The Digital Performer Tips Sheet

Discussion of Digital Performer use, optimization, tips and techniques on MacOS.

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Shooshie
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Post by Shooshie »

Video Tutorial:

Using "Adjust Beats." [NOTE: If audio doesn't play, check the volume control on the movie itself.]

This is either the most boring 16 minutes of video ever created, or else it's a demonstration of using Adjust Beats to place the barlines in your song that was recorded without regard for tempo, while preserving the original performance. It may be both helpful AND boring. I'm not in practice of making tutorials by video, so I'll try to learn from my mistakes and make the next one better.

NOTE: The audio gets a little out-of-synch with the video. It was done in Quicktime, but the audio seems to have drifted somewhat. Anyway, I hope this helps.

The reason I made this video is because I rarely hear of anyone actually using this technique, and it's the only way to be sure to get your barlines and tempos right. Even watching the first five minutes or so of the video would help you to get the idea. Repeated attempts to explain it in text have not helped much. Maybe the video will do the trick! Good luck with it!

Shooshie
PS: I just noticed that it really doesn't play well on my old Powerbook G4. I suggest downloading it and playing it in Quicktime on slower machines with smaller screens.
Last edited by Shooshie on Sat Oct 04, 2008 3:00 am, edited 1 time in total.
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bayswater
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Post by bayswater »

Shooshie wrote:Video Tutorial:

Using "Adjust Beats."

This is either the most boring 16 minutes of video ever created, or else it's a demonstration of using Adjust Beats to place the barlines in your song that was recorded without regard for tempo, while preserving the original performance.
Thanks for doing this. I try to use the technique a lot because I rarely start anything to a fixed tempo. I think DP has the best implementation of the function (i.e. better than CB or Logic) but I usually get mixed results. Looking forward to see how you use it. (will take a while, my equipment is all torn down and in transit)
2018 Mini i7 32G 10.14.6, DP 11.3, Mixbus 9, Logic 10.5, Scarlett 18i8
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Babz
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Post by Babz »

Thanks for posting this, Shooshie! This differs from the way that I usually do it in that I always enable the click as I go along and do it by ear. What's interesting about your technique is the visual thing you're doing with the conductor track. I never thought about working like that. I'll have to give it a try. At what point to you enable the click and get an audio check of the beats?

Best,
Babz
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Shooshie
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Post by Shooshie »

When adjusting beats, there is really nothing new to try as far as the click is concerned. The music remains exactly the same. Only the barlines change. Of course, if you want to hear your metronome click exactly with your music, you can always turn it on and have a listen after adjusting the beats throughout.

You can also record beats if the music doesn't jump around a lot in tempo; sometimes a combination of Adjust Beats and Record Beats makes the job faster.

One thing I keep encountering over and over as I meet more DP users, is that many people confuse Record Beats with Tap Tempo. They are not similar. Tap Tempo is about tempos, conducting the music like a band leader or conductor. Record Beats is about lining up the barlines and beats with the music so that other part can be added to it and "quantized" to the original performance without altering its timing. If you already know that, it seems silly to hear me repeat it, but a lot of people actually do not realize what the difference is.

And then there's the inconvenient fact that I'm often reaching for Record Beats when I really mean to Tap Tempo. After at least 17 years of using Tap Tempo, I still make that mistake about once every couple of months. Some of us are just dense! :D

Shooshie
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Counting Off or Recording with Custom Click Patterns

Post by Shooshie »

Counting Off or Recording with Custom Click Patterns

Ever wish the metronome could be more like a click-track, set for patterns that YOU want? Have you ever wished you could change the pattern at every tempo change and/or meter change? In DP that's not just possible, it's easy and quick (once you get the hang of it), and as is often the case in Digital Performer, the feature is very thorough. Look it up in the DP 7.4 Manual on page 211 (Click Defaults) for the basics of how to set up customized clicks for defaults at various time signatures and tempos. (That's an amazing feature, by the way) For learning how to create an actual customized click -- that is, how the numbers work and how to accent selected beats -- look on page 637 of the DP 7.4 Manual: Pattern Click.

