D-Command ™

Version 7.4
Legal Notices Radio and Television Interference
This guide is copyrighted ©2008 by Digidesign, a division of Avid Technology, Inc. This equipment has been tested and found to comply with the limits for a Class A
(hereafter “Digidesign”), with all rights reserved. Under copyright laws, this guide digital device, pursuant to Part 15 of the FCC Rules.
may not be duplicated in whole or in part without the written consent of
Digidesign. Communications Statement
This equipment has been tested to comply with the limits for a Class A digital
003, 003 Rack, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20
device. Changes or modifications to this product not authorized by Digidesign,
I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo,
Inc., could void the Certification and negate your authority to operate the product.
Avid Unity, Avid Unity ISIS, Avid Unity MediaNetwork, Avid Xpress, AVoption,
This product was tested for CISPR compliance under conditions that included the
AVoption|V10, Beat Detective, Bruno, Command|8, Control|24, D-Command,
use of peripheral devices and shielded cables and connectors between system
D-Control, D-Fi, D-fx, D-Show, DAE, Digi 002, Digi 002 Rack, DigiBase,
components. Digidesign recommends the use of shielded cables and connectors
DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise
between system components to reduce the possibility of causing interference to
Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator,
radios, television sets, and other electronic devices.
DINR, DV Toolkit, EditPack, Impact, Interplay, M-Audio, MachineControl, Maxim,
Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, OMF, OMF Interchange, PRE, Safety Statement
ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE,
QuickPunch, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Smack!, This equipment has been tested to comply with USA and Canadian safety
SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, certification in accordance with the specifications of UL Standards: UL60065 7th
Synchronic, TL Space, Velvet, X-Form , and Xpand! are trademarks or registered /IEC 60065 7th and Canadian CAN/CSA C22.2 60065:03. Digidesign Inc., has
trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are been authorized to apply the appropriate UL & CUL mark on its compliant
the property of their respective owners. equipment.

Product features, specifications, system requirements, and availability are Warning

subject to change without notice.
PN 9106-58970-00 REV A 03/08
Comments or suggestions regarding our documentation?
email: techpubs@digidesign.com

Communications & Safety Regulation Information

Compliance Statement
The models D-Command and XMON comply with the following standards
regulating interference and EMC:
• FCC Part 15 Class A
Important Safety Instructions
• EN55103 – 1, environment E4
• EN55103 – 2, environment E4 1) Read these instructions.
• AS/NZS 3548 Class A
• CISPR 22 Class A 2) Keep these instructions.
• ICES-003 Class A
3) Heed all warnings.

4) Follow all instructions.

Canadian Compliance Statement:
This Class A digital apparatus complies with Canadian ICES-003 5) Do not use this apparatus near water.
Cet appareil numérique de la classe A est conforme à la norme NMB-003 du
Canada. 6) Clean only with dry cloth.

7) Do not block any ventilation openings. Install in accordance with the

manufacturer’s instructions.
CE Compliance Statement:
8) Do not install near any heat sources such as radiators, heat registers, stoves,
or other apparatus (including amplifiers) that produce heat.

9) Do not defeat the safety purpose of the polarized or grounding-type plug. A

polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or the third
prong are provided for your safety. If the provided plug does not fit into your
outlet, consult an electrician for replacement of the obsolete outlet.

Digidesign is authorized to apply the CE (Conformité Europénne) mark on this 10) Protect the power cord from being walked on or pinched particularly at plugs,
compliant equipment thereby declaring conformity to EMC Directive convenience receptacles, and the point where they exit from the apparatus.
89/336/EEC and Low Voltage Directive 73/23/EEC.
11) Only use attachments/accessories specified by the manufacturer.

12) Unplug this apparatus during lightning storms or when unused for long
Australian Compliance: periods of time.

13) Refer all servicing to qualified service personnel. Servicing is required when
the apparatus has been damaged in any way, such as power-supply cord or plug
is damaged, liquid has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or
has been dropped.
Do not attempt to service the equipment. There are no
user-serviceable parts inside. Please refer all servicing to authorized
Digidesign personnel.

Any attempt to service the equipment will expose you to a risk of

shock and will void the manufacturer’s warranty.

SPECIAL WARNING REGARDING VENTILATION:

Do not install D-Command anywhere or in any way that blocks free

air flow at any time around the back panel of the unit.

SPECIAL WARNING REGARDING AMBIENT TEMPERATURE:

Before powering on the D-Command unit, be sure to allow it to reach
room temperature. The unit includes some components that are
senstive to cold temperatures, so it is recommended that you
unpack the unit and allow it to acclimate before turning it on for the
first time.
Contents

Part I Introduction

Chapter 1. Introduction to D-Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

D-Command Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
D-Command System Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
System Expansion Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Operational Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Connection Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Mechanical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chapter 2. D-Command Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

D-Command Main Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
D-Command Fader Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
D-Command XMON Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Part II Installation

Chapter 3. Setting Up the Fader Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Assembling an Expanded System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 4. Connecting D-Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

D-Command Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Audio Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 5. Configuring D-Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Starting Up and Shutting Down the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Software Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Setting D-Command Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
System Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Part III Reference

Chapter 6. Channel Strip Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Channel Strips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Global Controls Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Miscellaneous Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Contents v
 Chapter 7. Plug-in Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Plug-ins and D-Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Dynamics Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
EQ Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Chapter 8. Transport and Navigation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Transport Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Zoom/Navigate Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Nudge/Bank Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Chapter 9. Management Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Window Management Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Session Management Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Soft Keys Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Chapter 10. Monitor and Meter Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Monitor Section Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Meter and Time Code Displays (Main Unit) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Setting D-Command Meters for Different Reference Levels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 11. Operating Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Normal Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Custom Fader Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Working with Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Appendix A. Utility Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Entering Utility Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Navigating Utility Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Exiting Utility Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
D-Command System Info Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
D-Command Name Page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
D-Command Test Pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Resetting D-Command to Factory Defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
D-Command Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Appendix B. Audio Connections and Pinouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

25-Pin Female Connector Pinouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
15-Pin Connector Pinouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

vi D-Command Guide
Part I: Introduction
Chapter 1: Introduction to D-Command

Welcome to the D-Command™ worksurface for Digidesign®

ICON systems. D-Command provides hands-on control of D-Command System Components
Pro Tools®, and offers powerful options for customizing the
The following components are included in a D-Command
Pro Tools mix environment.
8-channel or 24-channel system:

Main Unit
D-Command Features • D-Command Main Unit
D-Command provides controls for Pro Tools • AC power cord
recording, editing and mixing tasks, and a versatile • Ethernet cable
remote-controlled audio monitoring system. • Ethernet “crossover” cable (for direct connection to CPU
without a hub)
Control Features • Ethernet loopback plug (for Ethernet testing)
• Touch-sensitive, motorized 100mm faders • 9/64-inch hex driver (for removing side panels)
• Touch-sensitive, multi-purpose rotary controls • 5/32-inch hex driver (for connecting Main Unit and
• Dedicated controls for assignment and activation of inputs, Fader Module)
outputs, inserts and sends
Fader Module
• Flexible display of pan, insert, send, plug-in and mic pre
controls (Required for 24-Channel System)
• Dedicated EQ and dynamics plug-in control sections • D-Command Fader Module unit

• Dedicated controls for all channel strip functions including • AC power cord
recording and input monitoring modes, mute, solo, and • Ethernet cable
channel select
• Dedicated controls for automation mode, enable and safe XMON Monitoring System
status • XMON Interface
• Flip Mode for transfer of parameters from rotary controls to • AC power cord
faders • XMON cable
• Custom Fader Mode for flexible channel and parameter
mapping
• Full transport and navigation controls, including location System Expansion Options
commands and scrub/shuttle capability
An additional 16-channel Fader Module can be added to
D-Command, for a total of 24 faders. For details on
Monitoring Features D-Command expansion and customization options, visit the
• 6-channel control room monitoring system supports mono Digidesign website (www.digidesign.com).
through 5.1 surround monitoring, with up to 5 possible in-
put sources and 3 selectable output paths
• 2-channel cue system with 4 separate outputs and selectable
talkback feed
• Built-in talkback microphone and external talkback mic
input
• Standalone mode for monitoring without Pro Tools
• External source metering

Chapter 1: Introduction to D-Command 3

Operational Requirements Connection Requirements
Temperature and Ventilation Power Connections
D-Command should be installed and operated in a cli- Each unit (D-Command Main Unit, Fader Module, and
mate-controlled environment, away from heat sources, and XMON Monitor Interface) requires its own power connection.
with adequate ventilation. D-Command should be operated at
an ambient temperature that does not exceed 100 degrees F Make sure your power source is correctly rated for the number
(35 degrees C). of units you are connecting. A surge protected power source
(not included) is highly recommended.
The back panel and the front half of the bottom panel of each
unit should be exposed to ambient air. Blocking or partially
blocking the back panel or bottom panel of a D-Command Ethernet Connections
unit may cause the unit to malfunction and may void your Each D-Command unit communicates with Pro Tools using
warranty. Ethernet. A single Main Unit can be connected to the host
computer without an Ethernet hub. To connect multiple
Water and Moisture D-Command units to the host computer, an Ethernet hub
(not included) is required.
D-Command units should be operated away from sources of
moisture or humidity and should be protected from liquid
spills. Audio Connections
All external analog audio inputs and outputs for control room
Cleaning and Maintenance
monitoring and studio communication are connected to the
If you need to clean the D-Command top surface, apply a XMON interface. D-Command connects to the XMON inter-
non-chlorine bleach based cleaning solution to a cloth or face with a single 15-pin cable (included). All analog inputs
paper towel, then carefully wipe the surface. Do not use and outputs on the XMON use DB-25 connectors.
abrasives, cleaning solutions with chlorine bleach, or spray
cleaners. Audio Cables for D-Command Monitoring

Digidesign offers a range of DigiSnake cabling options for con-

necting Digidesign interfaces and external sources to the
XMON monitoring system. For details, visit the Digidesign
website (www.digidesign.com).

System Requirements
D-Command requires the following system components:
• Pro Tools|HD® system (which includes at least one
Pro Tools|HD audio interface)

An expanded Pro Tools|HD system is required for higher track

counts.

For complete system requirements, visit the Digidesign

website (www.digidesign.com).

Compatibility Information

Digidesign can only assure compatibility and provide support

for hardware and software it has tested and approved.
For a list of Digidesign-qualified computers, operating sys-
tems, and third-party devices, visit the Digidesign website
(www.digidesign.com).

4 D-Command Guide
Mechanical Specifications

29.25 in
(74.3 cm)
14.4 in
(36.6 cm)

10.23 in
(25.98 cm)

4.24 in 2.68 in
(10.78 cm) (6.79 cm) 0.5 in 2.55 in
(1.27 cm) (6.48 cm)

D-Command side dimensions

29.25 in
(74.3 cm)

32.3 in
(82 cm)
D-Command top dimensions (Main Unit)

Chapter 1: Introduction to D-Command 5

 29.25 in
(74.3 cm)

55.6 in
(141.2 cm)

D-Command top dimensions (Main Unit and Fader Module)

6 D-Command Guide
Chapter 2: D-Command Overview

D-Command Main Unit

Main Unit Top Panel

Talkback Microphone Main Time Scale display

Meter
section

Miscellaneous
controls

Rotary Encoder
section
Dynamics Section Monitor Section

Channel Strip
Mode controls

Channel Strip
Function
controls Soft Keys
EQ Section section

Session
Management
Channel section
faders

Transport Zoom/Navigation
Section section
Modifier
keys

Global Automation Mode Custom Fader Window Nudge/Bank

controls controls controls Management section
section

Figure 1. D-Command Main Unit top panel

Chapter 2: D-Command Overview 7

Meter Display Soft Keys Section
The Meter display on the D-Command Main Unit can be set to The Soft Keys section on the D-Command Main Unit provides
show the output levels, or levels associated with a track or access to a wide range of Pro Tools commands directly from
plug-in. See “Meter and Time Code Displays (Main Unit)” on the control surface. It also provides access to preferences and
page 97. settings specific to D-Command. See “Soft Keys Section” on
page 79.
Main Time Scale Display and Location Indicator
Transport Section
The Main Time Scale display and Location indicator mirrors
the Main Time Scale in Pro Tools. See “Meter and Time Code The Transport section on the D-Command Main Unit in-
Displays (Main Unit)” on page 97. cludes a full set of transport controls, switches for setting the
transport mode, scrub/shuttle controls, as well as advanced
Dynamics and EQ Sections audition and locate controls. See “Transport Section” on
page 71.
The D-Command Main Unit provides dedicated Dynamics
and EQ sections for plug-ins that support Dynamics and EQ
Global Controls
plug-in mapping. See “Plug-ins and D-Command” on page 53.
The Global controls are a set of channel-related controls in the
Monitor Section center of the D-Command Main Unit, allowing easy access to
powerful assignment, display, and channel function controls.
The Monitor section on the D-Command Main Unit includes See “Global Controls Section” on page 40.
a full set of controls for the control room, headphone/cue,
and talkback/listenback sections of D-Command. See “Moni-
Custom Fader Controls
tor Section Controls” on page 89.
The Custom Fader mode switches on the D-Command Main
Zoom/Navigation Section Unit invoke a special set of D-Command modes, called Custom
Fader modes, which let you set aside and customize channel
The Zoom/Navigate section on the D-Command Main Unit is strips for display and editing of a variety of functions. See
used to control navigation, display, and selections in the “Custom Fader Controls” on page 45.
Pro Tools Edit window. See “Zoom/Navigate Section” on
page 76.
Automation Mode Controls

Nudge/Bank Section The Automation Mode controls mirror the function of the
on-screen Automation Mode selector for each track, and let
The Nudge/Bank section on the D-Command Main Unit is you change automation modes during playback. See “Auto-
used to control the display of Pro Tools tracks on the control mation Mode Controls” on page 47.
surface. See “Nudge/Bank Section” on page 76.

Window Management and Session Management

Sections
The Window Management and Session Management sections
on the D-Command Main Unit include controls for opening
and closing Pro Tools windows, and managing and saving
Pro Tools sessions. See “Window Management Section” on
page 77 and “Session Management Section” on page 78.

8 D-Command Guide
Main Unit Back Panel

Power switch Footswitch jack XMON Monitoring System

connector

AC Power Ethernet connector

Figure 2. D-Command Main Unit back panel connectors

AC Power Ethernet Connector

The AC Power connector accepts a standard AC power cable. The Ethernet connector on the back panel of the D-Command
The D-Command Main Unit is auto power-selecting (100V to Main Unit provides communication to Pro Tools. See “Ether-
240V) and automatically works with a standard modular net Connections” on page 19.
power cord when connected to an AC receptacle in any
country. XMON Monitoring System Connector
The 15-pin connector on the back panel of the D-Command
Power Switch
Main Unit provides remote control of all audio monitoring
The Power switch applies power to the D-Command Main functions from the D-Command Monitoring section. See
Unit. “XMON Monitoring System Connection” on page 21.

Footswitch Jack
The footswitch jack on the back panel of the D-Command
Main Unit is a 1/4-inch TRS jack that supports two footswitch
connections. See “Footswitch Connections” on page 20.

Chapter 2: D-Command Overview 9

 D-Command Fader Module

Fader Module Top Panel

Meter
section

Rotary Encoder
section

Channel Strip
Mode controls

Channel Strip
Channel Strip
Function controls

Channel faders

Modifier keys

Figure 3. D-Command Fader Module top panel

Meter Section Fader Module Back Panel

The Meter section on the D-Command Fader Module can dis-
AC Power
play track levels, plug-in meters, and other parameters de-
pending on D-Command metering preferences. The AC Power connector accepts a standard AC power cable.
The D-Command Fader Module is auto power-selecting (100V
Channel Strip to 240V) and automatically works with a standard modular
power cord when connected to an AC receptacle in any
Each channel strip on the D-Command Fader Module has
country.
identical channel controls, including two touch-sensitive ro-
tary encoders, display and mode controls, and a touch-sensi-
Power Switch
tive fader. See “Channel Strips” on page 33.
The Power switch applies power to the Fader Module.
Modifier Keys
Ethernet Connector
Each D-Command Fader Module has a set of four switches in
its lower left corner that duplicate the function of the The Ethernet connector on the back panel of the D-Command
Pro Tools computer keyboard modifiers. See “Modifier Key Fader Module provides communication to Pro Tools. See
Switches” on page 40. “Ethernet Connections” on page 19.

10 D-Command Guide
D-Command XMON Interface
D-Command monitoring is based on the XMON analog interface, which is remotely controlled from the D-Command
monitoring section.

XMON Front Panel

Power
switch
Mute MIDI Receive
indicator indicator

Mute button

Figure 4. XMON front panel

Power Switch MIDI Receive Indicator

The Power switch applies power to the XMON Interface. The MIDI Receive indicator shows MIDI activity between
XMON and D-Command.
Mute Indicator
Mute Button
The Mute indicator shows the mute status of XMON.
The Mute button mutes all XMON outputs. It is not possible
to unmute XMON with this button. The XMON mute state
can only be cleared from the D-Command Monitor section
(see “Monitor Section Controls” on page 89).

Chapter 2: D-Command Overview 11

 XMON Back Panel
The back panel of the XMON interface includes connectors for all external analog audio inputs and outputs for D-Command. See
“Audio Connections” on page 21.

Cue Inputs Main Inputs Surround Inputs Stereo Inputs

Cue Outputs Main Outputs Alt Outputs Talkback/ Meter Calibration Control Surface AC Power
Listenback/ Screws
Utility

Figure 5. XMON back panel

12 D-Command Guide
Part II: Installation
Chapter 3: Setting Up the Fader Module

This chapter explains how to add the Fader Module to the Assembly Hardware
D-Command Main Unit.
The following hardware is provided with the D-Command
Fader Module (spare pieces may be included).
Placement of D-Command Fader Module
Brackets
When placing the D-Command Fader Module in studio furni-
ture or on a table top, make sure to account for the dimen- • Front Bracket
sions of the assembled system, allowing for at least 1 inch • Center Bracket
(2.5 cm) of open space behind the finished unit. This meets • Rear Bracket
the ventilation requirements for the D-Command units.

When bracketing together your system, you will need addi-

tional clearance on either side of the unit to push the Fader
Module and the Main Unit together, as well as sufficient clear-
ance in front and behind the units to allow you to attach the
brackets. You will also need access to the rear of the unit to
make cable connections.

Front bracket Center bracket Rear bracket

Assembling an Expanded System Figure 2. D-Command expanded system connecting brackets

The D-Command Main Unit can be attached to the D-Com- Screws
mand Fader Module using the front, middle, and rear brackets
• (4) 6-32 x 3/8-inch Philips pan head screw
included with the D-Command Fader Module.
• (10) 10-32 x 3/4-inch socket cap screw

6-32 x 3/8-inch 10-32 x 3/4-inch

Philips pan head screw socket cap screw
Front bracket Center bracket Rear bracket
Figure 3. Screws for D-Command connecting brackets
Figure 1. D-Command with Fader Module (bottom view)

Chapter 3: Setting Up the Fader Module 15

 Positioning the D-Command Units 5 Using a 5/32 hex wrench, attach the front bracket, using
four 10-32 1/2-inch socket cap screws.
If you are building a 24-fader D-Command, you can place the
Fader Module either to the left or to the right of the Main When bracketing together a D-Command system, leave all
Unit. screws on the Fader Module loose enough to allow you to ad-
just the position of the units relative to each other. After all
three brackets are installed, and the units are pressed fully
together, then fully tighten the Fader Module screws.

6 Slide the connected units backward so that you have access

Fader Main to the rear screws.

7 Remove the four Philips head screws indicated in Figure 5.

D-Command Fader Module

24-fader system, Fader Module on left

Main Fader

Remove screws
Figure 5. Rear view of D-Command and Fader Module

8 Attach the rear bracket, using four 10-32 3/4-inch socket cap
24-fader system, Fader Module on right
screws and four 6-32 x 3/8-inch Philips pan head screws.
Figure 4. 24-channel configurations
9 Carefully slide the connected units forward so that you have
access to the center bracket screw holes.
If you are placing the Fader Module to the right of the Main
Unit, you need to move the spacer plate from the Fader 10 Attach the center bracket, using two 10-32 3/4-inch socket
Module to the Main Unit. Refer to “Moving the Spacer cap screws.
Plate” on page 17 for detailed instructions on moving the
11 Press the D-Command units together. If necessary, use a
spacer plate.
ratcheting nylon strap to press the units together by running
the strap around the two units. Make sure the nylon strap does
Attaching the Units not contact any switches or encoders on the surface.

To attach the D-Command Fader Module to the Main Unit: 12 Tighten the bracket screws on the Fader Module.

1 Using a 9/64 hex wrench, remove the plastic end cap from 13 Attach the plastic end cap to the Fader Module.
the side of the Main Unit where you want to install the Fader
Module.

2 If you are installing the Fader Module on the right of the

Main Unit, move the spacer plate. (See “Moving the Spacer
Plate” on page 17.)

3 Place the Fader Module next to the Main Unit, and press the
units together.

4 Slide both units forward so that you have access to the front
bracket screw holes.

16 D-Command Guide
Moving the Spacer Plate
There is a metal spacer plate pre-installed on the right side of
the Fader Module. When installing the Fader Module on the
right of the Main Unit, you will need to remove the spacer
plate from the Fader Module and place it on the right side of
the Main Unit.

Do not use a power screwdriver or similar high-torque device

to remove and replace the screws for the spacer plate, as it
might strip the threads in the screw housing.

To move the spacer plate:

1 Remove the screws holding the spacer plate in place. Make
sure to note the location of the long and short screws as you
remove them.

long screws (6)

short screws (3)

Figure 6. D-Command Fader Module spacer plate

2 Remove the spacer plate from the right side of the Fader
Module.

3 Replace the screws in the side of the Fader Module, making

sure to replace the long and short screws in their correspond-
ing holes.

4 Remove the corresponding screws from the right side of the

Main Unit, and attach the spacer plate with the same screws.

The holes on the spacer plate are countersunk for installa-

tion on the right side of a unit. Do not attach the spacer
plate to the left side of any D-Command unit.

Chapter 3: Setting Up the Fader Module 17

18 D-Command Guide
Chapter 4: Connecting D-Command

D-Command Connections
D-Command units require power and Ethernet connections to operate with Pro Tools. An optional footswitch connection is also
available on the Main Unit. The connectors on the back panel of the D-Command Main Unit are shown in Figure 7.

Be sure to make all connections with your D-Command units and computer turned off.

Ethernet connector

XMON Monitoring System connector

Footswitch jack

Figure 7. D-Command Main Unit back panel connectors

Power Connections Ethernet Connections

Each D-Command unit (Main Unit and Fader Module) and Each D-Command unit communicates with Pro Tools using
the XMON Monitor Interface requires its own power connec- Ethernet. An Ethernet cable is included with each D-Com-
tion. D-Command Main Units, Fader Modules, and XMON In- mand unit.
terfaces are auto power-selecting (100V to 240V) and automat-
ically work with a standard modular power cord when If you are connecting only one D-Command unit to your computer:
connected to an AC receptacle in any country. A power cable
1 Connect one end of the supplied Ethernet cable to the
is provided with each D-Command unit and the XMON
Ethernet port on the back panel of D-Command.
interface.
2 Connect the other end of the cable to the appropriate Ether-
To make D-Command power connections: net port on the computer.

„ For each D-Command unit and the XMON Interface, con-

If you are connecting more than one D-Command unit to your
nect the included AC power cord the unit and to a power
computer:
source.
1 Install an Ethernet hub (not included) according to its in-
structions, apply power to it, and verify that it is functioning
properly.

2 Connect the Ethernet hub to the Ethernet port on your

computer.

3 For each D-Command unit, connect one end of the supplied

Ethernet cable to a port on the Ethernet hub (do not use any
port labeled for LAN connection), and connect the other end
of the Ethernet cable to the Ethernet port on the back of the
unit.

Chapter 4: Connecting D-Command 19

 Controlling Pro Tools Systems Over a Network
When D-Command is connected to an Ethernet network, it
will be available to be declared by any Pro Tools system on
that network. This lets you control different Pro Tools systems
on the network with a single D-Command console. (You can
only control one Pro Tools system at a time.)

Footswitch Connections
You can connect two SPST (single-pole, single-throw) foot-
switch units to the D-Command Main Unit to control any of
the following functions:
• Starting and stopping Pro Tools playback
• Starting Pro Tools recording
• Toggling Talkback on and off

The footswitch connector is a single 1/4-inch TRS jack on the

back panel of the D-Command Main Unit.

To wire a TRS connector for the D-Command footswitch jack:

„ Use the following wiring convention: Tip = Footswitch 1,

Ring = Footswitch 2, Sleeve = Ground.

20 D-Command Guide
Audio Connections
D-Command monitoring is based on the XMON analog interface, which is remotely controlled from the D-Command monitor-
ing section. All external analog audio inputs and outputs for control room monitoring and studio communication are connected
to the XMON interface.

XMON provides 18V phantom for its three external mic inputs (External Talkback Mic, Listen Mic 1, Listen Mic 2).

All audio connections are made with standard DB-25 connectors. The back panel of the XMON is shown in Figure 8.

Cue Inputs Main Inputs Surround Inputs Stereo Inputs

Cue Outputs Main Outputs Alt Outputs Talkback/ Meter Calibration Control Surface AC Power
Listenback/ Screws
Utility

Figure 8. XMON back panel

XMON Monitoring System Connection

D-Command connects to XMON with a single 15-pin XMON cable. A 50-foot (15.25 m) cable is included with the D-Command
Main Unit. The system supports up to an 80-foot (24.5 m) cable.

To connect the XMON to D-Command:

1 Connect the included AC power cord to the back panel of the XMON and to a power source. A surge protected power source
is highly recommended.

2 Connect one end of the included XMON cable to the Control Surface port on your XMON unit, and the other end to the 15-pin
XMON Monitoring System connector on the back panel of the D-Command Unit.

Chapter 4: Connecting D-Command 21

 Control Room Monitoring Connections

AFL/PFL Pro Tools

Level Solo
AFL/PFL Command
Input
(2 channels)

Main
Input
(6 channels)

Surround
Input
(6 channels)
Main Output
Control Room (6 channels)
Level, Dim, Output Select
Stereo 1 Solo, Mute,
Input Trim + Cal
(2 channels)
Mono Alt Output
Summing (6 channels)
Stereo 2
Input
(2 channels)

Stereo 3 Mini Output

Input (2 channels)
(2 channels) Input
Source
Select [To Cue System]

Level
Listen
Mic 1

Level
Listen
Mic 2

Figure 9. Control room monitoring system block diagram

Inputs
• Main Inputs (6 channels), balanced, +4 dBu (from Pro Tools)
• Surround Inputs (6 channels), balanced, +4 dBu
• Stereo 1 Inputs (2 channels), balanced, +4 dBu/–10dBV
• Stereo 2 Inputs (2 channels), balanced, +4 dBu/–10dBV
• Stereo 3 Inputs (2 channels), balanced, +4 dBu/–10dBV
• AFL/PFL Inputs (2 channels), balanced, +4 dBu
• Listen Mic 1 (external), mic level (XMON provides 18V phantom power)
• Listen Mic 2 (external), mic level (XMON provides 18V phantom power)

Outputs
• Main Control Room Outputs (6 channels), balanced or unbalanced, +4 dBu
• Alt Control Room Outputs (6 channels), balanced or unbalanced, +4 dBu
• Mini Control Room Outputs (2 channels), balanced or unbalanced, +4 dBu

22 D-Command Guide
Headphone/Cue System Connections

Main Monitor
Input
(2 channels)
[from Control Room System]

Talkback/Slate Out
(1 channel)

Cue 1
Input Cue 1 Out
(2 channels) (2 channels)

Cue 2
Input Cue 2 Out
(2 channels) (2 channels)

HP Out
(2 channels)

Internal Studio LS
Talkback (2 channels)
Internal Level
Talkback
Input Talkback
switch Talkback
External Assign
Talkback
External Level
Talkback
Input

Figure 10. Headphone/Cue system block diagram

Inputs
• Main Monitor Input (2 channels)
• Cue 1 Input (2 channels), balanced, +4 dBu
• Cue 2 Input (2 channels), balanced, +4 dBu
• Internal Talkback Mic (from internal mic)
• External Talkback Mic, mic level (XMON provides 18V phantom power)

Outputs
• Cue 1 (2 channels), +4 dBu
• Cue 2 (2 channels), +4 dBu
• Headphone (2 channels), to internal headphone jack
• Studio Loudspeaker (2 channels)
• Talkback/Slate Output (1 channel)

Chapter 4: Connecting D-Command 23

 Example XMON Wiring Diagram
The following diagram shows basic XMON connections for a Pro Tools|HD system with a Digidesign 192 I/O with 16 analog out-
puts (with a 192 AD card installed).

192 I/O

Analog Outputs 1-8 Analog Outputs 9-16

DB-25 to DB-25
connectors

Cue Inputs Main Inputs

XMON

Cue Outputs Main Outputs Alt Outputs Talkback/Listenback

To To To To
Cue System Main Alternate Various
Amplifiers Speakers Speakers Inputs
and
Outputs

DB-25 to XLR
snakes

1-2: Studio 1 = L 1 =L 1 = Ext Talkback Mic Input

3-4: Cue 1 2 = (Lc*) 2 = (Lc*) 2 = Listen Mic 1 Input
5-6: Cue 2 3 = C 3 =C 3 = Listen Mic 2 Input
4 = (Rc*) 4 = (Rc*) 4 = AFL Input 1
5 = R 5 =R 5 = AFL Input 2
6 = Ls 6 = Ls 6 = Mini Speaker Out 1 (L)
7 = Rs 7 = Rs 7 = Mini Speaker Out 2 (R)
8 = LFE 8 = LFE 8 = Talkback/Slate (Out)

* Main Speaker Outputs 2 and 4 are active on XMON, but Lc and Rc outputs cannot be controlled independently from the
D-Command monitor section. Global Volume, Solo, and Mute controls affect all outputs.

Figure 11. Wiring diagram for 192 I/O and XMON

24 D-Command Guide
Chapter 5: Configuring D-Command

Starting Up and Shutting Down the Software Configuration

System All D-Command software is included when Pro Tools software
Your D-Command-based system must be started up and shut is installed. The Pro Tools software installer places the D-Com-
down in a specific order. mand Personality folder on the system drive.

Refer to the Getting Started Guide that came with your system
Start your D-Command-based system in this order:
for instructions on installing or updating Pro Tools software.
1 Turn on external hard drives first. Wait 10 to 15 seconds for
them to come up to speed.
Updating System Firmware
2 Turn on the D-Command units.
Each release of Pro Tools software includes the most current
3 If you plan to work with MIDI equipment, turn on MIDI in- D-Command firmware. When you declare a D-Command unit
terfaces and other MIDI devices. in the Pro Tools Peripherals dialog, Pro Tools compares the
firmware of all connected units to the version available in
4 Turn on all Pro Tools audio interfaces.
Pro Tools software, and prompts you if an update is available.
5 Turn on the computer.
If you are prompted to update firmware, follow the on-screen
6 Turn on the XMON interface. instructions to load the latest firmware to each D-Command
7 Turn on monitor amplifiers or self-powered speakers. unit.

Shut down your D-Command-based system in this order: Declaring D-Command Units in Pro Tools
1 Turn off monitor amplifiers or self-powered speakers.
Communication between D-Command and Pro Tools is con-
2 Turn off the XMON interface. figured from Pro Tools.

3 Turn off all Pro Tools audio interfaces.

To declare D-Command units in Pro Tools:
4 Shut down the computer.
1 Choose Setups > Peripherals, and click Ethernet Controllers.
5 If using MIDI equipment, turn off MIDI interfaces or con-
trollers.

6 Turn off the D-Command units.

7 Turn off external hard drives.

Ethernet Controllers display in the Peripherals dialog

2 Select Enable. Pro Tools scans the Ethernet connection for

any Ethernet controllers connected to the system.

Chapter 5: Configuring D-Command 25

 3 Select the units in the order you want them arranged left to
right. Setting D-Command Preferences
It is not necessary to declare units in the same sequence This section describes the settings and preferences for D-Com-
as they are physically arranged. mand that are set directly from the control surface. For details
on preferences that are set from Pro Tools, refer to the
As each unit is selected, Pro Tools scans it and brings it online. Pro Tools Reference Guide.
The current status of each unit is indicated in the Peripherals
dialog in the following ways:
Fader and Switch Preferences
• Bold indicates a connected unit.
• Italics indicate an offline or disconnected unit. The following settings and preferences affect operation of the
faders and switches on D-Command.
• Underlining indicates that the selected unit is in use by
another Pro Tools system.
Fader Bank Justification
4 After declaring one or both units, click OK to close the Pe-
ripherals window. The Bank Justification preference determines whether banks
of channels in Normal mode are left-, center-, or right-justified
When communication is established, Pro Tools displays col- on the control surface.
ored outlines identifying each bank of Pro Tools tracks.
To set bank justification:
The colors in each unit row are used to identify controller fo-
cus on-screen in Pro Tools. The bank, track, insert, send, or 1 In the Console Prefs Soft Keys section, press the Operation
other element currently the focus of D-Command is outlined switch repeatedly to display the page that includes the Bank
in the color associated with each unit. Justification preference (“BnkJus”).

2 Press the Soft Key that corresponds to “BnkJus” to choose

Naming D-Command Units in Pro Tools between the “Left,” “CentrL,” “CentrR,” and “Right” settings.

You can set the names for D-Command units from Pro Tools. 3 Hold Control (Windows) or Command (Mac) and press the
Operation switch to exit.
To name D-Command units in Pro Tools:
Faders On/Off
1 Choose Setup > Peripherals, and click Ethernet Controllers.
The Faders On/Off preference lets you temporarily turn off
2 Click Name Units.
D-Command faders to prevent fader movement when moni-
toring a mix.

To toggle D-Command faders on and off:

1 In the Console Prefs Soft Keys section, press the Operation
switch repeatedly to display the page that includes the Faders
On/Off preference (“Faders”).

2 Press the Soft Key that corresponds to “Faders” to toggle all

faders on and off.

3 Hold Control (Windows) or Command (Mac) and press the

Operation switch to exit.

Naming D-Command units

3 Enter the names for the units and click OK.

You can also set the names for D-Command Main Units and
Fader Modules directly from the units themselves, by using
Utility mode. For details on naming D-Command units in
Utility mode, see “D-Command Name Page” on page 116.

