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In this article:
Basics More Mac Optimisations Freeze Tracks: An Essential Technique For Saving Power Digital Performer Setup Other DP Considerations Managing Processor Use Virtual Instruments
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Knowing how to squeeze the very best performance and efficiency out of your DP setup can let you work more quickly and increase your creative options, whether you own a G3 iMac or the latest G5. For all you need, read on...
Robin Bigwood
A major part of the appeal of sequencing software like Digital Performer, that relies on the Mac's processor for all of its MIDI and audio processing, is that it can perform amazing feats of performance under the right conditions feats that can make hardware-based systems look severely limited. But with the flexibility of the software approach comes a variety of pitfalls: conflicts with drivers, operating systems and other software, confusion caused by the sheer open-endedness of what's on offer, and poor performance that comes from simply not using your software to its best advantage and not establishing the working practices that help you get the best from your system. It's this last issue that I'll be looking at in this month's Digital Performer Technique article, covering everything from basic configuration to sophisticated mixing solutions.
What separates success from disaster when you're developing complex projects can be how efficiently you work. Knowing the ways to keep your DP setup as streamlined as possible can make your Mac seem much more powerful than it is.
Basics
If ever there was a certainty in the world of computer-based music production, it's that you can never really have too much RAM. Everything you run on your Mac needs memory, and if the total amount required at any one time is greater than the total you've got, your Mac starts using your hard drive to make up the shortfall. This 'virtual' memory can be a life-saver, but because it's essentially mechanical it's slow. Add into the equation the fact that you may already be taxing your hard drive with audio-track playback and sample streaming, and clearly you're going to run into difficulties. So how much RAM should you have if you're running DP as your main music app? From personal experience, I think that between 768MB and 1GB should be regarded as a minimum. This amount should allow you to run many projects in recent versions of DP under OS 10.3 or 10.4 with few problems, although 2GB or more is better, especially if you're adding a software sampler or Rewired applications. RAM is so important that you must get enough: it's as simple as that. Try online suppliers such as Crucial (www.crucial.com) if you're unsure as to which type you should get for an existing Mac. If you're buying a new Mac and you're on a budget, you're better off getting a slightly slower processor but maxing out your RAM than getting a marginally faster chip but crippling it with insufficient memory.
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Hit Control-Apple-F or choose Freeze Selected Tracks from the Audio menu. DP makes a real-time bounce of your tracks, complete with effects, and then disables the original tracks
After the freeze, your original tracks remain in place. If you need to revisit them to make an edit or tweak their plug-in settings, just select any part of them and hit shift-controlApple-F to 'unfreeze' them.
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4. At this point you can repeatedly toggle the playback status of the original frozen track by selecting any part of the original and choosing Unfreeze Selected Tracks again. If you need to 'refreeze' a track after tweaking it, first delete its existing freeze track, then repeat steps one and two above. Working with aux and Instrument tracks is very similar, except that DP won't automatically disable the original tracks. To do this, you should set their outputs to None. Also, to freeze an Instrument track you need to first select both the Instrument track and its corresponding MIDI track (or tracks).
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If you know the effect you want, you can apply plug-ins off-line by selecting the audio you want to treat, then choosing a plug-in from the Audio Plug-Ins sub-menu of the Audio menu. With this method, heavyweight plug-ins like iZotope's Trash, shown here, effectively use no processor power at all in your mix.
2. From the same sub-menu, choose Input Monitoring Mode. Select 'Monitor record-enabled tracks through effects' and 'Only during recording (and punched in)'. Click OK. 3. Make sure you enable Audio Patch Thru by clicking the Consolidated Window's little headphones icon, or by choosing Audio Patch Thru from the Studio menu. 4. Create an aux track and configure it with the input(s) you're using for recording and an unused buss or buss pair (as appropriate) for the output. Create an audio track and choose this same buss or buss pair as an input. You've just created a virtual 'channel strip' between your hardware input and audio track, and now you can load up the aux track with any plug-ins you require. Your audio will be processed by these before being recorded to the audio track. 5. All that remains is for you to record-enable your audio track and away you go. After you've finished, just disable the effects you chose on the aux track, which can stay in your sequence in case you need it again later. If recording wet doesn't appeal to you, or you just need to work with plug-ins in a more conventional way, there are still many techniques you can use to keep things efficient. Off-line Effects If you have tracks being treated by one or two plug-ins throughout their length, and you're happy with the sound, you might try applying those plugins 'offline', rather than making DP continue to process them in real time. I often do this with EQ and dynamics plug-ins, but it can work with anything, really, and may be particularly useful if you need several simultaneous unusual reverb treatments on separate tracks, for example. Applied in real time, these might bring a computer to its knees, but after you've applied the effect off-line there's zero processor-hit. Using off-line effects is very simple: 1. Select the audio that you want to apply an effect to. You could choose part of a track by selecting individual soundbites or making a time-range selection, or select an entire track by hitting Apple-A and then clicking the track name in the Tracks Overview. 2. From the Audio menu, choose Audio Plug-ins, and then the plug-in you need from the sub-menu that appears. 3. Dial in your settings, or choose a preset, and click Preview to hear how it will sound. In DP 4.5 the audio you selected is automatically looped so that you don't keep having to click Preview.
Traditional 'send and return' effects architectures, whereby a single effects processor treat several tracks simultaneously, are easy to set up in DP, and are very processor-efficient. Here the aux track (at far right) is being fed audio via the sends of the audio tracks to the left.
4. Enter values for Pre-roll and Post-roll, if necessary. DP will be creating a new soundbite as part of the off-line process and you may need it to be longer than the audio you originally selected. Why? Well, for example, when you're applying a long reverb to a
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