Start in the Preferences Window:

Image

See all those settings? Each has a tempo range at which it becomes the active default click for that meter, unless you specify otherwise. Imagine; not only do you get fully customizable default clicks for any tempos you choose, but you also get to override them and specify special clicks when and where you want them!

Well, the first thing I wanted to try was compound meters like 6/8, 9/8, and 12/8. DP has always bugged me because it was unable to "click" to 6/8, or rather, it just didn't do a good job of it. I used to create complex click-tracks for people to use when recording into DP, and I'd set up an actual drum-set sound with snare, kick, and hi-hat. Maybe that was overboard, but some people really need customized sounds. The new click feature can do that. Set up the drum sound in MIDI, choose instruments to play on the accented and unaccented sounds, and set those up in your Metronome preferences. I won't go into that; I think most people understand that. But if you're like me, you looked at the new custom click settings and just skipped right over it. Time to take a deeper look. DP will do 9/8, and it will play it the way YOU want it to be played... more or less. Here are my first two 9/8 click settings:

Image

Notice the row of numbers. What do they mean? You'll find it on page 637 of the manual (DP 7.4). Basically, the numbers represent relative values of the clicks within a bar. If you're in 4/4, and you want to click the 8th note, you will need to fill up 8 clicks, followed by a "/ 8". Maybe you want it to beat a quarter and two 8ths, twice, in a measure, with the accent on the quarters. That would be "2 1 1 2 1 1 / 8" The code is just a bit more involved than you might think, and the numbers can mean different things, depending on how you write them. If you don't want to look them up, you can copy mine for now, or you can experiment on your own. The following strings look similar, but would come out somewhat different:

2 1 1 1 1 1 1 / 8
2 11 11 11 / 8
2111111 / 8 (I don't recommend trying that one; it says to click once in every 2.1 million 8th notes.)
2 1 1 1 1 1 1 / 1
2 1 1 1 1 1 1 / 8d

Notice the red numbers. Those represent accents. You get them by selecting the number and clicking "COMMAND-B," as in "bold-face" commands in TextEdit or other programs.

By the way, there is one little detail that is unclear in the manual, and that is how DP parses the slash-code, which is how the beat value can be customized. (default beat values are 1=8th note, 2=quarter note, 4=half note, etc.)
The following slash codes all define the time value of a given click pattern:
1 /4 (1=quarter note)
2/4 (2=quarter note)
3 /4 (3=quarter note)
1/ 8 (1=8th note)
2/8 (2=8th note)
1/16 (1=16th note)
256/4 (256=quarter note)
8/8 (8=8th note)
1 / 2 (1=half note)
2/2 (2=half note)
2/2d (2=dotted half)
1/8t (1=8th note triplet)
…and so on. You write it, DP will parse it.

In other words, any number that precedes the slash takes the note value of the number you put after the slash. You define it, not DP. Though it's usually at the end of the click, this code can appear anywhere in the click, and the number before the slash will also function as a beat. It's a simple system that is infinitely flexible. I had to put spaces between numbers and slashes to prevent Safari from interpreting them as fractions: ½ ⅛ ¼, etc. While DP can read it either way, the spaces are not necessary in the slash code.

But in beat sequences spaces (or periods, or any other separator) ARE necessary between beats. So, 1 2 2 1/8 would read 8th, quarter, quarter, 8th, but 1221/8 would mean that the four-digit number 1221 is equal to an 8th note. 1.2.2.1/8 also works instead of spaces, as does 1-2-2-1 /8. You can use anything as a separator, but you must use something, except in the slash code.

Here are different ways of writing the same click pattern:
1 1 2 2 2/4
1/8 1 2 2 2
1 1 2/4 2 2
1.1.2.2.2/4


Ok, once you get a click set up, you need to save it if you want to use it anywhere but as defaults. Here's how you save a click:

Image

So, what's the difference between a saved click, and a default click? The Default Clicks only appear in the preferences window shown above. They govern your clicks, based on the current meter and tempo. If you have a click whose criteria match the current meter and tempo, that's the click that DP will use. But say you have special needs, and you want a more complex click. Let's say you want a lilting:

1 1 1 1 1 1 /8

for a 3/4 meter, so that you can hear the accent on every beat, rather than just the downbeat of the default. After creating the pattern and saving it, you'd then go to your meter change in the Conductor Track, click on the meter, then in the display, click on the word "click," which will drop down a menu. Pull down to "Pattern," and select the pattern you saved.

