Title page

DIGITAL PERFORMER 9
Getting Started

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Tech support web: www.motu.com/support
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 Contents
Contents
Part 1: Setup Part 2: Getting Started
7 Computer Requirements 39 What Next?
7 Minimum computer requirements 41 New Features in DP 9
8 Getting started
8 Familiarity with your computer 47 About Digital Performer
8 Visit motu.com for software updates 47 Overview
8 Technical support 47 Design philosophy
48 MIDI sequencing
9 Installing Digital Performer 49 Digital audio recording
9 Package Contents 49 Seamless MIDI and audio
9 Download version 49 Editing
9 Important! Register your software 50 Arranging
9 Running the Digital Performer installer 50 Automated mixing
9 Opening Digital Performer 50 MIDI and audio effects processing
9 30-day demo 51 Virtual instruments
10 Examining VST and AU plug-ins 51 Mastering
10 The Digital Performer Welcome Window 51 Music notation
11 Enabling audio I/O 51 Studio configuration management
11 Setting up MIDI hardware 51 Synchronization
11 Using virtual instruments 52 A customized workspace
11 Interapplication MIDI (Mac OS X only)
11 Updating Digital Performer 53 Hard Disk Recording Concepts
11 The DP User Guide and Getting Started Guide PDFs 53 Overview
53 How audio is recorded on disk
13 Configuring MIDI Devices 54 How hard disk recording differs from tape
13 Overview 56 How much disk space does audio require?
13 Setting up your MIDI equipment 57 Hard disk requirements and maintenance
13 Connecting MIDI gear directly 57 Digital audio terms
13 Connecting MIDI gear using a MIDI interface
14 The MIDI Devices tab 61 User Interface Basics
18 Daisy-chaining MIDI devices 61 Overview
18 Interapplication MIDI (Mac OS X only) 61 Learn to use your computer
20 Audio MIDI Setup (Mac OS X only) 61 Windows
64 Control Panel
23 Configuring Audio Devices 64 The Window menu
23 Overview 65 Modifier keys
23 What is the MOTU Audio System? 66 Clicking shortcuts
23 Preparing your computer 66 Using modifier keys with cursor actions
24 Test your audio hardware first 67 Contextual menus
24 Supported audio hardware 68 Standard keyboard shortcuts
25 Configuring the hardware driver 69 Customizing keyboard shortcuts
30 Controlling monitoring latency 69 Changing text box values by dragging
31 Slaving to external sync 69 Main counter shortcuts
31 Optimizing performance 70 Using the numeric keypad
31 Configure Studio Settings
33 Fine-tuning audio I/O timing
33 More ways to enhance performance
34 Monitoring system performance

III
 73 A Guided Tour of Digital Performer 137 Tutorial 3: Building a Sequence
73 If you don’t like to read manuals 137 What’s in this tutorial
73 Before you begin 137 Tutorial checklist
74 Creating, opening, and saving Projects 137 Opening the tutorial file
76 Control Panel 137 Set up memory cycle recording
78 Consolidated window 139 Set up a Metronome click
80 Tracks window 140 Set up a one bar countoff
82 Soundbites window 142 Set up a track for recording
84 Bundles window 143 Open the Drum Editor
86 Sequence Editor 143 Quantizing
88 MIDI Editor 145 And now the fun really begins
90 Event List 146 Record kick and snare first
92 Drum Editor 147 Fix mistakes and get ready to add the hi-hat part
94 QuickScribe Editor 147 Add the hi-hat
96 Waveform Editor 148 Save what you have done so far
98 Meter Bridge 148 Select the loop and apply a groove
100 Markers 150 Add a Guitar sample loop
102 Tool Palette 152 Prepare to record a second track
104 Selecting 153 Step record another part
106 Editing 157 Bass part
108 Mixing Board 159 Transpose the bass part to the proper octave
110 Effects window 161 Make a four bar phrase
112 Movie window 161 The next step
114 Congratulations! 163 Tutorial 4: Mixing and Finishing
114 Continuing on your own 163 What’s in this tutorial
114 Recording your first audio 163 Tutorial checklist
163 The Mixing Board
Part 3: Tutorials 164 Start mixing
164 Automated mixing
117 Tutorial 1: Recording MIDI 166 Drawing controller data in the Sequence Editor
117 Overview 167 Plug-ins
117 Opening the tutorial file 168 Bouncing to Disk
117 Record-enabling a track 170 Congratulations!
118 Setting the playback device
119
122
Setting up the instrument’s sound
Step Record
Part 4: More Information
122 Opening the Event List 173 Frequently Asked Questions
126 Saving your sequence 173 Overview
126 Congratulations! 173 Setting up
126 Problems 175 Becoming familiar with DP
129 Tutorial 2: Recording Audio 175 Recording and playback
129 Overview 179 Editing
129 How it works 180 Mixing and Finishing
130 Opening the tutorial file 181 Plug-ins
130 Enabling audio hardware 181 Virtual instruments (“soft synths”)
131 Using third-party audio hardware 185 Additional Resources
131 Using built-in audio 185 Overview
132 Completing the audio hardware configuration 185 Frequently Asked Questions (FAQ)
132 Choosing an input 185 The Digital Performer User Guide
133 Preparing an audio track for recording 185 Help Viewer
133 Monitoring the live signal 187 motu.com
134 Establishing audio input and checking the level
135 Recording 189 Index
135 Playing back the recorded track

IV
CONTENTS
Part 1
Setup
CHAPTER 1 Computer Requirements

MINIMUM COMPUTER REQUIREMENTS ■ A display with at least 1024 x 768 resolution

Here are the computer system requirements (1280 x 1024 resolution or higher is
for Digital Performer: recommended).
■ Mac OS X (version 10.6.8, 10.7.x, 10.8.x,
■ Mac or PC with Intel Core Duo CPU
1.83 GHz or faster; multiple processors or a 10.9 or 10.10), Windows 8 or Windows 7.
multi-core processor is required. Intel ■ Large hard disk, preferably at least 100 GB.

Core 2 Duo CPU 2.0 GHz or faster The disk on which tracks are recorded must be
recommended. Macs with PowerPC CPUs are a fast drive.
not supported.
64-bit operation
☛ The faster the computer, and the more
For native 64-bit operation, Digital Performer
RAM installed in it, the more responsive
has the following additional requirements:
Digital Performer is. Scrolling during
playback is smoother, the counter updates ■ Mac and PC: a 64-bit CPU
regularly, and actions that you take with the
■ PC: Windows 8, or a 64-bit version of
program are faster — especially during
playback. Windows 7

■ 2 GB of RAM is required; 4 GB or more is Running in 64-bit or 32-bit mode

highly recommended. You can run Digital Performer in either 64- or
32-bit mode on both Mac OS X and Windows.
☛ Since plug-ins and virtual instruments This can be useful when using 32-bit plug-ins
are loaded into the computer’s RAM, add as and virtual instruments that are 32-bit only.
much RAM as possible to your computer.
On Mac OS X, Digital Performer runs in
☛ Digital Performer is 64-bit compatible.
64-bit mode by default. To switch to 32-bit
When running in 64-bit mode, it can take
mode, select Digital Performer in the Finder,
advantage of all of the RAM installed in your
Get Info, then enable Open in 32-bit mode.
computer.

7
 On Windows, there are separate 64- and VISIT MOTU.COM FOR SOFTWARE
32-bit builds of the Digital Performer UPDATES
application. Just run the 32-bit executable Software updates are periodically posted on
instead of the 64-bit executable. our web site, so check our web site for the
latest updates at www.motu.com. You can also
Running in 32-bit mode check for updates directly using the
When Digital Performer is operating as a commands in Digital Performer’s Help menu.
32-bit application, the Audio Performance
window displays a memory meter, which TECHNICAL SUPPORT
displays how much of the 4GB memory If you have questions, please review this
address space (allowed by Mac OS X for 32-bit manual carefully first. You can reach MOTU
applications) is being used by Digital tech support as follows:
Performer. If the meter reaches 100%, Digital
■ 24-hour online tech support database with
Performer has run out of memory and you
will likely experience performance issues. If search engine: www.motu.com/support
the meter approaches 100%, try removing ■ Online: www.motu.com/support
plug-ins from the project.
■ Phone: +1 (617) 576-3066
Retina display support (9 a.m. – 6 p.m. Eastern)
If you are running DP on a Mac with a
■ Downloads: www.motu.com/download
Retina™ display, which offers exceptionally
high image resolution, DP supports the full
resolution of your display.

GETTING STARTED
Follow the directions in the next few chapters
of this guide to successfully begin using
Digital Performer.

FAMILIARITY WITH YOUR COMPUTER

This manual assumes that your are familiar
with using your computer. If not, please
review your computer’s user guide before
proceeding.

8
COMPUTER REQUIREMENTS
CHAPTER 2 Installing Digital Performer

PACKAGE CONTENTS RUNNING THE DIGITAL PERFORMER

Your Digital Performer package includes: INSTALLER
1 Double-click the Digital Performer
■ DP installer disc installer package or setup (.exe) file.
■ DP Getting Started Guide 2 Follow the directions the installer gives
you.
DOWNLOAD VERSION
The Digital Performer installer is also
OPENING DIGITAL PERFORMER
available as a download at motu.com/ After a successful installation, you are ready to
download. launch Digital Performer for the first time.
IMPORTANT! REGISTER YOUR When you first run the Digital Performer
SOFTWARE
application, you will be required to
MOTU can only provide customer service
authenticate and activate your copy of the
and technical support to registered users.
application. Follow the on-screen
Therefore, it is very important for you to
instructions. For further information, visit
register your software immediately after
motu.com/activate-dp.
purchase. To do so, follow the directions
below that apply to you: 30-DAY DEMO
Method of purchase How to register: If you would like to try Digital Performer
before you buy it, enter your email and name
If you purchased Register online at:
Digital Performer www.motu.com/registration in the activation dialog, and then click Start
If you purchased an You are already registered
Demo to begin your 30-day demo period. All
upgrade from an earlier and no further action is nec- features except MP3 exporting are available,
version of Digital Per- essary.
former (or Performer) including document saving. When your 30-
If you purchased a Digital Follow the directions
day trial period ends, click Buy Now to
Performer Competitive included with your Competi- purchase DP online, or you can purchase it
Upgrade tive Upgrade for registering
your Competitive Upgrade. from your favorite MOTU reseller. You can
also purchase at any time from the motu.com/

9
 store. Once purchased, you can fully system. Each plug-in is examined only once,
authenticate and activate DP, as explained the first time it is loaded by Digital Performer.
earlier. On subsequent launches of DP, plug-ins that
have already been examined will not be
EXAMINING VST AND AU PLUG-INS examined again. If a problem is detected with
Digital Performer supports third-party VST a particular plug-in, it will not be loaded for
plug-ins (on Mac and Windows) and Mac use in Digital Performer to prevent crashing
OS X Audio Unit (AU) plug-ins. When you and other serious problems. For more details
first run Digital Performer, it examines third- about using VSTs and AUs, see “Working with
party plug-ins currently installed in your VST and Audio Unit plug-ins” on page 844 in
system, checking them for problems. the DP User Guide.

Choosing a primary external plug-in THE DIGITAL PERFORMER WELCOME

format (Mac OS X only) WINDOW
On Mac OS X, DP will ask you to choose After Digital Performer launches, you’ll see
either VST or AU as your primary external the welcome window, which provides a
plug-in format. Choose AU if you have a large variety of convenient resources. The left-hand
number of existing DP projects that use AUs, column provides a menu of file templates to
and you don’t need to transfer DP projects to choose from, for quickly creating new
and from Windows systems. Choose VST to projects; this menu can also display your own
increase the cross-platform compatibility of custom file templates. Below the template
your projects. This choice can be changed at menu, you’ll see a list of recently opened
any time in the audio plug-in preferences (see projects for quick access.
“Primary external plug-in format (Mac only)”
on page 848 in the DP User Guide). Once The central part of the window displays links
you’ve made your initial choice, Digital to numerous informational and training
Performer scans and enables plug-ins in your resources, demo and tutorial files, and other
primary format. Later, you can manually extras. The right-hand column displays late-
choose the desired format for each plug-in in breaking news and information directly from
the audio plug-in preferences. the MOTU web site, with additional links to
MOTU’s social media channels.
The plug-in examination process
The plug-in examination process may take a
few minutes, depending on the nature and
quantity of the plug-ins installed in your

10
INSTALLING DIGITAL PERFORMER
If you prefer not to see the welcome window, INTERAPPLICATION MIDI (MAC OS X
you can disable it in the Digital Performer ONLY)
Preferences in the Digital Performer menu On Mac OS X, if a virtual instrument operates
(Mac) or Edit menu (Windows) under the as a separate application, run it concurrently
Document>Startup Options. with Digital Performer, and any MIDI inputs
and outputs that it publishes to Core MIDI
ENABLING AUDIO I/O will appear in Digital Performer’s MIDI input
To enable Digital Performer’s audio recording and output menus.
and playback abilities, choose Setup menu>
Audio System> MOTU Audio System. For If you would like to work with Core MIDI-
further details, see chapter 4, “Configuring compatible MIDI software that does not
Audio Devices” (page 23). publish MIDI inputs and/or outputs, Digital
Performer has the ability to publish its own
You can freely disable audio recording and Core MIDI inputs and outputs, which the
playback at any time by choosing Setup other application can access for MIDI I/O
menu> Audio System> MIDI Only. with Digital Performer. For details, see “Inter-
application MIDI (Mac OS X only)” on
SETTING UP MIDI HARDWARE page 18.
To set up Digital Performer for use with MIDI
hardware devices connected to your UPDATING DIGITAL PERFORMER
computer, see chapter 3, “Configuring MIDI Digital Performer can automatically check for
Devices” (page 13). updates; see “Checking for updates” on
page 85.
USING VIRTUAL INSTRUMENTS
Digital Performer does not require any THE DP USER GUIDE AND GETTING
additional preparation for use with virtual STARTED GUIDE PDFS
instrument plug-ins. Simply open virtual The DP User Guide and Getting Started books
instruments as described in chapter 16, are available as PDF files. You can find them
“Instrument Tracks” (page 141) in the DP on the installer disc, and you can also access
User Guide, and its audio and MIDI inputs them directly from Digital Performer’s Help
and outputs will appear in Digital Performer’s menu. Table of Contents entries, index entries,
I/O menus. and cross references are live links that will
jump to their destinations. In some cases, you
may need to click directly on the page number
(rather than the heading).

11
INSTALLING DIGITAL PERFORMER
12
INSTALLING DIGITAL PERFORMER
CHAPTER 3 Configuring MIDI Devices

OVERVIEW SETTING UP YOUR MIDI EQUIPMENT

This chapter explains how to connect MIDI MIDI gear connects to your computer in one
hardware devices to your computer and of two ways:
successfully establish MIDI input and output
with the device. Here are some examples of ■ Directly (via USB, FireWire, etc.)
MIDI devices: OR
■ Controller keyboard ■ Using a MIDI interface
■ Keyboard synthesizer
CONNECTING MIDI GEAR DIRECTLY
■ Drum machine For MIDI equipment that connects directly to
■ Sound module your computer with USB, FireWire or other
standard computer peripheral connection,
Additionally, this chapter explains how to set follow the directions for installation,
up interapplication MIDI under Mac OS X, including the installation of any software
which allows other software applications (drivers, etc.) that it may require. No special
(such as stand-alone virtual instruments) to additional procedures are necessary for
send and receive MIDI data to and from Digital Performer. When you are finished
Digital Performer. installing the MIDI device as directed, Digital
Performer should be able to “see” the device’s
☛ Virtual instrument plug-ins, such as MIDI input and output channels (and cables).
those included with Digital Performer, do not
require any configuration for MIDI I/O. CONNECTING MIDI GEAR USING A MIDI
INTERFACE
Setting up your MIDI equipment . . . . . . . . . . . . . . . 13
For MIDI equipment that connects to your
Connecting MIDI gear directly . . . . . . . . . . . . . . . . . . 13
computer using a MIDI interface, you will
Connecting MIDI gear using a MIDI interface . . . 13
need:
The MIDI Devices tab . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Daisy-chaining MIDI devices . . . . . . . . . . . . . . . . . . . . 18 ■ Any Mac or PC compatible MIDI interface
Interapplication MIDI (Mac OS X only) . . . . . . . . . . 18
Audio MIDI Setup (Mac OS X only) . . . . . . . . . . . . . . 20
■ MIDI cables

13
 1 Connect your MIDI interface to your THE MIDI DEVICES TAB
computer and connect your MIDI devices to it Once you’ve connected your MIDI hardware
as shown in the examples on page 14. devices, you are ready to configure them in
Digital Performer for use in all of your Digital
☛ If your hardware situation requires that Performer projects. To do so:
you daisy-chain your MIDI devices, be sure to
see “Daisy-chaining MIDI devices” on 1 Launch Digital Performer.
page 18.
2 Create a new project from the File menu.
2 Turn on the MIDI interface, if it has a
power switch (some devices are bus- 3 Choose Studio menu > Bundles to open the
powered). Bundles window.

4 Click the MIDI Devices tab (Figure 3-5).

IN OUT
USB cable OUT IN
micro express USB interface MIDI
cables

Figure 3-1: An example of connecting a single MIDI device to a MOTU micro express interface.
Connect the device’s MIDI OUT and MIDI IN ports to the interface.

IN
OUT THRU
USB MIDI Interface
USB IN
IN
cable
THRU

IN
THRU
Figure 3-2: Connecting several devices to a simple 1-IN/1-OUT interface. See
“Daisy-chaining MIDI devices” on page 18 for special instructions on setting up
your MIDI gear for daisy-chaining in this manner. IN
OUT

14
CONFIGURING MIDI DEVICES
The MIDI devices tab lets you create and appear in the left-hand column and represent
configure MIDI devices connected to your the hardware connected to the interface. Drag
MIDI hardware. The settings you make here the MIDI in (I) and MIDI out (O) tile for each
will be available to all Digital Performer MIDI device to the appropriate MIDI
projects. If you transfer the project to another interface port column (the column that
computer system, the devices you used will be represents the physical port it is connected to
preserved so that you can easily remap them on the MIDI interface). For example, in
as needed. Figure 3-5 the Roland JV-1080 is connected to
MIDI IN port 1 and MIDI OUT port 1 on the
Making MIDI connections in the I/O grid micro express USB interface.
Any connected MIDI interfaces appear across
the top of the I/O grid, with their MIDI ports
shown in columns beneath the interface. Use
the Add button to create MIDI devices, which

Controllers

IN OUT
IN OUT
USB
cable OUT
IN
OUT
FastLane-USB interface
IN
Figure 3-3: Connecting several devices to a simple 2-IN/2-OUT
interface, shown here a USB FastLane from MOTU.

USB cable Connection B

Connection A OUT
IN

Figure 3-4: Connecting several MIDI devices to a multi-port interface

such as the MIDI Express XT. (Only one device is shown.)

15
CONFIGURING MIDI DEVICES
 Devices connected directly with USB, etc. Deleting offline interfaces
If you have a controller keyboard or other If your USB MIDI interface or keyboard goes
MIDI device that connects directly to the offline (it gets turned off or disconnected), its
computer with USB, FireWire, or other name appears in italics. If you wish to remove
standard computer peripheral connection, it it from the Bundles window grid, click its
will appear above the I/O grid in the same name and click the Delete button.
fashion as the MIDI interface shown in
Figure 3-5 (as long as its drivers have been MIDI device properties
installed successfully). In this case, no Click a MIDI device in the left-hand column
additional I/O configuration is required and to select it and then click the Edit button to
the device will be available as a MIDI input specify the manufacturer and model for the
and/or output, as determined by its driver. device and to make additional device
property settings (Figure 3-6).
Renaming an interface or USB device
To rename an interface or USB device above
the grid, double-click its name.

MIDI interface

MIDI interface ports

MIDI devices Input and output

connections

Figure 3-5: MIDI Devices tab in the Bundles window.

16
CONFIGURING MIDI DEVICES
 types that are supported. If the device has
multiple sets of MIDI ports, configure them in
the Ports tab.

Patches
If you have a device which supports expansion
boards, such as the Roland JV-1080, use this
section to configure which expansion cards
are loaded in the device. This will ensure that
your patch lists are displayed accurately.

Figure 3-6: MIDI device properties.

Device
Choose the manufacturer of the device from
the Manufacturer menu, then choose the
model of the device from the Model menu.
The Name field will be automatically filled in.

If you don’t see the manufacturer or model of

the device in the list, or you would like to
rename it for whatever reason, you can fill in
the Name field manually.
Let’s say you have a JV-1080 and would like to
Properties and ports specify that you have the “Bass & Drums”
Specify the properties that describe the expansion card installed. To configure
device. For example, you can describe what Expansion Slot A Rhythm Kits, for example,
MIDI channels it uses for transmitting and locate Expansion Slot A Rhythm Kits in the
receiving MIDI data. Enable any MIDI data

17
CONFIGURING MIDI DEVICES
 Bank column on the left, then choose “EXP 1 Double-click on the first device in your
Bass & Drums Rhythm Kits” in the Override MIDI device configuration (Figure 3-5 on
column. page 16) and disable some channels as shown
in Figure 3-6 on page 17; leave others enabled.

2 Repeat this for the other devices in the

daisy chain so that no two devices have the
same channels enabled.

For example, if you daisy chain a Korg Triton

and a Roland JV-1080, set the Triton to use
channels 1-8 and the JV-1080 to use channels
9-16.

3 Now go to the front panel of each MIDI

instrument itself and program it to respond to
DAISY-CHAINING MIDI DEVICES only the channels that are enabled in your
In general, daisy-chain MIDI devices (as MIDI device configuration. Refer to the
shown in Figure 3-2 on page 14) should be documentation for the device for details on
avoided because it is more complicated to set this last step.
up than connecting each device directly, as
shown in the other diagrams on that page. INTERAPPLICATION MIDI (MAC OS X
ONLY)
If you have no choice but to daisy-chain, you Digital Performer can send MIDI data to
need to configure each device such that it other applications and receive data from them
doesn’t share any MIDI channels with other as well. These interapplication MIDI streams
devices in the chain. Otherwise, you’ll hear are handled by Core MIDI, the Mac OS’s built-
several instruments play at once because data in MIDI services.
sent to one unit is received by all the devices in
the daisy chain that are listening to that same Most applications that share MIDI input and
MIDI channel. To avoid this sort of unwanted output with Digital Performer publish their
instrument layering: own virtual MIDI inputs and outputs, which
automatically appear in Digital Performer’s
MIDI input and output menus. Most of the
time, you can use the inputs and outputs
provided by these other applications.

18
CONFIGURING MIDI DEVICES
There may be times, however, when other appear by name in any Digital Performer
applications require Digital Performer to menu that displays MIDI outputs. For
publish inputs and outputs. Use the Interap- example, if you wish to send data from a
plication MIDI window (Setup menu) to Digital Performer MIDI track to another
create them. application, assign the track’s output to a
Digital Performer MIDI output.

Digital Performer’s interapplication MIDI

inputs and outputs are published to all MIDI
applications that support the Mac OS’s built-
in MIDI services. A Digital Performer output
appears as an input in other applications;
conversely, outputs from other applications
appear as inputs in Digital Performer.

The software synthesizer

Mac OS X provides a basic software
synthesizer that supplies a general MIDI
sound set. To make this virtual instrument
available as a MIDI destination and sound
source in Digital Performer, check the box
provided (Figure 3-7), and give it a name. The
Software name you choose then shows up as a MIDI
Synthesizer
output destination in Digital Performer and
other Core MIDI-compatible applications
Figure 3-7: Creating interapplication inputs and outputs. (when Digital Performer is running). To
Click the Add buttons to create an input or specify the audio output destination for the
output. To rename them, double-click the software synthesizer (i.e. where you’ll hear it),
name. To remove an input or output, click it go to the Audio tab in Mac OS X’s Audio MIDI
and click Delete. Setup utility and choose the desired Default
Output destination. The Render quality menu
Each input or output acts like a virtual MIDI lets you choose the audio quality for the
cable, providing sixteen MIDI channels. instrument playback. Higher quality places
Inputs appear by name in any menu in Digital higher demand on the computer’s CPU
Performer that displays MIDI inputs; outputs resources.

19
CONFIGURING MIDI DEVICES
 AUDIO MIDI SETUP (MAC OS X ONLY) 2 Turn on the MIDI interface, if it has a
Audio MIDI Setup is a utility included with power switch (some devices are bus-
Mac OS X that provides a graphical interface powered).
for configuring the MIDI devices connected
to your computer. You can use Audio MIDI 3 Launch the Audio MIDI Setup utility.
Setup as an alternative to the MIDI Devices
This can be found in /Applications/Utilities.
tab in Digital Performer’s Bundles window.
Any changes you make in Audio MIDI Setup
4 Confirm that the MIDI interface is present
are automatically reflected in Digital
in the MIDI Devices tab of Audio MIDI Setup.
Performer’s MIDI Devices tab, and vice versa.

☛ Using Audio MIDI Setup is not required.

It is merely an alternative to using Digital
Performer’s MIDI Devices tab.

Audio MIDI Setup provides two main

advantages over the MIDI Devices tab:

■ A graphical environment with device icons

and “virtual cables” that you can arrange on-

screen in a similar fashion to the physical
layout in your studio space Figure 3-8: In this example, a MOTU FastLane-USB interface as
it appears in the MIDI tab of Audio MIDI Setup.
■ A single place to configure your MIDI
Adding devices
devices for multiple MIDI applications, if you
After your MIDI interface appears in Audio
use other MIDI software besides Digital
MIDI Setup, you are ready to add devices in
Performer
Audio MIDI Setup, connect them to the
Audio MIDI Setup serves all Core MIDI interface, and specify properties they may
compatible applications. have for particular purposes. All of this
information is shared with Digital Performer
Getting started with Audio MIDI Setup and other Core MIDI compatible
1 Connect your MIDI interface to your Mac applications.
and connect your MIDI devices to it as shown
in the examples on page 14. To add a device in Audio MIDI Setup:

1 Click the MIDI Devices tab.

20
CONFIGURING MIDI DEVICES
2 Use the Add New External Device
command in the MIDI Devices menu to add a
device.

Figure 3-9: Adding an external MIDI device.

Figure 3-11: Device settings.
3 Drag on its input and output arrows to
draw connections to the MIDI interface that 5 Repeat the above steps for each MIDI
match its physical connection. device connected to the interface.

6 When you are finished, quit Audio MIDI

Setup.

Your configuration is automatically saved as

the default configuration. You can use the
Configuration menu to create, duplicate or
delete alternative configurations.

Figure 3-10: Connecting the device to the interface.

4 Double-click the device to make settings,

such as input and output channels, that
further describe the device.

21
CONFIGURING MIDI DEVICES
22
CONFIGURING MIDI DEVICES
CHAPTER 4 Configuring Audio Devices

OVERVIEW available on expensive hardware-based

This chapter helps you get the most out of systems. Advanced features include an
Digital Performer’s audio recording and adjustable number of internal busses, aux
playback features. This chapter explains what tracks, master faders and sends. MAS also
MAS is, how to configure it for your audio provides a plug-in architecture for real-time
hardware, and how to obtain the best audio effects, such as reverb, compression and
performance possible from your computer. EQ. Real time effects are covered in detail in
The performance tips in this chapter can have chapter 72, “Audio Effects Processing”
a dramatic effect on how well Digital (page 841) in the DP User Guide.
Performer operates, so be sure to review this
chapter carefully. PREPARING YOUR COMPUTER
Here are several things you need to do before
What is the MOTU Audio System? . . . . . . . . . . . . . . 23 using Digital Performer’s native audio
Preparing your computer. . . . . . . . . . . . . . . . . . . . . . . 23 recording and playback features.
Test your audio hardware first . . . . . . . . . . . . . . . . . . 24
Supported audio hardware . . . . . . . . . . . . . . . . . . . . . 24 Hard drives
Configuring the hardware driver . . . . . . . . . . . . . . . 25 Hard disk recording makes severe demands
Controlling monitoring latency . . . . . . . . . . . . . . . . . 30 on your computer’s hard drive. The more
Slaving to external sync. . . . . . . . . . . . . . . . . . . . . . . . . 30 tuned-up your hard drive, the better
Optimizing performance . . . . . . . . . . . . . . . . . . . . . . . 30 performance you will get. For conventional
Configure Studio Settings . . . . . . . . . . . . . . . . . . . . . . 31 drives, 7200 rpm or faster performance is
Fine-tuning audio I/O timing . . . . . . . . . . . . . . . . . . . 33 recommended, though it is possible with
More ways to enhance performance. . . . . . . . . . . . 33 smaller projects to use a slower drive (such as
Monitoring system performance . . . . . . . . . . . . . . . 34 those found inside some laptops). Solid state
drives, while more expensive, offer an
WHAT IS THE MOTU AUDIO SYSTEM? excellent high-performance alternative to
MAS is the hard disk recording engine that conventional drives. Generally speaking,
drives Digital Performer’s digital audio however, Digital Performer has no special
recording capabilities. MAS provides a
complete audio recording environment,
including many features previously only

23
 requirements for hard disks. Better drive SUPPORTED AUDIO HARDWARE
performance means better overall Digital Performer supports the built-in audio
performance from Digital Performer. hardware in your computer and any Mac or
Windows compatible audio hardware that
Free up as much RAM as possible ships with standard ASIO drivers, Mac OS
Hard disk recording uses a lot of RAM. In Core Audio drivers, or Windows Audio
addition, the number of audio tracks you can (WASAPI) drivers. After the device’s driver
record and play simultaneously is directly has been successfully installed (as described
related to the amount of memory available in in its installation instructions), and it has been
your computer. More available RAM gives you chosen for use in Digital Performer (Setup
more audio tracks, up to the limits of your menu> Configure Audio System>Configure
hard drive, and smoother performance Hardware Driver), it will appear as a choice for
overall. audio input and output inside Digital
Performer, as explained in the next section.
TEST YOUR AUDIO HARDWARE FIRST
We recommend that you install and test your All MOTU audio hardware, including PCI
audio hardware before installing Digital systems, FireWire interfaces, and USB
Performer. If possible, try using any software interfaces, ship with Core Audio and ASIO
that comes with the audio hardware — drivers that allow them to operate successfully
recording and playing audio, if possible — to with virtually all Mac and Windows audio
verify that the hardware is properly installed software.
and functioning normally. If you experience
problems, this will help focus your trouble- Track count and system performance
shooting and eliminate Digital Performer as a Regardless of whether you are using the
possible cause. After you’ve gotten the audio computer’s built-in audio or other audio
hardware working properly with its own hardware, the number of audio tracks you can
software, you will most likely not have record and play simultaneously depends on
problems with Digital Performer. Contact your computer system. A faster computer with
technical support (or our web site) for late- more RAM and a fast hard drive gives you
breaking information about compatibility more tracks. A slower computer with less
with other systems. See “Technical support” RAM and a slow hard drive gives you fewer
on page 956 in the DP User Guide. tracks.