26 D-Command Guide
Touch Value Maximum Custom Fader Bank Size
The Touch Value preference determines whether faders and The Maximum Custom Fader Bank Size preference determines
encoders, when touched, temporarily show the value of the the number of channels to be used when displaying channels
parameter they are controlling. in the Custom Fader modes. Options are 4 and 8 faders for a
Main Unit, and 4, 8, 16 and 24 faders for an expanded system.
To toggle display of values on or off:
You can choose settings for each of these sizes (indicated by
1 In the Console Prefs Soft Keys section, press the Operation the prefix “Min”) that use the minimum number of channels
switch repeatedly to display the page that includes Touch necessary, so that the Custom Fader section dynamically re-
Value (“TchVal”). sizes to match the number of channels in the group.
2 Press the Soft Key that corresponds to “TchVal” to cycle dis-
play of all values On, all values Off or just fader values off To set the maximum Custom Fader bank size:
(“NoVol”). 1 In the Console Prefs Soft Keys section, press the Operation

3 Hold Control (Windows) or Command (Mac) and press the

switch repeatedly to display the page that includes the follow-
Operation switch to exit. ing Custom Fader Bank Size preferences:

CFPIug (CF Bank Size for Plug-ins) Determines the number of

Select Switch Latch Mode channels allocated for Custom Fader Plug-in mode.

The Select Switch Latch mode determines whether channel CFGrp (CF Bank Size for Custom and Mix/Edit Groups) Deter-
Select buttons follow latching or non-latching (exclusive-or) mines the number of channels allocated for Custom Groups
behavior when in Select mode. mode.

To set the Select switch mode: CFTyp (CF Bank Size for Track Type) Determines the number
of channels allocated for Custom Fader Tracks mode.
1 In the Console Prefs Soft Keys section, press the Operation
switch repeatedly to display the page that includes Select 2 Do one of the following:
Switch Latch mode (“Select”). • To increment the number of channel strips, press the Soft
2 Press the Soft Key that corresponds to “Select” to toggle the
Key that corresponds to the preference setting you want
setting between the “Latch” and “ExclOr” (non-latching) set- to change.
tings. – or –

3 Hold Control (Windows) or Command (Mac) and press the

• To decrement the number of channel strips, hold Shift
Operation switch to exit. and press the Soft Key that corresponds to the preference
setting you want to change.

3 Hold Control (Windows) or Command (Mac) and press the

Custom Fader Preferences
Operation switch to exit.
Custom Fader Justification
Display of Hidden Tracks in Custom Faders
The Custom Fader Justification preference determines
whether channels in Custom Fader mode are left-, center-, or You can set D-Command to show hidden tracks in the Cus-
right-justified on the control surface. tom Fader views. You can then mix those hidden tracks, but
you cannot select or record-enable them. Hidden track names
To set Custom Fader justification: are displayed in yellow in the Custom Faders.

1 In the Console Prefs Soft Keys section, press the Operation

To make hidden tracks visible in Custom Fader views:
switch repeatedly to display the page that includes Custom
Fader Justification (“CFJus”). 1 In the Console Prefs Soft Keys section, press the Operation
switch repeatedly to display the page that includes Custom
2 Press the Soft Key that corresponds to “CF Jus” to choose be- Fader Tracks (“CFTrks”).
tween the “Left,” “CentrL,” “CentrR,” and “Right” settings.
2 Press the Soft Key that corresponds to “CFTrks” to toggle the
3 Hold Control (Windows) or Command (Mac) and press the setting between Show Hidden Tracks (“ShwHdn”) and Hide
Operation switch to exit. Hidden Tracks (“HidHdn”).

3 Hold Control (Windows) or Command (Mac) and press the

Operation switch to exit.

Chapter 5: Configuring D-Command 27

 Custom Fader Plug-in Mode View Definition Encoder Order
There are three view options available for display of plug-in The Encoder Order preference determines whether inserts,
parameters in the channel displays of the Custom Faders. sends, and pan controls will be displayed in order from
These options, or view definitions, are accessible from the top-to-bottom or bottom-to-top on D-Command rotary en-
D-Command operation preferences. coders.

To set the Custom Fader Plug-in Mode view: To set the Encoder Order preference:
1 In the Console Prefs Soft Keys section, press the Operation 1 In the Console Prefs Soft Keys section, press the Operation
switch repeatedly to display the page that includes Plug-in switch repeatedly to display the page that includes Encoder
View Definition (“PIDef”). Order (“Encod”).

2 Repeatedly press the Soft key that corresponds to “PIDef” to 2 Press the Soft Key that corresponds to “Encod” to toggle the
choose between the following settings for the Plug-in Mode setting between “Bot-Tp” (bottom-to-top ordering) and
view: “Tp-Bot” (top-to-bottom ordering).

Name View Shows the track name, plug-in name and channel 3 Hold Control (Windows) or Command (Mac) and press the
format of the currently focused plug-in in the channel dis- Operation switch to exit.
plays of the Custom Faders.

Expanded View Shows additional plug-in controls in the chan- Display Preferences
nel displays of the Custom Faders. This view can also be seen The following preferences affect the interaction of D-Com-
at any time by pressing and holding the Plug-In switch in the mand with on-screen display of elements in Pro Tools.
Custom Fader section until the switch flashes. See “Expanded
Plug-in View” on page 109.
Target Track from Application
Fader View Maintains track names on channel displays and The Target Track from Application preference determines
fader control of track volume while Custom Fader plug-in pa- whether selecting an Insert or Send on-screen makes its track
rameters are displayed in the channel encoders. Entering Ex- the focused track on the D-Command Main Unit. For details
panded view or Plug-in Map mode automatically exits Fader on focusing a track on D-Command, see “Focusing a Track”
view. on page 101.
3 Hold Control (Windows) or Command (Mac) and press the
Operation switch to exit. To set the Target Track from Application preference:
1 In the Console Prefs Soft Keys section, press the Operation

Encoder Preferences switch repeatedly to display the page that includes Target
Track (“ApTrgt”).
The following preferences affect operation of the rotary en-
2 Press the Soft Key that corresponds to “ApTrgt” to toggle the
coders on D-Command.
setting between “Yes” and “No.”

Rotary Encoder Mode 3 Hold Control (Windows) or Command (Mac) and press the
Operation switch to exit.
The Rotary Encoder mode affects responsiveness of rotary en-
coder knobs. Fixed mode is at normal resolution. The velocity
Channel Window Display
modes set different rates of encoder acceleration. In Fine
mode, response is fixed and at fine resolution. The Channel Window display preference determines whether
displaying plug-in or send pan parameters (by pressing an en-
To set the Rotary Encoder mode: coder Select switch) on D-Command opens the corresponding
1 In the Console Prefs Soft Keys section, press the Operation plug-in or send window on-screen in Pro Tools.
switch repeatedly to display the page that includes Rotary En-
This preference also determines whether the Channel Select
coder mode (“Rotary”).
switches in the Dynamics or EQ sections change the channel
2 Press the upper Soft Key that corresponds to “Rotary” to step display of multi-mono plug-ins.
through the “Fixed,” “Vel-Sl” (velocity-sensitive, slow), ‹ When this preference is set to “Yes,” the on-screen display
“Vel-Md” (velocity-sensitive, medium), “Vel-Fa” (veloc- of plug-in and send windows changes to reflect the state of the
ity-sensitive, Fast), and “Fine” settings. control surface.
3 Hold Control (Windows) or Command (Mac) and press the
Operation switch to exit.

28 D-Command Guide
‹ When this preference is set to “No,” the on-screen display of Meters Pre/Post Fader
plug-in and send windows does not change to reflect the state
of the control surface. The Meters Pre/Post Fader preference toggles channel meter-
ing between pre- and post-fader modes.
To set the Channel Window display preference:
To toggle channel meters between pre- and post-fader metering:
1 In the Console Prefs Soft Keys section, press the Operation
1 Press the Meters switch in the Console Prefs Soft Keys sec-
switch repeatedly to display the page that includes Channel
Window (“ChanWn”). tion.

2 Press the Soft Key that corresponds to “Meters” to toggle the

2 Press the Soft Key that corresponds to “ChanWn” to toggle
this setting between “Yes” and “No.” setting between “PreFad” (pre-fader metering) and “PostFd”
(post-fader metering).
3 Hold Control (Windows) or Command (Mac) and press the
3 Press the Meters Console Prefs Soft Key switch to exit.
Operation switch to exit.

Center Meters Track/Output

Meter Preferences
The Center Meters Track/Output preference toggles the
The following preferences affect operation of the meters on
8-channel meter display on the Main Unit meter bridge be-
D-Command.
tween main output levels and the focused track.

Send Meters On/Off When set to meter the focused track, you can view levels for
multichannel tracks up to 6 channels (5.1 surround).
The Send Meters On/Off preference toggles send metering on
and off. Send levels are displayed on the LED rings surround- To toggle the center meters between output and track metering:
ing the D-Command rotary encoders. This metering follows
Send pre- or post-metering settings in Pro Tools. 1 Press the Meters switch in the Console Prefs Soft Keys sec-
tion.
To toggle send meters on and off: 2 Press the Soft Key that corresponds to “CtrMtr” to toggle the
1 Press the Meter switch in the Console Prefs Soft Keys sec- setting between “Output” and “Track.”
tion. 3 Press the Meters Console Prefs Soft Key switch to exit.
2 Press the Soft Key that corresponds to “SndMtr” to toggle
the setting On and Off. VCA Slave Metering On/Off
3 Press the Meters Console Prefs Soft Key switch to exit. The VCA Meters On/Off preference toggles metering of VCA
slave track levels on VCA channel rotary encoders on and off.
Insert Meter On/Off
To toggle VCA slave track metering on and off:
The Insert Meters On/Off preference toggles insert metering
on and off. This preference applies when inserts are displayed 1 In the Soft Keys section, press the Meter switch repeatedly to

on the LED rings surrounding the D-Command rotary encod- display the page that includes the VCA Meters On/Off prefer-
ers. ence (“VCAMtr”).

2 Press the Soft Key that corresponds to “VCAMtr” to toggle

To toggle insert meters on and off: the setting On and Off.
1 Press the Meter switch in the Console Prefs Soft Keys sec- 3 Press the Meters Console Prefs Soft Key switch to exit.
tion.

2 Press the Soft Key that corresponds to “InsMtr” to toggle the

setting On and Off.

3 Press the Meters Console Prefs Soft Key switch to exit.

Chapter 5: Configuring D-Command 29

 System Calibration
Recalibrating D-Command Faders
If a fader on a D-Command Unit shows response problems,
you can recalibrate the faders with the Recal command in Util-
ity mode. See “Recal” on page 119 for details.

Calibrating the Output Meters

You can calibrate the output meters on the Main Unit meter
bridge from XMON, in order to match metering levels in
Pro Tools with metering levels of external sources. The exam-
ple below uses a Digidesign 192 I/O as the reference source.

To calibrate the D-Command output meters:

1 Set the reference level of your 192 I/O according to the in-
structions in the 192 I/O Guide.

2 With the 192 I/O analog output connected to the XMON

Main Input, send a calibration tone to the D-Command Main
Outputs, and note the output level on the D-Command
meters.

3 Disconnect the 192 I/O analog output from the XMON

Main Input and connect it to an XMON Stereo Input.

4 Activate the corresponding Alt Output.

5 Adjust the trim pots on the back panel of the XMON until
the output level for each channel on the D-Command
matches the level displayed for the Main Output.

6 When you are finished, reconnect the 192 I/O analog out-
put to the XMON Main Input.

Calibrating SPL Indication on the Monitor Section

The D-Command Monitor section lets you display output
level in dB or dB SPL. You can calibrate the SPL display to re-
flect the sound pressure level at the mix position. See “Calibra-
tion Mode Switch” on page 95.

30 D-Command Guide
Part III: Reference
Chapter 6: Channel Strip Controls

Rotary Encoder Section

Channel Strips
Each channel strip has two touch-sensitive rotary encoders
The D-Command Main Unit has 8 channel strips, and the with LED ring, alphanumeric display, mode switches, and sta-
D-Command Fader Module has 16 channel strips. Each chan- tus indicators. Rotary encoders control channel input, send,
nel strip (Figure 1) has identical controls, including two pan, and mic pre parameters.
touch-sensitive rotary encoders, display and mode controls,
and a touch-sensitive fader.
Encoder
LED ring
Encoder knob
Encoder
Automation Mode
indicator
Encoder display

Clip/Flip indicators Mute/Pre indicators

Rotary Encoders
Select switch Bypass/Mute/Pre
switch

Channel Strip Rotary Encoder

Encoder Knob
The encoder knobs on D-Command channel strips are
Channel Strip
Mode controls touch-sensitive. When you touch the encoder, the encoder
display switches from the parameter name to the parameter
value. Touch display of parameter values can be turned off.

When you are automating a parameter controlled by an en-

coder, touching the encoder knob starts writing automation.

Channel Strip When assigning a channel input or output, or an insert or

Function controls
send, the encoder knob is used to scroll through available in-
puts, outputs, inserts, or sends.

Inputs, Outputs, Inserts and Sends

When assigning a channel input or output, or an insert or

send, the encoder knob is used to scroll through available in-
Automation Mode puts, outputs, inserts, or sends. When adjusting the phantom
and
Channel Status power on a remote-controlled mic preamplifier (such as the
indicators
Channel Fader
Digidesign PRE), the encoder knob can be used to toggle phan-
tom power on and off.

Instrument Tracks

On Instrument tracks, the bottom encoder knob is used to

control MIDI Volume.

VCA Master Tracks

Figure 1. D-Command Channel Strip On VCA Master tracks, the encoder knobs are used to control
the Volume of slave tracks.

Chapter 6: Channel Strip Controls 33

 Encoder LED Ring Inserts

Each encoder has a ring of 15 LEDs. Discrete or stepped infor- When assigning an insert, the encoder Select switch is used to
mation is shown by single LEDs, and continuously variable in- confirm the selection of the following elements on each level:
formation is shown by an expanding series of LEDs. • Insert type (TDM plug-in, RTAS plug-in, Multi-Mono
TDM plug-in, Multi-Mono RTAS plug-in, or Hardware
In Normal mode, encoder LED rings can show Send level, pan
Insert)
position, plug-in parameter values, and mic pre settings. In
• Plug-in subfolder (such as EQ, Dynamics, Pitch Shift,
Flip mode, they show track level.
Reverb, or Delay)
Instrument Tracks • Individual insert or plug-in

On Instrument tracks, the bottom encoder LED ring shows Sends

MIDI Velocity.
When assigning a send, the encoder Select switch is used to
VCA Master Tracks confirm the selection of the following:
• Send type (interface or bus)
On VCA Master tracks, encoder LED rings show levels of slave
• Send assignment
tracks.
When viewing a send, the encoder adjusts level. In Send Pan
Encoder Automation Mode Indicator mode, the fader adjusts level and the encoder adjusts Pan.

Below each encoder knob is an LED marked “auto,” which

VCA Master Tracks
lights when the corresponding parameter is enabled for auto-
mation. The indicator lights green for Read mode, yellow On VCA Master tracks, encoder Select switches focus the cor-
when armed for automation in any of the Write modes, and responding slave tracks in the Focus Channel section.
red when writing automation in any of the Write modes.
Bypass/Mute/Pre Switch
Encoder Display
Each encoder has a Bypass/Mute/Pre (B/M/P) switch whose
Each encoder has a six-character display that shows parameter function depends on what is currently displayed on the en-
names. When the corresponding encoder knob is touched or coder. With Sends, the function of the B/M/P switch also de-
moved, the display shows parameter values. pends on the current Switch Mode setting.

Encoder displays use color inversion to indicate the following: See “Switch Mode Switch” on page 43 for more information
• Green: Default color for input, insert, send, pan, and mic on changing the Switch mode and viewing the current func-
pre parameter names and values tion of the B/M/P switch.
• Inverted green: Inactive input, inactive output, inactive
Inserts
plug-in or inactive send names
When a plug-in name is displayed on an encoder (in the top
Clip and Flip Indicators level Inserts display), the B/M/P switch bypasses the corre-
sponding plug-in. The B/M/P switch lights when the plug-in is
When viewing inserts on an encoder, these LEDs light to indi-
bypassed.
cate the send or insert has clipped (red LED) or has been
flipped to the fader (yellow LED).
Sends

Mute and Pre Indicators When a send name is displayed on an encoder, the B/M/P
switch does one of the following:
When viewing sends on an encoder, these LEDs light to indi- • If the Switch Mode is set to Mute, the B/M/P switch
cate that the send is muted (red LED) or set to pre-fader oper- mutes the corresponding send. The red Mute LED lights
ation (green LED). to indicate that the send is muted.
• If the Switch Mode is set to Pre, the B/M/P switch toggles
Encoder Select Switch the corresponding send between pre- and post-fader op-
Each encoder has a Select switch that is used to assign an in- eration. The green Pre LED lights to indicate that the
sert or send to that encoder, or to display send parameters for send is set for pre-fader operation.
editing.

34 D-Command Guide
Mic Pre Channel Strip Mode Controls
In Mic Pre mode, mic pre parameters are displayed on a chan- Each channel strip has a set of Channel Strip Mode controls
nel strip’s encoders. In addition, the B/M/P switches do the for displaying and editing pan, plug-in, mic pre, insert, or
following: send parameters on the encoder section of the D-Command
• Top encoder, page 1: toggles phantom power on and off channel strip.
• Bottom encoder page 1: toggles mic pre Pad on and off
• Top encoder, page 2: toggles mic pre HPF on and off
Page Down switch Page Up switch
• Bottom encoder page 2: toggles mic pre Polarity
• Top encoder, page 3: toggles phantom power on and off
Inserts switch Pan switch
• Bottom encoder, page 3: toggles mic pre Insert on and off
Bypass/Spill Sends switch
switch
Instrument Tracks

On Instrument Tracks, the bottom B/M/P switch is used to Channel Strip Mode controls
control MIDI Mute state.
Page Up and Page Down Switches
VCA Master Tracks Control parameters are arranged on channel strip rotary en-
On VCA Master tracks, B/M/P switches are used to control the coders in pages, or groups of up to two parameters at a time.
Mute state of slave tracks.
The Page Up and Page Down switches light to indicate the
presence of additional pages of pan, plug-in, mic pre parame-
MIDI Controls on Instrument Tracks ters, or (for VCA Master tracks) slave tracks, in the correspond-
The Instruments View in Pro Tools contains MIDI controls ing direction on each channel strip. If no additional pages are
that can be displayed on the encoders of D-Command chan- available, neither switch is lit.
nel strips.
To move the page display of parameters on the encoders up or
down:
To display MIDI controls on an Instrument track:
„ Press a lit Page Up or Page Down switch.
„ In the Channel Strip Mode controls section of the Instru-
ment channel strip, press the Inserts switch and the Sends
switch simultaneously. Inserts Switch

The MIDI controls appear on the encoders as follows: When you press the Inserts switch, you enter Inserts mode,
and the plug-in names for the first two plug-ins on that chan-
• Top encoder: MIDi Pan
nel strip are displayed on the encoder displays. If there are ad-
• Bottom encoder: MIDI Volume
ditional plug-ins on the channel, the channel’s Page Up
• Bottom B/M/P switch: MIDI Mute switch lights.
• Bottom encoder LED ring: MIDI Velocity meter
To open a plug-in window from any channel on D-Command:
To exit display of MIDI controls:
„ Hold Start (Windows) or Control (Mac) and press the Select

„ Press another switch in the Channel Strip Mode section. switch for the plug-in.

Slave Track Display on VCA Master Tracks To close the plug-in window:
„ Hold Start (Windows) or Control (Mac) and press the Select
In normal Mode, VCA Master tracks show their slave tracks in
their rotary encoders, as follows: switch again.

• Encoder knob: Slave track Volume control The Inserts switch flashes when a plug-in on that channel has
• Encoder LED ring: Slave track meter level clipped. To clear a clip, press the Clear Clip switch in the Ses-
• Encoder B/M/P switch: Slave track mute sion Management section. See “Clear Clip Switch and Plug-in
• Encoder Select switch: Focuses slave track in Focus Chan- Clip Indicator” on page 78 for more information.
nel Strip

If there are more than two slave tracks for a VCA Master, you
can the press the channel Page Up/Page Down switches to dis-
play the additional slave tracks on the rotary encoders.

Chapter 6: Channel Strip Controls 35

 Pan Switch To open/close the Output window on-screen for a track:

When you press the Pan switch, you enter Pan mode, and the 1 Press the Pan switch on the channel.

pan controls for the channel strip are displayed on the en- 2 Hold Start (Windows) or Control (Mac) and press the chan-
coder displays. nel’s encoder switch.

If the track is a multichannel track, its Page Up switch lights to

Two-Knob Surround Panning
indicate that there are multiple pages of pan controls. Multi-
channel pan controls are arranged as follows: When working in surround, you can link the front and rear
pan controls on D-Command to facilitate X-axis motion in
Surround Pan Display, Page 1
the sound field.
Display Pan Control

LFE LFE channel To link front and rear surround panners:

Cntr% Center Speaker Percentage 1 Press the Operation switch in Console Prefs section until
“2KbPan” appears in the Soft Keys.

Surround Pan Display, Page 2 2 Press the Soft Key that corresponds to “2KbPan” to toggle
the preference on or off.
Display Pan Control

F Div Front Divergence Mic Pre Mode

Rear Rear Pan
When you press a channel strip’s Inserts switch and Pan
switch simultaneously, you enter Mic Pre mode. In Mic Pre
Surround Pan Display, Page 3 mode, the controls for an available remote-controlled micro-
Display Pan Control phone preamplifier (such as the Digidesign PRE) are displayed
on the channel strip’s rotary encoders for editing. The Page Up
F/R Front/Rear Balance switch lights to indicate more available parameter pages.
Front Front Pan
Microphone preamplifiers are declared in the Pro Tools pe-
ripherals dialog, and assigned to channels in the Pro Tools I/O
Surround Pan Display, Page 4 Setup dialog.
Display Pan Control
Bypass/Spill Switch
R Div Rear Divergence
The function of the Bypass/Spill switch depends on what is
Rear Rear Pan
currently displayed on the channel strip’s encoders.

Surround Pan Display, Page 5 Inserts

Display Pan Control ‹ In the top level Inserts view (when plug-in names are dis-

F/R Div Front/Rear Divergence

played on a channel strip’s encoders), the Bypass/Spill switch
bypasses all plug-ins on that channel.
F/R Front/Rear Balance
Sends
Surround Pan Display, Page 6 ‹ In the top level Sends view (when send names are displayed

Display Pan Control on a channel strip’s encoders), the Bypass/Spill switch mutes
all sends on that channel.
F Div Front Divergence

Front Front Pan VCA Master Tracks

‹ On VCA Master tracks, the Bypass/Spill switch uses Mix/Edit
Groups mode to display (or “spill”) the slave tracks for the
VCA in Custom Faders.

36 D-Command Guide
Sends Switch Channel Strip Function Controls
When you press the Sends switch, you enter Sends mode, and Each channel strip has a set of Channel Strip Function con-
the send names for the first two sends on that channel strip trols for controlling channel selection and focus, mute, solo,
are displayed on the encoder displays. If there are additional and record enable status, input monitor mode, and automa-
sends on the channel, the channel’s Page Up switch lights. tion mode.
The 10 available sends are displayed in five pairs (A–B, C–D,
E–F, G–H, I–J). Input Monitor Mode Record Enable
switch switch

Send Pan Mode

Channel Select
Send Pan mode allows you to adjust send panning and level at switch

the same time. Send level is controlled by the channel fader

Solo switch
and Send pan is controlled by the encoder.

Mute switch
To enter Send Pan mode:
1 Press the Sends switch to display sends on the channel’s en- Channel display

coders.

2 Press the encoder Select switch that corresponds to the send

Automation Mode Automation Trim
you want to display. switch switch

To return to the top level display of sends on the channel strip: Channel Strip Function controls
„ Press the Sends switch again.
Input Monitor Mode Switch
To link a Send’s Pan controls to the Main Pan controls of a track: The Input Monitor Mode switch toggles the input monitoring
mode for that channel between Auto Input and Input Only
1 Put the track in Send Pan mode for the Send you want to
mode. The switch lights when the channel is in Input Only
link.
mode.
2 Press the B/M/P switch on any of the active encoders on the
track to toggle the FMP status of the send. Record Enable Switch
The Record Enable switch toggles record enable status for the
channel. When the channel is record-enabled and the
Pro Tools transport is stopped, the switch flashes. During re-
cording, the switch lights continuously.

Record Safe Mode To record safe a track from D-Command,

hold Control (Windows) or Command (Mac) and press the
track’s Record Enable switch.

Chapter 6: Channel Strip Controls 37

 Channel Select Switch Channel Display
The function of the Channel Select switch depends on the Se- Each channel display shows the channel information in the
lect/Focus Mode setting. See “Select/Focus Mode Switch and following display modes. In each mode, when the channel
Indicators” on page 43 for more information on changing the fader is touched, the display shows the channel volume in dB.
Select/Focus mode.
Track Name Mode Shows the track name only.
Select Mode If the Select/Focus Mode is set to Select, the
Channel Select switch selects the channel in Pro Tools. The Group/Name Mode Shows the group membership of the track
switch lights when the channel is selected. In this mode, the (by group letter) and an abbreviated track name.
Channel Select switch can be set to follow latching or exclu- Track Position Number/Name Mode Shows the track position
sive-or (non-latching) behavior. number and an abbreviated track name.
Focus Mode If the Select/Focus Mode is set to Focus, the Chan- Headroom Mode Shows the abbreviation “HR” followed by the
nel Select switch brings that channel’s Dynamics and EQ con- remaining headroom in dB.
trols into the Dynamics and EQ sections of the Main Unit for
editing. In this mode, because only one track can be focused at Level Mode Shows the track volume level in dB only.
a time, the Select switch follows exclusive-or (non-latching)
behavior only. Channel displays use colors and backlighting to indicate the
following:
In Focus mode, if the D-Command Focus Channel Strip Oper- • Green: Channel names and values
ations preference is set to Yes, the Channel Select switch also • Inverted green: Inactive channel
places a duplicate of the focused channel in the channel strip
to the immediate left of the Global Controls section.
Automation Mode Switch

Solo Switch The Automation Mode switch cycles the channel through the
Pro Tools automation modes (Write, Touch, Latch, Read and
The Solo switch toggles solo status for the channel. When a Off). The active mode is shown by the Automation Mode LED
channel is soloed, the Solo switch lights, and the Mute indicators to the left of each channel’s fader. When in Off
switches on other channels in the session flash to indicate im- mode, none of the indicators is lit.
plicit mute. The Solo switch function follows the Pro Tools
Operation preference for latched operation. The Automation Mode switch lets you cycle the channel
through Touch, Latch, and Read modes during playback, but
Solo Safe Mode To solo safe a track, hold Control (Windows) it prevents you from entering Write of Off mode during play-
or Command (Mac) and press the track’s Solo switch. back. To directly enter Write or Off mode during playback, use
When a track is solo safed, its Solo switch flashes once. the Automation Mode controls in the lower left of the Main
Unit. (See “Automation Mode Controls” on page 47.)

Mute Switch
Automation Trim Switch
The Mute switch toggles mute status for the channel.
The Automation Trim switch toggles the channel into the cor-
‹ When a track is muted, its Mute switch lights solid. responding Trim mode for Write, Latch, Touch, and Read
‹ When a track is implicitly muted (when another track is so- modes. Active Trim mode is shown by the yellow Trim mode
loed), its Mute switch flashes. LED indicator to the left of each channel’s fader. The Automa-
tion Trim switch has no effect while the channel is in Off
mode.

38 D-Command Guide
Fader Section Group Status Indicator
The Group Status indicator (a green LED marked GRP), located
to the left of each channel’s fader, lights to indicate that the
channel is a member of an active Mix or Edit group in
Pro Tools. If the channel is a member of an inactive group, or
Automation Mode if groups are suspended, this indicator is off.
indicators
Channel
Fader Custom Fader Mode Indicator
Group Status
indicator
The Custom Fader Mode indicator (a blue LED marked CF), lo-
Custom Fader Mode
indicator cated to the left of each channel’s fader, lights to indicate that
the channel is currently in Custom Fader Mode.
AutoMatch
indicators

AutoMatch Indicators
The AutoMatch indicators (green arrow-shaped LEDs), located
to the left of each channel’s fader, light to indicate the direc-
tion you need to move the fader in order to match the auto-
mation level previously written for that track. This is espe-
cially useful when editing fader automation.

Channel Strip Fader section

Fader
The touch-sensitive faders on D-Command channel strips
control channel volume in Normal mode, and a wide range of
parameters in Flip mode or the Custom Fader modes. When
you touch a fader, its channel strip display changes from track
name to track volume level (in Normal mode), or from param-
eter name to parameter value (in Flip modes or Custom Fader
modes). When you are automating a parameter on a fader,
touching the fader starts writing automation.

Automation Mode Indicators

The Automation Mode indicators, located to the left of each
channel’s fader, indicate the active automation mode.
WR (Write), TC (Touch) and LT (Latch) are red LEDs; TM
(Trim) is a yellow LED; and RD (Read) is a green LED.
‹ When in Write mode, the Write indicator flashes at all
times.
‹ When in Touch or Latch modes, the corresponding indica-
tor lights solid until automation writing begins.
‹ When a track in Latch mode is primed for writing automa-
tion, its Latch mode indicator flashes.
‹ When automation writing begins, the appropriate indicator
flashes.
‹ If automation is turned off for the channel (Off), none of
the indicators is lit.

Chapter 6: Channel Strip Controls 39

 Modifier Key Switches
Global Controls Section
Each D-Command Main Unit and Fader Module has a set of
four switches in its lower left corner that duplicate the func- The Global Controls section (Figure 2) is a set of channel-re-
tion of the Pro Tools computer keyboard modifiers. lated controls in the center of the D-Command Main Unit.

Flip
Automation Write switches
controls

Shift Control Start/Win (Windows) Alt (Windows)

Option (Mac) a (Command) (Mac)
Modifier Keys (Fader Module)

Shift Switch (Windows and Mac) Automation Enable

controls
The Shift switch duplicates the function of the Shift key on
your computer keyboard.

Switch Information
Control Switch (Windows and Mac) controls

The Control switch duplicates the function of the Control key

on your computer keyboard.

Win Switch (Windows) or Option Switch (Mac)

The Win/Option switch duplicates the function of the Win-

dows key (also called the Start key) or the Option key (Mac) on
your computer keyboard. Global Modifier
controls

Alt Switch (Windows) or Command Switch (Mac)

The Alt/Command switch duplicates the function of the Alt

key (Windows) or the Command key (Mac) on your computer
keyboard.

The order of the modifier keys on the D-Command

reflects the order of the corresponding keys on a Custom Fader
controls
Windows or Mac keyboard, from left to right.

Automation Mode
controls

Talkback switch

Figure 2. Global Controls section

40 D-Command Guide
Flip Switches Automation Write Controls
The two yellow Flip switches in the Global Controls section The Automation Write controls invoke the manual “Write to
correspond to the two rotary encoders on the D-Command Start/End/All” commands, the automatic “Write to
channel strips. Start/End/All on Stop” automation commands, and the
“Write to Current Parameter” and “Write to All Enabled Pa-
Flip Mode rameters” snapshot automation commands in Pro Tools.

The Flip switches invoke Flip mode, which transfers controls

from the corresponding rotary encoder to the fader on each Automation
Write to Start
channel strip, allowing convenient editing and automation of switch
send, pan, plug-in, and mic pre parameters directly from the
Automation Write to Current
channel faders. Write to All Parameter
switch switch
In Flip mode, the rotary encoder control swaps with the chan- Automation Write to All Enabled
nel fader; the encoder Select switch swaps with the channel Write to End Parameters
switch switch
Select switch; the encoder Bypass/Mute/Pre switch swaps with
the channel Mute switch; and the encoder display swaps with
Automation Write controls
the channel display.
Start Switch
In Flip mode, the Flip switch lights for the affected row of en-
coders, and the yellow Flip LED below each affected encoder is The Start switch writes the current automation value of all
lit. write-enabled parameters to the start of a selection or track
when performing an automation pass.
Instrument Tracks and Flip Mode
To manually Write to Start:
When MIDI controls for Instrument tracks are displayed on
the encoders, they can be transferred (or “flipped”) to the „ Press the Start switch during playback.
channel faders, allowing control of MIDI Volume or MIDI Pan
from the channel faders. To enable automatic Write to Start on Stop:
„ Hold the Start key (Windows) or the Control key (Mac) and
In Flip mode, Instrument track controls are transferred as fol-
press the Start switch.
lows:
• The fader on each channel controls the parameter (MIDI To disable automatic Write to Start on Stop:
Volume or MIDI Pan) that was assigned to the encoder, and
„ Press the flashing Start switch.
the encoder controls track Volume.
• The channel Mute switch controls the MIDI Mute function,
All Switch
and the B/M/P switch on the encoder controls channel
mute. The All switch writes the current automation value of all
write-enabled parameters to an entire selection or track when
To transfer controls from a row of rotary encoders to the channel performing an automation pass.
faders:
„ Press the Flip switch that corresponds to the encoder row. To manually Write to All:
„ Press the All switch during playback.
To exit Flip mode:
„ Press a lighted Flip switch. To enable automatic Write to All on Stop:
„ Hold the Start key (Windows) or the Control key (Mac) and
When D-Command is in Flip mode and you enter Make press the All switch.
Inactive mode or Assign mode, it is temporarily taken out
of Flip mode, but the Flip switch remains lit. When you To disable automatic Write to All on Stop:
exit Make Inactive mode or Assign mode, controls return
to their flipped positions. „ Press the flashing All switch.

Chapter 6: Channel Strip Controls 41

 End Switch Volume Switch
The End switch writes the current automation value of all The Volume switch enables and suspends writing of channel
write-enabled parameters to the end of a selection or track volume automation on all tracks in the session.
when performing an automation pass.
Pan Switch
To manually Write to End:
The Pan switch enables and suspends writing of channel pan
„ Press the End switch during playback. automation on all tracks in the session.

To enable automatic Write to End on Stop:

Mute Switch
„ Hold the Start key (Windows) or the Control key (Mac) and
press the End switch. The Mute switch enables and suspends writing of channel
mute automation on all tracks in the session.
To disable automatic Write to End on Stop:
Send Volume Switch
„ Press the flashing End switch.
The Send Volume switch enables and suspends writing of
Current Switch Send level automation on all tracks in the session.

The Current switch writes a snapshot of the current parameter

Send Pan Switch
value to the currently displayed automation parameter.
The Send Pan switch enables and suspends writing of send
All Enabled Switch pan automation on all tracks in the session.

The All Enabled switch writes a snapshot of all current param-

Send Mute Switch
eter values to all enabled automation parameters.
The Send Mute switch enables and suspends writing of send
mute automation on all channels.
Automation Enable Controls
The Automation Enable controls are used to enable or suspend
writing of each type of automation on all channels. When
writing is enabled for a type of automation, its corresponding
switch is lit.

These Automation Enable controls mirror the function of the

corresponding buttons in the Pro Tools Automation Enable
window.

Enable Inserts
Automation
switch

Enable Volume Enable Send Volume

Automation Automation
switch switch

Enable Pan Enable Send Pan

Automation Automation
switch switch

Enable Mute Enable Send Mute

Automation Automation
switch switch

Automation Enable controls

Inserts Switch
The Inserts switch enables and suspends writing of automa-
tion for any automation-enabled plug-in parameters on all
tracks in the session.