Image

When you're done, it will appear in the information display:

Image

Now, as you are recording and you reach that location, the metronome will immediately change to the click pattern you set. You can get creative if need be, and it may help some people to hear the click more easily in dense passages or complicated meter changes. It's so easy, so effective, and it's just another feature that helps keep DP in front of the pack.

Shooshie

MORE from a later post on the same subject:
If you're going to write with the "t" indicating to DP to play it as a triplet, write

Code: Select all

1 1 1 /8t
To accent the first beat, SELECT it (the first 1), and type COMMAND B

Notice the spaces. You can use any character for a space, besides numbers and letters. In other words, you could write with keypad only:

Code: Select all

1+1+1+/8t
1.1.1./8t
But you must use some kind of separator for it to parse the rhythm. Spaces, plus signs, minus signs, Ampersands, @ signs, dots, whatever you want, but use something.

Just to illustrate what's going on in parsing the rhythm, here's another example of the same triple pulse, (¾) but this time with 2 quarter notes followed by 3 triplet 8ths:

Code: Select all

3.3.1.1.1./8t
Explanation:
  • • the pulse is 8th note triplets.
    • if the pulse is triplets, then a quarter note = 3 triplets, thus 3 = quarter note
    • 3.3.1.1.1. = quarter, quarter, 8t 8t 8t
You can write that another way:

Code: Select all

3./4.3.1.1.1
Explanation:
  • • 3./4 sets the pulse: 3 = quarter note
    • if 3=quarter note, then 1 = quarter/3, or triplet 8th.
    In this example, if you wanted straight 8th, you'd be out of luck. For that to happen, you need to use a number for a quarter note that can divide by 3 and by 2, namely 6.
So, here's a quarter, 2 8th, and 3 triplets:

Code: Select all

6 /4.3.3.2.2.2
Explanation:
  • • 6 /4 sets the pulse as 6=quarter note.
    • 3 = ½ of 6, therefore 3 = 8th note
    • 2 = ⅓ of 6, therefore 2 = triplet 8th
    • thus: quarter, 8th 8th, 8t 8t 8t
Keep in mind that ANY NUMBER can represent your pulse. (I find this a little buggy, however)
1024 /4 means that 1024 is going to act as your quarter note. You can write very small subdivisions of 1024! (again, I find this a little buggy. YMMV, so try to use the most logical pulse beats that you can)
A more logical example: 24 /4 gives you lots of options for subdivisions where 24 = quarter note, 12 = 8th note, 42 = half note, 84 = whole note, 6 = 16th note, 3 = 32 note. So, you could write:

Code: Select all

24 /4 24 24 6 6 6 6 
Explanation:
  • • pulse = 24 as quarter note
    • quarter, quarter, quarter, 16th-16th-16th-16th
Are you seeing the pattern here? Using the "t" is a shortcut so that you don't have to find all the factors of an integer that will give you the triplets and everything else you want. There's always going to be a little arithmetic involved, but anyone who can write time signatures and their subdivisions can surely do the arithmetic for coming up with a click set.

