to produce or modify your sound will be done by digital software or other external gear.
• Synthesisers:
  These are purpose-built for creating and manipulating electronic sounds, whether analogue or digital. They’re powerful for sound design but differ from workstations in their level of wider capability. They generally lack things like comprehensive sound libraries, multi-track capabilities and many of the sequencing or programmable features of workstations.
• Master Keyboard Workstations:
  These bring together the best of all these worlds. They offer realistic acoustic instrument sounds, powerful synthesis engines, extensive preset libraries, built-in sequencing, and the ability to control external gear.

Why Workstations Excel in Professional Settings

• Stage Performances and Live Bands:
  In live performance settings, workstations shine because they reduce the amount of gear you need to carry. Instead of hauling multiple keyboards, sound modules, and controllers, you can get most of the functionality you might need in one instrument. The ability to create complex splits and layers means you can play bass lines with your left hand, for example, while triggering strings and lead sounds with your right, all within the one keyboard. Plus, modern workstations are equipped with preset organisation systems, which can be a massive help in making sure a live performance runs smoothly. You can organise sounds by song, create smooth transitions between sections, and even set up entire setlists that automatically load the right sounds for each tune.
• Worship and Theatre Applications:
  Churches and theatre productions particularly benefit from workstations because they often need to recreate the sounds of entire orchestras or bands with limited personnel. A skilled keyboardist with a quality workstation can provide everything from subtle pad sounds during prayers to full orchestral arrangements during dramatic moments. Separating sections of the keyboard and adding doubled layers can allow for an ensemble sound that is impressively full-sounding from just your single keyboard performance. The reliability factor is crucial here, too. These instruments are built to handle the demands of regular use, and their comprehensive sound libraries mean you’re less likely to encounter situations where you simply don’t have the right sound for a particular piece.
• Studio Applications:
  While workstations are often thought of as live performance tools, they’re still highly valuable in studio settings. The high-quality sounds it can create quickly, straight from the unit, can serve as inspiration during songwriting, and the built-in sequencing capabilities make it excellent for creating demos or swiftly putting together atmospheric layers or instrumentals.
  Some producers use workstations as their primary sound source, taking advantage of the instrument’s ability to layer multiple sounds and create complex arrangements, although it’s fair to say that this is somewhat less common nowadays with the popularity and capability of modern DAWs. However, being able to simply turn on an instrument and have access to a huge array of sounds and sequencing capability without needing to load up software, access plugins etc. Means that workstations certainly still shine in terms of convenience and efficiency once you know your way around them. When used in tandem with other equipment, their MIDI capabilities also make them excellent for controlling software instruments and external hardware.

Spotlight: The Yamaha MODX8+

So, a workstation seems like a pretty impressive bit of kit. But out of the numerous options available, which one is right for you? Let’s take a look at one of our favourites and see how it compares against the competition…

The Yamaha MODX8+ is a highly capable master keyboard workstation that finds a balance between high-quality sound, functionality, weight and price. Offering pro-level features at a very attractive price point, it has become a highly popular choice for session musicians, producers and live pianists. Plus, coming in at a slender 13.8kg, it’s one of the lightest 88-key workstations available.

Tired of fiddling with a mouse and staring at a screen when you’re mixing? Us too.

Enter the DAW controller, bringing physical feel and intuitive efficiency to your digital mixes. But are they worth the fuss? Let’s explore what DAW controllers can really do and take a closer look at one of the most promising options available…

What is a DAW Controller?

A DAW controller, short for Digital Audio Workstation controller, is a dedicated piece of hardware that gives you hands-on control over your music production software. Think of it as a physical extension of your DAW. Instead of clicking endlessly with a mouse or trying to learn a myriad of complex keyboard shortcuts, a DAW controller puts essential functions at your fingertips in a much more tactile, instinctive format.

The controller’s faders, knobs and buttons are mapped to functions inside your DAW, things like transport controls (play, stop, record), volume, solo, mute, channel selection, pan and tempo control. Many controllers go much deeper, letting you write automation, have precise control over your effects or plugin parameters and much more.

In practice, it feels a bit like sitting behind a traditional mixing desk. You’re no longer tethered to a screen in the same way and instead you can engage more physically with your music. That tactile connection changes how you interact with your tracks – it’s more intuitive, more responsive, and can massively speed up your workflow.

