Digital Performer 6 Power!: The Comprehensive Guide (Artistpro)

553 Pages·2009·15.04 MB·English

by  Don Barrett

TM
Digital Performer 6
Power!: The
Comprehensive
Guide
Don Barrett
Course Technology PTR
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ComprehensiveGuide
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1 2 3 4 5 6 7 11 10 09
I would like to dedicate this book to every current and
future user of Digital Performer; to my wonderful Nina
(the brightest light of my life); to all my family and
friends, whose unwavering support has helped me in
countless ways; and to my Grandmother Frances
(you are still with me every day).
Acknowledgments
I initially thought that Digital Performer 6 Power! would be a breeze after working on
Digital Performer 5 Power!. Let’s just say that I was in for a monumental reality check. As
before,ithasbeenquitetheeducationalandenlighteningexperience,tosaytheleast.Incredibly,
each day with DP brings many new (and fortuitous) revelations.
First, I would like to recognize fellow author Steve Thomas for his significant and substantial
contribution. I would like to thank composer and friend Ron Jones, who originally guided me
into the land of DP and whose relentless drive to be the master of his craft is the ultimate stan-
dard to which I will continue to strive.
Inaddition, manycolleagues have provided incredibleinsightand assistance over the years that
has helped make this book a possibility for me. I am exceedingly grateful to Scott Marcussen,
Lee Sanders, Josh Hetrick, Matt LaPoint, Gregg Manfredi, Armin Steiner at Fox, John Rodd,
Mass Giorginni and Fergus Daly at Sonic Iguana, Steve Hallmark, Ryan at Warner Brothers,
Charlie Largent, Ricardo Wilson, MOTU, everyone at the Fox Newman Stage, Jeff Cardoni,
Dallas Taylor, Laurence Sheldon at E!, Robert Drasnin, Hal Stephens at West L.A. Music,
Karen Takata at CBS, Steve Cooper at IRC Audio, Smart Post Sound, MOTUNATION,
Roger Hunt, Bryan Arata, the RJ Production team, and Mike Hooser (who gave me my first
break in this town).
Further, I would like to extend my appreciation to Dianne Hill, for creating this opportunity,
and to fellow composer Donald Hill, for being my sounding board during the writing process.
I must also recognize Wayne Downey, who inspired me to integrate all of my handwritten DP
cheatsheetsintoformaltraininglessons,allofwhichlaidthegroundworkforthisproject.Many
thanks to David Das for his technical expertise, to Orren Merton, and to the wonderfully
talented Cathleen Small (who provided invaluable guidance from the beginning).
Finally, for their dedicated support and encouragement, I wish to give special thanks to Nina,
mymomanddad,Nanette,mygrandfatherDale,Tyler,CaroleRoth,MatthewRuth,Franziska
Thon, Uncle Syd, and, of course, Brenda Kay.
iv
About the Author
DonBarretthasbeenamusiciansincetheageof10.UpongraduatingfromPurdueUniversity,his
training, performances, compositions, and recordings have included projects ranging from pro-
gressiverock(withveteranproducersMassGiorginniandFergusDaly)tostudyingfilmscoringat
UCLA under the instruction of acclaimed composers Robert Drasnin (Mission Impossible) and
Lee Sanders (The Amazing Race). Don composed the original score for the popular series
Touched by an Angel in its final season on CBS and is currently assisting Emmy-nominated
andBMIaward-winningcomposerRonJones(Fox’sFamilyGuy),whereheservesasorchestra-
tor, composer assistant, and technical adviser. He recently completed original music for several
short films, numerous Smart Post Sound projects, and the award-winning television pilot “The
RealLife”bycreatorKrystalJaleneThomas.Donhasalsocomposednationallyrecognizedcon-
cert works and continues to compose and arrange for competitive marching bands and concert
percussion ensembles around the country.
DonresidesinLosAngelesandcontinuestoserveasapanelistatvarioustechnicalseminarsand
providesguest lecturesattheArt InstituteofL.A.Currently,Doncanbefoundhardatworkin
his private studio, promoting Don Barrett Music (www.donbarrettmusic.com) and Patio 7 Pro-
ductions (www.patio7productions.com).
v
Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
Chapter 1
About Digital Performer and Your Mac 1
What Is a DAW? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Nonlinear Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Host- and Non-Host-Based Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Expansion Cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
MIDI Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Audio Interfaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Digital Performer 6 Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
The Mac and Your DP System. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Hard Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4
Disk Maintenance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
SuperDrives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Chapter 2
Setting Up Digital Performer 6 9
Installing Digital Performer 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Installing Audio Hardware Drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Installing Core MIDI Drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Loading Digital Performer 6 on Your System . . . . . . . . . . . . . . . . . . . . . . . . . .11
Installing Third-Party Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Launching Digital Performer for the First Time . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
Audio Configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Audio System: Choosing MAS, DAE, or MIDI Only . . . . . . . . . . . . . . . . . . . . .17
The Configure Hardware Driver Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
The Configure Studio Settings Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
vi
Contents vii
The Input Monitoring Mode Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
The Bundles Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
MIDI Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
The Audio MIDI Setup Utility (AMS). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Syncing DP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Chapter 3
Navigating Digital Performer 6 37
The Consolidated Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
Control Panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Transport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Counter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Status Strip with Tempo Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
Tracks Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47