Some facts to remember:
• There are probably infinite ways of writing any click pattern.
• / sets the equivalency to a pulse. Pulses can be 1 (whole note), 2 (half note) 4 (quarter note), 8 (8th note), 16, and 32.
• The "t" is used for triplets as a pulse. /4t (quarter triplet), /8t (8th triplet), etc.
• The d is used for dotted notes as a pulse: /4d (dotted quarter is the beat), /2d (dotted half is the beat), /8d (dotted 8th is the beat)
• Be sure to set your TIME SIGNATURE to match that of the track or segment to which you are applying this click.
• Any symbol (non-numeral, non-letter) can be used as a separator.
• USE a separator. If you don't separate, as in "16/4", the result may not be what you expect. 16 /4 will give you the integer 16 as a quarter note pulse. (16 16 16 16), but 16/4 may not.
• If you start coming up with unexpected results, try moving the pulse indicator, e.g. /4, to the end of the string: (24 24 24 24 /4) Sometimes that won't work if you use different note values there.
• Remember, if you get problems writing it one way, you can always write it a different way.
• if you keep getting buggy results, discard the click and start new.
|l| OS X 10.12.6 |l| DP 10.0 |l| 2.4 GHz 12-Core MacPro Mid-2012 |l| 40GB RAM |l| Mach5.3 |l| Waves 9.x |l| Altiverb |l| Ivory 2 New York Steinway |l| Wallander WIVI 2.30 Winds, Brass, Saxes |l| Garritan Aria |l| VSL 5.3.1 and VSL Pro 2.3.1 |l| Yamaha WX-5 MIDI Wind Controller |l| Roland FC-300 |l|
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Shooshie
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Using Spaces / Mission Control With DP

Post by Shooshie »

Using Mission Control / Spaces for Extra Virtual Monitors

This picture shows Mission Control, which you can access with a key command:


Image


If you ever wish you had a lot of monitors on your desk, so that you could leave all your windows open at full-screen size, and access each on its own monitor (up to 16 Virtual Monitors!), OS X's Mission Control will get you there. Without the expense or the clutter of multiple monitors, you choose the number of monitors that suits you, then distribute your windows across them, and switch between them instantly with keyboard commands that either go directly to each space, or that slide from one Space to the next in an endless loop.

Here is an example of how I might set up my windows in Spaces:
  • Space 1: The Consolidated Window - Tracks Overview
    Space 2: Mixing Board full screen
    Space 3: MIDI Edit Window during MIDI tracking/editing. Sequence Editor during audio tracking/editing. Either are at full screen.
    Space 4: Plugins that I need to keep open all the time
    Space 5: VI Interfaces Especially Wallander Instruments
    Space 6: VSL Interfaces (Vienna string section: 5 interfaces always open during MIDI phase)
I stop at 6, but there's no reason not to add more if you desire.

So, the key is to make the setup quick and easy. Set up Mission Control in OS X's System Preferences / Mission Control, which looks like this:
  • Image
Next, go to System Preferences / Keyboard / Shortcuts and assign easy keyboard commands for opening Mission Control and for switching spaces:
  • Image
This makes it possible to drag and drop the windows into the various spaces without having to pause to arrange them. They remember their position within each space, but you have to "deal" the windows to their respective spaces as you would deal cards to players in a card game. You do this each time you open a file or switch Chunks. Once you get the hang of this, you can "deal" 10 windows in probably 10 seconds, give or take. Very fast. Very easy. Just quick drags, no positioning required.

Here are some high resolution pictures showing Mission Control before and after dealing out the windows in a DP chunk:
Mission Control: "deal" the windows like cards to their respective spaces.
Mission Control: after windows are distributed.

And now for something new: VERY IMPORTANT
  • The Final Touch: In DP Preferences, check the box to make the Control Panel "float."
    • Preferences —> Display —> Control Panel —> Control Panel Floats
    This enables the Control Panel to follow you to each space. No matter what window/Space you're in, the Control Panel is right up at the top of the screen!
I've been using this for many years now. This has caused me almost to forget my DP Window Sets, as I just don't need them since I've been able to keep all my important windows at Full Screen in their own virtual monitors.

Shooshie

Addendum: Why use Mission Control instead of Window Sets?
• Spaces/Mission Control is the ONLY method I know of which accommodates my constantly changing window arrangements.
• I can leave open my edit windows at full-width of the monitor and they stay put. Whatever tracks were visible when I last used that window will still be there when I return. Likewise, whatever plugin windows I put there will still be there when I return.
• Mission Control is shifting you between desktops. Anything can be on the desktops, however you want to arrange it at that moment. You can use Window Sets for your starting point, but then distribute them to Spaces to allow arrangements that morph over time. Plugins are the most common of the constantly changing windows lineup, as they change at any moment, and Spaces can serve them right back to you the way you left them. Always open.
• Window Sets are pre-defined setups for windows. Any time you invoke a window set, you're going to get the exact same windows in the exact same places, without the changes you've made to the layout for this particular circumstance. It resets everything. It does not bring back the way you've been arranging windows for your current working situation. Window sets don't evolve with my work.

