Digital Performer Plug-Ins Guide

Title page
Digital Performer 11 ®
Plug-in Guide
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Contents
Part 1: Plug-ins 50 MasterWorks Gate

52 MasterWorks Leveler
7 Audio Effects Plug-ins 55 MasterWorks Limiter
7 Overview 59 MegaSynth
8 Channel configurations 62 MicroG and MicroB
8 Common settings 63 MS Decoder
10 ACE-30 63 MultiFuzz
11 Analog Chorus 64 Multimode Filter
11 Analog Delay 65 ParaEQ
12 Analog Flanger 67 Pattern Gate
13 Analog Phaser 68 Phaser
13 Auto Pan 68 Plate
14 Bass Manager (surround only) 69 PreAmp-1
15 Calibration 71 Precision Delay
16 Chorus 73 ProVerb
17 Clear Pebble 76 Quan Jr.
17 Custom ’59 77 Reverb
19 D Plus 77 Reverse
19 DC Notch 77 Ring Modulator
20 De-Esser 79 RXT
21 Delay 79 SMPTE-Z
24 Delta Fuzz 80 Soloist
24 Diamond Drive 81 Sonic Modulator
25 Dynamic Equalizer 84 Spatial Maximizer
27 Dynamics 85 Springamabob
28 Dyna-Squash 86 Subkick
28 Echo 87 Tremolo
29 Ensemble Chorus 88 Trigger
30 eVerb 89 Trim
32 Flanger 90 Tube Wailer
32 Hardware Insert 91 Tuner
33 Hi-Top Booster 92 Über Tube
33 Intelligent Noise Gate 92 Wah Pedal
34 Invert Phase
35 Live Room B
37 Live Room G
38 Live Stage
39 MasterWorks Compressor
41 MasterWorks EQ
49 MasterWorks FET-76
iii
Part 2: Instruments 158 Mixing and effects
158 Congratulations!
97 Instrument Plug-ins 159 The MX4 Window
97 Overview 159 Overview
98 BassLine 160 The disclosure buttons
99 PolySynth 161 Presets
100 Nanosampler 162 File
107 Modulo 163 Master section
118 Model 12 166 Status
123 MX4 166 Oscillators
124 Proton 171 Filters
127 MIDI Control of instrument settings 173 Envelopes
139 MOTU Instruments Soundbank 174 LFOs
139 Overview 176 Modulation
139 How it works 180 Mods
139 Downloading the soundbank 186 Mixer
140 Activating the soundbank 187 Effects
140 Installing UVI Workstation 189 Random
140 Accessing sounds 191 Modifier key shortcuts
141 A quick tour of UVIWorkstation 191 Contextual menus
142 Soundbank preset list 193 Five Things To Know About MX4
Part 3: MX4 Multi-synth Part 4: Appendices
145 About MX4 197 MX4 Troubleshooting

151 QuickStart Guide 197 Overview
153 MX4 Tutorial 197 MX4 FAQ
153 Overview 198 Conserving CPU resources
153 Load the tutorial preset 198 General troubleshooting
153 Enable an oscillator 199 MIDI troubleshooting
153 Adjust a parameter 200 Audio troubleshooting
154 Modulate OSC1 symmetry 200 Preventing Catastrophe
154 Contextual menus 200 Technical support
155 Use a wavetable 203 Glossary
156 Apply multiple modulation sources 207 MOTU Instrument presets
156 Enable a filter 261 MX4 NRPN Mapping
157 Add a second filter
iv
Part1
Plug-ins
CHAPTER 1 Audio Effects Plug-ins
OVERVIEW Live Room B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Digital Performer includes a variety of audio Live Room G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
effects plug-ins. The following sections discuss the Live Stage. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
settings for each individual effect. MasterWorks Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
MasterWorks EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
For general information about audio effects plug- MasterWorks FET-76 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
ins, see chapter 75, “Audio Effects Processing” MasterWorks Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
(page 897) in the DP4 User Guide. MasterWorks Leveler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
MasterWorks Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Channel configurations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
MegaSynth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Common settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
MicroG and MicroB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
ACE-30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
MS Decoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Analog Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
MultiFuzz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Analog Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Multimode Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Analog Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
ParaEQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Analog Phaser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Pattern Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Auto Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
Phaser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Bass Manager (surround only) . . . . . . . . . . . . . . . . . . . . . . . . . .14
Plate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
PreAmp-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Precision Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Clear Pebble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
ProVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Custom ’59 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
Quan Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
D Plus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
DC Notch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
De-Esser. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
RXT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Delta Fuzz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
SMPTE-Z . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Diamond Drive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Soloist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
Dynamic Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Sonic Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Spatial Maximizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Dyna-Squash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Springamabob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Subkick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Ensemble Chorus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
Tremolo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
eVerb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Flanger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Hardware Insert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
Tube Wailer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Hi-Top Booster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Tuner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Intelligent Noise Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
Über Tube. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Invert Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Wah Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
7
CHANNEL CONFIGURATIONS Digital Performer, Mix is set to 100% for in-line
Digital Performer allows you to configure your use; if you are applying the effect to a dedicated
system with a combination of mono, stereo and bus/aux track, you should set the mix to 100%.
n-channel signal paths. An n-channel signal path
is a path where n equals the number of channels. MIDI control of plug-in parameters
Several audio plug-ins allow you to control their
A signal can begin as mono and through a panner settings from MIDI note data, either from a MIDI
or processor end up as a stereo or multichannel track or from your controller keyboard. For
signal. MOTU Audio System effects are designed details, see “Ring Modulator” on page 77 and
to accommodate a wide variety of inputs and “Multimode Filter” on page 64.
outputs.
Tempo lock
The following shorthand is used to describe the Many of Digital Performer’s included plug-ins
available configurations of MOTU Audio System allow you to lock certain parameters, such as their
effects: LFOs, to the tempo of your sequence. This allows
the effect to stay in sync with the beat of your
mono to mono M-M music, even if there are tempo changes.
mono to stereo M-S
mono to n-channels M-n Any plug-in that supports tempo-locked
stereo to stereo S-S parameters will display the Tempo Lock menu. The
stereo to n-channels S-n Tempo Lock menu provides several different ways
n-channels to n-channels n-n of synchronizing the plug-in parameter to the
tempo, as demonstrated below in the Echo plug-
☛ If a plug-in does not support the channel in.
configuration for a track, it will not appear in the
track’s plug-in menu. For example, plug-ins that
do not support a stereo-to-stereo or stereo-to-n
configuration will not appear in the plug-in menu
for stereo tracks.
COMMON SETTINGS
This section describes some controls which are
common between a number of plug-ins.
Expand buttons
Several plug-ins have sections that can be shown
or hidden as desired using an expand button.
Examples are eVerb (page 30) and ParaEQ
(page 65).
The Mix setting Figure 1-1: Choosing what type of tempo lock you would like.
For effects that have it, the Mix setting controls
how much of the effected signal is included. In The choices for tempo lock shown above in
most of the effect presets that are included with Figure 1-1 are explained below.
8
AU D IO E F F E C TS P LU G - I N S
Real time ☛ The rule of thumb when using Beats mode is
Lock to real time if you don’t need to synchronize this: a quarter equals one beat, whatever the beat
the plug-in’s parameters to the tempo of your happens to be (as determined by the meter). It
sequence and instead need to work with them in a could be a dotted quarter (in 6/8 time) or a half
real time format such as milliseconds. note (in 4/2 time) and so on. Use Beats mode
when you want automation to follow ‘the beat’, and
Beats the beat is changing from meter change to meter
Lock to beats when you want the effect to follow
change.
the “pulse” of your music. Use this mode for 4/4-
based dance music (or similar meters like 3/4, 2/4, Note value
etc.) Lock to Note value when you want the plug-in to
pulse at a particular note duration value,
regardless of meter. For example, if you choose a
16th note, the effect will pulse to a 16th note
pattern (120 ticks at 480 PPQ) regardless of any
meter changes in the sequence.
Bars
Lock to Bars when you want an effect to pulse
according to measure (bar) boundaries. This is a
convenient way to align effects automation on a
slightly larger musical scale than beats. For
Figure 1-2: The beats menu displays note durations that are referenced example, you might program a filter sweep to
to 4/4 time. A quarter note represents 1 beat; an eighth note represents
a half a beat, and so on. finish on the downbeat of every measure. This is
particularly useful when you have meter changes
This mode is also ideal for tempo-based effects
because automation will speed up and slow down
over music with meter changes because the
dynamically to maintain the measure-based
automation will always follow the beat — even
relationship you specify.
through your meter changes, as determined by the
click value of each meter change. Remember, when The Bars menu has standard settings you’d expect,
you insert meter changes, you also choose what like 1 bar, half a bar, and two bars. But it also has
‘gets the beat’. This is what we refer to as the click fractional bar lengths that can produce very
value. Beat-based automation always follows the interesting syncopated and poly-rhythmic effects.
click value of each meter change.
Here’s an example: let’s say that your sequence

changes from 4/4 time to 6/8 time, and in the 6/8
section, a dotted quarter-note gets the beat. You
then choose a quarter note from the Beats tempo
lock menu. In this case, plug-in automation will
follow “the beat” which, in 4/4 time is a quarter
note pulse. In the 6/8 section, the automation will
follow dotted quarter notes because the dotted
Figure 1-3: Specifying tempo-based automation by a number of bars,
quarter note is getting the beat (as prescribed by such as 1 bar, 2 bars or half a bar. Experiment with the fractional
the 6/8 meter change click value). measure lengths for interesting effects.
9
AUD IO E F F E C TS P LU G - IN S
ACE-30 Top Boost: provides an additional “bright” gain
M-M M-S M-n S-S S-n n-n
stage with tone control features.
yes yes no yes no no Top Boost Setting Description
Volume Volume of Top Boost channel
The ACE-30 is an amp modeling plug-in that
allows you to select various preamp circuits from Treble Treble tone stack control
both the vintage-style Vox® AC30/6®, as well as the Bass Bass tone stack control
more modern Vox ®AC30 CC2X®.
Input: the input jack array is similar to the Tone Stack: choose Vintage for a Gibson tone
Fender® Bassman®. The input matrix provides stack sound (including the notorious schematic
choices for the channel (horizontal) and input error made by Gibson, but none-the-less copied by
attenuation (vertical). Vox). The Vintage setting has a much sharper EQ
notch — at approximately 2k-4k — when the
The vintage-style Vox AC30/6 originally had three volume is turned up. The Modern setting is more
different preamps and two impedance levels the similar to a Fender-style tone stack.
amp drew from: Normal, Top Boost (Bright), and
Tremolo, and High and Low impedance (thus the Vox’s later (most popular) AC30 models (from the
AC30/6 name). mid 1960s) were copied from a Gibson GA-70/
GA-77 schematic. The ACE-30 plug-in models
In Digital Performer’s ACE-30 model, we have incorporate even the smallest details of these amp
chosen to separate out the Tremolo circuit for designs.
more independent control and versatility of tone.
This model is more similar to Vox (Korg)’s later Tremolo: use the switch to enable/disable
model (the CC2X). tremolo.
Normal: controls volume when the normal Speed: controls the LFO frequency (2-8 Hz).
channel is selected (no tone stack).
Depth: adjusts the depth of the tremolo (volume
variance), where 0 is completely off.
10
Master: the master section provides final output Pedal: bypasses/enables the effect. This works the
stage controls. same as the Effect window’s Bypass button.
Tone Cut: similar to the presence control of a ANALOG DELAY

Fender-style power amp, but operates backwards.
Volume: controls the master volume (the final

output after the sound has been run through all
the circuits).
ANALOG CHORUS

yes yes no yes no no
Analog Delay is a companding delay pedal model

based on 18v bucket-brigade pedals from the early
80’s. It emulates the DOD 585, which utilizes the
same chips as the Electro-Harmonix™ Memory
Man™ for the compander and bucket brigade
device.
Mix: this is essentially a wet/dry crossfader.

Analog Chorus emulates the popular Boss CE™
series of effect pedals from the early ’80s. Repeat: controls the amount of feedback. Low
settings have few echoes, high settings self-
Rate: sets the rate of the LFO, in Hertz (Hz). oscillate. Self-oscillation allows the delay to
maintain its signal indefinitely.
Depth: sets the depth of the LFO.
Delay Time: sets the clock frequency of the
Mix (mono and stereo-to-stereo only):
bucket brigade model, which determines the delay
controls the wet signal level.
time between samples and reflection frequency for
Mode (mono-to-stereo only): selects between aliases. In other words, turning the knob
sum+difference (I) or split wet+dry (II). clockwise causes the bucket brigade to cycle less
frequently. Samples are moved from the input
Status light: displays the bypass/enabled state; toward the output less often, and as a result the
when lit, the effect is active. audio delay increases.
11
Conversely, turning the Delay Time knob counter- ANALOG FLANGER
clockwise corresponds to increasing the speed at
which the “buckets” are transferred. þThe signal
samples in the buckets take less time to be
transferred from input to output, thus the delay
time goes down.
X-Feed: this controls the stereo routing of the

inputs and feedback loop within the delay circuit.
For a mono-stereo signal, 5 is equivalent to

parallel mono, and 0 or 10 creates a ping-pong
delay whose first echo follows the direction of the
knob’s pointer.
For a stereo-stereo signal, the mono behavior is

preserved for the left channel and mirrored by the M-M M-S M-n S-S S-n n-n
right channel.
Pedal switch: the footswitch works like the

Analog Flanger is inspired by the late 1970’s
STNDBY button on the MasterWorks Leveler.
Electro Harmonix Deluxe Electric Mistress.
This forces the mix control to 0 internally while
leaving the delay circuit alive, which allows self- Pedal switch: bypasses/enables the effect. This
oscillation to build up without being heard. works the same as the Effect window’s Bypass
button.
BYP: this switch controls the Bypass parameter,
causing all model elements to be cleared and Filter Matrix: this disconnects the LFO from the
removed from the FX chain. affected signal, allowing a freeze of the comb filter
sweep. Try automating this parameter for custom
1X/4X: this switch selects a delay time multiplier
filter sweep effects.
that modifies the model delay time without
affecting the clock effects. On 4X, the delay time is Color: controls the amount of global feedback of
quadrupled. On 1X, the delay time is unaffected. the flanger effect, and indirectly controls the
distortion level of the bucket brigade.
Range: controls the “endpoints” of the sweep, or

in Filter Matrix mode, the location of the comb
filter notches.
Rate: controls the LFO frequency.
12
ANALOG PHASER How it works
AutoPan uses a low frequency oscillator (LFO) to
automatically control the positioning of the input
signal. Different LFO shapes can be applied to the
movement and the frequency of the shifting can
be synced to tempo if desired.
Tempo lock: pan can be specified in real-time or

in one of several tempo-based modes which lock
the LFO of the tempo of your sequence, even if
there are tempo changes.
Waveform: determines the desired LFO wave

(sine, triangle, etc.)
Rate: sets period in Hertz (Hz) in real-time mode,

M-M M-S M-n S-S S-n n-n or note values or bars depending on tempo lock
mode.
Center: the pan will rotate an equal amount

Analog Phaser is a model of the MXR '74 Vintage
clockwise and counterclockwise from the center
Phase 90 phaser. This pedal model produces the
angle.
“dirty phaser” sound popularized by Eddie Van
Halen. Depth: number of rotations or partial rotations
over which the pan varies each period.
Pedal switch: bypasses/enables the effect. This
works the same as the Effect window’s Bypass
button.
Speed: controls the LFO frequency.
AUTO PAN
The S-S and n-n versions of AutoPan feature an

additional feature: Balance and spin modes. When
AutoPan is in balance mode, distribution of the
panned signal involves two consecutive surround
channels as it rotates. Spin mode rotates each
input consecutively.
no yes yes yes no yes
13
BASS MANAGER (SURROUND ONLY) Bass Manager allows you to activate a low pass
filter simulation on the LFE channel which
emulates the anti-aliasing filter used by AC-3 or
DTS encoders. It is recommended that you
monitor your mix with this filter on, because your
ultimate delivery system will likely use it.
Controls
Input: trims input signal of LFE or surround
channels.
input mute: mutes input of LFE or surround

channels.
no no no no no yes HPF: high pass filter - sets the cutoff frequency
for the high pass filter.
Bass Manager serves two roles. First, it helps to
improve the bass response of your studio if you LPF: low pass filter - sets the cutoff frequency for
don’t have full range monitors. Second, it the low pass filter.
simulates consumer home theater bass
Encoder filter simulation: simulates the effect
management systems so you can be sure your
of a 6th order filter used in consumer bass
surround mix will sound right in a variety of home
management filters.
situations.
Extend: sends that channel to the LFE.
Bass Manager extends the low frequency
information of the full range channels to the LFE Extend trim: trims the overall level of redirected
channel. If your studio monitors have poor signal sent to the LFE channel.
response at low frequencies you can divert those
frequencies from your main speakers to your LFE. Redirect: sends LFE channel to that channel.
Consumer playback systems often lack a Redirect trim: trims the overall level of extended
subwoofer for the LFE channel, and in this case LFE sent to the surround channels.
they redirect the LFE channel into some of the
main channels, typically left, center and right. Use Channel mute: each mute control mutes its
Bass Manager to preview your mix under these respective channel.
suboptimal conditions.
input LFE -> encoder filter simulation-> redirect
The acoustic mixing of bass energy in your control trim -> redirect switch -> channels.
room is very different from summing the same
signals inside a mixer. Most consumer playback input (normal) -> LPF -> extend trim -> extend
systems include built in bass managers that can switch -> LFE output/input: trims input signal of
cause phase cancellation that you will miss LFE.
because the signals are summed electrically, not
acoustically.
14
CALIBRATION ☛ Be quiet. Any noise you make will throw off
the calibration results, especially during the
silences. Enable the auto calibrate button.
Calibration will send pink noise to each speaker in

sequence. Calibration will read the levels and
delay characteristics (except the delay of LFE(s))
of each speaker and configure itself. While the
calibration sequence is running, you can make
adjustments to your speaker system (such as input
trims). Auto calibrate will continue looping until
you cancel auto calibration mode. It may take a
few passes through each monitor for Calibration
to settle on an accurate setting.
Your system is now calibrated. At this point, save

your calibrate setup. Under the Preset menu, select
save presets. Name your preset “my studio” and hit
the ok button. Now you can recall your studio
no no no yes no yes
preset at any time without running the calibration
Calibration helps accurately match the relative procedure each time you mix.
levels between the speakers in your mixing
Manual calibration
environment. In addition to calibrating levels, After following the setup procedure for Auto
Calibration allows you to compensate differences Calibration, perform the following steps:
in speaker distance with delay trims.
1 Determine your standard reference level
☛ Warning: Calibration emits high energy noise (-12dB, for example) and solo the channel you
out of your monitoring system. Take precautions want to calibrate.
in the form of ear protection and amplifier levels.
2 Enable noise, Calibration will now send pink
Auto calibration noise to the soloed speaker.
Set up a full frequency omni directional mic at
your mixing position. Plug the mic into a 3 Adjust the trim for the channel you are
microphone pre-amp and the output of the mic calibrating until the VU meter reaches your
preamp to an input on your audio interface. Be reference level. If you wish to set all trims
sure all monitors are on and set at unity gain. simultaneously, hold down the Option key.
Create an input bundle (see chapter 14, “Bundles”
(page 131) in the DP4 User Guide) for the 4 Repeat for each speaker, taking care to only solo
microphone, select the mic bundle from the Mic one channel at a time. When you are finished,
Input pop up menu. This will connect the output disable noise.
of the microphone to the calibration input.
15
Delay trims CHORUS
Delay trims allow you to compensate for
differences in speaker distance from the mixing
position. For example, if your rear surround
speakers are farther away from your mixing
position than your LCR speakers, you can use the
delay trims to offset the difference. Measure the
distance from the mixing position to the farthest
speaker in the room to the nearest centimeter. M-M M-S M-n S-S S-n n-n
This is your reference speaker. Now do the same
for another speaker and subtract it from the
reference speaker distance. Enter this value, in
Chorus creates its effect by mixing the input with
meters in the delay offset column for that speaker.
a delayed version of itself. The amount of delay is
If the distance is 1 meter, 25 cm, then enter 1.25
centered around the Delay setting. Depth and Rate
into the field. Repeat for all remaining speakers.
control the modulation of the delay around the
Delay setting.
Your system is now calibrated. At this point, save
your calibrate setup. Under the Preset menu, select
save presets. Name your preset “my studio” and hit
the ok button. Now you can recall your studio
preset at any time without running the calibration
procedure each time you mix.
☛ Keep in mind that calibration is a monitoring

The M-S and S-S variants of Chorus have
plug-in designed to compensate for your personal
additional parameters. Use the Wet Pan and Dry
listening environment. This plug-ins should be
Pan settings to control the pan of the wet and dry
disabled before mixdown or bounce to disc.
signals independently. The through zero option
allows you to delay the dry path as well. When you
choose this option, the wet signal can come before
or after the dry signal, which can often enhance
the effect.
16
CLEAR PEBBLE CUSTOM ’59
Custom ’59 is an amp modeling plug-in that lets

you mix and match preamp tubes and circuits on-
the-fly, with complete automation of all
parameters.
Modeled amps
Custom ’59 models three renowned guitar amps:
the original Fender® Bassman®, the Marshall®
JTM45® and the Marshall® JCM800®.
Fender® Bassman®
Originally designed for the Fender Precision
Bass®, the Fender Bassman amp was quickly
M-M M-S M-n S-S S-n n-n adopted by guitarists and eventually became
yes yes no yes no no perhaps the most famous and sought after guitar
amp of all time. With its classic 4x10 design (four
A model of the Electro-Harmonix™ Small Stone™ ten-inch speakers) and classic lacquered tweed
phaser with the Color switch set to the Off cover, the Bassman sound is a bona fide icon
position. The color-off timbre is a classic jazzy among guitar tones and a must-have for any tone
phase sound. aficionado.
Pedal switch: bypasses/enables the effect. This Marshall® JTM45®

works the same as the Effect window’s Bypass Introduced in the early 1960’s, the Marshall
button. JTM45 was essentially a clone of the Fender
Bassman. Made popular by Eric Clapton, the so-
Rate: controls LFO frequency. called “Bluesbreaker” amp is named after
Clapton’s band at the time, in which he
17
popularized the now signature sound of playing a pre-amp stage and the power amp stage are
Les Paul through the heavily distorted JTM45. activated. Additionally, the Presence control
Ever since, the JTM45 has been ensconced in the appears, which controls a progressive high
pantheon of world-famous guitar amplifiers. frequency shelf (Figure 1-4).
Marshall® JCM800-1987®
By the early ’80s, Marshall had developed the
JCM800, with higher power tubes and a power
boost from 50 to 100 watts. This amp produces
perhaps the most widely recognized guitar tones
of all time.
Create your own amp

Custom ’59™ lets you play an extremely accurate
reproduction of the sound of each of these three
famous amps. But you can also mix and match the
preamp tube, preamp circuit and tone stack from
each model to create your own custom amp.
Input jacks: selects the input channel and

impedance. Channel I and Channel II each have a
high-Z input (1) and a low-Z input (2).
Vol I, Vol II: volume controls for each channel.
3-band EQ: cuts or boosts for low, mid, and high Figure 1-4: Custom ’59 Power Amp settings.
frequencies. Power Amp models

Each Power Amp model has different character-
Master: output level. istics.
Input Tube: selects a tube for the input stage. This Preamp: clean, high-fidelity solid-state power
determines headroom, first-stage gain, distortion stage (no post-processing of pre-amp model
characteristics and to some extent the frequency beyond a simple gain control).
response of the volume control circuits.
Vintage: spongy, touch-sensitive and loose to the
Preamp Circuit: selects the volume control point of sounding “flabby” at high distortion
circuit model for the indicated amp. levels.
Tone Stack: selects the tone control circuit model Classic: still touch-sensitive but with a more
for the indicated amp. defined overdrive character.
Power Amp Modern: tighter, sacrificing some touch-
When Preamp is selected in the Power Amp menu,
sensitivity for increased definition at maximum
only the pre-amp stage of Custom ’59 is activated.
drive levels.
When one of the other settings is chosen, both the
18
D PLUS Enable switch: bypasses/enables the effect.
DC NOTCH

yes no no yes no yes
The DC Notch plug-in helps eliminate DC offset.
DC offset is when an audio wave form has an

average energy either above or below zero
amplitude. This can be caused by low-quality A/D
converters, as well as certain types of DSP
processing. DC offset can cause clipping (and
M-M M-S M-n S-S S-n n-n distortion), even when the signal does not have
yes yes no yes no no maximum gain. One easy way to tell if a signal has
a DC offset is to look at a graphic representation of
D Plus emulates the MXR Distortion+™ pedal; its the wave form. If the waveform seems to either
crunchy sound has been widely used by Randy hover above or sag below zero amplitude, it has a
Rhoads, Jerry Garcia, Bob Mould, and many more. DC offset.
Output: level of the output signal. The DC Notch is a simple plug-in. It has no
controls. It is merely a special filter that returns the
Distortion: amount of distortion. wave form to an even positive/negative strength. If
there is no DC offset present in the signal, the DC
Source Z: impedance of the input signal, which Notch will do nothing.
affects the high-frequency response. Turn all the
way to the left to simulate a well-buffered pedal or
active guitar, ~3–5 to simulate passive guitars at
full volume, and 6–10 for simulating a passive
guitar with its volume knobs turned down.
Load Z: impedance of the next device in the

signal chain, which affects the high frequency
response. A setting of zero models the low-
impedance input of a typical combo amplifier, and
10 models the ubiquitous 1M¾ high-Z input
impedance.
Status light: displays the bypass/enabled state;

when lit, the effect is active.
19
DE-ESSER Release: release time constant of the compressor/
expander.
Ratio: ratio of the compressor/expander.
The De-esser is based on a dynamic peaking EQ,
Look Ahead: shifts the detector envelope to
which produces adaptive de-essing.
anticipate fast sibilance.
☛ De-esser is also useful for selectively gating
Gain: gain of the EQ band, or makeup gain of the
narrow-band noise and smoothing high-gain
compressor.
guitar tracks in the 2k-4k band.
Freq: center frequency of the bandpass/notch Key Boost: extra gain applied while in solo mode.
pair.
BW: bandwidth of the bandpass filter.
Sensitivity: sensitivity of the sibilance detector.
Attack: attack time constant of the compressor/

expander.
20
DELAY
The delay plug-in produces classic delay effects.
With mono-to-stereo processing, stereo-to-stereo
processing, and separate left/right channel
controls, you can create complex stereo and ‘ping-
pong’ delay effects.
Figure 1-6: Choose real-time from the Tempo lock menu when you
want to specify the delay time in milliseconds. Choose Beats, Note
Values, or Bars to specify the delay time in musical values such as note
duration or measure length. Beat and bar delay times stay locked to
the tempo of your sequence, even through tempo changes.
Delay
This controls the length of the delay. As shown
above in Figure 1-6, you can specify delay time in
milliseconds (real time) or by specifying note
duration (or bar length). Just choose the desired
time format from the Tempo Lock menu.
To generate complex, poly rhythmic effects, try

choosing different note values for the left and right
Figure 1-5: Delay. channel delays.
To generate ping-pong effects, use cross-feedback
no yes yes yes yes yes
without normal feedback.
☛ To program multiple channels at a time, hold
Out of range
down the Option key. The Out of range light only applies to beat-based
automation modes (beats, bars or note values). If
Tempo lock
This menu lets you choose the format for the delay you’ve chosen one of these modes, the Out of range
time. It can be milliseconds, or one of several light illuminates when the length you’ve specified
tempo-based modes, which lock the delay taps to for the delay makes the total delay time longer
the tempo of your sequence, even if there are than 2 seconds (the maximum time allowed by
tempo changes. Accordingly, the delay section of this plug-in).
the plug-in displays a note value menu (or bar
Note that the current sequence tempo factors into
length menu). The tempo-based modes are Beats,
the delay time for beat-based modes. For example,
Note Values, and Bars. For details about these
a quarter note is one second long at 60 bpm but
tempo-based modes, see “Tempo lock” on page 8.
only a half a second long at 120 bpm. So if you
☛ If the transport is not moving, Delay assumes specify a whole note delay, and the sequence
the last tempo you played at or 120BPM if you tempo is 60 bpm, the total delay time you’ve
have not played at all. specified is 4 seconds, which is longer than the 2-
21
second maximum allowed by the plug-in. In this Feedback and cross-feedback
case, the Out of range light illuminates to alert you ☛ Warning! Be very careful when working with
to this fact. To turn off the light, choose a shorter these controls, as they can quickly generate ear-
note, beat or bar value, or increase the tempo of splitting, speaker blowing feedback paths if you
the sequence. are not careful.
Mix ☛ If you accidentally generate a feedback loop

Controls the overall level of the delay echoes that is getting out of control, go for the panic
mixed with the original signal. button, and then stop playback or adjust the delay
settings. Simply stopping playback won’t stop the
Filter feedback!
This is a standard EQ filter that you can apply to
the signal before it is fed into the feedback and The feedback control adds feedback to the delay
cross feedback processors. Filter types include low processor on the same channel. The cross-
pass, high pass, notch and bandpass filters with feedback control adds feedback to the opposite
appropriate frequency and width settings, where channel’s delay processor. Used sparingly, these
applicable. This is a great way to apply an ‘effected’ controls can greatly add to the complexity of the
sound to the delay taps, which can add more delay effect.
interest and dimension to the overall delay effect.
currently edited
channel
Feedback graph and

surround channel cross feedback sends
selection buttons to remaining
surround channels
Figure 1-7: The surround delay.
22
Delay - Surround Versions Stereo to n - Two input knobs are provided
The Delay produces a wide variety of delay effects representing the left and right sides of the source
using a surround speaker matrix. signal. The left and right inputs can be used
independently or mixed to send signal to the
How it works current delay channel.
The Feedback delay provides an independently
programmable signal path for each (non-LFE) N to N - each input is hard-wired to its
channel in your surround matrix. Therefore, if corresponding channel output. A knob is provided
using a 5.1 surround matrix, you have a total of to trim the input.
five channels of delay. The interface displays the
parameters of a single channel of delay at a time. Feedback Controls
The display window in the upper left hand corner The Delay provides a feedback path from each
and the speaker radio buttons tell you which non-LFE channel to every other non-LFE channel
channel you are currently programming. Holding For example: if using a 7.1 surround matrix, a total
down the Option key programs all channels of 49 independent feedback paths are available. In
simultaneously. 10.2, there is a total of 100 feedback paths.
To select a channel to edit, click a speaker icon on Feedback: controls how much post-delay, post-
the circular display in the lower right hand corner filtered signal is recirculated in the currently
of the display. The current channel name will be selected channel.
displayed in the upper left hand corner and the
speaker icon will highlight. X Feedback: controls how much post-delay, post-
filtered signal is sent to each other delay channel
Panic: because it is possible to send 100% of the from the currently selected channel.
signal to multiple destinations, which in turn are
feeding back into a number of other destinations,
delays can spiral out of control rather quickly. If
this happens, the panic button will zero out all of
the delay lines giving you enough time to stop
playback or reduce the feedback gains. Remember,
stopping playback will not stop DSP processing.
Input
The number of source channels determines the
input behavior of the n-channel version of Delay.
Mono to n - One input gain knob is provided to

control the amount of input signal sent to current
delay channel.
23
DELTA FUZZ DIAMOND DRIVE
M-M M-S M-n S-S S-n n-n M-M M-S M-n S-S S-n n-n
yes yes no yes no no yes yes no yes no no
Delta Fuzz emulates the Electro-Harmonix Big Diamond Drive emulates the Voodoo Lab Sparkle
Muff ¼™ pedal, used by many ’80s and ’90s bands Drive™ pedal, which combines an Ibanez TS9™
including the Smashing Pumpkins, Dinosaur Jr., clone with a dirty/clean crossfader.
and Mudhoney.
Gain: amount of distortion.
Volume: output gain.
Tone: variable high-frequency roll-off, with a
Tone: variable high-frequency boost, with shallow peak at high settings.
midrange notch.
Clean: crossfades between distorted signal and
Sustain: amount of distortion. clean signal.
Status light: displays the bypass/enabled state; Volume: output gain.