42 D-Command Guide
Switch Information Controls Global Modifier Controls
The Switch Information controls are used to change the mode The Global Modifier controls are used to change modes for the
and display of encoder Bypass/Mute/Pre switches, and glo- channel Select switches, channel displays, clear Solo and Mute
bally show encoder parameter values. states, and globally suspend automation.

Switch Mode switch

Escape switch

Mute Mode Pre-Fader Mode

indicator indicator
Select/Focus Mode
Switch and indicators
Switch Info Show Values
switch switch
Solo Clear switch

Switch Information controls

Do to Selected Do to All switch
Switch Mode Switch switch

The Switch Mode switch toggles the function of encoder By- Display Mode Set to Default
pass/Mute/Pre switches between Mute and Pre-Fader func- switch switch
tions when displaying sends on the encoders.
• When the Switch Mode is set to Bypass, the encoder B/M/P
switch mutes the corresponding send. Suspend Groups Suspend Automation
switch switch
• When the Switch Mode is set to Pre, the encoder B/M/P
switch toggles the corresponding send between pre- or
Global Modifier controls
post-fader operation.
Escape Switch
The Transport must be stopped to toggle sends between
pre- and post-fader operation. The Escape switch is used to exit modes and to cancel opera-
tions or on-screen dialogs. When an action has occurred that
To set the Switch Mode: can be exited or canceled with the Escape switch, the switch
„ Press the Switch mode switch until the appropriate indica- flashes.
tor lights (Mute or Pre).
Select/Focus Mode Switch and Indicators
Switch Info Switch
The Select/Focus Mode switch toggles the function of channel
The Switch Info switch can follow toggling or momentary be- Select switches between Select and Focus mode. The LEDs on
havior. If pressed briefly, it toggles the encoder display to either side of this switch indicate the current mode.
show the function assigned to the Bypass/Mute/Pre switch on ‹ In Select mode, channel Select switches are used to select
each rotary encoder. If held, the function is shown until the channels in Pro Tools.
switch is released.
‹ In Focus mode, channel Select switches are used to focus a
channel in the Focus Channel section on the Main Unit.
Show Values Switch
The Show Values switch can follow toggling or momentary
behavior. If pressed briefly, it toggles the encoder display be-
tween parameter name and parameter value. If held, parame-
ter value is shown until the switch is released.

The operation of the Show Values switch is not affected by

the Touch Display of Parameter Values setting in the Oper-
ations Soft Key Section.

Chapter 6: Channel Strip Controls 43

 Do To All and Do To Selected Switches • Assigning Inputs, Outputs, Inserts and Sends
• Activating/deactivating Inputs, Outputs, Inserts, Sends
The Do To All and the Do To Selected switches on D-Com-
and Tracks
mand can be used in two different ways: to apply actions to
multiple tracks in a Pro Tools session, and to change the dis- • Resetting controls with the Set to Default switch
play mode of multiple channel strips on D-Command. • Changing panner linkage
• Changing panner editor choice
The Do To All and Do To Selected switches can follow mo-
mentary or latching behavior. 5 When you are finished, if Do To all or Do To Selected are
latched on, press the flashing Do To All or Do To Selected
‹ When single-pressed, their effect applies only to the next
switch to exit the corresponding mode.
operation.
‹ When held, they apply to all operations carried out while Changing Parameter Display on D-Command Channel Strips
being held.
The Do To All and Do To Selected switches can be used to dis-
‹ When double-pressed, they latch on and flash until pressed play and edit pan, mic pre, insert, or send parameters across all
a second time. tracks or all selected tracks in a session.

Applying Actions to Multiple Tracks in Pro Tools The Do To All and Do To Selected switches are applied inde-
pendently to channel strips in Normal mode and Custom
The Do To All and Do To Selected switches are convenient for
Fader mode. This independent operation lets you put banks of
performing tasks such as muting, soloing, assigning sends, or
channels in several display modes at once (for example, pan
assigning the same plug-in across multiple tracks in a session.
on channels in Normal mode, and plug-ins on channels in
Custom Fader mode).
To apply actions to multiple tracks in a Pro Tools Session:
1 Do one of the following: To change the display mode of D-Command channel strips:
• Press the Do To All or the Do To Selected switch to apply 1 Press the Do To All or the Do To Selected switch.
the action to one parameter.
2 Press any of the following Channel Strip Mode switches on
– or –
any individual channel to apply the corresponding action to
• Double-press the Do To All or the Do To Selected switch all channels or to all selected channels on D-Command:
to latch the corresponding action and apply it to multi-
• Inserts switch
ple parameters.
• Pan switch
2 Press any of the following switches to apply the correspond- • Bypass/Spill switch
ing action to all tracks or all selected tracks in the session:
• Sends switch
• Channel Mute switch
• Inserts + Pan switches (Mic Pre mode)
• Channel Solo switch
• Inserts + Sends (Instrument mode)
• Channel Solo Safe: Control (Windows) or Command
(Mac) + Solo switch
• Automation Mode switch Page Down switch Page Up switch

• Automation Trim switch

• Channel Select switch (in Select mode) Inserts switch Pan switch
• Record Enable switch
Bypass/Spill Sends switch
• Record Safe: Control (Windows) or Command (Mac) + switch
Record Enable switch
• Input Monitor Mode switch Channel Strip Mode controls

3 Depending on the current channel strip display mode, you 3 When you are finished, if Do To All or Do To Selected are
can apply the following across all tracks or all selected tracks latched on, press the flashing Do To All or Do To Selected
in the session: switch to exit the corresponding mode.
• Mic Pre Controls: Polarity, Pad, Impedance, Source, Gain
• Send Pre/Post: B/M/P switch in Send Pre/Post mode Display Mode Switch
• Send Mute: B/M/P switch in Send Mute mode The Display Mode switch toggles the channel display between
• Plug-in Bypass: B/M/P switch in Inserts mode the five display modes: Track Name, Group/ Name, Channel
Number/Name, Headroom Value, and Level modes. See
4 You can also carry out any of the following tasks across all
“Channel Display” on page 38 for more information.
tracks or all selected tracks in the session:

44 D-Command Guide
Set To Default Switch Automation Suspend Switch
The Set to Default switch lets you reset parameters that are The Automation Suspend switch suspends reading and writ-
currently visible on the D-Command surface to their default ing of all automation on all tracks in the session. All channels
values. This switch works in both Normal and Custom Fader are left in their current automation mode, but automation op-
modes. erations are temporarily suspended.

The Set to Default switch can follow momentary or latching The Automation Suspend switch flashes while automation is
behavior. suspended.
‹ When single-pressed, its effect applies only to the next op-
eration. Solo Clear Switch
‹ When double-pressed, it latches on and flashes until pressed The Solo Clear switch clears all latched Solo switches in the
a second time. session. This switch flashes when any channel is soloed.

You can also use the Set to Default switch to remove plug-in
assignments from channels. See “Assign Inserts Switch” on Custom Fader Controls
page 49. The Custom Fader controls invoke a special set of D-Com-
While the Set to Default switch is pressed or latched on, the mand modes, called Custom Fader modes, which let you set
following parameters can be reset: aside and customize channel strips for display and editing of a
variety of functions. The Custom Fader modes are Groups
mode, Tracks mode, and Plug-in mode. See “Custom Fader
To reset a channel’s track volume to 0 dB:
Modes” on page 104 for complete information on Custom
„ Press Set to Default + the channel Select switch. Fader modes.
– or –

„ Hold Alt (Windows) or Option (Mac) and touch the channel

fader.
Focus Channel
display
To reset a channel’s pan control to 0 (center)
„ Press Set to Default + the pan encoder Select switch.
Groups switch Map switch
To reset a send’s level to 0 dB:
„ Press Set to Default + the send encoder Select switch. This
Tracks switch Lock switch
sets the Send level to 0 dB, regardless of the Send default set-
ting in Pro Tools Operation preferences.
Plug-in switch Window switch

To reset a channel’s mic pre gain to 0 dB:

„ Press Set to Default + the mic pre gain encoder Select switch Bank/Cycle switch

To set a plug-in’s parameters to their default values:

„ Press Set to Default + the Compare switch for the plug-in.
Custom Fader controls
(The Compare switch appears in the D-Command Dynamics
and EQ sections, and in Custom Fader Expanded Plug-in
view.)

Suspend Groups Switch

The Suspend Groups switch suspends all groups in the session.

The Suspend Groups switch follows latching behavior, and

flashes to indicate groups are suspended. To exit Suspend
Groups mode, press the Suspend Groups switch again.

Chapter 6: Channel Strip Controls 45

 Focus Channel Display Map Switch
‹ When a Custom Fader mode is active, the Focus Channel The Map switch works with Custom Groups mode, Mix/Edit
display shows the name of the Custom Group, Mix/Edit Groups mode, and Plug-in mode. While in these modes, the
Group, or the plug-in displayed on the Custom Fader chan- Map switch lets you further customize the control layout by
nels. mapping individual rotary encoder controls to faders within
‹ When no Custom Fader mode is active, the Focus Channel the Custom Fader channels.
display shows the name of the focused channel.
The Map switch has no effect on other D-Command channels
in Normal mode.
Groups Switch
The Groups switch invokes Groups mode, which lets you se- Lock Switch
lect either Mix/Edit Groups or Custom Groups. Invoking
The Lock switch applies to Custom Fader Plug-in mode only.
Mix/Edit Groups let you create, edit, and recall Pro Tools Mix
This switch locks the plug-in that is currently displayed in the
and Edit groups to the Custom Fader channels.
Focus Channel display, so that it does not change when you
Invoking Custom Groups lets you create a custom collection focus a different channel in the duplicate Focus Channel strip.
of channels and arrange them in any order in the Custom The Lock switch lights when the plug-in is locked.
Fader channels. Custom Groups are a D-Command feature, ‹ When Custom Fader Plug-in mode is active, the locked
and are not reflected on-screen in Pro Tools. plug-in appears in the Custom Fader channels, so you can fo-
cus a different channel in the Focus Channel section and keep
For more information about Custom Groups, see“Custom
the locked plug-in in the Custom Fader channels.
Groups Mode” on page 105.
‹ When Custom Fader Plug-in mode is not active, the locked
To toggle between Custom Groups and Mix/Edit Groups: plug-in appears in the Focus Channel display, so you can fo-
„ Press the Bank/Cycle switch repeatedly until the appropri- cus a different channel on the duplicate Focus Channel Strip
ate mode is displayed in the Focus Channel display (Custom and keep the locked plug-in in the Focus Channel section.
or Groups). (When you enter Custom Fader Plug-in mode, the locked
plug-in will be displayed on the Custom Fader channels.)

Tracks Switch
Window Switch
The Tracks switch invokes Track Type mode, which lets you
bring all Pro Tools tracks of a certain type (Audio tracks, Aux- The Window switch opens and closes the plug-in window
iliary Inputs, MIDI tracks, Instrument tracks, VCA Master on-screen for any plug-in whose name is displayed in the Cus-
tracks, or Master Faders) to the Custom Fader channels. tom Faders display.

Plug-In Switch Bank/Cycle Switch

‹ While in Custom Groups or Mix/Edit Groups mode, the
The Plug-In switch invokes Plug-in mode, which lets you
Bank/Cycle switch is used to bank faders within the Custom
bring the plug-in controls from the first insert of the currently
Fader channels, if there are more channels than can be dis-
focused channel to the Custom Fader channels.
played at one time.
‹ While in Custom Fader Plug-in mode, the Bank/Cycle
To cycle through the available inserts:
switch cycles through the plug-ins on the focused channel,
„ In Plug-in mode, press the Bank/Cycle switch repeatedly
displaying their controls on the Custom Fader channels.
until the desired insert is brought into the Custom Fader
‹ When no Custom Fader mode is active, the Bank/Cycle
channels.
switch cycles through the plug-ins on the focused channel,
displaying their names in the Custom Faders display.

46 D-Command Guide
Automation Mode Controls Trim Switch
The Automation Mode controls are used to display and set au- The Trim switch indicates or sets the automation mode for the
tomation modes. These switches light to indicate that at least selected tracks to Trim mode.
one channel is in that automation mode. If multiple channels
are selected and set to different automation modes, all appli- Read Switch
cable mode switches are lit.
The Read switch indicates or sets the automation mode for the
These Automation Mode controls let you change automation selected tracks to Read mode.
modes during playback, and mirror the function of the
on-screen Automation Mode selector for each track. Off Switch
The Off switch indicates or sets the automation mode for the
selected tracks to Off.
Automation Write Automation Trim
Mode switch Mode switch

Talkback Switch
Automation Touch Automation Read
Mode switch Mode switch
The Talkback switch, located at the bottom of the Global Con-
trols section on the Main Unit, provides control of the
Automation Latch Automation Off
Mode switch switch D-Command Talkback function.

Automation Mode controls

To set the automation mode of one or more channels:

1 Hold an Automation Mode switch (Write, Touch, Latch,
Trim, Read, or Off).

2 Press the Select switches on the channels whose automation

mode you want to set.

To set the automation mode of one or more selected channels: Talkback switch

1 Press the Do To Selected switch.

2 Press the Select switches on the channels whose automation Talkback switch
mode you want to set.
The Talkback switch can follow momentary or latched behav-
3 Press an Automation Mode switch. ior. If held, the switch is active only when pressed down.

If rapidly double-pressed, the switch latches on and flashes to

To set the automation mode on all channels:
indicate that talkback is active. Press the switch again to turn
1 Press the Do To All switch. off talkback.
2 Press an Automation Mode switch.
Talkback can be activated automatically. See “Auto Talkback
Switch” on page 94 for more information.
Write Switch
Talkback level is set with the Talkback controls in the Monitor
The Write switch indicates or sets the automation mode for section. See “Talkback/Listen System” on page 94 for more in-
the selected tracks to Write mode. formation.

Touch Switch
The Touch switch indicates or sets the automation mode for
the selected tracks to Touch mode.

Latch Switch
The Latch switch indicates or sets the automation mode for
the selected tracks to Latch mode.

Chapter 6: Channel Strip Controls 47

 Assign Controls
Miscellaneous Controls
The Assign controls are used to assign inputs, outputs, inserts,
The Miscellaneous Controls section includes Timeline, Assign, and sends to channels. Each switch puts D-Command into a
Make Inactive, and Plug-in Automation controls. temporary Assign mode in which elements are assigned or re-
moved from channels. The switch flashes while Assign mode
Timeline Assign Make Inactive Plug-in Automation
controls controls controls controls is in effect.

You can enter Assign mode while Pro Tools is playing back. To
confirm the assignment of inputs, outputs, and sends, the
transport must be stopped. You can, however, confirm the as-
signment of inserts during playback.

Miscellaneous controls Assign Inputs Assign Outputs

switch switch

Timeline Controls Assign Sends

switch
Assign Inserts
switch

Assign controls
Main Counter
switch Assign Inputs Switch
Edit/Timeline
Link Edit and Selection
Timeline switch switch and
The Inputs switch invokes Assign Inputs mode, in which the
indicators bottom row of encoders shows channel inputs.
Timeline controls When assigning an input, the Select switch on the bottom en-
coder is used to navigate down through Input menu levels,
Main Counter Switch
and the encoder knob is used to scroll through available
The Main Counter switch cycles through the time code dis- choices at each level:
play modes (Bars:Beats, Min.Secs, Time Code, Feet+Frames • Input type (Interface or Bus)
and Samples) on the Main Time Scale display.
• Individual inputs

Link Edit and Timeline Switch The Bypass/Mute/Pre switch on the bottom encoder is used to
navigate back up the Input menu levels.
The Link Edit and Timeline switch toggles the Link Edit and
Timeline Selection command on and off. The switch is lit
Assign Outputs Switch
when the selections are linked.
The Outputs switch invokes Assign Outputs mode, in which
Edit/Timeline Switch and Indicators the bottom row of encoders shows channel outputs.

The Edit/Timeline switch toggles the D-Command transport When assigning an output, the Select switch on the bottom
function between the edit selection and the timeline selec- encoder is used to navigate down through Output menu lev-
tion. The indicators above the switch light to show which is els, and the encoder knob is used to scroll through available
displayed. If Edit and Timeline Selections are linked, these val- choices at each level:
ues will be the same. • Output type (Interface or Bus)
• Individual outputs

The Bypass/Mute/Pre switch on the bottom encoder is used to

navigate back up the Output menu levels.

48 D-Command Guide
Assign Sends Switch To assign an input, output, send or insert:

The Sends switch invokes Assign Sends mode, in which the 1 Press an Assign switch to enter the corresponding Assign

channel encoders shows the sends on a channel. mode.

2 On the channel where you want to make the assignment,

When assigning a send, the encoder Select switch is used to
turn an encoder knob to select from the first level of menu
navigate down through Send menu levels, and the encoder
choices.
knob is used to scroll through available choices at each level:
• Send type (Interface or Bus) 3 Press the encoder Select switch to move down and the By-

• Individual sends pass/Mute/Pre switch to move up through menu levels.

4 Do one of the following:

The Bypass/Mute/Pre switch on each encoder is used to navi-
gate back up the Send menu levels. • Press the flashing encoder Select switch or press the flash-
ing Assign switch to confirm the assignment.

Assign Inserts Switch – or –

• Press the flashing Escape switch to cancel the assign-
The Inserts switch invokes Assign Inserts mode, in which the
ment.
channel encoders show the inserts on a channel. When as-
signing an insert, the encoder Select switch is used to navigate
To assign multiple inputs, outputs, sends, or inserts:
down through Insert menu levels, and the encoder knob is
used to scroll through available choices. The Bypass/Mute/Pre 1 Press an Assign switch to enter the corresponding Assign
switch on the bottom encoder is used to navigate back up the mode.
Insert menu levels.
2 Turn the encoder knobs and use the encoder Select and By-

The order in which plug-ins appear in the Insert menu is de- pass/Mute/Pre switches to select each assignment.
termined by the Pro Tools Display preference for plug-in orga- 3 Do one of the following:
nization.
• Press the flashing Assign switch to confirm all the assign-
If the Organize Plug-in Menus by Category option is selected, ments at once.
menu levels and choices include: – or –
• Insert type (TDM plug-in, RTAS plug-in, Multi-Mono • Press the flashing Escape switch to cancel all the assign-
TDM plug-in, Multi-Mono RTAS plug-in, or Hardware In- ments.
sert)
• Plug-in category sub-folders (such as EQ, Dynamics, Pitch To remove an input, output, send or insert:
Shift, Reverb, and Delay) 1 Press an Assign switch to enter the corresponding Assign
• Individual insert or plug-in mode.

If the Organize Plug-in Menus by Category option is not se- 2 For the assignment you want to remove, press the encoder
lected, the Plug-in subfolder level is not present. Bypass/Mute/Pre switch repeatedly until you reach top level
menu for the assignment.

3 Turn the encoder knob counter-clockwise until no assign-

ment is visible.

4 Do one of the following:

• Press the flashing encoder Select switch or press the flash-
ing Assign switch to confirm the removal.
– or –
• Press the flashing Escape switch to cancel the removal
and restore the assignment.

Chapter 6: Channel Strip Controls 49

 MIDI Inputs and Outputs on Instrument Tracks Inputs Inactive Switch
The Assign Inputs and Assign Outputs switches can be used to The Inputs switch invokes Inputs Inactive mode and displays
assign the MIDI Inputs and Outputs on Instrument tracks. channel inputs in the bottom row of encoders. The By-
pass/Mute/Pre switch on the bottom encoder toggles the in-
To assign a MIDI Input or Output on an Instrument track: put inactive and active.

1 Press the Assign Inputs or Assign Outputs switch to enter the

corresponding Assign mode. Encoder row #1 shows MIDI in- Outputs Inactive Switch
puts/outputs. The Outputs switch invokes Outputs inactive mode and dis-
plays the main channel outputs in the bottom row of encod-
ers. The Bypass/Mute/Pre switch on the bottom encoder tog-
Assign Inputs Assign Outputs gles the output inactive and active.
switch switch

Sends Inactive Switch

Assignment controls The Sends switch invokes Sends Inactive mode and displays
the channel’s sends on its encoders. The Bypass/Mute/Pre
2 On each channel where you want to make an assignment, switch on each encoder toggles the corresponding send inac-
turn the encoder knob in encoder row #1 to select from the tive and active.
first level of MIDI menu choices.

3 Press the encoder’s Select switch to move down and the By- Inserts Inactive Switch
pass/Mute/Pre switch to move up through MIDI menu levels.
The Inserts switch invokes Plug-ins Inactive mode and dis-
4 Do one of the following: plays a channel’s inserts on its encoders. The Bypass/Mute/Pre
• Press the flashing encoder Select switch or press the flash- switch on each encoder toggles the corresponding insert inac-
ing Assign switch to confirm the assignments. tive and active.

– or –
To toggle an input, output, send, or insert active/inactive:
• Press the flashing Escape switch to cancel the assign-
ments. 1 Make sure the channel is showing the top-level view for the
element you want to make active/inactive.

Make Inactive Controls 2 Press a Make Inactive switch to enter the appropriate Make
Inactive mode.
The Make Inactive controls are used to make tracks, inputs,
outputs, sends, or plug-ins inactive. Each switch puts D-Com- 3 Press the Bypass/Mute/Pre switches on encoders to deacti-
mand into a temporary Make Inactive mode in which ele- vate or reactivate their corresponding track elements.
ments are made inactive or reactivated. The switch flashes 4 Press the flashing Make Inactive switch to exit Inactive
while Make Inactive mode is in effect. mode.

Inputs Inactive Outputs Inactive

switch switch

Sends Inactive Inserts Inactive

switch switch

Make Inactive Controls

Making a Track Inactive

Tracks can be made inactive in any Make Inactive mode.

To toggle a track inactive/active:

1 Press any of the Make Inactive switches.

2 Press channel strip Select buttons to deactivate or reactivate

the corresponding tracks.

3 Press the flashing Make Inactive switch to exit Inactive

mode

50 D-Command Guide
Plug-in Automation Controls Automation Safe Switch
The Plug-in Automation controls are used to enable parame- The Automation Safe switch invokes a mode in which the By-
ters for automation and to place them in automation safe pass/Mute/Pre switch for each plug-in or send and the chan-
mode. nel Select switch for each track become Safe switches.

Plug-ins and Sends

Enable Parameter Automation Safe
switch switch
While in Automation Safe mode, pressing a Bypass/Mute/Pre
switch on a plug-in or send protects any automation on that
plug-in or send from being overwritten. The Bypass/Mute/Pre
switch for any protected plug-in or send is lit, reflecting the
Plug-in Automation controls state of the Safe button in the on-screen plug-in or send out-
put window.
Enable Parameters Switch
Tracks
The Enable Parameters switch lets you enable parameters for
automation by touching or pressing their controls. While in Automation Safe mode, pressing a channel Select
switch protects volume, pan and mute parameters on that
In Enable Parameters mode, the Enable Parameters switch is
track from being overwritten. The channel Select switch for
lit. While in this mode, the Auto LED for any rotary encoder
any protected track is lit, reflecting the state of the Safe button
enabled for automation is lit red, and the switch for any pa-
in the on-screen track output window.
rameter enabled for automation is lit.

To toggle automation safe on and off:

To toggle automation on and off for plug-in parameters:
1 Press the Automation Safe switch.
1 Press the Enable Parameter switch.
2 Press the channel Select switch on the tracks for which you
2 Touch the rotary encoders or press the switches for the con-
want to toggle automation safe status. The automation safe
trols for which you want to toggle automation on or off.
status of the track is reflected by the Safe button in the track’s
3 Press the Enable Parameter switch again to exit Enable Pa- on-screen output window.
rameters mode.
3 Press the Bypass/Mute/Pre switch for the plug-ins or sends
for which you want to toggle automation safe status.
You can also toggle automation for a plug-in parameter by
holding Control+Start+Alt (Windows) or Command+Con- 4 Press the Automation Safe switch again to exit Automation
trol+Option (Mac) and touching the rotary encoder for the Safe mode.
parameter.

Chapter 6: Channel Strip Controls 51

52 D-Command Guide
Chapter 7: Plug-in Controls

5 Press the encoder Select switch to move down and the By-
Plug-ins and D-Command pass/Mute/Pre switch to move up through menu levels.

D-Command provides dedicated Dynamics and EQ sections 6 When the plug-in you want to assign is displayed, press the
for plug-ins that support dynamics and EQ plug-in mapping. encoder Select switch to confirm your selection.
These sections include encoders and switches that map to
standard controls for each plug-in type. To assign plug-ins to multiple tracks:

Plug-ins of all types can be focused across multiple D-Com- 1 Press the Assign Inserts switch to enter Inserts Assign mode.
mand channels using Custom Fader Plug-ins mode. See The first two send or insert positions will show on the encoder
“Plug-in Mode” on page 108. displays by default.

2 To display and edit other insert positions, press the Page Up

Plug-in Channel Formats or Page Down switches on the channel where you want to
make the assignment.
D-Command supports mono, stereo, multichannel and
multi-mono plug-in channel formats up to six channels wide. 3 At the insert position where you want to make the assign-
ment, turn the encoder knob to select from the first level of
With D-Command, you can display, edit, and link specific menu choices.
channels of multi-mono dynamics and EQ plug-ins directly
4 Press the encoder Select switch to move down and the By-
from the Channel Select switches in the corresponding sec-
pass/Mute/Pre switch to move up through menu levels.
tion.
5 When the plug-in you want to assign is displayed, press the
encoder Select switch to confirm your selection.
Assigning and Removing Plug-ins
6 Repeat steps 2–5 to make additional insert assignments.
You can make plug-in assignments directly from D-Command
in several ways. In Inserts mode, plug-ins can be added on an 7 Press the flashing Assign switch to confirm the assignments
insert-by-insert basis. In Assign Inserts mode you can assign and exit Inserts Assign mode.
plug-ins to insert positions on multiple tracks.
To remove a plug-in:
To assign a plug-in in Inserts mode:
1 Press the Set to Default switch.
1 Press the Inserts switch to display inserts on the channel
2 Press the encoder Select switch for each plug-in you want to
where you want to assign the plug-in.
remove.
2 If the insert location where you want to assign a plug-in is
3 Press the flashing Set to Default switch to exit Set to Default
not showing, press the Page Up or Page Down switches on the
mode.
channel where you want to make the assignment until the ap-
propriate location is displayed.

3 Do one of the following:

Default Plug-in Preferences
• If the insert location you want to use is empty, press the You can set a default EQ plug-in and default Dynamics plug-in
corresponding encoder Select switch. in Pro Tools, which makes them available for quick assign-
• If a plug-in is already present in the insert location you ment from D-Command.
want to use, press and hold the corresponding encoder
Select switch. To set a default EQ or Dynamics plug-in:

4 At the insert position where you want to make the assign- 1 In Pro Tools, choose Setup > Preferences and click Mixing.

ment, turn the encoder knob to select from the first level of 2 Under Setup, choose a plug-in from the Default EQ or De-
menu choices. fault Dynamics pop-up menu.

3 Click OK to close the Preferences window.

Chapter 7: Plug-in Controls 53

 Focusing Plug-ins on D-Command Opening Plug-in Windows On-Screen
A plug-in is focused when its controls are mapped to the knobs, There are several ways to open plug-in windows on-screen
switches or faders on D-Command. Its parameters can then be from D-Command.
edited and automated from the control surface. D-Command
lets you focus a plug-in with or without displaying its window To open a plug-in window from any channel on D-Command:
on-screen.
„ Hold Start (Windows) or Control (Mac) and press the en-

You can focus plug-ins in multiple locations on D-Command: coder Select switch for the plug-in.
in the Dynamics section, in the EQ section, and in the Custom
Faders section. To open a plug-in window on a focused track:
1 Focus a track in the Focus Channel section by pressing its Se-
When a plug-in is focused on D-Command and displayed
lect switch.
on-screen in Pro Tools, a colored outline appears in the
plug-in window header. 2 In the Custom Faders section, press the Bank/Cycle switch
to cycle through the plug-ins on the focused track. Plug-in
To focus a plug-in in the Dynamics or EQ section: names are shown in the Custom Faders display.

1 Focus the plug-in’s track in the Focus Channel section by 3 In the Custom Faders section, press the Win switch to open
pressing the track’s Select switch. The first dynamics and EQ the plug-in whose name is displayed.
plug-ins on that track are automatically focused in the corre-
sponding D-Command section. To open a focused dynamics or EQ plug-in window:
2 Press the Cycle switch in the Dynamics or EQ section to fo- „ Press the Window switch in the Dynamics or EQ section of
cus successive dynamics or EQ plug-ins on that channel. (The D-Command.
No Insert option is always available.)
To open or close all focused plug-in windows:
To focus a plug-in in the Custom Faders section:
„ Press the Plug-in switch in the Window Management sec-

1 Focus the plug-in’s track in the Focus Channel section by tion.

pressing the track’s Select switch. The name of the first plug-in
that is not a dynamics or EQ plug-in appears in the Focus To close all open plug-in windows:
Channel display.
„ Hold Alt (Windows) or Option (Mac) and press the Plug-in

2 Press the Plug-in switch in the Custom Faders section. The switch in the Window Management section. This closes all
switch lights to indicate the mode is active. The plug-in name real-time and AudioSuite plug-in windows.
and channel format appear in the Custom Fader channel dis-
plays, and the plug-in’s parameters appear in the Custom To set D-Command to automatically open plug-in windows:
Fader channel encoders. 1 Press the Operations switch in the D-Command Soft Keys
3 In the Custom Faders section, press the Bank/Cycle switch section twice.
to cycle through the plug-ins on the focused channel. (The No 2 Press the Soft Key that corresponds to “ChanWn” until its
Insert option is always available.) value is “Yes.”
The plug-in whose name appears in the Custom Faders display With this preference set to “Yes,” when you insert a new
is focused in Custom Fader mode. See “Plug-in Mode” on plug-in, press an encoder Select switch to edit a plug-in, or cy-
page 108. cle through plug-ins on the focused track, the plug-in window
will automatically open on-screen.
When plug-in names are shown on the encoder displays, a
plug-in can be quickly brought into Custom Fader mode by
pressing its associated encoder Select switch.

54 D-Command Guide
Managing Multiple Plug-in Windows Making Plug-ins Inactive or Active
D-Command lets you open and swap multiple plug-in win- You can toggle the active/inactive status of a plug-in directly
dows on-screen. This makes it possible keep multiple plug-in from a channel strip without putting D-Command into Make
windows open while focusing on different tracks (for exam- Inactive mode.
ple, in a session where several tracks have dynamics and EQ
plug-ins). To toggle a plug-in active/inactive directly from a channel strip:
1 Press the Inserts switch on a channel strip to display the
Targeting Plug-ins
names of the plug-ins on the channel’s encoders.
A plug-in is said to be targeted on-screen when its target icon in
2 If the insert location for the plug-in that you want to make
the plug-in window header is lit red. The first plug-in window
active/inactive is not showing, press the Page Up or Page
to be opened is automatically targeted.
Down switches on the channel until the appropriate location
‹ When a plug-in window is targeted, it is replaced when you is displayed.
open any new plug-in window.
3 Hold Control+Start (Windows) or Control+ Command
‹ When a plug-in window is not targeted (when its target icon (Mac) and press the encoder Select switch for the plug-in.
is grey) the plug-in window will remain on-screen.

To open multiple plug-in windows: Copying and Pasting Plug-in Settings

„ Hold Shift while opening each new window. The new You can copy plug-in settings from a plug-in and paste them
plug-in windows are not targeted. into another copy of the same plug-in directly from a channel
strip on D-Command.
To swap multiple plug-in windows while changing track focus:
To copy and paste plug-in settings:
1 Focus a track with multiple plug-ins (for example, dynam-
ics, EQ and pitch shift plug-ins) by pressing the track’s Select 1 Press the Inserts switch on a channel strip to display the
switch. names of the plug-ins on that channel’s encoders.

2 Open multiple plug-in windows on the focused track while 2 If the insert location for the plug-in whose settings you want
holding the Shift modifier. to copy is not showing, press the Page Up or Page Down
switches on the channel until the appropriate location is dis-
3 Hold Alt (Windows) or Option (Mac) while changing focus
played.
to another track with multiple plug-ins by pressing that track’s
Select switch. 3 Copy the settings of a plug-in by holding Shift+Control
(Windows) or Shift+Command (Mac) and pressing the Select
Focused plug-ins with open windows swap into new plug-in switch under the name of the plug-in.
windows on-screen, wherever plug-ins are present in the new
track. 4 Paste the settings into another instance of the same plug-in
by pressing the B/M/P switch under the name of that plug-in.

Chapter 7: Plug-in Controls 55

 Enabling Plug-in Automation To toggle automation on and off for all plug-ins in a given Insert
position:
When plug-in names are displayed in top-level view on a
1 Press the Inserts switch in the Channel Strip Mode controls
D-Command channel strip, you can quickly enable all param-
of a track to show the top level Inserts display. Plug-in names
eters of a plug-in for automation.
appear in the encoder displays of that track.
You can also use the Do To All or Do To Selected switches on
2 Press the Page Up or Page Down switch to display the insert
D-Command to automate multiple plug-ins in the same insert
position for the plug-ins you want to automate.
position in a session.
3 Press the Do To All switch in the Global controls section.
To toggle automation on and off for a parameter of a plug-in: 4 Hold Control+Alt+Start (Windows) or Command+Op-
1 Press the Inserts switch in the Channel Strip Mode controls tion+Control (Mac) and touch the rotary encoder for any
of a track to show the top level Inserts display. Plug-in names plug-in at the insert position (Insert 1–5) where you want to
appear in the encoder displays of that track. enable plug-in automation.

2 Press the Page Up or Page Down switch to display the name

To toggle automation on and off for plug-ins in a given Insert
of the plug-in you want to automate.
position on all selected tracks:
3 Press an encoder Select switch to display that plug-in’s pa- 1 Select the tracks containing the plug-ins you want to enable
rameters on the Custom Fader encoders. for automation.
4 Hold Control+Alt+Start (Windows) or Command+Op- 1 Press the Inserts switch in the Channel Strip Mode controls
tion+Control (Mac) and touch the rotary encoder for the of a track to show the top level Inserts display. Plug-in names
plug-in parameters you want to enable for automation. appear in the encoder displays of that track.

To toggle automation on and off for all parameters of a plug-in: 2 Press the Page Up or Page Down switch to display the insert
position for the plug-ins you want to automate.
1 Press the Inserts switch in the Channel Strip Mode controls
of a track to show the top level Inserts display. Plug-in names 3 Press the Do To Selected switch in the Global controls sec-
appear in the encoder displays of that track. tion.

2 Press the Page Up or Page Down switch to display the name 4 Hold Control+Alt+Start (Windows) or Command+Op-
of the plug-in you want to automate. tion+Control (Mac) and touch the rotary encoder for any
plug-in at the insert position (Insert 1–5) where you want to
3 Hold Control+Alt+Start (Windows) or Command+Op-
enable plug-in automation.
tion+Control (Mac) and touch the rotary encoder for the
plug-in whose parameters you want to enable for automation.