I'm always changing my arrangements in any desktop as I work. Say I'm in the Mixing Board. I'll open a couple of meters and follow a track, maybe automating an EQ or something. I've got the EQ open, the Meters open, and the Mixing Board open. The Mixer is open to all channels, but you've closed all but one V-Rack. The plugin windows are arranged around it as best allows viewing for the situation. Now, I decide to go to another full-screen arrangement in the MIDI Editors desktop. I'll have three or four MIDI Editor windows in there, one-each from 4 chunks, with the active one on top. Maybe I'll look at the 2nd chunk's MIDI Editor and compare it to the 4th chunk's MIDI Editor. Maybe I'm comparing tracks, or instruments... it doesn't matter.

Meanwhile, in the Tracks Overview (Consolidated Windows), I've got sidebars with changing windows. Maybe I've got Groups open, or Track Inspector, but on the right side I have the Legend and the Selection Windows open. Now I add the MOTU meters below the Tracks Overview.

SO, you see... each desktop is starting to get very customized as I work.

I can go between these desktops without changing a thing. Double click on a MIDI bar in the TO window, and... zip... I'm in the 3rd Desktop where I keep my MIDI editors, and it's still set up with the comparison of the windows, and I'm looking at the selected bar, with all my tracks still showing as I left them.

Switch to a plugin desktop, and that's going to be VERY customized from chunk to chunk, but they all remain open and in the positions where you left them. Because you're switching between virtual monitors, essentially, you're not specifying preset window arrangements. You're switching between where you left your workflow last, which is where you'll pick up when you get back to it.

You see? You cannot possibly have enough window sets to cover this. And if you did, you'd never remember them all. This allows you to WORK. This lets you mess around with what you've got. When you come back to it, it's exactly as you left it. Window Sets are not like that. They are rigid. This is flexible, yet it stays put.

If you try it for a while, you'll see that this is the main reason why this experience cannot be duplicated any other way, except possibly buying 16 monitors. But where would you put them all? No, this is truly the best of all worlds.

Shooshie
  • [ March, 2014 Note: this post is updated from an older version which described "Spaces" as implemented in Leopard and Snow Leopard. In OS X Lion, Spaces became Mission Control. The controls were simplified a little, and the screen space for setup was utilized a little more efficiently, but the essential principle remains the same. It's been six years, so I removed the old information to avoid confusion and clutter. It is my hope that simplifying this explanation will help fellow DP users to grasp the concept and see how easy it is to use Mission Control.]
Last edited by Shooshie on Sat Oct 04, 2008 3:10 am, edited 1 time in total.
|l| OS X 10.12.6 |l| DP 10.0 |l| 2.4 GHz 12-Core MacPro Mid-2012 |l| 40GB RAM |l| Mach5.3 |l| Waves 9.x |l| Altiverb |l| Ivory 2 New York Steinway |l| Wallander WIVI 2.30 Winds, Brass, Saxes |l| Garritan Aria |l| VSL 5.3.1 and VSL Pro 2.3.1 |l| Yamaha WX-5 MIDI Wind Controller |l| Roland FC-300 |l|
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monkey man
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Post by monkey man »

Sheez... don't stop there, 'Meister; you're just getting warmed up. :lol:

Thank you for your everlasting persistence and diligence, mate.

Mac 2012 12C Cheese Grater, OSX 10.13.6
MOTU DP8.07, MachFive 3.2.1, MIDI Express XT, 24I/O
Novation, Yamaha & Roland Synths, Guitar & Bass, Kemper Rack

Pretend I've placed your favourite quote here
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chamelion
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Post by chamelion »

Pitch Correction: Basic Tutorial

When I first began trying to get my head around DP's pitch correction feature, I remember being continually frustrated by my lack of knowledge of a few simple processes. Working on the principle that there are probably others out there who find themselves in the same boat, here are a few basic tips that will make pitch correction and pitch editing a little easier to grasp.

