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=-=-=-=-=-=-=-=-=-=Digital Performer Tips=-=-=-=-=-=-=-=-=-=
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Gleaned from the collective wisdom of the folks at MOTU Nation Forum
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If this is your first time to read the tips, please take a moment to visit the copyright info (basically conditional freeware) and the disclaimer (don't hold us responsible, etc).
INTRODUCTION
It started with a thread in the Digital Performer forum at MOTUNation: Topic: Share your favorite DP tip! Or, things you wish someone had told you about without having to learn the hard way. Here, I have attempted to group the tips for easier reference, and I've mentioned the name of the tipster only in italics at the end of each tip. It's important that people be recognized for their contributions, but the most important thing here is that the tips are easy to find and easy to use. Tips that I've added here that do not appear in the original forum thread are credited to [Editor]. (That would be me: Shooshie) Much work remains to organize the tips better, a daunting task which may never happen, given the nature of this growing list. Not to worry, let's keep adding those tips! Thanks to all at Unicornation who contributed to this thread and made it possible! If your name doesn't appear, and you think it should, please write me and tell me. Sometimes two people reported the same tip. Anyway, THANKS TO EVERYONE! MOTUNation is a great group of people!
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THE TIPS
[Editor's Note: These tips are not guaranteed. In fact, nobody can be sure that they cannot destroy your computer and burn down your house. We're assuming you can surmise the risks yourself. Read the disclaimer at the end of the file before attempting any tips. Your decision to try these tips will be considered proof of your willingness to accept responsibility for whatever happens! We know you know what we mean, but we gotta say it, anyway, because people say there are people out there who would do bad things to all of us if they could hold us legally responsible for their own problems, which they cannot, since they're using tips that are not guaranteed to work, and about which they have been duly warned. That said, we hope you enjoy what you learn here, and that you won't use it to burn down anyone's house. Please. Ok? Fine.]
Category: General Usage
Common Problems that Happen to Everyone Sooner or Later
Works in: Commands Window, View Filter
1) The Problem: MIDI Note Won't Play / The MIDI MASTERS or COMMANDS Muting MIDI EVENTS
• A MIDI note quits working. Just one note. Oddly, as you play a scale on your MIDI keyboard, that note simply does not sound. You know it’s getting MIDI, because you can see a MIDI event for the note if you check in a shareware app called MIDI Monitor, but the note does not go through DP. That’s a pretty good sign that DP has begun using that note to toggle one of your MIDI Masters or another command.
• MIDI Masters turn on a set of commands that you normally would leave turned off, but now you want to use them for some form of remote control, activating commands from the COMMANDS window (or switching them off) which give you control through MIDI notes or other events. It may also utilize keyboard commands.
• Please look up MIDI Masters in the DP Manual’s index to better understand how they work and what they do. They are powerful, desirable controls, but when you accidentally invoke them without knowing what’s going on, it can send you on many wild goose chases trying to figure out what has happened to your MIDI keyboard and/or computer keyboard.
• Sometimes the merging of keyboard bindings in a new version of DP will cause this to happen.
Example
For example, F#2 may be designated to toggle on/off the MIDI Master. If that is the case, F#2 will not sound when played from the keyboard [or other designated MIDI controller]. It will still play back fine from a MIDI track, but not from the device originally programmed to toggle the Master.
How to fix the problem:
• Open the Commands Window [SHIFT-L]. Go to the MIDI Master. See if there is a MIDI keyboard binding for F#2 (or whatever note is not working)
• If that is not the case, you will need to locate where the F#2 has been inserted as a command. The Commands window will not directly search for keys used in commands, but you can find it indirectly by typing that key or MIDI note into a vacant command in the Commands Window. If it is already being used somewhere else, DP will give you an alert dialog that asks you if you are sure you want to use the key [note], because it is already being used in… [other commands]. Then you go to those commands and remove the key binding from it. Select it and type “Delete” (Backspace) to vacate the field.
• If one of your Masters has been inadvertently switched on, other MIDI events may also be muted. You may not want to delete them all from the Commands Window. Just turn off the Master. See if there is a key set to toggle it on and off, and either change it to something you won’t hit accidentally, or delete it and work the master directly through the Commands Window.
2) The Problem: DISAPPEARING DATA
• Suddenly your data is missing. You can play it, but you cannot see it. You have opened every window possible, but all your MIDI (or other data) is gone.
How to fix the problem:
• Open the View Filter.
• At the bottom right you will see “Set All” and “Clear.”
• Click “Set All” and your data will be visible again. (check to make sure that all appropriate boxes are checked before closing the dialog box.
Why does this happen? If you accidentally click COMMAND-F, you will open the View Filter. The next step you make will determine whether your data will “disappear” or not. It’s very easy to hit “Clear,” thinking you’ve hit “done” or “ok” to dismiss the dialog. Sooner or later, this one bites everyone, so it’s good to know what to do when it happens. The best thing to do when the View Filter appears by accident is to hit COMMAND-W, which closes the filter’s window without invoking any commands.
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The Editors
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Category: Computers 101
Tip Number One: BACKUP
Works: everywhere
Make reliable backups of all data before attempting any shortcut or procedure in this document. It's a good habit, no matter your intents and purposes. Learn from the DP manual what to look for in the folder of a saved project, and back up all of it. You will probably need to use your backups at some time in your career with Digital Performer, though most users can vouch for the fact that it is rare, and that DP is a very stable application. That does not excuse the need for a reliable backup to good CD, DVD, or hard drive media.