24
CONFIGURING AUDIO DEVICES
CONFIGURING THE HARDWARE DRIVER
A hardware driver is software component of
your computer system that allows Digital
Performer to communicate with a piece of
audio hardware, such as the audio circuitry
inside your computer, a FireWire audio
interface, a USB or USB 2.0 audio interface, or
an audio PCI card installed in one of your
computer’s PCI slots. If you haven’t already
installed the driver for your audio hardware,
do so now, before proceeding below.

To establish the link between Digital

Performer and your audio hardware, you need
to activate its driver in Digital Performer. To
do so, go to the Setup menu and choose
Configure Audio System>Configure Hardware
Driver. The Configure Hardware Driver
window appears as shown in Figure 4-1:

Figure 4-1: The Configure Hardware Driver window for Mac

and Windows. On the Mac, you can select multiple drivers to
operate several audio devices simultaneously by command-
clicking them. In this example, a MOTU 1248 interface is being
used with the computer’s built-in audio.

Enabling the hardware driver

All Core Audio and/or ASIO drivers currently
installed in your computer appear as shown in
Figure 4-1.

25
CONFIGURING AUDIO DEVICES
 Enabling the hardware driver under operation. See “Enabling multiple drivers
Windows (Mac only)” on page 29. Note that some Macs
For Windows, choose the ASIO or Windows have separate drivers for their built-in input
Audio driver from the menu. Under and built-in output, so to use both simulta-
Windows, only one driver can be active at a neously you must select both as described
time. For ASIO, choose the desired ASIO above.
driver (device) from the menu provided. For
the best audio quality, highest channel counts, Master Device (Mac only)
and lowest latency, use audio hardware that If only one driver is enabled (highlighted) in
provides an ASIO driver. the list, this menu can be ignored.

The Windows Audio driver option is primarily If you are operating multiple audio devices
intended for situations in which you do not (you have two or more devices selected in the
have an ASIO driver installed, or you do not list), choose the device that you wish to use as
currently have access to ASIO-supported the master clock. For further details about this
audio hardware. Window Audio is stereo only, important setting, see “Enabling multiple
but it can sample rate convert on both input drivers (Mac only)” on page 29.
and output. If sample rate conversion is
engaged, the sample rate setting in Digital Sample Rate
Performer’s control panel turns red. In Choose the desired sample rate for recording
addition, Digital Performer uses the default and playback. 44.1 kHz is the standard rate for
audio device chosen in the Windows Sound audio compact discs. If you intend to play
control panel. For best audio quality and audio files that have already been recorded,
lowest latency, go to the Advanced tab of the make sure you match their sample rate. If you
properties dialog for the default audio device aren’t sure what their sample rate is, import
and set the sample rate so that it matches the them into a Digital Performer file and look at
same rate as the DP project. them in the Soundbites window.

Enabling the hardware driver under Mac If you are operating multiple devices, this
OS setting applies to all of them.
For Mac OS X, click a driver to enable it.
Command-click to enable multiple drivers at The choices in the sample rate menu are
one time. This allows you to use multiple determined by the currently chosen audio
audio devices simultaneously, but there are hardware, according to the sample rates it
additional setup requirements for reliable supports. Sometimes, you may see non-

26
CONFIGURING AUDIO DEVICES
standard sample rates in the menu time code to Digital Performer. You can use a
(44,052 kHz for example). Consult the synchronizer to resolve to time code and
manual for your audio hardware for further supply your audio hardware with resolved
details about non-standard sample rates. digital audio clock via word clock or another
digital audio sync format. See chapter 84,
Clock source/modes “Audio Sync” (page 929) in the DP User Guide
For Windows, choose the desired clock source for complete details.
for your audio hardware. For Mac OS X, this
setting determines the clock source for each If your audio hardware has digital inputs
audio device. Choose each device from the (such as a S/PDIF connector), the clock
menu on the left and choose its clock source source menu will probably also provide
from the menu on the right. settings that let you clock off the digital input
source. In general, the audio hardware either
The choices in the clock source menu depend needs to slave off the external digital source or
on the audio hardware, and the items in the vice versa. Or both the audio hardware and
menu are supplied by its driver. Most devices the external source need to be resolved via a
have an Internal setting, which means the third device, such as a digital audio
audio device will run off its own clock. This synchronizer. If the two devices are not
means that audio playback and recording in resolved with one another, you’ll hear clicks,
Digital Performer will operate at the rate set by pops, distortion, or other similar artifacts in
the hardware, and Digital Performer will use your digital transfers.
the hardware as its master time base (so that
MIDI and audio stay in sync with each other). Configure Driver (Windows ASIO only)
Click the Configure driver button to launch
If, however, you make Digital Performer slave your hardware’s console software for further
to external sync while the audio hardware is hardware settings, including the very
running on its internal clock, the audio important buffer size setting (explained
hardware — and therefore audio playback below). Some ASIO drivers require that you
and recording in general — will not be make this setting in the hardware’s own
resolved to external time code. The result is console software, which you can access from
that your audio tracks will probably drift out this button.
of time with your MIDI tracks, and they won’t
stay in sync with the external time code. Your
best bet in this scenario is to slave your audio
hardware to the same source that is feeding

27
CONFIGURING AUDIO DEVICES
 Buffer Size If you won’t be running live inputs through
Mac OS Digital Performer, or playing software
On Mac OS X, the buffer size is set in the instruments, you can choose a higher buffer
Configure Hardware Driver window size to free up CPU processing bandwidth for
(Figure 4-1 on page 25). plug-ins or other processor-intensive
components of your virtual studio. A typical
Windows setting for this scenario is 512 or 1024
On Windows, the buffer size can be set by
samples.
checking the Override internal buffer size
check box and choosing the desired buffer If you are running live input through Digital
from the menu. If this option is grayed out, it Performer, or triggering virtual instruments,
means that your audio hardware’s ASIO driver choose the lowest setting that your computer
doesn’t allow host applications to change its can handle, keeping in mind that you still
buffer size setting. In this case, click the need to give your computer enough
Configure Driver button (Figure 4-1 on processing power to handle the plug-ins and
page 25) to launch the hardware’s console virtual instruments you are using with Digital
software to change the setting there. Performer. Settings of 256 or lower produce
reasonable monitoring latency: a setting of
The importance of buffer size
256 samples produces round-trip monitoring
A buffer is a small part of computer memory
latency of around 12-13 milliseconds (ms),
that briefly holds digital audio samples as they
and the delay starts to become inaudible. For
are passed between the computer and your
the lowest possible latency, you can go as low
audio hardware. Choosing a smaller buffer
as 16 or 32 samples, if your audio hardware
size reduces latency, which is the delay you
supports these buffer sizes. If, however, you
may hear when listening to live audio input
hear clicks and pops in your audio, or you see
that you are monitoring through Digital
spikes in the processor meter in the Audio
Performer — or when triggering virtual
Performance window (Studio menu), try
instruments from your MIDI controller. But
raising the buffer size again.
lower settings also increase the processing
load on your Mac, which impacts the number Monitoring latency has no effect on recording:
of real-time effects plug-ins you can run at one it only exists for a live signal as it is being
time. monitored. It has no effect whatsoever on the
timing accuracy of the material being

28
CONFIGURING AUDIO DEVICES
recorded to disk. Digital Performer is UltraLite AVB USB interface. All devices
precisely calibrated to record and play back operate at the chosen sample rate in the
hard disk audio perfectly on time. Configure Hardware Driver window. To
prevent two or more systems from drifting
If adjusting the Buffer Size setting just doesn’t apart from one another during playback and
allow you to strike the right balance between recording, you need to resolve their audio
processor load and acceptable monitoring clocks.
latency, you can also try external hardware
monitoring, as explained in “Audio input There are two basic methods for resolving two
monitoring” on page 221 in the DP User digital audio devices: slave one device to the
Guide. other, or slave both devices to a third master
clock. If you have three or more digital audio
Work priority (Mac only) devices, you need to slave them all to a single
The Work Priority option (Figure 4-1 on master audio clock, such as a word clock
page 25) lets you set the Mac OS X thread distribution device or universal synchronizer.
priority for the MOTU Audio System engine.
Choose the highest setting your audio
hardware allows. Some audio devices, such as Master Master
the Yamaha 01X mixer, require the Low
setting. If you are experiencing audio
performance problems with other third-party
audio hardware, try the Medium setting. If Slave Slave Slave
problems persist, try the Low setting. When
Figure 4-2: To resolve two or more digital audio devices with
using the Medium and Low settings, you may each other, you need to choose a clock master.
need to increase the buffer size for best results.
For all MOTU audio interfaces, leave this To continue with our earlier example, you
option set to High. could slave the UltraLite AVB interface to the
1248 using optical, as demonstrated below:
Enabling multiple drivers (Mac only)
As demonstrated in Figure 4-1 on page 25,
you can Command-click multiple drivers in
the Configure Hardware Driver window. This
allows you to use two or more audio devices
simultaneously, such as a MOTU 1248
Thunderbolt audio interface and a MOTU

29
CONFIGURING AUDIO DEVICES
 Using the Mac’s built-in audio with external
Master 1248
Clock source: Internal audio hardware
Optical out
The Mac’s built-in audio hardware has no way
of sending or receiving a digital audio clock,
Optical in so it cannot be resolved with external audio
Slave UltraLite AVB hardware. Therefore, caution is advised when
Clock source: Optical
running built-in audio with external audio, as
Figure 4-3: To resolve two or more digital audio devices with you are likely to experience drift between the
each other, you need to choose a clock master.
built-in audio and external audio — and
Specifying the master device possibly artifacts in the audio.
Specify the device that will be the master
device by choosing it from the Master Device CONTROLLING MONITORING LATENCY
menu (Figure 4-1 on page 25). There are several computer performance
issues that you should know about regarding
Specifying clock sources Audio Patch Thru when running Digital
Use the clock source menus (Figure 4-1 on Performer (regardless of whether you are
page 25) to specify the clock source for each using the computer’s built-in audio, a MOTU
device. Typically, the master device will be set audio interface, or any other audio I/O). For
to Internal — or a similarly named clock details, see “Buffer Size” on page 28 and
mode that implies that it will be operating “Audio input monitoring” on page 221 in the
under its own clock — unless you are slaving DP User Guide.
your entire system to an external clock source
of some kind, such as synchronizer that is SLAVING TO EXTERNAL SYNC
resolving to video, blackburst, etc. In addition, if you plan to slave Digital
Performer to external sync (SMPTE time
The clock source setting for all other devices code), be sure to read chapter 84, “Audio
should reflect how they are being slaved to the Sync” (page 929) in the DP User Guide for
master device. In our example shown in important information.
Figure 4-3, the clock source setting for the
UltraLite AVB is Optical, since it is slaved to OPTIMIZING PERFORMANCE
the 1248 via an optical connection. You can further refine the audio performance
of your system with the items in the Configure
Audio System sub-menu (Setup menu). The
following sections discuss these features.

30
CONFIGURING AUDIO DEVICES
CONFIGURE STUDIO SETTINGS Stereo buses
The Configure Studio Settings dialog can be This setting determines the number of
opened by choosing Setup menu> Configure internal audio buses provided by Digital
Audio System > Configure Studio Settings. Performer and seen in the audio I/O menus
throughout the application. This value is fairly
arbitrary and does not in itself affect system
performance that much. The number of buses
you actually use, however, may have an impact
your system resources.

Prime Milliseconds
The Prime Milliseconds setting determines
how far in advance Digital Performer
Figure 4-4: The Configure Studio Settings dialog. processes and cues audio for playback,
The Configure Studio Settings dialog lets you including any pre-rendering of effects
fine-tune Digital Performer’s audio engine. processing or virtual instrument output, if
These settings are governed by many factors, any. For example, if Prime Milliseconds is set
including the amount of RAM in your to 125, when playback is underway, Digital
computer, the computer’s overall speed and Performer will generate audio 125
the performance of your hard drive. These milliseconds ahead of the playback wiper
options are best left at their default settings, location.
but they can be adjusted as described in the
If DP’s playback meter (Figure 4-6 on page 34)
following sections.
is maxing out, increasing the Prime
Free up as much RAM as possible Milliseconds value may help. The downside of
Before you attempt to adjust your studio doing so is that you may experience more
configuration, you should try to free up as latency (delay) when interacting with virtual
much RAM in your computer as possible. instruments and effects (turning knobs,
Here are several things you can do: interacting with the instrument or plug-in
window, dragging notes in the MIDI Graphic
■ Quit all other programs when running Editor, etc.)
Digital Performer.
■ Buy more RAM

31
CONFIGURING AUDIO DEVICES
 Automatic plug-in latency (delay) Automatic delay compensation only works
compensation with audio files being played back from a hard
Some plug-ins introduce a small amount of disk or virtual instruments being triggered by
delay (latency) to the track on which they are prerecorded MIDI tracks. Delay
instantiated. Here are a few examples of plug- compensation cannot be applied to live audio
ins that introduce latency: or MIDI being patched through from an
external live source (because it cannot be cued
■ Universal Audio UAD plug-ins
early by the audio engine).
■ Any plug-in that employs look-ahead
Digital Performer automatically determines
The amount of the delay depends on the plug- the delay compensation for each plug-in, if
in, and the delay is usually unavoidable, due to any. There is no additional preparation
the nature of the plug-in itself. For example, a necessary. In addition, Digital Performer
look-ahead peak limiter must delay the signal supports delay compensation for any MAS,
by the amount of the look-ahead in order to VST, or Audio Unit plug-in or virtual
do its job (usually several milliseconds). instrument.
Hardware accelerated plug-ins, such as
UAD-1 plug-ins, require an extra loop in their Most of the time, you will probably want to
signal path between the host computer and leave the Automatic Plug-in Latency
the acceleration hardware, and this loop Compensation option enabled. The only time
introduces a small amount of delay (usually you would likely need to disable it is if you are
on the order of several hundred samples or working with a project created in an earlier
so). version of Digital Performer in which you set
up latency compensation manually with delay
Digital Performer provides automatic plug-ins, etc. To make your old file play back
compensation for plug-in latency when disk exactly like it did in earlier versions of DP
audio is being played through the plug-in. In without making any changes to it, uncheck
essence, Digital Performer knows the exact this option. If you wish, you could then
amount of delay introduced by the plug-in remove your manual latency compensation
(down to the sample) and simply feeds the and then re-enable automatic compensation.
disk audio to the plug-in early by that same
amount, so that the plug-in has just enough
time to process the audio and play it perfectly
on time, with sample-accurate precision.

32
CONFIGURING AUDIO DEVICES
FINE-TUNING AUDIO I/O TIMING MIDI hits back into the file as audio and then
All audio hardware adds slight timing offsets compare the recorded version with the
to audio that it records and plays back. Digital original, “live” MIDI version. If you hear
Performer calibrates itself to compensate for flamming, adjust the Recording Offset option
these offsets. Usually, the result is that audio in the Fine-Tune Audio I/O Timing dialog.
plays perfectly in time with MIDI. Repeat the procedure as many times as needed
to fine-tune the timing.
There may be some cases, however, where
Digital Performer’s automatic calibration MORE WAYS TO ENHANCE
won’t quite be enough. Digital Performer lets PERFORMANCE
you fine-tune the offset for the audio to get it Here are a few additional ways in which you
to line up perfectly with MIDI. To do so, can improve audio performance:
choose Configure Audio System>Fine-tune
Get a multi-processor/multi-core
Audio I/O Timing from the Setup menu. Type
computer
in an offset in samples (try 100-sample Digital Performer takes full advantage of
increments at first) in the Playback offset multi-processor and multi-core processor
option as shown in Figure 4-5, click OK and computers. This is best way to get the most out
try playing again. Repeat this procedure until of your Digital Performer experience. For
MIDI and audio hits play together. example, a dual-processor or dual-core
machine would effectively double the
performance of Digital Performer on its
single-CPU or single-core counterpart.

Freezing tracks
Try freezing virtual instrument tracks or disk
tracks with effects on them to enhance
performance. See “Freezing tracks” on
page 139 in the DP User Guide.

Bouncing to play more tracks

Figure 4-5: Fine-tuning the timing of audio playback and
recording.
Another way to play more audio tracks is by
using Digital Performer’s Bounce to Disk
After you have fine-tuned the built-in audio feature, which takes any number of selected
playback offset, you can also fine-tune the audio tracks and bounces them down to a
Recording offset. To do so, you need to record

33
CONFIGURING AUDIO DEVICES
 single track. For more information, see
chapter 81, “Bounce To Disk” (page 891) in
the DP User Guide.

Spreading audio files over several disks

Another way to improve audio performance is
to spread your audio files over several hard
disks. This makes it easier on each drive,
Figure 4-6: The Audio Performance window shows you how
making your system more responsive and much of your computer system resources are being used. If the
possibly allowing you to be able to play more meters reach near the top, you should consider reducing the
number of audio tracks you are asking it to play.
tracks.
Processing
Choosing a lower sample rate The Processing meter shows how much of the
You can greatly improve audio performance computer’s CPU bandwidth is currently being
— as well as increase the number of used by Digital Performer. If the meter
simultaneous audio tracks — by using lower approaches 100% or “spikes”, try increasing
sample rates (44.1 kHz instead of 96 kHz for the buffer size (Figure 4-1 on page 25). Also
example). try the many techniques discussed earlier in
this chapter.
MONITORING SYSTEM PERFORMANCE
The Audio Performance window below in Playback
Figure 4-6 can be opened from the Studio The Playback meter shows activity in the
menu. This window displays a meter for the MOTU Audio System engine’s playback
processor resources of your computer, as well buffers. If this meter is peaking too high, try
as the playback and recording buffers in MAS. increasing the Prime Milliseconds setting
(Figure 4-4 on page 31), which gives DP more
time to process the audio.

Memory (32-bit operation only)

When Digital Performer is operating as a 32-
bit application, the Audio Performance
window displays a memory meter, which
displays how much of the 4GB memory
address space (allowed by Mac OS X for 32-bit
applications) is being used by Digital

34
CONFIGURING AUDIO DEVICES
Performer. If the meter reaches 100%, Digital
Performer has run out of memory and you
will likely experience performance issues. If
the meter approaches 100%, try removing
plug-ins from the project.

35
CONFIGURING AUDIO DEVICES
36
CONFIGURING AUDIO DEVICES
 Part 2
Getting Started
CHAPTER 5 What Next?

You are now ready to record and play MIDI Interactive guided lesson
and audio tracks in Digital Performer. Here is There is an interactive guided lesson, as part
an overview of where to go for further of the DP Tutorial and Demo files download
information. available at motu.com/download, that gives
you a guided tour through Digital Performer
If you don’t read manuals and would like in an actual project file. This is an excellent
to begin sequencing right away interactive way to get started with Digital
Go for it. Before you do, though, you might Performer, from setting up your audio
want to check out chapter 10, “A Guided Tour hardware to trying your first full mixdown.
of Digital Performer” (page 73) and
chapter 15, “Frequently Asked Questions”
(page 173).

To do this Go here
To get a brief overview of Digital Performer chapter 7, “About Digital Performer” (page 47)
chapter 10, “A Guided Tour of Digital Performer” (page 73)

To take an interactive tour of Digital Performer Go to motu.com/download and click the DP Tutorial and Demo files
download link. In the resulting folder, Look for the DP Guided Lesson
project.

To get a brief, step-by-step tutorial for MIDI chapter 11, “Tutorial 1: Recording MIDI” (page 117)
recording

To get a brief, step-by-step tutorial for audio chapter 12, “Tutorial 2: Recording Audio” (page 129)
recording

To get an extensive tutorial about how to cycle- chapter 13, “Tutorial 3: Building a Sequence” (page 137).
record and build a sequence

To get a tutorial on mixing and finishing your chapter 14, “Tutorial 4: Mixing and Finishing” (page 163)
sequence

If you don’t read manuals and would like to begin Go for it. Before you do, though, you might want to check out chapter 10,
sequencing right away “A Guided Tour of Digital Performer” (page 73) and chapter 15, “Fre-
quently Asked Questions” (page 173)

If you would like brief overview of the most recent Turn to chapter 6, “New Features in DP 9” (page 41).
changes in Digital Performer

39
 For basic feature overviews and tutorials For users of previous versions of Digital
Turn to Part 2 , “ Getting Started” (page 37) Performer
and Part 3 , “ Tutorials” (page 115). They If you are familiar with Digital Performer
provide an overview of how to operate Digital version 5 or earlier, please note that some user
Performer, along with several extensive interface elements have changed in Digital
tutorials. “User Interface Basics” and “A Performer version 6 and later. For information
Guided Tour of Digital Performer” take you on these changes, please refer to the “Users of
through the basics of the program. Two previous versions of Digital Performer” page
tutorials take you step-by-step through the in DP’s online help files (Help menu > Digital
process of recording your first MIDI and Performer Help).
audio track. Another tutorial shows you step-
by-step how to build an entire project, For more information
Turn to Part 4 , “ More
introducing you to a number of basic tasks
Information” (page 171) for Frequently Asked
such as quantizing and step recording, and a
Questions and other resources.
final tutorial helps you mix and finish your
project.

These tutorials are ideal for anyone who is new

to Digital Performer and would like a quick
look at “the lay of the land”.

40
WHAT NEXT?
CHAPTER 6 New Features in DP 9

Digital Performer version 9 introduces the Retina display support. . . . . . . . . (Getting Started) 8
following major enhancements. Page If your Mac has a Retina™ display, which
numbers refer to the Digital Performer User offers exceptionally high image resolution, DP
Guide unless otherwise noted. now supports the full resolution of your
display.
Mute MIDI Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
The Mute tool now mutes MIDI notes, as well Spectrogram display in the Sequence Editor . .344
as soundbites. The Sequence Editor now lets you display
audio tracks using a waveform display,
Project Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 spectrogram display or both. The
You can now add unlimited text notes to your spectrogram visually represents the frequency
project in the new Project Notes window. content of your audio tracks over time.
Numerous color schemes are provided.
New search fields . . . . . . . . . . . . . . . . . . . . .718 and 739
Search fields have been added to the Markers Automation lanes in the Sequence Editor . . . . .361
list, Chunks list and Plug-in Preferences list The Sequence Editor now lets you display
for quickly and easily finding markers, chunks audio and MIDI automation data in separate
and plug-ins. lanes, below the track, for easier viewing and
editing. You can show and hide as many lanes
Create Tracks command . . . . . . . . . . . . . . . . . . . . . . .117
as you wish.
The new Create Tracks command (Project
menu) lets you add many tracks to your MIDI Learn for audio plug-ins . . . . . . . . . . . . . . . . . .849
project in one step. You can even add different The new Learn Controller feature allows you to
types of tracks all at one. MIDI tracks can map knobs, faders and switches on your MIDI
automatically be generated for instruments. controller to audio plug-in parameters in
Digital Performer — and to Bus Send knobs
Floating plug-in windows. . . . . . . . . . . . . . . . . . . . . .837
in the Mixing Board. This connection is made
Plug-in windows can now remain in front of
through Digital Performer’s powerful Custom
other DP windows, on a per window basis.
Consoles feature, which provides advanced
There is also a new preference for floating by
programming for the connection.
default (when the window is first opened).

41
 MusicXML export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .473 View menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .292
You can now export scores that you create in The new View menu consolidates many
Digital Performer’s QuickScribe notation features in Digital Performer related to
window as a MusicXML file, which can then managing view-related commands and
be imported into popular music notation preferences. The View Filter command has
applications like Finale™ and Sibelius™. been moved to the View menu and renamed
MusicXML saves you time because the Filters. A large number of commands for
notation transcription, along with dynamics manipulating the visibility of tracks in
and many other musical symbols, are windows have been added, and they are also
preserved during the file transfer. available in the standalone Track Selector’s
mini- menu.
Support for 3rd-party video hardware. . . . . . . . .281
On OS X 10.7 or later, you can now use devices Track selector enhancements. . . . . . . . . . . . . . . . . .308
from Blackmagic Design and AJA Video The Tracks Overview can now display the
Systems to stream video output from Digital Track Selector like other windows. The Track
Performer. Choose the device in the same Selector can be popped out of the
fashion as described for MOTU video Consolidated Window as a stand-alone,
hardware in the DP User Guide. This feature is global window that affects all windows. The
Mac-only. Tracks Selector list now indicates which tracks
are currently record-enabled (bold) and
Support for Softube Console 1 disabled (italic), at a glance. New commands
Softube Console 1 is an integrated hardware/ in the new View menu allow you to take a
software mixing solution that brings the feel of snapshot of which tracks are currently visible
a real console to Digital Performer. Console 1 in the Track Selector and save the snapshot as
includes SSL SL 4000 E, a modeled analog a track layout. Saved track layouts appear in
console channel plug-in with 4-band EQ, the View menu and Commands window list,
compression, emulated analog console where they can be assigned hot keys for
saturation, and a unique Dynamic Shaper. For instant recall. Track layouts are bound to their
more information, see http:// sequence chunk and saved with the project.
www.softube.com/console1.php.
Select All
More vertical zooming in the Tracks Overview.164 The Select All command now only applies to
DP9 adds more vertical zoom steps to the the tracks visible (including closed folders) in
Tracks Overview so that tracks can be even a given window rather than all tracks in the
taller. sequence.

42
NEW FEATURES IN DP 9
Muting selected audio Improved latency . . . . . . . . . . . . .(Getting Started) 28
Using the Mute Selection command to mute or Host buffer latency under OS X has been cut
unmute a time range selection now scissors in half. As an example, if you choose a buffer
audio at the end points of the selection, e.g. setting of 128 samples, version 9.1 yields 256
you can select a subregion of a soundbite and samples of total host latency (one buffer on
toggle mute to mute just the selected area. input and one on output), plus any hardware
latency. This will improve audio I/O latency
Display preference for grid lines and virtual instrument performance.
There is a new display preference for showing
and hiding grid lines, instead of their visibility Improved WASAPI driver . . . . . . . . . . (Getting Started) 26
being bound to snapping being enabled or The I/O latency of the WASAPI (Windows
disabled. This defaults to being turned on. If Audio) driver has been significantly reduced.
you prefer to only see the edit grid while The CPU load of the sample rate conversion
snapping, uncheck View > Grid > Edit Lines used in the Windows Audio driver has also
and make sure Edit Lines While Snapping is been substantially reduced.
enabled.
Small buffer optimization. . . . .(Getting Started) 28
Countoff while slaved to external sync DP’s MOTU Audio System (MAS) engine
DP’s Countoff feature now works while DP is processing has been optimized to better
slaved to external sync and AutoRecord is support operation at smaller buffer sizes.
enabled. The click counts off to DP’s punch-in
time. Next-gen Pre-gen™. . . . . . . . . . . . . . . . . . . . . . . . . . . .842
DP’s Next-generation Pre-gen engine
Send knobs readouts transparently pre-renders audio output from
DP9 adds readouts for send knobs on mouse- virtual instruments and plug-ins to
over that you can optionally type into. dramatically reduce their CPU load. In
Option-clicking will immediately start editing version 9.1, this feature has been highly
the readout. optimized for greatly enhanced CPU
performance. In addition, virtual instruments
New commands are always available for preview activities,
New commands have been added for such as editing notes in the MIDI Graphic
changing which track or chunk is showing in Editor or using a VI’s on-screen keyboard
the focused editor and duplicating takes on (previously they were only active when
two or more selected tracks. playback was underway). DP seamlessly

43
NEW FEATURES IN DP 9
 manages transitions between pre-generated MicroG and MicroB . . . . . . . . . Plug-in Guide PDF 61
audio and live audio as needed (such as when MicroG and MicroB are subtractive synth
you record a virtual instrument live). processors based on the idea behind popular
“polyphonic octave generator” (POG) guitar
MX4. . . . . . . . . . . . . MX4 User Guide (DP Help menu) processors. These two plug-ins are similar to
MX4 is a powerful virtual instrument plug-in MegaSynth, except that each is streamlined
that features a unique, hybrid synthesis engine significantly. Each can generate octave, sub-
that combines several forms of synthesis, octave and square wave tones based on the
including subtractive, wavetable, frequency input signal, combined with a gain-triggered
modulation (FM), amplitude modulation filter sweep.
(AM) and analog emulation. MX4’s flexible
programming and advanced modulation MultiFuzz . . . . . . . . . . . . . . . . . . . Plug-in Guide PDF 62
architecture provide the intimacy of a vintage MultiFuzz is a spot-on reproduction of Craig
synth, the flexibility of a modular synth and Anderton’s legendary QuadraFuzz mulitband
the innovation of a virtual synth. distortion kit from decades past. Anderton
developed a relatively straightforward concept
Signature EDM soundbank . . . . . (MX4 User Guide) that produces absolutely monster guitar tones:
MX4 now includes 120 new EDM-inspired divide the input signal into four separate
presets, programmed by synth guru Erik frequency bands and then apply distortion
Norlander. Check them out in the MX4 independently to each band. The results range
soundbank menu. from sublime warmth to absolute filth.