1. In the Sequence window, select the section of audio you want to pitch correct - a small grab, or the entire track.

2. Go to Audio Pitch Correction in the Audio menu, and select Track Pitch Mode, and then select either Instrumental or Vocal.

3. Then, with the soundbite still selected, go back to the the Pitch Correction menu and select Quantize Pitch. This will perform a basic pitch correction, but depending on the source material, may not, to your ears, be accurate enough. In that case, further editing may be required.

4. To the left of the Sequence window, you'll find this set of controls:

Image

5. Click on the Soundbite menu and you'll see this selection of soundbite views:

Image

6. Select pitch view, and the audio should now look something like this. Note that the pitch control blocks in the audio display may be quite narrow and difficult to manipulate with any degree of accuracy. Also note that the pitch indicator to the left is displayed as a keyboard, which can also be tricky to line up with a particular block

Image

7. To make the pitch blocks bigger and easier to manipulate, click on the gradient button, and drag the gradient display all the way to the right:

Image Image

8. Now your audio display will look something like this, and you'll find the larger blocks much easier to manipulate. Also note that the keyboard display has been replaced by letter names. If you can't see the pitch blocks, use the scrollbar to the left of the display to locate and position them.

Image

9. The squiggly line represents expression (vibrato, slurs etc.), and the blocks themselves represent pitch. To alter the squiggly expression line (to produce, for example, more or less vibrato), hold the mouse over the block/s you want to alter, and then hold down the option key. Now, as you move the cursor up and down, it should toggle between a magnifier tool and an up-down arrow. You need the up-down arrow. If the soundbite resolution is too fine, the up-down arrow can be difficult to select. If this happens, expand the whole display with the expand button.

Image

The up-down arrow should now be easy to select. Click and drag the up-down arrow higher to increase the amount of expression, and lower to decrease it.

10. Adjusting the pitch blocks:
(i) To accurately move a block to a particular semitone, just click on the block and drag it to the appropriate note. Double clicking on an individual block snaps it to the nearest semitone.

(ii) To fine tune a block, hold down the command key and drag the block up or down, until it sounds right.

(iii) To auditon your edit, select the section of the soundbite you've just edited, and hit Option-Spacebar.

The above should get you well along the road to successful pitch correction in DP. There's more to learn in order to take pitch correction to another level, but this guide may be - for all practical purposes - all you'll ever need.

Cheers,

Geoff

Image
Last edited by chamelion on Mon Apr 28, 2008 9:35 pm, edited 1 time in total.
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be hoppy!"
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Post by dpdan »

Create lots of outputs in Kontakt 2 player

Native Instruments assumes that most users will be content with just two stereo output groups.....
st.1 and st. 2

Image

These can be seen in the upper left-hand corner of the loaded instrument in KP2.

1. Up at the top of the GUI, click on the
"outputs" tab unless you already have them showing,
(looks like a mixer).

Image

2. First let's get rid of the 5.1 surround output...
unless you are mixing a movie soundtrack for John Williams next week,
highlight it, by clicking on the meters, then select "delete channel".

3. Now let's add 14 more stereo outputs.
Select "Add Channel"

Image

you will get a pop up
box that says...

Image

hit "OK"
then click on "Add Channel" a second time, the
box appears again,
hit "OK" Do this 13 more times. This will give you
16 stereo outputs for each instance of KP2,... very cool.

Image

4. You will notice that the newly added
channels (faders) are named <new>.

5. On the <new> channel that is farthest to the left,
change it to 5-6.
To do this, double click on the word <new>
then type 5-6 then "ENTER".

6. Do the same thing for the next newly added
channel and name it 7-8.
Continue this renaming process with all the other newly added channels
all the way to 31-32.
If you are like me, you will want to rename st.1 and st.2 to
1-2 and 3-4 respectively.

7. Click on the "Conf." button on the bottom of
your newly added channel that you just named 5-6.

Image

8. In this "channel output configuration" box,
you will see the two mono channels,.... notice that
they are not assigned. Click on the top channel,
(ch# 01), then scroll down and select
"unassigned [5]"
Now select (ch# 02) and scroll down and select
"unassigned [6]"
hit "OK" to close the channel output configuration
box.

