Digital performer 6 user guide2/20/2023 ![]() ![]() I'll take a look at the new arrangements for these functions in future months. Other title-bar buttons of note that have inevitably disappeared include Automation Snapshot (a little camera icon, which has been replaced with a Region menu command) and Insert (the capital letter 'l' that appeared in the Sequence Editor, Event List and Soundbites windows). Meanwhile, the Automatic Conversion toggle, which very few people needed such prominent access to, has rightly been moved into the Automatic Conversions pane in DP's Preferences window. Both the Audible Mode and Solo Mode toggles are now at the far right of the Control Panel, along with the Auto Scroll button, which appeared in several editing windows. Three more title-bar buttons with specific features have gone, with their functionality moved elsewhere. The decidedly non-standard 'Push Window to Back' has gone for ever, with no replacement. DP5's Audible Mode, Solo Mode and Auto Scroll buttons from the title-bar have been moved into the Control Panel of DP6.This should be intuitive enough, but the old DP's Close (window), Collapse Into Dock (minimise) and Resize Window (expand) title-bar buttons are replaced with OS X's 'traffic lights'. The DP5 Close, Collapse Into Dock and Resize Window title-bar buttons (right) have been replaced with OS x standard 'traffic light' buttons. You get to those via the Digital Performer menu, or the Apple-comma keyboard shortcut. This should be the case by default, but it can be enabled in the Consolidated Windows pane of DP's Preferences. ![]() We'll assume that Consolidated Window Editing - which allows editors and other information windows to appear as cells in one über-window - is enabled. Having covered the bulk of the changes, let's dive right in to DP6 for an 'updater's guide'. Audio Units plug-ins are now hosted better in DP6 and support ramp automation for the first time, and Access Virus TI synths are compatible at last. Moving to the Audio Plug-ins preference pane, you can configure plug-in sets and choose how and when DP6 uses its virtual instrument and audio plug-in pre-rendering capabilities, in the 'Plug-in real-time preference' section. Interleaved Broadcast WAV (BWF) is now the default, with AIFF as a further option, and BWF files can be stamped with author, copyright and organisation code information. Open up the Preferences window (by hitting Apple-comma), select Audio Options, and you'll see that you're not obliged to record audio in mono or split Sound Designer II format, although you can if you want to. Just as important are the behind-the-scenes changes. (See the 'Comp' section for an introduction to this great new feature.) The Tracks Overview window now has vertical zoom buttons at its bottom right and its tracks can now be resized (although not individually, sadly), and in the Tools palette there's a new Comp tool. In the Sequence Editor and other editing windows, cigar-shaped areas near the top, labelled C, E, S and G, present the information that previously appeared in the so-called 'event info bar', relating to Cursor position, Event data, Selection and editing Grid snap. Then there are specific cosmetic changes. Whereas this was previously always attached to the sides of editing windows or the Mixing Board, now it can appear in its own side-bar cell, or even be popped out into its own window. Also check out the Track Selector at bottom right. What else? Windows appearing in the Consolidated Window's two side-bars have 'tab' tops, and more than one can appear in each side-bar cell. But it does bring back permanent confirmation of sample rate and bit depth - hooray! The Control Panel is very different, too, with a new layout and none of the collapsible 'drawers' of versions past, and no buttons to open different editing windows. Look at the title bar of the consolidated window, for example there's the familiar OS X 'traffic lights', but none of DP5's non-standard stuff. ![]() Plus Ça change.Īs this month's header graphic shows, there are very noticeable cosmetic changes in DP6, some of which are more than skin deep. Except that everything now feels that much slicker! We'll be bringing you a DP6 review very soon, but in the meantime, DP users can get an upgrade head-start by reading on. But what's great is that DP6 has absolutely not reinvented the wheel - it's nothing like the transition from Cubase VST to SX, for example - and once you've learned how old functions have been transferred to the new scheme it'll be business as usual. The old look was outdated, and presented quite a learning curve to anyone who'd begun their Mac experience in the squeaky-clean, standards-based world of OS X. So on booting up DP6 for the first time last week, and even though I'd already seen screenshots and demos, I was probably as surprised as anyone by exactly how much had happened to my sequencer. ![]()
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