MOTU Digital Performer 6 Software

ProVerb also includes a unique Dynamic Mix feature that automatically "ducks" the wet signal as the dry input signal rises, then raises the wet mix as the dry signal level subsides. Properly tuned, this feature allows a "wetter" mix while retaining intelligibility of the input signal. Threshold, sensitivity and strength settings are provided, allowing the feature to function just like a mix engineer expertly "riding" the wet/dry mix control during playback.

MasterWorks Leveler
As the latest addition to DP's growing line of advanced audio processing plug-ins, the MasterWorks Leveler is an accurate model of the legendary Teletronix LA-2A optical leveling amplifier, known for its unique and highly sought-after Automatic Gain Control (AGC) characteristics. Conventional compression and limiting with threshold, attack, ratio, release, etc. do not apply here: the heart of the LA-2A is the T4 opto-coupler, a photoelectric device with almost magical (signal dependent) self-adjusting behavior that makes optical compressors the tool of choice for smoothing out just about any audio material, from vocals to bass guitar to full-program mixes, without destroying perceived dynamics. As a result, the MasterWorks Leveler controls match the front panel of the original LA-2A: Gain Reduction and Makeup Gain knobs, along with Limiter/Compressor buttons and an accurately modeled VU meter that adheres to IEC standards. The LA-2A evolved over the years, producing slightly different characteristics in each generation, so the MasterWorks Leveler also provides four different LA-2A models: slow/fast vintage and slow/fast modern.

XML file interchange with Final Cut Pro
Both Digital Performer and Final Cut Pro (FCP) offer complete end-to- end production workflow: Final Cut for picture and DP for complete soundtracks including music, dialog, foley and sound effects. While recent advances in DP have made it the undisputed leader in film scoring features, DP6's new Final Cut Pro XML file interchange features could very well revolutionize the way film scoring and soundtrack production is done. The two most pressing challenges for any soundtrack producer are tight deadlines and last-minute picture edits. DP6 now allows for a dynamic link between the FCP editor and the soundtrack producer working in DP6. This link can be easily managed remotely via emailed XML interchange files (which are very small) or via a dynamic link between DP6 and Final Cut running side by side on the same computer.

Other video/film scoring enhancements
DP6 now supports the following frame rates: 23.976 fps and 30-drop. DP6 can also now apply streamers, flutters, punches and all other visual cues directly to DV output (for NTSC monitoring) without the need to bounce them to a QuickTime movie beforehand.

If DP6 is running on the same computer as Final Cut Pro, the "Export Final Cut Pro XML" command sends all tracks (and all sequences) in the current DP project to the project currently open in Final Cut Pro (or any FCP file on disk, if desired), allowing easy transfer of all work done in DP6 into Final Cut at any point during the production process, from previewing dailies to final conform and export from Final Cut.

In the pressure-cooker world of film and broadcast, soundtrack production most often happens late in the overall production cycle, and these time-saving features offer the possibility for a quantum leap forward in up-to-the-minute delivery of changes to music and sound for picture.

Virtual instrument performance gains
One year ago at NAMM 2007, MOTU demonstrated Digital Performer 5 running over one thousand plug-ins on a quad-core Intel Mac tower. Similar performance gains are now possible in DP6 for virtual instrument plug-ins (DP's included MAS instruments and third-party AU instruments alike).

Users can run many more sequenced virtual instrument tracks, as DP6 now pre-renders instrument track output before playback actually begins, allowing the computer's CPU to distribute the required processing beforehand, rather than in real time.

Because they are now pre-rendered, instrument tracks can now be included in Bounce to Disk operations without the need to "freeze" the instrument track beforehand. DP6's Meter Bridge now also displays instrument audio outputs.

Enhanced Audio Unit plug-in support
The Digital Performer engineering team works closely with Apple engineering on a on-going basis to continue improving Digital Performer on the Mac as an advanced platform for music and audio production. As a result, the Audio Unit (AU) plug-in specification continues to be improved with new host/plug-in API's that add exciting new features and better performance.

DP6 includes many enhancements that are a result of this collaboration. For example, third-party AU virtual instrument plug- ins are now 100% sample accurate, providing the tightest possible timing between MIDI tracks in DP6 and their AU instrument output. DP6 also supports AU plug-in side chain inputs, Cocoa-based AU graphics and ramp-based automation for all automatable AU plug-ins. All AU plug-in parameters can be controlled with external control surfaces such as the new Euphonix MC Control and MC Mix Artist Series controllers, the Mackie Control Universal Pro and other supported worksurface devices. There is also an emerging class of AU instrument plug-in products such as the Access Virus TI and Synful Orchestra that take advantage of the AU spec's new prioritized MIDI specification, which allows DP6 to take full advantage of the features in these products.

Enhanced support for Pro Tools HD
Digital Performer continues to be the leading alternative software front-end for Pro Tools HD systems. DP6 now supports the use of RTAS plug-ins on aux tracks and master faders. In addition, DP6 supports the use of RTAS plug-ins under DAE on post-TDM inserts.

Other enhancements for DAE operation include support for multi-mono effects (to support this mode in Massenberg plug-ins for example), support for instrument side-chain outputs and support for DAE's categorized effects menu.

Other new features
DP6 now allows users to choose broadcast WAVE, AIFF or Sound Designer II (SDII) as their default audio file format. This allows users to record, play and import audio in the chosen format. Separate preferences are provided for project file formats and default file formats. DP6 can now record and play interleaved audio files (stereo and surround), without the need to de-interleave them into mono files beforehand. DP6 can now import, record and play floating point audio files. DP6 users can master and burn their own audio CDs directly in DP by simply dropping their songs into a track, adding markers for index points anywhere they want (even in the middle of a song), creating fades and automation, applying mastering plug-in processing as desired and then choosing "Bounce to Disk". When they then choose "Audio CD" as the destination for the bounce and place a blank disc in the CD tray of their computer, DP6 creates a standard audio CD for use in any CD player. DP can also create a disk image for easy replication and archiving.