![]() And the D‑Control’s big advantage was it didn’t draw a distinction between the keyboard and the surface, the keyboard was part of the surface. Even control surface designs themselves acknowledge this, by including hardware buttons that do nothing more than duplicate the function of a keyboard modifier. Leaving editing to one side, here I’ll suggest why it is that the commonly asserted aim of replacing the keyboard and mouse with a control surface might to some extent be missing the point. They constitute a common language, a standard in studios the world over. Studio One is enormously accessible partly because it is so heavily mouse‑driven, but Pro Tools has a fixed set of keyboard shortcuts which are as powerful and useful as they are precisely because of their fixed nature. Logic Pro, for all its impressive capabilities, has often frustrated me because many power users choose custom keyboard configurations with their own choice of keyboard shortcut. The lumping together of the keyboard and mouse as the default controllers for software is understandable but they are two distinct devices, and when thinking about my preference for Pro Tools over the other DAWs I use, a lot of this preference is rooted in this distinction. When talking about control surfaces and DAWs the conversation often draws a distinction between using a control surface or using the keyboard and mouse. I’ve used EuCon surfaces and ICON‑series controllers in the past, but in spite of its sometimes impractical size the D‑Control had an advantage none of the others had, and that was an integral keyboard. In a recent conversation about control surfaces, I mentioned that my all‑time favourite surface was the Digidesign D‑Control. Speed up your mix workflow with these handy keyboard shortcuts. On the new Target Playlist Menu, select what playlist will be the target, and it will then be displayed in Blue Text next to a Target Icon.Many control surfaces include all the usual modifier keys as buttons, which opens up a world of mouse‑click shortcuts. To select a Target Playlist, go to the Playlist Selector Menu. There are several ways to select Target Playlists. The Target Playlist can be any playlist on a track, whether it’s the main playlist or the tenth. In Pro Tools 2018 you can now build a comp by sending clip selections to a Target Playlist that you choose. Pro Tools 2018 has even more playlist comping enhancements that will enable faster and efficient workflows! Before these new enhancements, in order to quickly compile the best moments of different takes, you either had to be in Playlist Track view on the Edit Window, (which takes up a lot of screen real estate and doesn’t show what you need to see), or sort through takes using the Playlist Selector Menu and manually copy and paste clips between playlists. In Pro Tools 12.6, some new improvements to Playlists were introduced, including shortcuts for navigating playlists while in Waveform view (Shift + Up or Down Arrows), Preferences for Automatically Creating Playlists when Overlapping Clips While Recording and while Editing, and New Visual Feedback for identifying tracks with available playlists at a glance. Playlists are virtual lanes nested within a track that allow you to record, store and edit many takes on the same track while maintaining positional reference on the timeline. Playlists are a powerful Pro Tools feature used in recording sessions for organizing takes, and in editing to comp the best moments of a performance.
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