Controllers range from minimal units with a few faders and shortcut buttons, to advanced surfaces with motorised faders, LED displays, and plugin control capabilities. Most connect via USB and use common communication protocols, making them compatible with a range of popular DAWs.

So, in a nutshell: a DAW controller brings back the physical, expressive side of music-making in a digital world. It puts your hands – quite literally – on the mix.

Browse DAW Controllers & Control Surfaces

Why Should You Use a DAW Controller?

If you spend any time producing, mixing, or editing music inside a DAW, adding a controller to your setup can be a game-changer.

The primary benefit of a DAW controller is how it speeds up your mixing workflow. Instead of dragging your mouse around the screen or navigating through dropdown menus, many actions can be performed with dedicated buttons. It can take months or even years to learn keyboard shortcuts for your DAW, but a DAW controller can give you those shortcuts and more straight away, taking very little time to utilise efficiently.

Actions that usually take multiple clicks, like arming a track for recording, adjusting plugin parameters, or jumping between tracks, are often just one button press away.

But it’s not just about efficiency. There’s a creative angle too. A controller helps you interact with your music in a more fluid, expressive way. For example, you can write live automation with your hands in real time – performing fades, filter sweeps, or effect changes with a natural, musical feel. It’s like playing your DAW as an instrument.

A less-commonly mentioned benefit is how it helps your focus. With a controller in front of you, you spend less time staring at the screen and can rely more on your ears, your touch, and your instincts. That shift can do wonders for the quality of your mixes and (just as importantly) your enjoyment of the process.

DAW Controller vs. Keyboard & Mouse

The keyboard and mouse have been the standard tools for music production since the rise of DAWs. They’re precise, familiar, and perfectly capable. But they’re not always the most inspiring way to make music, nor the most efficient.

Ultimately, the keyboard and mouse were never designed for music production – they were the peripherals already in use by PC owners and so music producers had to adapt to use them too.

In contrast, when you’re using a controller, you’re no longer dragging tiny faders on-screen or opening menus to find what you need. The controller is purpose-built for your DAW and gives you the controls you regularly use right there at your fingertips. Beyond just the buttons and shortcuts, the ability to use a physical fader or potentiometer to control levels, program automation or precisely adjust effects parameters connects you to the music in a more immediate way. It’s tactile, instinctive, and often faster – especially once muscle memory kicks in.

Try automating a filter sweep with a mouse. Now try doing the same thing by physically turning a knob in real time. The second approach feels more natural and expressive. You can feel the movement, and that translates into your mix.

Of course, a keyboard and mouse aren’t going away entirely. They still have their place and in fact most controller users often utilise a hybrid setup – using the controller for where it really shines but still having the mouse and keyboard to hand for other finnicky processes or operations that are just easier to click through as normal.

DAW Controller vs. Analogue Mixer

Of course, this isn’t a debate of analogue vs digital mixing in general – both have their advantages and whichever method you prefer is completely up to you. But how does a DAW controller compare to an analogue mixing desk in terms of simple practicality and your workflow?

Ultimately, a DAW controller is the closest thing to mixing on an analogue mixer in terms of tactile feel, your ability to manipulate sounds in an instinctive way, and the speed of physical mixing. Yet it still allows for all the benefits of using a modern DAW: the endless list of plugins, the efficiency, consistency and ease of working in a digital format. Plus, of course, taking up just a fraction of the space (and cost!).

It’s important to remember that a controller only acts as a tool for interacting with your DAW, so the sounds that are possible and overall result of the final track won’t be any different – it’s still a digital process, not an analogue one. But the experience and ability to interact with your mix through feel and instinct – that’s what makes mixing with a DAW controller so special. They unlock the experience and interaction of analogue mixing with the versatility and consistent sound of the digital age.

There are also some handy advantages over an analogue mixer. Many modern DAW controllers (like the Nektar Panorama CS12, which we’ll explore later) offer motorised faders that sync with your session. You can move from one track to another and watch the fader quickly move to match your DAW’s current volume level.

With an analogue mixer you’re limited to the physical layout in front of you. Want to adjust channel 16? Time to scoot your chair along to reach it. Want to adjust a specific effect? Hop on over to that module. A DAW controller can seamlessly switch to the channel or plugin straight away just within the single unit.

The Nektar CS12 – What can a DAW controller bring to your mixing workflow?

