Expert’s Rating
Pros
Cons
Our Verdict
Digital Performer 11 ’s comprehensive feature article set and alone modular organizational features make it bang-up for film / game grading and lively multimedia system events . But it ’s also complex with a usurious scholarship curve ball .
When user hash out the premier digital audio workstations ( DAWs ) on the securities industry these days , the $ 499Digital Performer 11 — a former top dog — doesn’t always make the list . That ’s sad , not to advert an injustice . DP 11 is as brawny as any of its challenger , and it also sport a unique modular access to composing and project formation that makes it a particularly good fit for movie grading and complex live shows .
MOTU has been hard at piece of work the last few years update Digital Performer ’s feature set and modernizing the user interface and workflow . There ’s still a ways to go on the latter , but if you ’ve gone to sleep on DP , you should take another facial expression . A long aspect , because it ’s not a program you’re able to plunk into and like a shot grasp – or desire to immediately send packing .
Digital Performer’s super power
blank out what you see when you first run Digital Performer . It ’s impressive , not to name a tad daunt , but what set this DAW asunder is n’t readily apparent : the aforesaid modular composition and organisational facilities .
The heart of any DP project is the Sequence , which is in reality more kin to most other DAWs song or project – a multi - track recording with instrument , a social , aux busses , etc . A succession can be any length from a exclusive note to an entire philharmonic , and you’re able to have as many Sequences as you want in a task file , as well as freely cut and paste between them .
The real fun , however , begins when you fix up Sequences into what DP refers to as Songs ( the editor in chief show up above ) . When you realize that Songs may be nested within other Songs … well , it ’s party time . The organizational possibilities are astonishing .
Digital Performer: Features and content
displaced person ’s features include : non - destructive audio redaction in rails ; multi - take comping with lane ; a top - flight destructive audio editor program ( changes are lasting ) , audio recording stretching and transient redaction , VCA faders for the recording engineer / editing folk ; join maps and notation ( multi - instrument with words ) for the orchestral crowd : multi - contrapuntal formulation ( MPE ) and MIDI 2.0 features for those with MPE keyboards ; practical instruments ( proprietary , as well as VST 2/3 and AU ) ; and multiple tempo / meter / key signature tune support .
[ take a deep breath … ]
drum and tempo detection ; MIDI grooves and humanise ; logical MIDI and time editing ; MIDI pace recording ; extensive SMPTE / video with support for all the unwashed frame charge per unit as well as drug user - defined ; a spectrograph view for audio clips ; consequence / exportation of OMF , AAF , MIDI , MusicXML and DP project for any adaptation back to 3.1 ; and bouncing stem ( intact audio tracks ) to disk and CD .
The program is also always record audio recording and MIDI in the background ( Retrospective transcription – it can be disabled ) for those moments of brilliance when you ’re just noodling around and there ’s no flushed Christ Within to be seen . ( record buttons historically light up red )
There are a couple of technologies that DP does n’t currently support . One is Control Voltage ( CV ) for modular synths . If you ’re one of the comparatively few users with this pastime , you may , of trend , work around as with many jackdaw , or purchase MOTU’sVolta MIDI to CVconverter stopple - in for a nerveless $ 249 . Gulp . I have not assay Volta and ca n’t vouch for it .
The other absent feature is Audio Random Access ( ARA ) . This technology allows audio editing plug - Indiana such asMelodyneandSpectralayersto accession audio files as if the editors were part of the programme . As displaced person has its own pitch / prison term editing and spectral position , I ’m cutting MOTU slack on this one .
At the rate MOTU is modernizing DP , I would n’t be surprised to see these omission remedied in the very nigh futurity .
stateless person also offers a wide variety of plug - in instruments and effects . Synths include the monophonic BassLine , multi - voice PolySynth ( Juno 106 exalt ) , Nanosampler ( Sample instrumentalist ) , Modulo ( waveform synthesist ) , Model 12 ( Drum machine ) , and the MX4 which combines multiple deductive reasoning methods let in subtractive , FM , AM , wavetable , and analog emulation .
The look of the synths is largely skeuomorphic ( mimicking the look of real - world computer hardware ) , which means some pocket-sized release and what have you . They were still quite usable on my 5 K display and I was impressed with the quality of the sound .
Also included is a licence for theUVI Workstationmulti - sampling musician , which is used for the MOTU Instruments bundle you’re able to see in the prototype below . The big money cover a wide range of literary genre ( orchestral , dada , etc . ) and many musical instrument are are velocity - layered ( sampling change according the speed of the note ) .
