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Digi not recognized as interface: Do … - Apple Community - All replies |
Digidesign 002 logic pro x free.
I am having difficulties understanding all this. It was simple awhile back or at least back the nothing was broken until now. I have been dealing with legacy equipment and pro tools software e. But I wanted to see if I can utilize some of my hardware. I'm just having difficulties understanding how once I have installed the drivers now what? I plugged my Didi and still logic can't see it. I am not even sure if I am connecting the Digi to my computer correctly!
I have this dongle to my fireport? Community Get Support. Sign in Sign in Sign in corporate. Browse Search. Ask a question. These are my Mac specs: Running High Sierra version What Does This File Do? This Firmware Version Resolves the Following Issues: Changes the way the Digi powers up to eliminate a possible long-term reliability issue with the fader motors. Alleviates some cases where the scribble strips display random characters at startup and the firmware fails to initialize.
Download the Digi Controller file from the links above. The download will be in compressed format. You will be prompted to download the latest firmware. Click OK and download the firmware. Fader firmware downloads take place quickly. Apples version numbering system of these extensions varies with different language versions of the Mac OS. Question for you all that know more about this. If I rebuild my Mac starting with a compatible OSX version, will the driver be uninstalled upon upgraded versions?
Or do I just simply need to have my Mac living in a older operating system. Aug 2, AM. Community Get Support. Sign in Sign in Sign in corporate. Browse Search. Ask a question. User profile for user: gpbear gpbear. Thank you!!! The Enter button can be clicked to 'OK', or close, any on-screen dialogue and the tells you whenever such a dialogue is waiting for a response, showing the message "Pro Tools has a dialogue on screen" across its displays!
This button also enables memory locations markers to be entered on the fly during playback; unfortunately, you can't jump to markers from the hardware. The Escape button in some instances moves up a level of OS, such as returning to a Console from a Channel View, and also selects Cancel in on-screen dialogues.
The Undo button undoes the last operation, in software, though 'undo' doesn't always behave as you'd expect; while it will undo an unwanted take, for example, the button and the software's Undo function in general won't undo a bad fader move or misguided automation drawing. The Standalone button puts the into stand-alone digital mixer mode see It Stands Alone box. There's also a Rec button that turns the channel Sel buttons into record-arming buttons, and an L R Meter button, which switches the LED-ring metering between four different states: pan metering, level metering, and pan or level metering for the left or right inputs of a stereo track.
The Display button changes the final pair of displays into a song-position readout not a SMPTE display mirroring the position and calibration of the on-screen one bars and beats, minutes and seconds, or samples.
The display itself is rather sluggish, and usually about a beat behind the current position of a Session. Finally, a set of LED indicators shows whether the current Session is at These four 'keyboard modifier' switches duplicate the function of the Shift, Option, Control and Command keys on your computer keyboard, and offer useful ways to expand the number of functions available from other hardware controls.
For example, tapping a fader cap once while holding down Option sends the fader position to 0dB. The manual is not very good at telling you about these nice little touches, so when you discover one it's doubly pleasing. We thought it very neat that double-clicking a channel Select button opens the track-naming dialogue in PTLE, so you can name the track from your computer keyboard; you can move to preceding or subsequent tracks, to name them too, using the Command button plus the 's left or right cursor button.
However, we were disappointed to find no way to open the New Track dialogue from the hardware, for creating new tracks. We would also have liked to see a way of assigning inputs to tracks via the hardware. There's no doubt that the control-surface aspect of the makes recording and mixing with Pro Tools LE much more comfortable, quick and intuitive, after you've gained a certain amount of familiarity with it, and saves much wear and tear on the mouse arm.
Of course, one has to become used to a certain amount of doubling up of the eight faders and eight encoders. It would be great if the was expandable with extra fader banks, like the Emagic Logic Control. Not all on-screen functions can be accessed from the hardware unit, but the majority of basic tracking operations can be performed without recourse to the mouse. Mixing, too, is straightforward, with all automation moves easily performed and recorded via the hardware.
However, screen and mouse work are necessary when setting automation modes and enabling tracks for automation, as there are no dedicated automation controls. We missed a Save button, as in the midst of recording with the hardware and using it as our interface with the software we kept wanting to Save from it. Some MIDI controller units do offer this facility. The Digidesign response to this point was that they don't provide a Save function because their expensive controllers have it.
Digi understandably have a hierarchy to maintain, with such a strong professional business, but as their project systems become more sophisticated it may become increasingly difficult for them to avoid treading on their own toes.
In fairness, you can set up LE to auto-save at intervals, and if those Function keys become assignable, it may be possible to create your own Save button.
An updated version of the Mod Delay plug-in now offers tempo sync options. It does take a while to wean yourself off editing plug-in parameters with the mouse. You have to get used to the parameter arrangement in the 's scribble strips, and the often cryptic abbreviations used for each parameter. Then there's the scrolling between pages of parameters when a plug-in is particularly complex. We found Digi's own plug-ins the most logical, and with these it was a pleasure to be able to edit from the hardware.
Third-party plug-ins can be more problematic: for example, Amplitube is a complex plug-in, and all its parameters are available for editing via the hardware, but they're not arranged in a particularly logical order not Digi's fault, presumably , and furrowed brows ensue when hunting for parameters on pages that correspond to three pages of parameters in Amplitube.
It's easier to grab the mouse! Bar the odd 'enable' button, the instrument plug-ins we tried could not be edited from the On the whole, the control surface bits of the functioned just as advertised, though we initially had some problems with the faders.
When the was first delivered, it had a habit of randomly marching its faders up and down in small steps, emitting a tick on each step.
A firmware update fixed this, but we then began noticing a different problem. In stand-alone mode, fader positions weren't remembered from stored Snapshots though actual playback levels were right , and in Pro Tools mode the faders occasionally wouldn't move or would return to their bottom position when switching banks. Switching banks a few times more, or using the Nudge facility, usually cured the problem temporarily.
Suspecting a faulty unit, Digi delivered a replacement, but the faders on this one also often wouldn't jump to the correct Session levels until prodded and tweaked. Digidesign tracked the problem down to a faulty internal power harness, and the third unit we received functioned perfectly.
Digi say that the two problematic units we received were pre-production models. On our MHz G4 Mac with MB RAM, audio recording and playback was generally problem-free: we managed simultaneous recording through 10 inputs, the most we were able to try. We also created and played back a track Session, with around 20 effects plug-ins running. As with our , the setup was stable and smooth in operation. We only encountered hiccups when we began using the supplied Sampletank and Pro 52 virtual instruments.
On that particular When the virtual instrument tracks were converted to audio, we could play back the Session OK. Virtual instruments are known, of course, for being demanding of computer power. Because it uses external FireWire interfacing, the system is suitable for use with a modern FireWire-equipped laptop, a consideration for many these days. The LE software is as efficient and usable as ever, has been given some welcome enhancements, and is generally a pleasure to use — though, as mentioned earlier, we think one or two facilities could be beefed up.
The hardware controller is smart, sleek and ergonomic. It looks professional, and its interaction with the software has been well implemented, but we did sometimes feel that it doesn't go quite as far as it could.
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