Audio should be saved as-is, and not converted into other forms for archiving. Nor should audio files be compressed for archiving.
It has been said by Apple "geniuses" that backups to CD or DVD should be burned at a slow speed to increase the reliability and durability of the discs, the argument being that the longer the laser is in contact with the media substrate, the more defined will be the holes it burns in that substrate, and the lower the chance for error or abnormal deterioration. I repeat that here for your consideration, but I cannot vouch for its accuracy. I treat it as the truth, myself.
In addition to restoring the documents later, it is also possible to restore portions of a Digital Performer document by using the "Load" command under the FILE menu. From this dialog, one can copy chunks, songs, soundbites, effects settings, and many other parameters, loading them into a new file as desired.
DP 7.x gives you options for AutoSave. You may save your file at selected intervals, and/or you may create a backup file at those same intervals. Personally, I save backups and leave my active file unsaved until I specify it. That may not be the best way for you to work, but I mention it merely for your consideration.
Other backup options these days include USB flash drives, some of which may hold many gigabytes in a physical space about the size of a fingernail. Also, hard drives are cheap. Especially the little portable drives with names like "WD Passport" or "Seagate GoFlex". These can hold enormous amounts of data in not much larger than an iPhone.
One of the best backup options available to Mac users is Time Machine. Consult your Mac documentation, learn what to exclude, turn it off (or exclude undesired drives ) before booting drives you do not want to backup, and get familiar with how it works. What you will find is that when used properly, especially with a huge hard drive that won't run out of space soon, Time Machine may be the simplest, easiest to use backup solution ever created. (Also puts on a great show, but it's very functional and non-intrusive.) It's very reliable if you follow the instructions, and it has saved me many times.
There are those who say "backing up" means multiple rotating backups. While Time Machine will not automatically produce these, it is possible to do such backups in Time Machine by selecting another backup disk. Or you can manually drag files to a 3rd disk, 4th disk, etc. every week or month and let Time Machine do the incremental stuff. Find the way that guarantees your data will be safe, and keep copies off-site.
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Shooshie
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Category: MIXING
Automation when Mixing
Works in: Mixing Board, Sequence Window
Turn off the automation prefs under the setup window called 'effects parameter' before every mix and/or turn off the automation "write" button. When you are mixing in a DAW, it can be too easy to automate nearly everything. EQ's, mutes, pans, volumes, sends and everything else are subsequently automated if the write buttons are left on accidently when you are previewing any settings during playback. If you are panning or muting tracks just to hear how things sound, you can leave behind a trail of automation that can be ridiculously hard to clean up later. So, turn off the red automation record (write) button on all tracks, and only turn on the ones you actually want to write to. Be sure to set up your automation prefs so that you don't record automation you don't want.
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Timeline
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Category: MIXING
Automation
Snapshot Automation finishes out track settings
Works in: Sequence Editor and Mixing Board
Snapshots can set effects settings automation to the desired position all the way to the end of a track. Look up Snapshot, Automation in index of manual. Current at time of this writing (July, 2005), page 703.
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TheHopiWay
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Category: MIXING
Snapshot Automation for copying effects settings to another location
Works in: Sequence Editor and Mixing Board
Page 706 in manual. Follow instructions carefully and you can copy effects settings from one place to another by
1) position playback wiper where you want to copy automation settings,
2) globally disable automation
3) move to new location
4) globally enable automation
5) Be Careful: DO NOT MOVE wiper or budge Transport Counter at this point
6) take automation snapshot
7) snapshot will copy settings as they were in the original location, and apply them at the point where you took the snapshot (new location)
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[Editor]
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•••••••••••••••••••••GROUPS•••••••••••••••••••••
Grouping Tracks to perform simultaneous operations
[Editor's Note: if you have "Suspend Track Groups" selected under PROJECTS••”>MODIFY TRACK GROUPS, the following tips will not work. Deselect that option first. Also, you may need to change the grouping options to get all of (or only) the actions you desire in a group. To do this, see the tip on Changing Grouping Options.]
Category: Mixing
Category: Playback
Category: Setup
Category: Editing
Category: Setup:
•••••• Changing Grouping Options--Actions that affect groups
Works: all windows where groups can be used (Tracks Overview Window and Mixing Board, mainly)
When you use groups, you may find that the operations you wish to perform on all tracks in the group do not work, or that some operations you would like NOT to work. You can control what is affected in group actions. In the menu bar, select PROJECT••”>TRACK GROUPS. The Track Groups window will open. If you are using Consolidated Windows, it may take you a moment to see it. In the Track Groups mini-menu, pull down to SET TEMPORARY GROUP TYPE... A dialog box will open, and you can select the actions you want to perform en-masse. Pretty nifty, eh?
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Shooshie
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•••••• Temporary Grouping of ALL VISIBLE Tracks
Works in: Tracks Overview Window, Mixing Board, Sequence Editor (For some operations)
Double tap "w" for a group of all visible windows. Tap w once to un-group. This works in Tracks Overview Window, Sequence, Mix, and other windows. It works on all visible tracks. If you want to change the magnification of the audio soundbites in the Sequence Window, this grouping will affect all tracks with the action you perform on a single track. Play enable, record enable, volume sliders, pan pots, mutes, etc., all will be grouped by tapping "w w", and any action will affect all tracks until ungrouped with a single tap on "w". Warning: it also works on color. Changing one track's color will change ALL tracks to the same color when grouped with the "w w". That's not undoable. If you don't want color to be affected, deselect it by using the method in the Changing Group Options tip.