Some are even key - shift , multi - articulation type . That means if you compact an assigned key first down on your melodious keyboard , or participate it using DP ’s articulations function ( in a MIDI editor ) you’re able to switch the instrument between pizzicato , marcato , sustain , etc .
MOTU Instruments wo n’t replace more expensive orchestral libraries , but I ’d heap many of them up to what you find in most other top DAWs , with the possible exception of Universal Audio’sLuna .
Audio loop are n’t forget either as you’re able to see in the mental image above . There ’s a wide excerpt , cover a wide-eyed range of musical genre . Well , genres that use looped fabric at any rate .
There ’s also a emcee of issue , from shell reverb , to guitar / bass part amp simulations , to parametric EQs , to filters and just about anything else you may think of . The majority are top - nick . If you have your own , fine , but DP has you more than shroud if you do n’t .
stateless person 11 is also as adept as any DAW at interfacing with the outside world . Not only via MIDI ( including the aforementioned MPE and MIDI 2.0 ) , which has been patronise from the get - go , but with the SMPTE ( moving-picture show ) world at large . It also support a wide potpourri of command Earth’s surface .
Digital Performer: Interface and workflow
In today ’s DAW market place , where basic feature sets are about selfsame , graphic interfaces and workflow have become choice delineators in the intellect of many customers . In other words , appearance and relaxation of use matter .
displaced person 11 ’s default look is attractive and business - like , and it ’s also extreme flexible and customizable — more so that any of the major DAWs , save possiblyReaper . On the other hand , it ’s also a real smattering for the naive because of the see-through number of alternative and possibilities ( and other factor that I ’ll get to ) .
The paned main window , or “ consolidated ” windowpane in DP - speak , is where most of the action take place by nonremittal . But you could also convert most of the Lucy in the sky with diamonds to disjoined window , which is very ready to hand for multi - monitor setups .
In the consolidated window , the kernel dot ( body in DP ) is where the serious redaction , transcription , and mix are done . The left and right panes ( sidebars in stateless person ) sport auxiliary functionality : distribution channel strips , content , lean , project notes , etc .
DP 11 is fully scalable ; the entire user interface can be enlarged or diminished by per centum . Shown above is the same project at 100 and 150 per centum . This accommodates displays of any size or pixel density , as well as users with sapless or first-class sightedness . you’re able to also modify the size of some of the text , vary the color palette , and even the overall look via theme .
Beyond that , numerous port element ( tool sets , readouts , functions , etc . ) may be hidden or shown to reduce mare’s nest ; back breaker and windows arrange to taste ; and the results of your handiwork economize as Window sets . I evoke you make weighty use of them once you ’re up to speed . DP 11 can be eccentric about where it places things on its own .
Below is the mastery control panel with all factor shown , and with a spare minimum of button and functions . you could also sew the read-out if you so desire .
Despite the general malleability of the port , there are still some old - school day tiny icon ( rapid climb controls ) that require a middling bit of preciseness with the mouse . you could generally void finical mental process of all types by using stateless person ’s plenteous computer keyboard shortcut . you could define your own as well .
To be fair , the diminutive picture rap ( or approving if you like them ) may be laid on other DAWs of the same time of origin ( 80 ’s ) , such as Logic , Cubase , and Pro Tools .
Navigating the plentitude
The first thing to know about stateless person ’s user interface as you endeavor to enwrap your head about it , is that the tab in the main window pane are arranged for gadget , not to convey power structure or workflow . They represent a mix of high - level editor , low - level editor , and mixing prick .
The other life-sustaining objet d’art of info is that the Tracks and Sequence tabs are fundamentally different views of the said essence of DP , the Sequence . In fact , the Tracks tab is also refer to as the Tracks Overview in the user ’s guide .
The Tracks tabloid provide a high - layer view and editing of a chronological sequence ’s track with a server of seafaring options for large cut counts , include a filter - as - you type discipline . The Sequence tab provides in - path redaction of the MIDI / sound in said tracks . you’re able to put down using either and both share component of functionality .
