The main problem is that your fingers tend to slip off them, and you have to resort to holding them between finger and thumb, making it fiddly, and hard to control several faders at once. Maybe they're supposed to be quirky and different, but while their visual appeal is a matter of opinion, they fall short on a practical level. That said, let's deal with my biggest criticism up front! The fader caps are weird, looking and feeling a bit like squashed beer-bottle tops. So, initial impressions are mostly good, and here's a sneak preview: I'm going to say a lot of good things about the Command 8, and it's one of the best all-round controllers I've used. Despite the obvious similarities with the 002, the design of the housing is better, moving from the other surface's slightly toylike 'scooped' appearance to something more traditional. This impression is reinforced by the way that the power supply screws securely into place, a simple but reassuring touch. From the pictures on Digi's web site I thought it would be small, light and, dare I say it, plasticky, but in fact it's a hefty and impressive piece of kit. The first thing that struck me about the Command 8 was that it's much bigger than I'd expected. A significant departure for Digidesign, moreover, is that Command 8 is not just for Pro Tools: it also runs stand-alone as a MIDI controller for any other capable software. Command 8 provides hands-on control of both Pro Tools LE and TDM software, with the same high level of integration and sophistication that we've come to expect since Pro Control, Control 24 and HUI. However, while the Command 8 is indeed similar to the 002's controller, the comparison doesn't do justice to the new unit's scope. Digidesign's Command 8 aims to offer the best of both worlds.ĭigidesign already offer a rackmounting variant on their Digi 002 interface, which offers the Pro Tools LE audio interface component without the control surface, and at first glance, their Command 8 appears to be the reverse: the control-surface element of the Digi 002 without the audio interface. So there is a definite advantage to being on Pro Tools and S6 support plans.With fader controllers, you often have a choice of buying something dedicated to one software package, or a generic unit that gives versatility at the cost of tight integration. If you use old S6 software with new DAW adapters, your mileage may vary, you won’t have access to the latest development on both sides. It’s above and beyond what EUCON in the EuControl world does, and takes substantial development. S6 is a separate technology base and delivery target for features.Ī lot of features are S6 specific, and are not realized in EuControl surfaces. If you use new EuControl software with old adapters, your mileage may vary. 3P's are variably incentivized to implement SDK features, so if control surface integration is important to you, the latest version of Pro Tools is the best solution. It's a priority to us to implement the latest features. That's why there is an advantage to being on the latest version of Pro Tools when you have an EuControl/Artist/S3 surface, the latest version of Pro Tools will have the latest adapter.ģP's can implement features after Pro Tools does, when we make them available in the public SDK. The Pro Tools adapter gets features first. With EuControl/Artist/S3, features are delivered in adapters. This is about as close to the truth as you can get. So you will probably need to update nuendo at that time as well which will require you to pay Yamaha? Because when they add a feature to eucon, they need to change the code in pro tools to support that feature. I don't think you need a pro tools support plan for nuendo/eucon updates.
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