MegaSynth . . . . . . . . . . . . . . . . . Plug-in Guide PDF 58 MasterWorks FET-76 . . . . . . . . Plug-in Guide PDF 47

MegaSynth is a subtractive synth processor The MasterWorks FET-76 is a detailed model
intended primarily for guitar and bass, of the 1176LN Limiting Amplifier, which was
although you can certainly run any signal you originally introduced in 1966. The original
wish through it. MegaSynth can generate 1176 used FETs (Field Effect Transistors) to
octave, sub-octave and square wave tones control audio gain reduction, and FET-76
based on the input signal. You can mix, route provides the exact same controls, including
and process the four signals (voices) in a the original’s All Buttons mode.
virtually infinite number of ways.
SMPTE-Z . . . . . . . . . . . . . . . . . . . . Plug-in Guide PDF 78
The SMPTE-Z plug-in generates Longitudinal
Time Code (LTC) while locked to DP’s time
line or while running independently in

44
NEW FEATURES IN DP 9
Freewheel mode. The Stillframe option causes
time code to continue to be generated even
when DP’s transport is stopped (parked on
one frame). Timecode can be routed
anywhere via the audio track’s output
assignment, allowing for accurate time code
sync in a wide variety of situations.

Hardware Insert . . . . . . . . . . . . Plug-in Guide PDF 30

The Hardware Insert plug-in functions just
like other DP effects plug-ins, but loops the
channel’s audio signal to a piece of outboard
hardware for external processing by the
hardware. It can be instantiated in line with
other software plug-ins and even saved as part
of an effect chain clipping. The plug-in
includes a button that pings the external
hardware, measures the resulting latency and
automatically compensates for it. The
hardware insert plug-in allows you to easily
incorporate outboard gear into your DP
effects chains.

45
NEW FEATURES IN DP 9
46
NEW FEATURES IN DP 9
CHAPTER 7 About Digital Performer

OVERVIEW Automated mixing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Digital Performer is an integrated digital MIDI and audio effects processing . . . . . . . . . . . . . . 50
audio workstation and MIDI sequencer Virtual instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
designed for the music and audio recording Mastering. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
professional. It provides a creative Music notation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
environment for comprehensive multitrack Studio configuration management. . . . . . . . . . . . . 51
recording, editing, arranging, mixing, Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
processing and mastering for a large variety of A customized workspace . . . . . . . . . . . . . . . . . . . . . . . 52
applications. Its speed, accuracy and
DESIGN PHILOSOPHY
flexibility make it the audio sequencer of
If one could use only a few words to describe
choice for music and audio professionals the
Digital Performer’s design philosophy,
world over. Digital Performer™ provides a
perhaps the best two would be clarity and
powerful approach to computer-based audio
depth. Digital Performer is loaded with
production: it combines MIDI sequencing
features, structured in a modular fashion such
with desktop digital music production inside
that you can use the ones you want and not
your computer, allowing you to simulta-
worry about the others. This is helpful for
neously record and play back multiple tracks
those of you who are new to the program, as
of digital audio and MIDI data in a compre-
well as experienced users who need functional
hensive, totally integrated, creative
power without unnecessary complexity.
environment. Digital Performer’s award-
winning design provides you with The basic recording and playback functions
unprecedented flexibility and control over the are very straightforward, modeled after tape
music that you make. deck functions. They are located in Digital
Performer’s Control Panel:
Design philosophy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
MIDI sequencing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Digital audio recording . . . . . . . . . . . . . . . . . . . . . . . . . 49
Seamless MIDI and audio . . . . . . . . . . . . . . . . . . . . . . . 49 Figure 7-1: Digital Performer’s Control Panel.
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Arranging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

47
 MIDI and audio data is recorded in Digital machines, hardware sequencers, synchroni-
Performer with the highest degree of precision zation devices and more. It is also compatible
and accuracy ever achieved in an audio with many “virtual” software synthesizer and
sequencer: sample-accurate precision for sampler products now available. Using the
audio and sub-millisecond timing accuracy built-in sound capabilities of your computer
for MIDI. Adjustable PPQ (Parts Per Quarter and third-party virtual instrument products,
Note) resolution allows you to work at any you could complete Digital Performer
degree of precision you like. As many tracks as projects with no extra hardware whatsoever.
you need for recording and playback are
available to you. Almost every operation in A MIDI sequencer is like a cross between a
Digital Performer can be done while the tape recorder and a player piano: the physical
sequence is playing back or recording, so you actions you make when playing the keyboard
don’t have to stop the music to get things or other MIDI controller instruments are
done. stored not as audio signals (as your tape
machine would record) but as numerical
MIDI SEQUENCING information that represents music (pitches,
To use Digital Performer for MIDI attacks, releases, pitch bends and more). The
sequencing, you must have a computer, a nuances in your musical performance are
MIDI controller of some kind (such as a analyzed and its components encoded and
keyboard synthesizer or MIDI drum kit) and stored. When played back, the synthesizer
a sound source (such as a MIDI sound module recreates your original performance. In this
or a software synthesizer running on the way, the recorded sequence is more like a
computer). Your external MIDI gear may also player piano roll, telling the instrument
require a MIDI interface, although some exactly how to play itself. One nice thing about
MIDI hardware products now connect MIDI is that you can use any compatible
directly to a computer. instrument for playback. You can also edit the
individual elements of your sequence, such as
This is the minimal setup you will need, a single bad note in an otherwise flawless
although Digital Performer can support any performance. MIDI sequencing provides you
configuration of MIDI instruments. Digital with a way to manipulate virtually any
Performer works well with all MIDI parameter of a musical performance.
instruments. It is capable of handling the most
complex MIDI situations. It is compatible For example, Digital Performer’s custom
with any MIDI-equipped hardware device, consoles let you build a MIDI data
such as synthesizers, samplers, drum transmission console from scratch, adding

48
ABOUT DIGITAL PERFORMER
buttons, knobs, sliders, LCD readouts, and mix onto an audio compact disc from within
more, and you can program them to generate Digital Performer, or export the file and burn
any type of MIDI data, including SysEx. with any commercially available audio CD
burning software. Digital Performer can take
Digital Performer offers sophisticated you from your initial creative idea all the way
rhythmic correction (quantizing) features. It to your final mix—all within the high-fidelity,
is possible to vary the degree of effectiveness powerful and flexible realm of computer-
of quantization, allowing you to preserve the based random access digital audio recording.
“free” quality of your performance while
putting the critical notes on the beat. In If you are not familiar with hard disk
addition, special metric effects such as beat recording and playback, there are aspects to
shifting and doubling attacks can be done. Digital Performer that may be entirely new to
The powerful Humanize command can you. If so, we recommend that you review
produce more human feel in a part that may chapter 8, “Hard Disk Recording Concepts”
have been over-quantized. In fact, most of (page 53) for a briefing on concepts that are
Digital Performer’s powerful editing crucial for working with Digital Performer.
commands provide humanization options
that can loosen up the feel so that it’s just right. SEAMLESS MIDI AND AUDIO
Throughout Digital Performer, you’ll find
DIGITAL AUDIO RECORDING features that work on MIDI and audio data in
Digital Performer can record and play digital exactly the same way — often in the same
audio on any computer that meets the window. For example, the Sequence Editor
minimum requirements —without any extra window graphically displays MIDI and audio
audio cards installed inside the computer. data side by side in resizable track strips.
Digital Performer also supports professional Soundbites (parcels of audio data) can be cut,
Thunderbolt, AVB, high-speed USB, PCI, and copied, and pasted at the same time as MIDI
FireWire hard disk recording systems from note data.
MOTU and other companies.
EDITING
Digital Performer also provides sophisticated After you’ve recorded, there is a great deal of
mixing and mastering capabilities. A track editing power at your fingertips — you can
bouncing feature allows you to create a change anything in your sequence, from a
mixdown of your project for mastering (in single event to a large section of data. Single
Digital Performer or any other mastering events or selections of data can be edited or
system). You can then burn your mastered inserted anywhere in the sequence. The basic

49
ABOUT DIGITAL PERFORMER
 Cut and Paste operations and the region key signatures, meter changes, very flexible
editing commands allow you to edit and and powerful tempo control features, and
create data: you can transpose whole sections, much more.
change controller values smoothly, create new
pitch bend data, control velocity to create AUTOMATED MIXING
dynamic effects, create echo effects and more, Digital Performer’s Mixing Board window
each in only a few steps. State-of-the-art provides a virtual, automated mixing
quantizing features such as Humanize and environment. Use pan pots, volume faders
Groove Quantize help you perfect the and plug-in parameter controls to automate
rhythmic nuance in your sequences. your entire mix. Based on familiar mixing
board designs, Digital Performer’s Mixing
To access the data that makes up your Board can be customized to fit your computer
sequence, Digital Performer offers seven screen and your mixing needs. Instantly show
powerful event-editing environments: the and hide tracks, and even hide cross-sections
Event List, the MIDI Editor, the Notation of the console that you aren’t using at the
Editor, the Drum Editor, the QuickScribe moment. You can save custom board layouts
Editor, the Waveform Editor and the Sequence as well. Fader groups can be created. Real time
Editor. All windows support single-event and MIDI effects processing inserts can be applied
region editing as described above, and every to any track. The Mix menu allows you to
track in your sequence can be viewed and create multiple mixdowns, which store all of
edited in any window at any time. the mix automation data for the entire
sequence under one name. You can create an
The Undo History window gives you unlimited number of multiple mixdowns.
complete freedom to experiment, always
allowing you to return your project to any When you’re ready to jump into full surround
prior state. production, Digital Performer provides all the
tools you need to fully record, mix, process
ARRANGING and master your project in any standard
Digital Performer’s arranging features give surround sound format.
you creative freedom to make large-scale
changes to your project quickly and efficiently. MIDI AND AUDIO EFFECTS
In addition, many of its arranging features let PROCESSING
you interact musically with your project, via Digital Performer ships with over 60 MIDI
and audio effects plug-ins that you can apply
freely to your mix in the Mixing Board. From

50
ABOUT DIGITAL PERFORMER
a simple 2-band EQ to premium plug-ins such Add musical symbols such as hairpin
as Sonic Modulator and PreAmp-1, to the 64- dynamics, articulations, and lyrics. Then
bit MasterWorks series, Digital Performer’s arrange your score with repeats, endings,
included plug-ins give you all the tools you codas and other score arrangement features.
need for great-sounding recordings. QuickScribe is ideal for lead sheets,
instrument parts, or scores, which can be
VIRTUAL INSTRUMENTS printed on any printer.
Digital Performer includes a host of simple,
great-sounding virtual instruments that will If you want to transfer your sequence to a
get you started making music quickly. From dedicated notation program, simply save your
the beefy, monophonic BassLine to the work as a Standard MIDI File or MusicXML
evocative FM synth, Proton, hundreds of file. The transfer process is simple and fast.
presets and intuitive programming give you
many sounds at your fingertips. STUDIO CONFIGURATION
MANAGEMENT
Digital Performer also serves as a virtual Digital Performer provides an intuitive,
studio platform for a wide range of compatible convenient, and consistent way for you to
third-party plug-in and virtual instrument interact with the hardware in your studio,
products. such as intuitive device selection menus that
refer to your gear by name. Studio
MASTERING configuration is quick and easy, and it applies
After you’ve recorded, edited, arranged, across all projects. If you bring your projects
mixed and processed your project, Digital to another studio, Digital Performer
Performer gives you mastering plug-ins and remembers your original hardware
bounce to disk features, allowing you to configuration for easy remapping at the other
master your mix for delivery in any form, studio.
from WAVE and AIFF to audio compact disc
and MP3. Bounce and burn to take your SYNCHRONIZATION
project from multi-track to audio CD in one Digital Performer has extensive synchroni-
step. zation capabilities, including Tap Tempo. This
type of sync allows you not only to control the
MUSIC NOTATION tempo of an existing sequence as it plays back,
Digital Performer’s QuickScribe Editor but to create a tempo map in real time before,
displays any combination of tracks as music during, or after recording — all by simply
notation on screen exactly as it will print out. tapping the tempo on your MIDI controller.

51
ABOUT DIGITAL PERFORMER
 For example, you can tap along to a
prerecorded acoustic performance, creating a
precise tempo map complete with
accelerandos, ritards, and rubato passages,
then sync your Digital Performer sequence to
the recording. After you’ve got a tempo map,
the powerful Scale Tempos command
provides you with every conceivable way of
tweaking your tempo map, including scaling
tempos to fit time.

Since their inception, both Performer and

Digital Performer have provided extensive
SMPTE synchronization and tempo
programming features. Coupled with its
flexible tempo features, Digital Performer’s
synchronization capabilities make it the audio
sequencer of choice for musicians working
with film and video.

A CUSTOMIZED WORKSPACE
Digital Performer can be customized from top
to bottom to fit your needs, from MIDI note
velocity shading to entire window sets. To
learn more, see Part 2 , “ Customizing Your
Workspace” (page 67) in the DP User Guide.

52
ABOUT DIGITAL PERFORMER
CHAPTER 8 Hard Disk Recording Concepts

OVERVIEW HOW AUDIO IS RECORDED ON DISK

This chapter briefly covers several important Digital Performer and other computer-based
concepts about hard disk-based digital audio digital audio recording systems record audio
recording. You may not feel that you have the data in much the same way. Audio data gets
time to review the “basics”, but the more you recorded onto the hard disk in the form of an
know, the more you will be able to audio file: you press record in Digital
accomplish. After you read this chapter (it will Performer, play in some music, and the audio
only take a few minutes): signal is encoded digitally in the audio file.

■ You will get a better sense of the vast Digital Performer automatically creates a
creative possibilities open to you with this separate audio file for each record take. By
technology. default, Digital Performer uses interleaved
audio, which stores all channels for each track
■ You will work more efficiently.
in a single file. If you record onto a mono
■ You will be less likely to make costly audio track, a stereo audio track, and a 5.1
mistakes. audio track, Digital Performer will create
three audio files.
If you are using an audio interface from
another company, be sure to consult the You may also use non-interleaved, or split
owner’s manual, as the use of third-party stereo, audio files. If so, recorded stereo audio
hardware can impact Digital Performer in data is stored as separate mono files with the
many important ways. same name and .L and .R before the file
extensions, such as “Guitar-1.L.wav” and
How audio is recorded on disk . . . . . . . . . . . . . . . . . . 53
“Guitar-1.R.wav.” The corresponding
How hard disk recording differs from tape. . . . . . 54
soundbites in the track remain perfectly
How much disk space does audio require? . . . . . 56
sample-locked, no matter what you do. The
Hard disk requirements and maintenance. . . . . . 57
same applies to surround tracks, but the
Digital audio terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
naming scheme is slightly more complicated.
The mixing format and channel designation is
appended after the filename. The final

53
 filename may end up as “my mix.5.1.L.wav” Consider, on the other hand, how a computer
for the front left channel of a 5.1 surround hard disk works: it consists of a round,
track. magnetic platter that spins very fast and stores
data. Suspended above this spinning platter is
Every time you press the record button, record an extremely fast read/write mechanism,
some music, and then stop, Digital Performer which reads and writes data to the platter. The
automatically creates a new audio file when read/write “head” moves incredibly fast (faster
you start recording, records the audio data than the eye can see), providing virtually
into the audio file as you play, and then closes instantaneous access to any location on the
the audio file when you press stop. Digital hard disk.
Performer immediately readies another audio
file for the next take while inserting the last Hard Sectors on the
disk hard disk
one into the audio track at the appropriate platter
time and adding it to the list in the Soundbites
window.

HOW HARD DISK RECORDING DIFFERS

FROM TAPE
Consider for a moment how audio is recorded
on a tape deck: it is essentially a linear process.
The audio signal gets recorded in a straight Digitally encoded
audio data
line (on the tape) from beginning to end. To
play back, the tape passes over the head of the Figure 8-2: With a hard disk recording system, audio is
tape deck. If you want to start playback at a converted into digital form (numbers) and stored on the hard
disk platter, much like a CD player. The hard disk read/write
certain location in the music, you have to fast- mechanism moves so fast, it has virtually instantaneous
forward or rewind the tape to that location. access to any location on the hard disk.

This is true for traditional analog tape decks Random access

as well as digital tape machines. This instantaneous access, often called
random access, allows you to cue immediately
to any location in your music, without having
Tape Audio recorded on tape to wait for the hard disk mechanism to locate
it. Hard disk recording systems convert an
audio signal into digital data (basically
Figure 8-1: On a traditional tape deck, audio is recorded transforming the audio signal into a
linearly on the tape from beginning to end.
continuous stream of numbers), and then

54
HARD DISK RECORDING CONCEPTS
write the digital data sequentially to the hard Non-linear editing and playback
disk. Because of the extremely high speed of As you can see in Figure 8-3, non-destructive
the hard disk read/write mechanism, you have editing makes it quick and easy to re-arrange
instant access to any part of the recorded the order of any portion of the originally
audio. recorded audio. You can revert to the original
take at any time.
Non-destructive editing
With their random access capability, hard disk Repetition without duplication
recording systems provide other important Random access also allows you to repeat the
advantages over tape machines. For example, same section of music as many times as you
you can cut, snip, splice, shift, re-arrange, and like within your piece of music without
otherwise edit the original pass of audio duplicating the actual audio data itself. For
without actually modifying the original data. example, you could have a one-measure drum
If you rearrange the order of a few sections in loop that repeats for 60 measures, but it only
a digital audio track, Digital Performer simply consists of one measure’s worth of audio—
rearranges references to those sections of data approximately two seconds. The loop is
without affecting the original audio data itself. simply placed end to end in the track sixty
This process, called non-destructive editing, is times. (Alternatively, it could be looped with a
possible because Digital Performer stores the loop in the track.) You can even play back the
edit points separately from the audio data. You same region of audio on several tracks at the
can always revert to the original audio data if same time. A chorus effect can be created with
you want, up until the time that you decide to a vocal passage by placing it in four separate
permanently erase it from the hard disk. tracks and slightly offsetting the audio in each
track. When you do so, Digital Performer
Instantaneous editing does not actually create four copies of the
Non-destructive editing is a virtually audio data on your hard disk; instead, the
instantaneous process because the edit points computer references the same passage of
you create during editing are very small (only audio on the hard disk four times simulta-
a few bytes) and can therefore be handled neously. As a result, you are actually
quickly by the computer. As a result, your edits conserving hard disk space when using a
in Digital Performer take effect immediately single region of audio in multiple places.
as you do them.

55
HARD DISK RECORDING CONCEPTS
 HOW MUCH DISK SPACE DOES AUDIO The table below shows disk space (in
REQUIRE? Megabytes) for one minute of digital audio at
The freedom you enjoy as a result of the various sample rates and bit depths:
benefits described above comes at a price:
Bits Ch 44.1 kHz 48 kHz 88.2 kHz 96 kHz 176.4 kHz 192 kHz
hard disk space. One mono minute of CD-
16 1 5.3 5.7 10.5 11.5 21 23
quality (16-bit, 44.1 kHz) audio takes up
about 5 megabytes (MB) of space on your 24 1 7.9 8.6 15.9 17.3 31.7 34.6

hard disk. A stereo minute takes up 10 MB. If 32 1 10.5 11.5 21 23 42.3 46

you have a MOTU 1248 hard disk recording 16 2 10.6 11.5 21.2 23 42.3 46
system, and you have audio playing on 24
24 2 15.9 17.2 31.7 34.5 63.5 69
channels for a five minute tune, that’s
32 2 21.1 23 42.3 46 84.7 92
24 channels times 5 minutes, which adds up to
120 minutes of audio. Multiply that by 5 MB
Figure 8-4: Hard disk space requirements for one minute of
per minute, and your 5 minute song takes up mono and stereo digital audio at various sample rates and bit
600 MB of hard disk space! And that doesn’t depths.
count alternative takes, overdubs, and other Fortunately, Digital Performer’s Audio
audio that you generate during the course of a Monitor always shows you how much hard
recording session. During a typical session, disk space you have available on your hard
you can easily fill upwards of 1 GB (1 disk during a session so that you can manage
gigabyte) of hard disk space in no time.

Audio track in Digital

Performer with original take:
Verse 1 Verse 2 Chorus

Edit points at section boundaries

The same track after
non-destructive editing:
Verse 1 Chorus Verse 2

Figure 8-3: Hard disk recording systems provide non-destructive editing, which gives you instantaneous flexibility, as well as the
ability to revert back to the original take at any time. Note that when you do this type of editing in Digital Performer, the audio data
stored on hard disk does not move. Digital Performer just rearranges ‘pointers’ to the audio data.

56
HARD DISK RECORDING CONCEPTS
your audio tracks intelligently and never run In either case, hard disk maintenance
out of space at a crucial moment (such as the procedures such as defragmenting and
middle of a record pass!). re-initializing will help improve overall
performance.
☛ If you anticipate creating audio files
larger than 4 GB (about 6.7 hours when DIGITAL AUDIO TERMS
recording as 44.1 kHz 16 bit stereo interleaved Here are some terms and concepts you should
files), use the Broadcast WAVE file format. For be familiar with.
details, see “Wave64” on page 70 in the DP
User Guide. Project
A project is a folder that Digital Performer
In addition, Digital Performer provides audio creates on your hard disk when you start a
management features that let you easily new recording session. It includes a Digital
identify unused audio and delete it from the Performer file, along with a folder for the
hard disk. audio files you’ll generate while recording.

HARD DISK REQUIREMENTS AND Audio file (or Sound file)

MAINTENANCE An audio file is a document on your
Digital Performer itself does not have any computer’s hard disk that contains digital
special requirements with regard to the audio data. Its size is determined by the
performance of the hard disks on which you duration of the audio data, by the sample
will be recording audio. If you are using resolution, and by the number of audio
Digital Performer without a sound card, the channels (1 for mono files, 2 for stereo files). A
faster your hard drive, the more tracks you one-minute mono audio file recorded at 44.1
will be able to play and record simultaneously. kHz takes up about 5 megabytes of hard disk
(To learn more about getting the most out of space. Stereo files are twice as large as mono
your computer’s performance, see “Configure files. Therefore, a one-minute stereo file is
Studio Settings” on page 31.) about 10 megabytes.

If you are using an audio interface from Audio files come in several different formats.
another company, it may have certain In Digital Performer, the default format for
requirements for hard disk performance. To recording is Broadcast WAVE, but you can
avoid problems, be sure to consult the manual. also record as AIFF (Audio Interchange File
Format).

57
HARD DISK RECORDING CONCEPTS
 Audio files contain more than just the audio Soundbite
information. They also contain a list of regions The word Soundbite is synonymous with the
(explained below) in the audio file, as well as word Region as described above. In Digital
any playlists (also explained below) that have Performer, we call regions soundbites because
been created for it using other audio software the word region means something entirely
programs. different in Digital Performer: it is a period of
time within one or more tracks over which an
editing command will take effect. (For
example, consider Digital Performer’s Region
Audio data menu.) Therefore, to avoid confusion with the
word region, we use the term soundbite to
Regions Playlists describe an audio region. They are one and
the same.
A Broadcast WAVE file
Soundbites can be placed in any audio track at
any time location. They can be duplicated as
Figure 8-5: An audio file contains the original audio recorded many times as you like with virtually no
into it, as well as any regions (soundbites) and playlists created
by Digital Performer or other audio editing software you might
additional memory overhead, since they are
use to edit the file. merely pointers to audio data on the hard
disk. With only two exceptions, soundbite
Region
This is the term most commonly used to refer editing and management in Digital Performer
to a section of audio in an audio file. It could is entirely non-destructive. (The exceptions
be a one-second sound effect, a 16-bar phrase, are the Compact command and deleting the
or the entire length of the audio file. You can very last soundbite in an audio file, which
define an unlimited number of regions in an cause audio data to be deleted from disk.)
audio file. Technically speaking, a region
consists of pointers, which are references to the
exact location (digital sample) in the audio file
where the region begins and ends. These
pointers are very small compared to the
amount of audio data they represent. This is
why region editing is so fast and efficient: it
deals with the manipulation of pointers,
which consist of a very small amount of data.

58
HARD DISK RECORDING CONCEPTS
 Soundbite.1 Soundbite.2 Soundbite.3

Figure 8-7: Assigning an audio track to an audio output.

Figure 8-6: Soundbites (regions) exist within an audio file. A
soundbite is any portion of an audio file. It can even be the Audio input/output
entire audio file. Soundbites that you record or import into a An audio input or output refers to the physical
Digital Performer file are cataloged in the Soundbites window.
They appear as regions of audio in the Sequence Editor and input or output jack in the recording system
Event Lists of audio tracks. you are using. If you are running Digital
Playlist Performer without an audio interface, you will
A playlist is a collection of regions played end- use the microphone and speaker jacks
to-end to produce a continuous presentation (usually in the form of stereo mini plugs)
of music. Some programs can save playlists located directly on the computer itself. If you
within the audio file itself, just like regions. are using an audio interface of some kind, the
Playlists stored in audio files can be imported interface will have digital and/or analog input
into Digital Performer as a single audio track and output connectors. Regardless of the
in the Tracks window. You can also build a system you have, Digital Performer allows you
playlist in Digital Performer by dragging to freely assign audio tracks to whatever
soundbites from the Soundbites window into physical inputs and outputs are provided.
a track’s Event List.
MOTU Audio System
Audio track The MOTU Audio System is the “audio engine”
An audio track holds audio regions that provides digital audio recording and
(soundbites), as well as audio volume and pan playback in Digital Performer. The MOTU
data. You can view the contents of an audio Audio System can operate with no extra audio
track with its Event List and/or the Sequence hardware installed in the computer, although
Editor. it also supports all MOTU audio interfaces
and a wide variety of third-party audio
hardware.

59
HARD DISK RECORDING CONCEPTS
 The MOTU Audio System also supplies real- the MOTU Audio System with one of these
time effects plug-ins that you can use to systems, you get the best of both worlds: you
process audio tracks in real time with effects get to take advantage of the large number of
like parametric EQ, reverb, chorusing, etc. It is possible audio tracks and real-time effects
also an open system, supporting real time provided by the MOTU Audio System, along
plug-ins from other companies as well. All with the high-fidelity analog and digital
plug-ins are processed with extremely high inputs and outputs supplied by the audio
fidelity 32-bit, floating point calculations. hardware.

In general, the overall performance of the For the most part, you don’t need to be
MOTU Audio System (the number of audio concerned with the MOTU Audio System. It
tracks you can play simultaneously, along with runs automatically when you use Digital
the maximum amount of effects processing Performer. The only time you would think
you can employ in real time) depends on the about it is if you would like to try to optimize
overall speed and performance of your its performance with the Configure Audio
computer. Together with these features, the System in the Setup menu of Digital
MOTU Audio System also supports all MOTU Performer. For details, see “Configure Studio
Audio interfaces, as well as a wide variety of Settings” on page 31.
third-party audio hardware. When you use

60
HARD DISK RECORDING CONCEPTS
CHAPTER 9 User Interface Basics

OVERVIEW LEARN TO USE YOUR COMPUTER

The user interface encompasses everything Before using Digital Performer, please review
that you do to interact with the program: what the standard user interface conventions for
you see on the screen and how you use the your computer. Be sure you are familiar with
mouse, keyboard, and peripheral devices. In how to:
this chapter you’ll find information about
Digital Performer’s windows, dialog boxes, ■ Use the mouse and keyboard
mouse and keyboard actions, and how to ■ Open, copy and delete files
specify and change time locations.
■ Drag and drop items
Learn to use your computer . . . . . . . . . . . . . . . . . . . . 61
■ Choose commands from menus
Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 ■ Select options using push buttons, radio

The Window menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 buttons and check boxes

Clicking shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
■ Respond to dialog boxes
Using modifier keys with cursor actions . . . . . . . . 66
Contextual menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 ■ Use keyboard shortcuts
Standard keyboard shortcuts. . . . . . . . . . . . . . . . . . . 68
■ Enter and edit text
Customizing keyboard shortcuts . . . . . . . . . . . . . . . 69
Changing text box values by dragging . . . . . . . . . 69 WINDOWS
Main counter shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . 69 An example of a Digital Performer window is
Using the numeric keypad . . . . . . . . . . . . . . . . . . . . . . 70 shown in Figure 9-2 on page 63.

Window controls
All of Digital Performer’s standard window
controls, such as the close button, minimize
button, zoom button, and scroll bars, work
the same way as standard window controls.

61
 Window title
The window title shows the name of the
Mini-menu
window, and often the track or sequence that button
it pertains to.

Window target
Click this tab to switch the window to a Mini-menu
different track, sequence, etc. For more
details, see “Window Target” on page 309 in
the DP User Guide.

Window target

Figure 9-3: A Digital Performer mini-menu.

Tab bar
Window Double-click the Tab bar (Figure 9-2) to pop
target the window in or out of Digital Performer’s
menu
Consolidated Window. For details, see
“Popping windows in and out” on page 105 in
the DP User Guide.

Tab bar expand/collapse button (Mac

only)
On the Mac, you can collapse the Tab bar area
Figure 9-1: Click the window target tab to switch the window
to a different track, sequence., etc. of a window to reduce the amount of screen
space it uses. Click on the Tab bar expand/
Mini-menus collapse button once to collapse it, and again
Many Digital Performer windows have a
to expand it to its original size.
mini-menu as shown in Figure 9-3. Mini-
menus operate the same way as menu bar
menus at the top of the screen. Mini-menus
contain commands pertinent to that
particular window.

62
USER INTERFACE BASICS
 Track Selector button
Expand/collapse button
The Track Selector button shows and hides the
track selector list along the left-hand side of
the window.

Track Selector list

Click the track names or track folders in the
Track Selector list to show/hide them. You can
☛ The tab bar expand/collapse button is also expand and collapse track folders as
not available under Mac OS X 10.8. explained in “Track folders in the track
selector” on page 308 in the DP User Guide.

