Hah, no 
I gave it an hour and no Digitakt for me. Here’s what I learned:
In terms of function, it works. I mapped out five midi tracks from the Digitakt to correspond to five samples on the Blackbox. I assigned filter and volume control to them, and tweaked them live as well as recorded automation. I also applied specific parameter locks to the filter on a drum loop, to interesting effect. So it all worked just fine.
Two reasons made me realise this won’t work, though.
First, like @DaveMech says, the resolution snaps to the grid. That’s okay if you’re running 64 steps on a 1/1 beat. Not so, when you’re down to 1/8 and want a slow fade. It’s just horrible. The abomination! So yeah, for slower and softer transitions, automated recorded won’t work unless you spread it out over patterns, and the consistency challenges that eventually will create, won’t be worth it.
Second, it behaved oddly in terms of triggering the Blackbox samples. Sometimes, a fake trigger was sent to the sample that made it either go on or off. There was no actual trig set on the Digitakt sequencer, other than automation, and yet it behaved as if it was. Deleting the track and recording the automation again resolved it. The issue was also binary, so it either occured at once after a recorded track or not at all. So there was some predictability to it, though the result was random. Let’s assume this was user error and for some reason, I just did something that was hidden in the Digitakt grid.
But the general idea of this worked and the Digitakt workflow for the purpose was just fine, so a sequencer with higher resolution and a structure that allowed for longer takes within a pattern, would’ve been just the ticket.
However, I haven’t extensively used the Blackbox CC feature up until now, and realised that it kind of works like scenes on the Octatrack. The values are relative so as I pushed the Digitakt encoders, the automation never reached further than what the relative setting in the Blackbox compared to the default setting, allowed.
For me, recorded automation is primarily for two reasons - first, to be able to listen to a track while I’m working with it, without always live tweaking the intended transitions and stuff. Second, to keep it cool on stage and remove as many practicalities as possible from the performance, so that I can focus on the stuff that’s actually satisfactory to perform.
The CC implementation of the Blackbox doesn’t do much to adress the first point, but it goes a long way to adress the second. Given that the CC values are relative, essentially they’re safe zones for your tweaks. You can’t go any further than what the relative value allows you to do, like scenes on the Octatrack, so I figured that just hooking the Blackbox up to my Beatstep and assign the sixteen encoders to stuff, would take me pretty far.
So that’s what I’m trying next.
