This research investigates the potential of alternative input devices for immersive audio production, examining how different control modalities influence both perceived usability and measurable performance in spatial mixing tasks. Situated within the areas of embodied interaction, human-computer interaction, and spatial audio controller design, the work addresses not only the technical performance of devices but also considers the influence of cultural familiarity, kinaesthetic fluency, and workflow integration. A two-stage methodology was employed. In Study 1, experienced audio practitioners evaluated the conceptual suitability of hardware controllers, touchscreens, trackballs, gestural systems, and a games controller through a structured questionnaire. In Study 2, a subset of the devices considered in Study 1 were formally assessed via task-based user evaluations. Results reveal alignment between subjective appeal and performance for some established devices; hardware controllers consistently supported precise automation, and touchscreens facilitated effective spatial placement. However, notable divergences emerged. The games controller ranked low in perceived suitability in Study 1 but achieved the fastest task completion times when tested. Furthermore, despite receiving moderate conceptual interest the hand gesture controller underperformed in practice, reflecting prior observations on tracking instability and fatigue. The findings demonstrate that no single device is universally optimal; rather, each offers a distinct balance of speed, precision, and spatial fluency. This research highlights the value of combining subjective questionnaires with empirical performance testing to avoid over-reliance on user sentiment or isolated metrics. Ultimately, the findings of this research suggest that hybrid workflows, i.e. those that blend tactile, visual, and embodied interaction may provide the most optimal approach for immersive music production user input.