56 D-Command Guide
Dynamics Section
The Dynamics section includes standard controls for compressor, gate, and limiter plug-ins, an array of controls for managing the
display and editing of plug-in parameters, and for selecting or linking channels in multi-mono plug-ins.

Knee/Hysteresis/Q Gain/Hold/Input Level

control control Channel Select
Attack/Q switches
control

Clip
indicator

Output
meter

Gain Reduction
meter

Release/Frequency
control
Ratio/Range/Frequency Threshold/Output Level
control control Dynamics Edit/Display/Page controls

D-Command Dynamics section

Dynamics Plug-in Support Displaying Dynamics Plug-ins

Dynamics processing plug-ins may have widely varying con- The D-Command Dynamics section automatically focuses the
trols, depending on their applications. The D-Command Dy- first dynamics plug-in on the channel displayed in the Focus
namics Section provides dedicated knobs and switches to ac- Channel section on the Main Unit.
commodate a wide range of possible plug-ins. Not all plug-ins
will require all the Dynamics controls, while others may have To display successive dynamics plug-ins that are on the fo-
more parameters than can be displayed in the Dynamics sec- cused channel, press the Cycle switch in the Dynamics sec-
tion at one time. To display all controls in any plug-in, use tion.
Custom Fader Plug-ins mode. (See “Plug-in Mode” on
page 108.)

Chapter 7: Plug-in Controls 57

 Knee/Hysteresis/Q and Attack/Q and Release/Frequency Controls
Ratio/Range/Frequency Controls

Attack/Q
control
Knee/Hysteresis/Q
control

Hysteresis
indicator Attack Q
indicator indicator
Knee Q
indicator indicator

Release/Frequency
control
Ratio/Range/Frequency
control
Range Release Frequency
indicator indicator indicator
Ratio Frequency
indicator indicator

Attack/Q and Release/Frequency controls in the Dynamics section

Knee/Hysteresis/Q and Ratio/Range/Frequency controls in the
Dynamics section Attack/Q Control
The top encoder in this section controls the attack value, or
Knee/Hysteresis/Q Control
the Q value for the current plug-in, depending on which indi-
The top encoder in this section controls the knee shape, the cator is lit. The Auto indicator under the encoder knob lights
hysteresis value, or the Q value for the current plug-in page, when the displayed parameter is enabled for automation.
depending on which indicator is lit. The Auto indicator under
the encoder knob lights when the displayed parameter is en- Release/Frequency Control
abled for automation.
The bottom encoder in this section controls the release value
for the current plug-in, or the filter frequency for the current
Ratio/Range/Frequency Control
plug-in page, depending on which indicator is lit. The Auto
The bottom encoder in this section controls the compression indicator under the encoder knob lights when the displayed
ratio, the range value, or the filter frequency for the current parameter is enabled for automation.
plug-in page, depending on which indicator is lit. The Auto
indicator under the encoder knob lights when the displayed
parameter is enabled for automation.

58 D-Command Guide
Gain/Hold and Threshold Controls Gain/Hold/Input Control
The top encoder in this section controls the gain (make-up
gain), the hold value for the current plug-in page, or the input
gain for the current plug-in, depending on which indicator is
Gain/Hold
control lit. The Auto indicator under the encoder knob lights when
the displayed parameter is enabled for automation.
Hold
indicator
Gain Input Threshold/Output Control
indicator indicator

The bottom encoder in this section controls the threshold

value for the current plug-in page, or the output gain for the
current plug-in, depending on which indicator is lit. The Auto
indicator under the encoder knob lights when the displayed
parameter is enabled for automation.

Threshold
control

Threshold Output
indicator indicator

Gain/Hold and Threshold controls in the Dynamics section

Chapter 7: Plug-in Controls 59

 Dynamics Channel Select Controls

Dynamics display

Lock switch
Channel Select switches

Save and Save As switches

Master Link switch

Select/Link/Bypass Mode switch

Bypass indicator

Channel Select controls in the Dynamics section

Dynamics Display Channel Select Switches

The LED display in the Dynamics section show the name of Multichannel Plug-ins
the focused plug-in by default. When any rotary encoder is
touched, the display shows the corresponding parameter When you are working with a multichannel plug-in, all chan-
value. nels are controlled in tandem and the Channel Select switches
have no effect.
Lock Switch
Multi-Mono Plug-ins
The Lock switch is used to lock the focus of the Dynamics sec-
When you are working with a multi-mono plug-in, the con-
tion on the current plug-in. When the plug-in focus is locked,
trols for the channels are usually linked and edited together.
the current plug-in remains in the Dynamics section, even
when a different track is focused on D-Command. This switch However, you can edit plug-in settings for individual channels
lights when the plug-in focus is locked. of a multi-mono plug-in by using the Channel Select switches
to unlink all of the channels, or to link specific channels.
Save and Save As Switches
There are Channel Select switches for the following channels:
The Save and Save As switches perform the Save and Save As • L (Left)
commands in the Plug-in settings menu. The Save command
• C (Center)
saves current parameter settings to the current plug-in settings
file, and the Save As command saves the parameter settings to • R (Right)
a new plug-in settings file. • Ls (Left Surround)
• Rs (Right Surround)
To save a Dynamics plug-in setting from D-Command: • LFE
1 Press the Save or Save As switch in the Channel Select con-
A maximum of six channels (5.1 surround) may be in use at
trols of the Dynamics section. The Save or Save As switch
any time.
flashes while the Save Settings dialog is open.

2 Type a name for the plug-in setting.

3 Do one of the following:

• Click OK to save the settings and close the dialog.
• Press the flashing Save or Save As switch to save the set-
tings and close the dialog.
• Press the Escape switch to exit the dialog without saving
the settings.

60 D-Command Guide
Master Link Switch

Multichannel Plug-ins

When you are working with a multichannel plug-in, all chan-

nels are controlled in tandem, and the Master Link switch has
no effect.

Multi-Mono Plug-ins

When you are working with a multi-mono plug-in, the Master

Link switch toggles the Master Link button in the plug-in win-
dow, which links or unlinks all channels of the plug-in. When
the Master Link button is enabled, the Link switch is lit.

Select/Link/Bypass Mode Switch

The Select/Link/Bypass Mode switch determines the function
of the Channel Select switches with multi-mono plug-ins.

Select Mode In this mode, the Channel Select switches deter-

mine which channel of a multi-mono plug-in is the focus of
the plug-in controls. When a channel is selected, its switch is
lit. If any channels are linked, their switches follow linked be-
havior.

In Select mode, if the D-Command Channel Window Display

preference is set to Yes, the Channel Select switches also
change the channel display in the plug-in window.

Bypass Mode In this mode, the Channel Select switches deter-

mine which channels of a multi-mono plug-in are bypassed.
When a channel is bypassed, its switch is lit. If any channels
are linked, their switches follow linked behavior.

Link Mode In this mode, the Channel Select switches deter-

mine which individual channels of a multi-mono plug-in are
linked together. Linked channels are indicated by switches
that are lit.

Chapter 7: Plug-in Controls 61

 Dynamics Edit and Display Controls

Key Listen Automation switch

switch

External Key switch Automation Safe switch

Window switch
Compare switch

Cycle switch Page switch

Bypass switch

Edit and Display controls in the Dynamics section

External Key Switch 3 Touch any rotary encoder or press any switches in the Dy-
namics section.
The External Key switch turns the Key Input on or off for
plug-ins that support side-chain processing with external in- 4 Press the Automation switch again to exit Automation
put. This switch lights when Key Input is on. mode.

Key Listen Switch Automation Safe Switch

The Key Listen switch turns the Key Listen function on or off The Automation Safe switch toggles the Safe button in the
for plug-ins that support auditioning the Key Input. This plug-in window, which protects existing automation for that
switch lights when Key Listen is on. plug-in from being overwritten.

Automation Switch Window Switch

The Automation switch lets you enable Dynamics parameters The Window switch is used to open and close the on-screen
for automation by touching or pressing their controls in the window for the currently focused plug-in.
Dynamics section only.
Compare Switch
In Automation mode, the Auto switch is lit. While in this
mode, the Auto indicator for any rotary encoder enabled for The Compare switch toggles the Compare button in the
automation is lit red, and the switch for any parameter en- plug-in window, which alternates between the currently saved
abled for automation is lit. plug-in setting and any changes you have made.

To toggle automation on and off for individual Dynamics Cycle Switch

parameters:
The Cycle switch steps through all available Dynamics
1 Press the Automation switch.
plug-ins on the focused channel.
2 Touch the rotary encoders or press the switches in the Dy-
namics section for which you want to toggle automation. Bypass Switch
3 Press the Automation switch again to exit Automation The Bypass switch bypasses the plug-in.
mode.
Page Switch
To toggle automation on and off for all parameters of a Dynamics
plug-in: With plug-ins that have more than one page of controls, the
Page switch lights. Pressing this switch steps through the
1 Press the Automation switch.
pages for the currently displayed plug-in.
2 Do one of the following:
The current function of the rotary encoders in the Dynamics
• Hold Alt (Windows) or Option (Mac).
section is shown by the corresponding indicator LEDs. Active
– or – controls are shown in the on-screen plug-in window by col-
• Hold Do to All. ored outlines.

62 D-Command Guide
Dynamics Gain Controls and Meters

Clip Indicator

Output meter

Gain Reduction meter

Level meters in the Dynamics section

Output Meter and Clip Indicator

The Output meter shows the output level for the current
plug-in. The Clip indicator lights when a clip is reported by
the plug-in, and can be cleared by pressing the Clear Clip
switch in the Session Management section.

Gain Reduction Meter

The Gain Reduction meter shows the amount of gain reduc-
tion for Compressor/Limiter functions (using the range
shown on the left) and Expander/Gate functions (using the
range shown on the right).

Chapter 7: Plug-in Controls 63

 EQ Section
The EQ section includes standard controls for a variety of multi-band equalization plug-ins, an array of controls for managing the
display and editing of plug-in parameters, and controls for selecting or linking channels in multi-mono plug-ins.

Low Filter/ High-Mid Filter/

High-Pass Filter Level
controls controls
Channel Select
Low-Mid Filter/ High Filter/ switches
Mid Filter Low-Pass Filter
controls controls

Output
meter

EQ Edit and Display controls

D-Command EQ section

EQ Plug-in Support Displaying EQ Plug-ins

EQ processing plug-ins may have widely varying controls, de- The D-Command EQ section automatically displays the first
pending on their applications. The D-Command EQ section EQ plug-in on the channel that is focused in the Focus Chan-
uses paging to accommodate the widest range of plug-ins pos- nel section on the Main Unit.
sible.
To display successive EQ plug-ins that are on the focused
Each encoder column controls several frequency bands, channel:
which are chosen by pressing the Page switch. LEDs light to
„ Press the Cycle switch in the EQ section.
indicate the frequency band that is currently active for edit-
ing. Notch/Shape switches are located on the Low and High
band to change filter types.

To simultaneously display all controls in any plug-in, use Cus-

tom Fader Plug-ins mode. (See “Plug-in Mode” on page 108.)

64 D-Command Guide
Low Filter and High-Pass Filter Controls Low-Mid Filter and Mid Filter Controls

Q encoder Q encoder

Notch/Shape switch

Notch indicator Shelf indicator

Frequency encoder Frequency encoder

Low Filter High-Pass Filter Low-Mid Filter Mid Filter

indicator indicator indicator indicator

Gain Gain
encoder encoder

Filter In switch Filter In switch

Low Filter and High-Pass Filter controls in the EQ section Low-Mid Filter and Mid Filter controls in the EQ section

Q Encoder Q Encoder
The top encoder controls the Q of the selected filter. The Auto The top encoder controls the Q of the selected filter. The Auto
indicator under the encoder knob lights when the parameter indicator under the encoder knob lights when the parameter
is enabled for automation. is enabled for automation.

Notch/Shape Switches and Indicator Frequency Encoder

The Notch/Shape switch let you switch between the two filter The middle encoder controls the center frequency for the cur-
types when they are available. The indicators on either side of rently selected band. The Auto indicator under the encoder
the switch light to show which type of filter is active. knob lights when the parameter is enabled for automation.

Frequency Encoder Gain Encoders

The middle encoder controls the filter frequency for the cur- The bottom encoder controls the gain for each band. The Auto
rently selected band. When the filter is a notch filter, the en- indicator under the encoder knob lights when the parameter
coder controls the center frequency. When the selected filter is enabled for automation.
is a low-pass filter, the encoder controls the cutoff frequency.
The Auto indicator under the encoder knob lights when the Filter In Switch
parameter is enabled for automation.
The Filter In switch lets you engage or bypass the correspond-
Gain Encoder ing EQ band in the plug-in.

The bottom encoder controls the gain for each band. The Auto
indicator under the encoder knob lights when the parameter
is enabled for automation.

Filter In Switch
The Filter In switch lets you engage or bypass the correspond-
ing EQ band in the plug-in.

Chapter 7: Plug-in Controls 65

 High-Mid Filter and EQ Level Controls High Filter and Low-Pass Filter Controls

Q/Input level encoder Q encoder

Notch/Shape switch

Notch indicator Shelf indicator

Frequency/Output level Frequency encoder

encoder

High-Mid Filter Level High Filter Low-Pass Filter

indicator indicator indicator indicator

Gain Gain
encoder encoder

Filter In switch Filter In switch

High-Mid Filter and EQ level controls in the EQ section Low Filter and High Filter controls in the EQ section

Q/Input level Encoder Q Encoders

The top encoder controls the Q of the High-Mid filter, or the The top encoder controls the Q of the selected band. The Auto
Input level. The Auto indicator under the encoder knob lights indicator under each encoder knob lights when the parameter
when the parameter is enabled for automation. is enabled for automation.

Frequency/Output Level Encoder Notch/Shape Switches and Indicator

The middle encoder controls the center frequency for the cur- The Notch/Shape switch let you switch between the two filter
rently selected band, or the Output level. The Auto indicator types when they are available. The indicators on either side of
under the encoder knob lights when the parameter is enabled the switch light to show which type of filter is active.
for automation.
Frequency Encoder
Gain Encoder
The middle encoder controls the filter frequency for the cur-
The bottom encoder controls the gain for the High-Mid band. rently selected band. When the filter is a notch filter, the en-
The Auto indicator under the encoder knob lights when the coder controls the center frequency. When the selected filter
parameter is enabled for automation. is a low-pass filter, the encoder controls the cutoff frequency.
The Auto indicator under the encoder knob lights when the
Filter In Switch parameter is enabled for automation.

The Filter In switch lets you engage or bypass the correspond-

Gain Encoder
ing EQ band in the plug-in.
The bottom encoder controls the gain for each band. The Auto
indicator under the encoder knob lights when the parameter
is enabled for automation.

Filter In Switch
The Filter In switch lets you engage or bypass the correspond-
ing EQ band in the plug-in.

66 D-Command Guide
EQ Channel Select Controls

EQ display

Lock switch
Channel Select switches

Save and Save As switches

Master Link switch Select/Link/Bypass Mode switch

Bypass indicator

Channel Select controls in the EQ section

EQ Displays Channel Select Switches

The LED display in the EQ section shows the name of the fo- Multichannel Plug-ins
cused plug-in by default. When any rotary encoder is touched,
the display shows the corresponding parameter value. When you are working with a multichannel plug-in, all chan-
nels are controlled in tandem and the Channel Select switches
Lock Switch have no effect, except with multichannel plug-ins (such as
Focusrite d2) that directly support channel selection.
The Lock switch is used to lock the focus of the EQ section on
the current plug-in. When the plug-in focus is locked, the cur- Multi-Mono Plug-ins
rent plug-in remains in the EQ section, even when a different
When you are working with a multi-mono plug-in, the con-
track is focused on D-Command. This switch lights when the
trols for the channels are usually linked and edited together.
plug-in focus is locked.
However, you can edit plug-in settings for individual channels
Save and Save As Switches of a multi-mono plug-in by unlinking all of the channels, or
by using the Channel Select switches to link specific channels.
The Save and Save As switches perform the Save and Save As
commands in the Plug-in settings menu. The Save command There are Channel Select switches for the following channels:
saves current parameter settings to the current plug-in settings • L (Left)
file, and the Save As command saves the parameter settings to
• C (Center)
a new plug-in settings file.
• R (Right)
To save an EQ plug-in setting from D-Command: • Ls (Left Surround)
• Rs (Right Surround)
1 Press the Save or Save As switch in the Channel Select con-
trols of the EQ section. The Save or Save As switch flashes • LFE
while the Save Settings dialog is open.
These choices can be used to support all possible channel con-
2 Type a name for the plug-in setting. figurations in Pro Tools. A maximum of six channels (5.1 sur-
round) may be in use at any time.
3 Do one of the following:
• Click OK to save the settings and close the dialog.
• Press the flashing Save or Save As switch to save the set-
tings and close the dialog.
• Press the Escape switch to exit the dialog without saving
the settings.

Chapter 7: Plug-in Controls 67

 Master Link Switch Select/Link/Bypass Mode Switch

Multichannel Plug-ins The Select/Link/Bypass Mode switch determines the function

of the Channel Select switches with multi-mono plug-ins.
When you are working with a multichannel plug-in, all chan-
nels are controlled in tandem, so the Master Link switch has Select Mode In this mode, the Channel Select switches deter-
no effect, except with multichannel plug-ins (such as mine which channel of a multi-mono plug-in is the focus of
Focusrite d2) that directly support channel linking. the plug-in controls. When a channel is selected, its switch is
lit. If any channels are linked, their switches follow linked be-
Multi-Mono Plug-ins havior.

When you are working with a multi-mono plug-in, the Master In Select mode, if the D-Command Channel Window Display
Link switch toggles the Master Link button in the plug-in win- preference is set to Yes, the Channel Select switches also
dow, which links or unlinks all channels of the plug-in. When change the channel display in the plug-in window.
the Master Link button is enabled, the Link switch is lit.
Bypass Mode In this mode, the Channel Select switches deter-
mine which channels of a multi-mono plug-in are bypassed.
When a channel is bypassed, its switch is lit. If any channels
are linked, their switches follow linked behavior.

Link Mode In this mode, the Channel Select switches deter-

mine which individual channels of a multi-mono plug-in are
linked together. Linked channels are indicated by switches
that are lit.

68 D-Command Guide
EQ Edit and Display Controls

Automation switch Automation Safe switch

Clip indicator

Window switch
Output meter
Compare switch

Cycle switch Page switch

Bypass switch

Edit and Display controls in the EQ section

Automation Switch Automation Safe Switch

The Automation switch lets you enable EQ parameters for au- The Automation Safe switch toggles the Safe button in the
tomation by touching or pressing their controls in the EQ sec- plug-in window, which protects existing automation for that
tion only. plug-in from being overwritten.

In Automation mode, the Auto switch is lit. While in this

Compare Switch
mode, the Auto indicator for any rotary encoder enabled for
automation is lit red, and the switch for any parameter en- The Compare switch toggles the Compare button in the
abled for automation is lit. plug-in window, which alternates between the currently saved
plug-in setting and any changes you have made.
To toggle automation on and off for individual EQ parameters:
1 Press the Automation switch. Window Switch

2 Touch the rotary encoders or press the switches in the EQ The Window switch is used to open and close the on-screen
section for which you want to toggle automation. window for the currently focused plug-in.

3 Press the Automation switch again to exit Automation

mode.
Output Meter and Clip Indicator
The Output meter shows the output levels for the current
To toggle automation on and off for all parameters of an EQ plug-in. The Clip indicator lights when a clip is reported by
plug-in: the plug-in, and can be cleared by pressing the Clear Clip
1 Press the Automation switch. switch in the Session Management section.

2 Do one of the following:

Cycle Switch
• Hold Alt (Windows) or Option (Mac).
The Cycle switch steps through all available EQ plug-ins on
– or –
the focused channel.
• Hold Do to All.

3 Touch any rotary encoder or press any switches in the EQ Bypass Switch
section.
The Bypass switch bypasses the plug-in.
4 Press the Automation switch again to exit Automation
mode.
Page Switch
The Page switch steps through the pages for the currently dis-
played plug-in. The Page switch lights when plug-ins have
more than one page of controls. Active controls are shown in
the on-screen plug-in window by colored outlines.

Chapter 7: Plug-in Controls 69

70 D-Command Guide
Chapter 8: Transport and Navigation Controls

Transport Section
The D-Command Transport section includes transport switches, switches for setting the transport mode, scrub/shuttle switches
and controls, and advanced audition and locate switches.

Audition switches Transport Mode switches

Master Record Mode

switch

Locate switches

Scrub/Shuttle
controls

Pro Tools Transport

switches

D-Command Transport Section

Transport Switches Play Switch Begins playback of the Pro Tools session from the
current cursor position.

Record Switch Arms Pro Tools for recording. The exact func-
MIDI Merge
indicator tion of the Record switch depends on the current Pro Tools
record mode (QuickPunch, TrackPunch, Wait for Note,
Pause).

MIDI Merge Indicator Shows when MIDI Merge is activated.

Rewind Fast Stop Play Record
Forward
Pro Tools Transport switches Latching Behavior for Fast Forward and Rewind
Switches
Pro Tools Transport You can set Fast Forward or Rewind to follow latched behavior
The D-Command Pro Tools Transport switches correspond to from the D-Command Transport section.
the controls in the Pro Tools Transport window.
To set Fast Forward to latch:
Rewind Switch Moves backward through the Pro Tools session
„ Hold the Fast Forward switch and momentarily press the Re-
beginning from the current cursor position.
wind switch.
Fast Forward Switch Moves forward through the Pro Tools ses-
sion beginning from the current cursor position. To set Rewind to latch:
„ Hold the Rewind switch and momentarily press the Fast
Stop Switch Stops playback of the Pro Tools session.
Forward switch.

Chapter 8: Transport and Navigation Controls 71

 Playback of Timeline Selection and Edit Selection To locate the cursor in the Edit window while in Continuous Scroll
from the Transport Mode:
„ Hold Control+Alt+Start (Windows) or Command+Op-
When the Timeline and Edit selections in the Edit window are
tion+Control (Mac) and press the Mark In or Mark Out switch
unlinked, you can set the D-Command Transport to control
in the Audition section.
playback of either the Timeline selection or the Edit selection.

Selecting with the Scrub/Shuttle Wheel

To focus the D-Command Transport on the Timeline selection:
„ Press the Edit/Timeline Selection switch in the Miscella- To create selections with the Scrub/Shuttle wheel:
neous Controls section so that the Timeline LED is lit.
1 Locate the cursor in a track.

To focus the D-Command Transport on the Edit selection: 2 Press the Scrub switch or the Shuttle switch.

„ Press the Edit/Timeline Selection switch in the Miscella- 3 Do one of the following:
neous Controls section so that the Edit LED is lit. • Hold the Mark In switch and turn the Scrub/Shuttle
wheel counter-clockwise to create or extend the selection
Scrub/Shuttle Controls to the left.
– or –
The Scrub/Shuttle controls are used for scrubbing, scrubbing
• Hold the Mark Out switch and turn the Scrub/Shuttle
while trimming, shuttling, and making selections.
wheel clockwise to create or extend the selection to the
Trim Scrub Shuttle right.
switch switch switch

To scrub while adding to the front of a selection:

„ Hold Start+Shift (Windows) or Control + Shift (Mac) while

scrubbing the front of the selection.

To scrub while adding to the end of a selection:

Scrub/Shuttle
Wheel „ Hold Start+Shift+Alt (Windows) or Control+Shift+Option

(Mac) while scrubbing the end of the selection.

To scrub with fine resolution while adding to the front of a

Scrub/Shuttle controls selection:
„ Hold Start+Shift+Control (Windows) or Con-
Scrub/Shuttle Wheel
trol+Shift+Command (Mac) while scrubbing the front of the
The Scrub/Shuttle wheel is used to control cursor position in selection.
Pro Tools and for locating external machines.
To scrub with fine resolution while adding to the end of a
Scrolling and Locating in Pro Tools Windows selection:
„ Hold Start+Shift+Alt+Control (Windows) or Con-
To horizontally scroll the contents of the Edit window or Mix
trol+Shift+Option+Command (Mac) while scrubbing the end
window:
of the selection.
1 Focus the window you want to scroll by clicking in it or by
pressing the corresponding window key in the Window Man- Continuous Zooming in the Edit Window
agement section.
To horizontally zoom continuously in the Edit window:
2 Hold Alt (Windows) or Option (Mac) while turning the
Scrub/Shuttle Wheel. „ Hold Control (Windows) or Command (Mac) while turning

the Scrub/Shuttle Wheel.

To vertically scroll the contents of the Edit window or Mix
window: To vertically zoom continuously in the Edit window:
1 Focus the window you want to scroll by clicking in it or by „ Hold Control+Alt (Windows) or Command+Option (Mac)

pressing the corresponding window key in the Window Man- while turning the Scrub/Shuttle Wheel.
agement section.

2 Hold Shift while turning the Scrub/Shuttle Wheel.

72 D-Command Guide
Moving Windows On-Screen with the Scrub/Shuttle Wheel Shuttle Switch

To move a Pro Tools window horizontally on-screen: The Shuttle switch places the transport in Shuttle mode,
which lets you locate the cursor in the Edit window.
„ In the Window Management section, hold the switch for

the window and turn the Scrub/Shuttle wheel.

To use Shuttle mode:

To move a Pro Tools window vertically on-screen: 1 While Pro Tools is stopped, press the Shuttle switch.

„ In the Window Management section, hold the switch for 2 Rotate the Scrub/Shuttle wheel clockwise to shuttle forward,
the window, hold Shift, and turn the Scrub/Shuttle wheel. or counter-clockwise to shuttle backward.

3 To exit, press the Shuttle switch again.

Nudging Track Position or Focus on D-Command with the
Scrub/Shuttle Wheel Scrub, Trim/Scrub and Shuttle modes can be used to create se-
lections and define regions in the Pro Tools Edit window.
To nudge the position of tracks on D-Command in Normal mode:
„ Hold any of the Nudge/Bank switches and turn the
Master Record Enable Switch
Scrub/Shuttle wheel.

To nudge the position of tracks on D-Command in Custom

Faders:
Master Record Enable switch
„ Hold the Bank/Cycle switch in the Custom Faders section
and turn the Scrub/Shuttle wheel.

Trim Switch Master Record Enable switch

The Trim switch places the transport in Trim/Scrub mode, The Master Record Enable switch toggles record enable status
which lets you scrub to locate an edit point, then trim to that for all applicable audio tracks in a session. This switch flashes
point. when channels are record-enabled and the Pro Tools transport
is stopped, and lights continuously during recording.
To use Trim/Scrub:
If any tracks in the session are record-enabled, pressing the
1 Navigate to a region or selection you want to trim. Master Record Enable switch takes them out of their enabled
2 Press the Trim switch. state. If no channels are record-enabled, pressing the Master
Record Enable switch places all applicable audio tracks into
To trim to the end of a selection, hold Alt (Windows) or record-enabled state.
Option (Mac) while pressing the Trim switch.

3 Press the Scrub switch.

4 Rotate the Scrub/Shuttle wheel to move the cursor to the

trim location.

5 To trim to the cursor location, press the Trim switch again.

To cancel without trimming, press Escape.

Scrub Switch
The Scrub switch places the transport in Scrub mode, which
lets you scrub from the cursor position or across a selection.

To use Scrub mode:

1 While Pro Tools is stopped, press the Scrub switch.

2 Rotate the Scrub/Shuttle wheel clockwise to scrub audio for-

ward, or counter-clockwise to scrub audio backward.

3 To exit, press the Scrub switch again.

Chapter 8: Transport and Navigation Controls 73

 Transport Mode Switches Audition Switches
The Transport Mode switches are used to put the Pro Tools The Audition switches are used to activate pre-roll and
transport in the various playback and record modes. post-roll in playback, define selection in and out points, and
trigger automatic playback of ranges
Machine Loop Playback QuickPunch
switch switch switch
Audition Mark In Post-Roll
switch switch switch
Pro Tools Online Transport Master TrackPunch Pre-Roll Mark Out
switch switch switch switch switch

Transport Mode switches

Audition switches
Pro Tools Online Switch
Audition Switch
The Pro Tools Online switch toggles the Pro Tools online
The Audition switch toggles Audition mode on and off. When
state. The online state is mirrored in the Online button in the
Audition mode is on, this switch lights.
Pro Tools Transport window.
When Audition mode is on, you can quickly listen to either
While Pro Tools is online and waiting for time code, this
the start or end of a selection, with or without pre-roll or
switch flashes. When time code is received, this switch lights
post-roll, by pressing the following switches:
continuously.
Pre-Roll Switch Plays audio starting at the pre-roll point up to
Machine Switch the beginning of the selection.

The Machine switch is not currently enabled. Mark In Switch Plays audio starting at the selection start
through the length of the post-roll amount.
Transport Master Switch
Mark Out Switch Plays audio back-timed from the selection
WIth Digidesign Machine Control, the Transport Master end by the pre-roll amount.
switch toggles the Pro Tools transport master between “Trans-
port = Pro Tools” and “Transport = Machine” (in Serial Deck Post-Roll Switch Plays audio starting at the end of a selection
Control mode) or between “Transport = Pro Tools” and through the post-roll amount.
“Transport = Remote” (in Remote mode).
Pre-Roll and Post-Roll Switches
Loop Playback Switch When Audition mode is off, the Pre-Roll and Post-Roll
The Loop Playback switch toggles Loop Playback mode in switches toggle pre-roll and post-roll playback on and off in
Pro Tools. When Loop Playback mode is active, this switch Pro Tools. When pre-roll or post-roll is active, the correspond-
lights. The Loop Playback state is mirrored in the Play button ing switch lights.
in the Pro Tools Transport window. When Audition mode is on, the Pre-Roll and Post-Roll
switches play a range of audio around the current Edit selec-
QuickPunch Switch tion.
The QuickPunch switch toggles QuickPunch record mode in
Pro Tools. When QuickPunch mode is active, this switch
lights. The QuickPunch state is mirrored in the Record button
in the Pro Tools Transport window.

TrackPunch Switch
The TrackPunch switch toggles TrackPunch record mode in
Pro Tools. When TrackPunch mode is active, this switch
lights. The TrackPunch state is mirrored in the Record button
in the Pro Tools Transport window.

74 D-Command Guide
Mark In and Mark Out Switches Back Switch
When Audition mode is off, the Mark In and Mark Out The Back switch stops the Transport (if it is moving) and
switches are used to define selection start and end during play- moves the playback cursor back (earlier in time) by the
back, or when using the Scrub/Shuttle wheel. amount of time selected in Back settings pop-up in Pro Tools.
You can also click repeatedly to move back multiple times.
When Audition mode is on, the Mark In and Mark Out
switches play a range of audio around the current Edit selec- Forward Mode
tion.
Forward mode can be invoked by pressing Alt (Windows) or
To move the selection start: Option (Mac), and pressing the Back switch.

With the transport stopped, hold the Mark In switch and turn
Back & Play Switch
the Scrub/Shuttle wheel.
The Back and Play switch combines the function of the Back
To move the selection end: switch and the Transport Play switch. The playback cursor
moves back by the amount of time selected in the Back set-
With the transport stopped, hold the Mark In switch and turn
tings preference in Pro Tools.
the Scrub/Shuttle wheel.
If pre-roll is enabled, the pre-roll time will be observed in ad-
To move the entire selection: dition to the Back time if pre-roll is enabled.

With the transport stopped, hold both the Mark In and Mark
Forward & Play Mode
Out switches and turn the Scrub/Shuttle wheel.
Forward & Play mode can be invoked by doing the following:

Locate Switches
To move the playback location forward and begin playback:
The Locate switches move the Pro Tools transport to the des-
„ Hold Alt (Windows) or Option (Mac) and press the Back and
ignated location.
Play switch in the Transport section.
Instant
Go To Start Go To End Back Back & Play Playback
switch switch switch switch switch Instant Playback
The Instant Playback switch primes Pro Tools for playback, so
that pressing Play will begin playback instantaneously. This
switch can also be used during recording to put Pro Tools in
Record Pause mode.

Locate switches

Go To Start Switch
The Go To Start switch returns the playback cursor to the be-
ginning of the session.

Go to End Switch
The Go To End switch moves the playback cursor to the end of
the session.

Chapter 8: Transport and Navigation Controls 75

 Zoom Preset Switches
Zoom/Navigate Section
The Zoom Preset switches recall the five horizontal Zoom pre-
The Zoom/Navigate section is used to control navigation, dis- sets in Pro Tools.
play, and selections in the Pro Tools Edit window.
To store a Zoom Preset:
1 Using either the Horizontal Zoom buttons or the Zoomer
Zoom Mode Navigate Mode tool, set the zoom level that you want to store.
switch switch

2 While pressing Control (Windows) or Command (Mac),

Arrow press a Zoom Preset switch.

switches

To recall a Zoom Preset:

„ Press the corresponding Zoom preset switch.

Nudge/Bank Section
The Nudge/Bank section controls the display of any channels
Zoom Preset switches in Normal mode on the D-Command surface. If any channels
are in any of the Custom Fader modes, they are not affected by
D-Command Zoom/Navigate Section
Bank or Nudge commands, and the other channels move
Zoom Mode Switch around them.

The Zoom Mode switch puts the arrow switches in Zoom

mode.
Nudge Left and Right switches

Navigate Mode Switch

Bank Left and Right switches
The Navigate Mode switch puts the arrow switches in Navi-
gate mode.

Arrow Switches (Up, Down, Previous, Next) D-Command Nudge/Bank Section

The function of the Arrow switches depends on the current Nudge Switches
mode.
The Nudge switches move the display of tracks on the control
Zoom Mode When set to Zoom Mode, the Up and Down Ar- surface to the left or right, one channel at a time.
row switches change the vertical zoom and the Previous (Left)
and Next (Right) Arrow switches change the horizontal zoom. To nudge the track focus forward or backward by one channel:
„ With a track focused in the Focus Channel Strip, hold Con-
Navigate Mode In Navigate mode, the Up and Down Arrow
trol (Windows) or Command (Mac) and press the left or right
switches move the edit cursor up and down among tracks, and
Nudge switch.
the Previous (Left) and Next (Right) Arrow switches move the
edit cursor left and right among region boundaries or tran-
sients (according to the Tab to Transients setting). Bank Switches

Text Entry In both Zoom or Navigate modes, the Arrow The Bank switches move the display of tracks on the controls
switches can be also used to navigate on-screen text fields and surface to the left or right by the number of available channels
enter numerical values in the on-screen Main and Sub on the control surface.
Counters, Start/End/Length fields, and Pre/Post Roll fields in
the Edit and Transport windows. The Previous (Left) and Next To nudge the track focus forward or backward by eight channels:
(Right) Arrow switches move between fields, and the Up and „ With a track focused in the Focus Channel Strip, hold Con-

Down Arrow switches change the value. trol (Windows) or Command (Mac) and press the left or right
Bank switch.