Minimize
button Window Title bar Window title Tab bar Window Tab bar
Close Zoom (double-click to pop-in/out Target collapse/
button button of Consolidated window) expand

Mini-menu

Scroll tab

Scroll bar

Zoom
controls

Grow box
Track selector list Track selector show/hide button
Figure 9-2: A Digital Performer window.

63
USER INTERFACE BASICS
 Zoom controls THE WINDOW MENU
These zoom the current window in and out. The Window menu helps you manage the
Some windows have only horizontal zoom Digital Performer windows on your computer
controls, whereas others have both horizontal screen.
and vertical zoom controls.
The Close command closes the top-most
The active window window.
Most of the time, the window in which you are
currently working is the active window. The Bring All To Front brings all Digital Performer
active window is indicated by fully detailed windows in front of all other windows from
borders; when a window is inactive its top other applications (and the computer
border and scroll bar are blank. To activate a desktop).
window so that you can work in it, simply
click anywhere on it. Digital Performer’s Tool Push Window to Back moves the topmost DP
palette is always active; it is not necessary to window behind all other DP windows.
click on it first.
The Next/Last Edit window commands cycle
A single click on an inactive window makes through all of the currently open edit
that window active, and in addition, the item windows.
in the window that was clicked responds.
The Show/Hide Left/Right Sidebar
Edit windows commands expand or collapse the left and
Edit windows, such as the Sequence Editor right sidebars in the Consolidated window.
and MIDI Editor, have some additional
The Set Focus to Next/Previous Cell
common window elements. See “Edit
commands let you move the cell focus in the
Windows” on page 305 in the DP User Guide.
Consolidated window, for things like
CONTROL PANEL keyboard shortcuts and menu commands.
The Control Panel is the command center for Close Cell closes the currently focused cell.
your DP project. It contains basic transport Pop Out of Consolidated Window removes the
controls like Play, Stop, Record, etc., playback currently focused cell from the Consolidated
location Counters, and some additional Window and puts it into its own window.
modes and playback controls such as Memory
Cycle, Click, Countoff, and so on. For more The Window Sets hierarchical menu lets you
information, see “Control Panel” on page 76. save your favorite window layouts, assign
keyboard shortcuts to them, and recall them

64
USER INTERFACE BASICS
whenever you want. For details, see Closing all effect windows
chapter 10, “Window Sets” (page 107) in the To close all open effect windows, press
DP User Guide. Command-Shift-Control-W (Mac) or
Control-Shift-Win-W (Windows). If you hold
The Windows List displays all of the open down the Shift and Control/Win keys when
windows, with a check next to the active choosing the Close command in the Window
window. Select a window to make it the active menu, it changes to Close All Effect Windows.
window.
MODIFIER KEYS
Closing all edit windows DP employs the following modifier keys on
Digital Performer provides several shortcuts Mac and Windows:
for closing all open edit windows (Event Lists,
MIDI Editors, the Drum Editor, QuickScribe Mac Windows
Editor, etc.): Shift Shift

Option Alt
■ Press Command-Option-W (Mac) or Ctrl-
Alt-W (Windows). Command Ctrl

Control Windows logo (Win)

■ Option/Alt-click the close button in any
edit window.
In this manual, references to the Mac Control
■ Press the Option/Alt key and the Close
key spell out the whole word, while references
command in the Window menu changes to
to the Windows Ctrl key use the abbreviated
Close All Edit windows.
form found on most PC keyboards.
Closing all windows
When referring to modifier keys, this manual
To close all open windows (except the Control
uses the following conventions:
Panel, if it is ), press Command-Control-W
(Mac) or Ctrl-Win-W (Win). If you hold Separator Example What it indicates
down the Command and Control keys (Mac) - (dash) Ctrl-Alt-click Indicates modifier keys
or Ctrl and Win keys (Windows) when that should be pressed in
combination
choosing the Close command in the Window
/ (slash) Option/Alt-click Serves as a separator
menu, it changes to Close All Windows. between Mac and Win-
dows keys.

65
USER INTERFACE BASICS
 CLICKING SHORTCUTS To Shift-click, hold down the Shift key, move
Option/Alt-click: If you hold down the the mouse to position the arrow cursor on the
Option/Alt key and click on a check box, all object and click the mouse. Shift-clicking is
check boxes will be unchecked except for the used for selecting contiguous items; for
one you Option/Alt-clicked. example, to select ten consecutive tracks in the
Tracks List, click on the first track, the hold
Command/Ctrl-click: If you hold down the shift and click on the tenth track. You can also
Command/Ctrl key and click on a check box, click and drag across items in a list to make a
all check boxes will be checked except for the contiguous selection.
one you clicked.
To Shift-drag, hold down the Shift key while
USING MODIFIER KEYS WITH CURSOR dragging. Doing so extends the current
ACTIONS selection — with one exception: in the
Some actions are done with the cursor and
graphic editors, Shift-dragging one or more
keyboard together:
events constrains dragging vertically or
To Control/Win-click: Hold down the Control/ horizontally.
Win key, move the mouse to position the
To Option/Alt-click, hold down the Option/Alt
arrow cursor on the object and click the
key, move the mouse to position the arrow
mouse. In many places, Control/Win-clicking
cursor on the object and click the mouse.
will cause a contextual menu to appear with
Option/Alt-click is used to edit the name of a
convenient shortcuts to relevant commands
track, sequence, song or marker for editing.
and options. See “Contextual menus”, below.
After editing, the new entry can be confirmed
To Command/Ctrl-click, hold down the by pressing the Return key.
Command/Ctrl key, move the mouse to
To Option/Alt-drag, hold down the Option/Alt
position the arrow cursor on the object and
key while dragging. Doing so makes a copy of
click the mouse. Command/Ctrl-clicking is
what you are Option/Alt-dragging. This is
used for selecting non-contiguous items; for
also a shortcut for zooming in edit window, if
example, you would use Command/Ctrl-click
you hold Option/Alt before you click and
to select several independent events in an Edit
drag.
window. Command/Ctrl-click also toggles the
current grid snapping setting. For example, if
grid snapping is turned on, holding down the
Command/Ctrl key temporarily disables it.

66
USER INTERFACE BASICS
CONTEXTUAL MENUS Contextual menu items
Contextual menus appear throughout Digital The menu items shown in the contextual
Performer to provide convenient access to menu will depend on the context, as the name
frequently used commands and options. implies. For example, if you right-click on a
selection of audio data in the Sequence Editor
(as shown in Figure 9-4), you will see
contextual menu items for moving and editing
audio data, opening the data in other
windows, and Sequence Editor track options.
Some menu items may be unavailable
temporarily (grayed out) depending on the
kind of selection you have made, which layer
is active, whether there is any data on the
clipboard, and so on.

All items that appear in the contextual menus

are available elsewhere as regular menu items,
mini-menu items, keyboard shortcuts, and so
on. That is, the contextual menu is never the
only place to find a command or option.
Figure 9-4: The contextual menu for an audio selection in the
Sequence Editor Event selections
To access the contextual menu, click with the When there is an event selection (such as
right mouse button or hold the Control/Win MIDI notes, soundbites, and so on), right-
key and click with the left mouse button. clicking directly on the selected events will
open the contextual menu for those events.
☛ Existing behaviors which utilize clicking However, in cases where it is difficult to click
while holding the Control/Win key take directly on a small event, so you may also
precedence over the contextual menu. That is, right-click in the empty space above or below
when Control/Win-click is already used in a the selection in the same track.
particular context for a different function, you
must use right-click to access the contextual For example, say you have selected multiple
menu. MIDI notes, the first of which starts at
13|1|000 and the last of which ends at 16|3|240
(Figure 9-5). The contextual menu for those

67
USER INTERFACE BASICS
 selected notes can be invoked by right- (Mac only) Pressing the command and period
clicking on any of the selected notes, or in any keys together is the same as clicking on the
empty space in that track between 13|1|000 Cancel button: it cancels the selection and
and 16|3|240. If you right-click before leaves the previous settings/values
13|1|000 or after 16|3|240, or directly on an unchanged.
unsettled note, the original selection will be
deselected. Pressing the escape key is the same as clicking a
Cancel button and (Mac only) pressing
Command-period ( . ).

Pressing the tab key will confirm the current

entry field, then move to the next field in the
box or list and highlight it. Pressing Shift-tab
does the same thing, only it moves to the
previous field or box.

The up arrow will move through a list of

names or events, confirming the current
selection and moving to the previous one.

Figure 9-5: Opening the contextual menu for a selection of The down arrow will move through a list of
MIDI notes names or events, confirming the current
selection and advancing to the next one.
STANDARD KEYBOARD SHORTCUTS
The following keyboard commands are The left and right arrows move from field to
applicable to dialog boxes and text boxes. field in the Event List, confirming the current
selection and advancing to the next one in the
Pressing on the return key is the same as
arrow direction.
clicking on OK: it confirms the selection in the
dialog box. In addition to these, there are many shortcut
keyboard commands that will allow you to
Pressing on the enter key will also OK a dialog
choose commands from menus very quickly.
box. It is also used when editing a list of names
They are indicated on the menus to the right
or data, confirming the current one and
of the commands themselves and can be used
moving to the next.
instead of pulling down the menu and
selecting the command. To use a shortcut

68
USER INTERFACE BASICS
command, hold down the Command/Ctrl key
and press the indicated key. For example,
Command/Ctrl-X is the shortcut for the Cut
command. Instead of pulling down the Edit
menu and selecting Cut, hold down the
Command/Ctrl key and press the X key.

Figure 9-7: Examples of editing text quickly by dragging up

and down.

MAIN COUNTER SHORTCUTS

The current playback location can be changed
at any time by editing the main Counter
directly. This is a more precise method for
locating than many of the other numerous
Figure 9-6: Examples of keyboard equivalents for menu
commands in Digital Performer.
ways of cueing Digital Performer. You can edit
the counter even while the sequence is playing
CUSTOMIZING KEYBOARD SHORTCUTS back. There are several ways to edit the
Just about all keyboard shortcuts can be current Counter location in Digital Performer,
customized. For details, see chapter 8, as described below.
“Commands” (page 93) in the DP User Guide.
By typing
CHANGING TEXT BOX VALUES BY To edit the counter by typing:
DRAGGING
You can change number or note values in text 1 Click on the field in the time display to
edit boxes throughout Digital Performer by highlight it.
pressing on the text box and dragging up or
down. You can also edit text box values in the
usual ways (by typing, etc.)

2 Type in a new time value.

69
USER INTERFACE BASICS
 While a field is highlighted, just type in a new By dragging
value. Use the backspace key to erase an This is a great short cut for quickly “yanking”
incorrect entry. the counter:

Press the Tab key or the decimal key on the 1 Press on the desired measure, beat, or tick
numeric keypad to cycle through each field of field (or hour, minute, second, or frame field if
a time display, highlighting each so that you you are working with SMPTE).
can type in a value. (On Windows, make sure
the Num Lock key is engaged before you use 2 Drag up or down.
the decimal key on the keypad.) For example,
By pasting
to enter the time 11|1|015 as shown in the
Counter values can be copied and pasted from
example above:
nearly any field where a counter value is
1 Click on the bars field to highlight it. displayed: the main counter, aux counter,
Information Bar, and so on.
2 Press 11.
1 Click in any counter field.
3 Press the Tab or decimal key.
2 Press Command/Ctrl-C or choose Edit
4 Press 1. menu > Copy.

5 Press the Tab or decimal key. 3 Click in the main or aux counter field to
highlight it.
6 Press 0, 1, and 5.
4 Press Command/Ctrl-V or choose Edit
7 Press the Return key. menu > Paste.

As a shortcut, you can press the decimal key USING THE NUMERIC KEYPAD
on the numeric keypad (with the Num Lock Digital Performer provides many factory
key engaged under Windows). To cancel the default shortcuts on your computer’s standard
edit, press Command/Ctrl-period (Mac only) extended numeric keypad (if it has one), from
or escape. basic transport controls to specialized
shortcuts for specific features, such as
QuickScribe note entry and Step Record
functions.

70
USER INTERFACE BASICS
Windows Num Lock key
On Windows, be sure to engage the Num Lock
key to enable the numeric keypad shortcuts
discussed in this manual.

71
USER INTERFACE BASICS
72
USER INTERFACE BASICS
CHAPTER 10 A Guided Tour of Digital
Performer
IF YOU DON’T LIKE TO READ MANUALS Creating, opening, and saving Projects . . . . . . . . . 74
This chapter provides an overview of Digital Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Performer’s features in the form of a guided Consolidated window . . . . . . . . . . . . . . . . . . . . . . . . . . 78
tour through the windows used in a typical Tracks window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Digital Performer project. Each page gives you Soundbites window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
a brief introduction to Digital Performer’s Bundles window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
important windows and features. You’ll Sequence Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
probably get a good idea of how to get around MIDI Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
in the program just by scanning these pages. Event List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Once you have, you’ll be primed and ready for Drum Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
the step-by-step tutorials that follow. Or you QuickScribe Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
can try to begin sequencing on your own. Waveform Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Meter Bridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
BEFORE YOU BEGIN Markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
The tour assumes that you have successfully Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
installed Digital Performer. This includes Selecting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
creating your MIDI device configuration. If Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
you haven’t yet done so and you plan to follow Mixing Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
along in the Digital Performer, refer to the Effects window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
installation instructions that accompany this Movie window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
manual before proceeding. Congratulations!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Continuing on your own. . . . . . . . . . . . . . . . . . . . . . .114
Also, if you’re not familiar with Digital
Recording your first audio . . . . . . . . . . . . . . . . . . . . .114
Performer’s basic conventions, please first
read chapter 9, “User Interface Basics”
(page 61).

73
 CREATING, OPENING, AND SAVING
PROJECTS
A Digital Performer file is called a project.
Project files are created, saved, closed, and
opened just like other applications.

Creating a new project file

To create a new project file, choose New from
the File menu > New sub-menu. Alternatively,
you can choose one of the template files from
the File menu > New sub-menu.

Figure 10-1: DP’s welcome window.

Once you’ve chosen a new file to open, a

standard save dialog will appear. Choose a
location to save your project and press Save.

When you create a new project file, Digital

Performer places it in a folder by the same
name, along a few other items. For an
overview of what files and folders are created
when you create a new project, see chapter 1,
“The Digital Performer Project” (page 15) in
the DP User Guide.
You can also open files from DP’s Welcome
Opening a project file
window, which appears when you first launch
To open an existing project:
DP. This window is a great resource for
training and tutorial materials, videos, late- ■ Choose File menu > Open.
breaking news from MOTU and more. You
■ Double-click a Digital Performer project
can always find DP’s Welcome window in the
Help menu. Once it’s open, go to the file list on file on your computer desktop.
the left-hand side, choose the type of file you ■ (Mac only) Drag a Digital Performer
want (empty or a template) and then click the project file onto the Digital Performer icon in
New button. the Mac OS Dock or in the Finder.

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A GUIDED TOUR OF DIGITAL PERFORMER
Only one project can be open at a time. Almost any software problem is survivable as
However, each project can contain many long as you have kept backups of your work,
sequences, and there are many ways to so save often and make frequent back-ups. See
transfer data between projects – see chapter 1, “Preventing Catastrophe” on page 953 in the
“The Digital Performer Project” (page 15) in DP User Guide.
the DP User Guide.

Saving a project file

After you’ve made changes to your project,
you’ll want to save it.

■ To save the current project and continue

working, choose Save from the File menu.

■ To save the current project under a new
name and continue working with the new file,
choose Save As from the File menu.
■ To save a copy of the current project under a

new name and continue working with the

original file, choose Save A Copy As from the
File menu.
You may also use this option to export the
project in other formats, such as a Standard
MIDI File, OMF file, AAF file, MusicXML file
or to earlier versions of Digital Performer.

■ To discard any changes you’ve made since

you last saved, choose Revert to Saved from

the File menu (you will be prompted to
confirm).

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 CONTROL PANEL
The Control Panel provides tape-deck style
transport controls, two counters, tempo
controls, click and countoff controls, memory
cycling, punch-in/out, and more. Because this
panel is so central to Digital Performer’s
operation, it appears across the top of the
consolidated window. If it is floating as a
separate window, it cannot be closed.

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For more information, see chapter 20,“Control Counters
Panel” (page 175) in the DP User Guide. Displays the current playback time in the music
in bars, beats, and ticks. There are 480 ticks per
Transport Controls quarter note (this degree of resolution can be Audio settings
These work just like a standard tape configured in the Time Formats window in the Configure audio driver and file
deck. From left to right: fast/slow Setup menu).The auxiliary counter displays one settings: clock mode, sample
rewind, slow/fast forward, rewind, of Digital Performer’s other time formats: real rate, buffer size, sample
stop, play, pause, and record. time, SMPTE time code or samples. format, and frame rate.

Memory Bar and Auto Record Bar Tempo Controls

The Memory Bar displays the start and stop time of the Controls the tempo of the
memory range. These are the locations Digital Performer will music. Drag the tempo slider,
cycle between when Memory Cycle is turned on. and switch control of tempo
from the tempo slider or the
The Auto Record bar displays the punch in and punch out conductor track.
times for Auto Recording. When Auto Record is off, the project
name, sequence name, and sequence menu are displayed.

Auto Rewind Memory Cycle Auto Record Wait Click Audible mode
When this button When this button is Lets you Makes Digital Performer Generates a metro- Audition notes and
is lit, the sequence highlighted (on), Digital automate wait for a MIDI event nome click if lit. soundbites as you
rewinds automati- Performer cycles playback recording trigger or key press Option/Alt-click to edit select them.
cally to the Start and recording between punch-in and before it begins the Click preferences.
location on the the Start and Stop times punch-out. playback or recording.
memory bar. displayed below in the Auto-Scroll
Memory bar. Window Solo Mode
scrolling Toggles Solo
follows mode. When on,
playback. only soloed tracks
Option/Alt- are heard.
click to edit Option/Alt-click
Auto-Scroll to set Solo Mode
preferences. preferences.
Auto Stop Overdub Record
When this button is lit, During normal recording, Pre/Post-Roll
Digital Performer erases Countoff Slave to External Sync When Link
playback of the sequence Gives you a Makes Digital Performer wait
is automatically stopped existing music in the track. Playback to
Use Overdub Record to countoff before for external MIDI timing Memory is enabled,
at the Stop location on playback or information as specified in
the Memory bar. preserve existing material you can enable pre/
and merge new material recording. the Receive Sync command post-roll to lead in
with it. Use it whenever Option/Alt-click (Setup menu). Pressing this or out of the
Link Memory to set prefer- button does the same thing
These toggle Link Playback to you are cycle-recording so memory range.
that each new pass ences. as checking or unchecking
Memory and Link Memory to slave to external sync in the
Selection modes. through the loop doesn’t
erase the last pass. Setup menu.

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 CONSOLIDATED WINDOW
Many of Digital Performer’s powerful features
are presented in separate windows, such as the
Track Window, Sequence Editor, Mixing
Board and Waveform Editor. The
Consolidated Window gives you access to
them in one window with tabs across the top.
You can quickly access the desired feature by
clicking its corresponding tab, without having
to switch to a different window. In addition,
the Consolidated Window is highly
configurable, allowing you to split the window
into several — or even many — different
sections for quick access to critical features
conveniently presented in one window. With
Digital Performer’s Window Sets feature, you
can create and save an unlimited number of
Consolidated Window setups, finely tuned
and customized for each stage in your
workflow. The Consolidated Window
provides you with a simplified, unified, highly
customized work space.

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 For more information, see chapter 9,“Consolidated
Window” (page 97) in the DP User Guide.

Left sidebar Main body Right sidebar

Sidebar Sidebar Left sidebar Tabs Control Panel Tab Right sidebar Window Tab Sidebar
cells tabs divider bar divider selector bar divider

Figure 10-2: The Consolidated Window Horizontal

divider Consolidated
Window resize
thumb
Managing the Consolidated Window
* Double-click a sidebar divider to show/hide the sidebar.
* Double-click a window’s Tab bar to pop it into or out of the Consolidated Window.
* Drag the divider upwards from the bottom of the body or sidebar to create a new row.

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 TRACKS WINDOW
The Tracks window is based on the familiar
concept of a multi-track tape deck. Each track
can be play-enabled, recorded into, and
soloed. Each track has an activity level meter,
an output assignment (one of the devices in
your MIDI studio or an audio output on your
audio hardware), a track name, comments,
and perhaps an initial patch (sound) to play.
You can add an unlimited number of tracks,
and you can place them in any order in the list.
The Track Overview on the right provides you
with a bird’s-eye view of the music, showing
blocks of data that can be edited as singular
phrases of music. You can click blocks to select
them for editing, drag them to move them,
Option/Alt-drag them to duplicate them, and
much more. Double-click a track name to
open the default editor for that track type. A
scrolling playback indicator is also provided
to show the current playback location.
Markers can be drag-and-dropped from the
“marker well” into the time ruler to denote
important locations.

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 For more information, see chapter 18,“Tracks
Window” (page 149) in the DP User Guide.

The Track Overview

Provides an overview of the music in the tracks.
The time ruler above indicates the measure in
each column. The ruler also displays draggable
markers, Memory Cycle repeat barlines and Auto
Record punch points. Double-click the ruler to Marker
make playback jump to that location. In the grid,
data is grouped into blocks that can be dragged well
and edited as singular phrases of music. Drag Drag and
phrases to move them. Option/Alt-drag to dupli- drop
Sequence Marker menu Time ruler cate. Add the Command/Ctrl key to these opera- markers
menu Instantly locate to any Each column tions to override column snapping. Use the cross- into the
Choose what marker, Memory Start represents one hair cursor for time range selections. Get a Pointer time ruler
sequence you want location, or Auto Record measure. Click- cursor by positioning directly over the center of a from here.
to work with here. Start location. ing selects the block to select or drag the block as a unit.
measure for
editing.

The Track List Divider The ruler can be zoomed to show

A track is represented as one row in the list. It has a move Grab anywhere along more or less time in each column.
handle, loop indicator, record-enable button, input monitor this divider and drag Right now, each column repre-
button, play-enable button, input & output assignments, a left and right to show sents one measure.You can zoom
“take” column for storing an unlimited number of takes for the more or less of the in, however, so that each column
track, a name (Option/Alt-click to rename it), level meter that Track Overview. represents one beat. Or zoom out
shows MIDI or audio activity, a default patch (sound), a current so that each column is two bars
patch, and a comment. You can choose to hide any of these instead of one.
columns by Option/Alt-clicking the column title. For example, if
you never use default patches, you can hide the column. The Overview can be zoomed to
adjust track height. All tracks
The Conductor track at the top of the list doesn’t hold MIDI data; maintain the same height – to
instead, it holds tempos, meter changes, key changes, and resize individual tracks, use the
markers (explained later). Sequence Editor.

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 SOUNDBITES WINDOW
The Soundbites window serves as a catalog of
all the soundbites (audio regions) in the
Digital Performer project. It provides a great
deal of information about each soundbite,
including its duration, sample rate, number of
channels, and parent audio file for each
soundbite. To open Digital Performer’s full-
featured Waveform Editor, which allows you
to perform all kinds of waveform editing
tasks, from single-sample pencil tool edits to
normalizing to crossfades and more, double-
click a soundbite in the Soundbites window.

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 For more information, see chapter 3,“Sound-
bites Window” (page 35) in the DP User Guide.
Open the Soundbites window by choosing its name from the Project menu, pressing
Shift-B, or selecting it from the Consolidated Window sidebar window list.

Use the Sound File

Info window.
This window (Studio
menu) updates to the
selected soundbite
automatically. Here
you can view and edit
the attributes of
selected Soundbites.
For example, you can
edit how time
stretching and trans-
position affects a
soundbite or add
comments.

Use this handle to “drag Click a soundbite’s name to hear it.

and drop” soundbites With Audible mode enabled, just click on the
into other windows. name of a soundbite to audition it (you don’t
You can drag and drop audio have to keep holding the mouse down). See
into the Track overview, the chapter ,“Audible mode” (page 302) in the
Sequence Editor and audio DP User Guide.
Event Lists.

Double-click on a soundbite to open the Waveform Editor.

Digital Performer includes a fully featured Waveform Editor where you can edit with
a pencil, normalize, add fades, or define regions and loops.

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 BUNDLES WINDOW
The Bundles window serves as the crucial link
between the virtual mixing world in Digital
Performer and the audio and MIDI hardware
that is physically connected to your computer.
The Bundles window provides a convenient
layer between them that lets you effectively
manage audio and MIDI input and output.

Sources are displayed across the top and your

virtual bundles are listed on the left side. To
assign a bundle to a source, such as a physical
input or output, one of Digital Performer’s
internal busses, or a plug-in’s output, drag the
bundle’s tile to match up with the desired
source.

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A GUIDED TOUR OF DIGITAL PERFORMER
 For more information, see chapter 13,
“Bundles” (page 119) in the DP User Guide.

Bundle model Sources

View and change the bundle model, from Available sources
mono all the way up to 10.2 surround. for your bundles.

Tabs
Use these tabs to
switch between
each bundle group.

Bundles Bundle management Assignment

Bundles are named automatically Quickly add or remove bundles; when Move the bundle “tile” to assign the
based on their source assignment, viewing the MIDI Devices tab, use the Edit bundle (on the left) to a source (on the
but you can Option/Alt-click the button to edit a MIDI device’s properties. top). In this case, the “DW8000” bundle
name to rename it. Grab a bundles has been assigned to PCI-424 ADAT 3-4.
in the “MV” (move) column to
reorder them. The topmost bundle
on the Output page will be used
for Auditioning.

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 SEQUENCE EDITOR
The Sequence Editor provides a multitrack
graphic environment for hands-on, precision
editing of MIDI, audio and conductor track
data all at once. It also includes a movie track
for displaying a project’s QuickTime movie
along the same timeline. You can view one or
more tracks at a time using Digital Performer’s
standard track selector to show and hide
tracks as desired.

Graphically insert and edit automation curves

for volume, pan, mute, effect settings, and
more. Comprehensive audio editing tools
include trim, copy, paste, slice, comp, scrub,
and more.

The Sequence Editor provides “one-stop

shopping” for editing and managing a Digital
Performer project.

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 For more information, see chapter 35,“Sequence
Editor” (page 333) in the DP User Guide.

Create a tempo map. Use Memory Cycle Change layers to view different
Edit the Conductor track to create to repeat a section. data types.
detailed tempo maps, enter key and Enable Memory Cycle Change the visible layer for each track
meter changes, and more. and drag the Memory in the track info pane on the left side.
Create automation curves. Start and End points in View audio, MIDI, volume, pan, pitch
Click the Pencil tool in the tool the ruler. automation, continuous controllers,
palette and draw automation curves. conductor data, and more.

Click the track selector button to open the track Click on a line to create a point; drag it to adjust.
selector. Zoom the window.
The Track Selector lets you quickly show and hide tracks Horizontal and verti-
simply by clicking their name. cal zoom give control
over what you see.
Zoom in for sample-
Use the right tool. level precision, or
The Tool palette (Studio menu) provides a variety of zoom out for a bird’s-
editing tools to help shape your sequence. eye view.

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A GUIDED TOUR OF DIGITAL PERFORMER
 MIDI EDITOR
The MIDI Editor displays notes and MIDI
controllers for one or more MIDI tracks on a
piano-roll style grid. To open it, Command–
double-click the track name or any segment in
the Tracks Overview. Or click them once and
then click the MIDI Editor tab in the
Consolidated Window.

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A GUIDED TOUR OF DIGITAL PERFORMER
 For more information, see chapter 36,“MIDI
Editor” (page 367) in the DP User Guide.

Selected Notes Note Grid Scrolling Wiper Window Target

To select several Insert and edit notes in this grid. Drag Indicates the current playback Switch between MIDI
notes, drag the cursor notes up and down to change pitch. Drag location. Double-click anywhere in tracks and the Conduc-
Pitch Ruler over them, just like left and right to change their time. To the ruler to make the playback wiper tor Track, and depend-
Click & drag to you would in a graph- change duration, drag the right end of the jump to that location. Drag it to scrub ing on your preference,
adjust the Pitch ics program. note. If Snap to Grid is turned on, dragging playback. (Speaker button in the title between each individ-
Zoom. Zoom in to will “snap” to the current grid setting. bar must be enabled for scrubbing.) ual MIDI tracks.
see fewer notes at a
larger size, zoom out
to see more notes at
a smaller size.

Pitch Ruler
Click keys to hear the Time Ruler
note (when the Shows time in measures,
speaker button is beats and ticks or one of
enabled in the title Digital Performer’s other
bar.) Double-click a time formats. To select a
key to automatically time range, drag in the
select all notes of that ruler. To change the
pitch in the track. Memory Cycle points or
Auto Record punch points,
Drag this handle to drag them.
display more or less of Continuous Data
the note grid and
continuous data grid. Grid
You can even drag it Displays note veloci-
all the way up or ties, MIDI controllers,
down to hide either and pitch bend data.
grid.
Zooming
Zoom the time ruler
with these buttons.

Continuous Data Continuous Data Pencil Tool Continuous Quick Filter Selected note velocities
Ruler Display Mode Data Selector Data Makes the controller To graphically edit velocities (or a
Click this ruler repeat- Determines which Selects which View Filter grid display only the controller curve), select them by
edly to switch mode to view contin- continuous data Hides all continuous types of controller dragging over them. Then click the
between three differ- uous controller data to insert with the data, except for the data that are Reshape Tool in the Tool Palette and
ent controller in: points, bars or Pencil tool. data type currently currently selected. drag across the selected data.
displays: controllers lines. chosen for insertion
only (0-127), pitch (with the pencil tool
bend only (-8192 to data selector to the
8191), or both. left).

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 EVENT LIST
The Event List gives you a precise, numerical
display of all the data in a track. To open it,
double-click the track name or anything in the
Track overview. Or highlight either one and
press Shift-E. To temporarily hide any type of
data, use the View Filter in the Setup menu.

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 For more information, see chapter 37,“Event
List” (page 393) in the DP User Guide.

