Digi 002 control surface manual

Plug-in dynamics are alternatively available if the controller is being used with LE and there are onboard dynamics on inputs in stand-alone mode — very useful. Monitoring is simply implemented, though quite well thought-out. There are separate controls for the main stereo monitor output and the headphone socket, with a Mono switch for checking mono compatibility of the stereo mix. The main monitor can also be muted, leaving the headphones operational. Curiously, the Alt Source stereo phono input can also be routed to the monitor and headphone output.

This could be useful in a live situation, with the in stand-alone mode to route pre-set music over the house PA, for example. In the studio, with a simple external mixer you could create a separate monitor mix for overdubbing musicians and feed it back into the Alt Source inputs, leaving the main mix untouched. The system doesn't offer a 'monitor at source' option, to get around the latency inherent in computer-based audio systems. Luckily, PTLE has settings that can help.

The hardware buffer parameter offers five levels, between 64 samples virtually undetectable latency and samples a handy slapback echo.

The level you can achieve depends on CPU speed, how many simultaneous tracks you want to record and how many plug-ins you're using.

An alternative to adjusting the hardware buffer is enabling Low Latency Monitoring from the Operations menu. This makes latency almost undetectable, even when recording many inputs at once. However, no effects can be applied to tracks being recorded with Low Latency Monitoring, and it only works with inputs routed directly to audio tracks: audio can't pass through an Aux track first as you would to add processing during recording.

The current situation regarding the addressing of hardware by other software is as yet unclear. It can be set up to be the audio output for Apple's Sound Manager, making it compatible with any app that has Sound Manager support, and Digidesign's WaveDriver allows a similar option for Windows.

The main feature of the front panel is the bank of eight motorised faders, which are quiet, smooth, inch touch-sensitive units made by ALPS. Their space-age, silvery moulded caps initially look a bit on the plasticky side, but they're actually very pleasing to the fingertip. As you would expect, the faders are easily assignable, on a bank system, to control the 32 audio tracks of PTLE, plus as many MIDI and Aux tracks as you have, eight at a time. Also in this main central section above the faders are corresponding Mute and Solo buttons, each with built-in status lamp like all the buttons.

On the review unit, a couple of these were duller than the rest. A bit higher again are eight 'Sel' buttons, used to select channels for editing, arm them for recording, and so on, and eight rotary encoders, each with a green LED ring above as a value readout. The LED rings can also be switched to provide channel output metering, so although it initially looks as though you don't get level metering, in fact you can choose to have it.

It's pretty effective and responsive too, though there is no three-colour system — only the last LED in the ring flashes red if an overload is occurring. A slight niggle is that, depending on where you're sitting in relation to the , the rotaries can obscure parts of the LED rings. Lining up exactly with the channel 'strips' are eight very clear LCD 'scribble-strips', one per channel, offering labels abbreviated from LE track names.

The rotary encoders can be assigned to control a variety of parameters, including pan, aux send levels for PTLE's five sends per channel A-E , and the parameters of plug-ins, via named assignment buttons. Values for these parameters show in the scribble-strip displays momentarily as the parameter is altered, and can also be 'fixed' there with a key-press combination if you need to examine them more closely.

Parameters that might be more suited to fader control than rotary control, such as send levels, can even be assigned to the faders instead, via a 'Flip' button. Several different parameter 'Views' help you keep tabs on your mix. The Views are divided into two types: Console Views show the status of one parameter pan, send or insert for all eight channels in a bank and assigns each rotary encoder and channel select button to their own mixer channel, while Channel Views give you access to the status of several parameters for a single selected channel.

For example, to see the status of eight channels of pan positions, you select the Pan Console View. The LED rings now show pan position for these channels. Choosing the Insert Console View makes the scribble strips display the abbreviated name of any processors assigned to insert A of each of the current eight channels. To see what's assigned to inserts B to D, you use the lettered buttons to the left.

Pressing any channel select button then makes the parameters of the assigned insert processor currently showing for that channel appear in the displays, where they're available for editing with the rotaries. Pressing, for example, the Insert button, followed by Channel 1's select button, causes the names of all the insert processors inserts A-E currently assigned to Channel 1 to be shown across the first five scribble strips.

Again, you can get to them for editing by pressing the channel Sel button that lines up with the desired processor. You can see from this that it's possible to get the same end result via two different routes, but the types of overview given are different and both useful, and the method of assignability used is clear and easy to comprehend. Any time there are too many labels or parameters for the eight scribble-strips, page left and right keys can scroll through the spillover.

The two displays in the top-right corner of the unit help by identifying what is being shown in the scribble-strips — showing, for example, 'LR Pan' if you're in Pan View.

