MUSIC PRODUCTION ACADEMY

Overview.

A thoughtfully redesigned Logic Pro 8 makes it easier than ever to translate musical inspiration into professional productions. A range of powerful, easy-to-use features puts sophisticated tools at your fingertips, and complete surround support lets you make incredible,music.

Logic Pro 8 provides a streamlined track setup window that lets you create and record-enable multiple tracks instantly. Work efficiently with features like seamless punch recording and input monitoring for listening to audio tracks that are not record-enabled. CAF file format support allows you to record extended-length projects of up to 6 hours at 96kHz.

Effortless multi-take recording

Region-based take management streamlines the process of recording, organizing, and auditioning multiple takes and overdubs. Record passes are automatically tucked into an expandable take folder where they can be conveniently recalled and colorized. Entire take folders can be moved and edited just like standard regions.

Precision Editing.

Refinements to audio editing features in Logic Pro 8 give you more power and precision.
Editing tools

Improved audio editing features give you incredible flexibility and sample-accurate precision directly in the Arrange window. Graphically stretch and compress regions with click-and-drag simplicity. You can perform destructive edits on multiple noncontiguous regions and tracks using the built-in editor or an external sample editor such as Soundtrack Pro 2.

Professional Mixing.

Polish your project with enhanced mixing and automation tools.
Complete mixing desk

Create the perfect mixer configuration with up to 255 audio, software instrument, and auxiliary channels, along with up to 32 mix groups and as many output channels as your audio hardware provides. Each track supports 15 plug-ins and 8 pre-, post-, and post-pan sends with full latency compensation to keep everything in perfect sync. Logic Pro 8 also lets you record busses and integrate outboard hardware into your mix.
Automation
Automation

Automate channel strip and plug-in parameters on the fly or set values manually for even greater precision. You can simultaneously view and edit automation for single or multiple tracks, including multiple parameters per track. Track grouping provides simultaneous writing and editing of automation for multiple tracks, and the curve tool helps you create more natural-sounding transitions.

DP5 Is a Midi,Audio Production software capable of over 200 tracks (depending on your mac). You can Record audio edit and mix.

This software has a low learning curve. If you use DP everyday for a month you will pretty much master it.
DP has a lot of key commands which is very useful.
The user interface is also straight forward.

Visually, DP5 is STUNNING. Effects and mixer board windows are also eye pleasing.

MUSIC PRODUCTION is made easy with DP5. HIP HOP PRODUCERS will like the filter that DP uses. It gives a warmer sound than Pro Tools. I tend to push the meters into the red in DP and my TRACKS always come out banging.

DP 5 Overview
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Digital Performer Overview

Digital Performer is an integrated MIDI and audio sequencer. For studio recording, film scoring, live performance, and remixing, Digital Performer is the choice of professionals worldwide.

Designed for professionals

Digital Performer has always been designed and built for professional use. For studio production, film scoring, live performance, remixing, and more, Digital Performer provides an easy to understand workflow, with all the features you need for full audio and MIDI production. You get unlimited tracks, unlimited undo, support for surround sound, 64 bit mastering tools, sample-accurate editing of audio and MIDI, automatic tempo calculation for film scoring, and much more.

Advanced features. Intuitive operation.

For beginners and experts alike, Digital Performer delivers advanced features in an intuitive, streamlined design. With support for built-in Macintosh audio and MIDI, you don't even need additional audio hardware. Whether you're completing a surround sound DVD or just want to write a song and burn a CD, Digital Performer gets you there with elegance and ease.
Complete Mac OS X support

No audio production software provides better support for Macintosh OS X Core Audio and Core MIDI services. Built from the ground up for Mac users, Digital Performer takes full advantage of sample-accurate MIDI Time Stamping, Core MIDI patch list support, Audio Unit plug-ins and virtual instruments, support for multiple Core Audio interface drivers and more.
Your music, your way

Digital Performer doesn't force you to rethink the way you want to make music. Digital Performer's flexible interface adapts to your work style. Loop-based music production? Linear sequencing and recording? Part and score notation-based composition? Digital Performer lets you work the way you think.
If you understand multitrack recording, you understand Digital Performer

Record-enable a track, check the input source and VU level, then press Record. Sound familiar? Then you should be using Digital Performer. It's that simple. Digital Performer's track layout, mixing board, and transport controls are all you need for the foundation of a powerful computer-based production system.

