And the HP amp itself appeared to be pretty decent. So that xmon/D headphone amp that derives its signal from your (on some interfaces) better quality line outs vs the interface's built in HP socket appeared, from memory, to send a very clear signal back. It seems to just forward that to D-Command, not sure if the headphone amp is in the D or in the Xmon itself though, but will assume in the D not that it matters. The ICON Headphone socket feed, comes back up the control cable (that goes between D and Xmon), so it's sent internally from Xmon, tapping into I guess the same decent quality that your interface analog outs are sending into Xmon analog ins. Yeah, back when I had a different audio interface with a less decent headphone amp built in, I'm sure the on-board D-Command headphone socket was sounding more detailed and revealing vs the interface HP out. I have very little issue with current ITB/PT summing quality but if Xmon can do this I just find it interesting ) This isn't a question about the pros/cons of summing mixers, just if the Xmon itself contains the ability to, correctly (ie no phase or noise issues), sum in much the same way as a dedicated summing mixing (i.e Dangerous 2Bus LT) and would/does it give any sense of depth/seperation vs what spendy/'real' SM's apparently do (I've never used a summing mixer and have my doubts vs just using some good hardware on the mix bus or tracking with some nice pres/eqs/comps etc. Obviously if using a hardware mix bus (comp/eq) that could also be factored in. could it actually prove detrimental to the sound routing through Xmon and back in again, then back into convertors vs just sticking in the box Would it even be worthwhile (Is Xmon doing anything less than what a dedicated "summing mixer" does - other than only have 4 stereo pairs instead of 8/16 as is typical on real summing mixers)ģ. Does the above make any sense in what I'm saying?Ģ. To use it like a summing mixer, albeit limited, you could send say all drums+bass to 'main' input, all vox to st 1, all guitars/keys to st 2 and all FX to st 4 then recombine them via xmon + Dcommand switches back to stereo.ġ. You can 'sum' main, and stereo 1,2 & 3 (with the sum button on D-Command on + all 4 sources lit) to the main output (going to monitors) or indeed through alt/other outputs from xmon (to then route them back into your interface's A>D to recapture the 'summed' mix). I may be reading things wrong here, but are you, or others here, saying you can (with the right mindset and possibly using it how it wasn't designed) use the Xmon as a 4 x stereo input summing mixer? (as well as a monitor controller). X-mon and ICON and the integration between them is just great and to me the sound quality is as good as the D-Box. Sold it when I got the ICON and haven´t regret it a bit. For more information please visit or check out our product page (link below).I had a Dangerous D-Box before a got my D-Control. ICON D-Command is expected to cost around 15.000 euros for the 8 faders version and 10.000 euros for the 16 faders expansion pack. – Patent pending, high-speed Ethernet protocol connects console worksurface to Pro Tools|HD Accel DSP mix engine, providing 200 times more bandwidth than MIDI-based controllers – Includes the XMON monitoring system a remote, rack-mounted analog I/O audio monitor and communications system that is capable of monitoring up to 5.1 surround – Dedicated, center-section control panels for EQ and dynamics plug-in control – Comprehensive monitor/communications control section – Two bar-graph meters per channel and eight Master section bar-graph meters – 17 illuminated pushbuttons per channel strip to facilitate fast selection of channel modes and attributes – Two touch-sensitive, multi-purpose rotary encoders per channel strip with LED rings and LCD displays – High-quality, touch-sensitive motorised faders – Ergonomic eight-physical fader/channel strip layout expandable to 24 physical faders/channel strips – Full integration with Pro Tools|HD systems With D-Command, operators have powerful hands-on command over every aspect of a Pro Tools project, including recording, editing, mixing, and processing - with integrated video and delivery - from a relatively small, but expandable, worksurface. As with the flagship large-format ICON D-Control™ console, D-Command utilizes Pro Tools|HD® Accel as its DSP mix engine and Pro Tools|HD interfaces and peripherals for system I/O. The Digidesign® D-Command™ tactile worksurface is the newest member of the ICON family, packing amazing control and ICON-exclusive Pro Tools® functionality into a medium-format console. Digidesign today announced the new D-Command console.
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