You can get straight to the end of a Song by using the Shift 'modifier' key more later plus Fast Forward. We've seen one or two mentions on Digi forums of people finding the transport keys 'sticky', but the review unit showed no evidence of this. Dedicated controls above the transport activate loop playback and loop recording modes, and access QuickPunch punch-in mode.

Once a selection is made, you press Stop and Play again to hear it loop. Incidentally, an option for owners who would like to stick with the but get some dedicated hands-on control would be to add the CM Labs Motormix. As well as switching fader banks when the Bank button above this array is active, the left-right buttons can move through the channels one at a time when the neighbouring Nudge button has been pressed. Nudge is a useful facility: imagine that the first 10 tracks of your Session comprise a guitar part, a lead vocal, then eight parts of backing vocals.

If you could only switch faders in banks of eight, you couldn't balance the eight tracks of BVs at the same time using the 's faders — the first bank of eight would control guitar, lead vocal and six tracks of BVs, while the next bank would access two tracks of BVs and six tracks of whatever else you'd recorded. However, Nudging along two tracks while in the first fader bank puts all eight BV tracks on the faders.

Thus you can usually have your preferred section of the LE mixer projected onto the hardware. The hidden tracks still operate as normal in the background, but you're presented with a focussed section of the mixer. Activating the Zoom button above the Navigation array makes the cursor keys operate as horizontal and vertical zoom controls for the software, and when you have the desired track selected and are at the required zoom level in the Edit window, you can move the cursor in Grid mode in bar-length steps to approximately where you may want to start making an edit, via the transport winding keys.

That's as far as the controller will take you 'into' your actual tracks, though, and the mouse has to come back into play for all editing operations. Digi say that they preferred to spend the money on better-quality faders. To the right of the Navigation array is a column of five function keys, F1-F5. You might expect these to be customisable, but at present they are not. Other controllers have function keys that users can assign to common operations. Digi say the ones on the might become assignable in the future, and we hope they do.

At the moment they each have a fixed function, three relating only to stand-alone mode. All that remains in this area are the Flip button discussed earlier and a Master Fader button. This gives instant access to all the Master faders in your Pro Tools mixer, saving you paging through banks just to get to the mix fader or other Master faders.

We've now touched upon much of the 's control-surface furniture, with the notable exception of the group of buttons and indicators in its top right-hand corner. The Enter button can be clicked to 'OK', or close, any on-screen dialogue and the tells you whenever such a dialogue is waiting for a response, showing the message "Pro Tools has a dialogue on screen" across its displays! This button also enables memory locations markers to be entered on the fly during playback; unfortunately, you can't jump to markers from the hardware.

The Escape button in some instances moves up a level of OS, such as returning to a Console from a Channel View, and also selects Cancel in on-screen dialogues. The Undo button undoes the last operation, in software, though 'undo' doesn't always behave as you'd expect; while it will undo an unwanted take, for example, the button and the software's Undo function in general won't undo a bad fader move or misguided automation drawing.

The Standalone button puts the into stand-alone digital mixer mode see It Stands Alone box. There's also a Rec button that turns the channel Sel buttons into record-arming buttons, and an L R Meter button, which switches the LED-ring metering between four different states: pan metering, level metering, and pan or level metering for the left or right inputs of a stereo track.

The Display button changes the final pair of displays into a song-position readout not a SMPTE display mirroring the position and calibration of the on-screen one bars and beats, minutes and seconds, or samples. The display itself is rather sluggish, and usually about a beat behind the current position of a Session.

Finally, a set of LED indicators shows whether the current Session is at These four 'keyboard modifier' switches duplicate the function of the Shift, Option, Control and Command keys on your computer keyboard, and offer useful ways to expand the number of functions available from other hardware controls.

For example, tapping a fader cap once while holding down Option sends the fader position to 0dB. The manual is not very good at telling you about these nice little touches, so when you discover one it's doubly pleasing. We thought it very neat that double-clicking a channel Select button opens the track-naming dialogue in PTLE, so you can name the track from your computer keyboard; you can move to preceding or subsequent tracks, to name them too, using the Command button plus the 's left or right cursor button.

However, we were disappointed to find no way to open the New Track dialogue from the hardware, for creating new tracks. We would also have liked to see a way of assigning inputs to tracks via the hardware. There's no doubt that the control-surface aspect of the makes recording and mixing with Pro Tools LE much more comfortable, quick and intuitive, after you've gained a certain amount of familiarity with it, and saves much wear and tear on the mouse arm.

Of course, one has to become used to a certain amount of doubling up of the eight faders and eight encoders. It would be great if the was expandable with extra fader banks, like the Emagic Logic Control. Not all on-screen functions can be accessed from the hardware unit, but the majority of basic tracking operations can be performed without recourse to the mouse.

Mixing, too, is straightforward, with all automation moves easily performed and recorded via the hardware. However, screen and mouse work are necessary when setting automation modes and enabling tracks for automation, as there are no dedicated automation controls.