76 D-Command Guide
Chapter 9: Management Sections

Window Management Section

The Window Management section includes controls for opening and closing Pro Tools windows on-screen. When a window is
open, its corresponding switch is lit.

MIDI Event List switch

Workspace Browser switch Mic Pre switch

Transport switch

Memory Locations switch Pan switch

Edit switch

Mix switch Plug-in switch

D-Command Window Management section

Workspace Browser Switch Transport Switch

The Workspace Browser switch opens and closes the DigiBase The Transport switch opens and closes the Transport window
Workspace Browser. Hold Alt (Windows) or Option (Mac) and
press this switch to close all DigiBase windows. Pan Switch

The Pan switch opens and closes the Pan window for the fo-
MIDI Event List Switch
cused track. Hold Alt (Windows) or Option (Mac) to close all
The MIDI Event List switch opens and closes the MIDI Event Pan windows.
List or brings it to the front.
Mix Switch
Mic Pre Switch
The Mix switch opens the Mix Window or brings it to the
The Mic Pre switch opens and closes the Mic Pre window for front.
the focused track.
Edit Switch
Memory Locations Switch
The Edit switch opens the Edit Window or brings it to the
The Memory Locations Switch opens and closes the Memory front.
Locations window
Plug-in Switch

The Plug-in switch opens and closes windows for any cur-
rently targeted plug-ins in the session. Hold Alt (Windows) or
Option (Mac) to close all plug-in windows.

Chapter 9: Management Sections 77

 All Notes Off Switch
Session Management Section
The All Notes Off switch can be used to silence stuck notes
The Session Management section includes controls for ses- with MIDI devices. It sends an All Notes Off message to each
sion-wide management and save operations. channel for all connected MIDI devices.

Plug-in Clip Publish Redo

indicator switch switch Publish Switch
Go To All Notes Off Save Undo
switch switch switch switch
The Publish switch executes the Send Session Via DigiDelivery
command in Pro Tools, opening the Send To DigiDelivery di-
alog on-screen.

Save Switch
Clear Clip The Save switch executes the Save Session command in
switch
Pro Tools. Whenever a change is made in a session and the
D-Command Session Management section Save command is available, this switch lights.

Go To Switch
To save the current session:
The Go To switch is used to focus a specific track onto the Fo-
1 Press the Save switch. The switch flashes, prompting confir-
cus Channel section on the Main Unit.
mation of the Save command.

To go to a specific track: 2 Do one of the following:

1 Press the Go To switch.

• To confirm the Save command, press the Save switch
again.
2 Enter the track position number for the track and press En-
– or –
ter.
• To cancel the Save command, press Escape.

Clear Clip Switch and Plug-in Clip Indicator

Redo Switch
D-Command indicates occurrences of signal clipping on au-
dio tracks, sends, and plug-ins. (Clip indication on D-Com- The Redo switch executes the Redo command in Pro Tools.
mand follows the clip settings in the Pro Tools Display prefer-
ences.) Undo Switch

The Clear Clip switch lights if a clip occurs on an audio track The Undo switch executes the Undo command in Pro Tools.
or on a send anywhere in the session. The Plug-in Clip indica-
tor lights if a clip occurs on a plug-in anywhere in the session.
In addition, D-Command shows clipping with the following
indicators:
• If an audio track clips, the meter clip LED for the clipping
channel’s lights red.
• If a send clips, the Send switch flashes in the Channel Strip
Mode controls section. In addition, if one of the encoders
on the channel strip is controlling the clipping send, the
corresponding encoder clip LED lights red.
• If a plug-in clips, the Insert switch flashes in the Channel
Strip Mode controls section. In addition, if one of the en-
coders on the channel strip is displaying the clipping
plug-in, the corresponding encoder clip LED lights red.

Pressing the Clear Clip switch clears all clip indicators on

D-Command, and in the Pro Tools session.

78 D-Command Guide
Soft Keys Section
The Soft Keys section provides access to a wide range of Pro Tools commands directly from the control surface. It also provides
access to preferences and settings specific to D-Command. The section consists of six variable-function soft keys and displays,
along with a matrix of mode switches that change the functions shown in the displays. When a function is shown in a Soft Key
display, pressing the corresponding Soft Key switch activates that function.

Some controls invoke multiple pages of Soft Key functions. To cycle through multiple pages of the same control, repeatedly press
the control switch.

Soft Key switches

and
displays

Management Audio Files

controls switch

Edit Show/Hide
controls switch

Memory/MIDI
controls
Track Size
switches
Automation
controls

Console Preference Utility

controls switch

D-Command Soft Keys section

Default Soft Key Display Soft Keys Display with Pro Tools Dialogs
When a session is first opened, the Soft Key displays show ba- When Pro Tools has a dialog on-screen, the two lower Soft
sic information about the session: Keys temporarily display “Escape” and “Enter,” letting you
• Session Name cancel or confirm the dialog from the control surface.
• Bit: Session Bit Depth
• Sampl: Session Sample Rate Exiting from Soft Key Modes
• File: Session File Type You can exit a Soft Key mode and return to the top level Soft
• Tcode: Session Time Code Rate Key display by holding Control (Windows) or Command
• Delay Compensation On/Off Status (Mac) and pressing the currently lit Soft Key switch.

Delay Compensation can be toggled on and off from this dis-

play. The other settings shown above cannot be changed from
the Soft Keys section.

Chapter 9: Management Sections 79

 Management Controls Window Switch

The Window switch displays the following commands:

Snapshot Group Track Playlist Window
switch switch switch switch switch
Page 1
• Auto Enabls: Window > Automation Enable
• Track Arm > Track Arming
• Beat Det: Event > Beat Detective
Management controls • Session Setup: Setup > Session

Snapshot Switch • Tasks: Window > Task Manager

• Projct Browser: Window > Project Browser
The Snapshot switch displays the following commands:
Page 2
Page 1
• Color Pallet: Window > Color Palette
• Captre: Capture
• Big Countr: Window > Big Counter
• Punch Captre: Punch Capture
• Undo Histry: Window > Undo History
• Snap 1–4: Snapshots 1–4
• Disk Space: Window > Disk Space
Pages 2–12 • Video Window: Window > Video
• Snap 5–48: Snapshots 5–48 (in groups of 4) • System Usage: Window > System Usage

Page 3
Group Switch
• I/O Setup: Setup > I/O
The Group switch displays the following commands:
• HW Setup: Setup > Hardware
Page 1 • PB Engine: Setup > Playback Engine
• Create Edit: Create Edit Groups • Disk Alloc: Setup > Disk Allocation
• Create Mix: Create Mix Groups • Preferences: Setup > Preferences
• Create Both: Create Mix and Edit Groups • Peripherals: Setup > Peripherals
• Suspnd: Suspend Groups
• Modify: Modify Groups

Page 2
• Preset 1-6: Recall Group Presets 1-6

Track Switch

The Track switch displays the following commands:

• New Track: Track > New
• Dup Track: Track > Duplicate
• Delete Selectd: Track > Delete
• Make Act/In: Track > Make Active/Inactive
• Bounce: File > Bounce To > Disk

Playlist Switch

The Playlist switch displays the following playlist commands:

• New: New Playlist
• Duplicate: Duplicate Playlist
• Delete Audio: Delete Unused Audio Playlists
• Delete MIDI: Delete Unused MIDI Playlists

80 D-Command Guide
Edit Controls Page 2
• SendTo Back: Region > Send to Back
Function 1 Function 2 Function 3 Modes Tools
switch switch switch switch switch • SendTo Front: Region > Bring to Front
• Group Region: Region > Group
• Ungrp Region: Region > Ungroup
• Ungrp All: Region > Ungroup All
• Regrp Region: Region > Regroup
Edit controls
Edit Function 3 Switch (Manipulation Commands)
Edit Function 1 Switch (Basic Edit Commands)
The Edit Function 3 switch displays the following commands:
The Edit Function 1 switch displays the following commands:
Page 1
Page 1
• Duplicate: Edit > Duplicate
• Cut: Edit > Cut
• Repeat: Edit > Repeat
• Copy: Edit > Copy
• Shift: Edit > Shift
• Paste: Edit > Paste
• Insert Silnce: Edit > Insert Silence
• Clear: Edit > Clear
• Lock Region: Region > Lock/Unlock
• TCE To TLSel: Edit > TCE Edit to Timeline Selection
• Mute Region: Region > Mute/Unmute
Page 2
Page 2
• CutSP AllAut: Edit > Cut Special > All Automation
• Loop Region: Region > Loop Region
• CopySP AllAut: Edit > Copy Special > All Automation
• Unloop Region: Region > Unloop Region
• CutSP PanAut: Edit > Cut Special > Pan Automation
• ID/Rem SyncPT: Region > Identify/Remove Sync Point
• CopySP PanAut: Edit > Copy Special > Pan Automation
• Rename Rgns: Region > Rename Regions
• CutSP PI Aut: Edit > Cut Special > Plug-in Automation
• Quantz ToGrid: Region > Quantize to Grid
• CopySP PI Aut: Edit > Copy Special > Plug-in Automation
• RgnDrop: Region List > Timeline Drop Order >
Page 3 L to R/Top to Bottom

• PsteSP Merge: Edit > Paste Special > Merge

Edit Modes Switch
• ClrSP AllAut: Edit > Clear Special > All Automation
• PsteSP RepFil: Edit > Paste Special > Repeat to Fill Selec- The Edit Modes switch displays the Pro Tools Edit modes:
tion • Shuffl: Shuffle Mode
• ClrSP PanAut: Edit > Clear Special > Pan Automation • Spot: Spot Mode
• PsteSP ToCurr: Edit > Paste Special > To Current Automa- • Slip: Slip Mode
tion Type • Grid Rel: Relative Grid Mode
• ClrSP PI Aut: Edit > Clear Special > Plug-in Automation • Grid Abs: Absolute Grid Mode

Edit Function 2 Switch Edit Tools Switch

The Edit Function 2 switch displays the following commands: The Edit Tool Tools switch displays the Pro Tools Edit Tools.
To cycle through multiple versions of the same tool, repeat-
Page 1
edly press the corresponding Soft Key.
• Trim to Sel: Edit > Trim > To Selection • Zoom: Normal/Single Zoomer tools
• Cpture Region: Edit > Capture Region • Trim: Standard/Scrub/TCE Trimmer tools
• Seprte: Edit > Separate Region • Select: Selector tool
• Heal Seprtn: Edit > Heal Separation • Grabbr: Time/Separation/Object Grabber tools
• Consolidate: Edit > Consolidate Selection • Scrubber tool
• Time Stamp: Audio Regions List > Time Stamp Selected • Pencil: Square, Random, Free, Line, Triangle, Arc,
S-Curve

To select the Smart Tool, press any two buttons for the Trim-
mer, Selector or Grabber simultaneously.

Chapter 9: Management Sections 81

 Memory/MIDI Controls To open a recent session:
1 In the Soft Keys section, press the Audio Files switch repeat-
Memory Location MIDI
switch switch edly until the session name is displayed in the Soft Keys.

2 Press the Soft Key that corresponds to the session name.

Audio Files Switch (Page 1)

• Import Audio: File > Import > Audio
Memory/MIDI controls
• Import MIDI: File > Import > MIDI
Memory Location Switch • Import SesDat: File > Import > Session Data
• Import RgnGrp: File > Import > Region Groups
The Memory Location switch (“Mem Loc”) displays the names
of Memory Locations in pages of six. The Soft Key display is • Import Video: File > Import > Video
paged by repeatedly pressing the Memory Location switch in
Audio Files Switch (Page 2)
the Soft Keys section. To page backwards, hold Shift while
pressing the Memory Location switch. • Export Region: Region List Menu > Export Regions as
Files
MIDI Switch • Export MIDI: File > Export > MIDI
• Export OMFAAF: File > Export > Selected Tracks as New
The MIDI switch displays the following commands:
AAF/OMF
Page 1 • Export Text: File > Export > Session Info As Text
• Wait Note: Transport Window > Wait for Note button
Audio Files Switch (Page 3 and 4)
• Count Off: Transport Window > Countoff button
• Merge Record: Transport Window > MIDI Merge button • Recent Sessns: Open recent sessions (listed by name)

• Transpose: Event > MIDI > Transpose

Show/Hide Switch
• Veloc: Event > MIDI > Change Velocity
• Click On/Off: Options > Click The Show/Hide switch displays commands from the
Show/Hide Tracks List menu.
Page 2
• Change Tempo: Change Tempo window Show/Hide Switch (Page 1)
• Change Meter: Change Meter window • Show All: Show All Tracks
• Split Notes: Event > MIDI > Split Notes • Hide All: Hide All Tracks
• Select Notes: Event > MIDI > Select Notes • Show Selctd: Show Only Selected Tracks
• Quantz: Event > MIDI > Grid/Groove Quantize • Hide Selctd: Hide Only Selected Tracks
• Input Quantz: Event > MIDI > Input Quantize • Show Inactv: Show Only Inactive Tracks
• Hide Inactv: Hide Only Inactive Tracks
Page 3
• Write RTProp: Track > Write MIDI Real Time Properties Show/Hide Switch (Page 2)
• Remove DpNote: Event > Remove Duplicate Notes
• Show Audio: Show Only Audio Tracks
• Hide Audio: Hide Only Audio Tracks
Audio Files Switch
• Show Aux: Show Only Auxiliary Inputs
The Audio Files switch displays the following commands for • Hide Aux: Hide Only Auxiliary Inputs
importing and exporting data into Pro Tools: • Show MIDI: Show Only MIDI Tracks
• Hide MIDI: Hide Only MIDI Tracks
Open Recent Session Commands

When no session is open, the Audio Files switch displays the Show/Hide Switch (Page 3)
names of the ten most recent Pro Tools sessions in its display • Show Instmt: Show Only Instrument Tracks
pages 1 and 2.
• Hide Instmt: Hide Only Instrument Tracks
When a session is open, the Audio Files switch displays the • Show VCA: Show Only VCA Master Tracks
names of the ten most recent Pro Tools sessions in the first • Hide VCA: Hide Only VCA Master Tracks
two pages in its display pages 3 and 4.
You can select multiple Show/Hide categories by holding Shift
while pressing the corresponding Soft Key.

82 D-Command Guide
Console Preferences RefLvl (Reference Level) Lets you change the D-Command
meter display to help monitor program material with respect
User Operation Meter to different reference levels.
switch switch switch

Operation Switch
The Operation switch controls operations specific to D-Com-
mand, and does not affect the Pro Tools on-screen display. For
Console Preferences details on setting preferences, see “Setting D-Command Pref-
erences” on page 26.
The Console Preference switches control D-Command prefer-
ences only, and do not affect the Pro Tools on-screen display. The Operation switch has three pages of Soft Key functions.

User Switch Operation Switch (Page 1)

The User switch displays a user-configurable, custom set of BnkJus (Bank Justification) Determines whether banks of
Soft Keys, chosen from any of the other Soft Key displays. To channels in Normal mode are justified at the left, left center
cycle through both pages of User Soft Key selections, repeat- (to the left of the Main Unit), right center, (to the right of the
edly press the User switch. Main Unit) or right side of the control surface.

CF Jus (Custom Fader Justification) Determines whether chan-

To add a Soft Key command to a User Soft Key selection: nels in Custom Fader mode are placed at the left, center-left,
1 In the Soft Keys section, press the User switch repeatedly to center-right, or right side of the control surface.
display the page (Page 1 or Page 2) where you want to add the
Rotary (Rotary Encoder Mode) Determines responsiveness of
operation.
rotary encoder knobs. Fixed mode is at normal resolution. The
2 Press the Soft Keys to display the page containing the oper- velocity modes set different rates of encoder acceleration. In
ation you want to add. Fine mode, response is fixed and at fine resolution.
3 Hold Control (Windows) or Command (Mac) and press the Encod (Encoder Order) Determines whether inserts, sends, and
Soft Key for the operation. pan controls will be displayed in order from top-to-bottom or
bottom-to-top on D-Command rotary encoders.
To remove a Soft Key command from the User Soft Key selection:
PIDef (Plug-in View Definition) Determines the view of plug-in
1 Press the User switch repeatedly to display the operation
parameters in the Custom Fader section (Name view, Ex-
you want to remove.
panded view, or Fader view).
2 Hold Control (Windows) or Command (Mac) and press the
Soft Key for the User operation. FCStrp (Focus Channel Strip) Determines whether focusing a
channel in the Focus Channel section also places a duplicate
of the focused channel in the channel strip to the immediate
Meter Switch
left of the Global Controls section.
The Meter switch displays the following D-Command meter
When Focus Channel Strip is enabled, all controls and modes
preferences:
are linked. You can, however, use four encoders simulta-
SndMtr (Send Meters) Toggles send metering on channel ro- neously by using the Page Up or Page Down switches to bring
tary encoders on and off. a different set of sends or inserts to the duplicate channel’s en-
coders.
InsMtr (Insert Meters) Toggles plug-in metering on channel
rotary encoders on and off. Operation Switch (Page 2)
VCAMtr (VCA Meters) Toggles metering of VCA slaves on CFPIug (CF Bank Size for Plug-ins) Determines the number of
channel rotary encoders on and off. channels allocated for Custom Fader Plug-in mode.

Meters Toggles channel metering between pre- and post-fader CFGrp (CF Bank Size for Custom and Mix/Edit Groups) Deter-
modes. mines the number of channels allocated for Custom Groups
mode.
CtrMtr (Center Meters) Toggles the 8-channel meter display
on the Main Unit meter bridge between main output levels CFTyp (CF Bank Size for Track Type) Determines the number
and the focused track. of channels allocated for Custom Fader Tracks mode.

Chapter 9: Management Sections 83

 ApTrgt (Target Track from Application) Determines whether se- Trk/Ed (Link Track and Edit Selection) Toggles the Options >
lecting an Insert or Send on-screen focuses its track on the Link Track and Edit Selection option, which automatically se-
D-Command Main Unit. lects a track or range of tracks when a selection is made in the
track’s timeline.
ChanWn (Channel Window Display) Determines whether dis-
playing plug-in or send pan parameters (by pressing an en- The duplicate Focus Channel strip is not available when
coder Select switch) on D-Command opens the corresponding D-Command is in a Custom Fader mode.
plug-in or send window on-screen in Pro Tools. Also deter-
mines whether the Channel Select switches (in the Dynamics Operation Switch (Page 4)
or EQ sections) change the channel display of multi-mono
Import PIMaps (Import Plug-in Maps) Opens “Choose a map-
plug-ins.
ping file” dialog in Pro Tools.
‹ When this preference is set to “Yes,” the on-screen display
of plug-in and send windows changes to reflect the state of the Export PIMaps (Export Plug-in Maps) Opens “Save Plug-in
control surface. Mapping As” dialog in Pro Tools.

‹ When this preference is set to “No,” the on-screen display of Faders (Faders On/Off) Turns off D-Command faders to pre-
plug-in and send windows does not change to reflect the state vent fader movement when monitoring a mix.
of the control surface.
FilBnk (Always Fill Channel Strips When Banking) Toggles the
Import PIMaps (Import Plug-in Maps) Opens “Choose a map- preference setting that maximizes the number of channels dis-
ping file” dialog in Pro Tools. played in Normal mode when banking. When selected, bank-
ing follows end stop behavior.
Export PIMaps (Export Plug-in Maps) Opens “Save Plug-in
Mapping As” dialog in Pro Tools. FillCF (Always Fill Custom Faders When Banking) Toggles the
preference setting that maximizes the number of channels dis-
For more information about importing and exporting played in Custom Faders when banking. When selected, bank-
plug-in maps, see “Exporting and Importing .pim Files” on ing follows end stop behavior.
page 111.

Select (Select Switch Latch Mode) Determines whether chan- Automation Controls
nel Select buttons follow latching or exclusive-or (non-latch-
ing) behavior when in Select mode. AutoMatch Join Actions Modes
switch switch switch switch

Operation Switch (Page 3)

SoloFc (Focused Track Follows Solo) Determines whether a so-

loed track is automatically focused in the Focus Channel sec-
tion (this function works in both Select and Focus modes)
Automation controls
TchVal (Touch Display of Parameter Values On/Off) Turns off
the display of parameter values when faders or encoders are AutoMatch Switch
touched.
The AutoMatch switch enables AutoMatch command in Latch
Brdcst (Broadcast) Determines whether the XMON monitor- or Write automation modes.
ing system is in Broadcast mode, which prevents AFL and PFL
solo modes from changing the XMON Control Room Input Join Switch
source.
The Join switch is used to manually resume writing automa-
2KbPan (Two-Knob Panning) Toggles linking of front and rear tion on all channels that were previously writing automation
pan controls in surround panner windows to facilitate after an automation pass is interrupted.
left-right motion in the surround field.

CFTrks (Custom Faders Display Hidden Tracks) Determines

whether tracks that are hidden in Pro Tools are displayed or
hidden in Custom Fader modes. Tracks that are hidden in
Pro Tools but shown in Custom Faders cannot be Selected or
Record enabled.

84 D-Command Guide
Actions Switch Actions Switch (Page 3)

The Actions switch displays the following commands: Copy To Send Opens the Copy To Send dialog to allow copy-
ing of track control values to each selected track’s send (Edit >
Actions Switch (Page 1) Automation > Copy To Send).

Prview (Preview) Puts Pro Tools in Preview mode Thin Auto (Thin Automation) Performs the Thin Automation
command. (Edt > Automation > Thin).
Punch Prview (Punch Preview) Executes the Punch Preview
command Colesc VCAAtm (Coalesce VCA Automation) Executes the
Track > Coalesce VCA Master Automation command
Prview Suspnd (Preview Suspend) Suspends Preview mode
Colesc TrmAtm (Coalesce Trim Automation) Executes the
Captre (Capture) Executes the Capture command
Track > Coalesce Trim Automation Command
Punch Captre (Punch Capture) Executes the Punch Capture
Clear TrmAtm (Clear Trim Automation) Executes the Track >
command
Clear Trim Automation Command
See “Previewing Automation” on page 112 and “Capturing
Suspend TrmAtm (Suspend Trim Automation) Temporarily sus-
and Recalling Automation” on page 112 for more information
pends Trim automation to allow auditioning of Trim moves
on these commands.

Actions Switch (Page 2)

Wrt To Start (Write To Start) Writes current automation val-

ues from the insertion point backward to the beginning of a
selection or track while performing an automation pass.

Wrt To Punch (Write To Punch Point) Writes current automa-

tion values back to the point where writing of automation be-
gan

Wrt To All (Write to All) Writes current automation values to

an entire selection or track while performing an automation
pass.

Wrt To End (Write to End) Writes current automation values

from the insertion point forward to the end of a selection or
track while performing an automation pass.

Wrt To Next (Write to Next Breakpoint) Writes current auto-

mation values from the insertion point forward to the next
automation breakpoint while performing an automation pass.

Snap Back Causes all Latch or Write enabled tracks to exit

their current automation pass and return instantly to the pre-
viously written automation levels. During playback, this com-
mand stops writing of automation without applying any Au-
toMatch ramping.

Chapter 9: Management Sections 85

 Modes Switch Modes Switch (Page 2)

The Modes switch displays the following D-Command Modes: Wrt To Currnt (Write To Current Parameter) Writes the current
control value to the currently displayed automation parame-
Modes Switch (Page 1) ter (Edit > Automation > Write To Current).

AWrtTo Start (Auto Write to Start on Stop) Automatically Wrt To All Ena (Write To All Enabled Parameters) Writes cur-
writes current automation values from the insertion point rent control values to all enabled automation parameters (Edit
backward to the beginning of a selection or track when the > Automation > Write To All Enabled).
transport is stopped after an automation pass.
Trm To Currnt (Trim To Current Parameter) Applies the current
By default, Automatic Write to Start on Stop mode is enabled trim value to the currently displayed automation parameter
for a single automation pass only. To configure the mode to (Edit > Automation > Trim To Current).
remain enabled after an automation pass, hold Start+Alt
(Windows) or Control+Option (Mac) while pressing the Trm To AllEna (Trim To All Enabled Parameters) Applies cur-
AWrtTo Strt switch. rent trim values to all enabled automation parameters (Edit >
Automation > Trim To All Enabled).
AWrtTo Punch (Auto Write to Punch Point on Stop) Writes cur-
rent automation values back to where the current automation Gld To Currnt (Glide To Current Parameter) Applies a transition
pass began. between automation values to the currently displayed auto-
mation parameter (Edit > Automation > Glide To Current).
By default, Automatic Write to Punch Point on Stop mode is
enabled for a single automation pass only. To configure the Gld To AllEna (Glide To All Enabled Parameters) Applies a tran-
mode to remain enabled after an automation pass, hold Alt sition between automation values to all enabled automation
(Windows) or Option (Mac) while pressing the AWrtTo Punch parameters (Edit > Automation > Glide To All Enabled).
switch.
Modes Switch (Page 3)
AWrtTo All (Auto Write to All on Stop) Writes current automa-
Match Time (AutoMatch Time) Lets you use the Scrub/Shuttle
tion values to an entire selection or track when the transport
wheel to set AutoMatch time, the amount of time it takes for
is stopped after an automation pass.
automation values to return to the previously written values
By default, Automatic Write to All on Stop mode is enabled for after an automation pass stops.
a single automation pass only. To configure the mode to re-
Glide Time (AutoGlide Time) Lets you use the Scrub/Shuttle
main enabled after an automation pass, hold Start+Alt
wheel to set AutoGlide time, the amount of time it takes for
(Windows) or Control+Option (Mac) while pressing the
surround pan values to move between two points in an auto-
AWrtTo All switch.
mation pass performed with the optional Surround panner.
AWrtTo End (Auto Write to End on Stop) Writes current auto-
LchStp (Allow Latch Prime in Stop) Toggles the Allow Latch
mation values from the insertion point forward to the end of
Prime in Stop preference, which allows tracks in Latch mode
a selection or track when the transport is stopped after an au-
to be primed for writing automation while the transport is
tomation pass.
stopped. When a track in Latch mode is primed for writing au-
By default, Automatic Write to End on Stop mode is enabled tomation, its Latch mode indicator flashes.
for a single automation pass only. To configure the mode to
PlgAut (Plug-in Controls Default to Auto-Enabled) Toggles the
remain enabled after an automation pass, hold Start+Alt
preference that enables plug-in controls automatically when
(Windows) or Control+Option (Mac) while pressing the
they are added to a track
AWrtTo End switch.
AutCls (Coalesce when Removing Slaves from VCA Group) Tog-
AWrtTo Next (Auto Write to Next Breakpoint on Stop) Writes
gles the preference that automatically coalesces automation to
current automation values from the insertion point forward to
slave track when they are removed from a VCA-controlled
the next automation breakpoint when the transport is
group
stopped after an automation pass.
TrmCols (Coalesce Trim Automation) Sets the preference that
Automatic Write to Next Breakpoint on Stop remains enabled
determines when Trim automation is coalesced (After Every
after each automation pass, until you disable it by pressing the
Pass, On Exiting Trim Mode, or Manually)
lit AWrtTo Next switch.

Auto Join Auto Join is used in Latch mode to automatically re-

sume writing of automation after the transport is stopped and
started again during an automation pass.

86 D-Command Guide
Modes Switch (Page 4) Utility Switch
MmtTch (Latching Behavior for Switched Controls in Touch)

Toggles the preference that determines the behavior of

switched controls in Touch mode.

StdVCA (Standard VCA Logic for Group Attributes) Toggles the Utility switch
preference that disables normal group linking behavior when
a VCA is assigned to a group The Utility switch places the D-Command in Utility mode.
When D-Command is in Utility mode, this switch flashes.
WrtWrn (Suppress Automation “Write To” Warnings Toggles
the preference that suppresses dialogs after invoking the Write Utility mode lets you view D-Command system information,
To Start/End/All commands name D-Command units, run D-Command diagnostic tests,
and set certain D-Command hardware preferences. For com-
PanLnk (Use Absolute Pan Linking) Toggles the preference that plete information on Utility mode, see Appendix A, “Utility
determines the behavior of pan controls in grouped tracks Mode”

SndTrm (Include Sends in Trim Mode) Toggles the preference

that determines whether Send Faders go into Trim mode
Track Size Switches
along with Main Volume

CtlUnd (Include Control Changes in Undo Queue) Toggles the Track Size Up
preference that determines whether mixer changes appear in switch

the Undo queue

Track Size Down
switch

Track Size controls

The Track Size Up and Down switches increase and decrease

the track height of all tracks where a selection or edit cursor is
present.

Chapter 9: Management Sections 87

88 D-Command Guide
Chapter 10: Monitor and Meter Sections

Monitor Section Controls

The Monitor section includes a full set of controls for the control room monitoring, headphone/cue, and talkback/listenback
sections of D-Command. All input and output connections to the D-Command monitoring system are made on the XMON in-
terface, which is connected to the D-Command console with the XMON cable, and remotely controlled from this section.

Input source switches Studio Output Channel Select Talkback/Listenback

and Output controls controls and Mode switches controls

Monitor
Mode
controls

D-Command Monitor section

Chapter 10: Monitor and Meter Sections 89

 Input Source Switches and Output Controls Sum Switch
In normal operation, the Input Source switches follow exclu-
sive-or (non-latching) behavior, allowing only one source to
Sum switch
be monitored at a time.
Input source
switches Surround Stereo Input However, D-Command has a Sum mode that allows multiple
switch switches
input sources to be monitored at the same time. When Sum
Main switch mode is on, multiple input source switches can be active.

Sum mode ignores any input trim values when it is active.

Output To add or remove inputs in Sum mode:

Level control
1 Press the Sum switch. The switch lights to indicate Sum
Output mode is on.
Alt Output
controls On/Off switch
2 Press any number of Input Source switches to toggle their
Mini Output
On/Off switch corresponding inputs on or off. It is possible to turn all inputs
off in this mode.
Main Output
On/Off switch

To exit Sum mode:

Input source switches and Output controls „ Press the Sum switch again. Monitoring reverts to the input
that was selected when you entered Sum mode.
Input Source Switches
The monitor system has five input sources: Output On/Off Switches
• Main Inputs (6 channels) The monitor system has three outputs:
• Surround Inputs (6 channels) • Main Control Room Outputs (6 channels)
• Stereo 1 Inputs (2 channels) • Alt Control Room Outputs (6 channels)
• Stereo 2 Inputs (2 channels) • Mini Control Room Outputs (2 channels)
• Stereo 3 Inputs (2 channels)
Only one output can be active at a time. The Output On/Off
These sources are selected by pressing their corresponding In- switches follow exclusive-or (non-latching) behavior. When
put switches, which light when the source is activated. you activate an output, its name and gain value (in dB) are
shown in the monitor section display.
Input Level Trim Mode

Each input source can be trimmed independently, to allow for

Output Level Control
setting of different reference levels or to compensate for differ- The monitor system output section has a touch-sensitive ro-
ences in gain structure. Available trim values range from tary encoder for control of output level. When the encoder
–20 dB to +10 dB in 0.5 dB steps. knob is touched, the monitor section display shows the cur-
rent level in dB. Gain ranges from a minimum of –INF to a
To trim input levels: maximum of +10 dB, in 1 dB steps.
1 Press and hold the Input Source Selector switch for the input
you want to trim, until the switch flashes. Output Level Trim Mode

2 Turn the Main Output Level encoder knob to set the trim Each output level control can be trimmed independently, to
value. The monitor section display shows “Trim” and the trim allow for setting of different reference levels or to compensate
value in dB. for differences in gain structure. Available trim values range
from –20 dB to +10 dB, in 0.5 dB steps.
3 Press the flashing Input Source Selector switch to exit Trim
mode. To trim output levels:
1 Press and hold the On/Off switch for the output you want to
trim, until the switch flashes.

2 Turn the encoder knob to set the trim value. The monitor
display shows the trim value in dB.

3 Press the flashing On/Off switch to exit Trim mode.

90 D-Command Guide
Studio Controls The following table shows possible outputs for each input
source. (Talkback can be added to each of the outputs.)

Input Possible Outputs

Headphones Studio Loudspeaker
switch switch Cue 1 Cue 1, Headphone, Studio LS

Cue 2 Cue 2, Headphone, Studio LS

Cue Input Source
switches
AFL/PFL Level Main Monitor Cue 1, Cue 2, Headphone, Studio LS
switch

To assign an input source to an output:

1 Press the switch for the output for which you want to assign
Cue Output
Level control an input. The switch will light, and the Monitor LED display
will show the currently selected source.

2 Press the Set Source switch repeatedly to cycle through the

Set Source Assign Talkback available source choices.
switch switch

Cue Output Assign Talkback Switch

On/Off switch
The Assign Talkback switch lets you add the talkback signal to
any of the Headphone/Cue system outputs. The Assign Talk-
Cue controls back switch lights to indicate that talkback is active for a given
output.
Cue Input Source Switches
The Headphone/Cue monitor system has three input sources:
• Cue 1 Input (2 channels)
• Cue 2 Input (2 channels)
• Main Monitor Input (2 channels)

Cue Output On/Off Switches

The Cue system has four available outputs:
• Cue 1 (2 channels)
• Cue 2 (2 channels)
• Headphone (2 channels)
• Studio Loudspeaker (2 channels)

The two Cue Outputs, Headphone Output, and Studio Loud-

speaker Output can be active in any combination, including
all on or all off.

Chapter 10: Monitor and Meter Sections 91

 Output Channel Select Controls Individual Output Trim Mode

Each output channel can be trimmed individually for each of

Channel Select switches
the three control room outputs (Main, Alt, and Mini), allow-
ing you adjust the channel balance for each set of control
room speakers. Trim values are stored for each of the three
Set Up switch outputs. Available trim values range from –30 dB to +10 dB, in
AFL and PFL
switches 0.5 dB steps.

To trim the output level for an individual output channel:

Solo/Mute switch
and indicators
1 Activate the control room output (Main, Alt, or Mini) whose
channel levels you want to trim.
Output Channel Select controls
2 Press and hold the Channel Select switch for the output
Set Up Switch channel you want to trim, until the switch flashes.

The Set Up switch resets output trim levels to their default val- 3 Turn the Output Level encoder to set the trim value for the
ues. channel. The monitor display shows “Trim” and the trim
value in dB.
Channel Select Switches 4 Press the flashing Channel Select switch to exit Trim mode.

The Channel Select switches let you solo or mute individual 5 Repeat the above steps for each output channel and each set
channels of the Control Room outputs. The function of the of outputs (Main, Alt, or Mini) you want to trim.
Channel Select switches depends on the mode of the
Solo/Mute switch.
Solo/Mute Switch and Indicators
• When the mode is set to Solo, each Channel Select switch
The Solo/Mute switch toggles the function of the Channel Se-
solos the corresponding output channel.
lect switches between Solo and Mute modes. The indicators
• When the mode is set to Mute, each Channel Select switch light to indicate which mode is active.
mutes the corresponding output channel.