While many DAW controllers on the market offer some combination of faders, pots, and transport controls, the real difference lies in how seamlessly these tools integrate into your creative habits. A good controller should feel like an extension of your thought process – intuitive enough to fade into the background, yet powerful enough to keep up with the most demanding sessions. This is where the design philosophy behind certain modern controllers starts to diverge. Instead of simply recreating familiar hardware workflows, some newer devices aim to reimagine the studio experience altogether, placing tactile control at the centre of a fluid, software-driven environment.

Among these, one device has been earning a reputation for striking the right balance: not just offering hands-on control but doing so with a degree of refinement and purpose-built functionality for which many producers have been asking for years.

Nektar’s CS12 is an incredible example of how a DAW controller can synergise with your DAW and give you the tactile control and efficiency to boost your mixing sessions. Let’s take a look at what it is, why it was created and how it might just be the best new addition for your home studio.

Nektar Panorama CS12

Browse Nektar

Who are Nektar?

Founded in 2009, Nektar traditionally focused on keyboard controllers with DAW integration, becoming well known for prioritising customer control and customisation. With a focus on bridging the gap between software and hardware, Nektar have carved out a name for themselves by offering controllers that enhance creativity and streamline complex DAW environments. Their standout feature across product lines is deep DAW integration – their devices are specifically built with popular DAWs in mind, seamlessly synergising with them rather than just functioning alongside them.

The CS12 is a culmination of the mapping technology and developments in intuitive control that Nektar have developed over their previous product lines, leading to the controller that many home producers have been looking for – and deserve!

What Exactly is the Nektar CS12?

The Panorama CS12 is a compact but powerful DAW channel strip controller, purpose-built for hands-on mixing, plugin control, and navigation within Logic Pro, Cubase, and Nuendo. Designed with free-flowing music creation in mind, it provides real-time tactile control over faders, panning, sends, plugins, transport functions, and automation, all without the need for manual mapping.

At the heart of the unit is a 100mm motorised fader supported by a colourful TFT display, 12 RGB-lit pots, a 6-segment LED meter, 18 function/navigation buttons, and 11 section-selection buttons. The unit is optimized for a left-hand fader/right-hand control workflow and was designed so that anyone who’s already familiar with Logic or a similar DAW should feel comfortable with the layout straight away.

This controller isn’t a generic USB surface – it’s deeply integrated into the DAW via Nektar’s ControlCore system, allowing you to manipulate third-party plugins and native DAW elements straight away.

If you’re looking to upgrade your workflow and make a change from staring at a screen and a cursor in your sessions, the CS12 is an incredible new piece of kit to let you do just that, with all the mapping and setup done to let your creativity take the wheel straight away.

Nektar C12 Key Features

• Motorised fader provides real-time feedback and control over channel levels or plugin parameters with support for live automation writing.
• Includes a ‘magnifier mode’ for ultra-fine parameter control, allowing for delicate tweaks not easily achieved with a mouse.
• Deep plugin integration, no mapping needed. Works instantly with both Logic’s native plugins and most third-party AU/VST plugins, automatically mapped out of the box.
• Clear visual feedback from the full-colour display, LED meters and colour-coded RGB-lit knobs and buttons.
• Instantly switch between plugins and channel elements like sends, inserts and instruments with the colour-coded navigation buttons.
• Powerful customisation possibilities with Nektarine software (custom plugin mapping, layout tweaking and more!)

Compatible Software Brands

Compatible Software Brands

Out of the box, the Nektar Panorama CS12 is fully integrated with:

• Apple Logic Pro (v10.7.8+)
• Steinberg Cubase (v13.0.51+)
• Steinberg Nuendo (v13.0.51+)

It also supports extensive plugin control, including:

• Logic’s native effects and instruments
• AU and VST plugins from virtually all major developers (including UAD, FabFilter, Waves, Softube, Native Instruments, Arturia, and more), provided they allow parameter automation in the DAW.

While the CS12 doesn’t currently support DAWs like Ableton, FL Studio, Reaper or Studio one natively, Nektar have indicated that broader support will be available in the future, so keep your eye out!

Final Thoughts

Digital music production has become yet another part of our life dominated by screens and mouse clicks. A DAW controller reintroduces the physical connection to music-making, restoring a greater sense of feeling, physicality and intuitive connection to your workflow. They’re sort of like a mix between a traditional mixer and an instrument, letting you really play with the mix and express yourself more freely.