Insert Button Insert Menu Window Target

Inserts the kind of Select any type of Like all Digital Performer edit
event shown in the data from this windows, you can switch to a
Insert menu, at any menu. Insert it with different track by clicking the
location in the track. the Insert button. window target to open a menu
of other tracks.

Chord
These three notes are a
chord because they all
occur at the same time.

Selecting events
To select a single note or event, click it. To select
Location several in a row, drag over them. (Use Shift-click to
(measure, beat, and tick) On-velocity extend the selection; command/ctrl-click to select
Duration End time discontinuous events.) After you’ve selected notes,
Off-velocity (Beats and ticks) you can edit them any way you want with the
Pitch commands in the Edit and Region menus.

A note event
Legend
Use the Legend
in the Event List
mini-menu to
Editing identify each
Double-click any value to edit it. You can type of MIDI
either type or drag vertically. data.

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 DRUM EDITOR
The Drum Editor provides a fast, intuitive
environment for creating and editing
percussive music. Click with the Pencil tool in
an empty grid cell to add a note, or click an
existing note to erase it. Use the Rhythm
Brush tool to “paint” in saved rhythms to add
riffs in a snap.

To open it, click the Drum tab in the control

Consolidated Window or select Drum Editor
from the Project menu.

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A GUIDED TOUR OF DIGITAL PERFORMER
 For more information, see chapter 38,“Drum
Editor” (page 405) in the DP User Guide.
Add an instrument line.
Pull down this menu for a list of
instruments or add a MIDI note by
typing it directly into this empty field.

Change the view resolution. Scrub the playback wiper.

With the grid set to a 1/4 note, each cell The playback wiper lights up the ‘LEDs’ as it
represents a 1/4 note.The grid may be set passes in addition to shading the current position.
to smaller values such as 16th notes. To scrub the wiper, ‘grab’ it at the LEDs.

Select drum tracks Change the view mode. Add a MIDI note.
to view and edit The menu allows you to switch view modes. If Use the pencil tool in the tool palette to
with the track selec- you would like to edit velocities for a specific add and remove notes in the note grid
tor. drum instrument, change to grid with velocity of the drum editor. Click on an empty
You can hide this menu and velocity is now represented as a vertical bar. grid space to add a note, click on an
by clicking on the track occupied grid space to delete a note.
selector button.

Adjust velocity editing resolution. Try the rhythm brush.

To view more area in grid with velocity The rhythm brush allows you to quickly ‘paint’ in drum
mode, simply grab the bottom rule of parts from a wide variety of percussion instruments.
the grid and pull down. Use the preset library or create your own.

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 QUICKSCRIBE EDITOR
The QuickScribe Editor displays music from
one or more tracks on a page in standard
music notation. To open it, select a track by
clicking its name in the Tracks window — or
select as many as you like. Then click the
QuickScribe tab in the Consolidated Window.
The music is displayed on screen just like it
will print out. To further refine the music
transcription, you can export your
QuickScribe score as a MusicXML file to
quickly and accurately import it into other
music notation software applications such as
Finale™ and Sibelius™.

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A GUIDED TOUR OF DIGITAL PERFORMER
 Entering notes with your computer keyboard For more information, see chapter 40,“QuickScribe
Click the staff with the Pointer to get this cursor. Choose Editor” (page 431) in the DP User Guide.
durations from the keypad. Press return to insert the note.

Track Selector
Controls which tracks are
displayed in the score.

Tool Palette
Click a duration in the palette. Or use the
bracket keys ( [ and ] ) to cycle through the
durations. Press anywhere in the desired
measure and while holding down the mouse,
drag to any pitch and location. Watch the
Cursor Information for precise feedback
about where you are in the measure. You
don’t have to get the pitch exactly right when
you first click because you can drag up or
down after you press the mouse to get just
the right pitch and accidental. The mouse
automatically snaps to even subdivisions of
the beat to make rhythmic placement easy.

Transcription
Even though the notation looks quantized,
the MIDI data in the track remains in its origi-
nal, unquantized form. If Digital Performer
doesn’t transcribe a section quite right, you
can quantize the data to improve the rhyth-
mic interpretation.
Step Recording
Click the staff with the Pointer to get the
insertion cursor. Use the arrow keys to
place it at the desired location. Choose a
duration in the palette. Play the notes on
your MIDI controller.

Dynamics Palette
Use to insert dynamics
markings into your score.

Arrangement Palette Page-flip Zoom menu

Lets you condense the score with buttons Scale the page representa-
repeat barlines, endings, codas, Use to quickly flip tion from 25% up o 1600%
etc. from page to page.

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 WAVEFORM EDITOR
Digital Performer’s Waveform Editor window
provides a complete ‘destructive’ waveform
editing environment. Permanent
modifications can be made to mono, stereo,
and multi-channel audio files using the
standard editing commands in Digital
Performer’s Edit and Audio menus, including
the ‘destructive’ application of effects plug-ins.
Pencil tool editing is provided, even when
zoomed out. Soundbites, sample loops,
soundbite beats, pitch automation, and
soundbite tempo maps can all be edited.

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 For more information, see chapter 41,“Waveform
Editor” (page 477) in the DP User Guide.

Transport Lock Tabs Overview & Close-up Lens

Locks Digital Performer’s Switch the primary task using these tabs. As Shows an overview of the entire file, with the
main transport controls to a tab is selected related controls or data are Close-up Lens indicating the portion of the file
the Waveform Editor. displayed; below, the Pitch tab is selected shown below. Grab the lens and drag it to show a
and pitch automation data is shown. different portion, or resize it to zoom in/out.

Active soundbite Destructive audio editing Pitch data Zoom controls

The active soundbite’s Unlike other edit windows, the Waveform Digital Performer analyzes Zoom the window horizontally and verti-
title bar is shaded. Editor performs destructive edits– that is, the pitch of audio files and cally. Use vertical zoom lock to keep the
the actual audio in the file will be changed. displays it as both a pitch entire height of the audio file visible. Zoom
Use the Pencil tool for sample-accurate curve and pitch bars (notes), to Selection and Fit to Window help you
editing of clicks/pops. both of which you can edit quickly jump to just where you need to be.
non-destructively.

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 METER BRIDGE
The Meter Bridge window displays level
meters for all inputs, outputs, busses, tracks
and bundles. With a single click, you can
independently show or hide available
hardware inputs, available hardware outputs,
busses, bundles, virtual instruments and
tracks as desired. The Meter Bridge provides
long-throw, scalable meters with extremely
fast, smooth and accurate ballistics. Two
different layouts are provided: wrap-around
and linear.

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 For more information, see chapter 70,“Meter
Bridge” (page 829) in the DP User Guide.
Meter width Meter scale
Adjust the width Drag to adjust the scale of the
of the meters. meters. Both the upper and lower
Layout buttons end of range are adjustable.
Use the wrap-around layout
(shown here) or the linear
layout (shown below). Wrap-around layout

Show/hide buttons
These buttons show or hide
the meters for each section.

Linear layout

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 MARKERS
To open the Markers window, choose Markers
from the Project menu, or choose the Markers
window from the Consolidated Window
sidebar window list. A Marker indicates a
particular location in your sequence. It may be
at the beginning or end of a section, or it may
be a visual “hit point” that occurs at an exact
location when you are scoring for film or
television. You can add as many markers as
you want to your music. They are useful for
identifying any location. You can instantly cue
to the marker location using the Markers
window or by using the Locate menu above
the Track List in the Tracks window. Markers
appear in all editing windows. The can be cut,
copied, and pasted in the Conductor track.

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 For more information, see chapter 61,
“Markers” (page 717) in the DP User Guide.

Find Hit Range Before and After

Checked markers will be included in the These parameters are used to provide
Find Tempo window, which allows you to additional information to Find
locate a tempo that will match specified Tempo. For more information on find
hit points. For more information on find tempo, see chapter 62,“Find Tempo”
tempo, see chapter 62,“Find Tempo” (page 727) in the DP User Guide.
(page 727) in the DP User Guide.

Playback Position
indicator
Click on this strip to
immediately jump
playback (and the
position indicator) to the
marker at that location.

Marker location Locked indicator Marker name

Marker times can be displayed in all Attaches the marker to its current Click the marker
time formats: measures and beats, SMPTE time code location, name to rename it.
SMPTE time code, real time and regardless of tempo changes.
samples.

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 TOOL PALETTE
The tool palette is a central location where you
can determine the behavior of your mouse
actions. The tools are context sensitive so their
actions depend on which window is being
edited. By default, the Tool palette appears at
the top of Digital Performer’s Consolidated
Window, as part of the Control Panel. To open
it as a separate window, select Tools from the
Studio menu.

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 For more information, see chapter 33,“Tools”
(page 311) in the DP User Guide.

Scissors Comp
Cuts soundbites and MIDI Use to quickly
Loop Mute notes. Drag with the edit create comps from
Click and drag to create Click a soundbite to grid turned on to cut at multiple takes.
a loop graphically. mute/unmute it. every grid point.

Pointer Pencil Rhythm Brush

Selects and Inserts data such Lets you ‘paint’ in Zoom Scrub Slip
moves as notes and data from a pattern Zooms in to a section Plays MIDI and Moves the audio
data. automation points. library. of data. Click once to audio data as you within the sound-
zoom in. Option/Alt- drag over it. bite while keeping
click to zoom out. Click the soundbite
I-Beam and drag over a region Trim position the same.
Makes time Trims an audio
range selections. to zoom in. Shift-click
to zoom back. region with Slide
one click. Moves a
soundbite’s
start/end
Pencil/Reshape curve Reshape Tool Reshape mode Roll while keeping
Trims two the audio’s
Determines the shape or Reshapes existing Determines the behavior position the
periodic waveform the pencil automation or of the reshape tool. abutting sound-
bites at once. same.
or reshape tool draws. controller data.

Modifiers keys
The triangle, sine, square and
random shapes can be modified
with keys. Hold down the Shift key
to change frequency. Hold down
the Option/Alt key to change
relative phase.
The sine, triangle and square shapes
use an additional modifier. Hold
down the Control/Win key to
Modifiers change the duty cycle (pulse width)
The Triangle and Square of the square wave or gradually alter
shapes use an the triangle shape to a sawtooth
additional modifier key (up/down ramp)
(Control) to modify the
shape of the modulator. These shapes also snap to the edit
grid to create modulation effects
that conform to the beat.

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 SELECTING
After you’ve recorded, Digital Performer
provides powerful editing features to mold
your music any way you want. But before you
can edit even a single note, Digital Performer
needs to know exactly what you want to edit.
This section shows you some of the many
convenient ways to select data in Digital
Performer. Once you’ve selected it, you can
unleash Digital Performer’s powerful editing
features.

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 Using the Selection Information window
Set the start and end times, and then select the tracks you want to edit
within the those times. To set the start and end times, type them in, load
them using the Set To menu, or click the buttons next to each field during
playback. To select a single track, click its name. To select several non-
adjacent tracks, Command/Ctrl-click each one. To select a group of adjacent
tracks, drag over their names. To select all tracks, press command-A.

Selecting the Memory Cycle range Using the Track overview

Click either cycle point in the Track Overview or Zoom the display to a useful
any edit window ruler to select everything zoom level. Then drag over the
within the Memory Cycle range. area you want to select with the
cross-hair cursor. Or just select an
entire phrase block by position-
ing the cursor over its center and
clicking it with the Pointer cursor.
To select non-adjacent areas of
the grid or phrase blocks, Shift-
click each one. To select an entire Dragging in Edit window time rulers
column, click in the time ruler Any notes or controller data within the highlighted
above the column. To get rid of time range become selected. To make your dragging
the current selection, click in the “snap” to rhythmic grid locations, check the Snap to
blank space below the grid. Grid box and set the desired grid resolution.

“Smart Selections”
The Smart Selections command in the Edit
menu makes Time Range selecting easier
and more musical and intuitive. With Smart
Selections enabled, you can turn on grid
snapping, make selections at measure and
beat boundaries, and Digital Performer will
take care of events that are a few ticks before
or after the selection boundaries, either
including or excluding them, depending on
what makes sense musically.

Selecting all notes of the same pitch

Using the Event List Double-click the key on the pitch ruler in the
Click an event to select it. To select several non- MIDI Editor or Sequence Editor.
adjacent events, Command/Ctrl-click each one. To
select a group of adjacent events, drag over them.
To extend the current selection, Shift-click. To Selecting in the note grid
select all events, press command-A. Drag a rectangle over the beginning of
the notes you want to select.

For more information, see chapter 42,

“Selecting” (page 499) in the DP User Guide.

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 EDITING
Once you’ve selected your music, you can
choose any command in the Edit menu or
Region menu. For many of them, a dialog box
appears on the screen with many powerful
options — much more than can be covered
here. A few samples are shown below. Most
Edit and Region menu commands can be
applied during playback, so you don’t have to
stop the music to hear the effect. Most, like
Groove Quantize, allow you to adjust the
effect in real time, so you have instant
feedback, without even closing the
command’s window.

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 For more information see.Part 5 ,
“Editing” (page 289) in the DP User Guide.

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 MIXING BOARD
After recording and editing comes mixing.
Many MIDI devices respond to automated
mixing parameters such as volume and
panning that you program directly in Digital
Performer. Digital Performer’s Mixing Board
gives you a powerful — yet familiar —
environment in which you can perfect your
mixes. Instantly show or hide any sections you
want. For example, you can hide everything
except the volume faders. The rows of insert
menus let you apply “non-destructive” MIDI
and audio effects inserts to your tracks, such
as shift, quantize, transpose, EQ, reverb,
dynamics and more. These effects modify the
data in the track on output only, preserving
the original performance in the track. You can
modify them (or turn them off) at any time.
Digital Performer even lets you create an
unlimited number of different mixdowns — a
complete mix of volume, pan and plug-in
automation for all tracks.

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 For more information, see chapter 67,“Mixing Board”
(page 767) in the DP User Guide.

Customized board layouts Complete mix

You can easily show or hide just automation
about everything in the Mixing The automation play and
Board. Just click track names in the record buttons control
track selector to show or hide whether automation is
them. You can even hide entire played back and/or
sections of the board to save space recorded. After you’ve
on your computer screen. For enabled automation
example, if you aren’t using the recording for one or more
effects inserts, you can hide the tracks, just begin playback
entire section. You can save as and start mixing. Drag
many different board layouts as faders, turn pan pots, use
you want for instant recall. See the plug-in controls. It all gets
mini-menu for all of these great recorded. Five different
board layout features. Option/ modes are provided per
Ctrl-click the Window Target tab track for recording
for quick access to convenient automation in real time.
shortcuts. Automation includes
mutes and solos. Tip: to
solo or mute several tracks
at a time,“glide” across
their solo or mute buttons.
If you prefer real hardware
faders, you can control
these virtual faders
remotely from a hardware
control surface.

Multiple mixdowns
A mixdown is all of the volume, pan, plug-in, mute/
solo and other mix automation information stored in
all tracks of a sequence. It also includes all real-time
effects processors currently applied to any tracks.
This menu in the Mixing Board window lets you
instantly save an entire mixdown with any name you
wish. Then, you can create an unlimited number of
other mixdowns. You can either start from scratch, or
duplicate a current mix to try variations of it.
Fader grouping
The Mixing Board mini-menu has
several commands that allow you to Real-time MIDI and audio effects processing
create and manage fader groups. The five insert menus above each track (expandable up to 20 inserts ) give you real time MIDI and audio effects
Move one fader in the group and processors that you can apply as desired to a track. MIDI track effects include shift, transpose, quantize, velocity
they all move together. You can compressor, arpeggiator and echo. Audio track effects include EQ, reverb, dynamics, echo and others. MIDI and
override the grouping by Option/ audio effects processing only alters data in the track as it plays back, so the original performance is unchanged.
Alt-dragging the fader, or you can This means you can modify — or remove — the output processing settings at any time.
temporarily disable fader groups.

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 EFFECTS WINDOW
The Effects window provides controls for real-
time audio and MIDI effects and instrument
plug-ins. MIDI effects include shifting,
velocity compression, note transposing,
quantizing, MIDI echo, a MIDI arpeggiator,
and more. Audio effects plug-ins include
parametric EQ, reverb, dynamics
(compressor, expander, limiter, gate), chorus,
flange, reverb, modeled guitar amps and
cabinets, and many more, as well as all third-
party MAS, VST and Audio Unit (AU) plug-
ins. Plug-ins can be accessed via effects inserts
in the Mixing Board, which open the Effects
window shown below, or by selecting a track
name in any edit window and choosing Effects
from the Project menu (or pressing Shift-F).

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 Track, insert, and plug-in menus
Use the first two menus to select which track For more information, see chapter 71,
and insert you’re viewing and the third menu “Effects Window” (page 835) in the DP User
to choose the plug-in for that insert. Guide.

Window Target
menu
Change which sequence
or V-Rack the Effects
window is viewing.

Plug-in controls
Preset controls Control the plug-in’s
Browse presets using settings. Each plug-in
the next/previous has different controls
buttons. Load, save, and (though many of the
edit presets with the plug-ins included with
Preset menu. Digital Performer have
common elements).

Choosing a plug-in from the Mixing Board

Automation MIDI Learn You can choose a plug-in from the insert slots for any track in the Mixing Board.
snapshot Lets you map external You’ll see Digital Performer’s included native real-time MAS plug-ins, along with
Captures the current MIDI controls to any third-party MAS, VST or AU plug-ins you have installed in your system.
settings of the plug-in plug-in parameters.
at the current location For instrument tracks, you’ll see only instrument plug-ins in the top-most insert
in the time line. slot, and audio plug-ins under the rest.

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 MOVIE WINDOW
Digital Performer’s Movie Window provides
synchronized full-screen playback of video
with both MIDI and audio tracks in a
sequence. Digital Performer allows you to
instantly locate to any spot in the movie,
advance forwards or backwards one frame at a
time through the picture and music, and
scrub the movie forward or backward (with or
without MIDI scrubbing). You can also
display streamers, punches and flutters
superimposed on the Movie window image to
assist in film scoring.

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 For more information, see
chapter 29,“Movie Window”
(page 277) in the DP User Guide.

Choose Movie from the Project menu.

The movie window appears. If a movie isn’t already
open, you will be presented with a standard file
dialog. Choose a video clip from your hard drive and
Digital Performer’s movie window will appear.

Pop in or out
Double-click anywhere to pop
the movie window in and out
of Digital Performer’s Consoli-
dated Window.

Frame-advance Mini-menu
Frame-advance forward and Right-click anywhere to access
backward using the Movie common operations.
window’s frame advance buttons. Full screen viewing
Click to fill the screen with video.

Resize handle
Make the movie window
Movie control bar any size.
Cue around in the movie with the slider in the
movie’s control bar. Notice that the movie and
Digital Performer are synchronized together. If the
movie was recorded at a standard frame rate, such
as 30 frames per second, its frames will match
Sequence Editor Movie Track Digital Performer’s frames in the SMPTE counter.
View frames from the movie alongside your
sequence in the Sequence Editor. Frames are
shown as often as the horizontal zoom will allow.

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 CONGRATULATIONS!
Congratulations! You are now familiar with
several of Digital Performer’s most important
features.

CONTINUING ON YOUR OWN

Feel free to play around further with any of the
features you have learned about already, or
poke around to find ones we didn’t cover.
Don’t worry about “messing up” the tutorial
file because you can quit without saving the
changes you make.

RECORDING YOUR FIRST AUDIO

If you’d like to try recording some audio, now
is a good time. Just go to the Project menu and
choose Add Track. Check disk space and input
level in the Audio Monitor, record-enable the
track and then press the record button in
Digital Performer’s main transport panel. For
a more detailed step-by-step recording
tutorial, see chapter 12, “Tutorial 2: Recording
Audio” (page 129).

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 Part 3
Tutorials
CHAPTER 11 Tutorial 1: Recording MIDI

OVERVIEW Main transport Counter

This chapter is a brief introduction to controls
recording MIDI. These step-by-step
instructions will lead you through a Digital
Performer project, recording and playing
back a single track, and viewing and editing
MIDI data. Working through this chapter is a
good way of confirming that you have
correctly set up your MIDI system.

Opening the tutorial file . . . . . . . . . . . . . . . . . . . . . . .117

Record-enabling a track . . . . . . . . . . . . . . . . . . . . . . .117
Setting the playback device . . . . . . . . . . . . . . . . . . .118
Setting up the instrument’s sound. . . . . . . . . . . . .119
Step Record. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122 Sequence Editor

Opening the Event List. . . . . . . . . . . . . . . . . . . . . . . . .122

You’ll see the Control Panel at the top of the
Saving your sequence . . . . . . . . . . . . . . . . . . . . . . . . .126
screen, and below that, the Sequence Editor
Congratulations! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
for Sequence 1 (Seq-1). These windows
Problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
contain the basic controls and information
OPENING THE TUTORIAL FILE you will need to record and play a sequence.
To begin, start Digital Performer by double-
clicking the Digital Performer program icon. RECORD-ENABLING A TRACK
If this is the very first time you are opening the At this point, two tracks are shown in the
program, please refer briefly to “Opening Sequence Editor: one instrument track and
Digital Performer” on page 9. one MIDI track. The first track — an
instrument track — is named “PolySynth-1”.
Locate the “Tutorial 1” Digital Performer The second track — a MIDI track — is named
project file found on the Digital Performer “Track-1”. (In later chapters you will learn
installer disc (or at motu.com/download). how to rename tracks and add descriptive
Copy it to your hard drive, then open the file: comments to the Tracks window).

117
 First, let’s make sure that the instrument track After you’ve chosen an output assignment for
has a valid audio output assignment. If the the PolySynth instrument track, let’s record-
output assignment is not italicized, the enable Track-1 by clicking its record button as
assignment is valid, as shown below in shown below. This is the MIDI track that
Figure 11-1: “plays” (triggers) the PolySynth instrument.

Record-
Instrument enable
track output track 1.
assignment

Figure 11-1: The instrument track audio output assignment. Figure 11-2: Record-enabling Track-1.

Make sure that the chosen audio output SETTING THE PLAYBACK DEVICE
(Figure 11-1) is one that you can listen to for The MIDI track’s Output destination menu
the purposes of this tutorial, such as your (Figure 11-3) controls what instrument you
computer’s built-in audio (which you can hear will play during the tutorial. At this point,
from speakers on your computer), or outputs Track-1 is assigned to MIDI input channel 1 of
on your audio interface that are connected to the PolySynth instrument, as shown in
speakers. Figure 11-3. If you would like to play a
different instrument, perhaps a hardware
If the current output assignment is displayed MIDI keyboard that is connected to your
in italics, click it, go to the New Stereo Bundle computer, you can play it instead by choosing
sub-menu, and choose an output pair that it from the menu. If you don’t want to change
you’ll be able to hear during the tutorial. If the the instrument you are playing, you can skip
sub-menu doesn’t contain an obvious choice, this step.
you may want to suspend this MIDI tutorial
for the moment and try the audio tutorial first, ☛ If a hardware device you wish to use is
which helps you set up audio playback and not present in the list, see “Setting up your
recording. See chapter 12, “Tutorial 2: MIDI equipment” on page 13. If the software
Recording Audio” (page 129). device you wish to use is not present, create a
new instrument track for that instrument; see
“Creating an instrument track” on page 141 in
the DP User Guide.

1 Press on the Output assignment menu.

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TUTORIAL 1: RECORDING MIDI
 menu to open the instrument plug-in window.
For more information on using virtual
MIDI track output instruments, see chapter 16, “Instrument
assignment
Tracks” (page 141) in the DP User Guide.
Figure 11-3: Changing the output assignment for the MIDI
track. If you’ve chosen another sound source, such
as the Roland JV-1080 shown in the previous
2 Select the desired MIDI device and channel example, choose a sound directly on the front
from the hierarchical menu. panel of the instrument itself, or choose a
sound by name from the track’s Default Patch
In the example below, the new device being
menu in Digital Performer (Figure 11-4).
selected is the Roland JV-1080, MIDI
channel 2. This menu is a standard
hierarchical menu.

Figure 11-4: Choosing a piano sound from the Default Patch

menu.

Generic names in the default patch list

If you see a generic list of names (“Patch 1,
Patch 2, Patch 3”, etc.), try Patch 1. Many
synths have a piano sound there. Play a few
SETTING UP THE INSTRUMENT’S notes on your controller keyboard. Do you
SOUND hear a piano? It doesn’t have to be exactly like
The default assignment for the MIDI track in
a piano for the purposes of this tutorial.
this project is PolySynth-1, which already has
a sound configured. If you would like to
change the sound, select the PolySynth-1
track and choose Effects from the Project

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TUTORIAL 1: RECORDING MIDI
 Setting a metronome click and tempo
Digital Performer organizes MIDI data into
measures, beats, and ticks (there are 480 ticks
per quarter note, although the Time Formats
window in the Setup menu lets you choose
higher or lower resolutions, if you want). To
ensure that your music lines up with the beat
correctly, always listen to Digital Performer’s Drag the tempo slider until
the bpm settings reads ‘60’.
built-in metronome Click while recording:
Setting a countoff
1 Make sure the Click button is turned on. The final step to prepare for recording is to set
a couple of countoff bars. A countoff helps you
play in tempo, and gives you time to get to
Click.
your MIDI keyboard after pressing Record in
Digital Performer.

■ Click on the Countoff button in the Control

Panel.
2 In the Tempo Control section, drag the
Tempo Slider to 60 bpm. Countoff

Digital Performer can handle a wide range of

tempos and tempo changes. For now, simply
set a steady tempo of 60 beats per minute.
Alternatively, you can click the numeric
tempo setting, type in “60”, and press return
to confirm your typing. Figure 11-5: Enabling the countoff.

A Countoff of two bars is provided, with a

metronome click every quarter note. (If you
want to change the number of countoff bars,
Option-click the button to open the Countoff
preferences which lets you do so.)

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TUTORIAL 1: RECORDING MIDI
Turning off Memory Cycle and Overdub The two bars of countoff will begin as soon as
The Memory Cycle button causes Digital the Record button is pressed. Count the eight
Performer to loop a section of the music beats of introduction while you move to your
indefinitely. This extremely useful feature will controller keyboard and prepare to play.
be explored later. For now, let’s make sure that
it is off, as shown below. The same goes for 2 Play an ascending C major scale, starting
Overdub record. on Middle C and ending on the C an octave
above.

Use quarter notes, one per metronome click.

3 When you’re finished, click on the Stop

button.

Digital Performer will stop recording. Note

Memory Cycle Overdub that the counter has advanced.

Recording a scale If you make a mistake, don’t panic. Press the

You are now ready to record. Read over the Rewind button to return to the start of the
next couple of steps beforehand, and make sequence, then repeat the previous three steps.
sure your controller keyboard is turned on
and set up to send MIDI. When you’re ready: Playing back your sequence
To hear what you just recorded:
1 Click the Record button in the Control
Panel. 1 Click on the Rewind button in the Control
Panel.
The Record button
This returns Digital Performer to the start of
the sequence. Note that the Counter is reset to
its starting value.

2 Turn off the Countoff button (Figure 11-5

on page 120).

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TUTORIAL 1: RECORDING MIDI
 This is so you don’t have to wait for the For more information, see chapter 27, “Step
countoff to hear what you recorded. Leave the Record” (page 255) in the DP User Guide.
click turned on, however, so you can hear
what you played referenced to the click. OPENING THE EVENT LIST
You have just recorded a MIDI sequence, that
3 Click on the Play button. is, a string of MIDI commands that exactly
describes your performance. The Sequence
The Play button Editor shows the data that you have just
recorded into Track-1:

You should hear the scale play back on the

assigned instrument track (or other sound
The first few measures of Track-1 now contain the scale you just played.
source). If you don’t hear anything, turn to
“Problems” on page 126. Digital Performer allows you to view and edit
these MIDI ‘events’ directly by opening an
STEP RECORD
Edit window for a recorded track. Each MIDI
Step Record, available in the Studio menu, is
track can be viewed in six different types of
one of the most important and powerful
Edit windows: Sequence Editor, MIDI Editor,
features in Digital Performer. It is an
Event List, Drum Editor, Notation Editor, and
alternative to real-time recording: it waits for
QuickScribe Editor. In this example we’ll use
you to enter notes one at a time and allows you
the Event List. For detailed information on the
to specify the duration of each. Step Record is
other windows, see “Tutorial 3: Building a
ideal for passages too complex for real-time
Sequence” on page 137 and Part 5 ,
entry. Notes you enter in Step Record are
“Editing” (page 289) in the DP User Guide.
rhythmically precise (they won’t need
quantizing).

Recording with Step Record

See “Tutorial 3: Building a Sequence” on
page 137 for a step-by-step sequencing
tutorial that covers step recording.

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TUTORIAL 1: RECORDING MIDI
To view the data you have just recorded in the Later in this manual, you’ll learn how to set the
Event List window: Input Filter to filter out aftertouch data during
recording if you don’t want to record it.
■ Select Track-1’s track name and choose

Event List from the Project menu, or press If your Event List contains anything other
Shift-E. than note events, follow these steps to
temporarily hide the other data:
A new window will appear, looking more or
less like this: 1 Choose View Filter from the View menu.

2 Click the Event List tab at the top of the

window.

3 Option/Alt-click the Notes check box.

This is a shortcut for deselecting everything

but Note events for viewing.

Setting the View Filter

MIDI-equipped keyboards transmit a wide
variety of MIDI data. Your Event List should
contain the notes you just played, indicated by
a small note symbol:

You may see additional events, such as

aftertouch events:

4 Click the On velocities and Off velocities

check boxes to turn them on as well.

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TUTORIAL 1: RECORDING MIDI
 Now you should only see note events in your The End time is the exact location where the
Event List as shown earlier. note stops playing. In the above example, it is
being displayed in measures|beats|ticks. This
Editing an event is different from the duration, which tells you
The information for a Note event is displayed how long the note is. The End time tells you
as follows: where it stops.