Enable switch: bypasses/enables the effect. This when lit, the effect is active.
button. Enable switch: bypasses/enables the effect. This
button.
24
DYNAMIC EQUALIZER bands, there are Gain, Frequency and Bandwidth
(Q) controls. For the shelving bands, Gain and
Frequency controls are available.
Control unit range

The Dynamic Equalizer offers precise control of
Gain dB -36.00 to +36.00
frequency, volume and dynamics. A key filter
related to the type of equalizer band feeds a gain Frequency Hertz 10 Hz to 20 kHz
computer, and the gain computer’s output signal Bandwidth Octave 0.083 to 4.000
controls the gain parameter of the band.
Bandwidth and center frequency behave as they
The EQ parameters can be controlled by editing
would for a regular EQ.
their numeric values directly, or by dragging the
Band controls corresponding filter handle and Bandwidth
The Dynamic Equalizer has three parametric handles in the graphic display.
bands (Peak 1, 2 and 3) and two shelving bands
Band-specific compression/expansion
(Low and High Shelf). The band controls let you
Each EQ band feeds its own compressor, with
select, solo, and enable/disable each band. The
standard Threshold, Attack, Release, and Ratio
controls across the bottom of the window affect
controls, as explained for the MasterWorks
the currently selected band. Each band is
Compressor in “Controls” on page 40. The knobs
represented by a unique color on the controls and
for these compressor settings reflect the color of
in the graph.
the currently selected EQ band (chosen with the
EQ settings band controls). Threshold can be controlled using
Each band offers the standard parametric EQ the Threshold knob, or using the threshold
controls, similar to the MasterWorks EQ (see “EQ controls to the right of the EQ graph. Each
filters” on page 44). For the three mid (peak) compressor also provides controls for minimum
gain and lookahead:
Min Gain: sets a floor for the gain reduction. This

is particularly useful for expansion.
Band dB scale EQ FFT FFT Filter Bandwidth Show/hide Compressor/expander

controls range settings display controls handle handles controls threshold controls
25
Look-ahead: shifts the detector envelope to Band response plots: presents a visual represen-
anticipate fast transients (per band). Lookahead tation of individual response curves created by
can be set to different values for each frequency each peak/shelf point. The shape of the filter,
band, and DP will automatically compensate for according to its current settings, is shaded in the
all delays in the audio patch. same color as the filter’s knob(s).
Global settings FFT analysis: frequency analysis of digital signal

There are two additional global settings, which are input, which dynamically updates when signal is
not band-specific: fed to the plug-in. The FFT pre/post switch
controls whether the FFT curve reflects any
Makeup Gain: global makeup gain. filtering being applied to the signal by Dynamic
Equalizer.
Solo Boost: extra gain applied while in solo
mode. Applications for the Dynamic Equalizer
The Dynamic Equalizer is most effective on a
EQ graph
broadband signal such as a drum set or full mix. It
The EQ graph provides visual control over the five
works like other multi-band compressors, but
bands of EQ, similar to the MasterWorks EQ, as
because it has the additional control of parametric
explained in “Frequency response display” on
EQ for each frequency band, it can be much more
page 43. Drag the filter handles and bandwidth
precise than a standard multi-band compressor.
handles as desired. Use the dB scale range buttons
to control the vertical (gain) range of the graphic To hear the Dynamic Equalizer in action, run a
display. The display includes a real-time FFT to full drum mix through it. Enable the low-shelf
show the frequency plot of the output signal in real band and increase the gain. The bottom end of the
time, either before or after it is processed by the drum set will be boosted. Now bring in the
plug-in (using the FFT pre/post switches). The compression by lowering the threshold for the low
FFT can be shown or hidden, along with several shelf band. This will allow you to “tighten up” the
other items. low frequency, and set the level exactly where it
needs to be. Do the same for the high-shelf filter to
Show/hide buttons
The four show/hide buttons (Figure 1-21) control accentuate the top end of the kit while keeping the
the display of the following parameters: dynamic range under control. Use a mid-band
filter to isolate the snare drum. Solo the filter to
Static Dynamic Band FFT
focus in on the resonant frequency of the snare.
response response response display Compress and boost or cut to match the rest of the
kit. Now bypass the plug-in and you will hear an
obvious difference.
Figure 1-8: Show/hide buttons.
Static response: shows the outline of the EQ

curve as a green line (when the signal’s envelope is
below the threshold).
Dynamic response: shows the current dynamic

response of the EQ as a magenta line.
26
DYNAMICS the audio to drop out briefly when a soft passage
follows a loud passage. Short Release times may
cause the attenuation to pump when the average
input level quickly fluctuates above and below the
Threshold.
side chain input
Limiter
The Limiter is similar to the Compressor, except
there is no Ratio control. When the input level
goes above the Threshold, the output plateaus at
the Threshold level.
Expander
The Expander is the opposite of the Compressor: it
increases the dynamic range. Inputs under the
threshold are attenuated, and inputs above the
threshold are passed straight through.
Gate
When the input to the Gate falls below the
threshold, the output is muted entirely.
Figure 1-9: The Dynamics plug-in.
Input level
M-M M-S M-n S-S S-n n-n The Input Level meter displays the peaks of the
yes no no yes no no input signal after the Input Gain is applied. The
Threshold control is calibrated to 0 dB on the
There are four types of Dynamics processors Input Level meter. Since the MOTU Audio System
available: (downward) compressor, limiter, has virtually unlimited headroom without signal
(downward) expander, and gate. degradation, it is possible to have an input signal
above 0 dB. Use the Input Gain to adjust the input
Compressor level before adjusting the other controls.
The Compressor lowers the level of the input when
it is above the threshold. The amount of The input level of the stereo dynamics processor is
attenuation is determined by the Ratio and the the maximum of the left and right channels.
input level. If the input is 6 dB above the Threshold
and the Ratio is 3:1, then the output will be 2 dB Control level
above the Threshold. When the input level goes The Control Level displays the time averaged
above the threshold, the attenuation is added envelope of the control signal. The Control
gradually to reduce distortion. The rate at which Envelope is compared to the Threshold by the
the attenuation is added is determined by the processor to determine the attenuation. The
Attack parameter. Likewise, when the input level Control Level meter range is -98 dB to 0 dB, the
falls below the Threshold, the attenuation is full range of the Threshold control.
removed gradually. The rate at which the
attenuation is removed is determined by the
Release parameter. Long Release times may cause
27
Attenuation 0.7v absolute hard-knee limit, sub-millisecond
This level meter displays the current amount of attack dynamics, and painfully slow (>1s) release
attenuation applied by the effect. dynamics.
Output level The original Dyna-Comp “script logo” was a staple

The Output Level meter displays the peaks of the in many famous guitar rigs, including those for
output signal. The Output Gain is applied before Pete Townshend, David Gilmour and Eddie van
the Output Level meter. Use the Output Gain to Halen, among others. The most notable
compensate for the effect of the dynamics differences in the vintage script logo model versus
processing. the more modern block-lettered model(s), were
the “metal can” CA3080 IC chips, and the carbon
Side chain input
The Dynamics plug-in has a side chain input for a film resistors used throughout the circuit.
control signal of your choice, a shown in
Output: controls output level from the pedal.
Figure 1-9. Just route the desired control signal to
a bus and then choose the bus from the side chain Sensitivity: adjusts the maximum gain of the
input menu. You can use the side chain control automatic gain control. When turned up, this
signal for any of the four dynamics processors allows more transients like note attacks to come
(compressor, expander, limiter or gate). through.
DYNA-SQUASH Link (stereo-stereo only): links (or unlinks) the

left and right channels’ compression.
ECHO
M-M M-S M-n S-S S-n n-n Figure 1-10: The Echo plug-in.
yes yes no yes no no M-M M-S M-n S-S S-n n-n

yes no no yes no no
Modeled after the MXR “script-logo” Dyna-
Comp™ compressor, the Dyna-Squash features an There are two serial stages to the Echo effect: the
infinity-ratio limiter with 60dB maximum gain, a Delay Taps and the Feedback Path.
28
Delay Taps Feedback Path
Each of the Delay Taps creates a single repetition The outputs of each of the Delay Taps are feed into
of the input signal at the specified delay and with the Feedback Path.
the specified gain.
The Feedback Path creates a series of equally
At least one of the Delay Taps must have a nonzero spaced echoes. Each successive echo is a scaled
gain for the wet signal to be nonzero. version of the previous echo. The scale factor is
controlled by the Feedback value. When the
You can make a four echo pattern by setting each Feedback value is zero, the output of the Delay
of the Delay Taps. Taps will pass straight through unaffected. When
the Feedback value is one or negative one, the
☛ The maximum delay tap time is 2 seconds. If
echoes will continue forever at a constant signal
you choose a note value or bar length that exceeds
level.
2 seconds, the colored box beneath the tap flashes
to alert you that you’ve chosen a delay time that is ENSEMBLE CHORUS
out of range (longer than 2 seconds). To bring the
delay time back into range, choose a shorter note
no yes no yes no no
(or bar) duration. Or speed up the tempo of the
sequence. For a complete explanation of the The Ensemble Chorus simulates an ensemble of
impact of tempo on delay time, see “Delay” on slightly randomized unison voices spread across
page 21. the stereo soundstage. It is intended to be a
modulator used with ProVerb (page 73), but it can
29
also be used effectively as a standalone processor Pan: set left-right panoramic position of the
for thickening up a group of voices, making a applicable signal path. Uses an equal-power law.
guitar swirl, or other chorusing effects.
Gain: trims the level of the applicable signal path.
The Ensemble Chorus window includes a signal
flow diagram, which displays how the left and EVERB
right stereo signals are split, routed, and mixed. eVerb provides high-fidelity reverberation,
The center column of buttons lets you link or numerous presets, and graphic control over the
unlink parameters for the left and right channels, reverberator’s parameters.
as desired.
Left, right and center channel controls

Each channel (left, right and center) has the
following controls:
Delay: minimum delay path, in milliseconds.
Width: width of the modulator’s sweep, in

milliseconds.
Rate: LFO sweep frequency, in Hz.
Symmetry: changes the response of the LFO

signal. Imagine one complete sine wave cycle: the
symmetry knob shifts the 90° points on the
positive and negative waves. When turned to the Figure 1-11: eVerb has an expand button to show and hide the Initial
left, the positive 90° point moves to the left, while Reflection and Delay/Level settings below the reverb shape.
the negative 90° point moves to the right. When M-M M-S M-n S-S S-n n-n
turned to the right, the positive 90° point moves to
yes yes yes yes yes yes
the right, while the negative 90° point moves to the
left.
Mix
The Mix setting does what its name implies: it
Phase: controls the phase relationship of the three
blends the original signal with the affected signal.
LFO’s at the start of processing (Square + Sine +
If you use eVerb on a dedicated effects send, set
Triangle only).
the mix to 100%.
Mod Type: lets you choose type of modulator for
Reverb Time
the given delay path (random, square, sine,
This setting is for the decay, or tail, of the reverb.
triangle).
There are three controls associated with the
Link Buttons: when enabled, the link buttons graphic display: Low Frequency Reverb Time, High
bind the applicable controls to both left and right Frequency Reverb Time, and Crossover Frequency.
channels. Use these three controls to specify the amount of
30
low-end reverb, high-end reverb and the cutoff ☛ Here’s a tip: try using initial reflections
point between them. You can drag the handles to without any subsequent reverb (turn the reverb
change settings, or type in precise values. level down as far as it will go). You’ll hear
interesting and unusual effects.
Hi-Q link
The Hi-Q link button connects the High Frequency PreDelay
Reverb time control to the Shelf Filter (described PreDelay is the amount of time before you hear the
below). When the box is checked, increasing High very first reflections. If you are in a large room, it
Frequency Reverb Time will result in more high takes a while before the first reflections return.
frequency filtering and lower crossover points. PreDelay is useful for clarifying the original
The purpose of this button is to keep high sound. For example, with vocals, the reflections
frequency reverb sounding natural. Turning Hi-Q won’t start until after a word has been sung.
Link off will brighten the sound of the reverb—to
the point of sounding unnatural, if you use Reverb Delay
extreme settings for the high end reverb time, There are four additional settings for the Reverb
diffusion and shelf filter. Tail. The Delay control sets the amount of time
after the first Initial Reflection before the Reverb
Reverb shape Tail starts. For example, if you clap your hand in a
The large display labelled Reverb Shape shows the large, tiled room (a train station perhaps), the first
character of the reverb. This display tells you at a thing you hear is the splattering of the initial
glance what eVerb is doing with regard to Initial reflections. Then the reflections wash together
Reflections (the unique characteristics of the into the tail of the reverb. With eVerb, you can set
currently selected room type) and Reverb Tail (the the relative levels and times of the Initial
decay of the reverb). The main settings for eVerb Reflections and the Reverb Tail.
can be controlled with the handles on the edges of
the display; you can also type values into the text Color
boxes below. The Color setting regenerates a small amount of
the Initial Reflection into the Reverb Tail. This
Initial reflections and Room Type adds tonal coloration to the overall reverb.
Initial reflections give a space its unique sound.
The shape of the room, the angles of the walls, Diffusion
even furniture in the room will produce a series of Diffusion increases the density of the Reverb Tail
Initial Reflections. Think of the Room Type as the reflections. At low settings, individual echoes are
flavor of the reverb. You can choose between discernible. At high settings, the Reverb Tail is
Concert Hall, Auditorium, Horseshoe, Small very smooth. Drums typically benefit from more
Room, and Club. These are acoustic models for diffusion, whereas vocals often call for less
simulating these different types of spaces. The Size diffusion.
and Level parameters (click the Expand button to
Stereo width
reveal them) let you control the size of the room
Stereo Width does what its name implies: if you
and the strength of the initial reflections.
turn this control down, the effect will become
mono.
31
Shelf Filter HARDWARE INSERT
The Shelf Filter display at the bottom of the
window and the two associated settings control
the high frequency characteristics of the overall
effect. High Cut sets the frequency. Hi Damp sets
the amount of filter.
FLANGER

yes yes no yes no yes
The Hardware Insert plug-in functions just like

The Flanger creates its effect by mixing the input
other DP effects plug-ins, but loops the channel’s
with a delayed version of itself. The amount of
audio signal to a piece of outboard hardware for
delay is centered around the Delay setting. Depth
external processing by the hardware. Audio is then
and Rate control the modulation of the delay
returned to the plug-in, with latency
around the Delay setting.
compensation, if desired. It can be instantiated in
The Feedback control adds some of the output line with other software plug-ins and even saved as
back into the input. part of an effect chain clipping. The hardware
Insert plug-in allows you to easily incorporate
The M-S, S-S and M-n variations of the Flanger outboard gear into your DP effects chains.
effect have an additional button labelled L/R In
Phase. When this option is selected the amount of Send: Choose the output (or output pair) on your
delay applied to both left and right channels is the audio interface that is connected the input on your
same When this option is not selected, the large outboard gear. The choices in this menu are set up
delays are applied to the left channel when small in DP’s Bundles window Outputs tab.
delays are applied to the right channel, and vice-
Use the volume slider to boost or attenuate the
versa.
output signal.
Return: Choose the input (or input pair) on your

audio interface connected to the output from your
outboard gear. The choices in this menu are set up
in DP’s Bundles window Inputs tab.
Use the volume slider to boost or attenuate the

input signal.
32
Latency: Click the Detect button to make the Volume: controls the output level.
Hardware Insert plug-in detect the round trip
latency to and from the outboard gear. The Bias: adjusts the bias point of the transistor
detected latency is displayed in the text box below model. On an analog circuit, this is akin to
(in samples). You can also enter the number of changing voltages applied to a transistor amplifier
samples manually. When the samples text box has model, which changes the symmetry of the
anything other than zero in it, latency distortion. A higher bias number on this pedal
compensation is employed to ensure that the represents less voltage, thus a higher distortion
audio signal returned from the outboard gear level.
remains in phase with the rest of the channels in
the mix. INTELLIGENT NOISE GATE
HI-TOP BOOSTER


yes yes no yes no no Intelligent Noise Gate is a noise gate designed
specifically for recording instruments that are
Hi-Top Booster is a model of the Dallas prone to AC mains interference.
Rangemaster™ treble booster used by Eric Clapton,
Brian May and others. This pedal has been cloned
☛ In the stereo-to-stereo variant, the stereo
channels are processed independently.
under a variety of names, including Strange-
master™, Java Boost™, Brian May Treble Boost™, Threshold: trigger level that opens the gate.
and several others. When used by itself, the Hi-
Top Booster sounds like a cheap transistor radio, Attack: rise time constant of the gate, in
but when used to drive MOTU’s Custom ’59 and microseconds (μs).
Live Room | G (with the Vintage 4 x 12 cabinet
enabled), you can really achieve that 1970s “glam”
guitar tone.
33
Hold: minimum amount of time the gate will stay INVERT PHASE
open once triggered, in milliseconds (ms).
Decrease if noise overhanging the note is a
problem.
Release: fall time constant of the gate, in M-M M-S M-n S-S S-n n-n
milliseconds (ms). yes no no yes no no
Mains Frequency: tune this to your national

Invert Phase flips the phase of the input signal.
power grid.
This is useful when you have recorded two out-of-
Noise Type: AC noise comes in two flavors: phase signals, such as the top and bottom of a
“Hum” is what gets picked up inside an amp using snare drum. Place the Invert Phase plug-in on one
AC heated preamp tubes, and “Buzz” is due to of the out-of-phase tracks to bring both tracks into
ripple in poorly-regulated DC power supplies phase.
such as those for old stomp boxes. In North
America, these correspond to approximately
60 Hz and 120 Hz fundamental frequencies,
respectively. The switch should be set to match the
dominant noise source in the input.

Pedal: bypasses/enables the effect. This works the

same as the Effect window’s Bypass button.
34
LIVE ROOM B Cab: selects the cabinet model. See “Cabinet
models” on page 36.
Decay: applies a down-fade to the reverb portion
Live Room B models a loudspeaker cabinet in a of the response at the indicated rate, which
physical space. As the name implies, the modeled simulates decreasing the reverb time of the room.
characteristics of this plug-in are intended for bass
Damping: controls the high-frequency roll-off of
guitar, although it can be successfully applied to
the room, similar to hanging curtains or setting up
many kinds of audio material.
gobos.
Live Room B requires a library file containing data
Display area: graphical representation of the
about these physical models. This file is placed by
cabinet selection, mic types, and mic positions.
the Digital Performer installer here:
This is for display purposes only; the graphic
/Library/Application Support/MOTU/ cannot be edited.
LiveRoomG/LiveRoomB Data.bundle
Microphone mixer
There are four microphone channels: two mono
Controls
Cabinet Drive: amount of distortion provided by (channels 1 and 2) and one stereo (channels 3 and
the cabinet. 4), each with their own set of the following
controls:
Output Gain: output level.
Mic: selects the microphone type and position.
Several microphone models are provided:
35
Close-mics: Side chain outputs
Live Room B provides a side chain output for each
■ AKG D 112 of its four channels. The side chain output signals
■ Sennheiser e602-II are split before Live Room B’s EQ, solo/mute, pan,
fader, and output gain controls. This enables you
■ Shure SM7B to take advantage of Digital Performer’s full
■ Yamaha SubKick mixing environment for each microphone
channel, including plug-ins and automation.
■ M-Audio Sputnik
These side chain outputs are configured in the
Matched pair:
same manner as multiple outputs from a virtual
■ Schoeps small diaphragm condensers instrument. They can be accessed in the same way
as any other audio input: in the Input menu in the
Channels 1 and 2 can be set to one of six mics with Tracks window, from the Audio Input menu,
set positions: DYN112, DYN602, DYN7B, SubKick, underneath the fader in the Mixing Board
Condenser, or Far Omni. (Figure 1-23), or in the Bundles window.
Channels 3 and 4 can be set to one of four mic

options: XY, ORTF, Blumlein, or Wide Omni.
To disable a channel (or pair), choose None.
Pre-delay: advances or delays the signal to

compensate for the time it takes for a signal to
reach a microphone. The range corresponds to Figure 1-12: Accessing the Live Room B side chain inputs
about +/- 10 feet, and the plug-in automatically
adjusts the relative delay to prevent chopping off Cabinet models
the direct sound and early reflections in close-mic The following cabinet models are provided:
responses.
8x10 Fridge: modeled after a sealed Ampeg
3-band EQ: cuts or boosts up to 15 dB for low, SVT-810.
mid, and high frequencies.
4x10 Giant II: modeled after the rear-ported
Pan / Width: (mono-to-stereo only) on channels SWT Goliath II with the HF driver fully
1 and 2, Pan controls the placement of the mono attenuated.
source in the stereo output signal; on channels 3
1x15 Ported: modeled after the front-ported
and 4,Width controls the width of the stereo
Ampeg SVT-15.
signal.
1x18 Big Bear: modeled after the rear-ported
Solo and Mute: solos or mutes the channel.
SWR Big Ben.
Fader: controls the output level.
36
LIVE ROOM G Decay: applies a down-fade to the reverb portion
of the response at the indicated rate, which
simulates decreasing the reverb time of the room.
Live Room G models a loudspeaker cabinet in a Damping: controls the high-frequency roll-off of
physical space. As the name implies, the mics and the room, similar to hanging curtains or setting up
cabinets modeled by this plug-in are intended for gobos.
guitar, although they can be successfully applied to
Display area: graphical representation of the
many kinds of audio material.
cabinet selection, mic types, and mic positions.
Live Room G requires a library file containing data This is for display purposes only; the graphic
about these physical models. This file is placed by cannot be edited directly.
the Digital Performer installer here:
Microphone mixer
There are four microphone channels, two mono
/Library/Application Support/MOTU/
(channels 1 and 2) and one stereo (channels 3 and
LiveRoomG/LiveRoomG Data.bundle
4), each with their own set of the following
Controls controls:
Cabinet Drive: amount of distortion provided by
the cabinet. Mic: selects the microphone type and position.
Channels 1 and 2 can be set to one of five options:
Output Gain: output level. On Axis, Off Axis, Near, Rear, Far Omni; channels
3 and 4 can be set to one of four mic options: XY,
Cab: selects the cabinet model. See “Cabinet ORTF, Blumlein, Wide Omni. To disable a channel
models” on page 38. (or pair), choose None.
37
Pre-delay: advances or delays the signal to 2x12 ACE-30: Based on an AC30 with carefully-
compensate for the time it takes for a signal to aged Celestion “Alnico Blue” drivers for guitar
reach a microphone. tones that never go out of style.
3-band EQ: cuts or boosts up to 15 dB for low, 2x12 Combo: For Muscle Shoals-style southern-
mid, and high frequencies. rock and country guitar tones.
Pan / Width (mono-to-stereo only): on 1x12 Combo: Based on a first-generation Boogie

channels 1 and 2, Pan controls the placement of Mark IV with the original 12-inch Black Shadow
the mono source in the stereo output signal; on driver in the finished walnut version of the open-
channels 3 and 4, Width controls the width of the back cabinet. This cabinet is a versatile tone
stereo signal. machine.
Solo and Mute: solos or mutes the channel. 1x12 Citrus: Based on an Orange 1x12-inch
closed-back extension cabinet loaded with a
Fader: output level. Celestion Vintage 30 driver.
Side chain outputs 4x10 Combo: Tuned for blues, jazz, rock and
Live Room G provides a side chain output for each country. Based on a classic.
of its four channels. The side chain output signals
are split before Live Room G’s EQ, solo/mute, pan, 2x10 Tilted: Based on a Fender Vibrolux 2x10-
fader, and output gain controls. This enables you inch in the tilted-back configuration. This cabinet
to take advantage of Digital Performer’s full pairs well with single coil pickups.
mixing environment for each microphone
channel, including plug-ins and automation. 1x8 Junior: This one was set up to record
distorted rhythm guitar tones for rock and pop. If
These side chain outputs are configured in the you like Eddie Money then this is your cabinet.
same manner as multiple outputs from a virtual
instrument — see “Multiple audio outputs” on LIVE STAGE
page 158 in the DP4 User Guide.
Cabinet models
The following cabinet models are provided:
4x12 Modern: Intended for ultra-distorted

chunks and sludge, yet versatile enough to handle
smooth Santana-style leads.
4x12 Vintage: Based upon an aging, road-worn

British monster held together with gaffer’s tape
and AquaNet. Perfect for those ’80s hair-band
tributes and ’70s proto-metal.
38
Live Stage is a model of recording a signal compressors with crossover controls, allowing you
reproduced by a loudspeaker cabinet in a studio. to set the frequency range and compression
The cabinet and microphone settings offered by characteristics of each band.
the plug-in are ideal for guitar and bass guitar
tones. This is a great low-CPU direct box for live
yes no no yes no no
performance use: just choose a cabinet and a mic,
adjust damping and decay, set your levels, and
rock out! The MasterWorks Compressor can be used to
subtly control bass, mid-range or treble
Gain: adjusts level of the signal coming in and frequencies independently of each other. A wide
being fed through the effect. band compressor will respond to the loudest parts
of a signal regardless of its frequency. This can
Damping: controls the high-frequency roll off of cause the kick drum to attenuate cymbal hits, for
the room, similar to using curtains or gobos. example. A multi-band compressor gives separate
control of the three frequency bands, so —
Decay: applies a down-fade to the reverb portion
continuing with the same example — a loud, low-
of the response at the indicated rate, which
frequency signal will not trigger high-frequency
effectively decreases the reverb time of the room.
compression. Another common use of frequency-
MASTERWORKS COMPRESSOR specific compression is de-essing. You may want
The MasterWorks Compressor offers precise level to control the sibilants of an audio signal without
control of specific frequency bands of a digital affecting lower frequencies. The MasterWorks
audio signal. This plug-in offers three separate compressor will allow you to get maximum punch
on an individual track or the entire mix, while
maintaining sonic clarity.
Figure 1-13: The MasterWorks MultiBand Compressor plug-in.
39
Signal flow define the notes of this instrument are from
The MasterWorks Compressor plug-in has the around 250 Hertz (Hz) to 1500 Hz. Frequencies
following signal flow: below 250 Hz are “felt” more than heard, and
frequencies around 200 Hz are generally finger
noise and string buzz. The MasterWorks
Input Gain
Compressor allows you to control each aspect of
the sound for a very even, easy-to-mix bass track.
Crossover De-essing
Basic de-essing is easily achieved by compressing
only the high frequency content of the mic signal.
Three Band Compressor Use fast attack and release times. However, for
advanced de-essing work, see “De-Esser” on
page 20.
Output Gain
Controls
Figure 1-14: MasterWorks Compressor signal flow.
Input Gain: Boosts or attenuates the incoming
signal.
How it works
The MasterWorks Compressor works very much Crossover: Two crossover points separate the
like a traditional wide band compressor. The frequency spectrum into three bands for separate
difference is that the MasterWorks Compressor is compression.
actually three independent compressors that act
upon differing frequency ranges of the incoming Output Gain: Boosts or attenuates the global
signal. These frequency ranges are set by the output of the plug-in.
crossover controls.
Lo Band, Mid Band, Hi Band: Select among
Each compressor has a make-up gain control for frequency bands for three separate compressors.
adding gain to that frequency band to compensate The following controls are available for each
for compressor attenuation. Additionally, there are compressor band.
global input and output gain controls for affecting
Solo: Mutes the non-soloed frequency bands.
the entire frequency range of the signal.
Very useful for hearing what a specific frequency
Soloing/muting compressor is doing.
Each frequency band can be soloed or muted,
allowing you to audition only the band you are Bypass: Disables compression for the selected
working with. This can be very useful for tuning in band.
on the exact frequencies you want to control.
Threshold: Determines the level above which the
Many instruments create a wide frequency range compressor will have an effect. Threshold can be
of sound, and the MasterWorks Compressor set with the knob, slider that appears on the band
allows you to control each part of that sound with input meter, and in the graph display.
great precision. A good example of this is an
Ratio: Determines the amount of compression on
electric bass guitar. The primary frequencies that
the signal over the threshold.
40
Make up: Adds gain to the signal after compression to the bottom end of a full mix, then
compression. Because compression attenuates a increase the make up of that frequency for a tightly
signal, it can be desirable to add gain to the signal controlled kick drum and bass. Run a solo acoustic
after compression. guitar or piano through even multi-band
compression and hear how each part of the
Attack: Determines the time it takes for the instrument is more present, without mix-ruining
compressor to react after the signal has exceeded peaks.
the threshold.
You may only want to compress specific frequency
Release: Determines the time it takes for the bands, such as when you are de-essing, or you may
compressor attenuation to return to zero after the want to compress the entire frequency spectrum
input signal has dropped below the threshold of the audio signal. A major advantage of
level. multiband compression is that frequency-specific
peaks do not cause broad band compression. A
Clear: Clears peak meters for the chosen band.
good example of this is a slapped electric bass. The
high frequency portion of the signal will not cause
RMS: Shows the Root Mean Square, or average
the low frequency to be limited. On a full mix, it is
level. Since the average level of a mix is usually
possible to have smooth control over lows, mids,
well below any maximum peaks, it is useful to
and highs without “hole-punching”.
know what the average level is, as well as the
loudest points. This is very helpful when matching
As in the case of any effect preset, these are
the apparent levels of different frequency bands.
starting points. Experiment! Your ears will be the
final judge of the usefulness of the effect.
Compression Graph: Gives a graphic display of
compression parameters and the actual signal
MASTERWORKS EQ
level for each band. Any combination of bands can
be viewed at the same time. M-M M-S M-n S-S S-n n-n
MasterWorks Compressor presets
The MasterWorks Compressor presets (found in Inspired by legendary British large console EQs,
the MasterWorks window Preset menu) are the MasterWorks EQ gives you the look, feel and
designed for many common applications. sound of the most sought-after classic equalizers.
Compression is a level-dependent effect. As a Five bands of EQ filtering are provided, each with
result, input level — both broadband and four EQ types that provide current popular EQ
frequency specific — is critical to what the final styles and vintage analog EQ styles alike. Two mid
output is. The presets will do different things bands (LMF and HMF) include shelf filtering.
depending on input level and bandwidth of the Two additional bands of variable slope low pass
audio signal. and high pass filtering are provided. The filter
response display provides comprehensive control
Compression can be used to make a signal more and visual feedback of the EQ curve being applied.
even or natural-sounding, or it can be used as an
obvious special effect. Try putting a drum mix
through the MasterWorks compressor, and listen
to how the cymbals get “squeezed”. Add heavy
41
The MasterWorks EQ has been carefully crafted Parameter display: Shows the precise numbers
and meticulously engineered to produce musical of the parameter you are adjusting (or hovering
results in a wide variety of applications. over with the arrow cursor). The labels (frequency,
gain, etc.) match the color of the filter being
Quick reference displayed.
Filter response display: Shows the response
curve and frequency analysis for the current EQ filter: one of five bands of EQ that can be
settings. independently enabled and programmed.
dB scale: Lets you specify the vertical scale (in Filter type: Lets you choose from one of four or
dB) of the filter response display. five EQ styles for each independent band of EQ.
Low Pass filter: Both a low pass and high pass

filter are supplied with six different slope settings.
Q handles Filter Composite Individual

(red lines) handle curve filter curve
Filter Composite curve

response toggle
display
Filter curve toggle
FFT display toggle
dB scale Audition with
noise
Parameter Filter enable/
display disable
EQ filter
EQ Filter types
Low Pass filter
slope
Shelf filter
Figure 1-15: MasterWorks EQ.
42
Slope: Lets you choose the slope (fall off) charac- five bands of EQ, each with their own unique knob
teristics of the low pass and high pass filter. color, plus additional low pass and high pass
filters. The five bands are labeled as follows:
Q handle: Drag the Q handle lines to graphically
adjust the Q setting for the currently selected filter. Filter Label
To select the filter, click its filter handle. Low frequency LF
Mid frequency MF
Filter handle: Drag this handle to graphically
adjust the filter’s boost/cut and/or frequency. High frequency HF
Low-mid frequency LMF

Composite curve: shows the overall response
curve of the current settings in the window. High-mid frequency HMF
Individual filter curve: Each filter has a color These labels, along with the position of the filters
(indicated by its knobs). When filter curves are in the window, are merely conceptual guides. In
being displayed (the filter curve option is turned fact, each filter can be set to any center frequency
on), each individual filter’s response curve is you wish.
displayed in the filter’s color.
Each filter can be independently turned on or off
Composite curve toggle: Turns the composite with the enable/disable button shown in
curve display on or off. Figure 1-15 on page 42. Each filter can be set to
one of four different filter types (I, II, III or IV).
Filter curve toggle: Turns the display of the filter The LMF and HMF filters provide an extra low
curves on or off. and high shelf setting, in addition to the four
standard band settings.
FFT display toggle: The filter display area can
also produce an FFT display of the processed The additional low pass and high pass filters have
signal. Use this button to turn it on or off. gray cutoff frequency knobs and six settings for
slope (in octaves/dB).
Audition with noise: When this option is
enabled, and you adjust a parameter, you will hear Frequency response display
a soft bit of pink noise so that you can hear the The frequency response display at the top of the
effect of the adjustment you are making. You only window displays the response curve of the current
hear pink noise while actually dragging a knob or settings in the window. The (horizontal)
control point in the filter response display. frequency range is from 10 hertz to 20 KHz. The
(vertical) amplitude scale is in dB and is adjustable
Filter enable/disable: Turns the filter on or off.
between 3 and 24 dB using the four dB scale
How it works buttons (Figure 1-15 on page 42).
The MasterWorks EQ operates like a standard EQ
Showing and hiding filter curves
filter, but with much more sophisticated
To view a filter in the display, turn on the filter.
processing algorithms “under the hood”. There are
The shape of the filter, according to its current
settings, is shaded in the same color as the filter’s
knob(s). For example, the MF filter is shaded in
red, and the high pass filter is shaded in gray.
43
Use the composite curve and filter curve buttons EQ filters
(Figure 1-15 on page 42) to show or hide them in The EQ filters have three parameters:
the display.
Control unit range
Adjusting filters in the display Gain dB -20.00 to +20.00
Each filter has a handle, displayed as shown below Frequency Hertz 10 Hz to 20 kHz
in Figure 1-16 (in the filter’s color), for adjusting
Q n/a - see note below 0.64 to 16.00
its boost/cut and/or frequency:
Q
The Q setting does not have a unit of
measurement. Rather, it is the ratio of the filter’s
Filter handle center frequency to the bandwidth of the filter. In
addition, the actual Q value for the EQ curve
Filter Q being applied is dependent on three factors: the
(red line)
gain setting, the filter style, and the Q setting.
Filter types
Each filter can be independently set to one of four
different filter types: I, II, III and IV. These, and
the additional shelf filters for the LMF and HMF
band, are discussed in the section “EQ filter
Figure 1-16: Drag the filter handle to adjust its frequency and/or boost/
cut. Drag the Filter Q handles to adjust the Q. styles”.
For the EQ filters, when you click the handle, Fine-tune adjustment
you’ll also see lines on either side for adjusting the Hold down the Command key when turning a
Q parameter, as shown above. knob for fine-tuned adjustment of each parameter.
The FFT display Returning to zero (or nominal frequency)

Use the FFT display button to show or hide the To return a knob to zero, or it’s nominal frequency,
FFT display (Figure 1-17 below), which double-click it.
dynamically updates when signal is passed
through the MasterWorks EQ plug-in. The shape
of the FFT curve reflects any filtering being
applied to the signal by MasterWorks EQ.
Figure 1-17: FFT display. This example is also showing the composite curve.
44
EQ filter styles Type I
EQ is one of the most widely used processing tools
and can be applied to many different situations,
from minor corrective tasks to highly creative
applications. Over the years, many EQs have been
engineered for specific applications or to achieve a
certain sound. The MasterWorks EQ has been
designed to be flexible enough to cover a broad
range of applications. To that end, several different
filter types are supplied, varying mostly in the way
they handle the dynamic interaction between
Gain and Q. This crucial relationship has been
modeled to emulate the smooth and musical
character of classic analog EQ circuits, in which
the Gain/Q dependency was dictated by the actual
circuit design and electrical components used.
The following sections describe the character of Figure 1-18: Type I EQ filter style.
each type of EQ filter and their suggested
The Type I EQ filter has the least amount of Gain/
applications. In the illustrations for each filter style
Q interaction, providing the most precision and
(Figure 1-18 through Figure 1-21), the settings for
control of all the EQ filter types. Even small
the three example curves are the same for the
adjustments in gain or reduction produce
purpose of comparison:
relatively high Q. This EQ style is best for
■ Frequency = 1.00 kHz situations that call for precise EQ adjustments
requiring the maximum amount of individual
■ Q=1 parameter control. For more general shaping (e.g.
■ Gain = +3, +10 and +20 dB full mixes) or subtle control (e.g. vocals), the other
styles discussed in the following sections might be
more appropriate. This filter type is the most
similar to Digital Performer’s standard parametric
EQ.
45
Type II The Type III EQ filter increases Q as boost is
applied. Therefore, lower amounts of boost
provide a softer, “wider” EQ effect (since the
affected frequency range widens), whereas higher
boost tends to sound louder and more “up front”,
due to the increase in Q as the gain is increased.
The more gentle Q curve at lower settings is well
suited for overall EQ fills and more subtle
corrections in instrument and vocal sources.
Boosting or cutting by small amounts will seem to
produce the effect that your ear expects, without
the need to adjust Q. As a result, this filter style,
and similar EQs with this characteristic behavior,
are often referred to as being more “musical”. More
specifically, this style emulates the classic Neve
EQs, their modern derivatives and later SSL G
series EQs. Many current popular outboard
Figure 1-19: Type II EQ filter style. “boutique” EQs exhibit this same gain/Q
The Type II EQ filter produces constant Q relationship.
response during boost or cut. The Type II style
Type IV
emulates several classic legacy EQs and produces
good results for resonance control on drums and
percussion because it provides relatively high Q
values with more extreme gain or cut settings.
Type III
Figure 1-21: Type IV EQ filter style.
The Type IV EQ filter is a more extreme form of

the Type III filter. It exhibits a high degree of
interaction between Q and gain in order to
maintain as closely as possible an equal amount of
Figure 1-20: Type III EQ filter style. area under the response curve as gain is adjusted.
46
Type IV is the most gentle of the four EQ styles Shelf filters
and is ideal for large scale EQ adjustments,
especially on sub-mixes and complete mixes. This Q = 0.64
EQ style is also ideal for any applications where
subtle changes in the overall character of the
sound are desired. For example, it can be used for
mastering applications, such as the overall
adjustments that must often be applied to entire
Q = 0.75
tracks to match other tracks on the album.
Q = 1.00
Q = 2.00
Q = 8.00
Q = 16.00
Figure 1-22: Shelf filter Q parameter overshoot.
When the LMF and HMF bands are set to their

shelf filter setting (Figure 1-15 on page 42), the Q
parameter controls the amount of overshoot
applied to the response curve, as illustrated in
Figure 1-22. When Q = 0.64 (the lowest setting),
normal shelving is applied with no overshoot. This
produces the response provided by a first order
shelf. When Q = 0.83 (the default setting, not
47
shown), the response corresponds to a second Overshoot tends to produce more of what one
order shelf, still with no overshoot. This is the would expect to hear when applying shelving and
same response as Digital Performer’s parametric is therefore considered to be more musical than
EQ and many hardware EQs. In some situations, shelving without overshoot. This effect, which has
this form of accurate, clean shelving can sound gained tremendous popularity among audio
harsh, especially when compared to legacy analog engineers, was first made popular in original Neve
EQs. To soften the results, the overshoot is series EQs and later in the SSL G series.
increased as Q is increased, as shown Figure 1-22
for Q values of 1.00, 2.00, 8.00 and 16.00. This At the maximum Q setting of 16.00, the overshoot
overshoot region produces a boost in frequencies region consists of half the total boosted (or cut)
just above the cutoff, which compensates in a gain. For example, with a maximum gain setting of
smooth, more pleasing fashion for the perceived +20dB, the loss in the overshoot region is -10 dB.
drop in low frequencies being cut.
Overshoot curves are symmetrical for both cut
Conversely, when shelving boost is being applied, and boost.
overshoot cuts frequencies just above the cutoff to
Low pass and high pass filters
again compensate in a smooth and pleasing
MasterWork EQ’s low pass and high pass filters are
fashion for the perceived boost in low frequencies:
similar to those found in Digital Performer’s
parametric EQ (which has a fixed slope of 12 dB
per octave), except that MasterWorks EQ provides
six different slope (roll off) settings: 6, 12, 18, 24,
30 and 36 dB per octave. This control over the
shape of the “knee” gives you a great deal of
flexibility and control for a wide variety of
Figure 1-23: Overshoot when low shelf boost is applied. applications.
Overshoot is also applied to high shelf boost and
cut:
Slope = 6
Slope = 18
Slope = 36
Figure 1-24: Overshoot when high shelf cut and boost is applied.
Figure 1-25: The low pass filter with three example slope settings.
48
MASTERWORKS FET-76 Input gain
The MasterWorks FET-76 is a detailed model of Unlike many compressors that have an adjustable
the 1176LN Limiting Amplifier, which was threshold of compression, the 1176 uses a fixed
originally introduced by UREI in 1968. There are threshold. Therefore, you must use the input gain
many revisions of the 1176; the MasterWorks to raise the input level above this threshold to
FET-76 is a model of the D/E revisions which engage compression: turning up the input gain
reputedly sound the best. The 1176 uses FETs further will increase the compression amount.
(Field Effect Transistors) to control audio gain
reduction. The design of the 1176 provides for Ratio
very fast response (attack time) ranging from 20 to There are four compression ratio buttons. Like the
800 microseconds. þThe original circuit also original analog model, the FET-76 allows any
introduced saturation distortion which made it combination of the four compression ratio buttons
immediately popular for getting “big” sounds to be selected by using the Compression
from bass, kick and snare, and guitar. þThe 1176 Combination button (Figure 1-26). A popular
has also been a popular choice for lead vocals, setting is All Buttons mode, where all the
synths and even full mixes. compression ratio buttons are engaged; holding
the option-key and clicking on the Compression
M-M M-S M-n S-S S-n n-n Combination button quickly sets the FET-76 to
yes no no yes no no this mode. Another option is to select none of the
compression buttons, which does not compress
The FET-76 provides the same controls and sound the signal but still colors it with the characteristic
as the original analog hardware, and there is a sound of the 1176 inner circuitry. This no-
great deal of information on the internet about compression mode can be set by either
effective use of the 1176. The following sections disengaging each compression ratio button, or by
provide a brief overview of the controls. turning the Attack knob to Off.
Compression Ratio Meter mode

