![]() This is useful for auditioning or precise selecting for punch ins.ĥ. precisely selecting regions for using the mark in and mark out with the wheel. arming and disarming tracks for recordingĤ. I know that these will be mundane to the seasoned D command users:ġ. The following are a couple of tasks that I use for tracking. I dislike the mouse more than the keyboard. When possible I force myself to do almost everything on the D Command. I moved over to PT about a year ago and got the D Command last fall. I agree that the D Command shines at mixing but would say that it just as strongly shines at tracking. I am a novice with D Command but still think that it is the best move that I have made with my recording setup in many years. I'd appreciate any thoughts on the subject. I entertained this fantasy briefly that I'd be able to do almost everything I needed on the board, but it's looking much more it shines at mixing, but everything else is better left at the keyboard-mouse level. I enjoy working all aspects of the production process, from composing-arranging all the way through to bringing it to the mastering guy. This isn't a sales question, I have one here that I'm working on. I'm trying to wean myself away from using the keyboard as much as possible, but I need to get a better idea of what limits I can expect. I was encouraged as I began looking into the trim-shuttle-navigation capabilities, but I'm not seeing very elegant ways of track comping, nudging regions, defining fades, etc. ![]() I get how it can be used for recording or mixing, but I'm still trying to see how far into the minutia of audio manipulation you can get with it. I'm still getting my head around all the reasons to use the DCommand. 57Ĭhanging Plug-In Presets from Channel Strips. Starting Up and Shutting Down the System. If youhave comments, corrections, or suggestions regarding our documentation,email us at. Guide Part Number 9320-65043-00 REV A 10/11Īt Avid, we are always looking for ways to improve our documentation. Product features, specifications, system requirements, and availability aresubject to change without notice. ![]() All othertrademarks are the property of their respective owners. LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX,MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools,Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Tools MP,QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius,Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD,SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab,TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TLSpace, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi, Velvet, X-Form, andXMON are trademarks or registered trademarks of Avid Technology, Inc.Xpand! is Registered in the U.S. Under copyright laws, this guide may not be duplicatedin whole or in part without the written consent of Avid.Ġ03, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O,24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory,Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx,D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign,Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, DigidesignTDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit,EditPack, Eleven, EUCON, HD Core, HD Process, Hybrid, Impact, Interplay, This guide is copyrighted ©2011 by Avid Technology, Inc., (hereafter “Avid”),with all rights reserved. ![]()
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