You will again get the annoying drop down box....
hit "OK".

9. Now, back in the Kontakt Player 2 outputs
window, hit the tab labeled "Reset Out Map."

Image

You will again get the pop up box, hit "OK".

10. Hit the red "Make Default" tab,

Image

you will get a new box that says "Output configuration was saved as
default" then hit "OK".

From now on, when you open a new instance of KP2, you will be able
to assign any loaded instrument, to any of the 16 stereo "pair" outputs of
your choice. In case you are reading this topic and don't know what a bus is, please read this

http://www.garritan.com/tutorial/AudioMixing.htm
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Shooshie
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Post by Shooshie »

Thanks, Geoff and Dan! Those are great additions to the growing body of tutorials here.

Shooshie
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toodamnhip
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Undo Markers-How to mark an edit for future retrieval.

Post by toodamnhip »

Just thought of the coolest thing..

OK, so, there is a need to have a marker for undos so that you can get back to exactly the same exact edit point you were at before trying additional edits...

Why?

Well, let's say you're trying various crossfades on a rather tough vocal splice..well, if in the middle of 20 attempts you find a decent possible crossfade, how would you "mark" it to come back to in the event you wish to come back after 17 additional attempts? All you'd see in the un do list would be "undo crossfade" over and over. Hard to tell which was that sweet edit you wished to mark out right?
Of course, you could count additional crossfades as you did them., watch the time etc..but here's an idea...make a different edit to mark your self in the undo list!!

Make it something simple like re-order your tracks...

So now, when you look at the long list of edits, you know the one you wanted to mark comes right before "re-order" tracks...

In effect, you're using another edit to mark one edit in a series of similar edits that cannot otherwise be differentiated...!
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Shooshie
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Post by Shooshie »

Good idea, 2dam. I'll add it to the list I've got to add to the Tips Sheet. (about a couple dozen or so) I'll rewrite it, if you don't mind, but I'll give you the credit.

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rukidding
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op-backspace question in renaming tip

Post by rukidding »

Renaming Clippings with "copy" in the name
1- press "right-arrow" to place cursor at end of name
2- option & back space to erase "copy" in one touch (this doesn't work for me) Am I missing something?

Thanks, G
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toodamnhip
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Cool Mixing tip-Pasting Plug In settings on the fly...

Post by toodamnhip »

It's amazing how one always learns..even after yrs and yrs..

Letely , I ve been enjoying pasting effects as a really cool mixing technique..

Here's what you do.
Let's say you're trying to figure the best EQ for the background vocal bus..in verse 2.

You already have automation on in the chorus etc,,, and, for each section, a different EQ is desired, (or not)..

1) Put the automation in Latch mode..

2) As the section flys by, adjust your eq to what you think is best

3) When you think you like it, hit apple C which copies the effect parameters into the buffers

4) rewind to a bit before the section you just EQed. As the section comes up ,hit apple V which pastes the EQ innto the effect, you're not in record mode yet so it is only a temporary pasting...if you hit stop, it will go back to whatever automation you had.

5) If you like it, see step 6. If you're still not happy, re adjust the EQ and copy into buffers again as per step 3

6) When happy, put the automation into Latch Record rewind to before the section and then, as the section comes, paste the effect in and let it ride to the end of the section you need the EQ in.
You could also rewind to the Exact starting point of the section and Hit Overwrite with the EQ up or whatever plug in you are using..and play to the end of the section..you can also snapshot using past to selcted range, if you have the section highlited..

When you get this technique down and comfy, it is really cool as it allows you to audition various plug in settings without having to commit...and, allows you to capture a possible great setting into the buffers, and re audition by pasting.

It just seems to make more options for mixing and allows me to feel less "stuck" with prior plug in settings...
Hope you all like this..
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KWEBB
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Post by KWEBB »

Removing multiple plugins from inserts
1.Grab the pre-post fader tab on the insert.
2.Move the tab through all or selected plugins.
3.Effects disappear

This is not undoable
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