[Editor's Note: if you have "Suspend Track Groups" selected under PROJECTS••”>MODIFY TRACK GROUPS, the above tips will not work. Deselect that option first. Also, you may need to change the grouping options to get all of (or only) the actions you desire in a group. To do this, see the tip on Changing Grouping Options.]
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Kind Of Loud
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•••••• Changing Colors of a group of Selected Tracks
Works in: Tracks Overview Window, Mixing Board, Sequence Editor
Select any tracks you want (Shift-Click). Hold down the letter "t" while picking a color. All of the tracks you selected will change to that color. Sequence Editor: change colors by clicking to left of track name.
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666
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•••••• Create Groups, Change Takes on Multiple Tracks Simultaneously
Works in: Tracks Overview Window plus Mixing Board
To create groups for performing operations such as switching takes on several tracks at a time, for instance, when recording multiple tracks at once:
1) CONTROL-N in the mixing board,
2) click on the tracks you want to group.
3) Hit "RETURN."
4) A dialog box pops up, and you select the actions you want to operate as a group.
5) Choose "Switch Takes" in the dialog, and/or Create New Take, etc.
6) Go to the Tracks Overview Window and change a take, and all tracks in that group will change their takes.
To turn off groups, CONTROL-COMMAND-G, or do it through the Track Groups window (Project Window)
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musicarteca
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Categories: Setup, Mixing, Editing
•••••• Temporary Group from SELECTED TRACKS
Works: in any track with multiple tracks or track controls
I select the tracks and make a temporary group by hitting 'T' twice. Then changing a take in one will change all the others in the group. Hit 'T' once to cancel the temp group. Oh yeah, the Take stuff has to be enabled in 'Set Temp Group Type', which is in the mini menu of the Groups window (option-shift-g). Of course a regular group can be used too (command-shift-g).
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Tim
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Categories: Recording, Setup, Playback
•••••• Change I/O of Multiple Tracks Simultaneously
Works in: Tracks Overview Window
Highlight a bunch of track names in the Tracks Overview Window, hit OPTION-A and you can simultaneously change the inputs and outputs of multiple tracks all at once.
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TOD
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Category: Playback, Mixing.
••••••Group Fader Move keeping relative positions intact
Works: in mixing board window
OK, you're geting close to a mix, and everything's sounding good. You're fine-tuning your level on the the master fader prior to pulling in a compressor, but you're getting the odd clip light on the master fader. You need to locate the culprit/s, and adjust levels without altering their relative relationships within the mix.
The amazing 'W' trick!:
1. Hide all channels in the mixing console except the ones you want to temporarily group and tweak.
2. Hold down 'W".
3. Change the level of any of the faders, and they'll track as a group until you release the W.
[Editor's note: the linear relationship between the faders may not be consistent over larger moves, making this tip ideal for a tweak, but maybe not so much for a large adjustment without rebalancing. If you consistently are getting clips in your master fader, requiring large moves to fix them, consider mixing with stems (submixes) using Aux tracks, where you can have another level of control before the Master fader.
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chamelion
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•••••••••••••••••••••End of GROUPS•••••••••••••••••••••
Category: Navigation
OSX Zoom (Universal Access)
Works: Anywhere
Although it's not a DP short cut, the zoom in OSX is a useful feature. Open System Preferences/Universal Access/Turn On Zoom...Then it's Option/Command/+ to get right in there and Option/Command- to come back out.... Pretty awesome after tracking and knocking off 12/15 cold one's and want to do a little touch up and see things better!!
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Kind Of Loud
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Category: Navigation
Scrolling the Counter
Works: Counter in Control Panel
Scroll-wheel on the frame in the Transport for single-frame advance (works with seconds, minutes or hours too).
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dix
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Category: Navigation
Windows Open with Keystrokes/Menus
Works: Anywhere
If you're new you may not have discovered the nifty window commands listed under Project in the DP menu bar...
Shift-M (Brings up the Mixer)
Shift-S (Brings to the front the Sequence Editor)
Shift-T (Brings up the Tracks Overview Window)
Shift-B (Soundbites list)
etc..they all are listed with their shortcuts.
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Buzz Smith
=bz=
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Categories: Setup, Editing
Switches Are Continuous Data (graphic editor)
Works: Graphic Editing Windows
Some continuous controllers like to display as on/off switches, in the space between the MIDI editor and the velocity editor panels in the Graphic Editing Window. They appear in boxes with their number on them, and if you have a lot of them, they are hard to reach and hard to edit. (Controller 64--"sustain"--is an example)
In the Preferences window, go to Editing --> Continuous Data, and click the "Switches are continuous data" option. Now, Controller 64 and any other switches will appear in the lower panel with the velocity and other continuous data icons, and will display a colored range showing when they are "on."
Conversely, if it's already set that way, and you get tired of the colored ranges, you can set them back to switches and the colored areas will go away, the icons appearing in that strip between the upper and lower editing panels.