Attack time On velocity Duration End time ☛ If you don’t see the duration or end time,
Choose Setup menu> Time Formats. Click the
Details triangle and then enable the Duration
and End Time check boxes at the bottom of the
window.
Pitch Off velocity
You may directly change any of these values.
The Attack Time is the time, displayed here in
For example, to move your first note to the
measures|beats|ticks, at which the note is
exact start of the sequence:
played. This note begins in the first measure,
first beat, and 20th tick (there are 480 ticks in 1 Double-click on the attack time of the first
a beat). note event.

☛ If you don’t see measures|beats|ticks, The event is highlighted and the attack time
choose Setup menu> Time Formats and and field ‘pops up’.
choose Measures as the main time format at
the top of the window. 2 Click on the ‘ticks’ field and type in 000.

The Pitch of the note is indicated by its letter 3 Press the Return key to confirm your
name and octave number. This note is a C3 change.
(middle C).
The note event is redisplayed with its new
The Duration is displayed in quarter notes attack time.
and ticks. Like attack times, there are 480 ticks
per quarter note; a value of 0|462 ticks is just a
little shorter than a quarter note.

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Editing multiple events You can alternatively set these times manually,
Although directly editing events in an Event by clicking on the Selection Start and
List allows precise, flexible control over your Selection End time fields and typing in the
sequence, editing notes one at a time can be desired values. For more information and
time consuming when editing dozens of examples on how to select data, see the
notes. The commands in the Edit and Region remaining tutorials and chapter 42,
menus let you edit whole sections, tracks, or “Selecting” (page 499) in the DP User Guide.
sequences at once, while maintaining precise
control over the final results. For example, we 4 Choose Quantize from the Region menu.
can use the Quantize command from the
Region menu to align the notes of our scale
exactly on the beat:

1 Click on the Sequence Editor title bar to

activate it.

The Sequence Editor comes to the front.

2 Click Track-1 once to highlight it.

This selects Track-1 for editing. Alternatively,

you could also drag over the phrase blocks in
the Track overview to select them.

3 Open the Selection Information window

(Studio menu) and choose “Set to Chunks The Quantize window appears. There is a full
Bounds” from the Set To menu. description of this feature and how it works in
chapter 45, “Region Menu” (page 543) in the
DP User Guide. For now, simply select a
quarter note as the rhythmic value:

1 Click on the quarter note icon.

2 Click Apply.

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 Digital Performer applies the quantization. At should make a permanent copy of any work
this point, if you examine the Event List you you do with the Save and Save As commands
will note that the Attack Times are all precisely on the File menu:
on the beat, i.e. the tick fields all show ‘000’:
1 Select Save As from the File menu.

A standard save dialog box appears.

2 Type a name for your file.

Always try to use descriptive names, so you

can identify your files later. “Simple Scale”
might be a good name for this file.

3 If necessary, use the navigation controls in

the window to select the correct disk on which
Use the Rewind and Play buttons on the to save.
Controls window to play back your sequence
again. The notes of the scale will play precisely If you are not sure how to do this, please
on the beats. review your computer’s documentation.

4 Click the Save button to save the file.

CONGRATULATIONS!
You’ve just completed your first MIDI
sequence.

Keep in mind that there are many ways to edit PROBLEMS

data. For more information, see Part 5 , If you follow the steps described in this
“Editing” (page 289) in the DP User Guide. chapter you should be able to record, view,
and edit a simple sequence. If, for some
SAVING YOUR SEQUENCE reason, you have a problem, don’t panic. Try
The sequence you have recorded and edited is to pinpoint the problem with these steps:
currently stored in the Random Access
Memory (or RAM) of your computer. You

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If Digital Performer won’t run or displays an
error message
☛ See “Technical support” on page 956 in
the DP User Guide for how to contact MOTU
Customer Support.

If Digital Performer runs, but doesn’t record

(i.e. nothing appears in the Sequence Editor)
Try this:
This indicator shows that MIDI data is being received from the ReMOTE
keyboard on channel 1. If none of these indicators blink when you play
1 Choose Quit from Digital Performer your MIDI controller, then something is wrong with the cables, MIDI
interface or the settings for the device in your MIDI device configuration
menu. (Setup menu > Bundles > MIDI Devices tab).

2 Shut down your computer. 5 Play notes on your MIDI controller and
watch the MIDI Monitor.
3 Make sure that your MIDI equipment is on
and correctly set up, and that the MIDI cables If no indicators blink, then Digital Performer
are working and firmly plugged into the is not receiving any MIDI data, which
equipment. probably means that something is wrong with
the MIDI cables, MIDI interface, or other
To test your MIDI cables, try a simple hook up
connection.
between two MIDI modules, or exchange
input and output cables. 6 Go through this chapter again.

4 Start the computer again, launch Digital Follow each step carefully; it’s easy to miss
Performer, open a new file, and open the something the first time through a program of
MIDI Monitor window. this scope.

The MIDI Monitor window shows incoming If you can record a track and view the notes in
MIDI data from your MIDI devices. the Event List, but can’t get your sequence to
play back:
☛ Check the volume and MIDI setting for
your MIDI instrument. Make sure the
playback destination in Digital Performer
corresponds with the channel setting on your
MIDI device, otherwise the MIDI
information will not reach your synth.

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 Further troubleshooting
If these steps don’t help, you almost certainly
have a problem with your MIDI interface,
cables, or keyboard. Check with the dealer or
manufacturer for help on testing the
hardware. “Technical support” on page 956 in
the DP User Guide contains more suggestions
and instructions on how to contact MOTU
Technical Support.

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CHAPTER 12 Tutorial 2: Recording Audio

OVERVIEW reversal of that process. Software is set up to

These instructions show step by step how to play back a digital audio file. A path is set up
record and play back an audio signal in Digital from the digital audio file to a set of speakers
Performer. Working through this tutorial is a or headphones.
good way of confirming that you have
correctly set up your computer audio system. An audio signal that you want to record into
Digital Performer could come from several
How it works. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129 different sources. You may want to sing, talk or
Opening the tutorial file . . . . . . . . . . . . . . . . . . . . . . .130 play an acoustic instrument and record that
Enabling audio hardware . . . . . . . . . . . . . . . . . . . . . .130 signal. You may have an electronic instrument
Using third-party audio hardware . . . . . . . . . . . . .131 that you want to record such as an electric
Using built-in audio. . . . . . . . . . . . . . . . . . . . . . . . . . . .131 guitar or synthesizer. You may want to play
Completing the audio hardware configuration. . . .132 back an analog tape or even a vinyl LP and
Choosing an input . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132 record that audio into the computer. You may
Preparing an audio track for recording . . . . . . . .132 also generate sounds inside the computer
Establishing audio input and checking the level . . .134 itself that you want to record into Digital
Monitoring the live signal. . . . . . . . . . . . . . . . . . . . . .133 Performer. An example of this would be a
Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135 virtual instrument such as a software
Playing back the recorded track . . . . . . . . . . . . . . .135 synthesizer or sampler.
HOW IT WORKS To record an audio signal into Digital
The procedure for recording an audio signal Performer, a path from the origin of that
into a computer can be broken into two basic signal into the software must be set up.
steps. Conversely, for playback, the software settings
must be correct and there must be a path for
First, hardware must be set up to provide a
the signal to reach speakers or headphones.
path for the audio signal into the computer.

Second, software must be set up on the

computer to record that information. Playing
back digital audio from a computer is a

129
 OPENING THE TUTORIAL FILE Hardware Driver window, it will be set to the
Locate the “Tutorial 2” Digital Performer built-in audio controller (as shown below). If
project file found on the Digital Performer not, make sure that it is:
installer disc (or at motu.com/download).
Copy it to your hard drive, then open the file.

You’ll see the Control Panel at the top of the

screen. Below that, click the Sequence tab to
view the Sequence Editor for Sequence 1
(Seq-1). These windows contain the basic
controls and information you will need to
record and play audio.

ENABLING AUDIO HARDWARE

The key to using any audio system is to follow
the signal flow. The first step is to get an audio
signal into the computer. You can choose
which audio inputs and outputs are available
to Digital Performer as follows:

1 Choose Setup menu>Configure Audio

System>Configure Hardware Driver. Note that some Macs have separate drivers for
their built-in input & and built-in output, so
2 The Configure Hardware dialog appears.
to use both simultaneously you must select
This window allows you to select the audio both by Command-clicking them. See
hardware that Digital Performer is currently “Enabling multiple drivers (Mac only)” on
using and to make changes to that hardware. page 29.
Refer to your computer platform below.
Windows
Mac OS Choose either ASIO or Windows Audio from
When Digital Performer is first installed in the the menu at the top, depending on the audio
computer, the software defaults to using the hardware you have installed in your system. If
computer’s built-in audio for audio input and you haven’t installed a sound card or
output. The first time you open the Configure connected and audio interface, choose
Windows Audio to use the built-in audio

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features of your PC. In the example below, When using audio hardware, you’ll use your
ASIO has been chosen for the MOTU audio interface for both input to Digital
MicroBook audio interface. Performer and output from Digital Performer.

USING BUILT-IN AUDIO

If there is no additional audio hardware
connected to the computer, Digital Performer
can only record and play back audio via the
computer’s built-in audio.

In the Configure Hardware Driver window,

the computer’s built-in audio driver will be
selected by default.

Choosing a computer audio input

USING THIRD-PARTY AUDIO Some computers have more than one possible
HARDWARE
input source for built-in audio. Use the
Digital Performer is compatible with a wide
Bundles window to specify the input.
range of third-party audio hardware. If you
have additional audio interface hardware
Using the computer’s built-in speakers for
connected to your computer, you can set output
Digital Performer to use that hardware by For the computer to send audio to its internal
selecting the appropriate device in the speaker or speaker output jack, the Output
Configure Hardware Driver window, as volume control must be unmuted and turned
shown above. By doing so, you will use that up.
hardware as the path for audio record and
playback. When you select the driver for your ☛ WARNING: if you are using the
audio interface, the Configure Hardware computer’s built-in microphone and speakers
Driver dialog will show the available settings for recording and playback, DON’T ENABLE
for that audio hardware, such as clock source INPUT MONITORING by record-enabling
and sample rate. The audio driver may also or input monitor-enabling the track. Doing so
have additional software used to configure the causes an immediate and VERY LOUD
hardware, such as enabling/disabling inputs feedback loop, due to the close proximity of
and outputs, monitoring inputs, and so on. the mac’s omni-directional microphone and
Check the instructions that came with the the computer’s built-in speakers. To avoid this
audio hardware for further details.

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TUTORIAL 2: RECORDING AUDIO
 feedback loop, plug in a pair of headphones
into the computer’s stereo mini-headphone
jack. See “Monitoring the live signal” below.

COMPLETING THE AUDIO HARDWARE

CONFIGURATION
Regardless of what hardware you’re using, the
important thing to know is that what you
choose in the Configure Hardware Driver
window is what will be available as inputs and
outputs to Digital Performer.

After you have selected the audio hardware

inputs you want to use, click OK to close the
Configure Hardware Driver window.

CHOOSING AN INPUT
Now you will select an input for a mono audio
track. Mono audio tracks have a single
waveform icon next to their name. Click in the
Input column for a mono audio track, as Figure 12-1: Choosing an audio input bundle. In this example,
demonstrated below in Figure 12-1, and the New Mono Bundle sub-menu shows inputs from the
computer’s built-in audio hardware and a MOTU Traveler
choose the New Mono Bundle sub-menu. FireWire interface. The computer’s built-in audio input is being
chosen as the mono input for the track.
In the sub-menu, you will see a choice of
If you wanted to record into a stereo track, you
whatever inputs have been made available
would do the same thing in the input menu for
from within the Configure Hardware Driver
a stereo track, except that you would create a
window. You might also see bus inputs, and
new stereo bundle instead of a mono bundle.
possibly several other selections, depending
on whether you have installed software PREPARING AN AUDIO TRACK FOR
synthesizers, samplers, or similar RECORDING
applications. For an audio signal to get recorded into a
track, the track must be record-enabled. Look
For the purposes of this tutorial, choose for the record-enable button to the right of the
built-in audio channel 1.

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track name, after the play-enable button. Press Additionally, each audio track also has an
that button and it will turn red. The track is Input Monitor button:
now record-enabled and ready.

Figure 12-3: Input monitoring enable/disable.

Figure 12-2: Record-enabling the track.
The Input Monitor button enables audio patch
☛ If the track does not yet display a record- thru for the track, similar to record-enabling.
enable button as shown above, it needs to be This is useful if you want to monitor the
assigned a valid audio output. To do so, click signal, but not record it.
on the italic text in the Output column next to
the track (the italic text probably says A track can have both its record and input
something like Out 1-2). Choose the New monitor buttons enabled, though only one is
Stereo Bundle, and, for the purposes of this necessary to enable audio patch thru for the
tutorial, choose Built-in Output 1-2 from the track. However, it can be useful to engage
sub-menu. both. For example, enable input monitoring to
hear the live signal and practice before
MONITORING THE LIVE SIGNAL recording a pass. Record-enable the track to
Record-enabling a track also enables audio record a pass, then turn record-enable off after
patch thru for that track, meaning that the the pass. With input monitoring still enabled,
audio signal that is present at the input of the you’ll still be able to hear the input, but the
track is patched to the output of the track track will be record-safe.
(unless Studio menu > Audio Patch Thru is set
to Off). For more information on monitoring input
signals and the different Audio Patch Thru
modes, see “Audio input monitoring” on
page 221 in the DP User Guide.

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 ESTABLISHING AUDIO INPUT AND If the input signal is too loud or not loud
CHECKING THE LEVEL enough, you must change that level before the
Now check the input level of the signal you are signal reaches the input of the computer or
about to record. Go to the Studio menu and audio interface. Matching audio levels is
open the Audio Monitor, which appears in the critical to getting a good recorded sound.
sidebar, to the right of the Sequence Editor. To
get a better look at it, double-click the tab bar Mac users: if you are using the Mac’s built-in
to pop it out of the side bar (Figure 12-4). The microphone, you can adjust the input level in
Audio Monitor shows the level of signal as it the Audio tab of the Audio MIDI Setup utility.
gets recorded. You can pop it back into the
Consolidated Window at any time. PC users: if your PC has a built-in
microphone, use whatever controls Windows
Tab bar provides to adjust its input level.

If you have a third-party audio interface, use

the input gain controls on it, if any. If it doesn’t
have input gain control, a simple mixer or
microphone preamplifier is a good way to
ensure that input levels are strong enough
without overloading.
Figure 12-4: Seeing the input level in the Audio Monitor.
Generally, software generated audio signals,
It is important that input level is strong such as soft synths or samplers, will have
enough but not so loud as to overload the optimum level by default. On some soft synths
input. When a track is record-enabled, it or samplers you may also have settings
shows up highlighted in the Audio Monitor available to control output gain.
window. If there is a signal present at the input
of the record-enabled track, you will see VU Note that the Mixing Board in Digital
activity in the Audio Monitor window. When Performer controls playback output from the
you see this signal, you are ready to record. program. It has no control over input level.

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TUTORIAL 2: RECORDING AUDIO
Setting the audio file destination that audio is being recorded. The Audio
The Audio Monitor window also lets you Monitor window will show the strength of the
select where on your computer that new audio signal as it gets recorded.
files will be created and shows you available
recording time on the destination disk.

Double-click here to change Click once here to view

where the audio file to be the full path name for the
recorded will be placed. current destination.

Figure 12-5: If you want, you can change the destination of the
audio file that is generated by the record operation.

For this tutorial, let’s use the location already Figure 12-6: Recording audio.
provided, but if you wanted to change it, you
would click the take file name to select it and PLAYING BACK THE RECORDED TRACK
then choose Set Take Folder from the Audio After you have recorded a signal, you can stop
Monitor mini-menu. the transport and turn off the track’s input
monitor-enable and record-enable buttons.
RECORDING Then rewind, and play: you should hear what
To put Digital Performer into record mode, at you just recorded. The Mixing Board in
least one track must be record-enabled, as you Digital Performer will allow you to adjust
did earlier in this tutorial (Figure 12-2 on output level of the recorded track.
page 133).

Now press the Record button in the Control

Panel and Digital Performer will start to
record. As Digital Performer records, you
should see the green wiper moving in the
Sequence Editor window. A red stripe will
appear trailing behind the wiper indicating

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TUTORIAL 2: RECORDING AUDIO
136
TUTORIAL 2: RECORDING AUDIO
CHAPTER 13 Tutorial 3: Building a Sequence

WHAT’S IN THIS TUTORIAL ■ You know how to call up sounds in your

In this tutorial, you will: MIDI gear, including a drum kit.

■ If you are using your controller keyboard as
■ Cycle-record a drum loop and use the MIDI
Editor during recording a sound source, you have turned off Local
Control. If you’d like a further explanation of
■ Apply a groove to the drum loop this, see “Disabling Local Control in your
■ Import an audio loop and adjust it so it MIDI controller keyboard” on page 138.
plays in time with your sequence ■ It helps if you have gone through the

■ Step-record a keyboard part previous two chapters, but they are not
required.
■ Insert a bass line in the QuickScribe Editor

(notation window) by hand OPENING THE TUTORIAL FILE

Locate the “Tutorial 3” Digital Performer
You can stop at any time by choosing Quit
project file found on the Digital Performer
from the Digital Performer menu.
installer disc (or at motu.com/download).
TUTORIAL CHECKLIST Copy it to your hard drive, then open the file.
To make the tutorial as clear as possible, we
You’ll see the Control Panel at the top of the
assumed the following:
screen, and below that, the Sequence Editor
■ You’ve successfully completed the entire
for sequence 1 (Seq-1). These windows
installation section of this guide, including the contain the basic controls and information
setup of your MIDI configuration. you will need to start building your sequence.

■ You have a MIDI keyboard (or other MIDI SET UP MEMORY CYCLE RECORDING
controller) and a multi-timbral MIDI setup. If Memory Cycle lets you build a section of
you’d like a further explanation of this, see music by loop recording. We are going to build
“Categorizing your MIDI setup: how many a two-bar drum loop.
notes can you play at once?” on page 138.
1 If it isn’t already highlighted, click the
Memory Cycle button to highlight it.

137
 Categorizing your MIDI setup: how many notes can you play at once?
Perhaps the most fundamental concept of MIDI sequencing is that notes at once. For example, you can play a chord on them consist-
the sequencer itself produces no sound whatsoever. Instead, the ing of 3 or more notes at one time. A device that can do this is
sequencer triggers synthesizers, which produce the actual sound. A referred to as polyphonic. Keyboards and sound modules produced
sequencer just records and plays back performance information: in the late 1980’s could typically play up to eight notes at a time
when notes were played, what notes were played, how hard they (eight note polyphony). Today, affordable hardware MIDI instru-
were struck, how long they were held down, and so on. This is one ments play 32, 64 or more notes at a time, and software MIDI
of the reasons why sequencing is so powerful. It gives you incredi- instruments can have 256 note polyphony or more.
ble flexibility in working with instruments and sounds. Many of today’s MIDI instruments are also multi-timbral, which
So the maximum number of notes you can play at one time when means that they can play different types of sounds at the same time.
sequencing in Digital Performer depends on your MIDI instru- For example, you may have a sound module that can play drums,
ments (both hardware and software). bass, piano, guitar, sax, synth pad, and a solo instrument all at once.
Only the most basic MIDI instruments are limited to one note at a Many instruments can play up to 16 different sounds at once (one
time, and fortunately, this type of instrument is a thing of the past per MIDI channel), and some software instruments like MachFive
for the most part (unless by design, such as the BassLine instru- can use 64 MIDI channels to trigger an unlimited number of parts.
ment plug-in). An instrument that can only play one note at a time To take full advantage of Digital Performer’s power, a multi-timbral
is referred to as being monophonic. MIDI setup is highly recommended. Even a single General MIDI
Today, most keyboards, sound modules, synthesizers, and virtual instrument or multi-timbral virtual instrument can give you an
instruments (often referred to as a sound sources) can play several entire orchestra at your fingertips in Digital Performer.

Disabling Local Control in your MIDI controller keyboard

Local Control is a setting found on just about every MIDI keyboard trigger notes in the sound engine. When Local Control is turned
(unless the keyboard is just a controller and doesn’t have any off, this connection is temporarily severed, and the keys no longer
onboard sounds of its own). It’s easier to understand what local trigger sounds within the synthesizer.
control does if you first understand the basic architecture of a When you are using your keyboard as a sound source as well as a
keyboard synthesizer. controller with Digital Performer, turn Local Control off. (Consult
Most keyboard synthesizers actually consist of two separate the manual; it may be called “Local On” or “Local Off ”.) Don’t
components as shown below. The keyboard controller sends worry, though. You’ll still be able to trigger sounds via Digital
performance information to both the built-in synthesizer and the Performer’s MIDI Patch Thru feature in the Studio menu, which
MIDI OUT port. echoes controller keyboard input to any sound source in your
MIDI studio.
MIDI OUT

Sound Engine
MIDI OUT MIDI IN
Keyboard
It’s easy to think of them as being one and the same, but actually,
the sound engine inside the synth is separate from the keyboard. In MIDI IN MIDI OUT
fact, many synth manufacturers ship a rack-mountable version of
their popular keyboards that is simply the sound engine by itself, Sound Engine
without the keyboard. Often the unit fits a single rack space—
sometimes even a half-rack space.
Local Control is the setting that connects the keyboard to the Keyboard
sound engine. When Local Control is on, the keys on the keyboard

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TUTORIAL 3: BUILDING A SEQUENCE
 Memory Cycle stop marker

Memory Cycle

2 Click the Overdub Record button to

highlight it.

Overdub record mode causes newly recorded

material to merge with data that is already in
the track instead of erasing and replacing it. SET UP A METRONOME CLICK
When you first record in real time into Digital
Performer, you need a metronome click so
that you can play along with the measures and
beats in Digital Performer. Actually, it is also
possible to record without a click and
Overdub afterwards line up the beats and barlines with
your performance. For more information, see
3 Drag the Memory Cycle stop point to bar 3
chapter 60, “Record Beats” (page 711) in the
in the Sequence Editor.
DP User Guide. But for building our drum
loop now, let’s play to a click.
When Snap to Grid (Snap Information
window) is enabled, the Memory Cycle
1 Make sure the Click is turned on.
marker snaps to barlines as you drag so you
don’t have to be exact. Digital Performer will The button turns yellow when the Click is on.
now loop the first two bars indefinitely. Try clicking the button a few times to toggle it
back and forth so you can see the difference
between off and on.

Click button

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TUTORIAL 3: BUILDING A SEQUENCE
 2 Set the tempo slider to a comfortable 4 Press the Stop button to stop playback and
recording tempo. press Rewind to return to the beginning of the
sequence.
A great thing about MIDI sequencing is that
you can record at a slow tempo and then move When you are done with this step, the Counter
up to full speed afterwards. Let’s set the tempo should read measure 1, beat 1 as shown below.
control to about 80 bpm (beats per minute).
You can accomplish this by typing the tempo Rewind Stop After rewind, the Counter
or by dragging the mouse down in the tempo button button returns to measure 1.

control section.

Tempo control

5 If you did not hear the Click during

playback, or if you feel that it won’t be loud
3 To test the Click, press the play button and
enough during recording, see the side-bar
listen for the click sound.
“Setting up a Click”.
Digital Performer begins to play, looping the
SET UP A ONE BAR COUNTOFF
first two measures. The main counter gives
Digital Performer can give you a countoff
you a running update, and the playback
before you begin recording, just like a
location indicator scrolls in the Sequence
conductor would, to get you into the tempo
Editor. Play for as long as you’d like.
before the first downbeat. In fact, as you
probably know, it’s almost impossible to play
Play button Counter gives a Playback wiper loops
turns green running update between Memory in time with the first downbeat without a
cycle markers countoff.

By default, Digital Performer gives you a two-

bar countoff. But we are recording at a fairly
slow tempo, and we don’t want to have to wait
through a full two bars, so let’s change the
countoff to one bar.

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TUTORIAL 3: BUILDING A SEQUENCE
1 Click the Countoff button once to turn it 2 Option/Alt-click the Countoff button to
on. open the Countoff Preferences.

3 In the Countoff Options section, change

the 2 in the text box to a 1.

Countoff button

Setting up a Click
Digital Performer’s audio click uses audio files to generate a click 7. Set the overall click volume (for both Accented and Normal) using the
sound of your choice. Master Volume slider.
To set up an audio click: 8. Click Done.
1. From the Studio menu choose Click Options. You can also access this
window by Option/Alt-clicking the metronome icon in the Control
Panel.
2. As soon as the Click Options window opens, you should hear a click
coming from your computer speaker. If not, enable the Audition click
option at the bottom of the window.
3. At the top left of the window, uncheck the MIDI check box and check
the Audio check box.
4. On the right, choose the audio file you would like to use for the
accented click from the menu provided. A number of files are provided
for you, but you may also use your own mono WAVE, AIFF, or SDII file.
The accented click falls on the downbeats of measures.
5. Set the level of the click as desired.
6. Make the Normal click settings in the same fashion.
The Normal click falls on beat boundaries within each measure.

In addition to Digital Performer’s audio click, you can use a drum 3. Double-click in the Pitch box to select it and either type the desired
machine, sampler, or other MIDI sound source to generate a click note or simply play the desired note on your controller keyboard.
sound of your choice.
4. Set the note-on velocity (0-127) and gate (duration in milliseconds) as
To set up a MIDI click: desired.
1. At the top left of the Click preferences window, uncheck the Audio
check box and check the MIDI check box. 5. Make the Normal click settings in the same fashion.

2. On the right, choose the device you would like to use for the accented The Normal click falls on beat boundaries within each measure.
click from the menu provided. 6. Click Done.
The accented click falls on the downbeats of measures.

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TUTORIAL 3: BUILDING A SEQUENCE
 2 Make sure that the Drums track is record-
enabled.

In this tutorial file, this track is record-enabled

by default. If for some reason it is not, click its
record button so that it is red.

Record-enable
button
4 Check the “Countoff only when recording”
option.

This option causes Digital Performer to skip

3 The MIDI track is assigned to Model12, a
the countoff when you click the Play button.
drum module software instrument.
5 Click Done to confirm the new settings.
If you would like, choose a different sound
source that can produce a drum kit from the
SET UP A TRACK FOR RECORDING
Output menu for Track-1. Select your drum
Let’s set up Track-1 for recording the drum
machine, sampler, or other device., keeping in
loop.
mind that on many multi-timbral synthesizers
1 First, rename Track-1 by Option/Alt- and sound modules the drum kits can be
clicking it. found on MIDI channel 10.

Type in the name “Drums” and then press the For more information on choosing an output
return key to confirm your typing. device and patch, see “Choosing a MIDI
output destination” on page 128 and
“Choosing a default patch (sound)” on
page 131 in the DP User Guide.

4 Make sure there is a drum kit currently

playing on the device and channel that you
☛ Shortcut: when you are naming several chose. Then test the track setup by playing a
tracks in a row, use the down arrow key to few notes on your MIDI controller; you
finish with the current track and edit the next should hear drum sounds as you play.
one in the list.

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When you play notes on your controller, Drum Editor
Digital Performer receives them and then
echoes them to the playback device for the
currently record-enabled track — even when
Digital Performer is stopped. At this point,
your controller should be playing the drum kit
source you selected (by default, the Model12
instrument track).

If you’ve chosen a different sound source,

check the volume of the MIDI device. If it has
a MIDI activity indicator, check to see if the
indicator blinks when you play notes on your
controller. If you have a multi-port MIDI
interface such as a MIDI Express XT, see if the 3 After the Drum Editor appears, use the
MIDI OUT light corresponding to the MIDI controls shown in Figure 13-1 to optimize the
Device blinks when you play your controller. position of the window on your screen. Be
These things will give you an indication of sure to keep the Control Panel visible, as you’ll
whether the MIDI note information is need to use it during recording.
reaching the device or not.
4 Under the mini menu in the Drum Editor,
OPEN THE DRUM EDITOR select ‘Show Pitches for All Notes” option so
Let’s open the Drum Editor before we begin the Drum Editor will create an instrument line
recording so we can see the notes we record. for each pitch you play.

1 Click the track name “Drums” to highlight QUANTIZING

it. Digital Performer records what you play very
accurately, including every timing nuance.
Doing so selects the track. Digital Performer’s real time, non-destructive
Quantize MIDI effect can be a great help when
2 Click the Drum Editor tab in the recording drums, regardless of your level of
Consolidated Window. drum or keyboard chops. Quantize places
notes on an evenly spaced timing grid so that
they are played back in a rhythmically precise
fashion. This helps get notes on the proper

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TUTORIAL 3: BUILDING A SEQUENCE
 beat right as they are recorded so you don’t
have to spend time afterwards making slight
corrections.

Don’t worry about sounding stiff or robotic;

we are going to apply a groove to the drum
loop a little later in the tutorial to give it some
feel.

1 Open the Mixing Board by selecting

Mixing Board under the Project menu, or by
clicking the Mixing Board tab in the
Consolidated Window.

2 Locate the Drums tracks you renamed

earlier (it will be the record enabled one) and
select Quantize from the inserts.

If you’d like to quickly open the

window to the full width of your Mini-menu
screen, click the Zoom button.

Changes grid resolution. A value

of 1/4-note means each grid cell
equals a single 1/4-note.
To move the
Drum Editor,
drag its title
Current output destination bar.
for this drum track.

Drag the
resize box to
resize the
entire
window.
Drag the median strip handle
all the way down to temporarily
hide the continuous data grid
(which will be covered later).
Figure 13-1: Preparing the Drum Editor for recording so you can see what you are recording as you go.

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TUTORIAL 3: BUILDING A SEQUENCE
3 Select a 16th note quantize grid. Leave the 4 Close the Quantize window.
rest of the options alone for now.
This window could be left open, but for now,
click its close button at the far left of the title
bar, or press command-w.

AND NOW THE FUN REALLY BEGINS

You are ready to record! You’ll now build the
drum loop, one pass at a time. Try adding one
drum part at a time as described in the next
few sections, and feel free to let the loop play
as many times as you want before recording
the next part. If you make a mistake, you can
either fix it in the Drum Editor or erase the
pass entirely.

