surface as it allows more than one person to contribute
to a complex mix in a far more efficient manner. To
this end, several ProTools systems can be controlled
by the D-Command but only one system at a time. I
could easily imagine a budget mixing stage having a
number of these connected to three ProTools systems
(one each for dialogue, music and FX) to create an
incredible three-person mixing facility. With budgets
shrinking and time getting tighter we have to become
smarter and more efficient.
(On that subject, another handy spin-off of using the
D-Command is the ability to have multiple operators.
Often I have a second operator who is editing while I’m
mixing: setting up the plug-ins and fine-tuning the mix.
This is still possible with the D-Command: the editor
can work on the session from the screen and you can
operate ProTools from the D-Command. Very, very
efficient.)
On each fader there is a group of LED’s that indicate
the automation modes at a glance and help you match
levels when working quickly and punching in on
automation. The latest versions of ProTools software
take advantage of the Icon range of control surfaces to
make the automation even more intuitive than before.
As an aside, I would like to see a ‘mix tree’ automation
system that allows you to try different mixes and easily
go back to a ‘branch’ and continue from that point if
needs be. Using a ‘save as’ can also be employed to
effect this after a fashion, albeit less efficiently.
Hidden Gems
Mixing with D-Command was a joy and I wasn’t
happy to give it back. Every day with the D-Command
brought with it a new surprise. Things like ‘do to all’
and ‘do to selected’ make mixing really efficient. For
example, perhaps you want to put an EQ III on all
the channels; it’s a simple one-step job with the D-
Command. Efficient metering is a must on any console
and here too the D-Command does not disappoint.
Apart from channel levels the individual dynamics
plugs have their own display to show level and gain
reduction, as you would expect.
The other excellent feature that I didn’t expect to
be overjoyed with is the scrub wheel – it feels so much
like an analogue scrub, it’s eerie, and allows you to
get right into problem areas to easily remove clicks
and the like. It was as good as the old Sony two-track
editors of years gone by. The same can be said of all
the transport controls and record enables. I really felt
like I was operating a first-class piece of kit.
Overall, I liked the D-Command a lot. I can easily
imagine how operating it and controlling ProTools
would become second nature, and the mouse could
be safely shoved in the drawer. D-Command certainly
points to the future while revisiting the best of the past
and the work that’s gone into the ProTools integration
is plain to see. In fact, it’s easy to get so engrossed in
its power that you can forget it’s a mid-range controller.
So, naturally, there have been some compromises (the
lack of bass management and fold down monitoring is
something that could be addressed in a later version
of the X-Mon, for example), but whether you’re a post
mixing facility, modern recording studio or part of a
post production complex, the D-Command’s allure will
be hard to resist.
Distributed by
• Digidesign
Web: www.digidesign.com
Price
• $24,635; Fader unit: $23,095
(25 Seiten)
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