Combination
Figure 1-26: The MasterWorks FET-76 plug-in.
49
Attack and Release MASTERWORKS GATE
Attack and release knobs control the response The MasterWorks Gate provides sophisticated
time of the gain reduction circuit. þRelease time is gating effects with simple to use graphic controls.
variable between 50 milliseconds and 1.1 seconds.
þ M-M M-S M-n S-S S-n n-n
yes no no yes no no
Output
The output knob allows you to trim the overall ☛ Hold down the Option key while adjusting a
level of the signal, after being processed. parameter to program both sides of the stereo
gate.
Meter modes
There are four Meter Mode buttons that Controls
determine what the meter is displaying. GR mode Input: boosts or attenuates the signal before going
displays the gain reduction of the compressor. +8 into the gate.
and +4 modes show the level of the output signal
where 0 on the meter corresponds to +8dB and Threshold: sets the point at which the gate is
+4dB, respectively. Off turns the meter off and triggered. Lowering the threshold causes the gate
bypasses the plug-in. to be opened by a lower level signal. Threshold can
also be set graphically by dragging the red control
point at the bottom of the ratio graph.
ratio graphs
threshold control
Figure 1-27: The MasterWorks Gate plug-in.
50
Range: sets the range of attenuation applied to the gate when to open. You can avoid the look-ahead
signal when the gate is closed. A setting of -inf delay by setting look-ahead to zero or compensate
causes the gate to close completely, which results by nudging the track ahead in the sequence editor
in no signal being passed. Higher settings by the exact amount of look-ahead you specify.
attenuate or ‘duck’ the signal. Range is displayed in
the ratio graph as a diagonal line below the Keying
threshold point. MasterWorks Gate can be keyed three ways: from
the input signal, from a sidechain bus or by a
Attack: determines how quickly the gate opens MIDI signal.
after the signal has crossed the threshold.
The MasterWorks Gate publishes itself as a MIDI
Hold: determines how long the gate stays open device to Digital Performer (and other CoreMIDI-
after the signal has descended below the compatible software). In Digital Performer, you
threshold. can trigger MasterWorks Gate with MIDI notes.
With automatable envelope parameters and MIDI
Decay: determines how quickly the gate will close triggering, the MasterWorks Gate works like a
down after the hold period has elapsed. VCA on a modular synthesizer. When teamed
with Multimode Filter, you now have a very
Status lights: indicate current gate envelope flexible signal processing environment.
status. Red=closed, green=open and yellow
indicates the hold segment of the envelope is Key Filters
active. The key filters can be used to isolate a specific
frequency range of the key signal. This can be
Look-ahead: by looking for transients before they useful for preventing false triggering. The default
occur, the MasterWorks Gate can open the gate setting of the key filter permits all frequencies to
before the signal, thus preserving the attack pass.
transient.
Key Listen
The look-ahead parameter introduces a delay into In Key Listen mode, MasterWorks Gate outputs
the signal path for analysis purposes. Look-ahead the key signal instead of the gated input signal.
analyzes the non-delayed signal and it tells the
Figure 1-28: The MasterWorks Gate mono version.
51
Key listening is a valuable tool for tuning the gate. A model of an optical compressor
If your key signal is also the input signal, key listen The simplest description of an optical leveling
allows you to audition the key filters to isolate a amplifier device is a light shining on a photore-
frequency range. If your key signal is a side chain sistor. The intensity of the light source is
bus, key listen will allow you to hear the sidechain proportional to the audio signal, and the
input. If you are keying off a MIDI signal, resistance of the photoresistor is in turn inversely
MasterWorks Gate will play a tone representing proportional to the intensity of the light. Photore-
the MIDI trigger. sistors respond quite quickly to increases in light
intensity, yet return to their dark resistance very
Stereo: when stereo is enabled, the key source is a slowly. Thus, incorporation of the photoresistor
stereo bus. into an attenuator followed by an amplifier which
provides make-up gain produces a signal which
MASTERWORKS LEVELER maintains a constant overall loudness.
Automatic gain control using light

The Automatic Gain Control (AGC) circuit of the
LA-2A uses a vintage opto-coupler known by its
model number (T4). The T4 contains an electrolu-
minescent panel (ELP) and photoresistor
mounted so that the emission of the panel
modulates the resistance. An ELP consists of a
thin layer of phosphorescent material sandwiched
between two insulated electrodes to form a
capacitor. Making one of the electrodes
transparent allows the light to escape. These
devices are essentially glow-in-the-dark paint on a
piece of foil covered by metalized glass or plastic,
and are the same devices used in low-power night
lights. Unfortunately, these devices need high
voltages to operate, and are best driven by tube
circuits which can supply voltage swings of several
hundred volts.
M-M M-S M-n S-S S-n n-n Response characteristics

yes no no yes no no When the light has faded away, the photoresistor
then decays back to its dark state. The shape of the
The MasterWorks Leveler provides an accurate decay curve varies depending on how bright the
model of the legendary Teletronix™ LA-2A® optical light was and how long the light lasted. A general
compressor, known for its unique and highly rule of thumb is that the louder the program, the
sought-after Automatic Gain Control (AGC) slower the release. Typically, the release can take
characteristics. up to and over one minute. One thing to keep in
mind when using these types of devices is that the
typical concepts of compression ratio, attack,
release, and threshold do not apply. The light
52
intensity is determined by the highly non-linear Compressor/Limit buttons
interactions of the input signal, AGC circuit, and The Comp and Limit buttons model the original
ELP, and thus exhibit a strong program LA-2A Limit/Compress mode switch. The effect is
dependence that is impossible to describe without very subtle, with the Limit option behaving only
the mind-numbing mathematics of statistical slightly more like a limiter than a compressor. The
mechanics. The actual results, however, can be switch increases the level of the input to the AGC
almost mystical: even when you feed the same model and runs the attenuator at a slightly lower
material (a loop perhaps) through the Leveler level. The Leveler then responds more strongly to
twice, you’ll often see a new response the second transients, but otherwise still behaves like a
time through a loop, complete with unique attack leveling amplifier.
times, release times and compression ratios.
Furthermore, two different input signals with the Gain Reduction
same RMS levels may be leveled in a drastically Gain Reduction sets the strength of the signal sent
different manner. to the AGC model.
It is precisely this self-adjusting behavior that Makeup Gain

Makeup gain amplifies the output signal to make
makes optical compressors the tool of choice for
up for gain reduction.
smoothing out vocals, bass guitar and full-
program mixes without destroying perceived In/GR/Out
dynamics. The In, GR and Out buttons choose which signal is
measured by the meter. In measures input. GR
On/Standby button
reads the gain reduction of the T4 cell. OUT reads
The Leveler models the LA-2A so closely, it also
the output level.
models the time it takes for an actual LA-2A to
“wake up” after it is enabled. Therefore, when you Opto-coupler model
first instantiate the Leveler, give it a moment to The Opto-coupler Model buttons selects one of
“settle” before you begin processing signals with it. four personalities based on general characteristics
If you wish to temporarily bypass it, without exhibited by vintage and modern generations of
actually shutting down its “virtual circuits”, don’t the LA-2A.
use the plug-in window’s bypass button. Instead,
enable the Leveler’s STNBY (Standby) button. To Response
go back to a fully processed signal, disable the The Response knob adjusts the characteristics of
STNBY button. This allows you to do instant A/B the filter which feeds the photoresistor. This
comparisons, without having to wait a while for results in a subtle adjustment to the attack time.
the Leveler to wake up each time it is engaged.
Note, however, that the STNBY button does not The MasterWorks Leveler plug-in very accurately
release the system resources required to apply the replicates the behavior of the LA-2A hardware.
Leveler processing, so if you wish to completely The initial conditions of the Leveler model are by
release them, use the plug-in window’s Bypass default set to a state that resembles a hardware unit
button instead of STNBY. that has not been powered on during the last 24
hours.
53
With a real LA-2A, and by design in the Leveler, The cell memory menu
you can get different “warm state” behaviors The cell memory menu shown in Figure 1-29 lets
depending on the audio material you run through you save the warm state for the above initialization
the unit during its “waking” stage, a process situations, without re-training the cell model.
known as priming the cell. In the Leveler, this Click on the meter to access the T4 cell memory
warm state of the T4 cell can be saved and recalled, management menu (Figure 1-29):
allowing you to immediately restore it, rather than
going through the process of attempting to
recreate it from a cold start.
Initially, however, to produce a warm state, you

must let the Leveler plug-in go through the waking
process the first time, just like the real hardware.
Once you’ve done so, you can capture the state of
the opto-coupler for future immediate recall. Figure 1-29: Saving the state of the T4 cell
Leveler plug-in initialization Save current T4 Cell memory: Takes a snapshot

Once a cell state has been saved, it will be used of the current T4 cell state.
whenever the Leveler is initialized, which occurs
at the following times: Undo last memory-saving operation: undoes
the last save or erase operation.
■ When the host software audio engine first starts
up Erase saved memory: each opto-coupler model

(Fast Modern, Slow Modern, Fast Vintage, Slow
■ When the Leveler plug-in is first instantiated Vintage) can have its own saved T4 cell state. Use
■ When the opto-coupler model is changed this command to get rid of the current saved state
for the chosen model.
■ When the Leveler is un-bypassed
■ When the host software playback position Automatic Memory Restoration: when this
changes in pre-rendering mode (Digital menu item is checked, the saved T4 cell memory
Performer only) state will be immediately recalled (for the
currently chosen opto-coupler model) when the
■ During Bounce-to-Disk operations Leveler plug-in is first activated (instantiated, un-
■ When manually recalling a saved state (see
bypassed, or the model is changed).
below)
Re-load saved memory now: recalls the saved
☛ If no cell state has been saved, the Leveler T4 cell memory state for the currently selected
employs a cold-cell initialization that emulates a opto-coupler model.
T4 cell that is essentially “sound asleep”. Therefore,
it is always a good idea to save the cell state, once Erase Saved Memory For All Models: gets rid
the desired warm state behavior has been of the saved memory states for all models at once.
achieved. This will produce predictable results in
Cell memory and presets
all of the initialization situations above.
If you save a Leveler preset, any currently saved T4
cell memory states are included in the preset.
54
MASTERWORKS LIMITER MasterWorks is designed primarily to process
The MasterWorks Limiter maximizes the apparent your final mix output, but it is also very useful for
volume within the available dynamic range by submixes. For example, use MasterWorks on your
reducing the distance between average program drum submix to fatten up its sound.
levels and their associated peaks.
M-M M-S M-n S-S S-n n-n Input Gain

MasterWorks Limiter allows for precise control of Limiter

dynamics and output level of digital audio signals.
It also includes quantization and dithering to
preserve fidelity when changing bit resolution of Quantizer/Dither
digital audio samples.
MasterWorks Limiter processes audio at 64-bit

Output Gain
floating point resolution, which provides the
highest possible fidelity with no added noise. This Figure 1-31: MasterWorks Limiter signal flow.
means you can preserve the fidelity of your 24-bit
audio files. In addition, MasterWorks will dither How it works
your final mix to any resolution you require, from The MasterWorks Limiter is a two part plug-in. It
24-bit resolution for DVD to 8-bit resolution for starts with a sophisticated level control section,
internet and multimedia material. You can also then adds the ability to quantize and dither
apply unconventional bit depths for Special samples for the purpose of changing bit
effects. (Ever tried 5-bit audio?) MasterWorks will resolution.
maximize a signal for any available output
resolution.
Figure 1-30: The MasterWorks Limiter plug-in.
55
Digital audio samples have a fixed dynamic range. maximization will make the program material
Unlike analog media such as tape or vinyl, digital seem loud without ever exceeding the available
audio cannot be any louder than “0” VU. When dynamic range.
mixing for digital media, it is important to keep
the program material within the available Changing bit depth with dither
dynamic range and below digital zero. Bit depth or resolution is the number of ones and
zeros used to describe a digital audio sample.
A related process, called normalization, finds the Commercial CDs use 16-bit samples. MOTU
loudest sample in a region and increases its gain to software has the ability to record 16 bit, 24 bit, or
the maximum available amplitude. All other 32 bit floating point samples. Under some circum-
samples in the region are increased by the same stances, it may be desirable to have lower sample
amount. The problem with normalization is that resolution, such as 8 bit web audio or 12 bit
one loud spike in the mix will cause the rest of the sampler playback.
mix to be at an apparently low level. Limiting
allows you to increase the overall gain of the signal It is possible to change the bit depth of digital
while limiting only signals that exceed “digital audio. Reducing the bit depth adds quantization
zero”. Limiting is “brick wall”, in that signals distortion. To overcome this, dither can be applied.
cannot be any louder than the set ceiling. As the Dither is a small bit of noise that is applied the
average signal level is increased, and peaks are digital audio as it is quantized. This actually
limited, there is less and less dynamic range to the reduces the amount of distortion introduced by
program material. Too much limiting will sound quantization, and has a more pleasing sound,
very unnatural. Just the right amount of particularly for softer passages in material with a
metering options
adjust input gain with these

controls or type a value e
directly into the value box
limiter and detector

path enable/disable
Independent LFE
controls
Figure 1-32: MasterWorks Limiter Surround Edition.
56
wide dynamic range. The disadvantage of adding Lookahead: Senses program material that
dither is an increased noise floor. Noise-shaping exceeds the threshold before it actually occurs. By
spectrally shapes the dither noise so that it is less looking ahead for peaks, the Limiter can be ready
noticeable. for attenuation before the peak, giving a very
smooth limiter attack.
Controls
Input Gain L/R: Boosts or attenuates the signal The lookahead parameter introduces a delay into
going into the limiter. the signal path for analysis purposes. Lookahead
analyzes the non-delayed signal and it tells the
Link: Links left and right inputs. If left and right limiter how to process the delayed signal. This will
gain controls are set to different values, and then help provide a more natural, smooth sounding
the link button is engaged, the relative difference final output. The more lookahead you specify, the
between left and right is maintained while linked. smoother the limiter will sound. Be aware that if
Digital Performer’s automatic plug-in delay
Threshold: Sets the point at which the limiter
compensation is not enabled and you combine the
starts to affect the input signal. Lowering the
output of the lookahead limiter with the original
threshold setting has the apparent effect of raising
signal, you will perceive a delay that directly
the output gain of the signal. What is actually
corresponds to the amount you specified in the
happening is that the average level of the signal is
lookahead parameter box. In general, the
increased while the limiter assures that the signal
lookahead should be short compared to the
will not exceed the ceiling.
release.
Threshold can be set three ways:
Release: Controls how long it takes for the limiter
1 with the Threshold knob (and associated value to recover from attenuating the signal after the
box directly beneath) signal has dropped below the threshold.
2 with the slider on the compressor's input meter Ceiling: Sets the maximum output of the limiter
3 with the handle located at the bottom of the Quantizer/16/24 Buttons: Easily sets output
input/output ratio graph. quantization. Other bit resolutions can be set by
typing the number into the value box.
Clear: Clears peak settings from the meters. Peak
meters show the loudest that the signal has been Dither: The final output can be dithered to any
detected. resolution from 24 bits to 1 bit. Dithering applies
very small amounts of noise to the signal to reduce
RMS: Shows the average level of a signal. Since the the quantization distortion that occurs at low
average level of a mix is usually well below any levels.
maximum peaks, it is useful to know what the
average level is as well as the loudest points. This is Noiseshaping: Changes the characteristic of the
very helpful when matching the apparent levels of dither noise, making it less noticeable. But don’t
more than one mix. use noiseshaping if you plan to process your
output further, such as in a sampler.
57
Presets LFE limiter mode
The MasterWorks Limiter presets represent In linked mode, the LFE channel is treated like any
common applications. If you are changing bit surround channel, that is, the limiting of the
depth, you'll see presets to go from 16 bits to 24 limiter will be determined by the main detector
bits. For the bit depth changes, dither is part of the path. In independent mode, the detector path for
preset. If you are not changing bit resolution, don't the LFE is unlinked from the other channels and
add dither. operates independently on its own input. Three
additional controls appear in independent mode:
Compression and limiting are subjective effects. LFE Threshold, LFE Release and LFE ceiling.
Sometimes you may want to hear the effect of the These controls work exactly like their
limiter. Other times, you may want a more subtle counterparts in the main section of the limiter, but
effect that is “invisible” and just catches the audio operate only on the LFE signal. The independent
peaks. Input gain will have a strong bearing on LFE controls have their own color coded display in
what the MasterWorks Limiter actually does to the the ratio graph and limiting display. Look-ahead
signal. Experiment with input gain and threshold still determines the Look-ahead (if any) on all
to get the sounds that are most appropriate. channels regardless of the status of the LFE limiter
mode.
Masterworks Limiter (n-n channels)
For surround mastering, the Masterworks Limiter
Surround Edition (Figure 1-32 on page 56)
provides an independent LFE channel and
comprehensive control over the detector path.
Metering
There are two slots for displaying peak and RMS
values on input or output on every channel. You
can set which values you are looking at by using
the menus above the meter value bar.
The detector path

In most limiters, the detector path and the input
are the same thing. How the limiter reacts depends
entirely on the input signal. Surround applications
may require a bit more flexibility and that is why
the detector path has been decoupled from the
input. MasterWorks Limiter allows you to
determine which inputs get sent to the detector
path. In addition, you can exempt channels from
the action of the limiter. For example, if you want
to limit the left and right channels based on dialog
in the center channel, you would enable only the
center channel to the detector path and enable the
limiter on the left and right channels.
58
MEGASYNTH Voices
MegaSynth is a subtractive synth processor The voices in MegaSynth (Figure 1-33) are
intended primarily for guitar and bass, although generated from the input to the plug-in; in
you can certainly run any signal you wish through addition to the input audio itself, sub-octave,
it. MegaSynth generates octave, sub-octave and octave and square wave signals are created. The
square wave tones based on the input signal. You gain knob within each voice module controls the
can mix, route and process the four signals volume of that voice.
(voices) in a virtually infinite number of ways. The
router section of the window (Figure 1-33) Low-pass filters
contains the voices, filters and amp, along with the To the right of the four voices are two low-pass
routings between them. Below are modulators and filter modules, with cut-off frequency and Q-
macro controls. factor (resonance) settings for the filter.

Voices Modulator and macro

range
Router section
Modulators
Figure 1-33: The MegaSynth plug-in.
59
Amp Each source can connect to only one destination,
Below the filters is the amp module. In the mono but two or more sources can connect to the same
version of MegaSynth, there is one knob in the destination.
Amp module, which controls the volume of
anything going through it. To remove a routing, either connect that source to
another destination, or simply click the source
In the mono-to-stereo version there is an button. You will notice that the Amp can only
additional knob which controls the pan of the connect to OUT, so that Routing cannot be
stereo output of the Amp Module. In the stereo altered.
version the additional knob controls the stereo
width of the stereo output of the Amp module. When there is a routing from a voice to OUT,
either directly or indirectly through filters and/or
Pan versus stereo width the amp, the border around the modules become
The difference between pan and stereo width is highlighted to clarify that they are contributing to
that pan takes a mono input and produces a stereo MegaSynth’s output.
output; stereo width takes a stereo input and
produces a stereo output. Assigning modulators and macros to a module
parameter
If you have a mono input, there is no reason to use The modulator section (Figure 1-33) provides
the mono version instead of the mono-to-stereo modulators and macros. Modulators and macros
version, which has the extra panning capability, connect to and control module parameters (the
unless you needed a mono output for a specific large gray knobs) for the voice, filter and amp
reason. modules.
Output The modulator and macro range knobs

On the far right of the Routing section, you will (Figure 1-33) control the amount (the range over
see the OUT module. This is the output of which) the modulator and/or macro connected to
MegaSynth; anything you want to hear must be that module parameter can alter the parameter. A
connected to OUT. colored ring around the module parameter (that
matches the color of the modulator or macro)
Connecting modules visually indicates the range.
To connect modules together, you need to create
Routings. Routings are indicated by a red line that There are two ways to assign modulators and
connects two modules. To create a Routing, drag macros:
from the source button of one module to the
destination button of another. Source buttons have ■ by dragging from the modulator/macro source
a “D-pad” type symbol. Destination buttons have a button (next to its name) to the desired parameter
plus sign (+) symbol. knob, or
■ by using the menu next to the modulator/macro
Not all sources can connect to all destinations;
while you are dragging from a source button, the range knob.
allowable destinations become highlighted; non- To cancel a modulator/macro assignment, either
allowed destinations become greyed out. connect a different modulator/macro to the same
module parameter, or select the “-” menu item.
60
Modulators LFOs
Like most subtractive synthesizers, parameters There are two LFOs in MegaSynth. Each LFO can
can be modulated. In MegaSynth, there are three be one of four possible waveforms: sine, square,
types of modulators: envelopes, LFOs and pattern. triangle and saw. The frequency of the LFO is
Click their tabs in the Modulator section relative to Digital Performer’s tempo. Choose the
(Figure 1-33 on page 59) to access them. desired metric division from the LFO speed menu.
When a modulator is assigned to a parameter, its Pattern

range knob (Figure 1-33) turns the same color as There is one Pattern modulator. The Pattern
the modulator, and the modulator name appears. Modulator consists of up to 16 stages. Click them
Click the name to switch to a different modulator to turn them on or off. Each stage has the same
or macro. Attack and Release, and these are set by the A and
R knobs in the Pattern tab. Use the menus
Envelopes provided to choose the desired number of steps
There are three envelope modulators. Env1 and and their speed relative to Digital Performer’s
Env2 are traditional ADSR envelopes. Env tempo.
Follower is a signal related to the strength of the
input signal to MegaSynth. Macros
Macro controls allow you to change several
Env1/2 Parameters simultaneously. For example,
The trigger parameter controls when the envelope increasing a Macro knob could simultaneously
signal begins its attack and release stages: when increase the cut-off frequency of Filter1, decrease
the input to MegaSynth rises above the trigger the volume of the sub-octave voice and pan the
value, a green indicator appears above the trigger Amp’s output to the left. Macros provide a
knob and the envelope proceeds through its convenient way of dramatically changing the
attack, decay and sustain (ADS) stages. When the sound of MegaSynth. Macros help with
input signal strength drops below the trigger automation, too, because automating one macro is
value, the release stage (R) is initiated and the a lot simpler than automating many individual
green indicator above the trigger knob disappears. parameters. Macros are ideal for connecting to an
external hardware controller knob using Digital
To show which ADSR stage Env1 and Env2 are
Performer’s Learn Controller feature.
currently in, rectangular indicators appear below
the appropriate ADSR knob of each envelope. MegaSynth provides two macros. As with the
modulators, each macro can be connected to
Env Follower
The Env Follower has one parameter: Sensitivity. multiple module parameters, but each module
This is simply a gain applied to the signal obtained parameter may only be connected to one macro at
from the envelope of the input signal to a time.
MegaSynth.
61
MICROG AND MICROB Voices
MicroG and MicroB are subtractive synth In the center section of the plug-in, you can
processors based on the idea behind popular control the volume of the four voices generated by
“polyphonic octave generator” (POG) guitar MicroG and MicroB: the input audio itself (Guitar
processors. These two plug-ins are similar to or Bass Guitar), plus the generated Sub Octave,
MegaSynth, except that each is streamlined Octave and Square Wave signals. Control the
significantly. Each can generate octave, sub-octave relative levels of the four voices with their gain
and square wave tones based on the input signal, controls.
combined with a gain-triggered filter sweep.
Master volume
M-M M-S M-n S-S S-n n-n The Master volume control provides both cut and
yes no no yes no no boost (up to +18 dB). This setting can be useful for
managing the relative volume of the plug-in’s
Voices
Filter settings
Figure 1-34: MicroG

and MicroB plug-ins.
62
overall output, based on what might be happening The MS Decoder plug in is a handy tool for
as a result of the current filter settings, which can decoding a mid-side stereo mic setup.
sometimes attenuate overall output level.
MS Decoder is a S-S plug-in only. One side of the
Trigger stereo track should contain the output of the
The trigger section sets the input level required to cardioid mic, which is pointed directly at the
trigger the filter sweep. With the trigger set low, all source and the other side of the track should
notes will trigger the sweep. With the trigger set contain the output of the figure-eight mic which is
high, only loud notes will trigger the sweep. The positioned at a 90-degree angle to the cardioid. It
green LED indicates when the input level is above does not matter which side is which, simply use
the trigger value; the filter sweep will not retrigger the swap button to match the side to the proper
until the input signal has dropped below the mic. MS Decoder will properly matrix the stereo
trigger level first. track and allow you to adjust the stereo image of
the output with the stereo width control.
Filter settings
The filter settings section provides Start and End MULTIFUZZ
frequencies which set the start and end
frequencies of the filter sweep. If the start
frequency is above the end frequency, the filter
will sweep downwards, and vice versa. The Sweep
Rate controls the speed of the filter frequency
sweep, and filter Resonance injects attitude, as
usual.
Figure 1-36: MultiFuzz.
MS DECODER M-M M-S M-n S-S S-n n-n

yes no no yes no no
MultiFuzz is a spot-on reproduction of Craig

Anderton’s legendary QuadraFuzz mulitband
distortion kit from decades past. Anderton
developed a relatively straightforward concept
that produces absolutely monster guitar tones:
divide the input signal into four separate
frequency bands and then apply distortion
independently to each band. The results range
from sublime warmth to absolute filth.
Controls
Attack: Controls the overall amount and
Figure 1-35: MS Decoder.
character of the distortion, like a master pre-gain.
Lo/Mid1/Mid2/Hi: These are the four frequency
no no no yes no no
bands, to which distortion is independently
applied. Each band has its own gain and boost.
63
Boost: Adds more distortion, along with more LFO modulation can be specified in real-time or
pronounced filter response. in one of several tempo-based modes, which lock
the LFO to the tempo of your sequence, even if
Tone: Varies the overall sound on a spectrum there are tempo changes. The envelope can be
from dark to bright. controlled by the plug-in input signal itself or via
any audio signal bussed to the Multimode Filter's
Output: Controls the overall output level of the
side-chain input.
plug-in.
Overview
MULTIMODE FILTER Choose the desired filter at the top of the window
and make the filter settings as desired. From there,
you can sweep the Center frequency control
(described below) in one of the four ways just
described. To turn on automatic modulation, use
the modulation button on the left. (When the light
is green, modulation is on.) Use the yellow switch
on the left to choose between LFO and envelope
modulation. Make the LFO or envelope settings as
described in the following sections. Manual
modulation will be discussed last.
Filter settings
Choose the desired filter (low pass, high pass,
bandpass or notch) and make the four filter
settings as desired. Resonance emphasizes the
cutoff frequency — or “Q” — of the filter shape.
Center is the middle of the frequency range (in
Hz) over which the filter will sweep. Center is also
M-M M-S M-n S-S S-n n-n the ‘main attraction’ of the plug-in, as it is the
yes yes no yes no no parameter that is automated by the LFO, envelope,
or MIDI data. Range is the extent of the filter’s
The Multimode Filter lets you apply a filter (low sweep, expressed as a percentage of the center
pass, high pass, peak or notch) to mono or stereo frequency. Mix is the ratio between the filtered
tracks and then ‘sweep’ the filter in one of the and unfiltered signal.
following ways:
LFO settings
■ By plug-in automation Choose Real Time to specify the LFO oscillation
■ By MIDI note data (played live or from a track) rate in Hz. The phase sets the phase of the LFO in
45-degree increments relative to the start of the
■ By LFO modulation sequence. The Rate slider sets the frequency in
■ By envelope filter Hertz (Hz). Choose the desired LFO waveform
(sine, triangle, etc.) from the menu provided.
64
from your MIDI controller. For MIDI modulation,
MIDI note A3 serves as a reference point at 440
Hz.
To use automation, be sure that automation is

Figure 1-37: Setting the LFO rate in Hz (real time).
enabled for it (see chapter 71, “Mix Automation”
(page 851) in the DP4 User Guide) and then
Choose Beats, Note Values or Bars to lock the LFO simply record your moves of the Center frequency
to the tempo of the sequence as shown below. The during playback. (You can also automate the other
Phase and period controls turn into menus with controls as desired.)
note durations in them or bar (measure) lengths.
These tempo-based modes make the LFO stay in Modulation via MIDI notes
tempo with your sequence, even through tempo To modulate the Multimode Filter’s Center
changes. frequency via MIDI notes:
1 Add a MIDI track and assign its output to the

Multimode Filter plug-in.
2 To trigger Multimode Filter from MIDI notes

in the track, just insert or record notes into the
track.
Figure 1-38: Setting the LFO in beats or note values.
Envelope settings and the side chain input 3 To trigger Multimode Filter from your
The envelope can be controlled by the plug-in’s controller keyboard, record-enable the track and
main input or by any audio signal in the Digital make sure that Audio Patch Thru is enabled (in
Performer mixing environment bussed to the the Studio menu). If desired, you can record your
envelope as a side chain input. Just choose the patched thru performance into the track to
desired bus from the menu provided. The arrow preserve it and later edit it.
button is the envelope direction (up or down).
L/R phase (stereo versions only)
Trigger is the retrigger sensitivity. Higher values let
Disable this option if you would like the left and
the envelope retrigger on smaller peaks in the
right channels of the Multimode Filter’s output to
input signal. Attack (the left side of the triangle
be 180 degrees out of phase.
graphic) is the attack time for the envelope in
milliseconds. Release (the right side of the triangle PARAEQ
graphic) is the release time of the envelope in
milliseconds. Scale (the peak of the filter triangle
graphic) scales the envelope for deeper or more
shallow modulation. The ParaEQ (parametric equalization) effect
(Figure 1-39) comes in six variants: 2,4, and 8
Manual modulation
bands of mono or stereo EQs. Regardless of how
To manually modulate the Center frequency, you
many bands you have displayed, only the non-
can either use plug-in automation or you can
bypassed bands cost processing power.
control it via MIDI notes from a MIDI track or
65
Each band can be one of the following filter types: The low and high pass filters have a single
parameter: cutoff frequency in Hertz.
■ peak/notch
The flat and expand buttons
■ low shelf The flat button makes all filters in the EQ plug-in
■ high shelf flat as a convenient way to start from scratch. The
expand button shows or hides the filter settings in
■ low pass
the lower portion of the window, since you may
■ high pass not need to see them when you are ‘sculpting’ your
EQ curve graphically.
The peak/notch filter has three parameters: center
frequency in Hertz, gain in decibels, and Graphical editing of the parametric EQ
bandwidth in octaves. Peak/notch filters can be The graph in the EQ plug-in offers a dynamically
used to boost or cut a continuous range of updating graphical display of all EQ bands simul-
frequencies. taneously, with control over every EQ parameter
directly on the graphical display. Refer to
The low and high shelf filters have two Figure 1-39 below for details about selecting and
parameters: edge frequency in Hertz and gain in dragging the EQ filters directly on the graph.
decibels.
Click a peak/ Option-click a filter to

notch filter to bypass or unbypass it.
make these
lines appear. Control-click a filter to
Then drag them change the filter type.
to adjust width.
If a filter is grayed, it
Drag the filter to means it’s bypassed.
adjust frequency
and gain.
You can marquee-select
or command-click
several filters and drag
them together.
Figure 1-39: Digital Performer’s 8-band Parametric EQ. You can adjust EQ settings by dragging directly on the EQ graph.
66
Surround (n-n) EQ edit the numeric values below the graph. Drag the
The parametric EQ can be used on any Depth handle vertically to soften the gate, such as
multichannel signal path, including the master for a tremolo effect.
fader. There is no change to the interface. The EQ
curve you create is applied to all non-LFE Pattern and Length
channels. The pattern itself is determined by the Pattern
LED strip (Figure 1-40): click each pulse to toggle
PATTERN GATE it on or off. Set the Length of the pattern (from 1-
16 pulses) by dragging the Length handle.
Pattern Gate LFO
The Pattern Gate LFO (Figure 1-40) can be used to
The Pattern Gate (Figure 1-40) slices up the audio
modulate the four pulse shape parameters (Depth,
signal passing through it into pulses determined
Attack, Sustain and Decay). Choose the desired
by the Speed menu, which displays metric
LFO waveform (sine, sawtooth or rectangle) from
divisions locked to the tempo of the sequence.
the menu provided and set the desired Symmetry
The pattern gate can be applied to just about any between 0 and 100, where 50 is normal symmetry.
sound that sustains. Remember, however, that the Then choose the desired Period, which is
tempo of the sequence plays an important role in expressed in a number of pattern gate steps. The
the results. range is 0-256 steps. For example, if you choose a
period of 110 steps, then the LFO will complete
Pulse shape one cycle in 110 pattern gate steps.
The shape of each pulse is determined by the Pulse
Shape graph (Figure 1-40), which represents 100% After you’ve set up the Pattern Gate as desired,
of the length of each pulse. Drag the handles to apply it to the desired pulse shape parameters
modify pulse Depth, Attack, Sustain and Decay. Or using the LFO menus below each parameter. The
range for the LFO setting is -100 to +100, where
zero applies no LFO effect at all. +100 modulates
LFO
Pulse shape
Pattern LEDs
Pattern Length
Figure 1-40: The Pattern Gate plug-in.
67
the setting from its current value all the way to the applied to the left and right channels are the same.
maximum possible setting. -100 modulates the When it is not checked, high frequency notches
setting from its current value all the way to the are applied to the left channel while low frequency
minimum possible setting. notches are applied to the right channel, and vice-
versa.
Swing
When the Swing parameter (Figure 1-40) is set to PLATE
zero, the pattern gate plays in straight time (no
swing). Other settings are as follows:
Swing amount Ratio Feel at 8th note speed

0 1 to 1 Straight 8ths
100 2 to 1 Triplet 8ths
125 2.5 to 1 Hard 8th swing

150 3 to 1 Hard 8th shuffle
Negative values invert the ratio, which moves the How it works
swung note closer to the base note. Plate produces the classic plate reverb effect. Plate
can produce up to six seconds of reverb with
PHASER detailed control over frequency distribution. The
Plate interface has two modes of operation which
can be accessed by clicking the expand triangle
located in the upper right hand corner. The default
mode displays the primary controls for tweaking
the effect. Expert mode exposes advanced controls
for shaping the characteristics of the plate.

yes yes no yes no yes
Control point
The Phaser creates its effect by sweeping notches

up and down the frequency spectrum. Rate
controls the rate at which the notch center
frequencies are modulated. Depth controls how far Crossover graph
the notches sweep. Width controls the bandwidth Stereo image

controls only
of the notches, within a range determined available on M-S or
S-S versions.
internally. When Width is 100%, the bandwidth is
set to the maximum allowed value.
Controls
The M-S, S-S and n-n Phasers have a check box to
Reverb time: controls the overall length of the
labelled L/R In Phase. When this option is
reverb time, in seconds
checked, the center frequencies of the notches
68
Shelf filter frequency: determines the frequency PREAMP-1
where the knee will be for the shelf filter. This plug-in simulates both subtle tube pre-amp
warmth and drastic distortion effects.
Shelf filter cut: determines how far the filter shelf
will be attenuated.
Mix: determines the overall wet/dry mix of the

reverb. If you are using Plate as an insert effect,
generally you want a lower percentage of reverb
and if you are using the Plate on an aux track,
you’ll want the mix to be set to 100%.
Predelay: determines the delay before the main

diffuse reverb comes in. Predelay can be used to
add a sense of spaciousness. Predelay can also be
locked to tempo changes by choosing delay times
with note values.
Crossover: allows you to tailor the frequency

characteristics of your reverb. There are three
frequency ranges with two crossover points. The
delay times for each frequency range are expressed
as a percentage of the overall reverb time. You can
program both of the crossover points as well as the
reverb times by dragging the control points in the
Figure 1-41: PreAmp-1 in its condensed view. Click the expand button
crossover graphic. in the lower right-hand corner to expand.

