Well there is no such that as 0 latency , but you would think the DigiDesign Rack had 0 latency with how well it worked! Probably the best interface of I have every worked on. We had absolutely zero problems with it, for the few hours we were using it. But with a newbie it could be an issue getting started. But I am sure the manual will clear up any questions or concerns you might have. It does allow you to run several tracks at once, so if you are running this on a mac with a lot of ram you will be good to go!
Very powerful tool right here! You probably wont find anything better on the market that can fit in your rack at home. This unit is used in major studios all across the world, and after using it I See why. No complaints at all with this one! Buy it! Four channels, bit at up to 96kHz sample rate support. Analog, digital, and MIDI capabilities with dedicated monitor and headphone outputs.
The unit can supply phantom power if need be. I ran it into an ancient mac book and used the version of protools that came with it. Worked great. I had no issues with the unit crashing or freezing, so no updates were needed.
There was some latency, but the unit allows you to directly monitor the signal with the monitor and headphone outs which means latency is a moot point. I never used it with anything besides the version of protools it came with, which I never used it with anything besides the version of protools it came with, which worked flawlessly.
It allows you to record 4 tracks simultaneously. I only ever did it with 2. I had no issues what so ever. I tried to use it to program my FCB, however the rack wouldn't recognize it.
Its was just a compatibility issue between the two units, the MIDI worked fine when it came to anything else. I never had a need to consult the manual, so I cannot comment. As for the setup, it was really simple. 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.
If it reads Va, stop. You already have this version installed. If it reads V, go ahead and install the new Va firmware. What Does This File Do? This Firmware Version Resolves the Following Issues: Changes the way the Digi powers up to eliminate a possible long-term reliability issue with the fader motors. Alleviates some cases where the scribble strips display random characters at startup and the firmware fails to initialize.
Download the Digi Controller file from the links above. The download will be in compressed format. You will be prompted to download the latest firmware. There is one other consideration. There was a power loom defect on early units that up until recently Avid would replace for free. If the unit has this defect then it can produce some very strange behaviour from firewire issues to no sync and funny scribble strip led readouts. If you have this defect you can still fix it usually without the replacement power harness by removing the bottom plate and carefully using some WD40 clean and remove the 2 long power connectors 5 or six times.
I have to do this about once every 1 to 2 years and it restores full functionalty perfectly till the next time! Finally if you get it working and have the right hardware it's a fantastic combination almost full controller functionality, surround monitoring with direct output in MC and mixing in ProTools Le with Neyrinck's Mix 5.
It's at least worth it just to see those faders move by themselves! Mercer: What hardware are you trying to co-install with? Thanks Mercer - I appreciate your thoughts and have read most of your posts regarding the Digi If these are required to ensure functionali9ty of the Digi , then how can the be considered supported?
Correct, DNA support ended with 5. I am not sure of later versions using the Digi but I imagine it will work only for software. I am absolutely sure it says co-install with DX hardware is unsupported. I think all other 3rd party hardware too takes over the sound in MC 6 and above. The Digi with a good mic preamps attached I use Sonifex is still first class and ProTools mixing to picture especially with Surround is something I use a lot.
We liked it to - we had it connected with and analogue Mojo and it worked great. The problem is that because the white papers indicated compatibility I didn't have the powers-that-be budget for a new mixer, so now I'm kind of screwed. Do you think I could use the in Standalone mode and feed it an audio signal from my Kona LHi card so that I could at least monitor audio and have picture at the same time?
You can use it as a standalone quite well but it's a bit inconvenient having to switch it into that mode each time, or perhaps not, I don't know. It's not a great mixer though as a piece of hardware, a small Mackie is more convenient, but it will certainly suffice as a monitoring mixer. When budget allows from the bean counters and if you still have the analogue Mojo it would great to set up another pc for your audio sweetening station needs with it.
I can get to work on its own and I can get the Analog Mojo to work on its own but when they are connected together, the '' symbol above the timeline is not lit. If anyone has got it working under W7 bit, I'll be interested in hearing about it. This is using MC5. I know about your long history of probs with the Digi, we've talked about it before. I have no experience with Win 7 64 so I cannot vouch for that but, I can't remember if you've tried all the legacy firewire driver bit and if you've got the right firewire cards, I'm sure you have because you've looked into that.
Did I ever suggest the bit about looking at the power harness? The unit can seem to work in almost respects but still have issues. When I last opened mine one of the plugs was almost hanging off and yet the unit lit up and seemed to work properly. Except I was getting all manner of sync issues like you and eventually MC hung at intialising audio on startup. A quick clean and reseat solved this completely.
Thanks for the info. I do know its a driver issue as I've tried an older driver and managed to get the to light but the audio has been distorted or it causes the system to crash. Yes, i do have right Firewire cards. Believe it or not, I did change the harness too. I had too because it wouldn't switch on and I discovered that this was a known problem makes a clicking sound on power-up but then switches off , so I managed to source one and change it.
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