The Song editor program ( show below ) gives stateless person its unique compositional and arranging power . you could orient Sequences and Songs linearly or in parallel to trifle across meter and/or at the same time .
mark the “ Chunks ” list to the right . “ Chunk ” is an abstraction for Songs and Sequences – you puff chunks from the Chunks List ( shown to the right hand ) into the Song ’s timeline . ( Yes , I know I skipped over a couple of tablet . They ’re handle below . )
If your composing are diminished in scurf , or more improvisational in nature , or you require to DJ at the local club , you may also draw up / arrange / dramatic play using DP 11 ’s Clips tab , à la Ableton Live . stateless person 11 ’s implementation is a bit more various as you may fire off entire tracks if you wish , and yet - to - be - play clip are moved to a visible waiting line . It ’s designed quite well and has originative potency beyond others of its ilk .
The MIDI and Drum check are MIDI cartridge holder / track editors ; QuickScribe is multi - stave annotation editing of MIDI information ; and the Mixing Board / Meter Bridge tabs are a mixer and tumid signal level meters .
Other elements
There are other important Digital Performer make you should be aware of :
V - Racks are virtual racks of instrument and auxiliary tracks ( Cuban sandwich - mix , effects , etc . ) that are available to any chronological sequence in a project . These save memory and burden sentence when switching between Sequences that use the same instrument .
Confusingly , V - Racks are also referred to as Chunks , even though you ca n’t drop behind them into the Song arranger . V - Racks are make and cut in the Mixing Board pill ( or the Chunks list ) .
Note that version 11.1 , released 4/19/2022adds instrument tracks , i.e. tracks with both MIDI data and a practical instrumental role for output – a long - endure request from the user community and a blessing for simpler workflownot requiring V - Racks .
Along with “ Chunks ” , displaced person serve up up other abstractions such as “ Bundles ” , which most users would refer to as patch Laurus nobilis . you’re able to make as many Bundles as you want so you’re able to travel with your project to dissimilar audio / instrument purlieu . There are also “ Soundbites ” , or bites , which are simply audio magazine or files . ( Why MOTU ? )
Note : Every virtual instrument in displaced person currently has its own track . Most other DAWs let you expend practical tool as plugins on a MIDI track .
I ’ve barely scratched the surface here . displaced person has more elbow room to do thing than you could shake a stick ( or a workflow ) at , and often several ways to accomplish the same destination . There ’s a yin and yang to that – flexibility versus complexity . If you ’re kicking the tires , take some sentence to peruse the Preferences dialogue ( see below ) and you ’ll see what I mean .
Function upon function upon function…
Once you ’ve got your head around stateless person ’s modular conception and port , you’re able to delve into the vast array of functions and methods . A day or three with the 1,000 - page user ’s guide is a good start . Or you may leap - start the learning cognitive operation using the Commands Window , which list the rich functions .
Just to give you a taste of those abilities and method acting …
By nonremittal , the Sequence editor program uses snip - less ( sempiternal ) lane editing , though you’re able to also apply the more vulgar clip if you prefer . displaced person even lets you pack data into clips , which can be very handy for grabbing and encapsulating musical musical theme . you may also extract the data out of clips into the lane .
The Sequence tab also have “ edit layer ” which are cover on the introductory sound recording / MIDI data . These include audio volume ( bite volume in DP ) , lurch , timing of audio transient ( stretch ) , articulations ( playing proficiency for virtual or outside instruments , e.g. , staccato ) , etc .
You may also view and edit mechanisation in discrete , drop - down lanes as see below .
Next up is a unique spectrographic view of audio material . This can help oneself you spot frequency hotspots and disturbance .
When you ’re work out with MIDI that you ’ve encapsulated into clips , or in the Clips launcher , you get the editor program seen below . It ’s much the same as the MIDI editor accessed from the main yellow journalism but has options pertinent to the clip as well .
I was impressed with stateless person ’s QuickScribe multi - instrument , multi - stave notation engine . It did a good job generating notation that ’s actually decipherable / playable from imperfect MIDI info I fed it .
As to the overall usability of displaced person , MOTU seems as if they ’re hell - bent on modernization so I ’m not going to nit - pick at this stage . It all throw sense once you know DP , but two prompting : rework the interface to reflect the synergism / duality of creation and arrangement – and chuck the flowery abstracts .
In a big add on September 22nd , 2022 for interlingual rendition 11.2 , ARA2 ( Audio Random Access ) backing was added . This mean you’re able to delete the lurch and location in time of notes in an audio file just as you’re able to with a MIDI single file using Melodyne ’s unique vivid user interface if you have the VST3 version installed . A copy of Melodyne Essential is now included and will be available from the My Registrations Sir Frederick Handley Page for existing users .
An incidental “ Audio to MIDI ” function has been bring with several algorithms so you’re able to convert audio caterpillar tread to MIDI cartroad . The function function substantially than expected in my testing using Melodyne ’s Polyphonic Sustain modality .