Reverb Time High Cut: upper reverb
frequencies can be cut using the high cut filter. yes no no yes no no
Increasing the value of this parameter will

brighten the timbre. Input Gain
The initial gain control lets you boost or cut the
Decorrelation Frequency: controls the signal coming into the plug-in.
frequency of an internal LFO which modulates
delays inside the reverb. Compressor
The Compressor provides the standard
Decorrelation Amount: controls the intensity of compression controls described earlier for the
delay time modulation inside the reverb. dynamics plug-in, with the addition of the Trim
pot. The Trim control allows an additional 30 dB
Diffusion: controls echo density. of gain to compensate for the compressor’s
attenuation. The Auto button simplifies the
compressor controls by automatically adjusting
the Ratio, Attack and Release based on the
Threshold and input level.
69
Pre-EQ Subtle/Drastic buttons
This section of the plug-in allows you to apply These two buttons affect the Drive, Timbre, and
three bands of EQ to the signal before the Push controls. Subtle settings produce classic tube
coloration section. This equalization can warmth; drastic controls provide heavy distortion
dramatically change the character of the effects.
coloration produced in the next section. The first
band is limited to a low shelf or high pass filter. Post-EQ
The second two bands are fully parametric peak/ This section of the plug-in offers one band of EQ
notch filters. The EQ controls are identical to the after the coloration to further refine the output.
controls described earlier for the Parametric EQ This band is limited to a high shelf or low pass
plug-in. filter, and is useful for reducing the high frequency
effects of the Coloration section.
Coloration
This section of the plug-in provides three main Output gain
controls: Drive, Timbre and Push. Drive and Provides one final gain control.
Timbre affect the quality of the warmth (or
distortion) being applied, and Push controls the
amount of the affected signal present in the
plug-in’s output. These knobs are affected by the
Subtle/Drastic buttons (described next). The
Dynamic button, when checked, automatically
increases the Push when the input level rises above
the Threshold (regardless of whether or not the
compressor is bypassed).
70
PRECISION DELAY analyzes the input signal in real time and
compares it to a reference signal. When a phase
comparison can be made, the Align button
becomes active. Clicking this button sets the delay
Precision Delay produces sub-sample delays. on the targeted input signal(s) to align it with the
Additionally, the plug-in works with DP’s latency reference signal. If the All option is enabled, all
compensation system to allow both positive and non-reference signals are corrected.
negative offsets.
Operation
Precision Delay is designed to be a problem- The Precision Delay window consists of three
solving tool for the alignment of phase-related regions. On the left side, graphical displays draw
audio signals. The delay and phase parameters can the reference and target waveforms. Controls for
be automated, making it the perfect tool for the learning module form a row beneath the
mixing techniques that require precise inter- graphical displays, which consists of reference/
channel delays. target selection menus and two buttons. Finally,
each input-output channel has a delay section with
Intelligent phase analysis coarse delay, fine delay, and phase inversion
The key feature that sets the Precision Delay apart controls.
from other latency compensation products is its
internal learning algorithm, which continually
71
Phase scope If a channel assignment conflicts with another
The two waveform scopes automatically assignment, the roles are swapped, unless this
synchronize to the strongest transient in the would assign the side-chain input to be the target.
reference signal. The upper scope trace, drawn in In this case, the first un-assigned channel becomes
blue, is fed by the currently-selected reference the target.
signal. The lower scope trace, drawn in green,
shows the currently-selected target. When both Coarse and fine delay
signals are detected, the phase scope on the right Use the Coarse and Fine delay controls to adjust
becomes active, displaying a plot of the phase the delay as follows:
relationship between the two signals, along with
Delay Range Precision
an estimate of the delay and an indication of the
Coarse ± 30 milliseconds 1 millisecond
phase relationship.
Fine ± 0.5 milliseconds 1 microsecond
Reference signal
On all versions except mono-mono, there are two
Phase
menus located below the display area. The Choose normal or inverted signal polarity.
Reference menu tells the learning algorithm which
channel carries the reference input signal. This can Tips
be set to any input channel, or to Aux In, a mono ■ The learning algorithm and real-time graphs
side-chain input which is assigned in the menu bar are computationally expensive. The plug-in is
above the plug-in. The menu labeled Target tells designed for set-it-and-forget-it use, so remember
the learning module which channel should be to close it once you’re finished with it.
considered the output channel.
■ It is normal to require more than one
Channel labels alignment, particularly on signals of an impulsive

The channel labels on the delay strips (L and R) nature or for large latency problems.
indicate the channel’s status. If green, the channel ■ The coarse and fine delay controls are two
is the target. If blue, then the channel is the source. separate parameters for track automation.
If a channel is neither source or target, or if it is the
“C” channel on the mono variant, then the region
is drawn in grey.
On non-mono variants of the plug-in, click the L

and R channel labels to designate them as the
target or reference:
■ Click designates the channel as the target

■ Shift-click designates the channel as the
reference
72
PROVERB This menu lets you choose both factory-supplied
impulse responses and ones you have added to
your library, and it operates similarly to Model 12’s
yes yes yes yes yes yes
Instrument menu. See “Instrument menu” on
ProVerb (Figure 1-42) is a convolution processor page 118.
designed to be used as a reverb unit. Many
factory-supplied impulse responses (sampled Only impulse responses that match the current
spaces) are provided, and you can load any audio channel configuration will be shown. For example,
file as an impulse response from your computer when using the stereo-to-stereo variant of
desktop, as long as it is in a standard audio file ProVerb, mono-to-mono and 5.1 surround
format (such as WAVE, AIFF, SDII, etc.). impulse responses will not be shown.
The processing units model a matrix of mono Next/previous IR buttons

Next/previous buttons appear to the right of the
reverb units on a dedicated bus, along with a
currently loaded impulse response. When the last
highly configurable signal routing matrix
or first impulse response is reached, the next/
designed to meet the needs of music production,
previous buttons will wrap around to the other
foley and dialogue replacement. Additional
end of the list.
features include a four-band graphic EQ and a
dynamic mixing feature (ducker).
Choosing an impulse response

Choose the desired impulse response (acoustic
space) from the Impulse Response menu. Figure 1-43: Next/previous impulse response arrows
Non- Dynamic
automated mixing
parameters
Meters
Impulse
response
waveform
Automated
parameters Impulse
response
menu
4-band EQ
Figure 1-42: ProVerb.
73
Shortcut menu ProVerb impulse response management
Right-click on the path of the current impulse ProVerb organizes impulse responses into four
response to display a shortcut menu containing categories:
the other impulse responses in the same submenu.
Category Location on Mac
Factory In the MOTU application support folder:
/Library/Application Support/MOTU/ProVerb/ProVerb
Data.bundle
User In your user directory application support folder:

User/Library/Application Support/MOTU/ProVerb/User
Figure 1-44: Impulse response shortcut menu Shared In the shared user directory application support folder:
/Users/Shared/Library/Application Support/MOTU/
Plug-ins/ProVerb/Shared
Importing your own impulse responses
ProVerb can use any standard audio file as an Project In the Digital Performer project folder:
Project/Plug-in Data/ProVerb/Project/
impulse response. Most standard audio file
formats are supported. Simply drag the audio file, Category Location on Windows
or a folder of audio files, from the computer Factory C:\Program Data\MOTU\Plug-ins\ProVerb\ProVerb
desktop and drop it into ProVerb’s waveform Data.bundle
display (Figure 1-42). User C:\Users\[user name]\AppData\Roaming\MOTU\Plug-

ins\ProVerb\User
You will then be prompted to select the Shared C:\Program Data\MOTU\Plug-ins\ProVerb\Shared
installation location for the files. The files being
imported can be copied to Shared, User, or Project [DP project name]\Plug-in Data\ProVerb\Project
Project, or any subfolder in one of those locations.

Mac OS X
The Factory impulse responses are always
available. User impulse responses are stored in
your user directory and are therefore available
only when you are the currently logged in user.
You can use the user directory to protect your own
impulse response content. Shared impulse
responses are stored in the system application
support folder and can therefore be made available
to any users that you wish to share them with.
Project impulse responses are stored with the host
Figure 1-45: Importing impulse responses software project itself. By keeping them with the
rest of the files associated with the project, you
While an import is in progress, a progress bar is don’t have to worry about losing them when
shown . The import can be cancelled at any time exchanging the project with a colleague, archiving
with the Cancel button. the project, transferring it, etc.
74
In ProVerb, however, these parameters have been
optimized so that they can be adjusted smoothly
in real time. They cannot, however, be automated.
Predelay
Predelay time-shifts the response function ± 99
Figure 1-46: The Impulse Response menu. milliseconds. Although this control is primarily
intended to align the early reflections with the dry
To remove impulse responses from your ProVerb
signal to eliminate comb filtering, it can also be
library:
used for artistic and sound design purposes.
1 Locate the desired category (Shared, User, or
Length
Project) in the Mac OS Finder or Windows Length time-stretches the impulse response by
desktop. resampling it. Use the length parameter to adjust
the perceived size of the original space. Since
2 For Mac OS X: If you would like to remove the
resampling is applied, changing the length is also
entire category, move the bundle to the Trash. If
quite useful if you have a room response with a
you would like to remove individual files or
resonant frequency aligned with a frequency in
folders from that category, right-click the bundle
the input signal: just resize the room slightly and
file and choose Show Package Contents from the
the resonance will disappear — a technique that
contextual menu. Select the desired folders and
can be especially useful for kick drums and toms.
move them to the Trash.
This can be adjusted ± 4 times the original length.
For Windows: Go to Windows Explorer> Tools>
Damping
Folder options > View tab and choose the Show
Most impulse responses are recorded in empty
hidden files, folders and drivers option under the
rooms. The Damping parameter simulates the
Hidden files and folders category. To remove the
effects of hanging curtains, changing atmospheric
entire category, move the folder to the Trash. To
conditions, or adding people. It is simply a low-
remove individual files or folders, browse and
pass filter that simulates the effect of distance on
select the desired items and move them to the
high frequencies, and the Damping setting
trash.
controls the rate at which the cutoff frequency
3 Choose Reload All Trees from ProVerb’s decreases with distance.
Impulse Response Menu, and the impulse
Automated Parameters
response library will update to reflect the changes.
The rest of ProVerb’s settings (below) can be fully
automated.
Non-automated settings
The Predelay, Damping, and Length knobs
Input/output routing
(Figure 1-42) modify the impulse response during
The input routing matrix is located just to the left
the loading process. Any change to these
of the Length knob. The Input gain and Output
parameters necessitates a re-load of the impulse
gain behave the same as those found on the front
response. In conventional convolution processors,
of a rackmount reverb processor patched into an
changing these parameters might take as long as
15-20 seconds to recalculate the impulse response.
75
effects loop. Use them to control the level of the Dynamic Mixing (ducker)
signal before it enters — and after it exits — The Dynamic Mixing section (Figure 1-42) follows
ProVerb, respectively. the EQ in the signal chain and when enabled
lowers the level of the reverb in the mix based on
Width the level of the dry signal. Properly tuned, it allows
Width controls the stereo distribution of the input a “wetter” mix while retaining intelligibility of the
signal, and is thus disabled for the mono-mono input signal. The signal chain model can be
variant. described as follows: a compressor after the
reverb, but before the return, with its side chain
In stereo-to-stereo mode, “hard left” maintains
input driven by the dry signal. The Threshold
stereo routing and “hard right” feeds the left
setting (Thresh) determines when the compressor
channel into the right input and the right input
kicks in, and Sensitivity (Sens) determines how
into the left channel. The dry signal is unaffected
strongly the compressor responds. The Comp
for the stereo variant.
knob defines the amount of gain reduction applied
to the wet signal.
In mono-to-stereo mode, Width is replaced by
Pan, which sets the dry signal’s lateral placement
ProVerb metering
within the mix. The wet signals are unaffected. The In meters read the input to the convolution
unit after the Input gain is applied. The Out meter
Mix
is computed before the Mix stage. These meters
Mix controls the ratio of wet signal to dry signal.
indicate signal energy or loudness, with a peak
Click the label above the knob readout to reveal a
indicator that reads the true peak value of the
menu that lets you choose one of four options:
signal. A significant difference in the peak
Mix option What it does indicator position and meter level is therefore
3 dB cross-fader Performs the mix using an equal-loudness normal. Clip warning indicators will illuminate if
cross-fader.
any overs occur.
6 dB cross-fader Same as above, but with an equal-amplitude
cross-fader. This option produces the “hole - QUAN JR.
in-the-middle” effect, but it is not as likely to
generate overs.
Effect level Operates like the effect return level knob on a

mixer. The dry signal gain remains constant,
while the effected signal is fully attenuated at
0, not attenuated at 100%.
Dry level The effect return remains constant, while the

dry signal level is attenuated.
Four-band EQ
The four-band EQ is derived from MasterWorks
EQ (page 41). The first and fourth knob sets
provide low and high shelving filters, respectively.
Quan Jr. is a simple dithering and quantizing plug-
The two center knob sets are typical boost/cut
in. It is useful if you want to use the dithering
parametric EQ bands. The EQ section follows the
features of MasterWorks Limiter, but do not need
reverb unit in the signal chain, and does not affect
the dry signal.
76
the extra features and added overhead. This is REVERSE
especially important for mixing in surround if you
are running low on CPU power.
Quan Jr. also makes a handy low resolution effects

generator. Turn off dithering and set the
quantization to three or four bits and get ready for M-M M-S M-n S-S S-n n-n
some grunge. yes no no yes no yes
For more information on dithering and Reverse is a available only as an offline operation;
quantization, “Changing bit depth with dither” on it is not available as a real-time plug-in in the
page 56. Mixing Board or Effects window. When applied, it
reverses the selected audio, just like playing a tape
REVERB backwards.
RING MODULATOR

Predelay determines the time between the dry

signal and the first echo in the wet signal.
Decay determines the length of the reverb tail. yes no no yes no no
Diffuse determines the smoothness of the rever- The Ring Modulator plug-in provides standard
beration. Low Diffuse values create more distinct ring modulation, but with a few extra features that
echoes in the reverberation. allow you to take full advantage of the Digital
Performer plug-in automation and music
Bright determines frequency dependence of the
sequencing environment.
reverberation. High values of Brightness result in
less reverberation of high frequencies. High value A ring modulator accepts two input signals. If the
settings of this parameter increase the reverb time two signals are pure tones, the ring modulator
at high frequencies, resulting in a brighter timbre. produces their sum and difference frequencies.
With every-day audio material, however, the result
Reverb Gain is additional gain applied to the wet
is much more complex. Typically, ring modulators
signal which can be used to compensate for the
are used to add a metallic, clangy quality to a
effects of the other controls.
sound.
77
Modulation source To use MIDI input, from either a track or your
With Digital Performer’s Ring Modulator plug-in, MIDI controller, create a MIDI track and choose
one of the two source signals is, of course, the the Ring Modulator plug-in as the output device
audio in the track you’ve assigned it to. The second for the MIDI track in the Tracks window. For
source signal, the modulation source, can be one of MIDI modulation, MIDI note A3 serves as a
the following: reference point at 440 Hz. For further details about
setting up MIDI control of the Ring Modulator
■ The Ring Modulator’s built-in oscillator plug-in, follow the same procedure as outlined in
■ The effect input itself (so it’s being modulated
“Modulation via MIDI notes” on page 65.
by itself)
Modulation Gain
■Any audio signal bussed to the Ring Controls the apparent strength of the ring
Modulator’s side-chain input modulator effect.
Make your choice using the Modulation Source LPF (Low Pass Filter) cutoff
menu: The Low Pass Filter can be helpful for fine-tuning
ring modulation effects and reducing the
harshness of the sound. This control adjusts the
cutoff frequency for the filter.
Mix
Controls the mix between the plug-in output and
the original dry signal.
Figure 1-47: The Modulation Source menu.

MIDI control and Bounce to Disk
If you are modulating the oscillator with MIDI
Oscillator input from a track, select both the audio and MIDI
If you have chosen to use the built-in oscillator tracks before using the Bounce To Disk command
(from the Modulation source menu), then choose (Audio menu).
the desired waveform (sine, square, etc.) and
frequency (in Hz). You can leave the frequency at
one setting, or you can modulate it in one of two
ways:
■ By plug-in automation
■ By MIDI input from a track or controller
To use automation, be sure that automation is
enabled for it (see chapter 71, “Mix Automation”
(page 851) in the DP4 User Guide) and then
simply record your moves of the frequency control
during playback. (You can also automate the other
controls as desired.)
78
RXT SMPTE-Z

yes no no no no no
SMPTE-Z generates Longitudinal Time Code

(LTC) while locked to DP’s time line or while
running independently in Freewheel mode. The
Stillframe option causes time code to continue to
RXT is an emulation of ProCo’s The Rat™
be generated even when DP’s transport is stopped
distortion pedal.
(parked on one frame). Timecode can be routed
Distortion: amount of distortion. anywhere via the audio track’s output assignment,
allowing for accurate time code sync in a wide
Filter: variable lowpass filter. variety of situations.
☛ This knob operates in reverse when Synchronize: Locks time code output to Digital
compared to the other pedal plug-ins. Performer’s transport and time line. Use DP’s
transport controls to start and stop time code, or
Volume: output gain. cue to a certain time code location.
Status light: displays the bypass/enabled state; Stillframe: Same as Synchronize mode above,
when lit, the effect is active. except that time code continues to be generated,
even when DP’s transport is stopped. The time
Enable switch: bypasses/enables the effect. This
code frame displayed in SMPTE-Z is continuously
generated while stopped.
button.
Freewheel: Click Freewheel to begin generating
time code independent of DP’s transport and time
line. Time code starts at SMPTE-Z’s offset or the
sequence start time, depending on whether the
Use host offset option is enabled. To stop time
code, click Synchronize.
79
Level: Attenuates the time code volume. (which is characteristic of tighter attacks, added
brightness, and substantially more headroom) and
Use host frame rate: Causes SMPTE-Z to match bold power settings enabled (which supplies full
Digital Performer’s current frame rate setting. design voltage to all components).
When this option is enabled, the frame rate menu
below becomes grayed out. Orange versus Red channels
The Orange/Red switch toggles between two
Frame rate menu: Choose the desired frame rate distinctly different signal paths.
you want SMPTE-Z to generate. This menu grays
out when then Use host frame rate option is Orange channel gain
enabled. Normal: a vintage, high gain setting that
produces a fatter distortion channel with emphasis
Use host offset: Causes SMPTE-Z to use Digital in the low/low-mid frequencies.
Performer’s current Chunk start time (in frames)
for the frame at which it starts generating time Clean: a cleaner incarnation of the Orange
code. When this option is enabled, the SMPTE-Z channel that produces sweet, thick tones with only
offset text field below is grayed out. a mild distortion.
SMPTE-Z offset: Enter the time code frame at Channel cloning

which you wish SMPTE-Z to begin generating Channel Cloning is a distinct design characteristic
time code. This text field is grayed out when the of Mesa engineering that allows you clone certain
Use host offset option is enabled. features of one channel and apply them to the
other channel. The green middle light on the
SOLOIST three-way cloning switch indicates that no
channel cloning is taking place. In the original
Mesa amp, when Channel Cloning is engaged, it
switches on an alternate circuit within the channel
The Soloist is a model of the two-channel Mesa™ it is applied to.
Dual Rectifier Solo Head™ amplifier of the 1990’s. It
was modeled with the silicon diode rectifiers
80
Org to modern: switches the Orange channel to SONIC MODULATOR
the alternate circuit, which changes a few key M-M M-S M-n S-S S-n n-n
features (such as Presence) to make the Orange
no yes no no no no
channel sound more like the Red channel.
Essentially, this is adding additional gain and Sonic Modulator (Figure 1-48 below) provides a
higher frequencies to the Orange channel. wide range of modulation effects, numerous
presets, and graphic control over many
Red to vintage: switches the Red channel to the parameters. It features four phase-syncable LFOs
alternate circuit, which changes a few key features (low frequency oscillators), an amplitude envelope
to make the Red channel sound more like the generator, and modulators for pitch, filter (four
Orange channel. This rounds off some of the different kinds), amplitude, and delay.
higher frequencies and additionally reduces gain,
making it more of a “hot rhythm guitar” and less Two independent frequency bands
of an “extremely high gain lead guitar.” The Sonic Modulator splits the input signal into
two bands, a low band and a high band, so that you
Controls can apply separate settings to each band. The Low
Master: controls the output level of each channel. Band and High Band controls parallel each other
across the bottom of the window. You can adjust
Presence: controls attack and brightness of the
the crossover between them with the Crossover
selected channel. This knob works in conjunction
control in the lower left corner.
with the Bass, Mid, and Treble settings.
A wide range of modulation effects
☛ In the Red vintage configuration, the Orange
The Sonic Modulator is capable of basic effects
channel Presence knob is fully active. This is an
like vibrato, flanging, and tremolo. It is also
undocumented feature of the original Mesa Dual
capable of special effects, such as lush choruses,
Rectifier Solo Head.
sample/hold, triggered filters, and rotary speaker
Bass: controls the amount of low frequencies effects.
factored into the final output of the signal.
Use the presets as a starting point
Mid: determines the amount of midrange mixed You might find it useful to listen to the presets and
into the final output of the signal. choose an existing preset as a starting point for
your own settings. The presets are conveniently
Treble: this is an extremely powerful control, as organized into categories like Amplitude Effects,
the sound leaving the Treble stage is what feeds the Pitch Effects, Delay Effects, and Filter Effects.
Mid and Bass stages.
Low band/ high band bypass
Gain: the ultimate tone shaping knob (and first Each band can be bypassed by activating the
stage of the amp). This determines how hot your bypass button in each section.
signal is before traveling to the rest of the circuitry.
Filter modulation occurs before the cross-over, so
it does not have separate low/high band bypassing.
81
Low band/high band linking LFO Selection menu
The Link buttons apply the current settings of each The LFO selection menu lets you choose one of
modulator to both the High and Low frequency the four LFOs shown in the LFO portion of the
bands. If you make a change in one band with this window. The LFO you choose is applied to the
button activated, the change is mirrored in the modulator.
other band. (The filter section does not have this
button because it is not band-specific.) LFO Direction
The direction (arrow) button sets the initial
Crossover Frequency direction of the modulation wave.
The Crossover Frequency defines the split point
between low and high band audio paths. Pitch modulation
The Pitch Amount control describes how far the
Amount pitch of the signal is modulated.
The amount controls the strength — or depth — of
the modulator being applied. Delay modulation
The Delay depth control describes how far the
Modulator Bypass delay of the signal is modulated.
Each bypass button bypasses its respective
processing block. The Stereo button inverts left and right signals,
making them 180-degrees out of phase for a stereo
effect. Mix blends the dry signal with the delayed
Toggles between the large view shown here and the

condensed view shown in Figure 1-50 on page 84.
Figure 1-48: The Sonic Modulator plug-in.
82
signal. Center is 0%. Moving the control left or Tempo locked, beat-based effects
right introduces the delayed signal in phase or 180 Sonic Modulator’s four LFOs can be locked to the
degrees out of phase. Center selects the initial tempo of your sequence. For example, an LFO can
delay of the modulated signal. Feedback oscillate to 16th notes or relative to the downbeats
regenerates the modulated signal for a more of measures.
complex effect. Center position is 0 feedback;
moving the control to the left or right introduces To enable beat-based automation in Sonic
in-phase or out-of-phase regeneration. Modulator, choose Beats, Note Values or Bars from
the Modulation section menu as shown below in
Amplitude modulation Figure 1-38:
The Amplitude Amount control describes how far
the amplitude of the signal is modulated. The
stereo button determines whether the amplitude
modulation is panning or tremolo.
Filter modulation
There are four types of filter to work with: Low
Pass, Band Pass, Notch (inverted Band Pass) and
High Pass. The resonance (or Q) setting increases
the sharpness of the filter curve. The Center
control determines the center frequency of the
filter. The range control sets how far the filter Figure 1-49: Locking Sonic Modulator’s LFOs to the tempo of your
sequence.
travels from the center frequency.
For an explanation of the difference between
LFOs locking to Beats, Note Values or Bars, see “Tempo
There are four independent LFOs. The selectable lock” on page 8.
waveforms are as follows: Sine, Square, Triangle,
Sawtooth and Random. Envelope
The amplitude of the incoming signal is used to
The phase buttons allow LFOs to have generate an envelope. The envelope can be used as
specific phase offsets from each other. Click them a modulation source. The attack and release times
repeatedly to change the phase in 45-degree can be varied, as well as the scaling of the
increments. The phase offset will only be envelope. The retriggering sensitivity can be
noticeable if two or more LFOs were set at the adjusted.
same speed, unless the LFOs are in a beat-based
tempo mode. In that case, the phase is relative to Sonic Modulator condensed view
the beginning of the sequence. If you would like to see a condensed view, click the
button shown in Figure 1-48 on page 82 to switch
Rate adjusts the speed at which the LFO oscillates. to the condensed view shown below.
83
SPATIAL MAXIMIZER
no no no yes no no
Spatial Maximizer is a mid-side processing tool.

The primary use is mastering for vinyl, but since
FM radio broadcasts and some popular lossy
digital audio compression codecs use mid-side
encoding internally, the range of practical
applications is by no means limited to boutique
vinyl mastering houses.
Mid and side bands

The signal processing graph is as follows:
incoming signals are split into separate mid and
side bands. The mid band represents the sum or
Figure 1-50: The Sonic Modulator plug-in condensed view.
center image channel. Most of the energy in
commercial music mixes will be found in this
band. The side channel contains the difference of
the information.
84
Mid channel pre-processing Blend: harmonic product blend level.
On the mid channel, the first processing step is a
low-frequency distortion processor. Disabled by Highpass Filter
default, this is typically applied to make bass Freq: highpass filter corner frequency.
instruments audible on playback systems with
Dynamic equalizer
poor low frequency response.
The Dynamic Equalizer section for the mid and
Side channel pre-processing side bands (including the EQ graph and FFT
Due to the way stereo phonograph recordings are display) works the same as the “Dynamic
cut into the physical media, excessive bass energy Equalizer” on page 25.
in the side channel can cause the needle of a player
Master Stage
to jump out of the groove. Therefore, the first
Master: provides makeup gain for the plug-in’s
processing step performed on the side channel is a
master output.
12 dB/octave highpass filter that removes bass
energy from this channel. This filter is on by Solo: the solo buttons in the master stage allow
default. you to solo the mid band or side band.
Dynamic EQ SPRINGAMABOB
After the pre-processing stages, each band passes
through an independent, full-featured dynamic
equalizer. This allows tweaking of both dynamics
and frequency content. Particularly, corrections
for lathe resonances and radius-dependent
frequency response problems may be applied
before the signals are recombined. The makeup
gain controls also provide adjustment for stereo
Spring model
widening or narrowing.
Finally, the output mixer stage offers metering, a

master makeup gain, and solo buttons. For
maximum flexibility, these solo buttons are
independent of the band solo buttons of each
dynamic EQ stage.
Look-ahead M-M M-S M-n S-S S-n n-n

Spatial Maximizer employs several milliseconds of yes yes no yes no no
latency to implement look-ahead. Make sure that
latency compensation is enabled in Digital Springamabob is a virtual spring reverb effect. It
Performer. allows for three different selections of spring
tanks, and more traditional control over these
Controls
tanks with Mix, Tone and Dwell knobs. These
Bass Enhancer
Freq: anti-aliasing cutoff filter frequency. same control parameters were used in one of the
Drive: gain applied prior to distortion processor.
85
first Spring reverbs used with guitars: the Fender™ SUBKICK
6G15 Reverb head, which was made popular by M-M M-S M-n S-S S-n n-n
surf rock sounds of the 1960’s.
The physical concept of the spring reverb is a Subkick is a kick drum enhancer plug-in meant to
simple one: apply an alternating signal (such as a emulate the time-honored technique of using a
wailing guitar solo) to a transducer coil, which junk speaker as a kick drum microphone. The
converts the audio waves to an electro-magnetic input signal is fed into an adaptive beat/attack
signal. The delay time is based on wire length, coil detector based upon a Schmitt trigger. The
diameter, and wire substance. Schmitt trigger is a switch that has two thresholds:
high and low. Traditionally, a Schmitt trigger will
Mix: controls the wet/dry blend of the signal.
not react unless a signal is higher or lower than
Tone: adjusts the treble response of both the wet one of these thresholds. The difference between
and dry signal paths. these two thresholds is, in analog terms, called
hysteresis voltage.
Dwell: provides gain control for the amplifier
driving the input to the spring. It can make the wet How it works
Subkick uses the envelope signals instead of the
signal quite distorted, which is part of the charac-
peaks and valleys of each individual audio wave to
teristic timbre of these devices.
trigger the kick drum: the rising edge of the trigger
Spring model: choose one of three different is interpreted as an attack, and it causes a digital
spring tank models: long double, long triple, or impulse to be fed into the resonator simulation.
short triple. The falling edge is simply ignored.
Treadle
Meters
86
This system emulates the response of a cone TREMOLO
woofer to the air pulse radiated from a kick drum
when struck. The output is passed through a
distortion model that emulates the mixer input. A
mix control is provided for blending the raw kick
microphone signal with the synthesized bump.
Metering
The pink meter reads the input peak level. The
purple meter reads the output level. The kick
pedal indicates triggering. Click on or near the
treadle to test the sound.
How it works
Controls Tremolo uses a low frequency oscillator (LFO) to
Sens: controls the sensitivity of the attack automatically control the amplitude of the input
detector. Turned down, it is less sensitive, turned signal.
up, it is more sensitive.
Tempo lock: Tremolo can be specified in real-
Retrigger: controls the hysteresis of the attack time or in one of several tempo-based modes
detector. When a signal causes multiple false which lock the LFO of the tempo of your
triggers, turning it down can help. If the detector is sequence, even if there are tempo changes.
missing the second hit of a fast double-hit
articulation, turn it up. Waveform: determines the desired LFO wave
(sine, triangle, etc.)
Pitch: controls the frequency of the resonator.
Rate: sets period in Hertz (Hz) in real-time mode,
Resonance: this is the height of the peak of the or note values or bars depending on tempo lock
resonator. A higher resonance means longer delay mode.
times.
Depth: controls the depth of the tremolo effect.
Drive: controls the gain applied to the signal
ahead of the distortion model.
Trim: controls the gain applied to the signal after

the distortion model.
Mix: this is essentially a wet/dry crossfader.
Gain: controls the gain for the final output mix.
87
TRIGGER MIDI Output
Time units: menu option to change mode from
real time to mensural unit display
Duration: determines the length of the MIDI

note output.
MIDI note: determines which MIDI note will be

sent from Trigger.
Faster trigger/more accurate trigger -

determines how long before Trigger commits to a
result. Faster triggers are better suited to real time
operation but more accurate triggers will provide a
better translation of velocities.
yes no no yes no no
Trigger converts an audio pulse to a MIDI event.

This can be useful for replacing or beefing up
drum sounds with MIDI generated sounds.
How it works
On an audio track, insert a Trigger plug-in. Make
sure that Multi Record is enabled (see “Choosing
an input source” on page 140 in the DP4 User
Guide). Trigger will publish itself as a MIDI output
device. Next, create a MIDI track and select
Trigger as the input and set the output destination
to a MIDI drum module. Record enable the MIDI
track. Hit play. Gradually increase the threshold
control until desired triggered output is achieved.
Visual feedback of the trigger pulse is displayed in
the MIDI output section of the Trigger plug-in
window. You should also hear the results of the
trigger on your MIDI module.
Audio Input
Time units: menu option to change mode from
real time to mensural unit display
Threshold: sets how much energy is required to

trigger a pulse.
Retrigger delay: sets the minimum amount of

time before another event trigger is allowed.
88
TRIM Signal flow
Trim (Figure 1-51 below) provides simple gain
and attenuation. but it offers a number of useful Phase Invert
additional features, including long-throw, precise

metering with an adjustable range, a phase invert,
and left/right panning in the stereo version. Gain

yes no no yes no yes Stereo version only
Pan
Trim uses very little processing power. Its main

purpose is to be used at the end of a chain of Meter
effects or as part of the output stage for an
auxiliary track, subgroup or master fader. Trim Figure 1-52: Trim plug-in signal flow.
will help you control and monitor levels at all
points of the mix.
Figure 1-51: The mono, stereo and

n-channel Trim plug-ins.
89
How it works Range Adjust: Allows you to zoom in on any part
Trim can add up to 40 dB of gain or attenuation to of the meter range.
a digital audio signal. The metering can be
zoomed to show a close-up of any part of the TUBE WAILER
signal range. The meter shows up to 20 dB over
digital zero so you can see exactly how far you
have exceeded the available dynamic range of the
A/D converters or final 16 bit or 24 bit file. The
meter shows real-time, average level, and peak/
hold (click to clear).
The invert button inverts the phase of the signal by

180°. This can be useful if you have two mics
recording a stereo image of a sound source. If the
mics are out of phase or wired incorrectly,
inverting the phase of one of the signals may
improve the sound.
Controls
Gain: Provides -/+ 40db of gain.
Link: (Stereo only) Links the left and right gain yes yes no yes no no
controls. If left and right are set to different levels
and then Link is engaged, the difference between Tube Wailer is an emulation of the venerated
left and right is maintained when either is Ibanez TS-9 Tube Screamer™ overdrive pedal.
changed.
Drive: amount of distortion.
Pan controls: (Stereo only) The pan controls give
you separate pan control of the left and right Tone: variable high-frequency roll-off, with upper
channels, allowing you to restrict — or even midrange peak at high settings.
completely swap — the left/right channels. Zero
(0.00) is hard left, 1.00 is hard right and 0.5 is Level: output gain.
mono.
Diodes: simulates replacing the stock silicon
By default, the pan controls are linked (as clipper diodes with germanium diodes. This
indicated by the green link light between them). reduces distortion level but extends bandwidth.
Use the button between them to disable linking for
independent pan control of the left and right
signals.
Invert: Inverts the phase of the input signal by
180°.
Peak: Indicates the highest peak since the peak

indicator has been cleared. Click it to clear it.
90
TUNER Reference frequency: sets the frequency
reference for the pitch A4, between 400 and 480
Hz. The default frequency is 440 Hz. The
reference frequency can be adjusted in increments
as small as 0.01 Hz when Command-dragging on
the bar below the number.
M-M M-S M-n S-S S-n n-n Reference generator: generates a tone at the
yes yes no yes no no reference frequency. Click the tuning fork button
to toggle the generator. Click and drag on the bar
The Tuner plug-in is an accurate and easy to use below it to adjust the output level of the generator.
tuner.
Tuning stereo signals
Detected frequency: fundamental frequency of When tuning a stereo signal, the Tuner plug-in
the incoming signal, in Hertz (Hz). analyzes the sum of the two channels. If the
channels are not phase coherent, the Tuner plug-
Detected note: note name and octave that in may not be able to measure the frequency of the
correspond to the detected fundamental signal.
frequency.
Meter: representation of the pitch difference

between the detected note and the detected
fundamental frequency. The horizontal position
of the illuminated segments indicates how far the
detected frequency is from the detected note. The
number of illuminated segments indicates
uncertainty or inharmonicity in the signal; a
greater number of illuminated segments
represents greater uncertainty. The color of the
segments changes gradually from green (in tune)
to yellow, orange, and red (progressively further
out of tune).
Meter value: difference between the detected

note and the detected frequency, in cents.
Arrows: the direction in which the detected

frequency needs to move to match the frequency
of the detected note. The color of the arrows
changes progressively in the same manner as the
meter segments. When the detected fundamental
frequency matches the detected note within
three cents, both arrows will be illuminated.
91
ÜBER TUBE WAH PEDAL

Über Tube is an emulation of the Ibanez Super M-M M-S M-n S-S S-n n-n
Tube™ overdrive pedal, a close but rare cousin of yes yes no yes no no
the Ibanez Tube Screamer™.
The Wah Pedal plug-in simulates “wah-wah”
Drive: amount of distortion. pedals used by guitarists, bassists and keyboard
players.
Bite: variable frequency mid-boost, like a “parked
wah” mixed with the signal. Pedal Position: the position of the rocker pedal
in percent of forward sweep. This can be adjusted
Level: output gain. with the Pedal Position knob, or by clicking the
pedal graphic to the left and dragging up or down.
Bright: variable high-frequency roll-off, with
upper midrange peak at high settings. Sweep Start: the starting position of the pedal
relative to the full range of the pedal’s sweep.
Diodes: simulates replacing the stock silicon
clipper diodes with germanium diodes. This Sweep Range: specifies the sweep range as a
reduces distortion level but extends bandwidth. percent of the distance from the sweep starting
position to the end position.
when lit, the effect is active. Sweep Exponent: defines the curvature of the
sweep response over the sweep range. This greatly
affects the “feel” of the pedal. Most wah pedals use
a negative exponent.
92
Character: controls the relative amount of
distortion, with zero being perfectly linear. Classic
wah-wah pedals are discrete designs that use
feedback, but the simplicity of the circuit allows
some weak low-order harmonic distortion to find
its way to the output.
Voicing: selects the frequency response model.