I have been using Digital Performer Since Performer 5.5(True Motu heads know what I mean.)
With the release of DP5 Motu has stepped up their game by incorporating a few virtual instruments.
The new MASTERWORKS EQ in DP is a plus.
Motu has always ran beautifully on my macs and DP5 is no exception. Although my Digi 02 is not reconized its all good with Motu and my new i Mac

This WEBINAR 5 sections

Section 1
Overview of DP5

Section 2
Audio Production in DP5

Section 3
Effects and Processing

Section4
Tricks and Tips

Section 5
Music Production Overview

We go through a quick description of the basic controls

Transport Controls
Play,stop,rewind,fast forward,pause
record
Tempo slider

Measures
Tempo
Switchable counter
Switchable mini counter
Memory start select loop
record in and out
Overdub
Metronome

Audio Section
Clock
Sampling Rate
Hardware
Settings

Selection Mini Window
Start and END

Chunks shortcut Window
Chunks
Tracks
Edit window
Mixer
Notation
Midi lanes
Markers
Midi setup

Okay, Time to get our hands dirty. The first WEBINAR is below. Watch the youtube link.

DP5 is a great software for handling audio files.
Performer can read aiffs,waves,sd2,quicktime,aac,omf,mp3 just about every sound format out there.

This WEBINAR will cover some basic aspects of working with audio in DP5. AUDIO EDITING ROUTING and BUSING

BASIC EFFECTS TUTORIAL

HIP-HOP MIXING SECRETS

HIP HOP VOCAL MIXING TIPS

In this webinar we cover an introduction to audio editing. Dp5 is one of the best if not the best out there when it comes to non destructive audio editing.

HIP-HOP PRODUCERS will love the fact that you can see the sample wave form on the screen instead of that little dingy screen on the MPC or some keyboard. DP5 has an infinite zoom that zooms in on your sample to ticks so you can get that slice just right.

Below is a youtube link to our 2 part series below

DP5 has powerful audio routing capabilities. You can assign up to 99 Aux Tracks. Engineers can create unlimited submixes for a super detailed mix.

This webinar will cover some basic routing techniques,Busing and sub track building and grouping

Mixing in DP5 is a dream if you apply these methods to create a mix with more handle and

DP5 comes with the many plug ins
I have found the factory bundle is enough to get my mix where it needs to be. I use a couple of after market plug ins that I use to achieve my signature sound.

Creating a killer vocal recording is easy if you follow these methods. A great vocal can mean the difference of selling your song and not selling your song. A great vocal recording is created when you have a recording where you hear and understand every word that is spoken or sung, has good presence and detail and has warmth and character. Lets look at some techniques that will have your vocals sounding like a million dollars.
Recording your vocal performance is THE most important step to achieve a vocal that will sound detailed and have presents. Before tracking your vocal, you need to make sure you can get the best microphone you can afford. A large diaphragm microphone is the best possible choice for vocals but can be a bit expensive. A microphone like this can withstand high spl (sound pressure level) making it the number one choice for all types of vocals. You can find a good microphone HERE.
Mic pre amps supply your mic with 48v phantom power. A really good mic pre will give you some compression and or limiting plus eq and maybe other dynamic processing. You can boost the gain of your mic to get a good hot signal to your DAW. A good Preamp can give your vocal track presence that will cut through your mix and sit properly in the track. You can find a High Quality Microphone preamp HERE.
When recording your vocal into your DAW, Be sure to get the level (signal) hot as possible but NOT IN THE RED. Peaks are not our friends. You should have a pop screen for the microphone. This can eliminate unwanted pops.
Depending on your type of microphone, the placement may vary. 7 to 12 inches is ideal. If you are using a tube mic allow the mic to "warm up" to operating range. The mic should be at a 45° angle to the subject. If your mic has polarity settings pay attention to set the correct settings. A high quality microphone stand is recommended. A shock mount should be used to hold the microphone. This can help with bumps while recording and dial the mic in.
If you use these keys while recording, you will achieve a Million Dollar vocal recording.

MOTU, Inc. gave a sneak preview of Digital Performer 6, a major upgrade to MOTU's flagship audio sequencer software. New features include a complete user interface redesign, XML file interchange with Final Cut Pro, other industry-leading film scoring enhancements, track comping, support for interleaved broadcast WAVE audio files, enhanced support for operation as a software front end for Pro Tools HD systems, pre-rendering of virtual instruments, better support for third-party Audio Unit (AU) plug-ins, the ability to "bounce and burn" directly to an audio CD and many other productivity enhancements.