Digital Performer: Performance
I had zero execution issues in DP with “ Pre ren ” enable so that track are pre - rendered , i.e. mixed to audio files . Pre - fork up lowers CPU usance but removing effect or virtual instruments from the playback labor ( multi - track audio is minor ’s play comparatively ) . This can be incredibly handy when you have turgid orchestral templates , large amounts of effects , etc . There ’s even a Pre gen meter that you ’ll see light up when displaced person work its magic .
Even in “ bouncy ” mode where all instruments and effects are apply in real time ( habituate this when you ’re “ play ” instrument controls like filters ) , I had the only casual central processor overload . This was quick do away with by up the buffer size from 64 to 128 , which still leave me with in good order low reaction time for put down .
The DP 11 interface in worldwide was very whipping on my 32 GB , Core i7 iMac . importation and saving was was agile , raw track were created in no metre ( not matter load virtual instrument ) , and in general stateless person is a facile as the competition .
I did n’t bang on interpretation 10 , but overall displaced person 11 was very stable over my three weeks of thrash about with it . I managed a smash or two with windowpane sets ( this disappeared ) , and it did n’t always like my afford other daws , but that could just have easily been the other DAWs . By and large everything worked just very well , and judge from the scuttlebutt , version 11 seems to have desexualise most user complaint about bugs in v10 .
Performer Lite
I ’d be remiss if I did n’t cover the limited , albeit amazingly powerful and easier version of DP calledPerformer Lite . It ’ll even lade DP projects , though you might have to replace some effect and instruments .
Performer Lite is gratuitous to owners of MOTU ’s highly - regard audio interfaces such as theM2,M4,UltraLite - mk5and includes a courteous miscellanea of the legal instrument and sample distribution ( MOTU Instruments Lite ) show above .
As to those audio interface ; I ’ve had my eye on an UltraLite - mk5 ( great specs , nifty review article , and input effects like those discover in Universal Audio’sVoltinterfaces . ) even if it be over $ 500 and I already own a fantastical Focusrite Clarett 4Pre . I ’ve been save from this piddling bit of retail therapy by said interface ’s current scarcity .
While Performer Lite has limits : 16 audio frequency , 16 MIDI , 16 appurtenant ( jitney ) track , and 6 Sequences , they ’re extremely generous compared to competitor such as Ableton Live Intro ( 16 cut total – also bundled with MOTU interfaces ) and Bitwig 8 - track ( eight intercrossed audio frequency / MIDI track ) , etc . Put another elbow room , function with Performer Lite as your main DAW is doable , where the others survive almost entirely to upsell you to more expensive and adequate to versions .
Missing from Performer Lite are the destructive Waveform editor , Tracks overview , as well as “ Chunks ” and the full - on Song editor , though there is a Set List for Sequences . mirthfully , there ’s still the Ableton - alike Clips windowpane and most of the inline edit out functionality – including audio transient / note timing , which is about the only thing I ever edit . Performer Lite isnota toy by any stretch of the imagination .
The simpler ( but still herculean ) feature stage set , organization , less complex interface make Performer Lite a much better fit for the middling musical creative than Digital Performer . It ’s in all probability deserving the monetary value of a $ 200 M2 or $ 270 M4 on its own , and you get a not bad audio frequency port in the bargain . It ’s a bit of a puzzler why MOTU does n’t offer up it for sales agreement as a standalone ware .
Bottom line
Digital Performer 11 is vastly equal to and super flexible . It will treat any purpose from live performance to primary studio apartment DAW . And thanks to its modular organisation capabilities , it ’s exceptionally well - suited to developing soundtracks , scoring longer opus of euphony , and organizing your musical ideas . Hence the 4.5 stars .
However , DP 11 is also initially clumsy and sports what ’s arguably the diligence ’s steepest learning curve ball . For that cause , it ’s best for pros or exceptionally ambitious newcomers who need or desire its innovative features and capabilities .
The average songster / player will be better serve with something that ’s easier to get up to speed on , such as Performer Lite . But there ’s a server of choices .
you could plain DP ’s tires via afully functional 30 - Clarence Day demo . As observe , Performer Lite requires the purchase of a MOTU sound recording user interface .
This clause was edited on 4/21/2022to bring information about variation 11.1 ’s young instrument tracksandon February 20th , 2023for version 11.2 ’s young ARA 2 support and sound to MIDI feature of speech .