“V846” represents a vintage ‘70s Vox 846™,
“WhineBaby” a modern Dunlop CryBaby™.
Sweep Mode (mono-to-stereo or stereo-to-

stereo only): chooses which channels are in phase
with the effect: left, right or both. For the out-of-
phase channel, the pedal position is inverted after
applying the sweep range modifications but before
the sweep curvature is applied to simulate playing
an identical pedal that is “turned around.”
Sweep Control: selects whether automation

ramp data or MIDI continuous controller (CC)
messages should be used to automate the pedal
position and effect bypass.
When MIDI is chosen, any ramp data in the track

is overridden, and the pedal position knob and
pedal graphic do not affect the pedal position
value. You can use MIDI control to record
automation, which is more convenient to edit.
Pedal CC: selects the MIDI continuous controller

(CC) number assigned to the pedal.
Bypass CC: selects the MIDI continuous

controller (CC) number assigned the bypass
switch. Values 63 and higher will bypass the effect.
93
94
Part2
Instruments
CHAPTER 2 Instrument Plug-ins
OVERVIEW
Digital Performer includes six instrument plug-
ins: BassLine, PolySynth, Nanosampler, Modulo,
Model 12 and Proton. The following sections
discuss the settings for each individual
instrument.
For general information about using virtual

instruments, see chapter 17, “Instrument Tracks”
(page 155) in the DP User Guide.
BassLine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98
PolySynth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Nanosampler. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Modulo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107
Model 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .118
MX4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123
Proton. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
MIDI Control of instrument settings. . . . . . . . . . . . . . . . . . . .127
97
BASSLINE Filter
BassLine (Figure 2-1) is a monophonic, analog- This is a classic low-pass filter with cutoff
modeled bass synth instrument plug-in. frequency and filter resonance controls.
Filter modulation
The Filter Modulation section lets you apply a
simple one-stage decay envelope to the filter
frequency. Decay determines the speed of the
envelope and Envelope Amount (Env Amt)
determines the strength of the envelope applied to
the filter. Velocity lets you control envelope
amount via note-on velocity. A higher settings
produces greater on-velocity response.
Amplifier
Figure 2-1: BassLine.
Control the output level of the instrument with the
Oscillator Volume knob (which is mapped to controller #7).
BassLine provides a single oscillator that can Overdrive produces classic analog-style signal
produce a sawtooth wave, square wave or a hybrid overload effect.
combination of the two by turning the Waveform
knob (Figure 2-1) to a position somewhere in Amplifier modulation
between the highest and lowest setting. Control the length of each note with Decay. Apply
note-on velocity response with the Velocity knob.
Use the Range knob to specify the octave. As was
often the case on vintage analog synths, the three Legato
settings (8, 16 and 32) refer to the length (in feet) BassLine is a monophonic instrument and can
of organ pipes. A pipe twice as long produces therefore only play one note at a time. When
notes an octave lower. Detune produces an Legato mode is disabled, holding one note and
increasingly fatter sound and widening stereo then playing another note ends the first note and
image. retriggers the amplitude envelope. When Legato is
enabled, the transition to the second note is made
Pitch modulation with pitch glide from one to the other. In addition,
Bend range (specified in half-steps from 1 to 12, the envelope is not retriggered, so the decay
where 12 is an octave) determines the response to continues until all notes are released.
pitch bend. Glide provides classic portamento
from one note to the next.
98
IN S T R UM E N T P LU G - IN S
POLYSYNTH frequency of the note being played. Full (3/3)
PolySynth (Figure 2-2) is a polyphonic synthesizer tracking produces a full range key tracking over
inspired by the Roland Juno 106 and other one- the entire keyboard, where the 2/3 and 1/3 settings
oscillator analog synths from the 1980’s. reduce the tracking effect by scaling the change
proportionally as you move up the keyboard.
DCO
The heart of PolySynth is the DCO (Digitally Envelope (ENV)
Controlled Oscillator) section. Here, you will find The ADSR envelope (Attack, Decay, Sustain, and
oscillator level controls for triangle, sawtooth, Release) controls the loudness of each note, and it
rectangle, sub-frequency 1 and sub-frequency 2 can also modulate the filter. The Attack, Decay,
oscillators. You can also add Noise and adjust and Release parameters are rate or time controls.
stereo Detune. Use the Range buttons to specify Sustain controls amplitude (level). When a note is
the octave. Bend range (specified in half-steps first triggered, the envelope generator will begin to
from 1 to 12, where 12 is an octave) determines rise to its full level at the rate set by the Attack.
the response to pitch bend. When it reaches the peak level it then falls at the
rate set by the Decay parameter to the level set by
LFO the Sustain control. The envelope will remain at
The LFO (Low Frequency Oscillator) section the sustain level as long as the key is held down.
allows you to apply periodic modulation effects. When a key is released, it will return to zero at the
Speed controls LFO rate. PWM (Pulse Width rate set by the Release parameter.
Modulation) uses the LFO to change the shape of
the rectangle and sub-frequency oscillators, Amplifier (AMP)
resulting in cyclic timbral changes to the sound. Control the output level of the instrument with the
The Vibrato/Wah slider uses the LFO to either Volume slider (which is mapped to controller #7).
modulate pitch for a vibrato effect or modulate the Velocity (VEL) controls note-on velocity
resonant low-pass filter for the classic “wah” sensitivity. For example, if you set Velocity to zero,
sound. all notes will play at the same volume. Higher
values cause notes played softly to sound at a low
Filter volume and notes played hard to sound at a higher
This is a classic low-pass filter with cutoff volume.
frequency (FREQ) and filter resonance (RES)
controls. Apply note-on velocity response with the Effects
velocity (VEL) control. Apply the ADSR envelope Add Chorus and Distortion (DIST) to the sound as
(or its inverse) to the filter with the envelope desired.
(ENV) control. Key Tracking makes the filter
cutoff frequency change relative to the root
Figure 2-2: PolySynth.
99
NANOSAMPLER Shared: Use the Copy To menu command (see
Nanosampler (Figure 2-3) is a sample player below) to copy a sample to this Shared sub-menu.
instrument. You can load a mono or stereo audio Shared samples are stored in the system Library
file of any length into one instance of Application Support folder and can therefore be
Nanosampler and then play the sample, or made available to any users that you wish to share
individual slices of it, from a MIDI track or a them with. If this menu item is grayed out, there
MIDI controller. For longer samples, are no Shared samples yet.
Nanosampler plays the first 20 seconds. Only one
sample can be loaded at a time, but you can create User: Use the Copy To command (see below) to
and operate as many instances of Nanosampler as copy a sample to this User sub-menu. User
you need (and your computer processing samples are stored in your user directory and are
resources allow). therefore available only when you are currently
logged in to your computer with your user
Sample menu account. You can use the user directory to protect
The Sample menu (Figure 2-3) displays the your own sample content. If this menu item is
currently loaded sample. Click to access the menu grayed out, there are no User samples yet.
items explained below. These features work the
same way as described for Model 12 in “Model 12 Project: Project samples are stored with the
sample management” on page 121. You can Digital Performer project itself. By keeping them
assemble your own Nanosampler library by with the rest of the files associated with the
building it from your computer desktop, as project, you don’t have to worry about losing them
explained in “Building your user library” on when exchanging the project with a colleague,
page 122. archiving the project, transferring it, etc.
Factory: This sub-menu provides access to DP’s Open: Lets you load a sample from your hard
included (factory) samples, which offer a broad, drive.
basic palette of instrument sounds for you to work
with.
Fade Sample Sample Mini

In display area tab menu
Sample Sample Loop Loop Loop Fade Sample Settings
menu Start Start Loop Fade End Out End tab
Sample
Global settings
settings
Synth settings
Figure 2-3: Nanosampler.
100
Reveal In Finder/Explorer: Displays the audio that the sample plays in its entirety as soon as it is
file on the computer desktop. triggered, unless it gets retriggered, which causes it
to play from the beginning again.
Copy To: Lets you copy the current sample to the
Shared, User or Project sub-menus. Slice
In Slice mode (Figure 2-5), the sample is divided
Loading a sample using drag and drop into individual slices triggered by a their own
To load a sample into Nanosampler via drag and MIDI note. Unlike with Classic and 1-shot modes,
drop, drag a mono or stereo sample from your the MIDI note does not affect the pitch of the slice
computer desktop, the Soundbites list, a clippings but instead triggers the audio at its original pitch.
window or other draggable source into the
Nanosampler sample display area (Figure 2-3). For more information about Slice mode, see
“Editing slices in the waveform display” on
Global settings page 103 and “Slice mode settings” on page 104.
Once a sample is loaded, the global settings
(Figure 2-3) determine the overall operation of Stretch
Nanosampler. When Stretch (Figure 2-3 on page 100) is enabled,
the sample will maintain its original duration at
Classic mode any pitch that you play.
In Classic mode (Figure 2-3), Nanosampler acts
like a traditional sampler, where the sample plays When Stretch is disabled, the sample length
back at different pitches depending on the key becomes proportionally shorter or longer,
pressed, with either Gate or Trigger playback (see respectively, as you go up or down from the root
“Gate/Trigger (Classic and Slice modes only)” on pitch.
page 103).
Length
1-shot When Stretch (above) is enabled, the Length
1-shot mode (Figure 2-4) is similar to Classic, option becomes available (Figure 2-3 on page 100)
except that the sample plays in Trigger mode only, and lets you choose from the menu a specific
and polyphony is locked at one voice. All Trigger, metric length for the sample (at all pitches). For
Gate and Loop options are disabled. The result is example, if you choose 1 bar, the sample will
become one measure long at whatever the
Figure 2-4: 1-shot mode.
101
sequence tempo is when the sample is triggered. sample, you can probably set the polyphony to 2,
This option is commonly used for drum loops and as you’ll likely never play more than two bass notes
other rhythmic material. at the same time (perhaps only when they overlap
a little bit from one to the next). On the other
ZTX Stretch mode hand, if you are playing a keyboard pad sample,
When using the Stretch option (above), use the you might want as much as 10 or 12, depending on
ZTX Strech Mode menu (Figure 2-3 on page 100) the length of the decay of the notes, the music you
to choose the desired time-stretching algorithm. will be playing, and any other factor that might
Standard produces more of the conventional impact how many notes are sounding at one time.
“sampler” effect, while Formant-corrected
preserves the tonal characteristics at different Bend
pitches. For details, see “ZTX Formant-Corrected” Bend range (Figure 2-3 on page 100) is specified in
on page 935 in the DP User Guide and “ZTX half-steps from 1 to 12, where 12 is an octave, and
Standard” on page 936 in the DP User Guide. determines Nanosampler’s response to pitch bend.
Volume Sample tab

Control the output level of Nanosampler with the The Sample tab (Figure 2-3 on page 100) displays
Volume knob (Figure 2-3 on page 100), which is the waveform and sample settings.
mapped to controller #7.
Waveform display
Voices The waveform display (Figure 2-3 on page 100)
The Voices setting (Figure 2-3 on page 100) lets shows the currently loaded sample. Right-click (or
you choose how many notes you can play at one Ctrl/Win-click) to quickly access the mini-menu
time. For example, if you are playing a bass commands (see “Mini-menu” below).
Selected
Slices Slice
Figure 2-5: Slice mode.
102
Editing slices in the waveform display Start/End
In Slice mode (Figure 2-5 on page 102), use the If you would like to specify sample start/end times
following techniques to edit slices: that differ from the very beginning and end of the
sample, you can set them graphically in the LCD
To do this Do this display or by numerically adjusting the sample
To select a single slice Click its stem. start and end settings (Figure 2-3).
To select an adjacent slice Press the left/right arrow key.
Fade In/Out
To select multiple adjacent slices Shift-click them. The fade In and Fade Out points (Figure 2-3) are
To select non-adjacent slices Command/Ctrl-click them. set relative to the Sample Start and End times and
allow for a smooth fade of the desired length at the
To remove one or more slices Select them and press delete.
start or end of the sample.
To add a slice Double-click on the waveform.
Gain
To move a slice Drag it.
Use Gain (Figure 2-3) to adjust the overall level of
To audition a slice Click its note name. The slice the sample in dB. Positive values raise the level;
plays according to the sample
settings (such as trigger/gate). negative values lower it.
Tune
Also see “Slice” on page 101 and “Slice mode The Tune setting (Figure 2-3) lets you adjust the
settings” on page 104. pitch of the note up or down. The adjustment is
specified in semitones and cents (a hundredth of a
Mini-menu
semitone), so it can be very accurate. To adjust
The Nanosampler mini-menu (Figure 2-3 on
down, enter a negative number.
page 100) has the following commands:
Snap
Reverse Sample: Plays the sample backwards.
When Snap is enabled (Figure 2-3), the sample
start/end, loop start/end and slice start points will
Normalize Sample: Boosts the level of the entire
snap to the best value in the local range to prevent
sample by whatever amount is needed to make the
clicks.
loudest peak reach digital full scale (zero dB).
Root (Classic and 1-shot modes only)
Show Separate Channels/Mono Sum: If the
The Root setting (Figure 2-3) determines which
sample material consists of stereo audio, these two
MIDI note (and therefore which key on your
commands let you view it as separate side-by-side
MIDI keyboard) triggers the original sample.
channels or as a single waveform that is a mono
Adjusting it lets you shift the root pitch of the
sum of the two channels.
sample up or down on the keyboard.
Sample settings
Gate/Trigger (Classic and Slice modes only)
The sample settings (Figure 2-3 on page 100) are In Classic mode, you can choose between Gate or
displayed below the waveform, where they can be Trigger playback (Figure 2-3). Gate stops playback
edited numerically. There are graphic handles as soon as a MIDI key is released (after the
above the waveform (also shown in Figure 2-3) for amplitude envelope release finishes). Trigger
basic settings such as sample start/end, fade in/
out, loop start/end, etc.
103
ignores note-off messages and always plays until Slice By
the end of the sample, or until the sample is Use the Slice By menu (Figure 2-5) to choose how
retriggered. slice locations are determined, as follows:
Slice By Setting Explanation

Repeat (Gate mode only)
With Gate enabled, the Repeat option (Figure 2-3) Beats Sensitivity Automatic beat detection finds slices by
searching for transients in the audio.
causes sample playback to automatically play Adjust the Sensitivity setting to find
more or fewer slices.
again after completing a full cycle, repeating the
full cycle over and over for as long as the note is Mensural Length Slices are placed in even, metric
increments determined by the Length
held. In Slice mode, each slice will repeat setting (16th note, 8th note, etc.)
individually for as long as its note is held.
Division Number Slices are placed in equal increments,
according to the Number specified.
Loop (Gate mode only)
Manual (None) Slices are placed manually. See “Editing
If you would like the sample to sustain when you slices in the waveform display” on
hold down keys, enable the Loop button page 103.
(Figure 2-3). You can then set the loop Start and
End points, either numerically or graphically If you edit slices while in Beats, Mensural or
using the handles above the waveform display, as Division mode, the Slice By mode switches to
shown in (Figure 2-3). Manual.
Use the Fade control (Figure 2-3) to create a Play Until

smooth transition from the loop end to the loop When a slice is playing, the point it plays until
start. You can save the loop in the audio file itself depends on the Play Until setting (Figure 2-5),
using the Save loop in sample command in the which has three options:
Settings menu. You can load a previously saved
Play Until Explanation
loop from the audio file using the Load loop from
Slice End The slice plays.
sample command in the same menu.
Sample End Playback begins at the start of the slice and proceeds
all the way to the end of the sample.
Slice mode settings
The settings in this section are available in Slice Final Note The slice plays, and then each subsequent slice will
play sequentially. (See below for more info.)
mode only (Figure 2-5 on page 102). Also see
“Slice” on page 101 and “Editing slices in the
waveform display” on page 103. Final Note
The Final Note setting plays slices sequentially in
order of their assigned MIDI note. This produces
the same result as the play until Sample End mode
when the slices have the default ascending order.
However, a completely different result can be
obtained when the slice order is randomized (see
below).
104
Base (Base Note) With the above settings, if you hold down a MIDI
The Base (Base Note) option (Figure 2-5) lets you note, a slice will repeat two times before the
specify which MIDI key triggers the first slice. randomization resets and then another random
Subsequent slices are assigned to consecutive slice will repeat twice, and so on, until you release
notes, according to the setting in the Keys menu: the key.
Chromatic, White or Black keys.
The Play Until Final Note setting is a lot of fun with
Randomize Auto randomization because the sequence of
The Randomize button (Figure 2-5) randomizes slices will shuffle each time you complete a full
the order of the MIDI notes assigned to the note/slice sequence.
existing slices. No slices are added or removed;
only the existing slices are shuffled. Clicking the The Settings tab
Randomize button is a ‘one-shot’ operation: the The Settings tab (Figure 2-6 on page 106) provides
result remains as is, unless you click the button graphic control of the Envelope, Filter and LFO
again. (However, see “Auto Randomize” below.) settings. The settings across the bottom of the
Nanosampler window can be accessed even when
☛ If you would like to limit the randomization the Settings tab is hidden.
to only certain slices, select them before clicking
the Randomize button. For details about selecting Amplitude Envelope
slices, see “Editing slices in the waveform display” To apply the Amplitude Envelope (Figure 2-6),
on page 103. engage its button. Doing so applies a standard
ADSR envelope to the sample. The ADSR
To get back to the default ascending MIDI note envelope (Attack, Decay, Sustain, and Release)
ordering (starting from the base note), click the controls the loudness of each note over time. The
Reset button. Attack, Decay, and Release parameters are rate or
time controls. Sustain controls amplitude (level).
Auto Randomize
The Auto button connected to the Randomize When a sample is first triggered, the envelope
button (Figure 2-5) automatically randomizes the generator will begin to rise to its full level at the
slices after playback cycles through the number of rate set by the Attack. When it reaches the peak
periods specified by the Period setting. A new level it then falls at the rate set by the Decay
randomization occurs after each period reset. parameter to the level set by the Sustain control.
The envelope will remain at the sustain level as
For example, consider the following setup: long as the key is held down. When the key is
released, volume will return to zero at the rate set
Sample setting Set to by the Release parameter.
Repeat Enabled
Velocity Tracking (Vel Track) allows you to apply
Gate/Trigger Gate
the ADSR envelope to varying degrees, depending
Play Until Slice End on MIDI note-on velocity (how hard you play
Randomize Auto notes). For example, if you set Velocity to zero, all
notes will simply play at the volume set by the
Period 2
volume knob. Higher velocity values cause notes
to be played louder, the harder you play.
105
Filter LFO
To apply the Filter (Figure 2-6), click the Filter The Nanosampler LFO has the following settings:
button to engage it. Choose the desired filter type
Setting Unit Explanation
from the menu and then adjust the cutoff
Type Menu Lets you choose the wave shape of the
frequency (Freq) and filter resonance (Res). Apply LFO: Sine, Up/Down Sawtooth, Square,
note-on velocity response with the velocity Sample & Hold, Sample & Ramp and
Random Walk.
tracking (Vel Track) control. Key Tracking (Key
Track) makes the filter cutoff frequency change Sync Menu: Determines whether the LFO is locked
Real time to real time or tempo. Mensural makes
relative to the root frequency of the note being Mensural the LFO synchronize to the tempo of the
project’s time line.
played. Full tracking (100%) produces a full range
key tracking over the entire keyboard, where lower Mensural Beats LFO rate is adjusted in beat values
(whole note, half note, quarter note, etc.)
settings reduce the tracking effect by scaling the A quarter note is equal to one beat.
change proportionally as you move away from the Rate Hertz (Hz) The number of cycles per second at
filter cutoff frequency on the keyboard. which the LFO oscillates.
Filter percent Modulates the filter cutoff frequency

Filter envelope with the LFO.
The Filter Envelope (Filter Env in Figure 2-6)
Pitch percent Modulates the pitch of the sample with
controls how the filter cutoff frequency evolves as the LFO.
a note sustains. When the envelope is disabled, the Detune Percent Changes the rate of the LFO based on the
filter frequency remains constant, at its current note pitch. (Has no effect when LFO is
synced to tempo.)
setting, for as long as the note plays. If the Filter
Envelope is enabled, the attack setting determines Delay ms The amount of time before the LFO
begins oscillating after being triggered.
how long the cutoff frequency takes to reach its
Ramp Milliseconds Applies an amplitude ramp (from zero to
maximum value, as determined by the Filter (ms) 100%) to the LFO.
Envelope Amount setting. The subsequent Decay
Retrig On/off Enable retrigger to restart the LFO each
(D), Sustain (S) and Release (R) settings control (Retrigger) time a note is played (polyphonic LFO);
how the cutoff frequency returns to its original, disable it to keep the LFO running from
the first note played (monophonic LFO).
specified value.
Settings
tab
Amplitude Envelope Filter and Filter Envelope LFO
Figure 2-6: The Settings tab.
106
MODULO Patch
Modulo (Figure 2-7) is a two-oscillator virtual The Patch menu displays all of the patches in the
synthesizer instrument, which features digital bank currently chosen in the Bank menu. When
waveforms with a unique phase modulation you choose a patch from the menu, its settings are
system. loaded into the Modulo window. Use the +/-
buttons next to the menu to choose the next or
Patches previous preset in the list. Hold down the Option
A patch is a snapshot of all the settings in the key while clicking the +/- buttons to stay within
Modulo window. Modulo ships with dozens of the current bank when browsing presets. To
useful presets organized by category in several create, rename, move, duplicate or delete patches,
dozen banks, such as Synths, Leads, Strings, etc. see “Managing patches and banks” on page 108.
The Presets section at the bottom of the Modulo
window (Figure 2-7) lets you choose, modify, Save
compare, revert and save presets. Modulo can When you first choose a patch, the Save button is
support an unlimited number of presets. not available. As soon as you change any
parameter in the Modulo window, Save becomes
Bank active, and the patch name becomes italic in the
A bank can hold up to 128 presets. When you Patch menu to indicate that the patch has been
choose a bank, its patches (presets) are displayed modified. Click Save to store the changes you
in the Patch menu. Use the +/- buttons next to the made to the patch (replacing the original version).
menu to choose the next or previous bank in the If you wish to “save as” in order to preserve the
list. To create, rename or delete banks, see original patch, see “Managing patches and banks”
“Managing patches and banks” on page 108. on page 108.
Figure 2-7: Modulo.
107
Revert access to the Save and Revert buttons, which do
When you first choose a patch, the Revert button not apply to the original patch (since it is already
is not available. As soon as you change any saved).
parameter in the Modulo window, Revert
becomes active, and the patch name becomes italic Managing patches and banks
in the Patch menu to indicate that the patch has Click the File button to display patch and bank
been modified. Click the Revert button to management controls in the Modulo window, as
permanently discard any changes you’ve made to shown in Figure 2-8. These controls let you
the patch. manage Modulo banks and patches. Click the Edit
button to return to the main Modulo window.
A/B (compare)
When you first choose a patch, the A/B button is Source
not available. As soon as you change any The Source section (Figure 2-8) lets you choose
parameter in the Modulo window, Compare the patch you wish to work with. Click Delete to
becomes active, and the patch name becomes italic permanently remove the current source patch.
in the Patch menu to indicate that the patch has Click Save to save any changes that have been
been modified. Click the A/B button repeatedly to made to the current source patch (such as any
toggle between the original patch and the edits to the name, author or other patch text).
modified version. The original patch is indicated
by non-italic text; the modified patch name is
italic. Note that the modified patch gives you
Patch text
Source
patch
Destination
location
Bank
management
Displays the controls shown here.

Flips back to main window (Figure 2-7).
Figure 2-8: Click the File button to display the patch and bank management controls.
108
Destination
The Destination controls (Figure 2-8) let you move
or “save as” a patch to a new location in any bank.
The Move to button places the patch at the chosen
destination location and also empties the patch’s
current location. The Save to button preserves the
source patch and makes a copy of it, along with Figure 2-9: The Master controls.
any changes that have been made, to the chosen
Glide
destination location. Save to is similar in concept
Glide is a continuous, smooth glide in pitch from
to the standard Save As command.
one note to another. You can adjust it from zero
Patch name, author, etc. (no portamento) to 100% (full portamento).
Edit the text in these text fields as desired. To save
Detune
your changes, click the Save or Save to button (in
Detune splits each oscillator into two separate
the Source or Destination sections).
oscillators panned left and right and detuned from
New/rename/delete/export/import bank one another by a percentage from zero to 100%,
Use these three buttons to manage banks as where 100% is a full semitone. Detune can be used
follows: with all three modes (mono, legato or poly).
Detune is good for thickening sounds.
Goal Action
To create a new bank Type in a name in the text box on the right Mix
and click New Bank. Mix controls the relative amount of each oscillator
To rename a bank Choose it from the menu, type in a new present in the signal. When the mix knob is in the
name in the text box on the right and click center position, you have equal amounts (50%/
Rename Bank.
50%) of each oscillator. To hear oscillator 1 only,
To delete a bank Choose it from the menu and click Delete
Bank. turn the knob all the way left (100%/0%). To hear
oscillator 2 only, turn the knob all the way right
To export a bank Choose it from the menu and click Export
Bank. (0%/100%).
To import a bank Click Import Bank to locate the bank you
wish to import on your hard drive. Noise
Use the noise control to add white noise to the
sound.
Revert
Click Revert to discard any unsaved changes Volume
you’ve made to the current preset. The Volume slider (which is mapped to controller
#7) controls Modulo’s overall volume.
Edit
Click Edit to return to the main Modulo window. MIDI settings (mono, poly, legato, bend)
Just like classic analog synths, Modulo can operate
Master controls
in mono, legato or poly mode. Click the button
The Master controls (Figure 2-9) provide global
shown in Figure 2-9 to enable the desired mode.
controls that affect the overall performance of
Modulo. They are presented as a row of knobs
below the LCD display as shown in Figure 2-9.
109
Polyphony position. By setting them to different values, you
can more easily bend up and down by different
amounts.
The upper and lower pitch bend ranges offer a

maximum range of one octave (12 semitones)
each, for a combined maximum of two octaves.
Figure 2-10: MIDI settings.
In mono mode, only one note can be played at a MIDI activity light
time. Each new note will cut off the currently The MIDI activity light illuminates when Modulo
sustained note, if any. receives MIDI data. This can be a useful trouble-
shooting tool. If Modulo is not making any sound
Legato mode is an alternative form of mono mode when you play it, but the MIDI light does blink,
where the envelope is not retriggered; only the then you can focus your troubleshooting efforts
pitch changes. on the audio signal path.
In poly mode, Modulo can play two or more notes Status

simultaneously, up to the limit you select next to The status LCD (Figure 2-11) displays
the poly button. For example, if polyphony is set to information about the parameter you are
16, Modulo can play and sustain up to 16 notes at currently modifying or targeting with the cursor.
a time. If you modify an oscillator setting, the LCD also
displays the oscillator waveform.
Polyphony
The polyphony setting determines how many
notes can play at a time. The maximum allowed
polyphony for one instance of Modulo is 16.
Beware, however, that higher polyphony settings
Figure 2-11: The Status LCD.
place higher demand on your host computer’s
processing resources. Therefore, the ideal Oscillators
polyphony setting is that which matches the Modulo provides two oscillators (Figure 2-12).
highest number of notes you will actually need
(the highest number of notes you will play simul- Signal flow
taneously, taking into account their releases and Modulo’s overall signal flow bears a striking
any resulting overlapping). resemblance to a Prophet 5. But it is best not to
think of each oscillator as a separate synthesizer.
Bend Instead, think of the oscillators as going into a
The bend parameters control how Modulo mixer before being processed.
responds to pitch bend. The pitch bend range is
split at zero into two pitch bend ranges: upper and
lower. The upper range determines how much
pitch bend occurs between the zero position on
your pitch bend wheel (or other controller) and its
highest position. The lower setting determines the
range from zero to the pitch bend wheel’s lowest
110
Sawtooth
This is a standard sawtooth wave.
Use the symmetry parameter to
morph the sawtooth waveform
between a downward triangle and an upward
triangle waveform:
Figure 2-13: Modulo signal flow. Symmetry

0% 50% 100%
Oscillator Mix
Turn the Oscillator Mix knob to control how
much of each oscillator is included in the signal
(Figure 2-12). To completely turn off oscillator 1 Figure 2-14: Use symmetry to morph between these three basic
waveforms.
or 2, turn the Mix knob all the way right or left,
respectively. A sawtooth wave (50% symmetry) has energy at
all harmonics, and the strength of higher partials
Waveforms falls off linearly. A triangle wave has less energy at
Choose the desired waveform for the oscillator high partials, and strength falls off exponentially
from the menu, or use the +/- buttons to cycle as the square of the partial number.
through the list of waveforms. Each oscillator
provides a variety of standard subtractive Rectangle
synthesis waveforms. An extensive library of This is a standard square wave. The
waveshapes are also provided. pulse width can be modified into a
rectangle waveform using the
Sine symmetry control (“Symmetry” on page 112).
This is a standard sinusoidal
waveform.
Figure 2-15: Adjust the symmetry control to create a rectangular wave

form.
Oscillator 1 Oscillator 2
Waveform Oscillator mix
Next/previous
waveform
Figure 2-12: The Oscillators.
111
Waveshapes pitch of the oscillator is expressed in the number of
Waveshapes are sets of complex semitones relative to the root pitch of the note
waveforms that provide a rich being played.
assortment of harmonic content
and tone color for a sound. A wide variety of Symmetry
waveshapes are provided. Modulo waveshapes The symmetry knob adjusts pulse width on
have adjustable symmetry, just like the pure rectangle waves, but symmetry can also be applied
waveforms (see “Symmetry” on page 112). to sine waves, sawtooths and even waveshapes.
Doing so produces interesting changes in
Waveshapes can produce spectra that differs harmonic content. Further interesting effects can
greatly from standard subtractive synthesis be achieved by modulating the symmetry (see
waveforms. Changing waveshapes is an easy and “Modulation” on page 115).
rewarding way to get into patch programming.
Simply find a patch you like, and audition Symmetry
different waveshapes. 0% 50% 100%
Modulating the oscillator phase shift is an easy Sine

way to add movement to your patches. If you
modulate the phase of oscillator 1, and modulate
the phase of oscillator 2 at the same time, the Sawtooth
combined effect is that the sound will never be

quite the same at any given moment.
Rectangle
Because waveshapes can sound like filtered

subtractive waveforms, sometimes you can use
Waveshape
waveshapes without any filtering at all, which
saves CPU overhead. Figure 2-16: Symmetry.
Tune Phase
Use the Tune knob to offset the pitch of the Three phase shift modes are provided: off (0),
oscillator from key tracking. When the Track subtract (-) and multiply (x). When engaged, the
button (explained in the next section) is disabled, oscillator is split into two separate oscillators that
the range is expressed in absolute frequency (Hz can be offset from one another by the phase knob
or kHz); the range is from 8.2 Hz to 22.1 kHz. from 0 to 180 degrees, and then either subtracted
from each other or multiplied by each other. The
When the Track button is enabled, the pitch is results can produce significant timbral differences,
expressed in semitones relative to the root pitch of depending on the chosen waveform. As you turn
the note being played. The range is from -60.00 the Phase knob, you’ll often discover “sweet spots”
semitones to +84.00 semitones. where significant timbral change occurs.
Tracking Modulating oscillator settings
When the Track button is enabled, the oscillator Oscillator pitch, phase shift and symmetry can be
adjusts its frequency relative to the note being modulated. For further details, see “Modulation”
played. Accordingly, when tracking is enabled, the on page 115.
112
Filter Enabling/disabling the filter
Modulo provides a multimode filter. In accordance with classic analog synthesizer
design, the filter is always present in the signal
path. However, you can “disable” it by choosing
one of the low pass filters and turning the cutoff
frequency all the way up (to 22.1kHz). Alterna-
tively, you could choose the high pass filter and
turn the cutoff frequency all the way down (to 8
Hz).
Cutoff frequency
Figure 2-17: The filter. The Cutoff knob determines the filter’s cutoff or
center frequency, which can be set as a number of
Filter type cycles per second (Hz or kHz) when key tracking is
The filter can be assigned to one of four different
disabled. When key tracking is enabled, Hz and
filter types (shown below) using the illuminated
kHz are not meaningful because the filter’s center
buttons along the bottom of the filter graph:
frequency is not fixed at an absolute frequency;
Symbol Filter type Sample instead, it is relative to the note being played.
LP12 Lowpass Therefore, Modulo expresses filter cutoff/center
12dB slope frequency in semitones relative to the pitch being
played.
Resonance (RES)
Resonance emphasizes the cutoff/center
frequency of the filter.
LP24 Lowpass
24dB slope
Tracking
The filter is equipped with key tracking (the track
button), which causes the cutoff frequency to
“track” (change relative to) the frequency of the
note being played. Key tracking helps avoid
undesirable artifacts. For example, a lowpass filter
BP Bandpass will cause notes to get more dull as you play higher
pitches (which have higher frequencies).
Using the filter graph

Use the control point on the filter graph to adjust
the frequency and resonance graphically.
HP Highpass Envelope Amount (ENV AMT)

The filter has a dedicated envelope for sweeping
the cutoff frequency (see “Filter envelope” on
page 114). The envelope amount knob controls the
113
range of frequencies, specified in semitones, over Amplitude envelope
which the cutoff frequency is modulated by the Modulo’s amplifier is not presented graphically in
envelope. the Modulo window. Instead, there is a dedicated
overall volume control (Figure 2-9 on page 109), a
Modulating filter settings dedicated velocity > volume slider (see “MIDI
Filter cutoff frequency and resonance can be note-on velocity (VEL)” on page 116) and the
further modulated. For details, see “Modulation” amplitude envelope, which is dedicated to overall
on page 115. amplitude modulation.
Envelopes The amplitude envelope triggers polyphonically.

Modulo provides three dedicated four-stage That is, each separate note that is played is given
ADSR (Attack, Decay, Sustain, and Release) its own unique envelope cycle. The only exception
envelopes for amplitude, filter and general is when Legato mode (“MIDI settings (mono,
purpose parameter modulation. The three poly, legato, bend)” on page 109) is engaged. In
envelopes share the same graph and controls, so to this case, the envelope is applied only to the first
choose one for viewing and programming, click held note and it is not retriggered until the held
the desired selector button just below the graph note is released and a new note is played.
(Figure 2-18).
Filter envelope
The Filter envelope can be applied to the filter
cutoff frequency. Set the filter envelope shape as
desired and then use the Envelope Amount (ENV
AMT) knob in the filter section (Figure 2-17) to
control the range over which the cutoff frequency
is modulated by the envelope.
Envelope selector buttons. LFOs

Modulo provides two LFOs (Low Frequency
Figure 2-18: Envelopes.
Oscillators), which can be used to modulate filter
The four envelope stages cutoff frequency and all continuously variable
The envelope graph provides a visual indication of oscillator parameters. The two LFOs share the
the four stages for each envelope: same graph and controls, so to choose one for
viewing and programming, click the desired
Symbol Stage Explanation
selector button just below the graph.
A Attack The initial stage of the envelope, specified in the
amount of time for it to fully open up.
D Decay The amount of time between the end of the

attack and the beginning of the sustain.
S Sustain The level at which the envelope remains open, LFO wave shape menu
level where zero is completely closed and 1.00 is fully
open.
R Release The final stage of the envelope, where it closes

down to zero, specified in the length of time
from the end of the hold to the moment when it
reaches zero. LFO selector buttons
Figure 2-19: The LFOs.
114
LFO wave shape Polyphonic LFO triggering
Choose the desired LFO wave shape from the LFO 1 is polyphonic. This means that each note is
wave shape menu (Figure 2-19): given its own unique LFO onset when it is played.
LFO wave shape Example LFO 2 is monophonic. This means that an initial
Sine held note determines the LFO onset, but it is not
retriggered by subsequent notes until the original
held note is released.
LFO sync
Triangle
The sync button (Figure 2-19), when enabled,
makes the LFO synchronize to the tempo of the
sequence time line. Accordingly, when sync is
enabled, the LFO rate parameter is expressed in
Up Saw beat values (whole note, half note, quarter note,
etc.)
Modulation
Down Saw
Modulo has a powerful modulation architecture.
The modulation section (Figure 2-20) is most
easily understood if you think of it as a modular
synthesizer that uses control voltages to
manipulate the sound.
Square
Sample and hold

Destinations
Modulation sources
Sample and ramp
Figure 2-20: The modulation section.
Modulation sources
There are five modulation sources (buttons) in the
Random walk
modulation section (Figure 2-20). Click each
source button to view its possible destinations
above (the parameters that it can modulate).
Assigning a source to a destination

LFO rate To assign the modulation source to a destination,
The LFO rate knob controls the number of cycles click the source button, and then click and drag on
per second at which the LFO oscillates. The range the touch-sensitive LED graph to the right of the
is from 0.0001 Hz to 25 Hz. destination you wish to modulate.
115
Assigning a source to multiple destinations
In Modulo, sources can modulate multiple
destinations simultaneously. LFO 1 could
modulate all seven of its destinations at once.
Source highlighting
Source buttons have three illumination states:
Illumination state Meaning

Dark The source is not being used in the current Figure 2-21: The mod wheel modulation destinations.
preset.
Red The source is currently being viewed.