Scrolling wiper shows Kick and snare notes

playback position.

Figure 13-2: Recording the drum track.

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TUTORIAL 3: BUILDING A SEQUENCE
 If you haven’t done this sort of thing before At this point, your drum sequence should
with a drum machine or other pattern-based look something like figure 14-2. Let’s change
sequencer, you may find it useful to record the edit resolution so we can see the drum
related sounds together, such as kick and notes on a 16th note grid.
snare, and closed hi-hat with open hi-hat.

☛ After you begin recording below, try to

complete the drum loop without ever
stopping the music. We’ve set up the tutorial
so that you can fix mistakes, and do
everything you need to do without ever
having to hit the stop button. It’s fun, and
more importantly, you’ll learn to become
more interactive with the music.

RECORD KICK AND SNARE FIRST

Let’s start with the kick and snare:

1 Before you start recording, find the kick

and snare keys on your controller keyboard.

For the purposes of this tutorial, it doesn’t

really matter what you play. If nothing else,
play the kick “four on the floor” and the snare
on beats two and four.

2 When you are ready, click the Record

button, listen to the countoff, and play a two
bar kick-snare pattern.

3 If you make a mistake, don’t worry. Let the

loop keep playing for now and proceed to the
next section.

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TUTORIAL 3: BUILDING A SEQUENCE
FIX MISTAKES AND GET READY TO ADD ADD THE HI-HAT
THE HI-HAT PART To add the hi-hat part, let’s simply paint it in
Here are several things you might want to do the Drum Editor. We can certainly do this
next: while the drums are still looping, but it might
be easier to simply stop playback at this point.
What you want to do How to do it
Erase all the notes and Choose Undo from the Edit 1 Stop the transport by clicking the stop
start over menu.
button or typing ‘0’ on your numeric keypad.
Erase a wrong note Click it and press the delete
key. (On Windows, make sure the Num Lock key is
engaged before you type ‘0’ on the keypad.)

2 Add a new note line to the Drum Editor by

clicking in the pitch column in the blank line
under the last pitch.
Move a note earlier or Click on a note and drag it to
later the proper location.

Hear the drum loop at Drag the tempo slider up to

full tempo the desired tempo.

Practice the hi-hat part Click the Record button to

without recording it yet take Digital Performer out of 3 Enter in a value for a hi hat. This is usually
record and keep playing.
F#1, but it is easier if you audition notes on
Record the hi-hat part Click the Record button again your MIDI keyboard. After you have found a
to put Digital Performer back
into record mode and start hi-hat sound, press return.
recording at the next pass of
the loop.
Add additional pitches, such as an open hi-hat
sound (Bb1), in the same way.

4 Now that you’ve created the hi-hat

instrument line, select the Pencil tool in the
Tool palette and drag across a line of 16th
notes in the Drum Editor.

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TUTORIAL 3: BUILDING A SEQUENCE
 to disk, you run much less of a chance of
losing your work, although even on disk it can
be lost. So back up your hard disk, too.
☛ The Pencil tool will also erase notes.
To save your file:
Click on an open grid space to create a note,
click on an existing note to erase. 1 Press the Stop button.

2 Choose Save from the File menu.

A standard save dialog box appears.

3 Type in a name for the file.

5 Press the Play button in the transport (or 4 If desired, choose a folder in which to save
hit ‘enter’ on your numeric keypad). You the file.
should now hear your drum pattern with 16th
note hi-hats. 5 Click Save.

SAVE WHAT YOU HAVE DONE SO FAR SELECT THE LOOP AND APPLY A
As you sequence, Digital Performer stores GROOVE
your work in the computer’s memory. But Now that we’ve successfully recorded the
memory is volatile; it is completely erased notes, let’s apply a groove to the drum loop to
when the computer is shut down or restarted. give it some feel with the Groove Quantize
If this happens unexpectedly (the computer command in the Region menu. You’ll use the
crashes, or the power goes out), you loose commands in the Edit and Region menus all
everything — unless you save it to disk. the time.
Therefore, get in the habit of saving every time
you reach a point where you like what you’ve 1 Press the Play button to start playback
got so far. Try to save every few minutes again.
during a session so you never risk losing more
2 Set the tempo slider to a tempo around 100
than a few minutes worth of work. If magic
bpm.
happens in a session and you record that
perfect take, save it immediately. Once saved
This tempo suits the grooves we will apply in a
moment.

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TUTORIAL 3: BUILDING A SEQUENCE
3 In the Mixing Board, choose an insert
located under your Quantize insert, select
Groove Quantize.

4 Double-click the folder called DNA

Grooves.

Grooves are stored in groove files. The DNA

Grooves folder has several files, called DNA
Grooves™.

5 You’ll now see a few groove files in the list as

shown below. Double-click the file labeled
“2•DNA Straight” to open it.

6 Now you’ll see a list of straight grooves.

7 Choose Straight Feel A. Now your drum

groove should have a bit more feeling to it.

8 Click on the disclosure triangle at the

bottom of the Groove Quantize effect window.
This will reveal an additional set of controls.

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TUTORIAL 3: BUILDING A SEQUENCE
 Since you already created and named the file
once already, it doesn’t ask you for a name this
time. Instead, it just saves the file to disk in its
current state.

ADD A GUITAR SAMPLE LOOP

Now let’s add a guitar loop to spice up our
track. To add an existing soundbite to our
project, open the soundbites window from the
Project menu.
9 Use the three faders to experiment with
changing the degree to which the groove is 1 From the File menu, choose Import Audio.
applied.
This will bring up the Open dialog box.
The three faders control how much timing,
2 Locate the tutorial loop file. It is located
velocity, and duration information is applied
inside a “Loops” folder in the Tutorial 3
from the groove. They let you fine-tune the
project folder. Double click on the “Guitar
effect of the groove. With Instant Preview
Loop” file to import it.
turned on, changes you make to a slider occur
as soon as you release the slider handle. ☛ To audition a file before you import it,
click the audition icon and select the audio
10 After you’re done experimenting, and you
file.
have the groove the way you like, you can close
the Groove Quantize window. Because you are
using real time MIDI effects, you can always
go back later and modify the settings or
remove the effect entirely.

11 Press the Stop button to stop playback at Audition icon

this time, and press rewind to rewind to
measure 1, beat 1.
3 Open the Soundbites window by choosing
12 Now would be a good time to save the file
Soundbites from the Project menu, or pressing
again. Choose Save from the File menu.
Shift-B.

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TUTORIAL 3: BUILDING A SEQUENCE
4 Drag your imported loop into your 5 It is time to listen to the results. Hit play in
sequence by grabbing the handle in the Move the Control Panel. As you listen, you may
column. Dragging the soundbite to the left notice that something does not sound right.
side of the Sequence Editor will create a new The tempo of the loop we imported may not
track containing the soundbite, with the match the tempo of the rest of our sequence.
soundbite placed at the beginning of the
sequence (you can always reposition it after Let’s audition the soundbite and count how
you have dragged it into the track). many beats it is. Select the soundbite in the
Sequence Editor by clicking on it. It should tell
you it is selected by highlighting. Now hold
down the Option/Alt key and hit the space
bar. Digital Performer will play back the
selected soundbite. While the soundbite is
playing back, count the beats. If you don’t
catch it the first time, feel free to audition the
soundbite again.

6 At this point, you should have discovered

the loop is one bar long, or four beats. The
soundbite should still be selected so let’s tell
Digital Performer how long the loop is. To do
this, we open up the Set Soundbite tempo
dialog from the Audio menu > Soundbite
Tempo sub-menu.

7 Because we now know the selected

soundbite is exactly four beats long, enter 4
beats and zero ticks. Digital Performer should
now tell you the tempo of the selected
soundbite is 104.00 BPM. Click OK.

8 Now that Digital Performer knows the

tempo of the soundbite, we can do one of two
things: we can match the tempo of the

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TUTORIAL 3: BUILDING A SEQUENCE
 sequence to match the soundbite, or we can PREPARE TO RECORD A SECOND TRACK
time stretch the soundbite to match the Now let’s prepare Track-2 for recording.
tempo. We’ll take the second approach.
1 Record-enable Track-2.
Under the Audio menu, select Adjust
Soundbites to Sequence Tempo. You’ll see the There are two ways to do this: 1) click the
Background Processing window display track’s record-enable button, or 2) press the
momentarily as it processes the audio file. down arrow key.
When it is finished, press the play button and
2 By default, the track is assigned to Modulo-
listen to the result. The tempo of the sample
1.
loop now matches the tempo of your
sequence. This is a handy technique to If you’d like, choose a different playback
remember when working with sample loops. device for Track-2 from the Output menu and
choose a bright piano or bright synth sound
9 Let’s copy the loop so the guitar sample is
for the new track from the Default Patch
also heard during bar 2. Click on the
column (or call up the sound manually from
soundbite, hold the Option/Alt key, then drag
the device itself, if sound names are not yet
it to bar 2.
showing in Digital Performer’s patch menu).
Since Snap to Grid is enabled, it will snap to For a review of this procedure, see “Set up a
exactly bar 2 beat 1. track for recording” on page 142.

3 Rename the track “Chords”, as you did

earlier in the tutorial, by Option/Alt-clicking
the word “Track-2” to and typing a new name.

4 Test the track by playing a few notes on

your controller keyboard.

You should hear the synth sound for this

track.

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TUTORIAL 3: BUILDING A SEQUENCE
STEP RECORD ANOTHER PART
Step Record is a powerful sequencing feature
because it lets you record notes one at a time.
It is especially useful if you don’t have well-
practiced keyboard skills. We’ll use it to enter
some half-note chords:

1 Press the Rewind button to make sure that 4 Click the half note duration button.
the sequence is rewound to measure 1, beat 1.

2 To see what you are entering as a list of

notes, click the track name for the “Chords” Half
note
track and press Shift-E to open its Event List.

5 The first chord you’ll enter is a simple C

major triad (C-E-G) starting on middle C
(C3). To enter the chord, press these three
keys down together once and then release
them together.

C3

3 Choose Step Record from the Studio menu.

The Step Record window appears. If

The first chord
necessary, move the Step Record window by
dragging its title bar so that it doesn’t obscure The chord is actually entered when you release
the Event List. the keys. Notice that the current step and the
main counter advance the duration of a half
note to beat 3. In addition, Digital Performer
plays the first two beats of the measure when
you enter the notes so you can hear the chords

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TUTORIAL 3: BUILDING A SEQUENCE
 in context with the rest of the sequence. Notice
also that the chord notes displayed in the
Event List are precise half notes: they have a
duration of two beats (2|000) and all occur
together exactly on beat 1 (1|1|000). The second chord

☛ If you make a mistake, Don’t worry. Press

the Backstep button and try again.
The third chord

The fourth and last chord

7 At your leisure, play chords three (G minor

(11)) and four (F major again).

6 In a similar fashion, play the second chord: Be sure to completely take your hands off the
F maj (for beats 3 and 4 of measure 1). keys before playing the next chord. In fact, it is
good technique when step-recording to play
Remember, when you are step recording, you in a staccato fashion — almost as if you were
can take as much time as you want with each pecking at the notes. This ensures that you
step. Use the Backstep button if you make a won’t play too many notes on a beat.
mistake and need to re-enter the chord.
8 When you are done, close the Step Record
window.

You now have two bars of chords in the

sequence.

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TUTORIAL 3: BUILDING A SEQUENCE
9 To hear the chords play back in real time preferences. For more information, see
with the drums, press the Memory Cycle chapter 6, “Preferences and Settings”
button to turn it back on (Step Record turns it (page 69) in the DP User Guide.
off), press the Rewind button, and then press
the Play button. 3 You now should have something like Figure
Figure 13-3. You may have to use the pitch
ruler scroll bar and horizontal zoom buttons
to match exactly.

4 We are going to change the third chord

located at measure two, beat one, from a G
minor with an 11 in the bass (C) to a normal G
minor chord. To do this, we have to move the
bass C note up a major second to a D.

☛ Note the current state of your Edit Grid

resolution (Snap Information window). When
the Snap to Grid check box is lit, any change to
Two bars of step-
recorded chords. the placement of the note will be constrained
to a grid.
Editing with the MIDI Editor
Let’s edit a note in the MIDI Editor. 5 Select the bottom note of the third chord.
Move it up two steps to D. With Audible mode
1 Select your Chords track you just recorded enabled (in the upper right-hand corner of the
by clicking on either the track name or the Control Panel), you should hear the note
MIDI data. The data should highlight to let change as you place it.
you know it is selected.

2 Open the MIDI Editor by selecting MIDI

Editor from the Project menu or by clicking
the MIDI tab in the Consolidated Window.

☛ If you double click on the MIDI data in

the Tracks Overview, the Event List editor
opens by default. You can change the default
editor to the MIDI Editor by setting your

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TUTORIAL 3: BUILDING A SEQUENCE
 If you’d like to quickly open the To move the MIDI
window to the full width of your Editing window, grab
screen, click the Zoom button. the title bar and drag to
a new location.

Use the magnifying

glass to scale the verti-
cal representation of
data.

Use the zoom

buttons to scale
Use the pitch ruler the horizontal
scroll bar to scroll the representation
ruler and note grid to of data.
the note range that
contains your chords.

MIDI Notes MIDI Velocities

Drag the resize box to
resize the entire
window.

Figure 13-3: Using the MIDI Editor.

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TUTORIAL 3: BUILDING A SEQUENCE
 Performer’s patch menu). For a review of this
Audible
mode button procedure, see “Set up a track for recording”
on page 142.

3 Change the name of Track-3 to “Bass”.

Enter the bass part in the QuickScribe

Editor
You’re now ready to enter the bass part. Let’s
do it by inserting notes graphically in the
QuickScribe Editor. If you don’t read music
notation, don’t worry. You’ll still be able to
follow the tutorial here.

1 Select the Bass track by clicking its name.

☛ Much of the functionality of the MIDI 2 Click the QuickScribe tab in the
Editor is also built into the Sequence Editor. Consolidated Window to open the
For more information, see chapter 35, QuickScribe window.
“Sequence Editor” (page 333) in the DP User
Guide. QuickScribe Editor tab

BASS PART
Now let’s add one more track: a bass part.

1 Record-enable Track-3.

2 By default, the track is assigned to the

BassLine-1 instrument track.

If you’d like, choose a different playback

device for Track-3 from the Output menu and
choose a bass sound for the new track from
the Default Patch column (or call up the 3 Click the quarter note in the tool palette to
sound manually from the device itself, if select an quarter note duration. The cursor
sound names are not yet showing in Digital turns into a quarter note.

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TUTORIAL 3: BUILDING A SEQUENCE
 ☛ If you make a mistake, don’t worry. To fix
it, you have two choices: 1) choose Undo from
the Edit menu and try again, or 2) drag the
Quarter note note up, down, left, or right to the correct
pitch or location. To drag the note, click the
notehead and drag as needed.
4 Place the cursor in the middle space on the
staff on beat one in the first measure.

Use the Cursor Information window (Studio

menu) as shown in the next picture to help
you position the cursor. Before you click, the 6 In a similar fashion, enter the next quarter
cursor information should read note on beat three of bar 1 as shown in the
“1|2|000 C4 • 72”. next picture.

☛ We are entering the bass part in the Use the cursor information display to position
middle of the treble clef staff to avoid dealing the cursor at the proper beat and pitch before
with lots of ledger lines below the staff. We will you click. Notice also that the cursor “snaps”
transpose the notes down to the proper octave to a grid to help guide you.
after we enter them. The clef with then
automatically change to a bass clef. As we are entering a B-flat, you’ll have to
position the cursor over the ‘B’ line of the staff
Cursor Information Cursor while you keep an eye on the cursor display.
Click and hold to add the note and then move
the mouse down slightly until you see “Bb” in
the cursor coordinate display. When you see
“Bb”, then you can let go of the mouse button.

☛ Don’t worry about the rests, ties, and

beams. Digital Performer adds them automat-
ically.
5 Click the mouse to insert a quarter note on
beat two.

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TUTORIAL 3: BUILDING A SEQUENCE
 Note how Digital Performer automatically
beamed the eighth notes and tied across the
bar-line. Let’s finish the last three notes as
show in the next figure.
C4 at 1|2|000 Bb3 at 1|3|000

7 Now let’s enter an eighth note. Click the

eighth note icon in the tool palette and click as
shown below. 1/4 note Bb3 at 2|3|000
1/8 note G3 at 2|4|000
1/8 note Bb at 2|4|240

Eighth note TRANSPOSE THE BASS PART TO THE

PROPER OCTAVE
For ease of entry, we entered the bass part on a
treble clef staff in the octave of C3 to C4, which
Click here (F3 at 1|4|000) to
is too high. Let’s transpose it down to the
insert an eighth note proper octave.

1 Choose Select All from the Edit menu to

select all the notes.

Alternatively, you could press Command-A.

8 Now switch to half notes and we will enter
This convention works in just about every
the final note of the measure. Position the
window in Digital Performer.
cursor at G3 1|4|240.
2 Choose Transpose from the Region menu.
Click here (G3 at 1|4|240) to
insert a half note as tied eighth
and doted quarter notes over The Transpose window appears.
the barline.
Let’s transpose by interval down two octaves:

3 Play C4 on your MIDI keyboard so that it

shows up in the highlighted “From” box on the
screen.

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TUTORIAL 3: BUILDING A SEQUENCE
 If you don’t get C4 on your first try, don’t The staff is automatically redrawn with a bass
worry. Keep playing until you see “C4” appear clef. Digital Performer automatically senses
in the box. the appropriate clef for each staff.

4 Press the tab key once to highlight the

second box labeled “to”, and then play C2.

The dialog should now say “From C4 to C2”.

You can print out the contents of the

QuickScribe window. For more information,
see chapter 40, “QuickScribe Editor”
(page 431) in the DP User Guide.

5 Click Apply.

The notes are transposed down two octaves.

6 To switch the clef to a bass clef, refresh the

QuickScribe window by hiding & showing the
Bass track, or closing and reopening the
window.

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TUTORIAL 3: BUILDING A SEQUENCE
MAKE A FOUR BAR PHRASE
Let’s make our two bar loop into a four bar
phrase now by making a copy of it in bars 3
and 4. This sort of “macro” editing can be
done easily in the Tracks Overview.

1 Open the Tracks window. In the Tracks

Overview, move the cursor to the beginning of
Option/Alt-drag
the first bar of the Drums track such that it the whole selec- … to bar 3.
tion by dragging
turns into a cross hair; then drag down and to this measure…
the right over the last segment in the Guitar
Loop track. 3 Move the Memory Cycle end point to bar 5.

This selects the first two bars in all three

tracks.

4 Press Play and listen to your sequence.

THE NEXT STEP

Drag from here …down to here. Move on to Tutorial 4 to mix and finish your
with the cross- to select all the
hair cursor… data so far. sequence.

2 While holding down the Option/Alt key,

click the first bar of the drum track again —
this time with the “double-finger” cursor —
and drag two columns to the right to drop it in
bar 3.

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TUTORIAL 3: BUILDING A SEQUENCE
162
TUTORIAL 3: BUILDING A SEQUENCE
CHAPTER 14 Tutorial 4: Mixing and Finishing

WHAT’S IN THIS TUTORIAL

In this tutorial, you will:

■ Mix the sequence with the Mixing Board

■ Finish and bounce your project
You can stop at any time by choosing Quit
from the Digital Performer menu.

TUTORIAL CHECKLIST
To make the tutorial as clear as possible, we
assumed the following:

■ You’ve successfully completed the entire

installation section of this guide, including the

setup of your MIDI configuration.
■ It helps if you have gone through the first

three tutorials, but they are not required.

■Get the Tutorial 4 project folder from the
DP installer disc or at motu.com/download.
Each strip in the Mixing Board represents one
THE MIXING BOARD
Digital Performer’s Mixing Board provides a track, and each track has its own controls.
comprehensive, flexible, and integrated These include inserts, sends, solo, mute,
mixing environment for your audio and record-enable, input monitor-enable,
MIDI, with real-time processing available automation play/record, pan, volume fader,
with audio, MIDI, and instrument plug-ins. and input/output assignments, though the
available controls vary a little based on track
type (audio, MIDI, aux, etc.).

163
 You can use the Mixing Board in the same output. The advantage of having the
Consolidated Window body, the Consolidated master fader in a separate V-Rack is that it
Window sidebar, or as an independent remains the master fader when you are
window. Each one has its benefit: working with multiple sequences in the
project.
■ In the Consolidated Window sidebar: this is

useful as a single-channel inspector while To adjust volume and pan for the drums, bass,
editing. With the Scroll the Mixing Board to the chords and guitar, use the Model12, Modulo-1,
selection preference enabled (Preferences > BassLine-1 and Guitar Loop tracks.
Consolidated Window), the Mixer will update
to follow the selected track. The Drums, Chords and Bass tracks are MIDI
tracks. Their volume faders won’t do anything
■ In the Consolidated Window body: this is
until you record automation (MIDI CC#7)
the best configuration when mixing is the later in the tutorial.
central task.
■ As an independent window: this is best for After you have the initial mix, you can start
advanced window layouts. For example, you automating it.
might need to see lots of faders at once, or you
AUTOMATED MIXING
may have two monitors with your main editor
Now let’s do some automated mixing.
on your first monitor and the Mixing Board
on the second. 1 Turn on automation playback for each
channel by clicking on the automation
START MIXING playback and gliding across all other channels
First, let’s set initial levels and panning in the
while holding down the mouse button. Do the
Mixing Board. You can adjust as you playback
same for automation recording.
to hear your changes as you make them. You
can adjust faders and pan knobs by clicking
and dragging them, or if your mouse has a
scroll wheel, by placing your mouse over them
and scrolling.

The Master-1 fader controls the main mix

volume. It is set up in a separate V-Rack
sequence, and it controls the volume of all
Click and hold down Glide over all automation buttons
audio and instrument tracks assigned to the mouse button here while holding the mouse

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TUTORIAL 4: MIXING AND FINISHING
2 Start playback by pressing the space bar, pan. Use the volume and pan controls on the
and adjust the mix as follows. instrument tracks, rather than the MIDI
tracks.
To do this Do this
Adjust a track’s Drag each track slider individually. 3 Turn off automation recording by gliding
volume You can also press on the plus and
minus buttons, or click anywhere back over the channels.
on the slider to make a sudden
jump.
4 After you’ve got the volume level and pan
Adjust panning Drag a knob up and down or left setting you’d like for each track, stop playback
and right. You can also click on the
value box below the knob and type and rewind to the beginning of the sequence.
in the desired value (between zero
and 127, where 64 is pan center).
5 Choose Take Automation Snapshot from
Solo or mute tracks Click their solo or mute buttons.
Try “gliding” (dragging) over the the Region menu.
solo and mute buttons. (It’s fun.)

Record a fader 1. Record-enable any empty track.

The Automation Snapshot dialog has many
movement 2. Press the Record button. possible combinations, but for this step let’s
3. Move the fader you want to
record. use All Time, Tracks Shown in Mixing Board,
When you record a fader, it gener-
ates a stream of continuous control- and Data Types Visible in Mixing Board.
ler data in the track it controls.
Since you are Memory Cycle
recording, be aware of where you Doing so causes the Mixing Board to insert
are in the loop as you record so that
you don’t overlap. For example, try volume and pan events in each track currently
to start recording in bar 1 and finish
in bar 4. To start recording the being displayed in the Mixing Board (three
slider, just grab it’s handle with the instrument tracks, three MIDI tracks, and an
mouse. To stop, just let it go.
audio track). The data is placed at the current
Watch a fader ani- Just play the sequence. location in the main counter.
mate after record-
ing
For more information on Snapshot
☛ Some MIDI instruments don’t respond to Automation, see “Snapshot automation” on
the MIDI messages sent by Digital Performer’s page 808 in the DP User Guide.
Mixing Board (CC 7 for volume and CC 10 for
pan). If you don’t get any response from your
MIDI device as you adjust the controls in the
Mixing Board, this is probably the case. The
software instruments included in this tutorial
project don’t respond to MIDI volume and

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TUTORIAL 4: MIXING AND FINISHING
 2 If you have not already done so, enable
automation playback by choosing play from
the automation menu.
6 Open the Sequence Editor or the Event List
3 Click on the Insert menu. You’ll get a list of
to view the volume and pan events just
all parameters available on that channel
inserted.
including all automatable parameters for any
Volume is controller #7 and pan is #10. effects inserted on the channel. We’ll enter in
some pan automation, so choose Pan.

Volume and pan controller events inserted 4 Your cursor will turn into a Pencil tool.
by the snapshot feature in the Mixing Board.
Enter an automation point near the top of the
soundbite. This represents panning to the left
side, as indicated by the L on the ruler.

5 Enter an additional automation point at the

DRAWING CONTROLLER DATA IN THE end of measure two, on the lower edge of the
SEQUENCE EDITOR soundbite, which represents panning to the
Now we are going to enter and edit some right side.
additional controller data in the Sequence
Editor.

1 The first thing we need to do is open up the

Sequence Editor. Locate the Guitar Loop in
the Sequence Editor.

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TUTORIAL 4: MIXING AND FINISHING
6 Press play to hear the resulting pan Loop track is not visible, locate it in the Track
automation. Selector and select it. The Guitar Loop track is
now visible in the Mixing Board.
PLUG-INS
Plug-ins allow for real-time processing. We’ve Audio track inserts
already used instrument plug-ins and MIDI
plug-ins; now we’ll look at audio plug-ins. You
can add audio plug-ins to any track that is
passing an audio signal: audio, instrument,
aux, and master fader tracks.

1 Like many windows in Digital Performer,

the Mixing Board features a track selector that
allows you to show and hide specific tracks. To
open up the track selector, click the track
selector button in the lower left of the Mixing
Board.

‘Guitar Loop’ track

3 Real time audio effects work the same as

real time MIDI effects. Locate the insert slots
for your Guitar Loop channel and insert a
Phaser. While playing the sequence,
Track selector button experiment with different effects settings and
effects chains. You can also add audio effects
2 Now that the Mixing Board is displaying to instrument tracks after the instrument
the track selector, you may see that there are plug-in insert.
some tracks that are not visible. If the Guitar

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TUTORIAL 4: MIXING AND FINISHING
 BOUNCING TO DISK ☛ Although you’re unlikely to encounter it,
Bouncing to Disk does exactly as its name a small number of instrument plug-ins may
implies: it bounces multiple tracks down to a not bounce to disk directly; you’d need to
single audio file. Original tracks are render those instrument tracks as audio first,
preserved, and new audio files are created. by using Freeze Tracks or bussing their output
to a new audio track, then include the
Bounce to Disk is used to create a final mix of resulting audio in your selection when
your project, or whenever you want to mix bouncing to disk. (All of Digital Performer’s
multiple tracks down to a single soundbite. included instruments will Bounce to Disk.)
For more information on this, please see
1 Make a selection of audio and MIDI tracks.
chapter 81, “Bounce To Disk” (page 891) in
In this case, let’s press Command-A to Select
the DP User Guide.
All.
2 Choose Bounce to Disk from the File menu
(or press Control/Win-J). You will now see the
Bounce to Disk dialog.

3 There are a variety of options available in

the Bounce to Disk dialog for File Format,
Channels, Sample Format, what to do with the
resulting file, and so on.

You can use Bounce to Disk with audio and

software MIDI instruments; for external
hardware MIDI instruments, you’ll need to
record the audio output of those devices to
audio tracks first, then include those audio
tracks in your Bounce to Disk selection.

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TUTORIAL 4: MIXING AND FINISHING
 4 Press OK and the Bounce will commence.

5 When finished, you’ll see the new file in the

Soundbites window.

6 Double-click the Soundbite name to open

the Waveform Editor.

Make sure the play button in the upper left of

the Waveform Editor is enabled (blue). This
locks the Waveform Editor to Digital
Let’s choose the following settings: Performer’s main transport controls, which
allows you to use the regular play, stop,
■ File Format: Project Format rewind, etc. commands in the Waveform
Editor.
■ Channels: Same As Source
■ Resolution: Project Default
■ Import: Add to Soundbites Window
■ Source: Built-in Audio 1-2 (or whatever

output pair your tracks are assigned to)

■ File name: Tutorial 4 mix
You can also Bounce to Disk as an MP3 or a
QuickTime movie file, or bounce & burn
directly to CD; for details, see chapter 81, 7 Press Play: Enjoy! You’re listening to your
“Bounce To Disk” (page 891) in the DP User completed mix.
Guide.

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TUTORIAL 4: MIXING AND FINISHING
 CONGRATULATIONS!
You now know enough about Digital
Performer to sequence your heart out. Believe
it or not, we’ve only scratched the surface.
Digital Performer has many powerful features.
We strongly urge you to check out the Digital
Performer User Guide. You’ll probably find
features not covered in this Getting Started
book that will be of immediate use to you.
Enjoy!

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TUTORIAL 4: MIXING AND FINISHING
 Part 4
More Information
CHAPTER 15 Frequently Asked Questions

OVERVIEW How do I change the input and/or output on

This chapter provides answers to frequently multiple tracks simultaneously?
asked questions, organized by topic. Select the desired tracks, then choose Studio >
Track Assignments (or press Option/Alt-A). If
Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173 you don’t see the inputs or outputs available
Becoming familiar with DP . . . . . . . . . . . . . . . . . . . .175 that you wish to use, go to the Bundles
Recording and playback . . . . . . . . . . . . . . . . . . . . . . .175 window and create bundles for them.
Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Mixing and Finishing . . . . . . . . . . . . . . . . . . . . . . . . . .180 ☛ See “Making I/O assignments for
Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181 multiple tracks” on page 138 in the DP User
Virtual instruments (“soft synths”) . . . . . . . . . . . . .181 Guide.