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Shooshie
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Categories: Setup, Editing, Mixing, Navigation
Navigating to Selection During Editing
Show Selection in Sequence Editor
Works: Tracks Overview Window, MIDI Edit Window, Drum Editor, QuickScribe Editor, Soundbites Editor
In the Navigation section, reassign the Command View Selection in Sequence Editor to a more accessible keystroke. Now, in the Tracks Overview window, highlight a track or section of tracks you'd like to edit more closely. Hit your newly assigned key. VOILA. Much easier than resizing and hiding/showing tracks all the time. [my default key combo is "Control-Command-E" ----Editor]
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amplidood
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Category: Setup
Mental States: too long on the job
Works: everywhere
When you can't tell difference between kick drum and a flute;
GO TO BED
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Hiddenstory
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••••••••••••CONTROL KEY TIPS••••••••••••
Category - MIDI Editing, Mixing
The PROPORTIONAL DRAG
"CONTROL-drag"
and other tricks accomplished with the CONTROL KEY
Works: MIDI Editor Window - Single or Multiple Tracks; Sequence Editor (appropriate layers)
The Control Key does many things in the MIDI Graphic Editing window:
First, Vertical and Horizontal Proportional Dragging:
1) •••••• CONTROL-Compressing MIDI Velocities
In the Control Point Lane at the bottom of the MIDI Editor, or in the Velocity or Control Point layers of the Sequence Editor, select your notes by dragging over the velocities. Grab the tallest "V" icon among the ones you selected. Hold down the CONTROL key for proportional dragging. Use the SHIFT key to contrain your movement only to the vertical. Drag up or down, and the entire selection will adjust proportionately, having the effect of compression or expansion of MIDI velocities.
Why is this useful?
Because when you change patches, almost invariably the response envelope will be different. In some patches, the "meat" of their dynamic response will be from about 10 to 30. Anything higher will not produce louder sound. In others, the working range may be 20 to 90. The Yamaha Disklavier, an actual MIDI'd grand piano, functions best between 30 and 98, with the average working range at 40 to 65. So, when you change patches, you have to adjust your velocities. You can do that with the Change Velocity plugin, but sometimes I prefer the visual of dragging the velocities, so I can see their relative loudness compared to other lines. This way, there is no guesswork.
Of course, it's also useful just to expand your dynamics. But that's obvious.
2) •••••• CONTROL-Rhythmic (Time) Augmentation and Diminution
As described above, select the notes or continuous data icons you want to change, proportionately to each other. Hold down the CONTROL KEY, and use the SHIFT KEY to constrain it to horizontal motion, only. Drag the Velocity/CC icons horizontally, and the notes/events will move proportionally in time, augmenting their relative attack times, while retaining the same note-lengths. This is functionally different from "Scale Time" because note lengths are not altered.
Useful applications:
1) fill up a predefined amount of space with an existing selection of notes or music.
2) altering large amounts of Continuous Controller data that needs to fit a certain space
3) Correcting rushed or dragged performance; you can quickly bring a rushed bar in time this way.
etc.
•••••• CONTROL-Change arpeggio to chord, starting at same time
You have a full-keyboard arpeggio, and you changed your mind. You need all the notes to start together. Select them, hold down CONTROL, then drag the attack (left end of the notebar) of one of the notes to the left or right. Dragging to the left will extend all notes toward the beginning of the bar, making them all start together. Dragging to the right will shorten all notes, making them start together with the last of the notes selected.
•••••• CONTROL-Extend arpeggio, chord (or any notes) so that all notes cut off simultaneously
Select the notes, hold down CONTROL, and drag the CUT-OFFS (right end of the notebars) to the right. All notes will now cut off together wherever you leave them.
This is useful for any group of notes (arpeggio or not) which need to release together. It's a quick fix for a ragged cutoff.
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Shooshie
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•••••• Change Takes on Multiple Tracks Simultaneously
Works in: Tracks Overview Window plus Mixing Board
To switch takes on several tracks at a time, for instance, when recording multiple tracks at once:
1) CONTROL-N in the mixing board,
2) click on the tracks you want to group.
3) Hit "RETURN."
4) A dialog box pops up, and you select the actions you want to operate as a group.
5) Choose "Switch Takes" in the dialog, and/or Create New Take, etc.
6) Go to the Tracks Overview Window and change a take, and all tracks in that group will change their takes.
To turn off groups, CONTROL-COMMAND-G, or do it through the Track Groups window (Project Window)
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musicarteca
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Category: Setup
Moving Tracks in the Tracks Overview Window
Moving Multiple Tracks
Moving Tracks to Top of a Column or Folder
Move Selected Tracks to be Together
Works in: Tracks Overview Window
• Move track(s) up or down: Select a tracks or multiple tracks. Hold down the CONTROL key and press "Page Up" or "Page Down" to move your selection up or down by one line in a list. If there are gaps between the selected tracks, the selection moves up or down WITH the gaps "preserved" in place.
• Move selected track(s) to top/bottom of list or folder. Hold down the CONTROL key and press "home" or "end". If there are gaps between selected tracks, the gaps are preserved.
• Move selected tracks to be together: After selecting non-contiguous tracks you want to bring together, press OPTION-CONTROL HOME. The tracks will become contiguous in the list, beneath the top-most track of the selection. (Gaps in selection are eliminated)
• These commands are undo-able.
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Shooshie
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Category: Navigation
Zoom Levels in Editor windows, using keyboard
Works in: Graphic Editors
Many of the zoom commands involve the Control key. You can set three zoom levels in the edit windows, then zoom to those levels with keyboard commands. See the Mini-Menus under "Zoom."
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Shooshie
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Category: Playback, Mixing, Editing
Playing a Selection
Works in all Graphic Editors and Tracks Window
Select a few notes in a track, or some notes from several tracks which you want to hear.
To play, press CONTROL-SPACEBAR to hear them in context with all play-enabled tracks.
Press OPTION-SPACEBAR to hear them alone, without any other notes except those that are selected.
