Command 8 driver

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October 8, AT am. A ring of 11 LEDs around each encoder provides visual indication of the current value. Cleverly, depending on the nature of the parameter being controlled, the display is either a single LED that shows which way the pot is 'pointing', or a continuous row of lamps lit up to the current value. The pots are arguably a bit too big, which brings them close together and makes it easy to move adjacent knobs by accident. My other minor criticism is that when a LED is lit, its near neighbours tend to catch some of the light from underneath the panel, making the reading a little ambiguous unless viewed from directly above.

Otherwise, the pots are one of the strongest features of the Command 8. For Pro Tools, they have very reliable and smooth tracking with the on-screen parameter they are controlling. They are, in fact, noticeably better in this regard than the pots on the vastly more expensive Pro Control, which sometimes suffer from poor tracking of plug-in parameters. The best thing about the pots is that they are true continuous encoders, which means that with supporting software they just pick up from the current value of the control they are addressing, without the parameter jumping to match the hardware's absolute position.

I was particularly excited about how well this worked with Ableton Live. The advantage of this system is particularly prominent in a live situation, where you don't want to have sudden jumps, especially when mapping something like Live 's tempo knob to one of Command 8's encoders. What's more, the pots are velocity-sensitive, so if you twist an encoder faster, its corresponding parameter will move further for a given angle of movement.

Sticking with the channel strips, there are three buttons above each fader, labelled as Mute, Solo and Select. In Pro Tools, they do what they say, with the Select buttons used both for track selection and for choosing options from menus in the display. The bright-orange LCD display has two rows of six characters per channel strip. During normal operation with Pro Tools, the displays show abbreviated track names, flipping to show parameter values whenever a control is moved.

Command 8 shares this handy feature which is lacking on Pro Control with Digi's new super-high-end Icon mix surface. The two-line LED display gives feedback on the parameters being adjusted by Command 8 controls. Directly below the display strip is a row of eight buttons, which in Pro Tools mode are not part of the channels. Instead the buttons here are used for focusing in on plug-ins and sends, reassigning the eight rotary encoders to edit those values.

For example, if you press the EQ button, the display will highlight which tracks contain EQ plug-ins. Hitting Select on one of these channels will focus in on the EQ for that track, and map parameters to the knobs and Select buttons.

As on Pro Control, a Flip button lets you switch things round so that plug-in parameters or send levels are controlled by the faders. This is very useful when recording changes in automation, as the knobs are not touch-sensitive. A nice side-effect of the lack of a separate plug-in control section is that when a plug-in is assigned to the encoders, the Flip button automatically switches to fader control, whereas on Pro Control you have to hold down Command as well or you always get send levels.

Command 8 uses Pro Tools' built-in controller 'banking' system for accessing more parameters than you have physical controllers for. The left and right buttons from the circular section on the right of the panel shuffle which eight tracks are being addressed by the surface.

The Bank and Nudge buttons choose whether the faders are moved in banks of eight, or one channel at a time. An example of the level of integration you get with Pro Tools, compared to generic MIDI controllers, is that the cursors also have a zoom mode for use in the Edit Window. In fact, most of the switches on the right-hand side are dedicated to specific Pro Tools functions, such as window selection, Master fader display, and playback and record modes.

Sitting apart from most of the other controls on the right-hand section of the Command 8 is the Standalone button. All the faders, rotary encoders and buttons on the channel strips can be programmed to transmit any MIDI Continuous Controller message required, with the exception of the buttons in the top row which have fixed values.

This gives you 32 buttons plus the transport, so it's not that disappointing that all the other buttons cannot be used in stand-alone mode. In fact, each Preset of which you can store eight actually has two completely independent pages, toggled via the Bank button. All this adds up to 16 faders, 16 pots, and 56 separate buttons per preset, which should cover most situations!

There are no factory presets provided for controlling specific devices, so getting things working can take some time. SysEx saving and loading or presets is supported, though, so hopefully some charitable people will publish some templates soon enough, or maybe Digidesign will provide these as an update.

In any case you tend to use the built-in controller learning functionality to set up MIDI control in software like Live and Reason. The templates in memory have default CC assignments for all parameters, so in these applications you can just start assigning controls in the software and leave the hardware alone. OS X Originally Posted by Mauricevipb. All times are GMT The time now is AM. User Name. Remember Me?

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