Information Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48
Tracks List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
The Tracks Overview Section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56
The Sequence Editor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Sequence Editor Mini-Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Track Settings Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Graphic Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
Grids, Time Rulers, and Zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
The Mixing Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Window Target Menu and Mini-Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
Track Strips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Soundbites Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
The Soundbites Mini-Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
The Sound File Information Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
Chapter 4
Setting Up a New Project 79
Project Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
The Default Workspace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81
Setting the Sample Rate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
Tracks in Digital Performer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
viii Digital Performer 6 Power!: The Comprehensive Guide
Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84
Adding Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85
Renaming Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86
Moving Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
Track Folders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89
Audio Tracks and Internal Busses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
Input and Output Assignments for Audio and Aux Tracks . . . . . . . . . . . . . . . . . . . .92
Audio and Aux Track I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92
MIDI Track I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95
Monitoring External MIDI Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Monitoring MAS/AU Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Monitoring ReWire Instruments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Tempo and Meter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Setting the Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Setting the Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Setting Up a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Creating a Click Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Pattern Clicks (the Ultimate in Clicks) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112
Defining the Countoff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Chapter 5
Project Management: Part 1 117
The Digital Performer Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Opening an Existing Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
Opening Other File Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Saving Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
The Save Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
The Save As Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121
Save As Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Standard MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129
OMF Interchange and AAF Interchange Files . . . . . . . . . . . . . . . . . . . . . . . . .132
Final Cut Pro XML Interchange. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .132
Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
The Consolidated Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
The Preferences and Settings Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . .143
Window Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Track Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
The Commands Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178
Contents ix
Chapter 6
Project Management: Part 2 179
The Undo History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
The Project Undo History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .179
Branching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Managing the Undo History Windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187
Audio File Undo History Windows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190
Polar Undo History Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192
Managing Audio Files and Soundbites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193
Changing the Location of Audio Files and Soundbites . . . . . . . . . . . . . . . . . . .193
Organizing Audio Files and Soundbites into Folders. . . . . . . . . . . . . . . . . . . . .195
Renaming Existing Audio Files or Soundbites . . . . . . . . . . . . . . . . . . . . . . . . .196
Deleting Audio Files and Soundbites. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196
“Removing” Audio Files and Soundbites. . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Compacting an Audio File. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198
Compacting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Locating Missing Audio Files or Soundbites . . . . . . . . . . . . . . . . . . . . . . . . . .201
Backup and Project Archival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Backups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .203
Archiving. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
External Hard Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
CD-R versus DVD-R. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .205
Rewritable Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
USB Flash Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Software Solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .206
Summary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .209
Chapter 7
Recording Audio 211
Input Assignments and the Audio Assignments Window. . . . . . . . . . . . . . . . . . . . .212
Monitoring Input Signals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Audio Patch Thru. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Monitoring with External Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215
Direct Hardware Playthrough . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216
Setting Input Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216
Arming a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216
Audio Monitor Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .218
The Meter Bridge Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .220
DP’s Trim Plug-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223