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Shooshie
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••••••••••••End of CONTROL KEY TIPS••••••••••••
Categories: Editing, Mixing, Playback
Smooth, Continuous Zooming
Works in: Windows with timelines
Control-click +mouse up/down in the time ruler for really fast and efficient zooming in and out. [Editor's Note: click exactly where the wiper "glass panel" is, on the upper part of the ruler. Wherever you Control Click, the Wiper will snap to that location if you're doing it right. Then up/down motion will create "continuous zoom." Also, scroll wheel works when mouse is over wiper glass.]
I was pretty excited when I figured that one out...
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Panopticon
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Category: Recording
Quick Punch-in, Punch out:
Works: any window in which you would normally record
If you are recording a difficult take where the musician/ singer has to go back to the same spot several times, the usual way is to set up the auto punch-in/out and the playback start time, but this takes some time to set up, so here is an accelerated way to do it:
••• Enable the "Link Selection to Memory" and "Memory Play" buttons on the selection tab on the control panel. Press the pre-roll an write the amount of measures (or beats) that you want to play before the punch in; and optionally, you can also write the post-roll amount. Make sure that the auto-record button is not depressed.
••• Now when you make a selection in the time ruler, it will automatically setup this range as the punch in/out range on the record enabled track(s). When you press record, the play will start a few measures before (determined by the pre-roll amount), and automatically punch-in/out to the selected range, if the musician makes a mistake, simply press record again and it will repeat the same procedure from the same place.
••• additional bonus: I programed the key number 2 to perform the command "extend selection to the end of the sequence", so lets say that I am recording a singer, and he makes a mistake, I stop recording, make a small selection at the time ruler right before the stopped and quickly press the keys 2 (extend selection to the end), and 3 (record), so it will play back some pre-roll time for the singer to prepare, and then continue recording from the selected spot. Very quick procedure.
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musicarteca
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Category: Setup
Opening VI or upper-most Effect
Works: Tracks Overview Window, Sequence Editor Window
1) Select a VI track and then press shift-F to open the VI from the tracks or sequence window.
2) If you select an audio track and press shift-F, it will open its upper-most plug-in.
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musicarteca
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Category: Mixing
eVerb Effects through flex-bussing
Works: Mixer
My trick isn't DP-specific, but works great with DP since DP allows for flexible aux bussing...
Two mono auxes in place of stereo auxes. For example, instead of plugging in a single, stereo eVerb in an aux buss, try using two mono auxes, panned hard left and right, with the same eVerb, but adjusted slightly differently. It can make for a more "spacious" sounding verb rather than a solid wash.
To add, try using subtle EQs and echoes with mono verb busses. Or stacking different verbs in an aux bus.
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heavypick
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Categories: Editing, Mixing
Left-Right Scrolling
Works in: all windows, more-or-less
I just discovered a great one! I have a scroll-wheel mouse. If I hold Shift and roll the wheel in Sequence view, it scrolls right and left. Yea!
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Aaron Lyon
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Category: Setup
Commands Window
Works in: Commands Window
Almost all actions in Digital Performer can be assigned keyboard commands (or change the defaults) via the Commands window. There are a bunch more grouping features available but the user has to enter his/her own keyboard commands. The Commands window is very useful but for some reason, I don't think many people ever even look at it.
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666
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Categories: Recording, Mixing, Editing, Playback
Navigation
Markers
Works: in all playback/editing windows
Clicking on a marker's name takes you to that marker. [Editor]
Category: Setup
Save Your Work
Works: Everywhere
My most useful DP tip••¦Command-S to save. Often!
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blue
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Category: Setup
Consolidated Windows
Annoying? Turn it off!
Does anyone else prefer not to use the consolidated window? my tip: turn that annoyance off in Prefs.
[Editor's Note: I included this because newcomers may not know that they can use independent windows.]
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James Murphy
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Category- Mixing
Quickly display all tracks in Mixing Board
Works: in non-consolidated windows view. (Not in Consolidated Windows)
Press the option key while clicking the sequence name in the upper right corner of the mix window. You get a pull down from there instead of from the mini-menu.
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Blue
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Category: Setup
Consolidated + Free Windows
Suggested Windows Configuration
Works: Recording, Editing, Mixing
I have mixed feelings about the Consolidated Windows and use it but in combination with other "free" windows. I keep the Sequence editor and Mixer window separate and leave the Tracks Overview Window in the CW. In the sidebar I keep the Performance window, Markers, Soundbites window and Undo History. When I need it, I open the Conductor track and the Audio Monitor in the left sidebar. Bottomline... my main windows, which are usually larger than the others, I keep separate and leave a visible corner at all times so I can access them with a click.
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Splinter
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Category: Setup
The Consolidated Window
Suggested Windows Configuration
Works: Everywhere
I have about a dozen configurations of Consolidated Windows saved, which pop up at a keystroke.
Special Tip: use QuicKeys, which gives me more options for keystrokes even than DP.
Plus, I still have some configurations that use free windows, not Consolidated Windows. Just because it's turned on doesn't mean you have to use it all the time.
One thing I like most about Consolidated Windows is that I can go from chunk-to-chunk easily, just by enabling a new chunk, and will already have the exact same layout in front of me for that chunk. That was impossible before.
I switch between consolidated and free windows easily using Apple's Exposé, which I have configured for the left side of the keyboard, so that I don't have to move my hand from the mouse. Exposé rocks! So do Consolidated Windows and QuicKeys.