MIDI note-on velocity (VEL)
Click the VEL button to assign MIDI note-on
Orange The source is not currently being viewed, but velocity as a modulation source for any
it has destination assignments.
combination of the following destination
parameters: overall volume, oscillator mix,
LFO 1 and 2
oscillator phase, oscillator symmetry and/or filter
LFO 1 can modulate filter cutoff frequency,
cutoff frequency.
individual oscillator pitch, individual oscillator
phase shift, and oscillator frequency.
LFO 2 can modulate oscillator mix (“Oscillator

Mix” on page 111), oscillator 1 & 2 pitch (both at
the same time), oscillator phase shift and oscillator
symmetry. Note that phase shift and symmetry
can be modulated by both LFO1 and 2 at the same
time.
The modulation envelope (MOD ENV) Figure 2-22: Note-on velocity modulation destinations.
The envelope can modulate oscillator mix, pitch,
phase shift and symmetry. Host application plug-in automation
Modulo fully supports the plug-in automation
Mod wheel (WHEEL) features of Digital Performer. Each parameter in
Click the wheel button (Figure 2-21) to assign the Modulo has its own dedicated automation input.
mod wheel of your MIDI controller as a This automation operates independently from
modulation source to filter cutoff frequency, filter Modulo’s modulation section, although it can be
resonance, oscillator phase or oscillator symmetry. combined with any modulation sources.
You can also assign it to control the amplitude of
LFO 1 as a modulation source for the filter cutoff Contextual menus
Hold down the Control key (or the right-hand
frequency. In effect, you are manually controlling
button your dual-button mouse) and click on am
the strength of the effect of the LFO on the cutoff
item in the Modulo window to view a contextual
frequency. Similarly, mod wheel can control LFO
menu of additional options for that item. What
1 as a modulation source for oscillator pitch
appears in the contextual menu depends on what
(Figure 2-21). These modulations can be used
together with the modulations from LFO 1.
116
you Control-click. Here is a brief summary of the
various commands you will see in the contextual
menus.
Copy this item to all others

Applies all settings from the source oscillator,
envelope or LFO to all of the others. For example,
if you Control-click oscillator 1 and choose Copy
this oscillator to all others, then oscillator 1’s
settings are applied to oscillators 2.
Learn controller mapping

Lets you assign any external MIDI controller to
the parameter. To do so, choose this command
and send the controller message you wish to use
(move the knob or slider).
Forget controller mapping

If the parameter is currently assigned to a MIDI
controller for external control, you’ll see this menu
item, which clears the MIDI controller (and
disconnects the external control). You can then
reassign it, if you wish.
Copy this setting to all others

Applies the setting from the source parameter to
all other similar parameters. For example, if you
Control-click the Symmetry parameter for
oscillator 1 and choose Copy this setting to all
others, then oscillator 1’s Symmetry value is
applied to the Symmetry parameter for oscillators
2.
117
MODEL 12 Parts
Model 12 (Figure 2-23) is a twelve-part virtual There are twelve parts in Model 12 (Figure 2-23).
drum module. Hundreds of drum sounds and Each part (Figure 2-24) can load a single drum
dozens of preset drum kits are included. sound (sample), such as kick, snare, hi-hat, etc.
which you then trigger by playing the part’s
Drum kits associated MIDI pitch (such A1, B1, etc.) Each
To load a preset drum kit, choose it from the plug- part has the following controls:
in window Preset menu. You can also use the plug-
in preset management features in the Preset menu Instrument menu
to create your own drum kit presets and otherwise Next/previous
manage them. instrument
Mute/solo
Master volume, tune and stretch Drum pad Link

Use the master volume, tune and stretch knobs MIDI pitch Audio output
(Figure 2-23) to adjust the overall volume, pitch menu menu
and sample length of all the instrument sounds in Audio output
the drum kit. As you adjust each parameter, the
Figure 2-24: A Model 12 part.
LCD display shows its current settings, as shown
in Figure 2-23. Master volume is mapped to Instrument menu
controller #7. Choose the desired instrument from the
Instrument menu (Figure 2-24). Or click the Next/
previous instrument buttons to browse. The
Master level meter

Master tune and stretch LCD Display
Master volume
Part settings
Parts
Part select buttons
Figure 2-23: Model 12.
118
Instrument menu provides the options explained MIDI pitch menu
below. For further details, see “Model 12 sample Choose the MIDI pitch (Figure 2-24) you wish to
management” on page 121. assign to the instrument by clicking on the MIDI
pitch menu, typing the desired MIDI pitch and
Menu item Explanation hitting enter. Sharps can be entered with the hash
Factory Lets you choose factory sounds from sub- (#) key, and flats with lowercase b. Alternatively
menus organized by instrument category.
you can click and drag on the MIDI pitch menu to
Shared This menu item appears after you first use the scroll through the options. The MIDI pitch is the
Copy to Shared command (explained below),
which copies samples to a shared directory. For MIDI note you will play to trigger the sample.
example, you might have several networked
computers at your studio, and you would like to
provide shared Model 12 samples to all of the Audio output
computers.
Each part can be assigned to one of several
User Lets you access sounds located in your own different audio output destinations. By default,
user sounds, as you’ve organized them. See
“Model 12 sample management” on page 121. each parts is assigned to Main, which is the audio
Project Lets you choose any sound that has been saved
output of the Digital Performer instrument track
with the project. on which Model 12 is instantiated. Alternatively,
Open Loads any audio file from your hard drive. you can use the audio output menu (Figure 2-24)
to assign each part to one of six auxiliary (aux)
Reveal in Finder/ Displays the audio file on the computer
Reveal in Explorer desktop. stereo output bundles. See “Send and Aux output
mapping” on page 121.
Copy to User Copies the currently loaded sample to your
user directory, displayed in the User sub-menu
(explained below). This menu item is grayed Link
out when a factory sample is loaded, since
factory samples are always available in the Click the link button (Figure 2-24) on two or more
Factory sub-menu.
parts to link them together. The classic use for this
Copy to Project Copies the currently loaded instrument sound feature is open and closed hi-hat sounds. The
to the project folder to consolidate the audio for
archiving purposes, transfer, exchanging the closed hat sound will cut off the open hat sound,
project with other users, etc. This menu item is and vice versa. In other words, linked instruments
grayed out when a factory sample is loaded,
since factory samples are always available in the can’t play at the same time.
Factory sub-menu.
Copy to Shared Copies the currently loaded instrument sound Mute/solo

to a shared (public) sample directory which can
be made accessible to other users. This menu The Mute and Solo buttons (Figure 2-24) mute and
item is grayed out when a factory sample is solo the individual part.
loaded, since factory samples are always
available in the Factory sub-menu.
Part settings
Clear Sample Removes the current sample from the part.
Click a Part Select button (Figure 2-23) to view
Audition on Load Plays the sample when you load or browse it. settings for the part in the main portion of the
window as shown in Figure 2-25.
Drum pad
Click the drum pad (Figure 2-24) to trigger the Sample adjust Volume, pan, sends Release Filter
sample. The drum pad also illuminates whenever
it is triggered via MIDI.
Figure 2-25: Part settings.
119
Volume, pan and sends 1/2 playback at the very end of the sample. Click the
The volume and pan knobs (Figure 2-25) controls Start knob to view additional settings shown
the level and panning of the individual part, below:
relative to all other parts in Model 12.
The two send level knobs (Figure 2-25) route audio

signal from the part to Model 12’s two send busses.
These busses appear in the Instruments tab of
Digital Performer’s Bundles window. You can then
Figure 2-26: Sample start.
create mono or stereo instrument output bundles
that can be used as inputs for aux tracks for further Click anywhere in the touch-sensitive LED strips
routing and processing. See “Send and Aux output to make a setting. Double-click to return the
mapping” on page 121. setting to zero (or its default value).
Release Velocity (Figure 2-26) allows you to control the

The Decay/Gate controls (Figure 2-25) let you sample start time based on note-on velocity. With
specify the length and release of the sample. positive values, the harder you play, the later the
sample start time. With negative velocity values,
Click the Decay button to make the sample the harder you play, the earlier the start time,
continue playing for as long as you hold down the relative to the current sample start setting. For
note (such as a drum loop, for example), and then example, you could set the sample start to 50% and
fade out when you release the note. The fade-out velocity to -100% (negative 100%). The result is
time can be adjusted using the knob, and it can that the harder you play, the closer the sample
range from 1 ms to 5.00 seconds. trigger gets to its beginning. This is very effective
for adding a great deal of dynamic control over
The Gate button creates the classic gated drum
samples with percussive attacks.
effect, where the sample is triggered and then
immediately cut off after the specified gate Random (Figure 2-26) lets you specify a range,
amount, which can be set as a percentage of the starting from the beginning of the sample, over
sample length, where 100% is the length of the which the start time will be randomly played each
entire sample. time the sample is triggered.
Sample adjust section Sample tune

The sample adjust controls (Figure 2-25) let you The Tune knob (Figure 2-25) in the sample adjust
modify the length, pitch and start time of the section controls the pitch of the sample in
sample. Velocity control and randomization can hundredths of a semi-tone, where the range is
be added to produce a more dynamic and from -12.00 to +12.00 semitones. Click the Tune
“human” feel. knob to view additional settings shown below:
Sample start
The start knob (Figure 2-25) in the sample adjust
section controls where the sample begins playing.
A setting of 0.0% begins playback at the very
beginning of the sample. A setting of 100% begins
Figure 2-27: Sample tune.
120
Velocity (Figure 2-27) modifies the tuning of the for Sample Tune. In addition, cutoff frequency
sample based on MIDI note-on velocity, where provides Decay and Decay Time similar to the
positive values make the pitch go higher as you Sample Tune decay features explained earlier.
play harder, and negative values make the pitch go
lower as you play harder. Send and Aux output mapping
The send and aux output mapping for Model 12 is
Random (Figure 2-27) lets you specify a range, as follows:
extending from the root pitch of the sample, over
Send/aux Model 12 mapping
which the tuning will be randomly played each
Send 1 Model12 3-4
time the sample is triggered
Send 2 Model12 5-6
Decay (Figure 2-27) causes the pitch modulation
Aux 1 Model12 7-8
to decay over the time period specified by Decay
Time. Positive decay values start high at the initial Aux 2 Model12 9-10
attack and then “bend” down to the root pitch; Aux 3 Model12 11-12
negative decay values start low and bend up to the
Aux 4 Model12 13-14
root. Use decay time to control the length of the
bend. Aux 5 Model12 15-16
Aux 6 Model12 17-18

Sample stretch
The Stretch knob (Figure 2-25) lets you lengthen
the sample up to 100% of its original length or Model 12 sample management
shorten it to 50% of its original length. Choose Model 12 organizes samples into four categories:
either Standard or PureDSP time-stretching.
Sample
Standard time-stretching causes the pitch to go up Category Where the samples are stored
when you shorten the sample and down when you Factory In the Model 12 plug-in bundle: Model12.bundle/
Contents/Resources/Samples
lengthen it. PureDSP maintains the original pitch.
User In your user directory application support folder:
Filter User/Library/Application Support/MOTU/Model 12/
Samples/
The optional Filter section for each part
(Figure 2-25) provides four filter types: a lowpass Shared In the MOTU application support folder:
/Library/Application Support/MOTU/Model 12/
(LPF) with 12dB slope, lowpass with 24dB slope, Shared/Samples/
high pass (HPF) with 12dB slope and band pass Project In the Digital Performer project folder:
(BPF) with 12dB slope. Click the button for the Project/Plug-in Data/Model 12/Samples/
desired filter type to activate the filter. If you do
not want the part to pass through the filter, simply The Factory samples are always available. User
ensure that none of the buttons are selected (you samples are stored in your user directory and are
can click the currently selected button to deselect therefore available only when you are the
it). currently logged in user. You can use the user
directory to protect your own sample content.
Filter cutoff (center) frequency (Cutoff), Shared samples are stored in the system library
resonance (Res) and Drive all provide velocity and application support folder and can therefore be
random controls, similar to those explained earlier made available to any users that you wish to share
them with. Project samples are stored with the
121
Digital Performer project itself. By keeping them You can organize them into folders and sub-
with the rest of the files associated with the folders as desired (Figure 2-29), which then
project, you don’t have to worry about losing them appear as sub-menus in the instrument menu
when exchanging the project with a colleague, (Figure 2-30):
archiving the project, transferring it, etc.
Figure 2-28: The Model 12 Instrument menu.

Figure 2-30: Organizing user samples into sub-folders causes them to
appear as sub-menus in the Model 12 instrument menu.
Building your user library
To add a single sample to your user library, load it Using aliases or shortcuts
and then choose Copy to User from the instrument If you wish to include audio files that you prefer to
menu (Figure 2-28). To view the folder on the store elsewhere on your hard drive(s), make Mac
computer desktop, load a user sample (if one is not aliases or Windows shortcuts of them and place
currently loaded) into a part and then choose them in the Model 12 sample library folder(s).
Reveal in Finder/Explorer from the instrument
menu (Figure 2-28). To add many samples at once,
you can simply place them in the User folder in the
Finder.
Figure 2-29: Organizing the Model 12 sample library on the computer

desktop.
122
MX4
MX4 (Figure 2-31) features a unique, hybrid
synthesis engine that combines several forms of
synthesis, including subtractive, wavetable,
frequency modulation (FM), amplitude
modulation (AM) and analog emulation. MX4’s
flexible programming and advanced modulation
architecture provide the intimacy of a vintage
synth, the flexibility of a modular synth, and the
innovation of a virtual synth. For complete details,
see Part 3, “MX4 Multi-synth” (page 137).
Figure 2-31: MX4.
123
PROTON that point, it becomes frequency modulation
Proton (Figure 2-32) is a two-operator FM instead of vibrato. Different frequency ratios of
(frequency modulation) synth. The frequency of modulator and carrier produce a variety of
the Carrier signal (sine wave) is modulated by the interesting timbres. Proton provides controls for
Modulator oscillator. Additional controls allow easily applying frequency multipliers (harmonics)
you to program a wide variety of classic FM to both the carrier and the modulator signal. The
sounds, including gongs, bells, Rhodes pianos, graphic display in the center of the window can
plucked strings and many others. show the resulting spectra or periodic waveform
in real time.
About FM synthesis
If you modulate an oscillator’s frequency with the The Carrier and Modulator
output of another oscillator at sub-audible rates The Carrier signal (Figure 2-32) is a sine wave
(below approximately 80 Hz), the resulting effect equal to the frequency of the note being played.
on the signal is vibrato. As you raise the (For example, the A above middle C has a
modulator’s frequency into the audible range frequency of 440 Hz.) The Modulator modulates
(above approximately 80 Hz), the vibrato’s
character transforms into a change of timbre. At
Modulator Carrier
harmonic harmonic
multiplier multiplier
Modulator Carrier Main volume
Figure 2-32: Proton.
124
the Carrier signal. In its most basic form, the waveform for both the modulator and the carrier.
Modulator is also a sine wave that is based on the Proton’s Wave knob, however, changes the
frequency of the note being played. waveshape of the modulator to a special-purpose
wavetable, which you can index as you turn the
Harmonic multipliers knob. This specialized modulator waveform
Harmonic frequencies are the frequencies you get provides a rich variety of timbres to work with, all
when you multiply a base frequency by integers. within Proton’s simple and intuitive two-operator
The Harmonic knobs allow you to multiply the design.
modulator and the carrier frequencies by whole
integer multiples. For example, a harmonic FM
multiplier of 1 (01) simply produces the base Use the FM knob (Figure 2-32) to control the
frequency of the note being played. If you set the amount of frequency modulation being applied —
modulator harmonic to 1 and the carrier essentially it controls the strength of the
harmonic to zero (with all other controls modulator’s affect on the carrier. The amount of
disabled), the result is a sine wave at the base frequency modulation can also by controlled with
frequency. (Note that Proton does not allow you to MIDI note-on velocity. See “Velocity” below.
set the modulator harmonic to zero, as this would
zero out the modulator’s effect and produce no Fixed frequency carrier
frequency modulation at all — with the result Enabled the Fixed frequency button (Figure 2-32)
being just a simple sine wave. If both the to disable key tracking of the carrier up and down
modulator and carrier harmonic multipliers were the keyboard. When disabled, the carrier
set to zero, the result would be silence: a “direct frequency remains proportional to the pitch of the
current” flat-line signal with no modulation at all.) note being played.
If you set both the modulator and carrier The Spectra/Waveform display
harmonic multipliers to 1, you get a signal being In the Spectra/Waveform display (Figure 2-33),
modulated at its own frequency, and things start to click the Spectra button to view a spectral graph of
get interesting. As you adjust the modulator and the frequencies being produced by the current
carrier harmonic multipliers to different ratios settings in the plug-in. Blue lines represent
(such as 1:3, 1:4, 2:5, 4:3, etc.), the resulting components that are harmonic and pink lines
harmonic content becomes increasingly more represent components that are enharmonic. Click
complex and interesting.
Modulator and Carrier Fine controls

Both the modulator and carrier supply a Fine knob
(Figure 2-32), which lets you fine-tune their
frequency over a range from half a harmonic
below (-0.5) to half a harmonic above (+0.5) their
base frequency.
Wave
The modulator Wave knob (Figure 2-32) provides
an interesting twist to conventional FM synthesis,
which customarily uses sine waves as the basic
125
Waveform to see one cycle of the periodic (the highest number of notes you will play simul-
waveform being produced by the current settings taneously, taking into account their releases and
in the plug-in. any resulting overlapping).
Bend
Bend range (Figure 2-32) is specified in half-steps
from 1 to 12, where 12 is an octave, and it
determines Proton’s response to pitch bend.
Velocity
Velocity (Figure 2-32) lets you control the overall
loudness of each note, as well as the amount of FM
applied, via note-on velocity. A higher settings
produces greater on-velocity response.
FM LFO
Figure 2-33: The Spectra/Waveform display.
The FM LFO (Figure 2-32) lets you control the
Glide amount of FM applied with an adjustable LFO.
Glide (Figure 2-32) is a continuous, smooth glide Rate controls the speed of the LFO and Amount
in pitch from one note to another. When the controls how much FM is applied.
polyphony setting is set to 1, you can adjust Glide
from zero (no portamento) to 100% (full Vibrato
The Vibrato controls (Figure 2-32) allow you to
portamento).
apply vibrato. Rate controls the speed of the
Transpose vibrato and Amount controls the depth.
Transpose (Figure 2-32) lets you transpose the
MIDI input of Proton by a number of half-steps. Detune
Detune (Figure 2-32) splits the carrier into two
The range is two octaves (-24 to +24).
separate oscillators panned left and right and
Volume detuned from one another slightly. Detune is good
Volume (Figure 2-32) controls the overall level of for thickening sounds.
Proton’s output. It is mapped to controller #7.
Modulation Pitch Envelope
Polyphony The Modulation Pitch Envelope (Figure 2-34)
The Polyphony (Figure 2-32) setting determines applies a standard ADSR (attack, decay, sustain,
how many notes can play at a time. The maximum release) envelope to modulator frequency. Attack,
allowed polyphony for one instance of Proton is decay and release are expressed as amounts of
16. Beware, however, that higher polyphony time, whereas sustain is expressed as a percent of
settings place higher demand on your host the envelope amount. The envelope range is +/-
computer’s processing resources. Therefore, the one octave. You can either drag the control points
ideal polyphony setting is that which matches the to adjust all ADSR values, or you can click each
highest number of notes you will actually need ADSR text field to edit the value directly. Use
126
Envelope Amount to control the strength of the note over time. The Attack, Decay, and Release
envelope. Drag up to bend the pitch up; drag down parameters are rate or time controls. Sustain
to bend it down. controls amplitude (level).
Envelope amount
Figure 2-34: The Modulation Pitch Envelope. Figure 2-36: The Amplifier Envelope.
FM Amount Envelope MIDI CONTROL OF INSTRUMENT SETTINGS

The FM Amount Envelope (Figure 2-35) applies a The settings in Model 12, Nanosampler and
standard ADSR (attack, decay, sustain, release) Digital Performer’s other instruments can be
envelope to modulator amplitude. Attack, decay controlled from your MIDI controller.
and release are expressed as amounts of time,
whereas sustain is expressed in percent. You can To assign a knob, fader, or other control device on
either drag the control points to adjust all ADSR your MIDI controller to a knob in Modulo,
values, or you can click each ADSR text field to Control-click the knob to open the contextual
edit the value directly. Use Envelope Amount to menu and choose Learn Controller Mapping from
control the strength of the envelope. Drag up to the contextual menu. Then send MIDI data from
apply the envelope; drag down to invert the your controller to complete the assignment.
envelope.
Digital Performer’s other five instruments can be
controlled by sending the MIDI NRPN’s listed
below from your controller. Modulo can also be
controlled via the NRPN’s listed here.
BassLine
NRPN 0 Glide
NRPN 1 Legato Mode

Figure 2-35: The Modulation Pitch Envelope.
NRPN 2 Lower Pitch Bend Range
Amplifier envelope
NRPN 3 Volume
Use the Amplifier Envelope controls (Figure 2-36)
to apply a standard ADSR amplitude envelope to NRPN 4 Velocity->Volume
each note. The ADSR envelope (Attack, Decay, NRPN 5 Osc Mix
Sustain, and Release) controls the loudness of each
NRPN 6 Octave Transpose
NRPN 7 Stereo Detuning
NRPN 8 Filter Freq
NRPN 9 Filter Resonance
127
NRPN 10 Filter Env Decay Modulo
NRPN 11 Filter Modulation NRPN 0 Polyphony
NRPN 12 Filter Velocity Modulation NRPN 1 Lower Pitch Bend Range
NRPN 13 Overdrive NRPN 2 Upper Pitch Bend Range
NRPN 14 Amp Env Decay NRPN 3 Polyphonic Mode
PolySynth NRPN 4 Legato Mode
NRPN 0 Pitch Bend Range NRPN 5 Portamento Time
NRPN 1 Volume NRPN 100 Osc Mix
NRPN 2 Velocity->Volume NRPN 101 Noise Level
NRPN 3 Triangle Oscillator Level NRPN 200 Osc 1 Waveform
NRPN 4 Sawtooth Oscillator Level NRPN 201 Osc 1 Key-Follow
NRPN 5 Rectangle Oscillator Level NRPN 202 Osc 1 Phase Mode
NRPN 6 Sub 1 Oscillator Level NRPN 203 Osc 1 Pitch Offset
NRPN 7 Sub 2 Oscillator Level NRPN 204 Osc 1 Phase Shift
NRPN 8 Noise Level NRPN 205 Osc 1 Symmetry
NRPN 9 Octave Transpose NRPN 220 Osc 2 Waveform
NRPN 10 Stereo Detuning NRPN 221 Osc 2 Key-Follow
NRPN 11 LFO Rate NRPN 222 Osc 2 Phase Mode
NRPN 12 PWM Modulation NRPN 223 Osc 2 Pitch Offset
NRPN 13 Vibrato/Wah-Wah NRPN 224 Osc 2 Phase Shift
NRPN 14 Filter Keyfollow NRPN 225 Osc 2 Symmetry
NRPN 15 Filter Freq NRPN 300 Filter Mode
NRPN 16 Filter Resonance NRPN 301 Filter Freq
NRPN 17 Filter Envelope Modulation NRPN 302 Filter Resonance
NRPN 18 Filter Velocity Modulation NRPN 303 Filter Key-Follow
NRPN 19 Attack NRPN 400 Amp Env Attack
NRPN 20 Decay NRPN 401 Amp Env Decay
NRPN 21 Sustain Level NRPN 402 Amp Env Sustain Level
NRPN 22 Release NRPN 403 Amp Env Release
NRPN 23 Distortion NRPN 410 Filter Env Attack
NRPN 24 Chorus NRPN 411 Filter Env Decay
128
NRPN 412 Filter Env Sustain Level NRPN 902 LFO 2->Osc 1 & 2 Pitch
NRPN 413 Filter Env Release NRPN 903 LFO 2->Osc 1 Phase Shift
NRPN 420 Mod Env Attack NRPN 904 LFO 2->Osc 2 Phase Shift
NRPN 421 Mod Env Decay NRPN 905 LFO 2->Osc 1 Sym
NRPN 422 Mod Env Sustain Level NRPN 906 LFO 2->Osc 2 Sym
NRPN 423 Mod Env Release NRPN 1000 Velocity->Volume
NRPN 500 LFO 1 Waveform NRPN 1001 Velocity->Osc Mix
NRPN 501 LFO 1 Sync Mode NRPN 1002 Velocity->Osc 1 & 2 Phase Shift
NRPN 502 LFO 1 Rate NRPN 1003 Velocity->Osc 1 & 2 Sym
NRPN 503 LFO 1 Sync Period NRPN 1004 Velocity->Filter Freq
NRPN 520 LFO 2 Waveform NRPN 1100 Wheel->Filter Freq
NRPN 521 LFO 2 Sync Mode NRPN 1101 Wheel->Filter Res
NRPN 522 LFO 2 Rate NRPN 1102 Wheel->Osc 1 & 2 Phase Shift
NRPN 523 LFO 2 Sync Period NRPN 1103 Wheel->Osc 1 & 2 Sym
NRPN 600 Filter Env->Filter Freq NRPN 1104 Wheel->LFO 1->Filter Freq
NRPN 700 Mod Env->Osc Mix NRPN 1105 Wheel->LFO 1->Osc Pitch
NRPN 701 Mod Env->Osc 1 Freq NRPN 1200 Stereo Detuning
NRPN 702 Mod Env->Osc 2 Freq NRPN 1201 Volume
NRPN 703 Mod Env->Osc 1 Phase Shift Nanosampler

NRPN 704 Mod Env->Osc 2 Phase Shift NRPN 0 Polyphony
NRPN 705 Mod Env->Osc 1 Sym NRPN 1 Pitch Bend Range
NRPN 706 Mod Env->Osc 2 Sym NRPN 2 Volume
NRPN 800 LFO 1->Filter Freq NRPN 3 Velocity Sensitivity
NRPN 801 LFO 1->Osc 1 Pitch NRPN 4 Tuning
NRPN 802 LFO 1->Osc 2 Pitch NRPN 5 Sample Start
NRPN 803 LFO 1->Osc 1 Phase Shift NRPN 6 Sample End
NRPN 804 LFO 1->Osc 2 Phase Shift NRPN 7 Loop Enable
NRPN 805 LFO 1->Osc 1 Sym NRPN 8 Loop Start
NRPN 806 LFO 1->Osc 2 Sym NRPN 9 Loop End
NRPN 900 LFO 2->Filter Freq NRPN 10 Loop Crossfade
NRPN 901 LFO 2->Osc Mix NRPN 11 LFO Trigger Mode
129
NRPN 12 LFO Sync Mode NRPN 6 Stereo Detuning
NRPN 13 LFO Waveform NRPN 7 Carrier Harmonic
NRPN 14 LFO Rate NRPN 8 Carrier Fine Tuning
NRPN 15 LFO Synced Rate NRPN 9 Carrier Key Follow
NRPN 16 LFO Delay NRPN 10 Modulator Harmonic
NRPN 17 LFO Fade NRPN 11 Modulator Fine Tuning
NRPN 18 LFO Detuning NRPN 12 Modulator Waveform
NRPN 19 LFO Pitch Modulation NRPN 13 FM Amount
NRPN 20 Amp Env Attack NRPN 14 Modulator Pitch Envelope Modulation
NRPN 21 Amp Env Decay NRPN 15 FM Envelope Modulation
NRPN 22 Amp Env Sustain Level NRPN 16 FM LFO Rate
NRPN 23 Amp Env Release NRPN 17 FM LFO Modulation
NRPN 24 Filter Env Attack NRPN 18 Vibrato LFO Rate
NRPN 25 Filter Env Decay NRPN 19 Vibrato Amount
NRPN 26 Filter Env Sustain Level NRPN 20 Modulator Freq Attack
NRPN 27 Filter Env Release NRPN 21 Modulator Freq Decay
NRPN 28 Filter Enable NRPN 22 Modulator Freq Sustain Level
NRPN 29 Filter Mode NRPN 23 Modulator Freq Release
NRPN 30 Filter Frequency NRPN 24 FM Attack
NRPN 31 Filter Resonance NRPN 25 FM Decay
NRPN 32 Filter Key-Follow NRPN 26 FM Sustain Level
NRPN 33 LFO Filter Modulation NRPN 27 FM Release
NRPN 34 Filter Velocity Tracking NRPN 28 Amp Attack
NRPN 35 Envelope Filter Modulation NRPN 29 Amp Decay
Proton NRPN 30 Amp Sustain Level
NRPN 0 Polyphony NRPN 31 Amp Release
NRPN 1 Pitch Bend Range Model 12

NRPN 2 Glide NRPN 0 Master Volume
NRPN 3 Transpose NRPN 1 Master Tune
NRPN 4 Velocity->Volume NRPN 2 Master Stretch
NRPN 5 Volume NRPN 3 Voice Selection
130
NRPN 101 Part 1 Mute NRPN 132 Part 1 Volume
NRPN 102 Part 1 Solo NRPN 133 Part 1 Volume Velocity Mod
NRPN 103 Part 1 Link NRPN 134 Part 1 Pan
NRPN 104 Part 1 Output Assignment NRPN 135 Part 1 Pan Velocity Mod
NRPN 105 Part 1 Output Assignment NRPN 136 Part 1 Pan Random Mod
NRPN 106 Part 1 Sample Start NRPN 137 Part 1 Send 1 Level
NRPN 107 Part 1 Sample Start Velocity Mod NRPN 138 Part 1 Send 2 Level
NRPN 108 Part 1 Sample Start Random Mod NRPN 201 Part 2 Mute
NRPN 109 Part 1 Standard Tune NRPN 202 Part 2 Solo
NRPN 110 Part 1 Tune Velocity Mod NRPN 203 Part 2 Link
NRPN 111 Part 1 Tune Random Mod NRPN 204 Part 2 Output Assignment
NRPN 112 Part 1 Tune Decay Amount NRPN 205 Part 2 Output Assignment
NRPN 113 Part 1 Tune Decay Time NRPN 206 Part 2 Sample Start
NRPN 114 Part 1 Tune Mode NRPN 207 Part 2 Sample Start Velocity Mod
NRPN 115 Part 1 Stretch NRPN 208 Part 2 Sample Start Random Mod
NRPN 116 Part 1 PureDSP Tune NRPN 209 Part 2 Standard Tune
NRPN 117 Part 1 Filter Frequency NRPN 210 Part 2 Tune Velocity Mod
NRPN 118 Part 1 Filter Frequency Velocity Mod NRPN 211 Part 2 Tune Random Mod
NRPN 119 Part 1 Filter Frequency Random Mod NRPN 212 Part 2 Tune Decay Amount
NRPN 120 Part 1 Filter Frequency Decay Amount NRPN 213 Part 2 Tune Decay Time
NRPN 121 Part 1 Filter Frequency Decay Time NRPN 214 Part 2 Tune Mode
NRPN 122 Part 1 Filter Mode NRPN 215 Part 2 Stretch
NRPN 123 Part 1 Resonance NRPN 216 Part 2 PureDSP Tune
NRPN 124 Part 1 Resonance Velocity Mod NRPN 217 Part 2 Filter Frequency
NRPN 125 Part 1 Resonance Random Mod NRPN 218 Part 2 Filter Frequency Velocity Mod
NRPN 126 Part 1 Drive NRPN 219 Part 2 Filter Frequency Random Mod
NRPN 127 Part 1 Drive Velocity Mod NRPN 220 Part 2 Filter Frequency Decay Amount
NRPN 128 Part 1 Drive Random Mod NRPN 221 Part 2 Filter Frequency Decay Time
NRPN 129 Part 1 Sample End NRPN 222 Part 2 Filter Mode
NRPN 130 Part 1 Decay Time NRPN 223 Part 2 Resonance
NRPN 131 Part 1 Decay Mode NRPN 224 Part 2 Resonance Velocity Mod
131
NRPN 232 Part 2 Volume NRPN 325 Part 3 Resonance Random Mod
NRPN 233 Part 2 Volume Velocity Mod NRPN 326 Part 3 Drive
NRPN 234 Part 2 Pan NRPN 327 Part 3 Drive Velocity Mod
NRPN 235 Part 2 Pan Velocity Mod NRPN 328 Part 3 Drive Random Mod
NRPN 236 Part 2 Pan Random Mod NRPN 329 Part 3 Sample End
NRPN 237 Part 2 Send 1 Level NRPN 330 Part 3 Decay Time
NRPN 238 Part 2 Send 2 Level NRPN 331 Part 3 Decay Mode
132
133
134
135
136
137
NRPN 1217 Part 12 Filter Frequency
NRPN 1218 Part 12 Filter Frequency Velocity Mod
NRPN 1219 Part 12 Filter Frequency Random Mod
NRPN 1220 Part 12 Filter Frequency Decay Amount
NRPN 1221 Part 12 Filter Frequency Decay Time
NRPN 1222 Part 12 Filter Mode
NRPN 1223 Part 12 Resonance
NRPN 1224 Part 12 Resonance Velocity Mod
NRPN 1225 Part 12 Resonance Random Mod
NRPN 1226 Part 12 Drive
NRPN 1227 Part 12 Drive Velocity Mod
NRPN 1228 Part 12 Drive Random Mod
NRPN 1229 Part 12 Sample End
NRPN 1230 Part 12 Decay Time
NRPN 1231 Part 12 Decay Mode
NRPN 1232 Part 12 Volume
NRPN 1233 Part 12 Volume Velocity Mod
NRPN 1234 Part 12 Pan
NRPN 1235 Part 12 Pan Velocity Mod
NRPN 1236 Part 12 Pan Random Mod
NRPN 1237 Part 12 Send 1 Level
NRPN 1238 Part 12 Send 2 Level
138
CHAPTER 3 MOTU Instruments Soundbank
OVERVIEW DOWNLOADING THE SOUNDBANK

The MOTU Instruments soundbank provides The MOTU Instruments soundbank file can be
approximately 5.5 GB of multi-sample downloaded from your motu.com account page,
instruments, loops, phrases, and synth once you’ve registered your copy of Digital
instruments. You’ll find plenty of drum loops, Performer. You must create an account at
acoustic drum kits, electronic drum kits, acoustic motu.com and register your copy of Digital
pianos, electric pianos, church organs, electric Performer to access the soundbank download
organs, acoustic guitars, electric guitars, strings, link.
brass, woodwinds, synths, ethnic instruments,
voices, percussion, sound design, sound effects, ☛ If you purchased Digital Performer 10 (or
and more. later) as an upgrade from a previous version, your
account registration is automatically updated with
This versatile collection of sounds spans a wide immediate access to the download link.
variety of musical genres, eras, geographical
regions, and cultural styles. 1 Go to motu.com and log in to your account. If
you don’t yet have an account, create one.
How it works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139
Downloading the soundbank. . . . . . . . . . . . . . . . . . . . . . . . . .139 2 Go My Registrations.
Activating the soundbank . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
3 If you haven’t already done so, register your
Installing UVI Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
copy of Digital Performer. If you upgraded from a
Accessing sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
previous version of DP, it is already registered, and
A quick tour of UVIWorkstation . . . . . . . . . . . . . . . . . . . . . . . .141
you are all set.
Soundbank preset list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
HOW IT WORKS 4 Scroll to the Free Software section in the list of

To use the MOTU Instruments soundbank, you your registered products and click the Free virtual
must load it into the free UVIWorkstation instruments tab.
application, which runs either as a stand-alone
5 Click the download link for the soundbank.
virtual instrument or as an instrument plug-in
within Digital Performer. ☛ The soundbank is a zipped archive, but it is
still very large (over 2 GB), so the download may
If you own UVI’s Falcon universal sampler, you
take a while, depending on the speed of your
can load the soundbank into Falcon directly, just
internet connection.
like other UFS soundbanks.
6 Click the Activate Now link to initiate the
If you own MOTU’s MachFive 3, the MOTU
activation process, as explained in the next
Instruments soundbank is incompatible.
section.
However, you can simply use the MachFive 3
Universal Loops & Instruments soundbank, which
has the same sounds.
139
ACTIVATING THE SOUNDBANK For further details about installing and using
The MOTU Instruments soundbank requires iLok UVIWorkstation, please refer to the PDF manual.
activation. This process requires that you create a
free account at ilok.com. ACCESSING SOUNDS
1 Launch the UVIWorkstation app, or create a
1 If you haven’t already done so, click the Activate UVIWorkstation instrument track in Digital
Now link as explained in the previous section and Performer, as usual: choose Project menu > Add
follow the on-screen instructions. Track > Instrument Track > UVI >
UVIWorkstation (stereo).
2 Visit ilok.com and create a free account.
2 Double-click the browser bar at the top of the
3 Download and install the free iLok License window to open the browser.
Manager app.
3 Navigate to the location on your hard drive
4 Launch the iLok License Manager app. where you placed the MOTU Instruments.UFS
soundbank file.
5 Click the Available tab.
The soundbank UFS file can reside anywhere you
6 In the list, drag and drop the MOTU
wish on your computer’s hard drive.
Instruments soundbank activation to your
computer or your iLok USB key, as desired. 4 Double-click the UFS file to open it, and then
navigate through the preset menus.
7 For your convenience, there is a second
activation, which you can use to activate a second 5 Double-click the preset you wish to load.
computer or iLok.
The Soundbanks section of the browser
The MOTU Instruments soundbank is now For your convenience, the Soundbanks section of
activated on your computer or iLok, and you are the UVIWorkstation browser will display any UFS
ready to begin using it, as explained in the soundbank files placed in the following location:
following sections.
macOS: /library/Application Support/UVISoundbanks
INSTALLING UVI WORKSTATION Windows: /Program Files/ UVISoundbanks
If you have UVI Falcon, you can now load the
MOTU Instruments UFS soundbank as usual. If Simply place the MOTU Instruments.UFS file in
not, the next step of the process is to install the this location and restart UVIWorkstation. The
UVIWorkstation app. soundbank will automatically appear in the
Soundbanks section of the browser.
1 Google UVI Workstation and find the
UVIWorkstation web page. You can also customize this location. For details,
see the UVIWorkstation PDF manual.
2 Go to the Download tab and download the Mac
or Windows installer and the PDF manual.
3 Run the installer and following the on-screen

instructions.
140
M OT U I N S T R U M E N TS S O U N D B A N K
A QUICK TOUR OF UVIWORKSTATION The Edit tab and macro controls
For complete information about UVIWorkstation, The Edit tab displays Macro controls (knobs and
please refer to the UIVWorkstation PDF manual. buttons) that let you modify the sound of the
This section provides a quick tour to get you preset. The Macro Help section provides tips for
started. using the macro controls for each preset.
The UVIWorkstation window The Effects tab