In both modes, the Channel Select switches follow latched be-

havior, allowing multiple outputs to be soloed or muted. The
Channel Select switches light to indicate that they are active.

There are Channel Select switches for the following channels:

• L (Left)
• C (Center)
• R (Right)
• Ls (Left Surround)
• Rs (Right Surround)
• LFE

These choices support all possible channel configurations in

Pro Tools. A maximum of six channels (5.1 surround) may be
in use at any time.

92 D-Command Guide
AFL and PFL Switches Broadcast Mode for AFL and PFL Monitoring
The AFL and PFL switches invokes After Fader Listen and Pre You can put the D-Command monitoring system in Broadcast
Fader Listen Solo modes. mode, which prevents AFL and PFL solo modes from changing
the XMON Control Room Input source. This lets you solo
AFL and PFL modes send signal to a separate output path with
channels while preserving the main monitor mix.
independently adjustable levels for each mode. The XMON
Control Room Input source is automatically changed to mon- You can then use the AFL/PFL path selector in the I/O Setup
itor the AFL/PFL input, unless you put D-Command in Broad- dialog to route the AFL/PFL solo signal from the Pro Tools au-
cast mode (see “Broadcast Mode for AFL and PFL Monitoring” dio interface to a separate set of speakers or headphones.
on page 93). This lets you monitor the soloed channels in the
Main control room monitors (with Broadcast mode off) or in To put the XMON monitoring system in Broadcast mode:
a dedicated solo monitoring system (with Broadcast mode
1 Press the Operation switch in the Soft Key section.
on).
2 Press the Soft Key that corresponds to “Broadcast”
AFL and PFL Solo modes require the use of the Surround
Mixer plug-in. While in Broadcast mode, any channels soloed while in AFL or
PFL are still sent to the AFL/PFL path, but XMON does not
To select the Solo mode: switch the Control Room Input source to monitor that path.
1 Press the AFL or PFL switch in the D-Command Monitor sec-
While in Broadcast mode, any channels soloed while in SIP
tion to select the corresponding Solo mode.
mode will still cause all other tracks to be muted.

Setting AFL and PFL Levels

Levels can be set separately for AFL and PFL modes from the
D-Command Monitor section.

To set the AFL or PFL level:

1 Press the AFL or PFL switch in the D-Command Monitor sec-
tion.

2 Turn the Cue output level control. The AFL/PFL level is

shown in the Monitor displays.

To set the AFL or PFL level to its default setting:

1 Press the AFL or PFL switch in the D-Command Monitor sec-
tion.

2 Hold Alt (Windows) or Option (Mac) and touch the Cue

output level control.

Chapter 10: Monitor and Meter Sections 93

 Talkback/Listen System Auto Talkback Switch
The Auto Talkback switch activates a mode in which the talk-
back and listen microphones are automatically turned on
Listen Mic whenever the Pro Tools transport is not in Play or Record.
Select switches When Auto Talkback is active, the Auto Talkback switch
lights, and the Talkback switches flash.

Internal Talkback External Talkback While in Auto Talkback mode, you can temporarily disable
switch switch
and re-enable talkback, while staying in Auto Talkback mode.

To temporarily disable Talkback while in Auto Talkback mode:

„ Press either of the flashing Talkback switches.
Talkback/Listen
Level control To re-enable talkback while in Auto Talkback mode:
„ Double-press either Talkback switch so it flashes again.

Auto Talkback
switch Talkback Switch
The Talkback switch, located at the bottom of the Channel
Strip Master section on the Main Unit, controls the D-Com-
Control Room Output controls
mand Talkback function.

Talkback Controls
The Talkback system has two talkback microphone inputs
(one external, one built-in) both using the touch-sensitive ro-
tary encoder for control of output volume. When either
switch is lit, the monitor section display show the correspond-
ing volume level in dB. Level control on each ranges from a
minimum level of –INF to a maximum level of +30 dB.

Talkback Level Control Talkback switch

When the External Talkback switch is lit, the Level control ad-
justs the volume for the external talkback microphone. When Talkback switch
the encoder knob is touched, the monitor section display
The Talkback switch can follow momentary or latched behav-
shows the level in dB.
ior. If held, the switch is active only when pressed down.
The Talkback Level control also adjusts the volume of the
If rapidly double-pressed, the switch latches on and flashes to
built-in (Internal) microphone, located on the meter bridge of
indicate that talkback is active. Press the switch again to turn
the D-Command Main Unit.
off talkback.

Talkback Dim Function

When Talkback is engaged, the Dim switch lights and the Dim
function is automatically applied to the Main outputs. Any
adjustment of the Dim level affects both the Talkback Dim
function and the Control Room Output Dim function.

To set the Dim level:

1 Press and hold the Assign Talkback switch until the switch
flashes.

2 Turn the Cue Output Level encoder to set the Dim value.
The monitor section shows the Dim value in dB.

94 D-Command Guide
Listen Controls To calibrate Control Room outputs to display SPL:
1 Send the reference material to the Main Control Room Out-
The Listen system has two selectable microphone inputs, both
using the touch-sensitive rotary encoder for level control. puts, and set the output level in Pro Tools to your studio ref-
erence level (for example, –18 dBFS).

Listen Mic Select Switches 2 Pan the signal to center (so that equal level is sent to all
Main Control Room Output speakers).
There are two Listen Mic Select switches for the external listen
microphone inputs: 3 Set the speaker-to-speaker balance for all speakers in the sys-
• Mic 1 tem using Output Trim mode for each channel, using the
sound pressure level meter to measure SPL at the mix position.
• Mic 2
See “Individual Output Trim Mode” on page 92.
Either or both of these inputs can be active at any time. When
4 Solo the Center speaker, and adjust the Main Control Room
one input is active, the encoder controls the level of that input
Output level encoder until the sound pressure level meter
independently. When both inputs are active, the encoder con-
measures the target reference level (for example, 85 dB) at the
trols both levels simultaneously, maintaining any relative off-
mix position.
set between the two.
5 Press and hold the Calibration Mode switch until it flashes.
Level control ranges from a minimum level of –INF to a max-
imum level of +30 dB. 6 Adjust the Main Control Room Output level encoder until
the target reference level is displayed in the Monitor Section
display.
Dim Level Control
7 Press the flashing Cal switch.
The Dim Level control lets you adjust the amount of level re-
duction applied by the Dim switch, located at the bottom of 8 Repeat steps 4–7 for the Alt and Mini outputs.
the Monitor section. Level reduction ranges from –30 dB to
0 dB, in 1 dB steps. To toggle the output display between dB and dB SPL:

When the Dim encoder knob is touched, the monitor section 1 Select the output whose display you want to toggle (Main,
display shows “Dim” and the gain reduction in dB. Alt, or Mini).

2 Press the Calibration Mode switch.

Monitor Output Mode Controls ‹ When the Calibration Mode switch is lit, output is displayed
in dB SPL.

Calibration Mode ‹ When the Calibration Mode switch is unlit, output is dis-
Mono switch
switch
played in dB.

Dim switch Mute switch

Monitor Output Mode controls

Calibration Mode Switch

The Calibration Mode switch invokes a mode that changes the
output value displayed by the Monitor section display from
gain (expressed in dB) to sound pressure level (expressed in
dB SPL) for each of the control room outputs. This switch
lights when an SPL value is shown for the active output.

To display output levels in dB SPL, you must first calibrate

each output. This SPL calibration requires the use of a pink
noise source (or other reference material) and a sound pressure
level meter to measure the output of individual control room
speakers.

Chapter 10: Monitor and Meter Sections 95

 Mono Switch Dim Switch
The Mono switch mixes the Left and Right signals of any of The Dim function applies an adjustable gain reduction to the
the output modes (any surround channels are not affected) to Control Room outputs. This function affects all three output
provide mono output, useful for checking phase and balance destinations. The Dim switch toggles the dim function on and
relationships. The Mono switch lights to indicate that it is ac- off, and lights to indicate that it is active.
tive.
Mute Switch
Mono Trim Mode
The Mute switch toggles the mute state for all Control Room
Mono output can be trimmed to adjust its reference level in outputs. Mute operates globally on all three output destina-
comparison to other outputs. Available trim values range from tions. The Mute switch lights to indicate that it is active.
–12 dB to 0 dB, in 0.5 dB steps.
If the Mute switch on the XMON interface front panel is acti-
To trim mono output: vated, the Mute switch on D-Command must be used to un-
mute the monitor system. (Outputs cannot be unmuted from
1 Press and hold the Mono switch until it flashes.
XMON front panel.)
2 Turn Alt Output encoder knob to set the Mono trim value.
The monitor display shows “Trim” and the trim value in dB.

3 Press the flashing Mono switch to exit Trim mode.

96 D-Command Guide
Meter and Time Code Displays (Main Unit)

Time Scale display format indicators

Time Scale display

Channel Strip Meter displays Output Meter displays
Talkback Microphone

Meter and Time Scale displays (Main Unit)

Meters
The Channel Strip Meter display features dual 32-segment LED bar graphs for each channel, and can display pre- or post-fader lev-
els depending on the D-Command Meter Preferences setting. In Custom Fader mode, these meter displays can show plug-in input
and output meters, gain reduction meters for dynamics plug-ins, and other parameters. The top LED is red and indicates clipping
on the corresponding channel or parameter.

The Output Meter display includes eight 32-segment LED bar graphs with clip indication for displaying output levels or the level
of the track focused in the Focus Channel Strip, depending on the D-Command Meter Preferences setting.

For details on setting meter preferences, see “Meter Preferences” on page 29.

Time Scale Displays

The Time Scale displays on the Main Unit mirrors the Main Time Scales in Pro Tools.

Time Scale Display Format Indicators

The indicators to the left of the Time Scale displays show the currently displayed format for both the Main Time Scale and the
Sub Time Scale. Formats include:
• Hours:Minutes:Seconds:Milliseconds
• Hours:Minutes:Seconds:Frames
• Feet+Frames
• Bars|Beats

Talkback Microphone
The built-in D-Command talkback microphone is located between the Meters and the Time Scale display.

Chapter 10: Monitor and Meter Sections 97

 Setting D-Command Meters for Different Reference Levels
The Pro Tools Reference Level meter preference lets you change the D-Command meter display to help monitor program material
with respect to different reference levels.

At each setting except 0 dB, a single LED lights continuously across the meter bridge at a fixed point to indicate that reference
level. You can then compare the peaks of the program material to the indicated level.

The following reference level settings are available:

0 dB This is the normal setting used for referencing material to a 0 dB (full code) reference level.

–14 dB This reference level setting lights a single LED at –14 dB across the meter bridge.

–18 dB This reference level setting lights a single LED at –18 dB across the meter bridge.

–20 dB This reference level setting lights a single LED at –20 dB across the meter bridge.

To set a D-Command meter reference level:

1 In the Soft Keys section, press the Meter switch.

2 Press the Soft Key that corresponds to “RefLvl” to cycle among the meter reference level settings.

3 Press the Meter switch to exit.

98 D-Command Guide
Chapter 11: Operating Modes

The power and flexibility of D-Command lies in its different 7 Press the flashing encoder Select switch or press the flashing
operating modes, which let you customize the behavior of its Assign switch to confirm the assignments.
channel strip controls to fit your workflow.
To assign a send or insert to a track (global assign mode):
The two types of D-Command operating modes are Normal
mode and the four Custom Fader modes. This section provides 1 Press the Assign Sends switch or the Assign Inserts switch to
an overview of each mode and its associated commands. enter the corresponding Assign mode. The first two send or in-
sert positions will show on the encoder displays by default.

2 To display and edit other insert positions, press the Page Up

Normal Mode or Page Down switches on the channel where you want to
make the assignment.
In Normal mode, Pro Tools tracks are displayed on D-Com-
3 Turn the encoder knob that corresponds to the insert posi-
mand in a standard console format. In this mode, channel
strips correspond to a track in the session, and most of the tion that you want to edit to select from the first level of menu
channel strip controls correspond directly to on-screen con- choices.
trols or views in Pro Tools: 4 Press the encoder Select switch to move down and the By-
‹ Channel Fader controls channel volume pass/Mute/Pre switch to move up through menu levels.

‹ Channel Display shows track name, and track volume when 5 Press the encoder Select switch to confirm each menu level
fader is touched selection.
‹ Pan switch shows Pan values on encoders (this is the default 6 Repeat steps 2–5 to modify other send or insert assignments.
view when a new track is created)
7 Press each flashing encoder Select switch or press the flash-
‹ Inserts switch shows Insert name on encoders ing Assign switch to confirm the assignments.
‹ Sends switch shows name of Send on the encoder display,
and Send level on the encoder LED ring To assign a send or insert to a track (temporary assign mode):
1 Press the Inserts or Sends switch on the channel where you
Assigning Elements to Tracks want to make the assignment.

You can assign Inputs, Outputs, Inserts, and Sends to tracks di- 2 To display and edit other insert positions on the channel,
rectly from D-Command by entering Assign mode. press the channel’s Page Up or Page Down switches.

3 Do one of the following:

To assign an input or output to a track:
• If the send or insert position is empty, press the encoder
1 Press the Assign Inputs switch or Assign Outputs switch to select switch. The encoder display shows the “>” sign in-
enter the corresponding Assign mode. Input and output as- dicating that you are editing the send or insert position.
signments are displayed and edited on the lower encoder.
– or –
2 If necessary, press the Bypass/Mute/Pre switch repeatedly to • If the send or insert position is already assigned, press
move up through to the top menu level. and hold the encoder select switch until the encoder dis-
play shows the “>” sign indicating that you are editing
3 Turn the encoder knob to choose between audio interface
the send or insert position.
channels and busses.
4 Turn the encoder knob that corresponds to the insert posi-
4 Press the encoder Select switch to confirm your selection.
tion that you want to edit to select from the first level of menu
5 Turn the encoder knob to choose the audio interface chan- choices.
nel or bus assignment that you want.

6 Repeat steps 2–5 for any other channels that you want to as-
sign an input or output.

Chapter 11: Operating Modes 99

 5 Press the encoder Select switch to move down and the By- 6 Do one of the following:
pass/Mute/Pre switch to move up through menu levels. • Press the flashing encoder Select switch or press the flash-
6 Press the encoder Select switch to confirm each menu level
ing Assign Inputs switch to confirm the assignment.
selection. – or –

7 Repeat steps 2–5 to modify other send or insert assignments.

• Press the flashing Escape switch to cancel the assign-
ment.
8 Press the flashing encoder Select switch to confirm the as-
signment.
Making Elements Active or Inactive
To remove an input, output, send or insert: You can make Inputs, Outputs, Inserts, Sends, and entire
1 Press an Assign switch to enter the corresponding Assign tracks active or inactive directly from D-Command by enter-
mode. ing a temporary Make Inactive mode.

2 For the assignment you want to remove, press the encoder

To toggle input paths active/inactive:
Bypass/Mute/Pre switch repeatedly until you reach the top
level menu for the assignment. 1 Press the Make Inactive Inputs switch to enter the Make In-
active mode.
3 Turn the encoder knob counter-clockwise until no assign-
ment is visible. 2 Press the Bypass/Mute/Pre switch on the appropriate en-
coder to deactivate or reactivate the input. Inactive inputs are
4 Do one of the following: shown with an inverted text display.
• Press the flashing encoder Select switch or press the flash-
3 Press the flashing Make Inactive switch to exit Inactive
ing Assign switch to confirm the removal.
mode.
– or –
• Press the flashing Escape switch to cancel the removal To toggle output paths active/inactive:
and restore the assignment.
1 Press the Make Inactive Outputs switch to enter the Make
Inactive mode.
Assigning Inputs in Sessions with Multiple 2 Press the Bypass/Mute/Pre switch on the appropriate en-
Plug-in Outputs coder to deactivate or reactivate the combined outputs for
In sessions with plug-ins that have multiple outputs, the out- that channel.
puts of those plug-ins are available as inputs in other audio
3 Press the flashing Make Inactive switch to exit Inactive
and Auxiliary Input tracks. These appear as a third category of
mode.
inputs, labelled plug-ins, in the track input menu.

When assigning inputs from D-Command, this third category To toggle individual outputs sub-paths active/inactive:
of inputs appears as a top-level menu choice. 1 Press the Make Inactive Outputs switch to enter the Make
Inactive mode.
To assign an input from a plug-in output:
2 Press the Select switch on the appropriate encoder to view
1 Press the Assign Inputs switch. the output sub-paths for the channel.
2 On the channel where you want to make the assignment, 3 Press the Page Up or Page Down switches to step through
turn an encoder knob to select Plug-In from the first level of the possible output sub-paths.
menu choices.
4 Press the Bypass/Mute/Pre switch on the appropriate en-
3 Press the encoder Select switch to move down to the indi- coder to deactivate or reactivate your choice of output
vidual plug-in level. sub-paths. Inactive output sub-paths are shown with an in-
4 Turn the encoder knob to select the plug-in whose auxiliary verted text display.
output you want to select. 5 Press the flashing Make Inactive switch to exit Inactive

5 Press the encoder Select switch to move down to the list of mode.
plug-in auxiliary outputs.

100 D-Command Guide

To toggle a send or plug-in active/inactive: To select or deselect multiple, non-contiguous tracks, do one of
the following:
1 Press the Make Inactive Sends switch or the Make Inactive
Inserts switch to enter the corresponding Make Inactive „ If the Select Switch Latch Mode is set to latch, press addi-

mode. The first two insert or send positions will show on the tional Select switches.
encoder displays. – or –
2 To display and edit other insert positions, press the Page Up „ Hold Control (Windows) or Command (Mac) and press the
or Page Down switches on the channel where you want to Select switches on multiple channels.
make the assignment.

3 Press the Bypass/Mute/Pre switch on the appropriate en- Focusing a Track

coder to deactivate or reactivate the insert or send assignment.
Inactive assignments are shown with an inverted text display. You can focus any track in a session in the Focus Channel sec-
tion, and the Dynamics and EQ sections of D-Command. Fo-
4 Repeat steps 2–3 to modify other send or insert assignments. cusing a track also makes it available for use with the Custom
5 Press the flashing Make Inactive switch to exit Inactive Fader Plug-in mode. (See “Plug-in Mode” on page 108.)
mode.
To focus a track in the Focus Channel section from D-Command:
To toggle a track inactive/active: 1 Make sure the Select/Focus switch mode is set to Focus.

1 Press any of the Make Inactive switches. 2 Press the channel Select switch for the track you want to fo-
2 Press channel strip Select buttons to deactivate or reactivate cus.
the corresponding tracks.
To focus a track on the Focus Channel section while staying in
3 Press the flashing Make Inactive switch to exit Inactive Select mode:
mode.
„ Hold Start+Shift (Windows) or Control+Shift (Mac) and
press the channel Select switch for the track you want to focus.
Selecting a Track
To focus a track on the Focus Channel section from Pro Tools:
You can select tracks in Pro Tools directly from D-Command.
In Select mode, Select switches can follow latching or 1 Make sure the Target Track from Application preference is
non-latching behavior. For details on setting the latch mode set to Yes. For details on this preference, see “Target Track from
for the Select switch, see “Display of Hidden Tracks in Custom Application” on page 28.
Faders” on page 27.
2 On-screen in Pro Tools, click the plug-in state plate, send
window, panner window, or mic pre pane for the track you
To select a track from D-Command:
want to focus.
1 Make sure the Select/Focus switch mode is set to Select.
To focus a specific track number:
2 Press the channel Select switch for the track you want to se-
lect. 1 Do one of the following;
• Press the Go To switch on D-Command.
To select a range of tracks:
– or –
1 Press the Select switch on the channel at the start of the • Choose Operations > Scroll to Track Number in
range you want to select. Pro Tools.
2 Hold Shift and press the Select switch on channel at the end 2 Enter the track position number for the track and press En-
range you want to select. ter.

All tracks between the first channel and last channel (inclu-
To nudge the track focus left or right by one channel:
sive) are selected.
„ Hold Control (Windows) or Command (Mac) and press the

Nudge Left or Nudge Right switch.

To bank the track focus left or right by eight channels:

„ Hold Control (Windows) or Command (Mac) and press the

Bank Left or Bank Right switch.

Chapter 11: Operating Modes 101

 Focus Channel Strip To focus a plug-in in the Custom Faders section (temporary
plug-in assign mode):
If the D-Command Focus Channel Strip Operations prefer-
1 Press the Inserts switch on the plug-in’s channel strip to en-
ence is set to Yes, focusing a track also places a duplicate of the
ter Inserts mode.
focused track in the channel strip to the immediate left of the
Global Controls section. See “FCStrp (Focus Channel Strip)” 2 Press the encoder Select switch for the plug-in that you want
on page 83. to control.

The duplicate Focus Channel strip is not available when The plug-in is focused in the Custom Fader section. (See
D-Command is in a Custom Fader mode. “Plug-in Mode” on page 108.)

Focusing Tracks when Soloing

Automation Safe Mode
To set D-Command to automatically focus a track when it is The Automation Safe switch invokes a mode in which the By-
soloed: pass/Mute/Pre switch for each encoder and the channel Select
1 Press the Operation switch repeatedly to display the page switch become Automation Safe switches. While in this mode,
that includes the Focused Track Follows Solo preference (So- pressing a Bypass/Mute/Pre switch on a plug-in or send pro-
loFc). tects any automation on that plug-in or send from being over-
written. Pressing a channel Select switch protects any auto-
2 Press the Soft Key that corresponds to “SoloFc” until its
mated parameters on that track from being overwritten.
value is “Yes.”
In Automation Safe mode, the Automation Safe switch is lit.
While in this mode, the Bypass/Mute/Pre switch for any pro-
Focusing a Plug-in
tected insert or send is lit, and the channel Select switch for
If the D-Command Focus Channel Strip Operations prefer- any protected channel is lit.
ence is set to Yes, focusing a track on D-Command brings the
name of the first active plug-in into the Focus Channel dis- To toggle Automation Safe mode on and off:
play.
1 Press the Automation Safe switch.

To focus a plug-in in the Focus Channel display: 2 Press the channel Select switch on the tracks for which you
want to toggle automation safe status.
1 Make sure the Select/Focus switch mode is set to Focus.
3 Press the Bypass/Mute/Pre switch for the plug-ins or sends
2 Press the channel strips’s Select switch. The first plug-in that
for which you want to toggle automation safe status.
is not a dynamics or EQ plug-in is automatically focused, and
its name appears in the Custom Faders display. 4 Press the Automation Safe switch again to exit Automation
Safe mode.
3 In the Custom Faders section, press the Bank/Cycle switch
to cycle through the plug-ins on the Custom Faders display.
Bypassing Plug-ins
The plug-in whose name appears in the Focus Channel display
is then available for Custom Fader Plug-in mode. (See “Plug-in When a plug-in name is displayed on an encoder (in the top
Mode” on page 108.) level Inserts display), the encoder’s Bypass/Mute/Pre (B/M/P)
switch bypasses the corresponding plug-in. The B/M/P switch
To focus a plug-in in the Dynamics or EQ section: lights when the insert or plug-in is bypassed.

1 Focus the plug-in’s track in the Focus Channel section by

To bypass a plug-in:
pressing the track’s Select switch. The first dynamics and EQ
plug-ins on that track are automatically focused in the corre- 1 Press the Inserts switch on the plug-in’s channel to display
sponding D-Command section. the first two Insert names on the channel’s encoders.

2 Press the Cycle switch in the Dynamics or EQ section to fo- 2 To display and edit other insert positions, press the Page Up
cus successive dynamics or EQ plug-ins on that channel. (The or Page Down switches.
No Insert option is always available.)
3 Press the B/M/P switch that corresponds to the plug-in you
want to bypass. The B/M/P switch lights when the plug-in is
bypassed.

102 D-Command Guide

Making Plug-ins Active/Inactive Flip Mode
When a plug-in name is displayed on an encoder (in the top Channels in Normal mode can use Flip Mode, which transfers
level Inserts display), it can be made inactive without entering controls from a row of encoders to the channel faders.
Make Inactive mode.
In Flip mode, the Flip switch lights, the rotary encoder control
swaps with the channel fader; the encoder Select switch swaps
To toggle a plug-in active/inactive:
with the channel Select switch; the encoder Bypass/Mute/Pre
1 Press the Inserts switch on a channel strip to display the switch swaps with the channel Mute switch; and the encoder
names of the plug-ins on the channel’s encoders. display swaps with the channel display.
2 If the insert location for the plug-in that you want to make
active/inactive is not showing, press the Page Up or Page To transfer controls from a row of rotary encoders to the channel
Down switches on the channel where you want to make the faders:
assignment until the appropriate location is displayed. „ Press the Flip switch that corresponds to the encoder row

that you want to transfer.

3 Hold Control+Start (Windows) or Control+ Command
(Mac) and press the encoder Select switch for the plug-in.
To exit Flip mode:
„ Press a lighted Flip switch.
Muting Sends
You can mute sends directly from D-Command by setting the
Assigning Inserts and Sends While in Flip
appropriate mode for the Bypass/Mute/Pre switch.
Mode
To mute sends: You can assign Inserts or Sends directly to an encoder even
when its controls are flipped to the channel fader.
1 Press the Sends switch on the track to display Send names in
the channel encoders. When an encoder’s controls are flipped to the channel fader,
2 To display and edit other send positions, press the Page Up the channel Select switch replaces the encoder Select switch,
or Page Down switches. the channel Mute switch replaces the Bypass/Mute/Pre switch,
and the channel Fader replaces the encoder knob.
3 Press the Switch Mode switch to set the mode to Mute.

4 Press the B/M/P switch for the send you want to mute. The To assign an individual insert or send to a flipped encoder:
red Mute LED lights to indicate that the send is muted. 1 On the channel where you want to make the assignment,
press the Inserts or Sends switch to display the corresponding
Setting Send Pre-/Post-Fader Operation elements on the channel. The controls for the flipped encoder
appear on the channel fader.
You can set sends to pre-fader or post-fader operation directly
2 Press and hold the channel Select switch on the channel
from D-Command, by setting the appropriate mode for the
where you want to assign the insert or send. The channel
Bypass/Mute/Pre switch.
scribble strip shows a right arrow (“>– –”) to indicate the chan-
nel is in assign mode.
To toggle sends between pre-fader and post-fader operation:
1 Press the Sends switch on the track to display Send names in 3 Move the channel fader to select from the first level of menu

the channel encoders. choices.

2 Press the Switch Mode switch to set the mode to Pre. 4 Press the channel Select switch to move down and the chan-
nel Mute switch to move up through menu levels.
3 Press the B/M/P switch for the send you want to toggle. The
green Pre LED lights to indicate that the send is set for 5 Do one of the following:

pre-fader operation. • Press the flashing channel Select switch to confirm the
assignment.
– or –
• Press the flashing Escape switch to cancel the assign-
ment.

Chapter 11: Operating Modes 103

 To change a previously assigned insert or send on a flipped
encoder: Custom Fader Modes
1 On the channel where you want to change the assignment, With the Custom Faders feature, you can temporarily set aside
press the Inserts or Sends switch to display the corresponding channel strips on D-Command and focus them on your own
elements on the channel. customized groups of tracks, on Pro Tools Mix and Edit
2 Press and hold the channel Select switch for the flipped in-
groups, on specific track types, or on plug-in controls. Custom
sert or send you want to change, until the channel scribble Fader modes are only accessible on D-Command, and are not
strip shows a right arrow (“>”) next to the assignment to indi- displayed on-screen in Pro Tools.
cate the channel is in assign mode. On D-Command, Custom Fader channels are completely sep-
3 Do one of the following to select a new insert or send: arate from the surrounding channels on the control surface.
• Move the channel fader to select from the current level of All tracks in the session bank around the Custom Fader chan-
menu choices. nels, and continue to behave normally in Pro Tools and on
D-Command.
– or –
• Press the channel Select switch to move down and the When channels are in use by any of the Custom Fader modes,
channel Mute switch to move up through menu levels. the blue indicator marked “CF,” located to the left of the
channel fader, is lit.
4 When the new insert or send is displayed in the channel
scribble strip, do one of the following: The status of Custom Fader modes is saved with the Pro Tools
• Press the flashing channel Select switch to confirm the session. If you save and close a session with a Custom Fader
assignment. mode active, the session will reopen with the same mode ac-
tive.
– or –
• Press the flashing Escape switch to cancel the assign-
Overview of Custom Fader Modes
ment.
The three Custom Fader modes are covered in detail later in
To remove an individual insert or send on a flipped encoder: this section:
1 On the channel where you want to remove the assignment,
Groups Mode Lets you access Custom Groups or Mix/Edit
press the Inserts or Sends switch to display the corresponding Groups functions.
elements on the channel.
The Custom Group functions let you create and recall up to
2 Press and hold the channel Select switch for the flipped in-
eight custom arrangements of tracks on D-Command that are
sert or send you want to remove, until the channel scribble
independent of the Mix or Edit groups in Pro Tools.
strip shows a right arrow (“>”) next to the assignment to indi-
cate the channel is in assign mode. The Mix/Edit Group functions let you recall Pro Tools Mix or
3 Press the encoder Bypass/Mute/Pre switch repeatedly until
Mix/Edit groups and display them on the Custom Fader chan-
you reach the top level menu for the assignment. nel strips. You can also activate and delete Mix or Mix/Edit
groups.
4 Move the channel fader until no assignment is visible.
Tracks Mode Lets you bring all tracks of a particular type to the
5 Do one of the following:
Custom Fader channel strips. Track Types include Audio
• Press the flashing channel Select switch to confirm the tracks, Auxiliary Input tracks, MIDI tracks, Instrument tracks,
removal. and Master Fader tracks.
– or –
Plug-in Mode Lets you focus the controls of a plug-in on the
• Press the flashing Escape switch to cancel the removal Custom Fader channel strips, and any plug-in meters on the
and restore the assignment. channel strip’s meters.

A special expanded Plug-in view focuses the plug-in header

controls (such as Bypass, Compare and Safe) on the channel
strip Mute switches.

104 D-Command Guide

Custom Fader Preferences Custom Groups Mode
Custom Groups mode lets you create a custom collection of
Setting the Number of Custom Fader Channels
tracks and arrange them in any order in the Custom Fader
You can set the size of the Custom Fader bank for each of the channels. You can create up to eight independent Custom
Custom Fader modes. See “Maximum Custom Fader Bank Groups in a session.
Size” on page 27.
Custom Groups are useful for temporarily associating tracks
that are not part of a Pro Tools Mix/Edit group. Also, because
Setting the Custom Fader Justification you can add multiple instances of the same track to a Custom
You can set the location of the Custom Fader bank on the con- Group, you can use this mode to map multiple parameters
trol surface. See “Custom Fader Justification” on page 27. from a single track onto adjacent channel faders.

Custom Groups are created and recalled entirely on D-Com-

Displaying Hidden Tracks in Custom Faders mand, and are independent of Mix/Edit groups in Pro Tools.
You can set D-Command to show hidden tracks in the Cus- D-Command Custom Groups are not reflected on-screen in
tom Fader views. See “Display of Hidden Tracks in Custom Pro Tools.
Faders” on page 27.
Custom Groups are saved in the Pro Tools session file, and
move with the session to any other system that supports
Custom Fader Controls D-Command operation.

The Groups switch, Tracks switch, and Plug-In switch in the

To create a Custom Group:
Custom Faders section light when the corresponding Custom
Fader mode is active. 1 Hold the Groups switch in the Custom Faders section until
it flashes.
The Map switch works in combination with the Custom Fader
2 Press the Bank/Cycle switch until the Focus Channel display
modes, and has no independent effect.
indicates “Custom” for Custom Groups mode. The eight avail-
The Lock switch and Window switch function both in the able Custom Groups appear on the encoders in the Custom
Custom Fader modes and independently. See “Lock Switch” Fader channels.
on page 46.
3 If the Custom Group you want to access is not visible on the
encoders in the Custom Fader channels, press the Page Up or
Page Down switches to step through available Custom
Groups.
Focus Channel
display 4 Press the encoder Select switch that corresponds to the Cus-
tom Group you want to define. The Focus Channel display in-
dicates the selection.

Groups switch Map switch 5 Hold Control (Windows) or Command (Mac) and press the
Groups switch in the Custom Faders section. The Groups
Tracks switch Lock switch switch flashes.

6 Add or subtract channels from the Custom Group by doing

Plug-In switch Window switch any of the following:
• To add a channel to the Custom Group:
• Press the channel Select switch for the source channel
Bank/Cycle switch
you want to add to the Custom Group. Tracks are added
to the Custom Group in the order you select them, and
are right-justified in the Custom Fader channels.
Custom Fader controls • To add multiple copies of a channel to the Custom Group:
• Hold Shift and press the channel Select switch once for
each copy of the source channel that you want to add to
the Custom Group.

Chapter 11: Operating Modes 105

 • To insert a channel between existing channels in a Custom To name a Custom Group:
Group:
1 Recall the Custom Group you want to name.
• Press the channel Select switch of the Custom Fader
channel following the position where you want to insert 2 Hold Alt (Windows) or Option (Mac) and press the Groups

a new channel. The switch will light indicating that the switch.
next channel will be placed before the selected channel. 3 Enter a name for the Custom Group in the Pro Tools dialog
• Press the channel Select switch for the source channel and click OK.
you want to add to the Custom Group.
• To remove a track from the Custom Group, do one of the To edit a Custom Group:
following: 1 Recall the Custom Group you want to edit.
• Press the channel Select switch for the source channel
2 Hold Control (Windows) or Command (Mac) and press the
that you want to remove from the Custom Group.
Groups switch. The Groups switch flashes.
• Hold Control+Start (Windows) or Command+Control
(Mac) and press the channel Select switch of the Custom 3 Add or remove channels from the Custom Group by press-
Fader channel you want to remove from the Custom ing the appropriate channel Select switches.
Group. 4 Press the flashing Groups switch when you are finished.
• Press the Default switch and press the channel Select
switch of the Custom Fader channel you want to remove To delete a Custom Group:
from the Custom Group.
1 Recall the Custom Group you want to delete.
7 Press the flashing Group switch when you are finished.
2 Hold Start+Alt+Control (Windows) or Control+Op-
tion+Command (Mac) and press the Groups switch.
To recall a Custom Group:
3 Press Enter.
1 Hold the Groups switch in the Custom Faders section until
it flashes.
To exit Custom Groups Mode:
2 Press the Bank/Cycle switch until the Focus Channel display
„ Press the Escape switch.
indicates “Custom” for Custom Groups mode. The eight avail-
able Custom Groups appear on the encoders in the Custom
Fader channels. Mix/Edit Groups Mode
3 If the Custom Group you want to access is not visible on the Mix/Edit Groups mode lets you create, display, and edit
encoders in the Custom Fader channels, press the Page Up or Pro Tools Mix and Mix/Edit groups on the Custom Fader
Page Down switches to step through available Custom channels. This mode is useful for quickly calling the members
Groups. of a group to a set of faders for mixing and automation.