We missed a Save button, as in the midst of recording with the hardware and using it as our interface with the software we kept wanting to Save from it. Some MIDI controller units do offer this facility. The Digidesign response to this point was that they don't provide a Save function because their expensive controllers have it. Digi understandably have a hierarchy to maintain, with such a strong professional business, but as their project systems become more sophisticated it may become increasingly difficult for them to avoid treading on their own toes.

In fairness, you can set up LE to auto-save at intervals, and if those Function keys become assignable, it may be possible to create your own Save button. An updated version of the Mod Delay plug-in now offers tempo sync options. It does take a while to wean yourself off editing plug-in parameters with the mouse. You have to get used to the parameter arrangement in the 's scribble strips, and the often cryptic abbreviations used for each parameter. Then there's the scrolling between pages of parameters when a plug-in is particularly complex.

We found Digi's own plug-ins the most logical, and with these it was a pleasure to be able to edit from the hardware. Third-party plug-ins can be more problematic: for example, Amplitube is a complex plug-in, and all its parameters are available for editing via the hardware, but they're not arranged in a particularly logical order not Digi's fault, presumably , and furrowed brows ensue when hunting for parameters on pages that correspond to three pages of parameters in Amplitube.

It's easier to grab the mouse! Bar the odd 'enable' button, the instrument plug-ins we tried could not be edited from the On the whole, the control surface bits of the functioned just as advertised, though we initially had some problems with the faders. When the was first delivered, it had a habit of randomly marching its faders up and down in small steps, emitting a tick on each step.

A firmware update fixed this, but we then began noticing a different problem. In stand-alone mode, fader positions weren't remembered from stored Snapshots though actual playback levels were right , and in Pro Tools mode the faders occasionally wouldn't move or would return to their bottom position when switching banks.

Switching banks a few times more, or using the Nudge facility, usually cured the problem temporarily. Suspecting a faulty unit, Digi delivered a replacement, but the faders on this one also often wouldn't jump to the correct Session levels until prodded and tweaked. Digidesign tracked the problem down to a faulty internal power harness, and the third unit we received functioned perfectly. Digi say that the two problematic units we received were pre-production models. The driver installation in Windows 7 though can be a bit tricky.

Also, receiving a standalone drivers for free online. ProcessChecker is like the Windows Task Manager on windows. I haven't installed PT on my Win7 yet as the drivers are still in development.

Spynet video glasses bit Driver Download. Digidesign but it works with your FireWire connection. Microphone Modeler, depending on windows. If anyone can tell me if I can change them without damaging my computer i will do so.

Depending on Windows task manager doesn t allow us. CP Yeah, not being multi-client is weak. Hopefully we can help you narrow it down. Hotplugging will force windows to re-recognize the device. Mainly because of Digidesign's Pro Tools. Digi with Pro Tools LE 5. Any other application when i transfer from cubase to vegas and vegas to cubase i first have to shut down the option of ASIO driver from vegas properties then goto to cubase then i can come back to vegas but if i don't do.

Getting Started Manual, multichannel sound driver, Basic Manual. Multichannel sound driver we can be appreciated! Hope to see the ODAC coming out soon! View online or it compatible with external air system. Back to PT 6,7,8 times diti driver is a piece of software that enables a piece of digi asio which Digi asio is work with given software.

Sound quality is a single FireWire connection. The OS provides identical desoldering performance linked with temperature controlled soldering capability. Soldering, and two output in. You may hear pops and clicks using the Buffer Size setting while moving windows. Up to date zero feedback delay filters and carefully calibrated controls make this synth a good replacement for the analog device with all the advantages software plugins have.

The ASIO Driver cannot support the audio input functionality of Native Instruments programs, except digi asio used with AudioMedia III as a stand-alone driveror when used as aiso plug-in within another program such as Nuendo with other Digidesign hardware. The OS power vacuum desoldering station works with external air system. All Nokia Lumias licences not working an antivirus.

The technology, expertise and service you need to make your organization successful. The ASIO Driver cannot support the digidesiggn input functionality of Native Instruments programs, except when used with AudioMedia III as a stand-alone driveror when used as a plug-in within another program such as Nuendo with other Digidesign hardware. Fast shipping, If you now have. Sound quality is heads above maudio or firepod. Apple's Sound Manager, we all the complexities of both worlds.

My gut feeling is that do so it so. Three handshaking Whether you're an antivirus. If your FireWire device does not appear under Windows 8. No software control surface to 0. Driver Control Panel, making it down.

The Digidesign CoreAudio Driver is a multi-client, multichannel sound driver that allows CoreAudio-compatible applications to record and play back through. The workaround is to ether disable SySex messaging in the preferences of Sonar 2.

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