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Shooshie
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Category: Mixing
Category: Editing
View Selection in Sequence Editor
Works in: Tracks Overview Window, Event List, MIDI Editors, Quickscribe, Drum, and partially works in Soundbite Window
In the Commands Window, go to the Navigation section. The very last command in that group is "View Selection in Sequence Editor." Reassign the keystroke of that command to something that a human being could actually do on a regular basis. I personally use "S" for it, since I've never used the "Scrub" tool even once in my life. Now highlight a track or section of tracks in the Tracks Overview, and hit your new magic key. HAPPINESS!!!!
Editor's note: Default command is CONTROL-COMMAND-E
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amplidood
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HOT TIP!
Category: Mixing
Category: Playback
Category: Editing
••• Start Playback from Edit (instead of counter)
••• Play Selection
••• Play region within selection boundaries
Works in: All editing windows
If you are editing and want the playback to always start from the editing point instead of where the cursor is (a la Pro Tools), then in the Selection Tab on the main transport:
1) Enable Link Selection to Memory
2) Enable Memory Play
3) then click inside the soundbite that you want to edit with the letter "i" depressed.
Playback will start from that edit point.
[Editor's Note: with above settings, you can also just select anything, and playback will start and stop within the bounds of the selection. Add the Memory button, and it will loop. Of course, as always, as soon as you select a soundbite, DP plays the soundbite selection by itself.]
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musicarteca
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Category: Mixing
Category: Editing
Category: Recording
Consolidating Composite Takes
Works in: Tracks Overview Window
I comp takes very often and I find the following procedure to be very efficient and a fast way to work with, it favors working with several takes on one track instead of the usual "several takes expanded on several tracks" method.
1- On the sequence editor display only the track(s) that you want to comp.
2- Create a new empty take and name it Comp.
3- Divide the song with markers, and click on the first marker to select a region from that marker to the next, or select the region manually on the time ruler.
4- With the same region selected listen to every take. Use option-space bar to audition the selected region on each take and CONTROL-OPTION UP/DOWN ARROW to navigate through takes. Once you found the best one, copy it and paste it at the comp take.
[Editor's note: OPTION-SPACEBAR used to be CONTROL-SPACEBAR. It was changed because Spotlight in Tiger now uses CONTROL-SPACEBAR.]
5- Click the next marker and repeat the procedure for the next selected range.
6- Move the edges of the adjacent soundbites to fine tune the edit, and cross-fade at will. Soundbite's time integrity to the sequence is always maintained, so there is no need to move soundbites. (just their edges).
7- If you select a region that is OK, except for only one note, you can select that note from an different take (always in the time ruler), copy it and paste at the comp take.
8- Repeat until the end of the song.
I very much favor this procedure because:
1- It is very quick once you get use to it.
2- You let your ears be the guide instead of your eyes. Isn't it the way it is supposed to be?
3- It is the way to go if you want to comp several tracks at the same time, for example a multitrack drum set, or a complete band playing to a click track.
[Editor's Note: Combine the composite takes procedure with the "Play region within selection boundaries" tip above, for even faster workflow]
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musicarteca
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Categories: Setup, Playback, Mixing
Create a Meter Bridge [Obsolete Tip, good for versions up to 5.x]
Works in Mixing Board
In the Mixing Board mini-menu, hold down the option key and select "Level Meter." Your mixing board controls will all go away, leaving only the meters, forming a "Meter Bridge" to leave open while you're working in the Sequence Editor or Tracks Overview Window. It's something I can live without, but it's kind of cool.
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Shooshie
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Category: Setup
JOIN UNICORNATION
Works in: everything
draudio2u
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Category: Setup
Move Mulitple Tracks Simultaneously
Works in: Tracks Overview Window
1. Select the tracks you want to move
2. Use Control-Page Up/Down to shift them all one place at a time
3, The real trick to making this quick is temporarily disabling "Lock layout to track order" in the Mixing Board mini-menu.
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amplidood
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Category: Setup
Moving Multiple Tracks Simultaneously
Move Selected Tracks to be Together
Works in: Tracks Overview Window
You can also move tracks to the top or bottom of the list by using "home" and "end" instead of "page up" and "page down" while holding down the CONTROL key. That gives you a little more flexibility when moving stuff around.
I don't know if they just added this in 4.6, but I noticed there is now a "move selected tracks to be together" command. After selecting the tracks you want to move, press OPTION-CONTROL HOME. This, with the other move commands, gives you total flexibility when shuttling tracks around in the tracks list. Awesome!
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blue
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Category: Playback
Category: Editing
Playback Wiper in Soundbites Window or Waveform Editor
Works in: Soundbites Window
You can click anywhere on a soundbite in the Soundbites Window or Waveform Editor, and you can see a moving green playback wiper showing you where you are as you're listening. Just click where you want playback to start and hit "Option-Spacebar. [Editor's note: auto scroll does not apply to this feature. Set your window up so that your entire selection can be viewed without clicking.]
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666
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Category: Setup
Output destination (Audio Outs) for Audible Mode
Works in: Sequence Editor
To change the destination for Audible Mode (e.g. audio that you scrub, or select in the Sequence Editor window), open Studio->Audio Bundles, click the Output tab and drag the output bundle to the top of the list that you wish Audible Mode to be heard through. This is useful for e.g. changing the Audible Mode destination to your headphones so that your clients don't hear a lot of crap when your editing audio...
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qo
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Category: Editing
Finding the right Soundbite, quickly
Works in: Sequence Editor, Tracks Overview Window
Sometimes it's easy to have an incredible amount of soundbites in a project and having problems finding the right one in the soundbites window is not so uncommon. Need to find them quickly and have them highlighted, like in Pro Tools?