4 Press the encoder Select switch that corresponds to the Cus-

To recall a Mix/Edit group to the Custom Fader channels:
tom Group you want to recall.
1 Hold the Groups switch in the Custom Faders section until
To recall a Custom Group from the Soft Keys: it flashes.

1 If the Soft Keys are in another display mode, return to the 2 Press the Bank/Cycle switch until the Focus Channel display
top level Soft Key display by holding Control (Windows) or indicates “Groups” for Mix/Edit Groups mode. The Mix/Edit
Command (Mac) and pressing the currently lit Soft Key Group letters and names appear on the encoders in the Cus-
switch. tom Fader channels.

2 Hold the Groups switch in the Custom Faders section until 3 If the Mix/Edit group you want to access is not visible on the
it flashes. encoders in the Custom Fader channels, press the Page Up or
Page Down switches to step through available Mix/Edit
3 Press the Bank/Cycle switch until the Focus Channel display
groups.
indicates “Custom” for Custom Groups mode. The Custom
Group names appear in the Soft Keys. 4 Press the encoder Select switch that corresponds to the
Mix/Edit group you want to display.
4 Press the Soft Key that corresponds to Page Up or Page Down
to display the Custom Group you want to recall.

5 Press the Soft Key that corresponds to the Custom Group

you want to recall.

106 D-Command Guide

To recall a Mix/Edit Group to the Custom Fader channels from To create a Mix/Edit group:
the Soft Keys:
1 Make sure you are in Select mode.
1 If the Soft Keys are in another display mode, return to the
2 Select the tracks you want to group by pressing their Select
top level Soft Key display by holding Control (Windows) or
switches.
Command (Mac) and pressing the currently lit Soft Key
switch. 3 Press the Group switch in the Management Soft Key section.

2 Hold the Groups switch in the Custom Faders section until 4 Choose the type of group to create: Edit Group, Mix Group,
it flashes. or Edit/Mix Group.
3 Press the Bank/Cycle switch until the Focus Channel display 5 Enter a name for the Group and click OK.
indicates “Groups” for Mix/Edit Groups mode. The Mix/Edit
group letters and names appear in the Soft Keys. To edit a Mix/Edit group:
4 Press the Soft Key that corresponds to Page Up or Page Down 1 In Mix/Edit Groups mode, recall the Mix/Edit group you
to display the Mix/Edit group you want to recall. want to edit.

5 Press the Soft Key that corresponds to the Mix/Edit group 2 Hold Control (Windows) or Command (Mac) and press the
you want to recall. Groups switch.

3 Add or remove channels from the Mix/Edit group by press-

To activate/deactivate a Mix/Edit group:
ing the appropriate Channel Select switches.
„ Do one of the following:
4 Press the flashing Escape switch when you are finished.
• When all Mix/Edit groups are displayed in the Custom
Group encoders, press the Bypass/Mute/Pre switch that
To delete a Mix/Edit group:
corresponds to the Mix/Edit group you want to acti-
vate/deactivate. 1 Recall the Mix/Edit Group you want to delete.

• When a Mix/Edit group is selected, hold Start+Control 2 Hold Start+Alt+Control (Windows) or Control+Op-
(Windows) or Control+Command (Mac) and press the tion+Command (Mac) and press the Groups switch.
Groups switch.
3 Press Enter.
A deactivated group is indicated by inverted text in the Cus-
tom Faders display. To delete a Mix/Edit group from the Soft Keys:
1 If the Soft Keys are in another display mode, return to the
To activate/deactivate a Mix/Edit group from the Soft Keys:
top level Soft Key display by holding Control (Windows) or
1 If the Soft Keys are in another display mode, return to the Command (Mac) and pressing the currently lit Soft Key
top level Soft Key display by holding Control (Windows) or switch.
Command (Mac) and pressing the currently lit Soft Key
2 Hold the Groups switch in the Custom Faders section until
switch.
it flashes.
2 Hold the Groups switch in the Custom Faders section until
3 Press the Bank/Cycle switch until the Focus Channel display
it flashes.
indicates “Groups” for Mix/Edit Groups mode. The Mix/Edit
3 Press the Bank/Cycle switch until the Focus Channel display group letters and names appear in the Soft Keys.
indicates “Groups” for Mix/Edit Groups mode. The Mix/Edit
4 Press the Soft Key that corresponds to Page Up or Page Down
group letters and names appear in the Soft Keys.
to display the Mix/Edit group you want to delete.
4 Press the Soft Key that corresponds to Page Up or Page Down
5 Hold Alt+Start+Control (Windows) or Control+Op-
to display the Mix/Edit group you want to activate/deactivate.
tion+Command (Mac) and press the Soft Key that corresponds
5 Hold Start+Control (Windows) or Control+Command to the Mix/Edit group you want to delete.
(Mac) and press the Soft Key that corresponds to the Mix/Edit
group you want to activate/deactivate. To exit Mix/Edit Groups Mode:
„ Press the Escape switch.

Chapter 11: Operating Modes 107

 Displaying Mix/Edit Group Tracks On-Screen To bring a Track type to the Custom Fader channels from the Soft
Keys:
In the top level of Mix/Edit Groups mode, you can display the
1 If the Soft Keys are in another display mode, return to the
tracks in a Mix/Edit group and hide all other tracks from
top level Soft Key display by holding Control (Windows) or
D-Command.
Command (Mac) and pressing the currently lit Soft Key
switch.
To display tracks in a Mix/Edit group on-screen:
2 Press the Tracks switch in the Custom Faders section.
„ Hold Start (Windows) or Control (Mac) and press the Select
switch for the Mix/Edit group to perform the “Show Only 3 Press the Soft Key that corresponds to the track type you
Tracks In Group” command. want to display in the Custom Fader channels.

Displaying or “Spilling” VCA Slave Tracks to The name of the Track type appears in the Custom Fader dis-
Custom Faders play. Tracks of the designated type appear in the Custom
Fader channels.
You can display all of the slave tracks for a VCA Master track
into the Custom Faders. This feature uses Mix/Edit Groups To exit Tracks mode:
mode to replicate a “VCA spill” command.
„ Press the lit Tracks switch.
Whenever a VCA Master track is assigned to group, its By-
pass/Spill switch lights. Plug-in Mode
To spill VCA slave tracks in Custom Faders: Plug-in mode focuses the first plug-in on the focused channel
on the Custom Fader Channels. This places all of the plug-in’s
„ Press the lit Bypass/Spill switch on a VCA Master track. The
parameters on the Custom Fader channel encoders, and any
Bypass/Spill switch flashes to indicate that the VCA Group is
plug-in meters on the Custom Fader channel meters.
spilled.
This mode is useful for controlling plug-ins with a large num-
To exit display of VCA slave tracks in Custom Faders, do one of ber of controls, such as virtual instruments.
the following:
„ Press the flashing Bypass/Spill switch in the VCA Master To focus a plug-in on the Custom Fader channels:
track. 1 Focus the plug-in’s track in the Focus Channel section by

„ Press the Groups switch in the Custom Fader controls. pressing the track’s Select switch. The name of the first plug-in
that is not a dynamics or EQ plug-in appears in the Focus
Channel display.
Tracks Mode
2 Press the Plug-In switch in the Custom Fader section. The
Tracks Mode lets you bring all tracks of a particular type to the switch lights to indicate the mode is active. The plug-in name
Custom Fader channel strips. Track Types include Audio and channel format appear in the Custom Fader channel dis-
tracks, Auxiliary Input tracks, MIDI tracks, Instrument tracks, plays, and the plug-in’s parameters appear in the Custom
VCA Master tracks, and Master Fader tracks. Fader channel encoders.

3 In the Custom Faders section, press the Bank/Cycle switch

To bring a Track type to the Custom Fader channels:
to cycle through the plug-ins on the focused channel. (The No
1 Hold the Tracks switch in the Custom Faders section until it Insert option is always available.)
flashes.

2 Press the Bank/Cycle switch until the Focus Channel display

indicates the Track type you want to display.

108 D-Command Guide

Custom Faders and Display of Plug-in Parameters Plug-in Compare To toggle between the original saved plug-in
setting and any changes you have made to it, press the Mute
There are three view options available for display of plug-in
switch that corresponds to “Comp” in the channel displays.
parameters in the channel displays of the Custom Faders.
This toggles the Compare button in the Plug-in window.
These options, or view definitions, are accessible from the
D-Command operation preferences. See “Custom Fader Plug-in Automation Safe To prevent existing plug-in automa-
Plug-in Mode View Definition” on page 28 for more informa- tion from being overwritten, press the Mute switch that corre-
tion. sponds to “Safe” in the channel displays. This toggles the Safe
button in the Plug-in window.
Display of Parameter Types in the Rotary Encoders
Plug-in Automation Enable To enable individual plug-in con-
In general, continuous plug-in parameters map to the Custom trols for automation, press the Mute switch that corresponds
Fader encoder knobs, and switched parameters functions map to “AutoEn” in the channel displays. This lists the automat-
to the B/M/P (Bypass/Mute/Pre) encoder switches. The pres- able plug-in controls on the Custom Fader encoders. Choose
ence of a switched parameter is indicated by the Pre indicator the controls to automate by pressing their encoder Select
above the corresponding B/M/P switch. switches. This toggles the Auto button in the Plug-in window.

To display the parameter controlled by the B/M/P switches: Multi-Mono Plug-ins and Expanded Plug-in View
„ Press the Switch Info switch. With multi-mono plug-ins, the following plug-in channel
controls are mapped to the Custom Fader channel displays:
In some cases, the same control may be mapped to both
an encoder knob and its corresponding switch, allowing Link To link channels of a multi-mono plug-in, press the Mute
you to use either control to adjust the parameter. switch that corresponds to “Link” in the channel displays.
This toggles the Master Link button in the Plug-in window.
Plug-in meters map to the Custom Fader channel meters.
Plug-in input and output meters appear as standard level Target Stream To target a particular multi-mono plug-in chan-
meters. Any dynamics gain reduction meters (for example, in nel for editing, press the Mute switch that corresponds to
a compressor or limiter plug-in) are shown as top-to-bottom “TargtS” in the channel displays. This lists the plug-in chan-
meters. nels on the Channel Fader encoders. You can then choose a
channel by pressing its encoder Select switch. The switch
Expanded Plug-in View lights to indicate the targeted channel.

Expanded Plug-in view lets you access additional plug-in con- Group Stream To group individual multi-mono plug-in chan-
trols and manage individual channels (also called streams) of a nels for editing, press the Mute switch that corresponds to
multi-mono plug-in. This mode places the following standard “GroupS” in the channel displays. This lists the plug-in chan-
header controls in the Custom Fader channel displays: nels on the Channel Fader encoders. You can then group any
• Plug-in Bypass number of streams by pressing their encoder Select switches.
• Plug-in Compare The Select switches light to indicate grouped channels.
• Plug-in Automation Safe Bypass Stream To bypass individual multi-mono plug-in
• Plug-in Automation Enable streams, press the Mute switch that corresponds to “BypS” in
the channel displays. This lists the plug-in channels on the
If the Custom Fader Plug-in Mode View Definition is set Channel Fader encoders. You can then bypass a stream by
to Expanded view, then you are automatically in pressing its encoder B/M/P switch. The B/M/P switch lights to
Expanded Plug-in View when you enter Plug-in mode. indicate the bypassed stream.
To enter Expanded Plug-in view:
To exit Expanded Plug-in view:
„ Press and hold the Plug-In switch in the Custom Fader sec-
„ Press the flashing Plug-In switch.
tion until the switch flashes.

The plug-in header controls are mapped as follows:

Plug-in Bypass To bypass the currently displayed plug-in, press

the Mute switch that corresponds to “Bypass” in the channel
displays. This toggles the Effect Bypass button in the Plug-in
window.

Chapter 11: Operating Modes 109

 Custom Fader Flip Mode To bypass mapping (Custom Groups mode or Mix/Edit Groups
mode):
When in Custom Groups, Mix/Edit Groups, or Plug-in mode,
„ Press the lit Map switch. Even when it is not displayed, map-
you can flip Custom Fader encoder rows to the faders with
ping is remembered for each Custom Group or Mix/Edit
Custom Fader Flip mode. Custom Fader Flip mode only affects
Group.
Custom Fader channels, and has no effect on channels in Nor-
mal mode.
To recall mapping (Custom Groups mode or Mix/Edit Groups
mode):
To enter Custom Fader Flip mode:
1 Press the Groups switch in the Custom Faders section. The
„ When in Groups, Tracks, or Plug-in mode, hold Win (Win-
Focus Channel display indicates “Custom” for Custom
dows) or Control (Mac) and press the Flip switch for the en-
Groups mode, and the eight Custom Groups appear on the en-
coder row you want to flip to the faders.
coders in the Custom Fader channels.

To exit Custom Fader Flip mode: 2 While holding the Groups switch, press the Bank/Cycle
switch to toggle between “Groups” (Mix/Edit Group Mode)
„ Press the lit Flip switch.
and “Custom” (Custom Group Mode) if necessary. The Focus
Channel display indicates the selection.
Custom Fader Map Modes
3 Press the Select switch that corresponds to the Custom Fader
When in Groups or Plug-in mode, you can map individual en- group you want to recall.
coder controls to faders on a track-by-track basis with Custom
4 Press the Map switch.
Fader Map modes.

This mapping feature works differently depending on which Plug-in Map Mode
of the Custom Fader modes you are in. (Mapping is not avail-
When in Custom Faders Plug-in mode, you can map any
able in Tracks mode.)
plug-in parameter to any of the faders in the Custom Fader
Custom Fader Maps are saved with the session. channels, including faders on different channels. In Plug-in
Map mode, a mapped rotary control is duplicated on the
Map Mode for Custom Groups or Mix/Edit Groups fader, and a mapped switch is duplicated on the channel Mute
switch. (Because Plug-in mode does not use the faders, no
When in Custom Groups mode or Mix/Edit Groups mode, swapping takes place.)
you can map any encoder parameter to the fader on the same
Custom Fader channel. In these Map modes, the rotary en- Mapping while in this mode has no restriction on the vertical
coder control swaps with the channel fader, and the encoder relationship between encoders and faders.
Bypass/Mute/Pre switch swaps with the channel Mute switch.
How Plug-in Mapping is Stored
Mapping while in these modes is vertically restricted to encod-
‹ When you map a plug-in, all other instances of that plug-in
ers and faders in the same channel strip.
in the session will use the same mapping.
‹ Plug-in mapping is saved as a preference file with a .pim ex-
To map an encoder to a fader (Custom Groups mode or Mix/Edit
Groups mode): tension.
‹ Plug-in mapping for the last opened session is remembered
1 While in Custom Groups mode or Mix/Edit Groups mode,
press and hold the Map switch in the Custom Faders section by the Pro Tools system (saved in the Pro Tools application
until the switch flashes. preferences file), so when you create a new session on the sys-
tem, all instances of the same plug-in will use the stored map-
2 In the Custom Fader channels, touch any rotary encoders ping.
that you want to map to their corresponding channel fader.
‹ Plug-in mapping files (.pim) files can be imported and ex-
3 Do one of the following: ported for use with other D-Command and D-Control con-
• Press the flashing Map switch to confirm the mapping. soles.

– or –
To map an encoder to a fader (Plug-in mode):
• Press the Escape switch to cancel the mapping and leave
Map edit mode. 1 While in Plug-in mode, press the Map switch in the Custom
Faders section.
The Map switch lights solid to indicate that the mapping is ac-
2 In the Custom Fader channels, press the channel Select
tive.
switch on the channel where you want to map the encoder.
The Select switch flashes to indicate Map mode.

110 D-Command Guide

3 Do one of the following:
• In the Custom Fader channels, touch any rotary encoder Working with Automation
that you want to map to the selected channel’s fader.
– or – Setting the Automation Mode of Channels
• In the Custom Fader channels, press any switch that you
To cycle a channel forward through the automation modes:
want to map to the selected channel’s Mute switch.
„ Press the Automation Mode switch on the channel.
The mapped control appears on the selected channel’s fader.
Plug-in parameter mapping is remembered for that plug-in, To cycle a channel backward through the automation modes:
and is usable on any channel where it occurs.
„ Hold the Shift (add) Modifier switch and press the Automa-

tion Mode switch on the channel.

To bypass mapping (Plug-in mode):
„ Press the lit Map switch. Even when it is not displayed, map-
To toggle a channel in and out of Trim mode:
ping is remembered for each plug-in.
„ Press the Trim switch on the channel.
To recall mapping (Plug-in mode):
To set the automation mode of one or more channels:
1 Focus the plug-in in the Focus Channel section.
1 Hold an Automation Mode switch (Write, Touch, Latch,
2 Recall the plug-in by pressing the Plug-In switch in the Cus- Trim, Read, or Off).
tom Faders section.
2 Press the Select switches or Auto switches on the channels
3 Press the Map switch. whose automation mode you want to set.

To clear mapping (Plug-in mode): To set the automation mode of all or all selected channels:
1 Focus the plug-in in the Focus Channel section. 1 Press the Do To All or Do To Selected switch.

2 Recall the plug-in by pressing the Plug-In switch in the Cus- 2 Press an Automation Mode switch (Write, Touch, Latch,
tom Faders section. Trim, Read, or Off).
3 Press the Map switch.
To toggle the write enable status of an automation type across
4 Press and hold the Set to Default and Do to All switches. all channels:

5 Press the channel Select switch on any Custom Fader chan- „ Press the switch for the corresponding automation type

nel. (Volume, Pan, Mute, Send level, Send pan, Send mute, or
Insert) in the Automation Enable section.
Exporting and Importing .pim Files
To suspend automation for all tracks:
To export plug-in mapping: „ Press the Auto Suspend switch in the Channel Strip Master

1 Press the Operation Console Prefs Soft Keys switch twice to Function controls. The Auto Suspend switch flashes to indi-
view the second page of Soft Key functions. cate that automation is suspended.

2 Press the Soft Key that corresponds to “Export PIMaps.”

To suspend Trim automation for all tracks:
3 Enter a name for the Plug-in Map (.pim) file, choose a loca- „ Hold Control (Windows) or Command (Mac) and press the
tion, and click Save. Auto Suspend switch in the Channel Strip Master Function
4 Press the Operation Soft Key twice to exit. controls. The Auto Suspend switch flashes to indicate that au-
tomation is suspended.
To import plug-in mapping:
1 Press the Operation Console Prefs Soft Keys switch twice to
view the second page of Soft Key functions.

2 Press the Soft Key that corresponds to “Import PIMaps.”

3 Locate the plug-in mapping (.pim) file you want to use and
click Import.

4 Press the Operation Soft Key twice to exit.

Chapter 11: Operating Modes 111

 Displaying the Automation Playlist for a To punch a preview value to the automation playlist:
Control „ Do one of the following:
• Press the Punch Preview Soft Key in the Actions Page.
To display the automation playlist on-screen for a parameter
controlled by a fader: – or –

„ Hold Control+Start (Windows) or Command+Control • Hold Control+Start (Windows) or Command+Control

(Mac) and touch the fader. (Mac) and press the flashing Off switch in the Automa-
tion Mode controls.
To display the automation playlist on-screen for a parameter
controlled by an encoder: Capturing and Recalling Automation
„ Hold Control+Start (Windows) or Command+Control
You can capture the current automation values of actively
(Mac) and touch the encoder.
writing controls and store them as snapshots. On D-Com-
mand, up to 48 snapshots can be stored and recalled. These
To display all automation playlists on-screen for a parameter
stored snapshots are saved with the Pro Tools session, and can
type:
be imported into other sessions using the Import Session Data
„ Hold Alt+Control+Start (Windows) or Option+Com- command.
mand+Control (Mac) and touch a fader or encoder controlling
the parameter type. Capturing Automation Values
Before you can store automation values as a snapshot, they
Previewing Automation must be loaded into the Capture buffer.
You can audition changes to a mix and compare them to ex-
isting automation values without committing them to the au- To capture automation values:
tomation playlist by using Preview mode. 1 Press the Auto switch on each channel whose automation
values you want to capture so that it is in a write-enabled state
To preview a new automation value for a control: (Write, Touch, Latch, or Touch/Latch).
1 Press the Auto switch on each channel you want preview so
2 In the Automation Enable controls, press the corresponding
that it is in a write-enabled state (Write, Touch, Latch, switch to enable each automation type you want to capture
Touch/Latch). (Volume, Pan, Mute, Send level, Send pan, Send mute, or
2 In the Automation Enable controls, press the corresponding Plug-in).
switch to enable each automation type you want to preview 3 In the Management area of the Soft Keys section, press the
(Volume, Pan, Mute, Send level, Send pan, Send mute, or Snapshot key to display the Capture commands in the Soft
Plug-in). Keys section.
3 Do one of the following:
4 Start playback, and if necessary, touch a write-enabled con-
• Press the Preview Soft Key in the Actions Soft Keys Page. trol to start writing automation. The Capture switch in the
– or – Soft Keys section lights to indicate that a capture is possible.
• Hold Control (Win) or Command (Mac) and press the 5 When the currently writing controls reach a value you want
Off switch in the Automation Mode controls. The Off to capture, press the Capture switch in the Soft Keys section.
switch flashes to indicate Preview mode.
The Punch Capture switch lights in the Soft Keys section lights
4 Isolate a control by moving it.
to indicate captured values are available to punch.
5 Start playback and adjust the isolated control to audition
the new automation values.

To suspend Preview mode:

„ Do one of the following:
• Press the Suspend Preview Soft Key in the Actions Soft
Keys Page.
– or –
• Hold Control (Win) or Command (Mac) and press the
Read switch in the Automation Mode controls.

112 D-Command Guide

Storing and Recalling Captured Automation Values Punching Recalled Automation Values
After automation values are captured, the captured state can When a snapshot is loaded into the Capture buffer, it is ready
be stored in any of 48 available snapshots. These can then be to punch at a different location.
recalled to the Capture buffer, where they are available to
punch. To punch a recalled snapshot:
1 Move to a location where you want to apply the snapshot.
To store a snapshot:
You can do this during playback or while the transport is
1 Capture the automation values you want to store. (See “Cap- stopped.
turing Automation Values” on page 112.)
2 Press the Punch Capture switch in the Soft Keys section to
2 In the Management area of the Soft Keys section, press the apply the snapshot. The captured automation states are ap-
Snapshot key repeatedly until the desired snapshot number plied to all automation types that are currently enabled in the
appears. The bottom four Soft Keys show four snapshot num- Automation window.
bers at a time (1–4, 5–8, etc.).

3 Hold the Soft Key that corresponds to the desired snapshot

Using Snapshots in Preview Mode
number for more than one second. The Soft Key display tem- On D-Command, you can punch snapshots while in Preview
porarily reads “Saved” to indicate that the snapshot is stored. Mode. This lets you audition the automation values in a snap-
shot without committing them to the automation playlist.
The automation values currently in the Capture buffer are
stored in the snapshot. Any previously saved snapshot is over-
To punch snapshots while in Preview mode:
written.
1 Press the Auto switch on each channel you want preview so
The Soft Key lights to indicate that an automation snapshot is that it is in a write-enabled state (Write, Touch, Latch,
stored. Touch/Latch).

To name a snapshot: 2 In the Automation Enable controls, press the corresponding

switch to enable each automation type you want to preview
1 In the Management area of the Soft Keys section, press the
(Volume, Pan, Mute, Send level, Send pan, Send mute, or
Snapshot key repeatedly until the desired snapshot number
Plug-in).
appears.
3 Hold Control (Win) or Command (Mac) and press the Off
2 Double-press the Soft Key that corresponds to the snapshot
switch in the Automation Mode controls to enter Preview
you want to name.
mode.
3 Type the name of the snapshot and press the Soft Key that
4 Press the Snapshot key repeatedly until the desired snapshot
corresponds to Enter.
number appears in the Soft Keys.

To recall a snapshot: 5 Press the Soft Key that corresponds to the snapshot you
want to recall.
1 In the Management area of the Soft Keys section, press the
Snapshot key repeatedly until the desired snapshot number 6 Start playback.
appears. The bottom four Soft Keys show four snapshot num-
7 Press the Punch Capture switch in the Soft Keys section to
bers at a time (1–4, 5–8, etc.).
punch the snapshot and audition the new automation values.
2 Press the Soft Key that corresponds to the snapshot you
8 Adjust controls or punch additional snapshots to audition
want to recall. The switch flashes to indicate that the snapshot
the new automation values.
is loaded into the Capture buffer, and available to punch.
9 When you are ready to commit the preview value, press the
To clear a stored snapshot: Punch Preview Soft Key.

„ Hold Control+Alt+Start (Windows) or Command+Op-

tion+Control (Mac) and press the Soft Key that corresponds to

the snapshot you want to clear.

Chapter 11: Operating Modes 113

 Joining Automation Values AutoMatching Individual Controls
D-Command remembers the automation write status of all On D-Command, you can invoke AutoMatch on individual
writable parameters when you stop the transport during an controls or control types on single channels.
automation pass. It stores this information in the Join buffer.
To AutoMatch all controls of a type on a channel:
When you press the Join switch during playback, writing re-
„ Hold Control (Windows) or Command (Mac) and press any
sumes at the current value for all controls that were previously
writing automation. of the following in the Channel Strip Mode controls for the
track whose controls you want to AutoMatch:
To Join automation values: • Inserts
• Sends
1 Make sure the controls you want to join are in a write-en-
abled state. • Pan

2 Stop playback during an automation pass.

To AutoMatch the volume fader on a channel:
3 Start playback. The Join switch lights to indicate that the „ Hold Control (Windows) or Command (Mac) and press the
Join buffer Auto switch in the Channel Strip Function controls for the
4 When you want to resume writing automation at the cur- channel.
rent values, press the Join switch.
To AutoMatch a pan control or the controls for an individual
insert or send on a channel:
To clear the Join buffer:
1 Press the switch in the Channel Strip Mode controls to dis-
„ Hold Control+Start (Windows) or Command+Control
play the Pan controls or the top level of Inserts or Sends for the
(Mac) and press the Join switch.
channel.

2 Hold Control (Windows) or Command (Mac) and press the

AutoMatching Automation Values
Rotary Encoder Select switch for the control you want to Au-
To AutoMatch all currently writing controls: toMatch:
• For Sends, the Send level, pan, and mute will AutoMatch.
1 Make sure the automation types you want to AutoMatch are
• For Inserts, all automated controls will AutoMatch.
write-enabled.
• For Pan, all pan sliders on the channel will AutoMatch.
2 Start playback.

3 When you reach a point in the session where you want to re- To AutoMatch all controls for a plug-in displayed in the Dynamics
turn controls to their previously written values, do one of the or EQ section:
following: „ Hold Control (Windows) or Command (Mac) and press the

• Press the AutoMatch switch in the Automation area of Auto switch in the Dyn or EQ section of the console.
the Soft Keys section.
• Hold Alt (Windows) or Option (Mac) and press the Auto
switch on a channel.
• Press the Do to All switch and press the Auto switch on a
channel.

114 D-Command Guide

Appendix A: Utility Mode

D-Command Utility mode lets you view system information, 2 Press and hold the Modifier Keys in the lower left of the
run diagnostic tests, set hardware preferences, and reset sys- Fader Module in the following sequence: Shift + Alt/Com-
tem settings. mand + Win/Option. The encoder Select switches in the bot-
tom row flash to indicate Utility mode is active.

Entering Utility Mode

You can enter Utility mode at any time to change D-Com- 2
1
mand settings. Utility mode can be accessed from the D-Com-
mand Main Unit and also on individual D-Command Fader
Modules.
3
Entering Utility Mode from a Main Unit Fader Module Modifier Key sequence for Utility mode

When putting a D-Command Main Unit into Utility mode,

the behavior of connected Fader Modules depends on whether Navigating Utility Mode
or not the units are online.
When the unit is in Utility mode, the Utility Setup Page is dis-
A D-Command unit is online if Pro Tools is running and the played on the Soft Key displays (Main Unit) or on the bottom
unit is declared in the Peripherals page of the Setups dialog. A row of encoders (Fader Module).
unit is offline when Pro Tools is not running, or if it is not de-
clared on a system that is running Pro Tools. The Utility Setup page has five top level options:
• System: System Info Page
To enter Utility mode from the Main Unit: • Name: Name Setup Page
„ Press the Utility switch in the Session Management section. • Test: Test Setup Page
The Utility switch and the Soft Keys flash to indicate Utility • Reset: Reset D-Command to Defaults
mode is active. • Pref: Preference Setup Page
• If the Main Unit is online, any Fader Modules declared
on the same Pro Tools system also enter Utility mode. To access an option on the Utility Setup Page:
• If the Main Unit is offline, all offline Fader Modules on
„ Press the Soft Key (Main Unit) or the encoder Select switch
the same Ethernet network enter Utility mode.
(Fader Module) that corresponds to the option.

Entering Utility Mode on a Fader Module To move back up to the Utility Setup Page:
You can put individual Fader Modules into Utility mode to „ Press the Soft Key (Main Unit) or the encoder Select switch

test them independently of other D-Command units. (Fader Module) that corresponds to “Escape.”

To put an individual Fader Module into Utility mode:

1 If Pro Tools is running, do one of the following:
• Quit Pro Tools.
– or –
• Choose Setups > Peripherals, click Ethernet Controllers,
and make sure the Fader Module is not declared.

Appendix A: Utility Mode 115

 Exiting Utility Mode D-Command Name Page
The Name page is used to view and change D-Command unit
To exit Utility mode, do one of the following:
names. These names appear in the Pro Tools Peripherals dia-
„ Press the flashing Utility switch (Main Unit). log, and must be unique so as to identify each D-Command
– or – unit correctly. This is especially important if your system is on
an Ethernet network with multiple controllers connected to
„ Press the Soft Key (Main Unit) or encoder Select switch
it.
(Fader Module) that corresponds to “Escape.”

To display the Name page for a D-Command unit:

1 Put the unit you want to name into Utility mode. Fader
D-Command System Info Page Modules must be put into Utility mode independently. (See
The System Info page provides access to the system firmware “Entering Utility Mode on a Fader Module” on page 115.)
version and Ethernet information. 2 From the Utility Setup page, press the Soft Key (Main Unit)
or the encoder Select switch (Fader Module) that corresponds
To display the System Info page: to “Name.”
„ From the Utility Setup page, press the Soft Key (Main Unit)
The Main Unit name appears in the Soft Keys section. The
or the encoder Select switch (Fader Module) that corresponds
Fader Module name appears in its encoder displays. The first
to “System.”
character of the name flashes to indicate text entry.

To exit the System Info page:

To change the unit name:
„ Press the Soft Key (Main Unit) or encoder Select switch
1 Turn the Scrub/Shuttle wheel (Main Unit) or any encoder
(Fader Module) that corresponds to “Escape.”
knob (Fader Module) to change the selected text.

Firmware Version 2 To move forward and backward through the name field,
press the flashing Soft Keys (Main Unit) or encoder Select
In the System Info page, hold the Soft Key (Main Unit) or en- switches (Fader Module) that correspond to the “<” and “>”
coder Select switch (Fader Module) that corresponds to “FW symbols.
ver.” This shows the Comm board and Motor Control board
3 When you are finished entering text, do one of the follow-
firmware versions.
ing:

Ethernet Info • Confirm the new name by pressing the Soft Key (Main
Unit) or the encoder Select switch (Fader Module) that
In the System Info page, hold the Soft Key (Main Unit) or en- corresponds to “OK.”
coder Select switch (Fader Module) that corresponds to • Clear the name field by pressing the Soft Key (Main Unit)
“Ethrnt” to display the following information: or the encoder Select switch (Fader Module) that corre-
‹ Unit Name (as named on the Name Page) sponds to “Clear.”

‹ ID: Ethernet address (Machine Address Code) for the unit • Cancel the new name by pressing the Soft Key (Main
Unit) or the encoder Select switch (Fader Module) that
‹ Num: The Digidesign serial number for the unit
corresponds to “Cancel.”
‹ Type: The Ethernet packet type used by Digidesign for con-
trol surface communication

116 D-Command Guide

 Internal
D-Command Test Pages
The Internal test verifies the first stage of Ethernet communi-
The Test pages let you test various mechanical and electronic cation by sending data packets through the unit’s Ethernet
components of the unit. link chip.

To display the Test Setup page: To perform the Internal Ethernet test:
„ From the Utility Setup page, press the Soft Key (Main Unit)
1 From the Ethernet Test page, press the Soft Key (Main Unit)
or the encoder Select switch (Fader Module) that corresponds or the encoder Select switch (Fader Module) that corresponds
to “Test.” to “Clear” to clear any values in the unit’s test data page.

The Test Setup page has five top level test modes: 2 Press the Soft Key (Main Unit) or the encoder Select switch
• Ethernet: Ethernet Test Page (Fader Module) that corresponds to “Intrnl.”
• LED: Switch and LED Test Pages
To exit the Internal Ethernet test:
• Display: Display Test Page
• Fader: Fader Test Page „ Press the flashing Soft Key (Main Unit) or encoder Select

• Rotary: Rotary Encoder Test Page switch (Fader Module).

To enter a test mode on the Test Setup page: Mendec

„ Press the Soft Key (Main Unit) or the encoder Select switch The Mendec (Manchester Encoder/Decoder) test verifies the
(Fader Module) that corresponds to the test mode name. second stage of Ethernet communication by sending data
packets through the unit’s Ethernet encoder and decoder.
To exit the Test Setup page:
To perform the Mendec Ethernet test:
„ Press the Soft Key (Main Unit) or encoder Select switch
(Fader Module) that corresponds to “Escape.” 1 From the Ethernet Test page, press the Soft Key (Main Unit)
or the encoder Select switch (Fader Module) that corresponds
to “Clear” to clear any values in the unit’s test data page.
Ethernet Test Page
2 Press the Soft Key (Main Unit) or the encoder Select switch
There are three test levels for Ethernet communication on
(Fader Module) that corresponds to “Mendec.”
D-Command: Internal, Mendec, and External. These tests can
assist Digidesign Technical Support should you ever experi-
To exit the Mendec Ethernet test:
ence difficulty with Ethernet communication between
D-Command and Pro Tools. „ Press the flashing Soft Key (Main Unit) or encoder Select

switch (Fader Module).

Each test sends data packets through that unit’s Ethernet sys-
tem. The Transmit (Xmit) and Receive (Recv) values for each
External
test show the number of packets sent and received in the test,
and the “Error” and “Retry” fields show percentage error in The External test verifies the third stage of Ethernet commu-
the transmission and receiving process. An error rate of 1 per- nication by sending data packets out of the unit’s external
cent or less generally indicates acceptable performance. (In Ethernet port and back into the unit using the Ethernet loop-
normal operation, errors are retried and no data loss occurs.) back connector (provided with the D-Command Main Unit).