When you load a MOTU Instruments soundbank Click the Effects tab (Figure 3-1) to gain access to
preset in UVIWorkstation, you’ll see something the effects rack for the preset (Figure 3-2 on
similar to Figure 3-1, which shows the Edit tab for page 142). This gives you more detailed control
the Twelve String guitar preset. over the effects being used for the preset. Here,
you can add, remove and modify effects from
Browsing presets UVIWorkstation’s considerable arsenal of effects
Click the Browser button or double-click the processors.
preset to browse other presets in the soundbank.
For details about using the browser see the
UVIWorkstation manual.
Preset
Browser Multi Edit Effects Arp Main/Multi view Show/hide
menu tab tab tab toggle keyboard
Main volume fader

MIDI and part Show/hide transports
menus
Macro help
Macros Reverb macro
Keyboard
Figure 3-1: A twelve-string guitar preset from the MOTU Instruments soundbank.
141
M OT U I N S T R U M E N TS S OU N D BA N K
Figure 3-2: The Effects tab.
Multi view
Multi view (Figure 3-1) allows you to load up to
four different presets simultaneously and then
assign them to either different MIDI channels (for
multi-timbral operation), or the same MIDI
channel, where you can then map them to
different regions on your controller keyboard to
mix and blend them. For further details, please
refer to the UVIWorkstation PDF manual.
On-screen keyboard
Use the on-screen keyboard (Figure 3-1) to be able
to play the preset using your on-screen cursor.
Other features
To learn about other features in UVIWorkstation,
including the Preset Browser, Transport Bar and
Arp (Arpeggiator) Tab, please refer to the UVI
Workstation manual.
SOUNDBANK PRESET LIST

For a complete list of MOTU Instrument
soundbank presets, see Appendix C, “MOTU
Instrument presets” page (207).
142
M OT U I N S T R U M E N TS S O U N D B A N K
Part3
MX4 Multi-synth
CHAPTER 4 About MX4
MX4 is a virtual instrument plug-in that features a Professional performance

unique, hybrid synthesis engine that combines MX4 operates efficiently and provides unlimited
several forms of synthesis, including subtractive, voices and instantiations (subject to the
wavetable, frequency modulation (FM), amplitude processing resources of the host computer).
modulation (AM) and analog emulation. MX4’s Playback is sample-accurate. MX4’s 32-bit internal
flexible programming and advanced modulation resolution provides wide dynamic range, and it
architecture provide the intimacy of a vintage supports all standard sample rates up to 192kHz.
synth, the flexibility of a modular synth, and the You can work fast and intuitively in a single,
innovation of a virtual synth. efficiently organized window labeled with real-
world values like semitones, decibels, etc. All
Born from synth legends settings are saved with your Digital Performer
Our inspiration for MX4 came from legendary projects for instant recall.
subtractive synthesizers like the Prophet-5, PPG
Wave and Moog Modular, but then we took the A flexible, hybrid synthesis engine
concept further using today’s powerful computer MX4’s basic synthesis architecture provides three
software technology. The result is a unique, hybrid oscillators with modulatable waveform symmetry
synthesis engine that delivers both fresh and and hard sync, two variable topology multimode
vintage synths sounds alike. Fat basses, nasty filters, six variable waveshape LFO’s and four
leads, analog pads, vintage electronica — it’s all at ADSHR envelopes.
your fingertips and conveniently saved with your
Digital Performer projects for instant recall. Oscillators
Whether you’re looking for killer synth presets or MX4 provides all standard analog synthesizer
intense synth programming, MX4 is for you. waveforms, but every waveform has adjustable
symmetry. This allows you to create standard
A flexible and convenient plug-in pulse width modulation effects, as well as
You can employ MX4 as a flexible, state-of-the-art waveform “morphing” effects, such as smoothly
sound source directly within your projects and changing from a triangle waveform to a sawtooth.
then save all MX4 settings with the project for Changing the symmetry of simple sine waves can
instant and total recall. Since all MX4 settings are even create interesting and unique spectra.
saved with your Digital Performer session, you
enjoy the highest degree of convenience and speed Each of the three oscillators can use a wavetable
because there is no separate application or instead of a standard waveform. Dozens of
associated documents to manage. wavetables are supplied, in two forms (classic and
anti-aliased) that give you the best of both worlds:
Tweaking sounds is fast and easy with clearly classic wavetables that are perfect for that sought-
presented controls in one window — but with a after, searing aliasing effect and anti-aliased
depth and sophistication true synth programmers wavetables that give you pure, pristine sound, even
will appreciate. in the highest registers. The wavetable on each
145
oscillator can be individually indexed, and Modulation architecture
symmetry can be applied to wavetables as well, for The six variable waveshape LFOs include
a wide array of timbres. adjustable symmetry, rate delay, fade and phase.
Four ADSHR envelopes are also provided, with
Oscillators 1 and 2 can be synced together to graphic controls for intuitive programming. All
create the same hard sync effects found on classic parameters can be modulated.
analog polysynths such as the Sequential Circuits
Prophet-5 and Moog Memorymoog. Fully programmable modulation matrix
Flexible modulation routings are essential for
Oscillator 3 serves as a frequency modulation expanding the sonic palette of a subtractive
(FM) source for other oscillators — or the filter synthesizer such as MX4. All continuously
cutoff frequency. Because oscillator 3 includes all variable parameters, including LFO’s and
waveforms, as well as the wavetable and symmetry envelopes, can be modulated by many sources,
features found on the other oscillators, it can including track automation, MIDI controllers,
produce a wide array of modulation effects that LFO’s and envelopes. They can even be modulated
extend from LFO rates into the audible range. by multiple sources simultaneously.
In addition to the three oscillators, an Conversely, each modulation source in MX4 can
independent fundamental-tone oscillator and ring modulate an unlimited number of destinations
modulator are also included to further extend the simultaneously, with the modulation range
oscillator section. independently scaled at each destination. This
provides modulation flexibility rarely seen outside
Filters of a modular synthesizer - but without the
Two resonant multimode filters (with associated complexity. You can point at a
modulatable overdrive) provide low-pass, high- modulation source, and MX4 highlights all of the
pass, band-pass and notch filters with parameters it is modulating. The filters and
independent slope specified as 6, 12, 18 or 24dB envelopes display the modulation range both on
per octave for a total of 16 different filter types. As the knob itself and on the graphical represen-
a result, you can create a wide variety of vintage tation. Modulation routings are clearly displayed
keyboard sounds. Both filters can also be stacked, in the MX4 window so you do not have to search
combining them for a total of 48dB per octave. through multiple pages or windows.
MX4’s unique Variable Filter Topology™ allows Programmable modulators
you to easily and intuitively arrange the two filters Pulsating, rhythmic, hypnotic, groovetronic—
and overdrive (distortion) unit in 14 different these are just some of the words that can be used to
configurations that produce over 3,000 different describe the rhythm-based effects in MX4. MX4’s
filter topologies. You can then further adjust the Mods page represents an entirely new dimension
filter settings, providing a very wide range of filter in multi-synth programming. You now have
effects to explore. unprecedented control over the sounds you can
sculpt and design in MX4, all just a click away.
146
A B O U T M X 4
Pattern gate — slices MX4’s synth section into inside MX4, as either a modulation source or
programmable pulses that are tempo-locked to shaper. Guitar FX and filter FX are examples to get
Digital Performer’s time line. Control pulse shape, your ideas flowing, but MX4’s modulation
pattern, length and swing. architecture is so flexible, you’ll quickly discover
entirely unique ways to dynamically interact with
Arpeggiator — gives you everything you need to MX4’s multi-synth engine.
quickly achieve the arpeggiator effect you are
looking for, including the as played setting, which Shapers
lets you control the order in which every note is Modulation sources can be fine-tuned and
played. Or go “hands off” with the hold feature, sculpted using shapers, a secondary modulation
which continues to play the arpeggio even after phase that applies directly to the modulator. MX4
you let go of the keys. ships with dozens of shapers, including Invert,
Transform, Sample & Hold, Lag Processor and
Trigger sequencer — triggers an MX4 envelope Quantizer. These shapers can mean the difference
rhythmically with Digital Performer’s tempo. between making a sound great to your ears and
Program any pattern you wish. making it perfect.
Gate and effects topology — lets you graphically Intelligent preset management
arrange the signal flow of the synth section Another critical feature you need from a virtual
through MX4’s two effects modules and the instrument is easy access to your sounds. MX4™
pattern gate. It’s as simple as clicking and dragging. offers convenient, easy-access preset management,
helping you concentrate on your music — not
Enhanced modifier key shortcuts — MX4 provides preset handling chores. MX4 includes hundreds of
an innovative, “hands-on” approach to presets organized into convenient banks. Quickly
programming modulation sources and zero in on the sound you’re looking for, and then
destinations by clicking directly on the controls in tweak it to perfection as your music plays.
the window with several intuitive modifier key
shortcuts. The manipulation is so direct, you’ll feel Support for 24-bit 192kHz audio
like you are touching the sound itself. MX4 takes advantage of high definition audio
interfaces like the MOTU HD192, allowing you to
Pattern sequencer — gives you the means to play your music at any sample rate up to 192kHz.
rhythmically modulate just about any parameter
in MX4, with pin-point control over every step of Integrated effects
the pattern. Sure, you can apply it to oscillator Built-in chorus, flanger, phaser, reverb, and delay
pitch, but that’s just the beginning. The Pattern integrate with MX4 throughout its entire
Sequencer can be applied to any continuously modulation architecture to add unprecedented
modulateable parameter, like filters, effects variety, depth and complexity to your sounds.
parameters, wavetable index—you name it. This Modulate effect parameters — and then save the
feature alone provides a entire universe of effects — as part of the patch. All effects settings
possibilities to explore. are saved with each preset for total recall.
Envelope follower — brings the outside world into

MX4 by transforming the amplitude of any
external audio signal into a control signal for use
147
A B O U T M X 4
External audio input
Process any audio through MX4’s synthesizer
architecture. Use the FM filter effects, note
triggering and effects. With its oscillators, filters,
envelopes, LFOs, and flexible modulation, MX4
will become one of the most powerful effects
processors in your arsenal.
Hundreds of factory presets

MX4 provides hundreds of factory presets, many
of which take full advantage of MX4’s deep
programming features, such as the pattern gate,
arpeggiator and pattern sequencer. Be sure to
explore the presets, as they serve as a great point of
departure for programming many new and unique
sounds of your own.
148
A B O U T M X 4
MX4 Quick Reference
These four buttons act like

If the parameter is being Dynamically updates to tabs, flipping the MX4 Blinks when
modulated, the source and show the number of window among different MX4 receives
range are shown here. voices currently playing. pages of controls: the main MIDI data.
Choose a preset from Saves changes controls (shown here), mods
Presets are organized The LCD display shows the the patch menu, or use you’ve made to a (modulators), file Collapses the
into banks. Use the +/- name of the current the +/- buttons to preset, or compare/ (management) and window to a
buttons to browse the parameter you are browse the presets in revert back to the random(ization of compact strip.
lists in the menus. adjusting, along with its the current bank. original. parameters).
current value.
MX4 provides three wavetable To enable one or both filters, The mixer section controls Access the settings for each of Click this button to select
oscillators with adjustable with or without the the mix of the the four envelopes with these the modulation source.
waveform symmetry. Click the distortion module, choose fundamental, ring buttons. The six-stage DADSHR Then option-drag any
oscillator number to enable/ the desired filter modulation external audio envelopes can be used as a continuously variable
disable it. Choose the desired configuration from the input and stereo panning modulation source for any parameter to control it
waveform from the menu. topology menu. for the oscillators during modulatable parameter. with this source.
stereo operation.
The master section
Use the disclosure triangle (at far right) to display the effects Access the six LFOs with provides global settings.
section with chorus, phaser, flanger, delay and reverb. these buttons.
149
150
CHAPTER 5 QuickStart Guide
Open MX4
1 Launch Digital Performer.
2 Open MX4 in the standard fashion for

instrument plug-ins. For details, see chapter 17,
“Instrument Tracks” (page 155) in the DP4 User
Guide.
Figure 5-3: Choosing a bank and preset.
6 That’s it! You are ready to experiment with

MX4.
Figure 5-1: Opening MX4 in Digital Performer.
3 Create a MIDI track in the usual fashion and

assign it to MX4’s MIDI input (labeled MX4-1-in
as demonstrated below in Figure 5-2; MX4-1 is the
track name for the MX4 instrument track.)
Figure 5-2: Assigning the output of a MIDI track in Digital Performer to

MX4.
4 Set up patch thru from your MIDI controller in

the usual fashion (record-enable the MIDI track to
begin playing MX4 from your controller).
5 Choose a bank and preset in the MX4 window.
151
152
Q U IC K S TA RT G U ID E
CHAPTER 6 MX4 Tutorial
OVERVIEW 3 Hold down middle C on your MIDI controller

This brief tour of MX4 will show you how easy it is to play the preset.
to program your own MX4 presets.
You should hear a plain square wave sound. If not,
Load the tutorial preset. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 check your MIDI and audio connections. If you
Enable an oscillator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 still don’t hear anything, be sure you’ve set up
Adjust a parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 Digital Performer as described in chapter 5,
Modulate OSC1 symmetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . .154 “QuickStart Guide” (page 151).
Contextual menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Use a wavetable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .155 ADJUST A PARAMETER
Apply multiple modulation sources. . . . . . . . . . . . . . . . . . . .156 4 Adjust the course pitch of the oscillator.
Enable a filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .156
Add a second filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .157
While holding down middle C on your keyboard,
Mixing and effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
move the pitch slider back and forth. This lets you
Congratulations!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158
control the base pitch of the oscillator. Course
adjustment is made in semitones.
LOAD THE TUTORIAL PRESET
1 Choose the Tutorial Patches bank and the 5 Notice that the LCD displays your course pitch
Movie Demo patch. adjustments.
ENABLE AN OSCILLATOR
2 Confirm that oscillator 1 is enabled. The
number “1” is green when it is enabled. If it is
white, click the “1” button to enable oscillator 1. 6 Fine-tune the pitch of the oscillator.
To do so, hold down the command key while

dragging the slider. If you can manage to hold
down both the command key on you computer
keyboard and middle C on your MIDI controller
at the same time, you’ll hear the pitch bend as you
drag the slider.
7 Return the pitch slider to zero by double-

clicking the slider handle.
153
8 Adjust the symmetry of the square wave by Notice that as you drag, the handle splits in two
moving the symmetry slider. over a highlighted (green) range. This indicates
that the parameter is being modulated over this
With a square wave, adjusting the symmetry slider range. Notice also that if you position the cursor
produces pulse width modulation effects. Try over the symmetry slider, the LFO 2 modulation
moving the slider as you once again hold down source highlights in the Source section:
middle C on your controller.
MODULATE OSC1 SYMMETRY

Modulate oscillator 1’s symmetry slider with
LFO 2.
9 Click the button next to LFO 2 in the

modulation Source section, as shown below:
In addition, the LCD displays the modulation

source and range on the right-hand side:
10Option-drag oscillator 1’s symmetry slider to

create the modulation range.
11Hold down middle C to audition the pulse

width modulation you’ve just created.
CONTEXTUAL MENUS
If you change your mind, you can easily
disconnect a modulation source. Let’s try it. To do
so, control-click on the symmetry slider to open a
contextual menu for the slider. This menu
provides many additional operations for the
symmetry parameter.
154
M X 4 T U TO R IA L
Figure 6-1: An example for a contextual menu. In this example, the Figure 6-2: Choosing a wavetable for oscillator 1.
menu is for oscillator 1’s symmetry parameter. To see this menu for any
parameter, control-click it. 15Hold down middle C to audition the wavetable.
12Choose Disable the current modulation source.
Now let’s try adjusting the wavetable index.
This disconnects LFO 2 from the symmetry
16While holding down middle C, drag the
parameter so that it is no longer being modulated
wavetable index slider left and right.
by LFO 2.
17Return the wavetable index to zero by double-
USE A WAVETABLE clicking it.
Now let’s change oscillator 1 from a square wave to
a wavetable. Let’s use an envelope to modulate the wavetable
index for us.
13Click on the word rectangle at the top of the
oscillator 1 section to open a menu of other 18Choose envelope 3 (env 3) in the Source section.
waveform choices for the oscillator:
19Option-drag oscillator 1’s wavetable index
slider about half way to the right (so the range
ends approximately in the middle):
20Audition the change by playing middle C again.
21You can still adjust the index parameter, even

14Choose Wavetable from the menu, and choose when it has a modulation range. Let’s try it. Drag
Sufi 9 from the sub-menu. the entire modulation range to the right to adjust
the index range. Audition the result by playing
middle C.
155
M X4 T U TO R IA L
APPLY MULTIPLE MODULATION SOURCES Now let’s add some symmetry modulation for a
This envelope modulation is a good start, but the little extra motion.
preset could use a bit more modulation to be more
interesting as a sound. Let’s add some LFO 26Choose LFO 3 in the Source section.
modulation as well.
27Option-drag oscillator 1’s symmetry slider.
22Choose LFO 2 in the Source section.
28Audition the result.
23Option-drag the wavetable index slider to apply
a modulation range for LFO 2. ENABLE A FILTER
Now let’s enable a filter.
☛ Don’t worry if you see red numbers in the
29Choose the filter configuration shown below
LCD when you option-drag. This just means that
from the filter Topology menu.
the modulation range you’ve specified is out of
range, so that the LFO will peg at one end of the
range and/or the other. But no harm is done. To
bring it back within range, option-drag back the
other way until the numbers turn green again.
The wavetable index parameter now has two

modulation sources operating on it.
25To confirm this, roll the cursor over the slider

(without clicking).
Topology menu
As you do so, both modulation sources light up in
the Source section: 30Confirm that the LP (lowpass) and 24 (24dB
slope) lights are illuminated for Filter 1, as shown
above.
31Open the filter by increasing the cutoff

frequency.
32Hold down middle C as you drag the cutoff

frequency slider up and down to audition the
effect.
156
M X 4 T U TO R IA L
Cutoff frequency
33Move the resonance (res) slider up to add a little

resonance.
Now let’s modulate the filter cutoff frequency with

an envelope.
40Option-drag the envelope Attack slider (labeled
34Choose envelope 4 (env 4) in the Source section. A) to assign the on-velocity modulation range.
35Option-drag Filter 1’s cutoff frequency (freq) 41Audition the result, striking your MIDI
slider. controller key with varying strength.
Because the modulation range is above the base Notice that when you now strike the key softly, the
value, the envelope is being applied inverted. We envelope opens more slowly; when you strike the
can swap the modulation range by using the cutoff key harder, the envelope opens more quickly.
frequency’s contextual menu.
ADD A SECOND FILTER
36Control-click Filter 1’s freq slider and choose Now let’s add Filter 2 for additional complexity.
Swap current modulation range from the menu. We’ll add it as a highpass filter in parallel with
Filter 1.
42Choose the parallel setting from the Topology
Notice that the filter closes down as you hold the menu as shown below.
note, rather than opening up, as it did before.
Now let’s try using MIDI note-on velocity to

control the attack of envelope 4.
38Choose On Velocity in the Source section.
39Choose Envelope 4 by clicking its button, as

shown below:
43Confirm that Filter two is a highpass (hp) filter

with 24 dB slope (24).
157
M X4 T U TO R IA L
44Use the Filter Mix knob to adjust the mix of the
two filters, playing a note on your MIDI controller
while you turn the knob to audition the effect.
Turning the knob all the way counter clockwise

gives you 100% of Filter 1 and 0% Filter 2. Turning
the knob all the way clockwise gives you the
opposite (100% Filter 2 and 0% Filter 1). Settings
in the middle provide a mix of both filters.
Now let’s modulate the filter mix with MIDI

note-on velocity, so that the mix changes
depending on how hard you strike the key. 50Click the “Power” buttons for the Chorus and
Delay to enable them. When enabled, the power
45Confirm that On Velocity is still chosen in the buttons turn green.
modulation Source section.
46Option-drag the Filter Mix knob to apply the

on-velocity modulation range.
47Control-click the Filter Mix knob and choose CONGRATULATIONS!

Swap current modulation range. You’ve just created your first MX4 preset. Try
playing it in a variety of octaves on your MIDI
Now, the harder you hit your MIDI keys, the more controller, as it takes on a unique character at the
filter 1 you hear. The more lightly you play, the low, mid and high ranges of the keyboard.
more filter 2 you hear.
MIXING AND EFFECTS

Let’s finish the preset by mixing in some of the
fundamental and adding some chorus and delay
effects processing.
48Turn the Fundamental knob to the 2 o’clock

position (a setting of approximately 0.75).
49Click the disclosure triangle to open the Effects

section.
158
M X 4 T U TO R IA L
CHAPTER 7 The MX4 Window
OVERVIEW Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

The MX4 window is comprised of 10 sections, as Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
shown below in Figure 7-1. This chapter covers Random . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189
each section in detail. Modifier key shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Contextual menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
The disclosure buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .160
Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161
File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162
Master section. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163
Status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .166
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .173
LFOs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .174
Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .176
Mods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180
Figure 7-1: The MX4 window.
159
THE DISCLOSURE BUTTONS collapsed, it displays only the most essential
Click the disclosure buttons to show and hide controls (such as preset selection, preset compare/
sections of the MX4 window, as demonstrated save, and MIDI activity) in a compact, screen-
below in Figure 7-2. When the window is fully efficient strip.
Figure 7-2: The Expand buttons.
160
T H E M X4 W IN D OW
PRESETS Save
A preset is a snapshot of all the settings in the MX4 When you first choose a patch, the Save button is
window. MX4 ships with hundreds of useful not available. As soon as you change any
presets organized by category in several dozen parameter in the MX4 window, Save becomes
banks, such as Synths, Leads, Strings, etc. The active, and the patch name becomes italic in the
Presets section at the top of the MX4 window Patch menu to indicate that the patch has been
(Figure 7-3) lets you choose, modify, save, modified. Click Save to store the changes you
compare and otherwise manage presets. MX4 can made to the patch (replacing the original version).
support an unlimited number of presets. If you wish to “save as” in order to preserve the
original patch, see “File” on page 162.
Bank
A bank can hold up to 128 presets. When you a/b
choose a bank, its patches (presets) are displayed When you first choose a patch, the a/b button is
in the Patch menu. Use the +/- buttons next to the not available. As soon as you change any
menu to choose the next or previous bank in the parameter in the MX4 window, a/b becomes
list. To create, rename or delete banks, see “File” active, and the patch name becomes italic in the
on page 162. Patch menu to indicate that the patch has been
modified. Click the a/b button repeatedly to toggle
Patch between the original patch and the modified
The Patch menu displays all of the presets in the version. The original patch is indicated by non-
bank currently chosen in the Bank menu. When italic text; the modified patch name is italic. Note
you choose a preset from the menu, its settings are that the modified patch gives you access to the
loaded into the MX4 window. Use the +/- buttons Save and Revert buttons, which do not apply to the
next to the menu to choose the next or previous original patch (since it is already saved).
preset in the list. Hold down the option key while
clicking the +/- buttons to stay within the current Revert
bank when browsing presets. To create, rename, When you first choose a patch, the Revert button
move, duplicate or delete patches, see “File” on is not available. As soon as you change any
page 162. parameter in the MX4 window, Revert becomes
active, and the patch name becomes italic in the
Patch menu to indicate that the patch has been
modified. Click the Revert button to permanently
discard any changes you’ve made to the patch.
Figure 7-3: The Preset section.
161
T H E M X 4 W IN D OW
Main FILE
Use the Main button to return to the main MX4 The File controls let you manage MX4 banks and
window shown in Figure 7-2 on page 160. patches.
Mods Source
Use the Mods button to switch to MX4’s mods The Source section lets you choose the patch you
pane shown in Figure 7-24 on page 180. See wish to work with. Click Delete to get rid of the
“Mods” on page 180. current source patch. Click Save to save any
changes that have been made to the current source
File patch (such as any edits to the name, author or
Click the File button (Figure 7-3) to display patch other patch text).
and bank management controls in the MX4
window, as shown in Figure 7-4. See “File”, below. Destination
The Destination controls let you move a patch or
Random “save as” to a new location in any bank. The
Click the Random button to display controls in the Move to button places the patch at the chosen
MX4 window for randomizing patch parameters, destination location and also empties the patch’s
as shown in Figure 7-42. See “Random” on current location. The Save to button preserves the
page 189. source patch and makes a copy of it, along with
any changes that have been made, to the chosen
Flips back to main MX4 window
Patch
Source text
patch
Destination
location
Bank
management
Figure 7-4: Click the File button to display the patch and bank management controls.
162
destination location. Save to is similar in concept MIDI activity light
to the standard Save As command in Digital The MIDI activity light blinks when MX4 receives
Performer. MIDI data. This can be a useful troubleshooting
tool. If MX4 is not making any sound when you
Patch name, author, etc. play it, but the MIDI light does blink, then you can
Edit the text in these text fields as desired. To save focus your troubleshooting efforts on the audio
your changes, click the Save or Save to button (in signal path.
the Source or Destination sections).
Mono/legato/poly modes
New/rename/delete/export/import bank Just like classic analog synths, MX4 can operate in
Use these three buttons to manage banks as mono, legato or poly mode. Click the button
follows: shown in Figure 7-5 below to enable the desired
mode.
Goal Action
To create a new bank Type in a name in the text box on the right
and click New Bank. In mono mode, only one note can be played at a
time. Each new note will cut off the currently
To rename a bank Choose it from the menu, type in a new
name in the text box on the right and click sustained note, if any.
Rename Bank.
To delete a bank Choose it from the menu and click Delete

Legato mode is an alternative form of mono mode
Bank. where the envelope is not retriggered; only the
To export a bank Choose it from the menu and click Export pitch changes.
Bank.
To import a bank Click import bank and locate the desired

In poly mode, MX4 can play two or more notes
bank file on your hard drive. simultaneously, up to the limit you type in next to
the poly button. For example, if polyphony is set to
Done 16, MX4 can play and sustain up to 16 notes at a
Click Done to return to the main MX4 window. time.
MASTER SECTION Polyphony

The Master section (Figure 7-5) provides global The polyphony setting determines how many
controls that affect the overall performance of the notes can play at a time. The maximum allowed
instance of MX4. polyphony for one instance of MX4 is 256.
Beware, however, that higher polyphony settings
Unison multiplier Polyphony
Figure 7-5: The Master section.
163
place higher demand on your host computer’s Bend range
processing resources. Therefore, the ideal The pitch bend range is split at zero into two pitch
polyphony setting is that which matches the bend ranges: upper and lower. The upper range
highest number of notes you will actually need determines how much pitch bend occurs between
(the highest number of notes you will play simul- the zero position on your pitch bend wheel (or
taneously). Use the active voice display (“Active other controller) and its highest position. The
voices” on page 166) to determine how many lower setting determines the range from zero to
voices a passage of music requires. the pitch bend wheel’s lowest position. By setting
them to different values, you can more easily bend
Unison multiplier up and down by different amounts.
The unison multiplier multiplies each note played.
For example, if you set the unison multiplier to 2, The upper and lower pitch bend ranges offer a
each time you play a note, you’ll actually be maximum range of four octaves (4800 cents) each,
triggering two notes in unison. If the unison for a combined maximum of eight octaves.
multiplier is set to 4, each note played actually
triggers four unison notes. The unison multiplier Detune
can be used with all three modes (mono, legato or Detune allows you to determine how much pitch
poly). The unison multiplier is good for variation there will be on unison triggered notes.
thickening sounds, especially when used with the The amount of detune is specified in Hz or cents,
detune feature. See the section called “Detune” depending on the detune mode you specify. MX4
below. provides three detune modes, discussed below.
☛ The unison multiplier is governed by the None

Detune is turned off.
polyphony setting. For example, if the multiplier is
set to 2 and you play one note, you are using 2 Constant beat frequency
voices. So with a polyphony setting of 16, the Constant beat frequency allows you to express
maximum number of notes you can play in poly detune in hertz (Hz). The result is that the phasing
mode would be 8 (since each note is being (“beating”) effect between the two slightly
doubled). In mono mode, MX4 automatically sets detuned unison pitches remains constant (it
the polyphony for the multiplier. “beats” at the same rate) across the entire
keyboard. In addition, detuning becomes more
Bend apparent as you move lower on the keyboard
The bend parameters control how MX4 responds
because the frequency offset becomes less
to pitch bend.
perceptible at higher frequencies.
Bend mode
Constant pitch ratio
When All is chosen, pitch bend data bends all
Constant Pitch Ratio (CPR) mode allows you to
notes. When Held is chosen, MX4 only bends
express detune in cents (100ths of a semitone).
notes for which a note-off has not yet been
The result is that the amount of detune is relative
received. Notes that have received a note-off but
to the frequency of the pitches being played.
that are currently being sustained with a sustain
Higher notes produce higher frequency “beating”
pedal will not bend. Click the bend mode button
while lower notes produce slower “beating”.
to toggle between these two modes.
Therefore, higher notes will likely be perceived as
being more out of tune than lower notes. With
164
lower notes, the effect sounds more like an LFO. Fine tuning
Be careful with when using Constant Pitch Ratio The Fine Tuning setting transposes MX4 globally
with higher amounts of detune because bass notes by the number of cents (100ths of a semitone) that
can become too far out of tune. you specify. Use the command key to change the
value in one-cent increments.
Vel > Volume (Velocity sensitivity)
This setting controls the degree to which MIDI Portamento
no-on velocity affects the amplitude of envelope 1. Portamento is a continuous, smooth glide in pitch
Higher values make sounds more responsive to from one note to another. Use the slider to choose
how hard you play the keys on your controller; a value from zero (no portamento) to 100% (full
lower values make it less responsive. As portamento). MX4 offers three portamento
demonstrated below (Figure 7-6), a setting of zero modes, discussed below.
(0%) normalizes all note-on velocities to 64 (the
middle of the velocity range), regardless of how Off
Portamento is turned off.
hard you strike a key. A setting of 100% triggers
the full amplitude range over the 0-127 MIDI Constant portamento time
velocity range. A setting of 50% limits the MIDI When Constant portamento time is chosen, the
velocity range (0-127) to the middle portion of the length of time for the glide between notes is the
amplitude range (from 25% to 75%). same, regardless of the interval between pitches.
Amplitude Constant portamento time per octave

When Constant portamento time per octave is
chosen, the length of time for the glide between
notes is determined by the interval between the
Sensitivity = 1 00%
two notes: the farther the interval, the longer the
glide. Conversely, shorter intervals produce
Sensitivity = 50%
shorter (faster) glides.
Sensitivity = 0%
Stereo Detune
The Stereo Detune parameter is a stereo effect that
is disabled when Stereo mode (see “Stereo mode”
on page 186) is turned off. When Stereo mode is
On-velocity
turned on, and Stereo Detune is adjusted to any
Figure 7-6: The affect of velocity sensitivity on sustain level. value other than zero, a second oscillator is
engaged for each of MX4’s three oscillators, and
Volume
each oscillator pair is then panned hard left and
The Volume slider controls MX4’s overall volume.
hard right. The result is a significant increase in
Transpose (coarse tuning) the presence and stereo spread of the sound.
The Transpose setting transposes MX4 globally by Moving the slider to the right increases the pitch
the number of semitones that you specify. Use the deviation to further enhance the effect.
command key to change the value in one-
semitone increments.
☛ Tip: increase MX4’s Unison Multiplier to
further enhance Stereo Detune.
165
Analog mode OSCILLATORS
The analog mode button, when enabled, generates MX4 provides three oscillators.
slight pitch variations for each note, but does not
allow the notes to drift out of pitch once they are Waveform Oscillator Next/previous
Enable/disable waveform
started.
STATUS
The status LCD (Figure 7-7) displays information
about the parameter you are currently modifying
or targeting with the cursor. On the left, it shows
the parameter name and its current value. If the
parameter is being modulated, the modulation
source and range is displayed on the right-hand
side.
Active voices
On the far right of the status LCD, MX4 displays
Figure 7-8: The Oscillators.
the number of currently active voices (notes) it is
playing. You can use this display to determine how Signal flow
many voices a passage of music requires, so that MX4’s overall signal flow bears a striking
you can adjust the polyphony setting resemblance to a Memorymoog (three oscillators,
(“Polyphony” on page 163) to be equal to (or just mixer, filter, amplifier.) But it is best not to treat
above) the required number of voices for the each oscillator as a separate synthesizer. This is not
music MX4 is playing. This conserves your really the intended operation of MX4 (although
computer’s processing resources by limiting MX4’s this can be accomplished to a limited degree with
polyphony to only the number of voices your careful modulation of the individual oscillator
music actually requires. level controls). Instead, think of the oscillators as
going into a mixer before being processed, because
that is exactly what is happening, as shown in
Figure 7-9:
Parameter name Number of active

voices
Modulation
source
Parameter Modulation
value range
Figure 7-7: The Status LCD.
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Oscillator enable/disable Sine
Click the enable/disable button (Figure 7-8) to This is a standard sinusoidal
turn the oscillator on or off. waveform.
Waveforms Sawtooth
Choose the desired waveform for the oscillator This is a standard sawtooth wave.
from the menu, or use the +/- buttons to cycle Use the symmetry parameter to
through the list of waveforms. (If a wavetable is morph the sawtooth waveform
currently selected, hold down the option key while between a downward triangle and an upward
clicking the +/- buttons to cycle out of the triangle waveform:
wavetable sub-menu and return to the main
waveform menu.) Symmetry
0% 50% 100%
Each oscillator provides a variety of standard
subtractive synthesis waveforms. An extensive
library of wavetable waveshapes are also provided.
Figure 7-11: Use symmetry to morph between these three basic
waveforms.
A sawtooth wave (50% symmetry) has energy at

all harmonics, and the strength of higher partials
falls off linearly. A triangle wave has less energy at
high partials, and strength falls off exponentially
as the square of the partial number.
Figure 7-10: Oscillator waveforms.
OSC 1 PAN
RING PAN
VARIABLE TOPOLOGY VARIABLE TOPOLOGY
OSC 2 PAN
MIXER DISTORTION EFFECTS /
/ FILTER AMP PATTERN GATE
OSC 3 PAN
AUDIO INPUT PAN

ENV 1
FUNDAMENTAL
Figure 7-9: MX4 signal flow.
167
Rectangle provided in two different forms, accessed by the
This is a standard square wave. two different wavetable sub-menus: Wavetables
The pulse width can be modified and Digital Wavetables (Figure 7-13).
into a rectangle waveform using
the symmetry control (“Symmetry” on page 170).
Figure 7-12: Adjust the symmetry control to create a rectangular wave

form.
Digital Sawtooth
The Digital Sawtooth is the same
as the sawtooth waveform except
that it uses much less CPU Figure 7-13: Band-limited (anti-aliased) wavetables are now available
in the ‘Wavetable’ oscillator waveform sub-menu. Version 1’s classic
bandwidth. The trade-off, however, is that it can wavetables are found in the ‘Digital Wavetable’ sub-menu.
introduce aliasing. This aliasing may or may not
matter, depending on the nature of the sound you In waveforms in the Wavetables menu are
are creating. Since CPU efficiency is always completely anti-aliased (band-limited), so they do
desirable, try using the digital sawtooth wherever not exhibit the harsh, aliasing quality you might
possible. Try switching between digital sawtooth hear when playing their digital wavetable
and regular sawtooth to see if there is any counterpart, especially in the upper pitch
noticeable difference in the sound of the preset. registers.
Digital Rectangle If you are looking for a more “harsh” or “digital”

