![]() MOTU has also endowed a batch of their built-in synths with MPE capabilities. In DP, once you have defined your controller as an MPE device ( see my tutorial for setting up MPE and Multi-Channel tracks in DP 11), you are ready to wring expression out of any MPE-capable synth, such as FXPansion Strobe 2, Rhizomatic Plasmonic, Roli Equator, or Arturia Pigments. The latter two required minimal finagling, and the former took two or three clicks in a single pane.Īlthough it’s similar to multi-channel MIDI, MPE requires a different set of protocols shared between controller and synth. MPE deploys a similar multichannel approach so that notes can respond independently to channel-based MIDI control messages.īecause DP MIDI tracks can now record data from multiple channels, there’s no longer any need to create a track for each channel – you simply set the output of the target device to “ any.” Rhizomatic Software’s Plasmonic proved to be a perfect pairing for my MIDI guitar and DP’s Multi-Channel MIDI tracks, as did UVI Falcon and Spectrasonics Omnisphere. Those of us who play MIDI string instruments relied on MIDI Mode 4, a setup that allows data such as pitchbend to be issued independently from each string. Prior to version 11, DP MIDI tracks were strictly one MIDI channel per track, so using MIDI Polyphonic Expression required a bit of hoop-jumping – as did setting up tracks for MIDI guitar or other multichannel controllers. Here are some of the notable updates in DP11. But in my (highly controversial) opinion, none has done so with the craft, creativity, and depth of DP. #Motu digital performer 3 software#To be sure, most of the other software packages have proceeded apace. We even have virtual recording studios as plug-ins within our virtual recording studios! (In the illustration, the aligned audio fileįig.Being a modern-day DAW, DP11 hosts racks of synthesizers, MIDI and audio processors, it syncs to picture, has music notation, compositional tools… so much more. This will replace the selected Dub with theĪligned Audio as shown in Figure 9-6. 9-5 'Align and Spot' creates the Aligned Dub and returns it to Step 6 Create the Aligned Dubįinally, select Align and Spot Audio from theĪudio > VocALign menu, as shown in Figure 9-5.įig. Optionally, at this point, you can switch to VocALign and adjust the selected files or VocALign’s alignment settings (see Sections 6 and 8). 9-4 Identifying the Dub audio to VocALign 9-3 Selecting the Dub audio in Digital Performerĭub track using the Audio > VocALign menu (Figure 9-4).įig. In DP, select the sound bite ‘TWITDUB’, asįig. 9-2 Identifying the Guide audio to VocALignīack to Index Step 4 Identify the Dub audio Guide track using the Audio > VocALign menu (Figure 9-2).įig. 9-1 Selecting the Guide audio in Digital Performer In DP, select the sound bite ‘STEVEGUI’, asįig. Running, then, in DP, open the file ‘ VocALign Tutorial - DP3’ (which is in the ‘Tutorial’ folder downloaded as described in Step Unzip this and copy theįolder ‘Tutorial’ to a suitable location on your computer’s hard disk. #Motu digital performer 3 download#The link "Pro Tools Session & MOTU project" for VocALign to download anĪrchive of the tutorial material to your computer. On the Downloads page, locate and click on Step 1 Obtain the tutorial projectįor this tutorial session can be found by going to and You also have a way of returning the Aligned audio straight back into DP. Guide and Dub is different to the method described elsewhere in this manual. To use VocALign with MOTU’s Digital Performer (DP), the way that you capture the ![]()
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