SETTING UP Why do I get a “no outputs enabled” error

On Windows, the buffer size setting is grayed when launching Digital Performer?
out in the Configure Hardware Driver dialog If your computer has separate drivers for input
(Setup menu). Why? and output, and only the input driver has been
Some ASIO drivers don’t allow host enabled in Digital Performer, you’ll get an
applications to change their buffer size setting. error telling you that there are no outputs
In this case, click the Configure Driver button enabled. Open the Configure Hardware Driver
(Figure 4-1 on page 25) to launch the dialog and enable both the input and output
hardware’s console software to make the drivers.
setting there.
☛ See “Enabling multiple drivers (Mac
How do I configure my audio inputs and only)” on page 29.
outputs?
Use the Bundles window (Studio menu). See How do I change the tempo, meter, or key of
“Bundles window” on page 84 in the DP my project?
Getting Started Guide and “Bundles” on The two most common tempo modes are the
page 119 in the Digital Performer User Guide. Tempo Slider and the Conductor Track. To
change the tempo mode, click the Tempo
menu to the right of the tempo value.

173
 For information on these and other tempo QuickScribe Editor, and altered with the
modes, see “Tempo Controls” on page 194 in commands found under Project menu >
the DP User Guide. Here are brief overviews of Modify Conductor Track.
the Tempo Slider and Conductor Track
How do I hear a click or countoff?
modes.
To configure a metronome click:
Tempo Slider:
1 Choose Click preferences from the Studio
menu, or Option/Alt-click the Click button in
■ The tempo can be set using the slider or the
the Control Panel.
tempo text field in the Tempo Control section
of the Control Panel (beneath the counters).
2 Choose the type of click you want to hear:
MIDI click or audio click (for information on
Visual Punches, see “Visual Punches” on
page 237 in the Digital Performer User Guide).
You can enable one or the other, or both.

The meter is set at 4/4 in Tempo Slider mode, For a MIDI click, choose a MIDI device,
and a key of no sharps or flats. To switch to channel, and note; for an audio click, choose
other meters or keys, use Conductor Track the audio output and click file (mono AIFF,
mode. In Tempo Slider mode, there is one WAVE, or SDII).
tempo, beat, and meter for the whole
sequence. If you need changes throughout ☛ If you are using MIDI Only mode, the
your sequence, use Conductor Track mode. audio click routing option is not available; the
click & countoff will then be automatically
Conductor Track: routed to a device in your MIDI configuration
(in the Bundles window MIDI Devices tab).
■ In Conductor Track mode, Digital

Performer follows the Conductor Track for 3 To audition the click to hear what it will
tempo, meter, and key changes. Each type of sound like, check the Audition click option in
event can be inserted and manipulated in a the lower left; it will audition at the current
number of ways. The Conductor Track can be tempo.
edited in the Tracks Overview, Event List,
4 Close the Preferences window, then enable
MIDI Editor, Sequence Editor, and
the Click button in the Control Panel.

174
FREQUENTLY ASKED QUESTIONS
To configure a Countoff: To Print the key commands, open the
Commands window and choose Print from
1 Open the Preferences and choose Countoff the File menu. Note that you can collapse any
from the list on the left, or Option/Alt-click section by clicking its disclosure triangle
the Countoff button in the Control Panel. (holding option while clicking a disclosure
triangle collapses or expands all sections at
2 First, set the number of measures and beats
once).
for your countoff; the default is 2 measures, 0
beats. For more information, see “Commands” on
page 93 in the DP User Guide.
3 Next, choose whether you want to have a
Countoff all of the time, or only when BECOMING FAMILIAR WITH DP
recording. I’m familiar with an older version of Digital
Performer. What changes have been made?
4 Audition the Countoff in the same way as If you are familiar with Digital Performer
the Click: enable the Audition Countoff box in version 5 or earlier, some user interface
the lower left. elements have changed in Digital Performer
version 6 and later. For information on these
5 Close the Preferences window, then enable changes, please refer to the “Users of previous
the Countoff button in the Control Panel. versions of Digital Performer” page in DP’s
online help files (Help menu > Digital
How do I view or change key commands?
Performer Help).
Open the Commands window from the Setup
menu (or press Shift-L). You can scroll the list
RECORDING AND PLAYBACK
to find the command you are looking for, or MIDI input is not recording. What should I
you can search using the text box at the top. To do?
enter a new key command, click in the Key 1 Here are some things to try if you are not able
column, and press the desired key to record MIDI into Digital Performer:
combination.
■ Make sure the MIDI input light of your

You can save or load sets of key bindings via MIDI interface is lighting up when you play
the mini-menu’s Export and Import your MIDI controller keyboard. If not, check
commands. you have a MIDI cable going out of the
keyboard into the interface.
■ Try a different MIDI cable.

175
FREQUENTLY ASKED QUESTIONS
 ■ Make sure your keyboard is set up to Local How do I use my USB MIDI keyboard with
Off or Local Control: Off mode, and Digital Performer?
configured to send out MIDI notes. If you Some MIDI controller keyboards have USB
have other MIDI keyboards or modules with a connections that allow them to connect
MIDI IN connection, try connecting the directly to the computer, instead of through a
MIDI OUT of your controller directly into the MIDI interface.
MIDI IN connection of one of those pieces of
Some keyboards will be recognized automati-
MIDI gear: does it receive MIDI notes?
cally. Once connected via USB, they will
■ Check that the interface and MIDI simply appear as an input option (when using
keyboard is properly configured in your MIDI Multi Record) and an output option (if the
device configuration (Setup menu > Bundles keyboard has MIDI output ports).
> MIDI Devices tab).
If the keyboard isn’t automatically recognized:
■Open the MIDI Monitor window (Studio
menu) to see if Digital Performer is receiving 1 Install the drivers and software provided by
MIDI data from your controller. the keyboard’s manufacturer.
■ Click the Set All button in the Input Filter
2 When that is successful, you will see the
and View Filter windows to enable all MIDI
keyboard in your MIDI device configuration
data to be recorded and viewed.
(Setup menu > Bundles > MIDI Devices tab).
■ Check that you are not in MultiRecord It will appear similar to a MIDI interface, with
mode, or if you are in MultiRecord that you its MIDI ports displayed on the bottom of the
have specified the specific input and channel device.
your controller is transmitting on.
3 Choose Add New External Device from the
■ Try using the MIDI Keys window (Studio MIDI Devices menu, and double-click the
menu). Open the MIDI Keys window and New external device to open its Device
press any letter in the “ASDF” row of your Properties window.
computer keyboard. You can also click the
keys on-screen in the MIDI Keys window. 4 For Device Name, type the name of the
keyboard (this name is what it will be referred
to as in DP).

5 Hit Apply and close the Device Properties

window.

176
FREQUENTLY ASKED QUESTIONS
6 Draw a connection in and out of this device device’s output to? Make sure the input and
to the keyboard that originally appeared (the output assignments are valid and that the
one with the ports on the bottom). track is not muted.
■ Try listening directly to the MIDI device’s
Now when you choose MIDI inputs or
outputs in Digital Performer you will be able output, perhaps from its headphone output.
to choose your USB MIDI keyboard. Do you hear output there?
■ If the MIDI device responds to MIDI
MIDI input is recording, but I can’t hear my volume messages (CC 7), try adjusting the
MIDI instrument.
If you’re sending MIDI to a virtual instrument MIDI track’s fader in the Mixing Board to
on an instrument track in Digital Performer: send MIDI volume messages to the MIDI
device.
■ Make sure the instrument track has its
■ If the MIDI device doesn’t respond to MIDI
output assigned to a valid audio bundle. If the volume message, make sure the volume
output assignment is italicized then it is control on the hardware is turned up.
invalid; reassign the output to a valid bundle.
■ If the MIDI device has multiple audio
■Make sure the instrument track is not outputs, check that the MIDI channel you are
muted. triggering is assigned to the desired outputs
■ If the instrument is multi-timbral, make on the device.
sure that you’ve assigned your MIDI track to Audio input is not recording.
the correct MIDI channel. ■ Make sure the input meters on your audio

If you’re sending MIDI to a hardware MIDI interface are lighting up when you send input.
instrument: If they’re not, check that you have audio cables
connected properly.
■ Have you connected the audio output of the
■ Try a different cable or microphone. For
MIDI device to an input on your audio
condenser microphones, make sure that you
interface? This must be done to bring the
have phantom power enabled.
audio output from the MIDI device back into
your Digital Performer project. ■ Try using a different input on your

interface. If you have one, try a different

■ Have you created an audio or aux track in
interface.
your sequence that corresponds to the
hardware input you’ve connected the MIDI

177
FREQUENTLY ASKED QUESTIONS
 ■ Check that the audio interface is properly I press play and I do not hear anything.
configured. For example, if you can enable or ■ Make sure that the outputs your tracks are

disable inputs on the interface, make sure that assigned to are the outputs you are
the input you want to use is enabled. monitoring from. For example, if you are
monitoring from an 828mk3’s Main Outs,
■ Make sure that the inputs your tracks are
make sure your tracks are assigned to Main
assigned to are the inputs you are recording
Out 1-2.
from. For example, if your microphone is
connected to Mic/Guitar 1 on an 828mk3, ■ Are your output assignments in italics?

make sure your audio track is assigned to Mic/ Make sure that your audio interface is being
Guitar 1. seen in the Setup > Configure Audio System >
Configure Hardware Driver window, and that
■ Are your input assignments in italics? Make
it is the selected driver. If it is being seen, open
sure that your audio interface is being seen in
Studio > Bundles and make sure that the
the Setup > Configure Audio System >
bundles you have are assigned the outputs you
Configure Hardware Driver window, and that
want.
it is the selected driver. If it is being seen, open
Studio > Bundles and make sure that the ■ Are the tracks muted in the Mixing Board?
bundles you have are assigned the inputs you
■ Is Solo Mode engaged?
want.
■ Are the tracks enabled? Make sure the
■ Is the track record-enabled?
Enable column in the Tracks Overview is
■ Is the track enabled? Make sure the Enable enabled (the Enable item is also accessible
column in the Tracks Overview is enabled (the under the Track Settings menu in the
Enable item is also accessible under the Track Sequence Editor, and from the track pop-up
Settings menu in the Sequence Editor, and menu available at the bottom of the channel
from the track pop-up menu available at the strip in the Mixing Board).
bottom of the channel strip in the Mixing
■ Is the Master Fader and main outs of your
Board).
audio interface or mixer turned up?
■ Open the Meter Bridge (Studio menu).
■ Speakers on? Volume turned up on your
Enable all items along the left side, and
speakers and/or amplifier?
examine the signal chain to see where the
problem may be. ■ Everything plugged in the way it should be?

Try different cables, headphones, or speakers.

178
FREQUENTLY ASKED QUESTIONS
■ Open the Meter Bridge (Studio menu). ■ Choose Audio menu > Freeze Selected

Enable all items along the left side, and Tracks. The audio output of the instrument
examine the signal chain to see where the will be recorded onto a new audio track.
problem may be.
If your MIDI sequence is using sounds from a
■ Try bypassing plug-ins to see if an effect is ReWire application like Reason or another
altering your audio in a way that it cannot be application:
heard.
■ Add a stereo audio track or mono audio
How do I convert my MIDI sequence to track.
Audio?
MIDI is a language and does not contain ■ Set the input to be the outputs of whichever

audio in and of itself, rather it gives application you are sending from.
commands and triggers MIDI devices to play
For example, if you are using Reason, add a
sounds and controller information.
stereo audio track and set the input to be
If your MIDI triggers sounds that are Reason Main: L-R, or any specific output that
generated from an external sound source such your Reason rack unit is outputting to.
as a MIDI sound module, synthesizer, or
After I record some audio, the soundbites
sampler, then you will need to connect the disappear. OR I playback my project and I
analog or digital outputs of that device into hear the audio, but I don’t see any soundbites.
your audio interface to record the audio onto Open the View Filter (Setup menu), and make
an audio track. sure that the box next to Soundbites is
checked.
If your MIDI sequence uses sounds from
virtual instruments, you can simply select the EDITING
MIDI tracks and use Bounce to Disk. Why is my track name underlined in the
Sequence Editor?
A limited number of virtual instruments may When a track name is underlined, it indicates
not Bounce to Disk. If so, you can use the that the track is frame-locked. This is also
Freeze command: indicated by a lock icon in the Tracks List. For
more information, refer to “Lock button” on
■ Highlight the instrument track that your page 156 in the DP User Guide.
instrument is on
■ Highlight the MIDI tracks that are assigned

to that instrument track

179
FREQUENTLY ASKED QUESTIONS
 Why do my crossfades have a blue or red How do I burn a song made in Digital
outline? Performer to a CD? (Mac only)
Fades and crossfades are normally the same Refer to “Bouncing to a CD or disk image
color as the soundbites underneath, as are the (Mac only)” on page 898 in the DP User
fade outlines. Two special colors are used to Guide.
indicate problems:
How do I export as an MP3?
■ Blue fade outlines mean that there is not To take a finished mix done in Digital
enough audio to compute the fade Performer and convert it to an MP3, follow
these steps:
■ Red fade outlines mean that the faded audio

is clipping. 1 Prepare the project as if you were bouncing

For more information, see “Fades that cannot down to any other format, such as WAVE,
be fully computed” and “Clipping when AIFF, etc. See “How do I mixdown my project
crossfades are calculated” in chapter 47, to a stereo file?”
“Fades and Crossfades” (page 605) in the DP
2 After choosing File menu>Bounce to Disk,
User Guide.
select LAME Audio Export: MP3 as the
MIXING AND FINISHING Format. Give the file a name, and choose the
Why are the meters in the Mixing Board location where you’d like the file to be saved.
labeled as +/-48 dB? When you press OK, you’ll see a second dialog
When an audio track’s meter scale is labeled as with some options for the MP3 you are
+/-48 dB instead of -48 to +6 dB, the track is creating. If you don’t have any preference for
in Trim Touch or Trim Latch automation these settings, just use the default settings.
mode. For more information, refer to “The Press OK in this dialog, and the file will begin
Trim modes” on page 802 in the DP User bouncing.
Guide.
3 After the bounce is complete, you can open
How do I mixdown my project to a stereo file? this file in your MP3 player software of choice,
Use the Bounce to Disk command. See such as iTunes.
“Bouncing to Disk” on page 168 for a quick
introduction, and see “Bounce To Disk” on You can also export any soundbite in the
page 891 in the DP User Guide for in-depth Soundbites List as an MP3. Select the desired
detail. soundbites and choose Export Selected

180
FREQUENTLY ASKED QUESTIONS
Soundbites from the mini-menu. Choose How do I use RTAS plug-ins?
LAME Audio Export: MP3 from the File RTAS plug-ins are not supported.
Format menu.
VIRTUAL INSTRUMENTS (“SOFT
How do I back-up a Digital Performer SYNTHS”)
project? How do I use virtual instruments (“soft
To backup the data for your entire Digital synths”) in Digital Performer?
Performer project, use the File > Save A Copy Digital Performer includes six virtual
As command. Make sure to check the instruments, and you can also use third-party
Duplicate audio and copy shared samples to MAS, VST and Audio Unit instruments. To
project option. This will take all of the audio use a virtual instrument in DP:
files that your project is using and make a copy
1 Add an Instrument Track (Project menu >
of them into the new project’s Audio Files
Add Track > Instrument Track).
folder, and also copy any samples you are
using with nanosampler or Model12. 2 Choose the desired instrument from the
Instrument Tracks list, and it will create an
Digital Performer supports WAVE and AIFF
Instrument Track for it.
files. For the most broadly compatible back-
ups, using WAVE files is recommended. 3 Next, add a MIDI track; you’ll see the
virtual instrument you just added in the list of
PLUG-INS
outputs.
How do I use MAS, VST and Audio Unit (AU)
plug-ins?
See chapter 16, “Instrument Tracks” 4 Assign the output of the MIDI track to the
(page 141) in the DP User Guide and instrument you just created.
chapter 72, “Audio Effects Processing”
5 Record enable the MIDI track and the
(page 841) in the DP User Guide.
instrument will be receiving MIDI data.
How do I force Digital Performer to rescan my
VST and Audio Unit plug-ins? For more information, see chapter 16,
Open the Plug-in Preferences, select the “Instrument Tracks” (page 141) in the DP
desired plug-ins, and hit Reexamine. For User Guide.
more information on managing your plug-
ins, see “Audio plug-in preferences” on
page 845 in the DP User Guide.

181
FREQUENTLY ASKED QUESTIONS
 I closed the window for my virtual Input monitor-enabled audio tracks have the
instrument, how do I open it again? benefit of being able to switch between
In Digital Performer’s Mixing Board (Project monitoring and recording audio easily. For
menu, or press Shift-M), locate the example, while composing you will leave the
instrument track. The first insert will be tinted track input monitor-enabled, but once the
yellow; this is the instrument plug-in. Double- part is finished you can record-enable the
click this yellow insert to open the audio track and record the instrument’s
instrument’s interface. output in real-time. This is particularly
advantageous when you have many outputs
Alternatively, you can open the Effects
from one instrument, as you can record all of
window (Project menu, or press Shift-F) and
them to their corresponding audio tracks at
select your instrument track from the first
once.
drop-down menu. You may also double-click
an instrument track name in the Tracks Under Mac OS X, how do I access the
window to open its instrument plug-in QuickTime General MIDI sounds in DP?
interface. Digital Performer can access QuickTime’s GM
sounds in two ways: via the Apple Software
How do I use multiple outputs from my virtual Synth or the Apple DLSMusicDevice.
instrument?
To use multiple outputs from Digital Using the Apple Software Synth
Performer’s included MAS instrument plug- 1 Go to Setup menu > Interapplication MIDI
in, VST instruments, Audio Unit instruments,
and ReWire applications, see “Multiple audio 2 Check the box for “Software Synthesizer”
outputs” on page 850 in the DP User Guide.
3 Select the resolution at which you’d like the
Some MAS instruments tap directly into DP’s sounds to render. If you’re just using the
internal busses. For such instruments, assign QuickTime GM sounds as a “scratch pad” or a
the part to the desired bus in the instrument quick reference, try the lower resolutions.
plug-in window.
4 Go to Project > Add Track > MIDI Track.
After the bundles are created, you can create
an aux track or an input monitor-enabled 5 Assign the output of this MIDI track to any
audio track with that same bus as the input. of the 16 channels of “Apple Software Synth”.

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FREQUENTLY ASKED QUESTIONS
6 You will hear this MIDI track’s output from
the hardware device you have selected for
“Default Output” under Audio MIDI Setup. If
you don’t hear anything, go back to Setup
menu > Interapplication MIDI and uncheck
and re-check “Software Synthesizer”.

One advantage to this method is that you can

use it while Digital Performer is in MIDI Only
mode.

Use the Apple DLSMusicDevice

1 Go to DP’s Project menu > Add Track >
Instrument Track > Apple: DLSMusicDevice
(stereo)

2 Assign this instrument track a valid stereo

output bundle.

3 Go to Project > Add Track > MIDI Track.

4 Assign the output of this MIDI track to any

of the 16 channels of “DLSMusicDevice-1”.

One advantage to this method is that you can

add a second DLSMusicDevice instrument
track, and have 16 more channels of GM
sounds. You can add as many DLSMu-
sicDevice instrument tracks as you need.

How do I slave Reason or Live to DP?

Digital Performer can be a ReWire host for
programs like these. See “ReWire” on
page 285 in the Digital Performer User Guide.

183
FREQUENTLY ASKED QUESTIONS
184
FREQUENTLY ASKED QUESTIONS
CHAPTER 16 Additional Resources

OVERVIEW You can also use the text search feature in your
This Getting Started guide is just the PDF viewer to find all instances of the text
beginning. There are a variety of resources string you are searching for in the manual.
available to help you get the most out of
Digital Performer. HELP VIEWER
The Help viewer doesn’t replace the manual’s
FREQUENTLY ASKED QUESTIONS (FAQ) exhaustive information, but it can provide
Refer to the previous chapter starting on quick answers to some questions.
page 173 for frequently asked questions
(FAQs). To launch the Help Viewer, choose Help menu
> Digital Performer Help. You will see the
THE DIGITAL PERFORMER USER GUIDE Digital Performer Help table of contents.
The Digital Performer User Guide is a
comprehensive resource for all of the
windows, functions, commands, and options
in Digital Performer. It is provided in printed
form and on-line form in the Help menu.
There are a number of ways to quickly locate
information.

If you want information on… look in the…

A broad topic (ex: “Editing”, Contents at a Glance

“Mix Automation”, “the
Sequence Editor”)

A specific topic (ex: “Editing dur- Contents

ing playback”, “Tempo-locked,
beat-based automation”, “Scrub-
bing in the Sequence Editor”)

A specific command, window, Index Click a topic to view its help page.
dialog, tool, etc. (ex: “Change
Tempo”, “Pencil tool”, “Edge
Edit Copy“)

185
 Each help page contains a link back to the You can also search the Help files without first
table of contents, and throughout the text launching the Help Viewer. Open the Help
there may also be links to other help pages. menu and type in the Search field; the top five
For example, the Chunks help text contains results will be displayed in the Help menu. If
links to the Sequence, Song, and V-Rack help you want to see more than just the top five
pages. However, all pages are also linked to results, choose the Show all results item at the
from the table of contents, so there are no bottom and the Help Viewer will open
“hidden” or “buried” help pages. showing all results.

The Help menu also has a second item that In addition to returning results from Digital
updates to the window you are current Performer’s Help files, you will also see menu
viewing. To jump right to the help pages for items that match the search term. This helps to
the current window, choose Help menu > quickly locate a menu command.
window name.

Searching Help
When the Help Viewer is open, there is a
search box in the upper right corner. Type in
some text and press enter and you will be
provided a list of relevant Help pages.

To clear the search, click the ‘x’ at the right

edge of the search field, or highlight the
existing text and type something new.

☛ Tip: To quickly bring up the Help Search

field, press Command-Shift-?.

186
ADDITIONAL RESOURCES
Help Tags Downloads
Digital Performer provides “tool tip” help tags Keep up-to-date with the latest software
to help you identify the names of buttons, updates for Digital Performer with our
controls, and other window elements. Place downloads section: motu.com/download.
your mouse cursor above an item for a few
seconds and the help tag will appear. Some Tech Support
items also have extended descriptions that can If you have a question or problem that isn’t
be accessed by holding the Command/Ctrl answered or resolved with the above
key while viewing the help tag. To turn off help resources, registered users should contact
tags, uncheck Help menu > Show Help Tags. technical support. If you haven’t already done
so, you should register your copy of Digital
MOTU.COM Performer online at www.motu.com/
Our web site is continually updated with new registration. For more information on
resources and downloads to complement contacting tech support, please see “Technical
Digital Performer and other MOTU products. support” on page 956 in the DP User Guide.
RSS feeds are provided to help you keep up-
to-date with new content. Other resources
Links to additional resources, such as books,
Tech Notes tutorial DVDs and links to user-run mailing
Tech Notes are short pieces of technical lists and message boards, can be found at
information, usually in the form of a question, motu.com.
such as Do I need an external drive to record
audio with a laptop?, and so on. Tech notes
sometimes cover late-breaking information
not found in the manual, so if you have a
question you may want to search the tech
notes for an answer even if you have your
manual handy. The answers to many common
questions can be found in the tech notes, so
try searching the tech notes before contacting
tech support:

motu.com/techsupport/technotes

187
ADDITIONAL RESOURCES
188
ADDITIONAL RESOURCES
64-bit 7

A
AAF 75
Index
32-bit operation 7

64-bit operation 7
Buses

C
Index
setting number of 31

Calibrating audio input/output 33

Channels
E
Edit windows 64
Editing

Event
audio 58
Counter 69
Apple playback 118–119
Editing windows 122
retina display support 8 Click 120–121
Event List window 122
ASIO drivers 26 Clock Source 27
note events 123–126
AU (see Audio Units) Close All Edit Window command 65
View Filter 123
Audio Close All Effect Windows command
Expansion board setup 17
input/output timing 33 65
interleaved 53
MIDI Setup utility 20
Close All Windows command 65
Close command (Window menu) 64 F
FAQs 173
Audio data Configure Audio System
amount of recording time 56 Configure Hardware Driver 25 File menu
how it is recorded 53 Configure Studio Settings 31 Revert to Saved 75
Audio files Fine-tune Audio I/O Timing 33 Save 75, 126
creation of 53 Configure Hardware Driver 25 Save A Copy As 75
defined 57 Buffer Size 28 Save As 75, 126
hard disk requirements 57 Clock Source 27 Files
how recorded 53 enabling multiple drivers 29 Save As 126
size on disk 56 Master Device 26 saving files 126
stereo file size 57 Sample Rate 26 saving sequences 126
Audio Performance window 34 Work Priority 29 Filters
Audio System Configure Studio Settings 31 View Filter 123
MIDI Only 11 Automatic plug-in latency (de- Fine-tune Audio I/O Timing com-
MOTU Audio System 11 lay) compensation mand 33
Audio System Clock (see Clock 32
Source) 27 Prime Milliseconds 31 G
Getting Started 117–128
Audio track Stereo buses 31
defined 59 Consolidated window 78
Audio Units Contextual menu 67 H
Hard disk
delay compensation 32 Control Panel 64
effects window overview 110 countoff 120 optimizing 23
scanning 10 Core MIDI 20 recommendations 57
Auto-locating 69 Counter window recording explained 54
Automatic Plug-in Latency Compen- editing 69 requirements 57
sation 32 Countoff 120 size of files on disk 56
Creating a project 74 Hardware
B
Back-ups 75
Customer support 9, 128
contacting 8
requirements 13
setup 13–18
Bring All To Front (Window menu) Help
64
Buffer Size 28
D
Delay compensation 32
searching 186
Help menu
Built-in audio Digital Performer Digital Performer Help 185
improving performance 23 overview 47 Show Help Tags 187
input/output timing 33 starting 117 window-specific 186
Bundles window Hide Left/Right Sidebar command 64
MIDI Devices tab 14

189
I N D E X
 IInterapplication MIDI 18 description 48
Mini-menu 62
defined 57
Push Window to Back command
Modifier keys 66 (Window menu) 64
Render quality 19 MOTU
Software synthesizer 19
Interface 13–18
MachFive 138
MOTU Audio System 23–35
Q
Quantize 125
Interleaved format 53 defined 59

K Fine-tune Audio I/O Timing 33

improving performance 23
R
RAM
Keyboard commands 68–69 input/output timing 33 freeing up RAM for Digital Per-
Customizing 69 System requirements 7 former 24
Keypad Mouse techniques 66 increasing available RAM 31
troubleshooting 71 MusicXML 75 recommendations/require-
L
Last Window command 64
N Random Access
ments 7

New project 74 defined 54

Latency compensation 32 Next Window command 64 Recording 121
Learn Controller 41 Non-destructive editing 58 Record-Enable button 117
defined 55 Recording offset option 33
M
Mac
Non-interleaved 53 Region
Note events defined 58
built-in audio performance 23 Event List window 123–126 Render quality 19
requirements 7 Num Lock Key (Windows) 71 Retina display support 8
Mac OS X Numericals 69 Revert to Saved 75
Audio MIDI Setup 20 Right-click menu (see Contextual
Core MIDI 20
MachFive 138
O
OMF 75
menu)
MAS plug-ins
delay compensation 32
Open in 32-bit mode 7
Opening a project 74
S
Sample Rate 26
effects window overview 110 Override internal buffer size 28 Save 75
Measure time 120, 124 Save A Copy As 75
Metronome window
Click 120–121
P
Patch Lists
Save As 75, 126
Saving
MIDI expansion boards 17 files 126
channels Performance (see Audio Performance project 75
playback 118–119 window) sequences 126
controller Piano roll 48 Set Focus to Next/Previous Cell com-
instruments 48 Playback 118–119 mand 64
Device Properties 16 Playback offset option 33 Setup menu
Devices tab (Bundles window) player piano 48 Audio System
14 Playlists MIDI Only 11
hardware defined 59 MOTU Audio System 11
requirements 13 Plug-ins Interapplication MIDI 18
setup 13–18 delay compensation 32 Shortcut commands 68
interface 13–18 latency compensation 32 Show Left/Right Sidebar command 64
ports 17 scanning Audio Units Software synthesizer 19
MIDI Device Properties 16 Pop Out of Consolidated Window 64 Sound file (see Audio file)
MIDI Monitor window 127 Ports (MIDI) 17 Soundbites
MIDI Only 11 Prime Milliseconds 31 defined 58
MIDI Sequencer Project folder definition 58

190
I N D E X
Split stereo 53 dow 10
Standard MIDI File 75 Welcome window 10
Starting Digital Performer 117 Window controls 61
Stereo audio files Window menu 64
size on disk 57 Bring All to Front 64
Stereo buses setting (Configure Studio Close 64
Settings dialog) 31 Close All Edit Windows 65
Studio menu Close All Effect Windows 65
Audio Performance 34 Close All Windows 65
Click 120 Hide Left/Right Sidebar 64
Synchronization Last Window 64
overview 51 Next Window 64
System errors 127 Pop Out of Consolidated Win-
System Requirements 7 dow 64
Push Window to Back 64
T
Tab bar 62
Set Focus to Next/Previous Cell
64
expand/collapse button 62 Show Left/Right Sidebar 64
Tap tempo Window Sets 64, 65
overview 51 Window Sets 64, 65
Technical support 8 Window target 62
contacting 8 Window title 62
Time Windows 61–64
measure|beat|tick time 124 active window 64
Track selector Audio driver 26
button 63 Num Lock key 71
list 63 WASAPI 26
Tracks window Work Priority 29
Record-Enable button 117
Troubleshooting 126–128, 173–183
buffer size option grayed out 28
Z
Zoom box 63
Keypad on Windows 71 Zoom buttons 64
Tutorial 117–128

U
Updates 8
USB
MIDI hardware (installing) 13
User interface 61–71

V
View Filter 123
VST plug-ins
delay compensation 32
effects window overview 110
scanning

W
WASAPI 26
Welcome to Digital Performer win-

191
I N D E X
192
I N D E X