First, select a soundbite, then hit one of these combos:
••• Command-alt-control-L brings up the soundbite list;
••• Command-alt-control-A brings up the soundbite info;
••• Command-alt-control-W brings up the the waveform editor.
Notice the soundbite becomes highlighted and is very easy to spot.
[Editor's note: a meme to remember this by: LAW. From left to right, the letters correspond to the buttons in the Soundbite Window: List, Info, Editor. Also, since we're thinking in 3's, the control/option/command keys are also a triple.]
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Archer
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Category: Setup
Startup Clippings
One of my favorite DP 4 time-saving features is STARTUP CLIPPINGS!
Projects>Clippings>New Startup Clipping Window.
I can drag and drop a Reason file such as MYSONG.RNS to a startup clipping window. Then when I load the DP4 song, Reason will automatically load and load its corresponding file.
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thanatopsis
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Category: Setup
More Keyboard Buttons (for more shortcuts)
Works: Everywhere
My favorite totally non-MOTU thing is my Contour Shuttle Pro. Great for DP4 and Final Cut Pro. 13 or more extra buttons and a jog/shuttle dial. Great for making shortcuts to all the keyboard commands people have been mentioning.
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thanatopsis
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Category: Editing
Selecting Tools
Works in: Editing Windows, wherever toolbar is present (even if it's closed)
Hold down the following keys for tool selection:
A ••• Pointer
I ••• I-beam
P ••• Pencil
R ••• Reshape Data
Hit the key twice and the tool selection sticks.
••• One more: the new command to toggle the tool palette between horizontal and veritcal is shift-option-~(tilde), not 'control-accent grave', which now toggles you between windows.
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bobk
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Category: Video
Matching Downbeats with Hitpoints
Works in: Sequence Editor, Markers, Conductor Track
I do mostly video scoring.
lock your markers, and then when you find that your downbeats don't match the hitpoints you want, use subtle tempo changes in the conductor track to massage it to where you want it to be by the time you get to that point in the film.
of course, using more sequenced MIDI and less recorded audio makes this work a lot better.
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Veej007
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Category: Setup
Custom Keyboard Commands
Works in: Commands Window (Setup Menu)
[Editor's Note: I've included only two examples of general keyboard setup, since that tends to be very personal. These do illustrate how convenient one can make working on the keyboard. One warning: When setting your keyboard without using modifiers (Command, Option, Shift, or Control), be very careful when using it. You may think you're typing the name of a new track, when actually you missed the text field and have now deleted your audio, randomized your MIDI, saved your file, and bounced it all to disk!
Also, be to watch out for when using the alphabet without modifiers: turn off the subset of COMMANDS that deal with Chunk selection. When you create a new chunk, DP may assign it a key you've already used for something else.
I included Hammerman's set because it is so logically done. Others may be inspired by it.]
Grouping Tasks with adjacent keys on keyboard
Works in: Keyboard shortcuts, Commands Window
••• I've assigned SET LOOP to my F4 key and CLEAR LOOP to my F5 key.... Very, very handy. Just select a region and ...BANG... loop it (or unloop it)
••• also, BOUNCE TO DISC is set to F13....
••• delete track to F2
Key commands are our friends!
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taylor12k
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A whole set of key commands
Here are my custom key commands. Keep in mind that some have overriden default commands so use with caution!
Custom DP4 Commands
A Play Selection
B Bounce To Disk
D Change Duration
F Fade
G Fade Again
H Delete Fade
K Change Key
M Change Meter
N New Take
Q Quantize
S Toggle Solo Mode
T Transpose
V Change Velocity
W Scrub Tool
X Mute Tool
Z No Tool
Option+I Insert Measures
Option+G Create Group
Option+N Toggle Narrow View (Mixer)
Option+T Change Tempo
Opt+Ctl+B Record Beats
Cmd+Opt+Ctl Scale Time
Command+I Set Input Filter
Cmd+Ctl+Delete Delete Tracks
Option+ ? Scroll Left a little
Option+? Scroll Right a little
\ Clear All Clipping Indicators
/ Switch Staff (Quickscribe)
F7 Toggle Play (Polar)
F8 Toggle Record (Polar)
F12 Copy
F13 Paste
F16 Tap Tempo
Some are more logical to me like making the mute tool be an X since the cursor turns into one. I think normally Dashboard is F12 but I moved that one as well since I like copy and paste to be one key commands. These save me alot of time and I like to make things simple. Hope you find some of them useful.
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Hammerman
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Time Stretching / Pitch Shifting large soundbites
Works in: Sequence Editor Window
When you need to pitch shift (if you're pre 4.6) or time stretch one part of a larger soundbite, split the section you want to tweak and use merge soundbites on it. When you pitch-shift/time-stretch, DP will now only analyze the small section instead of the entire soundbite.
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Guru
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Continuous Horizontal Zoom with the Scroll Wheel
Works in windows with Timelines
hover your wheel-mouse over the wiper-glass in any editing window with a ruler, and scroll. [Editor's Note: Or Hold down COMMAND-OPTION while dragging the mouse up and down after clicking in the glass of the wiper.]
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warpmaster
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Using Empty Take as Placeholder for Bounced Tracks
Works in: Tracks Overview Window
Tip=Using alt MIDI takes to make bouncing VI's to audio faster and safer.
OK..when bouncing VI's etc.