To display the Ethernet Test page: To perform the External Ethernet test:

1 Put the unit you want to test into Utility mode. Fader Mod- 1 If Pro Tools is running, quit Pro Tools.
ules must be put into Utility mode independently. (See “Enter-
2 Disconnect the unit from the Ethernet network.
ing Utility Mode on a Fader Module” on page 115.)
3 Plug the Ethernet Loopback connector into the unit’s Ether-
2 From the Test Setup page, press the Soft Key (Main Unit) or
net port.
encoder Select switch (Fader Module) that corresponds to
“Ethrnt.” 4 From the Ethernet Test page, press the Soft Key (Main Unit)
or the encoder Select switch (Fader Module) that corresponds
To exit the Ethernet Test page: to “Clear” to clear any values in the unit’s test data page.

„ Press the Soft Key (Main Unit) or encoder Select switch 5 Press the Soft Key (Main Unit) or the encoder Select switch
(Fader Module) that corresponds to “Escape.” (Fader Module) that corresponds to “Extrnl.”

Appendix A: Utility Mode 117

 To exit the External Ethernet test: To exit LED Test mode:
„ Press the flashing Soft Key (Main Unit) or encoder Select „ Press the Soft Key (Main Unit) or encoder Select switch

switch (Fader Module). (Fader Module) that corresponds to “Escape.”

Switch and LED Test Page Vegas Mode

The Switch and LED Test page has five modes: Vegas mode randomly lights every switch, meter, and display
on the unit, and runs the faders in sine wave mode.
• Switch: Switch Test Mode
• Red: Red LED Test Mode
To enter Vegas mode:
• Yellow: Yellow LED Test Mode
„ Press the Soft Key that corresponds to “Vegas.”
• Green: Green LED Test Mode
• Vegas: Vegas Mode To exit Vegas mode:

To display the Switch and LED Test page: „ Press any switch on the unit.

„ From the Test Setup page, press the Soft Key (Main Unit) or

encoder Select switch (Fader Module) that corresponds to Display Test Page
“LED.” The Display Test page has three modes:
• Text: Display Test
To exit the Switch and LED Test page:
• Time Code: Time Code Display Test
„ Press the Soft Key (Main Unit) or encoder Select switch
• Meter: Meter Bridge LED Test
(Fader Module) that corresponds to “Escape.”

To display the Display Test page:

To enter any of the Switch and LED Test modes:
„ From the Test Setup page, press the Soft Key (Main Unit) or
„ Press the Soft Key (Main Unit) or the encoder Select switch
encoder Select switch (Fader Module) that corresponds to
(Fader Module) that corresponds to the mode name.
“Disply.”

Switch Test Mode To exit the Display Test page:

Switch Test mode lets you test each switch on the unit indi- „ Press the Soft Key (Main Unit) or encoder Select switch

vidually. (Fader Module) that corresponds to “Escape.”

To test any switch: To enter any of the Display Test modes:

„ Press the switch you want to test. „ Press the Soft Key (Main Unit) or the encoder Select switch

(Fader Module) that corresponds to the mode name.

The switch LED lights as long as it is held and the Soft Key dis-
play (Main Unit) or encoder displays (Fader Module) show the
location information for the switch.
Text (Display) Test
The Text test mode cycles through a series of display tests that
To exit Switch Test mode: check all displays on the control surface.
„ Press the Soft Key (Main Unit) or encoder Select switch

(Fader Module) that corresponds to “Escape.” To exit Text Test mode:

„ Press any flashing Soft Key (Main Unit) or encoder Select

LED Test Modes (Red, Yellow, Green) switch (Fader Module).

The LED Test modes lets you test all red, yellow, and green
Meter Bridge LED Test
LEDs on the unit individually.
The Meter Bridge LED test cycles through a series of auto-
To test LEDs: mated tests that check all LEDs on each meter.
„ Press the Soft Key that corresponds to “Red,” “Yellow,” or

“Green” to test all LEDs of the corresponding color. To exit Meter Bridge LED Test mode:
„ Press the Soft Key (Main Unit) or encoder Select switch

(Fader Module) that corresponds to “Escape.”

118 D-Command Guide

Time Code Display Test Cycle Test Mode
(Main Unit Only) In Cycle Test mode, faders move together, from the bottom to
top, in a continuous cycle, at a speed that is adjustable with
The Time Code Display test cycles through a series of auto-
the Scrub/Shuttle wheel (Main Unit) or any encoder knob
mated tests that check all LED segments on the Main Unit
(Fader Module).
Time Code display.
Fader position values are shown in the channel displays and
To exit Time Code Display Test mode: are updated in real time as the faders move.
„ Press the Soft Key that corresponds to “Escape.”
To exit Cycle Test mode:
„ Press the Soft Key (Main Unit) or encoder Select switch
Fader Test Page
(Fader Module) that corresponds to “Escape.”
The Fader Test page provides four test modes and a calibration
mode:
Group Test Mode
• Step: Fader Step Test Mode
In Group Test mode, faders can be moved to test group re-
• Cycle: Fader Cycle Test Mode
sponse.
• Group: Fader Group Test Mode
• Touch: Fader Touch Test Mode This mode displays which faders are currently being touched
• Recal: Recalibrates Faders by showing the letter “T” in their channel displays.

To display the Fader Test page: To exit Group Test mode:

„ Press the Soft Key (Main Unit) or encoder Select switch
„ From the Test Setup page, press the Soft Key (Main Unit) or
encoder Select switch (Fader Module) that corresponds to (Fader Module) that corresponds to “Escape.”
“Fader.”
Touch Test Mode
To exit the Fader Test page:
The Touch Test page lets you test the touch sensitivity of each
„ Press the Soft Key (Main Unit) or encoder Select switch fader. The channel displays show when a fader is touched and
(Fader Module) that corresponds to “Escape.” what frequency the fader is currently recognizing. The fader
frequency value is updated in real time.
To enter any of the Fader Test modes:
This mode displays which faders are currently being touched
„ Press the Soft Key (Main Unit) or the encoder Select switch
by showing the letter “T” in their channel displays.
(Fader Module) that corresponds to the test name.

To exit Touch Test mode:

Step Test Mode
„ Press the Soft Key (Main Unit) or encoder Select switch

In Step Test mode, faders jump together, in stepped fashion, (Fader Module) that corresponds to “Escape.”
to positions that are adjustable with the Scrub/Shuttle wheel
(Main Unit) or any encoder knob (Fader Module). Recal

To exit Step Test mode: The Recal command recalibrates D-Command fader touch
sensitivity and position to factory specifications.
„ Press the Soft Key (Main Unit) or encoder Select switch

(Fader Module) that corresponds to “Escape.” In addition, under conditions of heavy use, the D-Command
fader motor protection feature may disengage a fader if it is in
danger of overheating. The Recal command reengages any dis-
engaged faders.

To recalibrate the faders:

„ From the Fader Test page, press the Soft Key (Main Unit) or

the encoder Select switch (Fader Module) that corresponds to

“Recal.”

Appendix A: Utility Mode 119

 Rotary Test Page
D-Command Preferences
The Rotary Test page lets you test the touch-sensitive encoder
knob and the LED ring in each rotary encoder, as well as the D-Command Preferences let you set various display and oper-
Scrub/Shuttle wheel on the Main Unit. ation preferences for the unit.

To enter Rotary Test mode: To display the Preferences page:

„ From the Utility Setup Page, press the Soft Key (Main Unit)
„ From the Test Setup page, press the Soft Key (Main Unit) or
encoder Select switch (Fader Module) that corresponds to or the encoder Select switch (Fader Module) that corresponds
“Rotary.” to “Prefs.”

The D-Command Preferences page has five preferences:

To exit Rotary Test mode:
• Bright: Display Brightness
„ Press the Soft Key next to “Escape” (Main Unit) or the flash- • Contrast: Display Contrast
ing encoder Select switch.
• Foot 1: Footswitch 1 Settings
• Foot 2: Footswitch 2 Settings
To test the rotary encoders:
• Sleep: Sleep Mode Settings
‹ Touch any encoder knob. When the encoder knob is
touched, the encoder’s display turns red and the “Auto” indi-
To access a preference on the Preferences page:
cator LED below the knob lights.
„ Press the Soft Key (Main Unit) or the encoder Select switch
‹ Turn any encoder knob. When the encoder knob is turned,
(Fader Module) that corresponds to the preference name.
each LED in the LED ring lights in order.

To test the Scrub/Shuttle wheel: Display Brightness Page

„ Turn the Scrub/Shuttle wheel. The numerical value in the
The Display Brightness page lets you adjust the brightness of
lower left display of the Soft Key section value changes de- the display LED displays.
pending on which way you turn the wheel.
To set the display brightness:
1 From the Preferences page, press the Soft Key (Main Unit) or
Resetting D-Command to Factory the encoder Select switch (Fader Module) that corresponds to
Defaults “Bright.”

The Reset (Factory Default) page lets you reset the D-Com- 2 Turn the Scrub/Shuttle wheel (Main Unit) or any encoder
mand Main Unit and Fader Modules to their factory default knob (Fader Module) to change the brightness value. Bright-
settings. ness values range from 0–127.

3 Do one of the following:

To reset D-Command:
• Confirm the new brightness value by pressing the Soft
1 From the Utility Setup Page, press the Soft Key (Main Unit) Key (Main Unit) or the encoder Select switch (Fader Mod-
or the encoder Select switch (Fader Module) that corresponds ule) that corresponds to “OK.”
to “Reset.”
– or –
2 Press the Soft Key (Main Unit) or the encoder Select switch • Cancel the new brightness value by pressing the Soft Key
(Fader Module) that corresponds to “OK.” (Main Unit) or the encoder Select switch (Fader Module)
3 Do one of the following:
that corresponds to “Cancel.”

• Confirm your choice by pressing OK again.

– or –
• Cancel the reset operation by pressing the Soft Key (Main
Unit) or the encoder Select switch (Fader Module) that
corresponds to “Cancel.”

120 D-Command Guide

Display Contrast Page Footswitch 1 and 2 Settings Pages
The Display Contrast page lets you adjust the level of back- (Main Unit Only)
lighting in the display LED displays. The Footswitch Settings pages for Footswitch 1 and Foot-
switch 2 let you set the function for each. For each setting,
To set the display contrast: pressing the footswitch is the functional equivalent of press-
1 From the Preferences page, press the Soft Key (Main Unit) or ing the corresponding switch on the D-Command Main Unit.
the encoder Select switch (Fader Module) that corresponds to
Each Footswitch Settings page has four options:
“Contrast.”
• Flip + / Flip – : Changes the polarity of the footswitch
2 To adjust the overall contrast for all displays, press the Soft connection to positive (+) or negative (–).
Keys (Main Unit) or the encoder Select switches (Fader Mod-
• Play: Simulates pressing the Play switch on the transport
ule) that correspond to “>>” or “<<” to increase or decrease the
• Record: Simulates pressing the Record switch on the
contrast value. Overall contrast values range from 0–9.
transport
3 To adjust the relative contrast for individual rows of dis- • Talkback: Simulates pressing the Talkback switch on the
plays, turn the Flip encoder knobs (Main Unit) or any encoder D-Command Main Unit
knobs in a given row (Fader Module). Individual contrast val-
ues are shown as “Step” numbers ranging from 0–62. To set the function of the footswitches:
4 To cycle the displays through inverted text display, repeat- 1 From the Preferences page, press the Soft Key that corre-
edly press the Soft Key (Main Unit) or the encoder Select sponds to “Foot 1” or “Foot 2.”
switch (Fader Module) that corresponds to “Invert.”
2 Press the Soft Key that corresponds to the function you want
5 Do one of the following: to assign to the footswitch. The Soft Key for the selected func-
• Confirm the new contrast values by pressing the Soft Key tion lights continuously.
(Main Unit) or the encoder Select switch (Fader Module)
„ Press the Soft Key that corresponds to “Escape.”
that corresponds to “OK.”
• Reset the contrast values to their defaults by pressing the
Soft Key (Main Unit) or the encoder Select switch (Fader Sleep Mode Settings Page
Module) that corresponds to “Reset.”
Sleep mode saves power by dimming the LEDs on the D-Com-
• Cancel the new contrast values by pressing the Soft Key mand unit. The Sleep Mode Settings page lets you set the
(Main Unit) or the encoder Select switch (Fader Module) amount of idle time before the LEDs on the unit dim automat-
that corresponds to “Cancel.” ically.

To set the time before the D-Command unit sleeps:

1 From the Preferences page, press the Soft Key (Main Unit) or
the encoder Select switch (Fader Module) that corresponds to
“Sleep.”

2 Turn the Scrub/Shuttle wheel (Main Unit) or any encoder

knob (Fader Module) to change the time before the unit goes
to sleep. Times range in 1-minute increments from 1 to 59
minutes, then in 1-hour increments from 1 to 12 hours, to Off
(the unit never goes to sleep).

Appendix A: Utility Mode 121

122 D-Command Guide
Appendix B: Audio Connections and Pinouts

All external D-Command audio connections are made to the back panel of the XMON interface, shown below. All audio connec-
tors are standard female DB-25 connectors. The connector for communication with D-Command is a 15-pin female connector.

Cue Inputs Main Inputs Surround Inputs Stereo Inputs

Cue Outputs Main Outputs Alt Outputs Talkback/Listenback/Utility D-Command connector

XMON back panel connectors

Main Inputs
25-Pin Female Connector Pinouts
Main Inputs
All XMON DB-25 connector pinouts conform to the pin num-
bering scheme shown below. Signal Name Hot (+) Cold (–) Ground (shield)

Main Input 1 (L) 24 12 25

13 1
[Main Input 2 (Lc)]* 10 23 11

Main Input 3 (C) 21 9 22

25 14
[Main Input 4 (Rc)]* 7 20 8
DB-25 Connector (user view)
Main Input 5 (R) 18 6 19
Cue Inputs
Main Input 6 (Ls) 4 17 5
Cue Inputs
Main Input 7 (Rs) 15 3 16
Signal Name Hot (+) Cold (–) Ground (shield)
Main Input 8 (LFE) 1 14 2
Cue Input 1 (Left) 24 12 25
GND 13
Cue Input 1 (Right) 10 23 11
SHIELD GND connector housing
Cue Input 2 (Left) 21 9 22
* Main Inputs 2 and 4 are active on XMON, but the corre-
Cue Input 2 (Right) 7 20 8
sponding Lc and Rc outputs cannot be controlled indepen-
[Not Connected] 18 6 19 dently from the D-Command monitor section.

[Not Connected] 4 17 5

[Not Connected] 15 3 16

[Not Connected] 1 14 2

GND 13

SHIELD GND connector housing

Appendix B: Audio Connections and Pinouts 123

 Surround Inputs Cue Outputs

Surround Inputs Cue Outputs

Signal Name Hot (+) Cold (–) Ground (shield) Signal Name Hot (+) Cold (–) Ground (shield)

Surround Input 1 (L) 24 12 25 SLS Output (Left) 24 12 25

[Surround Input 2 (Lc)]* 10 23 11 SLS Output (Right) 10 23 11

Surround Input 3 (C) 21 9 22 Cue Output 1 (Left) 21 9 22

[Surround Input 4 (Rc)]* 7 20 8 Cue Output 1 (Right) 7 20 8

Surround Input 5 (R) 18 6 19 Cue Output 2 (Left) 18 6 19

Surround Input 6 (Ls) 4 17 5 Cue Output 2 (Right) 4 17 5

Surround Input 7 (Rs) 15 3 16 [Not Connected] 15 3 16

Surround Input 8 (LFE) 1 14 2 [Not Connected] 1 14 2

GND 13 GND 13

SHIELD GND connector housing SHIELD GND connector housing

* Surround Inputs 2 and 4 are active on XMON, but the corre- Main Speaker Outputs
sponding Lc and Rc outputs cannot be controlled indepen-
dently from the D-Command monitor section. Main Speaker Outputs

Signal Name Hot (+) Cold (–) Ground (shield)

Stereo Inputs
Main 1 (L) 24 12 25
Stereo Inputs
[Main 2 (Lc)]* 10 23 11
Signal Name Hot (+) Cold (–) Ground (shield)
Main 3 (C) 21 9 22
Stereo Input 1 (Left) 24 12 25
[Main 4 (Rc)]* 7 20 8
Stereo Input 1 (Right) 10 23 11
Main 5 (R) 18 6 19
Stereo Input 2 (Left) 21 9 22
Main 6 (Ls) 4 17 5
Stereo Input 2 (Right) 7 20 8
Main 7 (Rs) 15 3 16
Stereo Input 3 (Left) 18 6 19
Main 8 (LFE) 1 14 2
Stereo Input 3 (Right) 4 17 5
GND 13
[Not Connected] 15 3 16
SHIELD GND connector housing
[Not Connected] 1 14 2
* Main Speaker Outputs 2 and 4 are active on XMON, but Lc
GND 13
and Rc outputs cannot be controlled independently from the
SHIELD GND connector housing D-Command monitor section. Global Volume, Solo, and
Mute controls affect all outputs.

124 D-Command Guide

Alt Speaker Outputs
15-Pin Connector Pinouts
Alt Speaker Outputs
The XMON 15-pin connector pinouts conform to the pin
Signal Name Hot (+) Cold (–) Ground (shield) numbering scheme shown below.
Alt 1 (L) 24 12 25
8 1
[Alt 2 (Lc)]* 10 23 11

Alt 3 (C) 21 9 22

[Alt 4 (Rc)]* 7 20 8 15 9
15-pin connector (user view)
Alt 5 (R) 18 6 19

Alt 6 (Ls) 4 17 5 XMON to D-Command Connector Pinouts

Alt 7 (Rs) 15 3 16 XMON to D-Command Pinouts

Alt 8 (LFE) 1 14 2 Signal Name Hot (+) Cold (–) Ground (shield)

GND 13 RS422 Input 1 9

SHIELD GND connector housing RS422 Output 2 10

MIDI Input 12 4
* Alt Speaker Outputs 2 and 4 are active on XMON, but Lc and
Rc outputs cannot be controlled independently from the MIDI Output 11 3
D-Command monitor section. Global Volume, Solo, and
Headphones L 5 13
Mute controls affect all outputs.
Headphones R 6 14
Talkback/Listenback Pinouts Internal Talkback Mic 15 8

Talkback/Listenback GND 7
Signal Name Hot (+) Cold (–) Ground (shield) SHIELD GND connector housing
Ext Talkback Mic 24 12 25
Input

Listen Mic 1 Input 10 23 11

Listen Mic 2 Input 21 9 22

AFL Input 1 20 7 8

AFL Input 2 6 18 19

Mini Speaker Out (L) 4 17 5

Mini Speaker Out (R) 15 3 16

Talkback/Slate Out 1 14 2

GND 13

SHIELD GND connector housing

Appendix B: Audio Connections and Pinouts 125

126 D-Command Guide
Index

A Automation Write controls 41

Actions switch (automation) 85 Write to All 41
After-Fader Listen (Monitor section) 93 Write to All Enabled 42
All Enabled switch (automation) 42 Write to Current 42
All Notes Off switch 78 Write to End 42
All switch (automation) 41 Write to Start 41
Alt outputs (Monitor section) 90
Arrow switches 76 B
Assign controls 48, 99 B/M/P (see Bypass/Mute/Pre)
Inputs 48 Back and Play switch 75
Inserts 49 Back switch 75
Outputs 48 Bank Justification preference 26
Sends 49 bank size (Custom Faders) 105
Assign Talkback switch 91 Bank/Cycle switch
Attack/Q control (Dynamics plug-ins) 58 and Custom Fader mode 46
Audio Files switch 82 banking (tracks) 8
Audition Mode switch 74 Broadcast mode (Monitor section) 93
Audition switches 74 Bypass switch (plug-ins) 62, 69
Audition Mode 74 Bypass/Mute/Pre switch 102
Mark In 75 Bypass/Mute/Pre switches (rotary encoders) 34
Mark Out 75 Show Values 43
Post-Roll 74 Switch Info 43
Pre-Roll 74 Switch mode 43
Auto Talkback switch 94 Bypass/Spill switches (channel strips) 36
AutoMatch indicators 39
AutoMatch switch 84
AutoMatching automation 114 C
automation calibration
AutoMatching 114 faders 30
capturing 112, 113 meters 30
enabling for plug-ins 56, 109 Calibration Mode switch 95
encoder mode indicator 34 capturing automation 112, 113
modes 111 channel display modes 38
plug-ins 51, 62, 69 Channel Select switches
previewing 112, 113 for channel strips 38
snapshots 113 for Monitor section 92
suspending 111 for plug-ins 60, 67
Automation controls 84 Channel Strip Function controls 37
Actions switch 85 Automation Mode 38
AutoMatch switch 84 Automation Trim 38
Join 84, 114 Channel Select 38
Modes switch 86 display modes 38
Automation Enable controls 42 Input Monitor Mode 37
Inserts 42 Mute 38
Mute 42 Record Enable 37
Pan 42 Record Safe mode 37
Send Mute 42 Solo 38
Send Pan 42 Channel Strip Mode controls 35, 37
Send Volume 42 Bypass/Spill 36
Volume 42 Inserts 35
Automation Mode controls 8, 47, 111 Mic Pre mode 36
Latch 47 Pan 36
Off 47 Sends 37
Read 47 channel strips 33
Touch 47 Channel Select switch 38
Trim 47 fader section 39
Write 47 channels
Automation Mode indicators 39 focusing 38, 73, 101, 102
Automation Mode switches 38 selecting 38
Automation Safe mode 51, 102, 109 Clear Clip switch 78
Automation Safe switch (plug-ins) 62, 69 clipping indication 78
Automation Suspend switch 45 Compare switch (plug-ins) 62, 69
Automation switch (plug-ins) 62, 69
Automation Trim switch 38

Index 127
 connections E
audio 21, 123 Edit Controls
alt 125 Edit Functions 81
control room 22 Edit Modes 81
cue system 23, 123, 124 Edit Tools 81
headphone 23 Edit controls 81
main 123, 124 Edit Function switches 81
solo outputs 125 Edit window
stereo inputs 124 navigation 8
surround inputs 124 playback of selections 72
talkback/listenback 125 Edit/Timeline switch 48
Ethernet 9, 10, 25 Enable Parameters switch 51
footswitch 9, 20 Encoder preferences 28
power 19 Encoder Select switches 34
XMON 9, 12, 21, 125 End switch (automation) 42
Console Preferences 83 EQ (plug-ins) 8, 53, 64
Meter 83 EQ plug-in controls
Operation 83 High 66
User 83 High-Mid 66
Current switch (automation) 42 High-Pass 65
Custom Fader Flip mode 110 Level 66
Custom Fader Hidden Tracks preference 27 Low Filter 65
Custom Fader Justification preference 27 Low-Mid 65
Custom Fader Map modes 46, 110 Low-Pass 66
and Custom Fader Plug-in mode 110 Mid 65
and Custom Groups mode 110 Escape switch 43
and Mix/Edit Groups mode 110 Ethernet 9, 10, 25
Custom Fader Mode indicators 39 expansion options 3
Custom Fader modes 45, 104 External Key switch (Dynamics plug-ins) 62
Custom Groups 46, 105
Expanded Plug-in mode 109
Mix/Edit Groups 46, 106 F
Plug-in 46, 108 Fader Module
Tracks 46, 108 attaching to Main Unit 16
Custom Faders 8 back panel overview 10
bank size 105 components 3
display 46 hardware 15
displaying plug-ins 46 placement 15
Groups switch 46 faders 39
locking plug-ins 46 calibration 30
plug-in view definitions 28, 109 Faders On/Off preference 26
Custom Groups mode (Custom Fader) 46, 105 Flip mode 41, 103
Cycle switch (plug-ins) 62, 69 and Instrument tracks 41
Flip switches 41
D Focus Channel 46
display 46
D-Command Units Focus mode (Channel Select switch) 38
declaring 25 focusing
naming 26 channels 38, 73, 101, 102
Dim function 94 plug-ins 54, 102
Dim Level control 95 footswitch 9, 20
Display Brightness 120 Footswitch settings 121
Display Contrast 121 Forward and Play 75
Display Mode switch 44
Display preferences 28
Do To All switches 44 G
Do To Selected switches 44 Gain/Hold/Input control 59
Dynamics (plug-ins) 8, 53, 57 Global Controls 8, 40
gain reduction display 63 Global Modifier controls 43
Dynamics plug-in controls Automation Suspend 45
Attack 58 Display Mode 44
External Key 62 Do To All 44
Filter Frequency 58 Do To Selected 44
Gain 59 Escape 43
Hold 59 Select/Focus 43
Hysteresis 58 Set To Default 45
Input 59 Solo Clear 45
Key Listen 62 Suspend Groups 45
Knee 58 Go To End switch 75
output 59 Go To Start switch 75
Q 58 Go To switch 78
Range 58 Group Status indicators 39
Ratio 58 Group switch 80
Release 58 groups
Threshold 59 creating 107
deleting 107
editing 107
Groups switch (Custom Faders) 46

H
Headphone/Cue controls
Output controls 91
High Filter controls (EQ plug-ins) 66
High-Mid Filter controls (EQ plug-ins) 66
High-Pass controls (EQ plug-ins) 65

128 D-Command Guide

I Maximum Custom Fader Bank Size preference 27
Input controls (Monitor section) 90 Memory Location switch 82
Input Level Trim controls (Monitor section) 90 Memory/MIDI controls
Input Monitor Mode switches 37 Memory Location 82
Input Source Sum controls (Monitor section) 90 MIDI switch 82
inputs meter display 97
assigning 99, 100 Meter preferences 29
making inactive 100 Meter switch 83
inputs (Monitor section) meters 8
main 90 calibration 30
selecting 90 plug-ins 69
stereo 90 reference levels 98
summing 90 Mic Pre mode 36
surround 90 Mic Select switches 95
trimming 90 Mid Filter controls (EQ plug-ins) 65
inserts MIDI controls 35
assigning 99, 103 MIDI switch 82
making inactive 100 Mini (stereo) outputs (Monitor section) 90
Inserts switch (automation) 42 Mix/Edit Groups mode (Custom Fader) 46, 106, 108
Inserts switches 35 Modes switch (automation) 86
Instant Playback switch 75 modifier switches 40
Instrument tracks 33, 34, 35, 50 Monitor Output Mode controls
into Utility 115 Calibration switch 95
Dim switch 96
Mono switch 96
J Mute switch 96
Join switch 84, 114 Monitor section 89
Dim Level control 95
Input controls 90
K Input Level Trim controls 90
Key Listen switch (Dynamics plug-ins) 62 Input Source Sum controls 90
keyboard modifiers 40 Output Channel Select switches 92
Knee/Hysteresis/Q control (Dynamics plug-ins) 58 Output controls 90
Output Level Trim controls 90
L Studio controls 91
Talkback/Listen controls 94
Latch switch (automation) 47 monitoring 8, 89
latching Mono switch 96
solos 38 Mute switch (automation) 42
transport controls 71 Mute switch (Monitor section) 96
Level controls (EQ plug-ins) 66 Mute switches (channel strips) 38
levels
inputs (Monitor section) 90
output channels (Monitor section) 92 N
outputs (Monitor section) 90 Navigate Mode switch 76
Solo modes (Monitor section) 93 navigation controls 8
Link Edit and Timeline switch 48 Nudge/Bank switches 8, 76
Listen controls 95 nudging (tracks) 8
listenback
connections 125
Locate switches 75 O
Back 75 Off switch (automation) 47
Back and Play 75 opening sessions 82
Forward and Play 75 Operation switch 83
Go To End 75 Output Channel Select switches (Monitor section)
Go To Start 75 Mute 92
Instant Playback 75 Solo 92
location display 97 Output Channel Trim mode (Monitor section) 92
Lock switch (Custom Fader Plug-in mode) 46 Output controls (Monitor section) 90
Lock switch (plug-ins) 60, 67 Output Level Trim controls (Monitor section) 90
Loop Playback switch 74 Output meter (plug-ins) 63
Low Filter controls (EQ plug-ins) 65 outputs
Low-Mid Filter controls (EQ plug-ins) 65 assigning 99
Low-Pass controls (EQ plug-ins) 66 making inactive 100
outputs (Monitor section)
Alt 90
M calibrating 95
Machine switch 74 channels 92
Main Counter switch 48 main 90
Main inputs (Monitor section) 90 Mini (stereo) 90
Main outputs (Monitor section) 90 selecting 90
Main Unit trimming 90, 92
components 3
top panel overview 7
Utility mode 115 P
Make Inactive controls 50, 100 Page switch (plug-ins) 62, 69
Inputs 50 Page switches (channel strips) 35
Inserts 50 Pan switch (automation) 42
Outputs 50 Pan switches 36
Sends 50 pinout diagrams 123
Management controls 80 Playlist switch 80
Map switch (Custom Fader mode) 46 Plug-in Automation controls 51
Mark In switch 75 plug-in controls
Mark Out switch 75 Dynamics 8, 53, 57
Master Link switch (plug-ins) 61 EQ 8, 53, 64
Master Record Enable switch 73 Plug-in mode (Custom Fader) 46, 108

Index 129
 plug-ins 8, 53, 57, 64 S
assigning 53 Save As switch (plug-in settings) 60, 67
Automation Safe 51, 109 Save switch (plug-in settings) 60, 67
Automation Safe switch 62, 69 Save switch (sessions) 78
Automation switch 62, 69 saving settings 60, 67
Bypass switch 62, 69 scrolling
bypassing 62, 69, 102, 109 Scrub/Shuttle wheel 72
Channel Select switches 60, 67 Scrub switch 73
Compare switch 62, 69, 109 Scrub/Shuttle controls 72
copying settings 55 Scrub switch 73
Custom Fader mode 108 Scrub/Shuttle wheel 72
Cycle switch 62, 69 Shuttle switch 73
Dynamics 57 Trim switch 73
enabling automation 51, 56, 109 Scrub/Shuttle wheel 72
EQ 64 moving windows 73
focusing 54, 102, 108 nudging tracks 73
Lock switch 60, 67 scrolling 72
making inactive 55, 103 selecting 72
Master Link switch 61 zooming 72
meters 69 Select mode (Channel Select switch) 38
multichannel 53, 61, 67, 68 Select Switch Latch mode 27
multi-mono 53, 61, 67, 68, 109 Select/Focus switch 43
multiple plug-in windows 55 Select/Link/Bypass Mode switch (plug-ins) 61, 68
opening plug-in windows 54, 62, 69 selecting
Output meters 63 Scrub/Shuttle wheel 72
Page switch 62, 69 selections
Save As switch 60, 67 playback from transport controls 72
Save switch 60, 67 Send Mute switch (automation) 42
Select/Link/Bypass Mode switch 61, 68 Send Pan mode 37
targeting 55 Send Pan switch (automation) 42
Window switch 62, 69 Send Volume switch (automation) 42
Post-Roll switch 74 sends
Pre-Fader Listen (Monitor section) 93 assigning 99, 103
Preferences (D-Command) 26, 120 Automation Safe 51
Bank Justification 26 making inactive 100
Custom Fader Hidden Tracks 27 muting 103
Custom Fader Justification 27 setting pre- or post-fader 103
Display 28 Sends switches 37
Display Brightness 120 Session Management switches 8, 78
Display Contrast 121 All Notes Off 78
Encoders 28 Clear Clip 78
Faders On/Off 26 Publish 78
Footswitch settings 121 Redo 78
Maximum Custom Fader Bank Size 27 Save 78
Meters 29 Undo 78
Select Switch Latch mode 27 sessions
Sleep Mode settings 121 opening 82
Touch Value 27 Set To Default switch 45
Pre-Roll switch 74 Set Up switch (Monitor section) 92
previewing automation 112, 113 Show Values switch 43
Pro Tools Online switch 74 Show/Hide switch 82
Publish switch 78 Shuttle switch 73
Punch Capture command 113 slave tracks 35
Sleep Mode settings 121
Q Snapshot switch 80
QuickPunch switch 74 snapshots 113
Soft Keys 8, 79
Automation controls 84
R Console Preferences 83
Ratio/Range/Frequency control (Dynamics plug-ins) 58 Edit controls 81
Read switch (automation) 47 Management controls 80
Record Enable switches 37 solo
Record Safe mode 37 focusing tracks 102
Redo switch 78 latching 38
reference level preference (meters) 98 output connections 125
Release/Frequency control (Dynamics plug-ins) 58 Solo Clear switch 45
requirements Solo Mode controls (Monitor section) 93
connections 4, 21, 123 After-Fader Listen 93
operational 4 Broadcast 93
resetting D-Command units (Utility mode) 120 Pre-Fader Listen 93
rotary encoders 33 Solo Safe mode 38
automation mode indicator 34 Solo switches 38
Bypass/Mute/Pre Switch mode 43 Solo/Mute switch (Monitor section) 92
display color 34 Start switch (automation) 41
Stereo inputs (Monitor section) 90
Studio controls 91
Sum mode (Monitor section) 90
Surround inputs (Monitor section) 90
Suspend Groups switch 45
Switch Info switch 43
System Info (Utility mode) 116

130 D-Command Guide

T V
talkback 91 VCA Master tracks 33, 34, 35, 36, 108
connections 125 view definitions 28, 109
Dim function 94 Volume switch (automation) 42
External level control 94
Level control (built-in) 94
microphone (built-in) 97
W
Talkback switch 47, 94 Window Management switches 8, 77
Talkback/Listen controls 94 Window switch (Custom Fader Plug-in mode) 46
Auto Talkback switch 94 Window switch (plug-ins) 62, 69
Listen 95 windows
Mic Select switches 95 moving 73
Talkback switch 94 opening 77, 80
targeting plug-ins 55 Write switch (automation) 47
Test pages (Utility mode) 117 Write to All (automation) 41
Threshold/Output control 59 Write to All Enabled (automation) 42
time scale display 8, 97 Write to Current (automation) 42
Touch switch (automation) 47 Write to End (automation) 42
Touch Value preference 27 Write to Start (automation) 41
Track Size switches 87
Track switch 80 X
TrackPunch switch 74
XMON 123
tracks
back panel overview 12
Automation Safe 51
components 3
focusing 38, 73, 101, 102
connections 9, 12, 21, 125
making inactive 100
front panel overview 11
nudging 73
selecting 38, 101
Tracks mode (Custom Fader) 46, 108 Z
transport controls 8, 71 Zoom Mode switch 76
latching behavior 71 Zoom Preset switches 76
Transport Master switch 74 Zoom/Navigate section
Transport Mode switches 74 Arrow switches 76
Loop Playback 74 Navigate Mode switch 76
Machine 74 Zoom Mode switch 76
Pro Tools Online 74 Zoom Preset switches 76
QuickPunch 74 zooming
TrackPunch 74 Scrub/Shuttle wheel 72
Trim mode (Monitor section) 92
Trim switch (automation) 47
Trim switch (Scrub/Shuttle controls) 73

U
Undo switch 78
Unit Name (Utility mode) 116
User switch 83
Utility mode 115
Reset Unit 120
System Info 116
Test pages 117
Unit Name 116
Utility switch 87

Index 131
132 D-Command Guide
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