Thanks, that did the trick!
Digital Performer 10 is now Ableton Live
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machinesworking machinesworking https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=8505 - KVRAF
- 6216 posts since 15 Aug, 2003 from seattle
Logics EXS24 was when it came out was such a huge advantage. I'm not really that into embedded instruments, but not having to save samples, presets in a sampler separate than the DAW to make sure the song doesn't lose dependancies is an advantage of sampler instruments being embedded into a DAW. If I owned a DAW company I would embed a high quality drum machine / BFD style drum emulation, and a MachFive/Falcon/Kontakt level sampler straight into the DAW, offer it as a VSTi and eventually if the DAW was good enough people would migrate.cbend wrote: ↑Mon Dec 16, 2019 7:02 pmA full feature sampler is definitely a feature that DP could use.machinesworking wrote: ↑Sun Dec 15, 2019 10:10 pm Another obvious DP11 type feature would be a MachFive3 type sampler.
It's one thing Ableton does really right, Sampler is capable of loading EXS24 instruments and older NI sampler formats, it encapsulates the sample data into the song.
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- KVRAF
- 23103 posts since 7 Jan, 2009 from Croatia
Well, S1 has Presence XT for that matter...
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- KVRer
- 1 posts since 15 Dec, 2010
I have been reading this blog and wanted to clearly explain how Digital Performer works, in relation to other DAWs.
! have gigged live with sequencers and synths since the 80s. I currently use DP on a Mac laptop. It replaced my OS9 rig, which was Cakewalk Metro and a road case rack with synths, FX and an analog mixer. Metro had some audio tracks which were routed to the mixer (from the laptop headphone out), but sent mostly MIDI, to the synths (which then sent audio to the mixer). The mixer also had mic and guitar inputs, Metro sent MIDI to the FX on those tracks.
DP was the only DAW that integrated a virtual "road case rack" with a library of DISCRETE sequences in one package. It EXACTLY mimicked the rig described above.
Abledon had a workaround where every sequence you had was on one long timeline and you just played sections of the timeline, but it was clumsy and rigid. In database terms, Abledon (and all the others) is a "flat file" database, and DP is "relational".
The power (and complexity) of DP is the way that it integrates audio and MIDI tracks with the V-Rack. The V-Rack "Mixer" contains Aux tracks, which route external Audio, and Instrument tracks, which host Audio Plugins. The Instrument tracks also produce Audio (of course). Confusingly (to the novice), the Aux tracks and Instrument tracks look identical.
The active sequence's audio tracks can be routed, via busses, from the "sequence" section to the "audio mixer" in the V-Rack, exactly mimicking an analog setup. External audio sources (from mics and instruments, via an audio interface) are routed directly to the Aux tracks. The V-Rack remains constant no matter which sequence was selected. The v-rack mixer can be modified at will, to add another FX or compressor on a channel, or to add extra monitor mixes, again, completely independent of the individual sequence.
The sequences' MIDI tracks can be used for real time MIDI (the traditional sequencer track), OR can be used in "static mode." A 'static" track could initialize a MIDI synth or FX (either in the V-Rack or external to DP) with patch, volume pan etc. The synth may be played live but all the patching and volume is initialized by DP.
The static tracks also provide a conduit for routing MIDI streams. A MIDI footpedal could be patched to control an instance of Guitar Rig in the V-rack, or a MIDI key controller input patched to a V-Rack synth. You can even route MIDI from one external source to another.
I use a MIDI harmonizer in the V-rack. In some sequences, its track has real time MIDI notes for vocal harmonies. In others, the track just sets the preset and I "play" the harmonies with a MIDI keyboard.
I have not even mentioned other DP features. I have used MIDI plugin initialization in combination with the score display on a second computer monitor, so that I had a guest keyboard player "sight read" the songs he did not know, with all of the patch changes and splits done in real time.
I have a 6 space rack, with 4 wireless microphones, a 12 channel audio interface, and wired and wireless in-ear monitors, that I use from everything from a duo to a 5 piece band (mix all the live instruments and drums in the V-Rack). I have a little Korg fader box to control the mixer faders. All I need is a pair of powered speakers.
If you are a commercial gigging band, I cannot think of a more compact, flexible rig.
! have gigged live with sequencers and synths since the 80s. I currently use DP on a Mac laptop. It replaced my OS9 rig, which was Cakewalk Metro and a road case rack with synths, FX and an analog mixer. Metro had some audio tracks which were routed to the mixer (from the laptop headphone out), but sent mostly MIDI, to the synths (which then sent audio to the mixer). The mixer also had mic and guitar inputs, Metro sent MIDI to the FX on those tracks.
DP was the only DAW that integrated a virtual "road case rack" with a library of DISCRETE sequences in one package. It EXACTLY mimicked the rig described above.
Abledon had a workaround where every sequence you had was on one long timeline and you just played sections of the timeline, but it was clumsy and rigid. In database terms, Abledon (and all the others) is a "flat file" database, and DP is "relational".
The power (and complexity) of DP is the way that it integrates audio and MIDI tracks with the V-Rack. The V-Rack "Mixer" contains Aux tracks, which route external Audio, and Instrument tracks, which host Audio Plugins. The Instrument tracks also produce Audio (of course). Confusingly (to the novice), the Aux tracks and Instrument tracks look identical.
The active sequence's audio tracks can be routed, via busses, from the "sequence" section to the "audio mixer" in the V-Rack, exactly mimicking an analog setup. External audio sources (from mics and instruments, via an audio interface) are routed directly to the Aux tracks. The V-Rack remains constant no matter which sequence was selected. The v-rack mixer can be modified at will, to add another FX or compressor on a channel, or to add extra monitor mixes, again, completely independent of the individual sequence.
The sequences' MIDI tracks can be used for real time MIDI (the traditional sequencer track), OR can be used in "static mode." A 'static" track could initialize a MIDI synth or FX (either in the V-Rack or external to DP) with patch, volume pan etc. The synth may be played live but all the patching and volume is initialized by DP.
The static tracks also provide a conduit for routing MIDI streams. A MIDI footpedal could be patched to control an instance of Guitar Rig in the V-rack, or a MIDI key controller input patched to a V-Rack synth. You can even route MIDI from one external source to another.
I use a MIDI harmonizer in the V-rack. In some sequences, its track has real time MIDI notes for vocal harmonies. In others, the track just sets the preset and I "play" the harmonies with a MIDI keyboard.
I have not even mentioned other DP features. I have used MIDI plugin initialization in combination with the score display on a second computer monitor, so that I had a guest keyboard player "sight read" the songs he did not know, with all of the patch changes and splits done in real time.
I have a 6 space rack, with 4 wireless microphones, a 12 channel audio interface, and wired and wireless in-ear monitors, that I use from everything from a duo to a 5 piece band (mix all the live instruments and drums in the V-Rack). I have a little Korg fader box to control the mixer faders. All I need is a pair of powered speakers.
If you are a commercial gigging band, I cannot think of a more compact, flexible rig.