1) Bounce the VI using freeze or whatever way you like
2) Un-route the VI from the main out to stop eating power.
2) Take the MIDI track that went to the VI and do the following-
2A- put an asterisk next to the take # you used-(this let's you know it was the take you used in the future for recall)
2B- (here's the new dicovery-) Create a new take in the MIDI track and name it "B"..or..like I do, "Bncd". This stands for BOUNCED. You could also name it FRZ for FREEZE.
So what's so cool about this?
Well..it allows you to not worry about shutting off all the MIDI automation or having MIDI data playing a double of the audio that you have bounced if it accidentally gets play enabled again. It allows you to not have to mess with muting the MIDI track or, like I used to do, automating in a mute for the MIDI track. But it allows you to keep the routings for future reference if needed.
How about when we all accidentally option click a play button and all the old MIDI turns on? That really sucks.
This new take being named "Bncd" allows everything to stay routed without fear of things playing back when you don't want them to!
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toodamnhip
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Category: Recording
Counter-to-Auto Record In & Out
Works in: Tracks Overview Window (anywhere, actually)
The stock key commands for Counter to Auto Rec in and out are F3 and F4.
One way to do what you mention is: Hit (.) on the number pad, enter the bar/beat/ticks you want for Auto Rec in, then hit F3......repeat with F4 for Auto Rec out.
Or mouse up and click in the punch in/out fields to enter values (click on the first then (TAB) to the rest).
I don't think there's any other way to manually enter the values.
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Tim
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Keyboard-Selecting Chunks
Works in: everywhere. [setup in Commands Window]
i use dp4 live on a laptop and we have about 70 or 80 songs that were loaded as separate sequences in the chunks window. i assigned letters of the alphabet in commands to call up specific songs on the fly and/or to get in the general area of the songlist so i dont have to scroll all the way through.
[Editor's Note: this can be used in live performance to select songs on the fly.]
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polabran
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Quick-Selecting audio in tracks
Works in: Tracks Overview Window
If you've sliced up an audio track in order to edit it and then want to select everything on that track, it's a pain to select all those slices by dragging.
To select everything on a track in the Tracks Overview window:
••• Command A (this highlights all the tracks)
••• Then click on the desired track
••• This will cause everything on that track to be selected.
[Editor's Note: This works also if you place values in the Selection Fields in the Tracks Overview Window, then click on a track. Or Select a range by dragging while zoomed out, then click on a track. It's a "one-two punch" for selection. Select the range, then the track.]
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PDGood
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Category: Setup
Renaming Clippings with "copy" in the name
Works in: Tracks Overview Window
When you drag a clipping containing tracks, DP inserts the word "copy" at the end of each track. This can be a problem when creating songs in the Chunks window, which then must be converted back to sequences later, because it depends on track names to keep tracks together when all the Chunks have been recombined. So, a quick way to get rid of the word "copy" at the end of each track name:
First, option & click on the track name.
Then:
1- press "right-arrow" to place cursor at end of name
2- option & back space to erase "copy" in one touch,
3- then one more back space to erase the space.
4- Use the arrow down to go to the next track.
You can go through a series of tracks in a hurry once you get the "rhythm" down.
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Grigri
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Category: Setup, Export
Exporting stems to Pro Tools:
Involves: Sequence Editor, Tracks Overview Window, Bounce-to-Disk
There are many ways to export or transfer a DP file to Pro Tools, here is a simple and efficient way. First of all I assume what is probably the most common situation: Recording in DP and transferring to mix in PT. In this case, the ideal is to export the clean tracks, so even if there is a reference mix in DP, one wouldn't want to print automation or plug-ins to the track. Here is the procedure:
1- Copy a small piece of empty soundbite and paste it at the beginning of each track; this is to make sure that all the tracks start from the same place.
2- Select all tracks and merge.
3- Identify every merged soundbite by renaming it.
4- Go to the soundbite window and sort by time created. The merged soundbites should be at the end of the list.
5- Select all the merged soundbites and export them to a separate folder. They are ready to be opened in PT.
••• If you repeat this process often it would be a good idea to create a clipping with the small empty soundbite, so that it can just be dragged at the beginning of every track for every project. Make sure to create a mono and a stereo version of the small empty soundbite and drag it to the clippings window.
••• If you have a sequence with a large number of tracks, save time by setting to record-ready every track that does not start at the beginning, and simply record briefly, then continue to merge the tracks.
••• If you have a tempo map and/or MIDI information that you want to export to PT as well, save the file as SMF, open it in PT, and then import the audio.
In the case that you don't want to export the clean tracks to PT but instead a group of sub-mixes, lets say vocals, rhythm section, strings, sfx, etc. then:
1- Assign each group of tracks that corresponds to a sub-mix, to a separate pair of busses.
2- Create a stereo audio track for every sub-mix and assign their inputs to the corresponding pair of busses.
3- Record the sub-mixes, all from the same starting point.
4- Rename the tracks and export.
- If you have some aux tracks that are common to more than one sub-mix, for example if you want to share a reverb, either duplicate the aux track and assign each copy to the corresponding buss, or record a sub-mix, change the assignment of the aux track and then record the next sub-mix.
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musicarteca
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Go to Top of Part One
Go to Top of Part Two
Go to Top of Part Three
Go to Abbreviations Glossary
Go to Automation Control Points and Controllers Tutorial
Go to Controller Selection Tutorial
End of Section 1 of the Digital Performer Tips Sheet... Section 2 begins in the next post.
Links updated 11/11/11. Last Update: February 20, 2014