User Interface Redesign
In addition to its updated "look and feel", Digital Performer 6 has been further streamlined to allow existing users to work faster and new users to learn the program quickly and easily. Highlights include:

* Vertically resizable track list - Gives users a better look at each track's settings and graphic overview.
* Streamlined window design - Windows look cleaner and information is easier to see. Zooming and navigation controls have been unified throughout. Live window resizing allows users to see the contents of the window as it is resized.
* Window tabs - Users can create as many tabs as they wish in any cell in the consolidated window, even sidebar cells.
* Inspector palettes - Important settings and information now appear in inspector palettes, which can float as independent windows or "pop into" the consolidated window as sidebar cells with tabs. New inspector palettes include Snap Info, Event Info, Cursor Info, Selection Info and others.
* Universal track selector - The unified Track Selector conserves screen space by offering one track selector that updates when you switch to a different window tab.

Track comping
DP6's new track comping features are very flexible and offer limitless comping possibilities. Previous versions of Digital Performer allowed users to record multiple takes into a track, and then choose one take in the track for playback and editing. Now users can choose "Show Takes" to view all takes side by side. Using the new Take Tool, users can easily make split points across all takes and then simply click the desired section from each take to quickly create a composite (comp) take consisting of the sections selected from each take. In the resulting comp take, crossfades can be applied, along with all standard operations for editing audio regions in a DP track. Users can then use the resulting comp track as yet another take itself, which allows users to "comp the comp" by incorporating any portion of an existing comp take into a new comp take.

The "Turn All Takes Into Tracks" and "Absorb Tracks" commands allow users to explode takes into tracks, or collapse tracks into takes, respectively - although in many respects takes behave just like tracks, with their own play/mute buttons, output assignements, automation settings and so on. Users can freely move tracks between the two models (takes and tracks), which is especially helpful for working with projects created in earlier versions where takes may have been spread across multiple tracks.

ProVerb%u2122 convolution reverb plug-in
ProVerb is a CPU-efficient convolution reverb plug-in for DP6 that delivers the sound of stunningly realistic acoustic spaces to any track or mix. Dozens of preset acoustic spaces (impulse responses) are included, and users can simply drag and drop any standard audio file into ProVerb's waveform display to add their own. ProVerb has been heavily optimized so that all parameters can be adjusted in real time, including those that modify the impulse response waveform itself. What might take 10-15 seconds in other convolution products occurs in real time in ProVerb, as you adjust the parameter. Users can quickly and efficiently sculpt their sound with predelay, damping, 4 bands of EQ and four modes for adjusting the wet/dry mix.

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%u2122 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%u2122 (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.

Here's how it works. When picture edits are made in Final Cut, the FCP editor can export an XML file that describes all current edits, which the DP6 composer/editor can simply import to then compare and conform all music and audio tracks to the latest picture edits. All changes are displayed in DP6's new "Import Final Cut Pro XML" window, which provides a complete, detailed list of every new picture edit. Double-click any edit in the list, and DP6 scrolls to and highlights the location of the edit in the Sequence Editor time line. The highlight shows a blue border (old position) and red border (new position) for each picture edit. The DP6 composer/editor can then adjust their conductor track, audio data and/or MIDI data as necessary to conform to the new edit, "snapping" their edits to the vertical red line if necessary.

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.

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.

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%u2122 and MC Mix%u2122 Artist Series controllers, the Mackie Contr

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Information on Pro Tools Compatibility for Mac OS X Leopard Systems
03/07/08

Pro Tools HD® 7.4.1 software is now fully compatible with Mac OS X 10.5.1 (Leopard) when running on Apple's current 8-core Mac Pro computers. For details on Pro Tools HD compatibility with Leopard on the 8-core Mac Pro, please visit the Pro Tools HD 7.4.1 Intel Mac Support page.

At this time, Pro Tools LE® and Pro Tools M-Powered%u2122 systems are not yet compatible with Leopard, but please be assured that we are committed to bringing Leopard support to you as quickly as we can. We are currently working very closely with Apple in order to ensure that when the fully compatible versions of Pro Tools LE and M-Powered are released, they'll adhere to the same levels of performance and stability that you have come to rely on day in and day out. We understand your frustration and apologize for any inconvenience this delay may cause, but we ask that you please bear with us and wait to upgrade your OS until we announce compatibility. Thanks for your patience - stay tuned...

As always, we appreciate your ongoing support and will do our best to get you up and running on the latest Mac platforms as quickly and reliably as possible.

Important - Please be aware that some currently shipping plug-ins and virtual instruments are not compatible with Pro Tools HD 7.4.1 running on Mac OS X 10.5.1, and some require that you update your plug-ins if an update is available. Before you install the Pro Tools HD 7.4.1 update, be sure to review the plug-in compatibility and update information here.

* Pro Tools HD 7.4.1 software works with Mac OS X 10.5.1 only, and is NOT compatible with Apple's new Mac OS X 10.5.2 release. Please do not update your OS until we've made an official announcement about compatibility.
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