Many are perfectly happy to make do with a keyboard and mouse, but if you want to streamline your mixing process while making it both faster and more enjoyable, DAW controllers offer some undeniable benefits.

Ultimately, it’s about choosing the setup that best supports your creativity best. If for you, an intuitive physical interface is what you’re looking for, the Nektar CS12 represents a smart new step toward more hands-on, inspired production.

Useful Links!

All Nektar Products

All Midi Controllers

All Pad Controllers

All DAW Controllers

Synth 101 Guide

How to Choose a Live Microphone Guide

The post Nektar Panorama CS12: Exploring DAW Controllers & Why You Need One! appeared first on Andertons Blog.

When it comes to digital pianos that closely emulate the acoustic grand experience, Yamaha’s Clavinova series has long set the standard praised by professionals, educators, and students alike. With the introduction of the Yamaha CLP-875, that benchmark has been elevated even further. At the heart of this evolution is Yamaha’s cutting-edge VRM (Virtual Resonance Modeling) technology, which brings an unprecedented level of realism and responsiveness to digital piano sound.

But what exactly is VRM? How does it work? Why does it make such a dramatic difference in Yamaha‘s CLP-875 and more importantly, how will it transform your playing experience?

What Is VRM (Virtual Resonance Modeling)?

VRM, or Virtual Resonance Modeling, is Yamaha’s proprietary sound modeling technology designed to recreate the organic, complex interactions found in a real grand piano. VRM was designed in collaboration with the team that creates their acoustic grands, to make sure that the CLP is just like playing one of their legendary pianos but in your living room.

On an acoustic instrument, when you press the damper pedal or play certain notes, other strings vibrate sympathetically, the  frame, and even the cabinet contributes to the sound. VRM digitally replicates these intricate interactions, in real time and is something that’s often missing from sample based systems and can make all the difference in a recording.

1010music quietly slid into the music tech scene, looked at all the beige, black and red gear cluttering studios, and said, “What if we made this smaller, smarter and portable?”

Born from the mind of engineer Brian Funk, 1010music has carved out a niche as the cool nerds of electronic music hardware since their debut Bitbox in 2016. They’re the ones who decided that modular synths didn’t have to take up half your flat, and that samplers didn’t have to come with a 400-page manual which users see no shame in consulting Dr Google in how to do something. 1010music really did slide into the music tech scene, took one look at all the beige, black and red gear in studios, and said, “What if we made this smaller, smarter and portable?”

They brought us sleek, colourful boxes with touchscreens, deep features and a wealth of inspiration, Bluebox and Blackbox units have already become stables in a lot of modular and dawless rigs, now Bitbox, Lemondrop, Fireball, Razzmatazz, and Bento seek to do the same.

What is the 1010Music Bento?

Bento is a standalone music production monster. If you’ve ever stared at a sea of USB cables, various MIDI keyboards, and that dusty Audio interface but missing that crucial component of music making, “an idea”. Fear not, Bento has arrived to make sure you can jam wherever you are. It’s as if someone at 1010music thought, “What if we put Ableton Live, an Akai MPC, and a very smug octopus into a lunchbox?”

This isn’t just a sampler. It’s a “compact performance studio sampling production lab”, which sounds like the sort of thing Q would hand to James Bond before he takes it on a mission to remix Moby.

DAW-less, Flaw-less

Bento kicks your laptop to the kerb and lets you enter the wild, expanding world of DAW-less workflow, which is music speak for “No thank you computers!” With eight tracks, clip launching, scene sequencing, and more bells and whistles than a steampunk parade, it lets you compose, perform, and jam all in one gloriously compact musical powerhouse, truly another take on recording your ideas.

Details

• A crystal clear and responsive 7″ touchscreen allowing you to see parts even mid set.
• 16 backlit velocity and pressure-sensitive pads.
• An onboard granular digital synth, meaning you can now mangle sounds into shimmering oblivion.

Build Quality

Let’s talk design. It’s about the size of a tea tray and built like it could survive both a gig and your toddler’s worst tantrum. The sort of premium build that whispers, “I could survive a drop or two.” Not that you should, but being built like a tank does bring peace of mind.

As for connectivity, the Bento offers three stereo ins, three stereo outs, Multiple MIDI in and outs via TRS adapters (yes, they are included), USB host and device support, a headphone jack, and an integrated battery so you can make beats in a park somewhere, up a tree or even in your local. Truly the lab for the mad musician on the go.