The Digital Rectangle is the same sound, try using a waveform from the digital
as the rectangle waveform except wavetable sub-menu, which have a strong kinship
that it uses much less CPU with MX4’s digital saw and digital square
bandwidth, as explained above for the digital waveforms.
sawtooth.
Using wavetables
White Noise A wide variety of wave tables are provided,
This is standard white noise including ones that produce a mix of square,
(random noise with equal energy triangle or saw waveforms to simulate the effect of
per frequency). having multiple waveforms selected on a vintage
synth. The advantage in MX4 is that the mix of
Pink Noise these waveforms (wavetable index) is modulatable
This is standard pink noise (see “Modulation” on page 176). MX4 wavetables
(random noise with equal energy also have adjustable symmetry, just like the pure
per octave). waveforms (see “Symmetry” below).
Wavetables Wavetables can produce spectra that differs

Wavetables are sets of complex waveforms that greatly from standard subtractive synthesis
provide a rich assortment of harmonic content waveforms. Changing wavetables is an easy and
and tone color for a sound. Each wavetable is
168
rewarding way to get into patch programming. Oscillator three offers adjustable key follow via the
Simply find a patch you like, and audition Key Follow slider, providing even more expression.
different wavetable waveforms. The range can be summarized as follows:
Each wavetable is actually a collection of many Key follow value

different waveforms. Some wavetables morph -200% Oscillator frequency offset is double the interval
from the root pitch and inverted. For example,
smoothly, and others are collections of many when you play an octave above middle C, the
oscillator plays two octaves down.
completely unrelated waves. The bosch wavetable,
for example, is a single wavetable containing 256 -100% Oscillator frequency is fully inverted for each
pitch. For example, playing C below middle C on
individual waveforms! your keyboard produces the pitch that is one
octave above middle C.
Modulating the wavetable index is an easy way to 0% The keyboard has no effect on the pitch of the
add movement to your patches. If you modulate oscillator. The fixed pitch of the oscillator is
determined entirely by the pitch parameter.
the wavetable index with one LFO, and modulate
100% Oscillator frequency offset remains fixed across
waveform symmetry with another LFO, the all pitches (just like the keyfollow buttons for
combined effect is that the waveform will never be oscillators 1 & 2).
quite the same at any given moment - and that is +200% Oscillator frequency offset is double the interval
from the root pitch. When you play an octave
just with a single oscillator. above middle C, the oscillator plays two octaves
up.
Because wavetables can sound like filtered
subtractive waveforms, sometimes you can use To take full advantage of oscillator 3’s variable
wavetables without any filtering at all, which saves keyfollow feature, set the key tracking to zero and
CPU overhead. listen to how the pitch is fixed across the keyboard.
Then adjust the key tracking to see how it changes.
Oscillator keyfollow
When the keyfollow button is enabled, the Oscillator sync
oscillator adjusts its frequency relative to the note Click the Sync button to sync the frequency of
being played. Accordingly, when keyfollow is oscillator 2 to oscillator 1. This forces oscillator 2
enabled, the pitch of the oscillator is expressed in to restart at the beginning of its phase cycle when
the number of semitones relative to the root pitch oscillator 1 reaches the beginning of its phase
of the note being played, as explained later. cycle. Within the middle of each oscillator 1 phase
cycle, oscillator 2 runs freely.
Oscillator sync usually produces useful results

when oscillator 2 is running at a frequency that is
significantly higher (2 or more times) than
oscillator 1.
To produce classic Prophet Five synced oscillator

sounds, turn on oscillator 2 only (by itself), enable
sync, and modulate the pitch of oscillator 2 with
an envelope or LFO.
169
Pitch FM is most predictable when using sine waves.
Use the Pitch slider to offset the pitch of the Modulate the pitch of oscillator 3 and the FM
oscillator from key tracking. When the keyfollow sliders on oscillator 1 and 2 to create interesting
button is disabled, the range is expressed in FM sounds. After you’re familiar with sine waves,
absolute frequency (Hz or kHz); the range is from try experimenting with the symmetry parameter
8.2 Hz to 22.1 kHz. and different waveforms.
When the keyfollow button is enabled, the pitch is Using velocity as a modulation source for FM
expressed in semitones relative to the root pitch of amount or oscillator pitch provides a rich range of
the note being played. The range is from -60.00 expression.
semitones to +84.00 semitones.
Simple structure FM sounds are very useful for
Frequency modulation synthetic percussion.
Oscillator 3 can serve as an FM source for the
pitch of oscillator 1 and 2, as well as the frequency Wavetable index
of filters 1 and 2. All of these components The wavetable index allows you to specify any
(oscillator 1, oscillator 2, filter 1 and filter 2) have desired waveform in a wavetable for the oscillator.
an FM slider, which brings in oscillator 3 as an FM By modulating the wavetable index parameter,
source and allows you to choose the amount of you can achieve a wide variety dynamic sounds,
frequency modulation to apply in each case. depending on the waveforms in the table.
Using oscillator 3 as an LFO with key tracking Symmetry

The pitch slider of oscillator 3 has a very wide The symmetry parameter adjusts pulse width on
range, allowing you to use oscillator 3 as an LFO rectangle waves, but symmetry can also be applied
source. With access to adjustable key tracking to sine waves, sawtooths and even wavetables.
(normal LFOs cannot track the keyboard), and Doing so produces interesting changes in
wavetables (which produce very interesting LFO harmonic content. Further interesting effects can
shapes), oscillator 3 can produce truly unique be achieved by modulating the symmetry (see
periodic modulation effects. “Modulation” on page 176).
Frequency modulation tips Symmetry

In the audible range, oscillator 3 is the modulation 0% 50% 100%
source for two operators. The operator structure
would look like this: Sine
3 Sawtooth
Rectangle
1 2
Figure 7-14: Frequency modulation operator structure.
Wavetable
Figure 7-15: Symmetry.
170
Level and Pan Enabling/disabling filters and distortion
Each oscillator has its own independent level and To enable one or both of the filters, choose the
pan going into the mixer. See “Mixer” on page 186. desired signal path from the topology menu, as
shown in Figure 7-17.
Modulating oscillator settings
All continuously variable oscillator settings (ones To turn off both filters, choose the first topology
that have a value slider) can be modulated. Option assignment (distortion only) and turn the
drag the control to set the modulation range. For distortion volume all the way down. No distortion
further details, see “Modulation” on page 176. is applied when distortion is set to zero.
FILTERS The most classic configuration here is the

MX4 provides two multimode variable-slope distortion module, plus one filter.
filters.
Filter type
Each filter can be assigned to one of four different
filter types (shown below) and four different
slopes (6, 12, 18 and 24dB per octave), using the
illuminated buttons between the two filter graphs:
Symbol Filter type Sample

LP Lowpass
Figure 7-16: the filter section.

BP Bandpass
Filter topology
The signal path for the two filters, plus the
additional distortion unit, can be configured with
the topology menu. HP Highpass
Key:
D Distortion unit
BR Band reject
1 Filter 1 (notch)
2 Filter 2
To achieve more extreme slope effects, choose a

filter topology that puts the two filters in series,
and then apply the same settings to both filters.
Figure 7-17: The filter topology menu.
(See “Copy this item to all others” on page 191.) In
The “D” box represents distortion. The boxes this configuration, their slope values combine to
labeled 1 and 2 represent Filters 1 and 2. Signal
flow proceeds from left to right.
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achieve values greater than 24dB. For example, if pitches (which have higher frequencies). With key
you set them both to 24dB, the combined effect is tracking, Hz and kHz are not meaningful because
48dB of slope. the filter’s center frequency is not fixed at an
absolute frequency; instead, it is relative to the
Filter mix note being played. Therefore, MX4 expresses filter
Use the Filter Mix knob to control the gain cutoff/center frequency in semitones relative to
(amount) for each filter effect for parallel topology the pitch being played.
settings (where the signal is split and fed to each
filter independently). For serial and stereo filter Resonance
topology settings, the filter mix control is disabled. Resonance emphasizes the cutoff/center
frequency of the filter.
The mix range is from 0% to 100%, where the
amount of each filter is as follows: Filter Key follow
Both filters are equipped with adjustable key
Filter mix setting Amount of Filter 1 Amount of Filter 2 follow. This feature works similarly to oscillator 3’s
0% 100% 0% key follow. See “Oscillator keyfollow” on page 169.
25% 75% 25%
Filter frequency modulation
50% 50% 50% Oscillator 3 can serve as an FM (frequency
75% 25% 75% modulation) source for the frequency of each
filter. Use the FM slider to bring in oscillator 3 as
100% 0% 100%
an FM source at the desired amount.
If you set one filter to lowpass and the other to Try setting the frequency of oscillator 3 to a
highpass, use the filter mix control to attenuate the harmonic of oscillator 1 (such as +12 or +19
“buzz” effect of highpass filter. semitones). Doing so locks in the filter at that
frequency to produce harmonic results.
If you set each filter to a different filter type,
routing mod wheel to the filter mix knob often Modulating filter settings
produces interesting results. All of the filter settings, including filter mix and
distortion, can be modulated. Option drag the
Distortion control to set the modulation range. For further
To apply distortion (also commonly referred to as details, see “Modulation” on page 176.
drive), choose a topology that includes distortion
(Figure 7-17) and then use the Distortion knob to Using the filter graphs
adjust the amount. Use the control point on the filter graph to adjust
the frequency and resonance graphically. When
Frequency modulating the filter frequency, a secondary
The frequency slider determines the filter’s cutoff (dashed) frequency plot indicates the lowest
or center frequency. Most synthesizers express frequency in the modulation range, as
cutoff/center frequency as a number of cycles per demonstrated below in Figure 7-18:
second (Hz or kHz). However, most of the time,
key tracking is applied to filters to avoid
undesirable artifacts. For example, a lowpass filter
will cause notes to get more dull as you play higher
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The six envelope stages
MX4 envelopes provide the following six stages:
Symbol Stage Explanation

D Delay The amount of time before the attack beings.
A Attack The initial stage of the envelope, specified in the

amount of time for it to fully open up.
D Decay The amount of time between the end of the

attack and the beginning of the sustain.
Figure 7-18: Adjusting the frequency modulation range in the filter S Sustain The level at which the envelope remains open,
graph. level where zero is completely closed and 1.00 is fully
open.
ENVELOPES H Hold The length of time the sustain level is

MX4 provides four six-stage DADSHR envelopes, maintained. (See “The hold stage” below.)
which can be used as a modulation source for any R Release The final stage of the envelope, where it closes
down to zero, specified in the length of time
modulatable parameter. from the end of the hold to the moment when it
reaches zero.
Envelope trigger mode

Envelope 1 and amplitude modulation
Hold parameter handle
MX4’s amplifier is not presented graphically in the
Note-off
MX4 window. Instead, there is a dedicated overall
volume control and dedicated velocity > volume
slider (see “Vel > Volume (Velocity sensitivity)” on
Envelope selector buttons. page 165). However, envelope 1 is “hardwired” to
overall amplitude modulation.
Figure 7-19: Envelopes. All envelopes, including envelope 1, are freely

assignable modulation sources.
Choosing an envelope
To choose one of the four envelopes, click the The hold stage
desired selector button as shown above. The hold stage can be specified in three different
possible ways:
The envelope graph
The envelope graph provides a visual indication of Method for What to do
the six stages for each envelope. These stages are specifying hold time in the envelope graph
described in the next section. The vertical white As a finite amount of time after Drag the hold handle to the left of the
the decay note-off line (Figure 7-19).
line in the middle of the graph represents the
Indefinitely, until a MIDI note- Option-double-click the hold (“H”)
MIDI note-off event (when you release the key). off message is received slider.
For a further explanation, see “The hold stage” on
As a finite amount of time after Drag the hold handle to the right of
page 173. a MIDI note-off message is the note-off line (Figure 7-19).
received
Graphically, this is represented by the relationship

between the hold parameter handle (Figure 7-19
on page 173) and the note-off line (also shown in
173
Figure 7-19). Drag the handle to the left of the External triggering
note-off line to specify the hold stage as a finite Choosing the External trigger mode allows you to
amount of time after the decay. Drag it to the right trigger envelopes via a MIDI note played from
of the note-off line to specify the hold stage as a your MIDI controller. Use MX4’s extra MIDI
finite amount of time after a MIDI note-off input to route the external MIDI signal to MX4. In
message is received. To hold indefinitely until a Digital Performer’s list of MIDI destinations, it
note-off is received, option-double-click the hold appears as MX4 Trigger.
(“H”) slider (so that the status LCD reads until
note off). Doing so turns off the hold stage to Once you’ve routed your live MIDI controller
create a standard ADSR envelope. signal to the MX4 trigger input via Digital
Performer’s patch thru feature, press the following
Envelope trigger mode keys to trigger envelopes 1 through 4:
Each envelope can be uniquely assigned to one of
Note (any octave) Triggered envelope
the following trigger modes, chosen from the
C Envelope 1
trigger mode menu (Figure 7-19 on page 173):
D Envelope 2
Trigger mode Explanation
E Envelope 3
Poly Each separate note that is played is given its own
unique envelope cycle.
F Envelope 4
Poly release Same as above, except the envelope is triggered
by the note-off (instead of note-on). This is
useful for envelopes 2-4 because you can have an
entirely different envelope effect during the LFOS
release phase. MX4 provides six LFOs (Low Frequency
Mono All notes share the same envelope. Oscillators), which can be used as a modulation
source for any modulatable parameter. LFOs can
Mono retrigger Same as above, except that every time you play a
new note, the envelope is retriggered. modulate other LFOs, and they can even self-
modulate.
External Allows you to trigger the envelope with MIDI
notes from a MIDI controller or another MIDI
track (using the MX4 trigger input).
Sequenced Available for LFOS 2-4 only. See “Trigger

sequencer” on page 185. LFO selector buttons
When an envelope is polyphonic, and it is applied

to a polyphonic modulation destination, each
“voice” (note) has its own dedicated envelope
onset. This is especially useful for polyphonic LFO wave shape menu
modulation destinations like those found in the Figure 7-20: The LFOs.
oscillator and filter sections. For mono
Choosing an LFO
destinations, such as the parameters in the effects
To choose one of the six LFOs, click the desired
section, best results can be obtained with one of
selector button as shown above.
the mono envelope trigger modes.
174
LFO wave shape LFO parameters
Choose the desired LFO wave shape from the LFOs have the following modulatable parameters:
wave shape menu (Figure 7-20):
LFO parameter Unit Explanation
LFO wave shape Example Rate Hertz (Hz) The number of cycles per
second at which the LFO
Sine oscillates. The range is from
0.0001 Hz to 25 Hz.
Fade (In) Milliseconds (ms) Applies an amplitude ramp

(from zero to 100%) to the
LFO.
Saw
Delay ms The amount of time before
the LFO begins oscillating
after being triggered.
Phase Degrees Controls the point during the

(Start Phase) LFO cycle at which the LFO
Rectangle begins oscillating when first
triggered. For random phase,
move the slider all the way to
the right.
Symmetry percent Symmetry applies a non-

linear transform to the
Sample and hold waveform that skews the axis
of the cycle, as demonstrated
in Figure 7-15 on page 170.
For a rectangle, this is
equivalent of its duty cycle, or
“pulse width”. For a sawtooth
wave, symmetry changes
Sample and ramp from a triangle with a
downward ramp to a triangle
with an upward ramp. For
sine waves, the effect is
similar to the triangle.
Random walk
Random phase
To make the phase of an LFO random (each time
it is triggered), move the Phase slider almost all of
the way to the right. The second to last setting is
Random. The last setting is Free (described below).
Free-running phase
When you move the Phase slider all the way to the
right, you’ll see a setting called Free. With this
setting, the LFO runs freely and continuously, on
its own, regardless of whether notes are being
triggered or not. The result is that the LFO runs
completely independently of the notes you are
playing. For example, you could apply the LFO to
filter cutoff frequency and play a series of notes
where the resulting filter cutoff sweep effect is
applied across the notes you are playing,
independently of the actual notes.
175
Symmetry MODULATION
Symmetry does not apply to (and is therefore MX4 has a flexible and powerful modulation
disabled for) the following LFO wave shapes: architecture. The modulation section
Sample and hold, Sample and ramp, and Random (Figure 7-21) is most easily understood if you
walk. think of it as a modular synthesizer that uses
control voltages to manipulate the sound.
For further information about modulating these
LFO parameters, see “Modulation” on page 176.
Polyphonic LFO triggering

Each LFO can operate as either a mono or a
polyphonic modulation source. When a LFO is
polyphonic, and it is applied to a polyphonic
modulation destination, each “voice” (note) is
given its own unique LFO onset when it is played.
This is especially useful for polyphonic
modulation destinations like those found in the
oscillator and filter sections. For mono
destinations, such as the parameters in the effects
section, best results can be obtained with mono The currently selected
modulation source
LFO triggering (turn poly mode off).
Modulation meter
LFO sync
The sync button (Figure 7-20), when enabled, Figure 7-21: The modulation section.
makes the LFO synchronize to the tempo of
Digital Performer’s time line. Accordingly, when Modulation sources
There are 16 modulation sources (rows) in the
sync is enabled, the LFO rate parameter is
modulation section. Each modulation source row
expressed in beat values (whole note, half note,
includes a selection radio button, a Source menu
quarter note, etc.)
and a Shaper menu. Choose the desired source
The sync button is actually a 3-way button. Click it and shaper (if any) from the menus. To select a
once to enable LFO rate sync (green). Click it modulation source, click its radio button. Only
again to enable both rate and phase sync (orange). one modulation source can be selected for
In this mode, the phase is also synchronized to destination assignment at any given time.
tempo. Click a third time to turn off sync (dark).
Assigning a source to a destination
Click repeatedly to cycle through these three
Once you’ve selected a modulation source (by
modes.
clicking its radio button), assign it to any
continuously variable parameter in the MX4
window by option-dragging the handle of the
parameter’s slider. As you do so, you’ll see the
handle split in half to cover a range over which the
parameter will be modulated by the source. In
addition, the modulation range will glow green.
176
You can option-drag as many different parameters modulating other parameters. Daisy-chaining
as you like. A source can modulate any number of sources in this manner can be done with any
destinations simultaneously (as explained further internal source (LFO, envelope or ramp), as well as
in the next section). external sources.
Here’s an example: select the route filter Self-modulation

modulation preset (patch) from the Tutorial Sources can modulate themselves. For example,
Patches bank. Select the modulation source you could choose LFO 3 in the Source list, and
containing LFO 1. Now locate the filter cutoff then option-drag LFO 3’s rate slider to modulate
frequency for filter 1 (labeled freq), hold down the the rate with itself.
option key and drag. You should see an
illuminated modulation range for that modulator. Source highlighting
Trigger a note and listen. Now change the rate of Source slots (menus) have three illumination
LFO 1 in the LFO section and listen to the change. states:
Illumination state Meaning

Assigning a source to multiple destinations
Dark The source is not being used in the current
In MX4, a source can modulate any number of preset.
destinations simultaneously. When you’ve selected
Glowing The source is modulating at least one
a modulation source (by clicking its radio button), parameter in the preset.
you can assign it to multiple MX4 parameters by
Lit up The source is modulating the parameter
option-drag the slider handle of each parameter. currently beneath the cursor.
Assigning multiple sources to one destination

As you glide the cursor over parameters that
Up to 16 modulations (all of them) can be applied
currently have a modulation range assigned to
to any single modulation destination. Modulation
them (a green track beneath the slider or around
sources are summed at the destination, so be
the knob), the source for that modulation will
careful. Similar to mixing audio tracks, it is
light up in the Source section so you can clearly
possible to exceed the overall allowable
see what which source is modulating the
modulation range (similar to the way an audio
parameter.
signal can clip when it reaches zero dB). Unlike
audio clipping, however, exceeding the Sources
modulation range has no negative effect on the Modulation sources fall into three general
sound. However, the modulation might get categories:
“pinned” to one end of the range or the other,
preventing a smooth swing through the full ■ Internal modulators (MX4’s own LFOs,
modulation range. So, if you intend to have envelopes, ramps and modulators)
multiple modulators modify a single destination,
■ External modulators (MIDI controllers)
be aware of the total amount of modulation you
are applying. ■ Digital Performer plug-in automation
Daisy-chaining sources
Notice that you can modulate one source with
another. For example, you could modulate LFO 2
with LFO 1, while using LFO 2 as a source for
177
frequency of both filters simultaneously. You
could use the dedicated automation controls and
duplicate the automation data, but a more elegant
solution is to use a ramp, assign the ramp to the
parameters you wish to automate, and then create
a single automation stream in Digital Performer
for the ramp. This technique has the added benefit
of providing the ability to remap the automation
into a performance control with a single
modulation reassignment: in the modulation
section, simply change the ramp to mod wheel (or
other MIDI controller).
Pattern Sequencer
The Pattern Sequencer in the modulation source
menu (Figure 7-22) is programmed on the Mods
page (Figure 7-24 on page 180). It provides a
Figure 7-22: The source menu shows external sources (MIDI controllers)
means to modulate (or shape the modulation of)
and internal sources (LFOs, envelopes, ramps and programmable MX4 parameters in a stepped fashion. See “Pattern
modulators).
Sequencer” on page 182.
LFOs and envelopes
You can use MX4’s six LFOs and four envelopes as Envelope Follower
The Envelope Follower in the modulation source
modulation sources. Each LFO and envelope (or
menu (Figure 7-22) is programmed on the Mods
other source) should only be chosen in one source
page (Figure 7-24 on page 180). It transforms the
menu at a time, as you can easily map that single
amplitude of an audio input into a control signal
source to multiple destinations as described
for use inside MX4, as either a modulation source
earlier. Choosing a source in more than one source
or a shaper. See “Envelope Follower” on page 183.
menu at a time doesn’t really serve any useful
purpose, and it unnecessarily uses up source slots.
Bipolar sources
Most modulators, like MIDI controllers and
Plug-in automation
envelopes, are unipolar (i.e. they have a scale that
MX4 fully supports the plug-in automation
extends either positively or negatively in one
features in Digital Performer. Each parameter in
direction). LFOs are bipolar (i.e. they have a scale
MX4 has its own dedicated automation input. This
that extends both positively and negatively from a
automation operates independently from MX4’s
zero point). Therefore, when assigning an LFO,
modulation section, although it can be combined
the modulation range extends symmetrically from
with any modulation sources.
the zero point, which is defined as the value of the
Ramps slider at the moment you assigned the LFO source.
The Source menu provides eight general-purpose
ramps. The ramps exist as a level of indirection Inverting the modulation range
In some situations, you may want to swap the end
between Digital Performer’s automation system
points of a modulation range. MX4 has a handy
and the MX4 parameter being automated. For
function to swap the endpoints of the current
example, you may wish to automate the cutoff
178
modulation range. This is accessed via the The modulation meter
contextual menu. You can also invert the current The output of the currently selected (active)
modulation range from the contextual menu. For modulation source can be viewed in the
details, see “Contextual menus” on page 191. modulation meter (Figure 7-21). For voice
dependent modulators, the meter displays activity
Shapers when you play notes (voices) that are being
Each modulation source is optionally followed by modulated by the source. For example, if you
a shaper, much like the Minimoog® Voyager™. A select an LFO as a modulation source and then
shaper multiplies the output of the modulation play a note, the modulation meter (Figure 7-21)
source by the shaper output. A common use of a provides a visual representation of the output of
shaper would be to limit the output of an LFO the LFO while the note is sustained.
through the mod wheel. When the mod wheel is
down, the LFO has no effect. The LFO is gradually Non-voice dependent modulators, like pitch bend,
felt as the mod wheel is brought up. are always active. In other words, a voice does not
need to be triggered to see the modulator’s activity
in the meter.
For details about these programmable

shapers, see “Mods” on page 180.
Figure 7-23: Shapers multiply the output of the modulation source by

the shaper output
MX4 graphically displays the sum total of

modulation and shaper at the destination as a
moving bar when a voice is active, so it is easy for
you to inspect the cumulative modulation. See the
next section for details.
179
MODS Gate and Effects topology
Click the Mods button (Figure 7-24) to switch the The Gate and Effects topology section
MX4 window to the Mods pane, which displays a (Figure 7-25) lets you control the order of the two
variety of programmable modulation sources, effects slots and the pattern gate with respect to
described in the following sections. one another.
Gate and Effects topology . . . . . . . . . . . . . . . . . . . . . . . . . . . . .180

Pattern Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .181
Pattern Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .182 Figure 7-25: The Gate and Effects topology.
Envelope Follower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .183
Invert and Transform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184 Click a block to enable or disable the effect. When
Quantizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184 a block is enabled, it glows green. Signal flow
Sample and Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185 proceeds from left to right. Drag the blocks left or
Lag Processor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185 right to rearrange their order in the signal flow.
Trigger sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .185
Mods pane
Figure 7-24: The Mods pane provides a Pattern Gate, Arpeggiator, Envelope Follower, Pattern Sequencer,
Transform, Quantizer, Sample and Hold, Lag Processor and Trigger Sequencer.
180
Pattern Gate choosing the Invert and Reverse contextual menu
The Pattern Gate (Figure 7-26) slices up the items. Inverting causes steps that are enabled to
output of MX4’s synth section into pulses become disabled, and vice versa.
determined by the Speed menu, which displays
metric divisions locked to Digital Performer’s Swing
tempo. When the Swing parameter (Figure 7-26) is set to
zero, the pattern gate plays in straight time (no
swing). Other settings are as follows:
On/off
Speed Swing amount Ratio Feel at 8th note speed
Swing 0 1 to 1 Straight 8ths
Pulse Shape 100 2 to 1 Triplet 8ths
Pattern 125 2.5 to 1 Hard 8th swing

Length
150 3 to 1 Hard 8th shuffle
Figure 7-26: Pattern Gate.
The pattern gate can be applied to just about any Negative values invert the ratio, which moves the
sound that sustains. Remember, however, that swung note closer to the base note.
Digital Performer’s tempo plays an important role
in the results. Arpeggiator
The Arpeggiator (Figure 7-28) watches what notes
Pulse shape are sounding (being held) and then arpeggiates
The shape of each pulse is determined by the Pulse them (plays them one at a time) at a tempo
Shape graph (Figure 7-27), which represents 100% determined by the Speed menu, which displays
of the length of each pulse. Drag the handles to metric divisions locked to Digital Performer’s
modify pulse depth, attack, release and sustain. tempo. If you play a single note, by itself, you’ll
Drag the Depth handle vertically to soften the gate, hear an effect similar to the gate. However, if you
such as for a tremolo effect. play a chord (two or more notes at the same time),
the arpeggiator cycles through them one at a time.
Pattern
Length
Depth Sustain Release

Attack
Figure 7-27: Pulse shape.
Pattern and Length On/off

The pattern itself is determined by the Pattern
LED graph (Figure 7-26): click each pulse to Figure 7-28: Arpeggiator.
toggle it on or off. Set the Length of the pattern

(from 1-16 pulses) by dragging the small line
under the pattern. You can invert and/or reverse
the Pattern Gate by control-clicking it and
181
Duration Hold
Set the Duration of each note (in percent of the When the Hold light is enabled, notes continue to
metric value chosen in the Speed menu). 100% arpeggiate, even after you release them. They
equals the chosen metric value (sixteenth note or continue to arpeggiate until you play a new note,
eighth note, for example). Values less than 100% disable the Hold feature or turn off the
create shorter note and a more staccato effect. arpeggiator.
Pattern and Length Pattern Sequencer

Specify a pattern to be repeated by the predicator The Pattern Sequencer provides a means to
using the Pattern LED graph: click each pulse to modulate (or shape the modulation of) MX4
toggle it on or off. Set the Length of the arpeggiator parameters in a stepped fashion. For example, you
(from 1-16 notes) by dragging the small line under could create a sample-and-hold type of effect,
the pattern. You can invert and/or reverse the except one that is not random but instead
Arpeggiator by control-clicking it and choosing programmed and cyclic (repeating).
the Invert and Reverse contextual menu items.
Inverting causes steps that are enabled to become
disabled, and vice versa.
Range
Range lets you arpeggiate across a specified
number of extra octaves. You can choose Normal
(no additional octaves) or +1, +2, or +3 octaves. Step values
Octaves are added above the octave range in
which you play.
Direction
Direction determines the order that the notes play
in, as follows: Length
Direction Explanation
Up Plays the notes in order, starting with the lowest,
and moving to the highest. Note order: Figure 7-29: Pattern Sequencer.
1,2,3,4,5,6.
Length
Down Plays the notes in order, starting with the highest
and moving to the lowest. Note order: 6,5,4,3,2,1. Set the Length (Figure 7-29) of the pattern, from
1-16 steps, by dragging the right-hand end of the
Up/Down First plays Up, then plays Down. Note order:
1,2,3,4,5,6,5,4,3,2. line under the pattern. The pattern proceeds from
left to right.
As Played Takes into account the order in which you play
the notes of a chord and plays them back in the
same order as played. The pattern is repeated for Step values
each additional octave (if any) specified by the
Range option. Each step can be set to one of 120 possible discrete
values (from -60 to +60), where zero (0) equals the
base value for the modulation range. Click in the
column for each step to specify the value for that
step (indicated by the illuminated LED). You can
182
invert and/or reverse the entire step grid by If you wish to apply the setting to the other
control-clicking it and choosing the Invert and oscillators, control-click again and choose Copy
Reverse contextual menu items. this setting and modulations to all oscillators.
Speed and Swing ☛ Additional modulation sources are added at

The Speed and Swing parameters operate similarly the destination (post quantization), so don’t apply
to their counterparts in the Pattern Gate and both the Pattern Sequencer and Quantizer shaper
Arpeggiator (as discussed on page 181 and (page 184) to a single destination if you need
page 181). equal-tempered results.
Using the Pattern Sequencer Envelope Follower

The most obvious use of the pattern sequencer is The Envelope Follower transforms the amplitude of
to send notes to an oscillator. If key follow is on, it an audio input into a control signal for use inside
might be best to constrain the pattern sequence to MX4, as either a modulation source or a shaper.
highly consonant intervals (like octaves, 5ths, etc.)
Keep in mind, however, that the Pattern

Sequencer can be applied to parameters anywhere
in MX4, like the filters, effects parameters, Figure 7-30: Envelope Follower.
wavetable index, etc. Overall, the result often
Audio Input
sounds similar to a sample and hold LFO, but the
Choose the desired audio input from the Input
effect is cyclical. Adrenalinn-like guitar effects can
menu. The inputs that appear in this menu are
be achieved by applying the Pattern Sequencer to
provided by Digital Performer’s bundles.
the filter for an external input, like a guitar. MX4
Therefore, you’ll need to route the audio signal
can also be used to process the output of another
from the physical input of your audio hardware to
synthesizer or virtual instrument. MX4 can also
the Envelope follower via a virtual bus supplied by
track your keyboard playing and adjust (in a
Digital Performer.
monophonic way).
Attack and Release
Mapping equal-tempered pitches Use the Attack (from 1 ms to 1 sec) and Release
To map equal-tempered pitches to an oscillator
(2 ms to 4 sec) sliders to control the smoothness of
using the Pattern Sequencer:
the envelope and the speed at which the envelope
1 Choose the Pattern Sequencer as modulation reacts when the input signal starts and stops.
source (and make sure its button is enabled).
Using the Envelope Follower
The Envelope Follower can be used for a wide
2 Control-click on the oscillator’s pitch slider,
variety of applications. For example, it can be used
and choose Enable the current modulation source
to create all sorts of guitar and filter effects, which
from the contextual menu, if it is not already
can be further enhanced with the effects section
enabled.
(including the pattern gate). But there are some
3 Control-click the pitch slider again and choose other unusual applications. For example, consult
Set the modulation range for quantizing. the patch called Sub kick on 1 and 3 in the External
Processing bank, which adds a tone on those beats,
183
whenever the amplitude is present. As another your MIDI slider to behave correctly, and the base
example, try using a microphone to control value can be saved at a reasonable (non zero)
wavetable index. position.
Invert and Transform Quantizer

The Invert and Transform shapers (Figure 7-31) The Quantizer shaper (Figure 7-32) constrains a
allow you to invert the modulation source. In its modulation source to pitch values.
default configuration, the Transform shaper
(Figure 7-31) has no effect. You can customize the
Range
response by dragging the handles provided, as
Pitch Selector
demonstrated in Figure 7-31 with the modified Mode
Transform in the center. For example, you could
modify the response curve of incoming Figure 7-32: The Quantizer shaper.
continuous MIDI controller data. Completely
Range
reversing the handles as shown on the right is
The Range setting (Figure 7-32) lets you specify
identical to Invert.
the number of octaves that the modulation range
will be divided into. Octaves are applied evenly
Default Modified Same as
(does nothing) Transform Invert across the entire modulation range.
Pitch Selector
Click the keys on the one-octave Pitch Selector to
include (blue) or exclude (white) them. This one-
octave map is then applied to all octaves specified
Figure 7-31: The Transform shaper.
in the Range (above).
☛ Tip: Transform can be used to create
asymmetrical pitch bend modulation, which can Mode
be applied independently per oscillator. The Mode menu has two settings:
Mode setting Explanation

Using Invert when using MIDI volume as a
modulation source Nearest Pitch Each octave is divided into 12 steps. As the
modulation cycles through the octave range,
When you modulate a parameter in MX4, the changes only occur on selected notes and are held
modulation range includes a base value. If you use until the next selected note. This mode can
produce uneven, choppy modulation changes,
MIDI volume as a modulation source, you can depending on what notes are selected and the
intervals between them.
create a range from the base value down, which
causes your MIDI slider (or other controller) to Evenly spaced Unselected notes are ignored and each octave is
pitches divided evenly by the number of pitches you have
work backwards (moving it down increases the selected. For example, if you select 4 pitches,
you’ll hear four changes per octave. Modulation
volume, instead of decreasing it). If you invert the changes occur at evenly spaced intervals
throughout each octave, producing a continuous
modulation range, the slider now maps correctly stream of changes that occur smoothly and evenly
(moving it up increases volume), but the base over time.
value is now at zero, which means that when you

save the preset, it won’t make a noise until you The Quantizer does not sync to Digital
move your MIDI controller slider. To address this Performer’s tempo. Instead, it quantizes to a pitch
issue, add the Invert shaper after the MIDI volume when a modulating parameter value comes into
controller modulation source. Doing so causes range for that pitch.
184
Sample and Hold Trigger sequencer
The Sample and Hold shaper (Figure 7-33) The Trigger Sequencer (Figure 7-24 on page 180)
quantizes modulation transitions to a specific rate lets you trigger an envelope in a stepped, rhythmic
or metric duration (if sync is on). fashion as determined by the Speed menu
(Figure 7-35), which displays metric divisions
locked to Digital Performer’s tempo.
Pattern
Figure 7-33: The Sample and Hold shaper.
Length
Sync and Rate
If Sync (Figure 7-33) is disabled (dark), then the
Sample and Hold Rate is specified in Hertz. If Sync Figure 7-35: The Trigger Sequencer.
is enabled (illuminated green), then Rate is
Pattern, Length and Swing
specified in metric divisions (sixteenth note, The Pattern, Length and Swing parameters
eighth note, etc.), which lock to Digital (Figure 7-35) operate in a similar fashion as those
Performer’s tempo. for the Pattern Gate. See “Pattern and Length” on
page 181 and “Swing” on page 181.
Using the Sample and Hold shaper
MX4’s sample and hold LFOs provide the classic
Duration
sample-and-hold LFO effect, but when you would The Duration parameter (Figure 7-35) controls
like a similar but less random effect, try applying the length of the envelope, where 100 produces the
the Sample and Hold shaper to the output of a full length of the envelope. Settings lower than 100
shaped LFO, such as a triangle wave. will start the envelope release before the end of the
metric division (set by Speed).
Lag Processor
The Lag Processor shaper (Figure 7-34) lets you
Applying the Trigger Sequence to an envelope
specify different response times for the Attack and To apply the Trigger Sequencer to one of MX4’s
Release of a modulation source. The range for both DADSHR envelopes (2, 3 or 4), set up the
Attack and Release is 0.1 ms to 1 second. envelope as desired and choose Sequenced from
the Envelope Trigger Mode menu as shown below:
Figure 7-34: The Lag Processor shaper.
Using the Lag Processor

You can insert the Lag Processor as a shaper after
any modulator. For example, you can use it to
smooth out aftertouch response. It is also useful
when applied to the output of the Pattern
Sequencer for portamento, or simply to make the
transitions less abrupt. For example, it can make Figure 7-36: Applying the Trigger Sequencer to an envelope.
filter transitions “slide” to each new pattern point.
185
MIXER Fundamental
The Mixer (Figure 7-37) provides level and pan The Fundamental knob controls the volume of the
control for all of the signals that feed MX4’s mixer fundamental frequency for oscillator 1, which is
(Figure 7-9 on page 167). blended with other signals feeding into the mixer.
Stereo mode Ring modulator

The stereo button enables or disables the pan The Ring Mod knob controls the volume of the
controls for all oscillators, the ring modulator and ring modulator, which combines the signal from
the external audio input (if any). oscillator 1 and 2 and outputs their product into
the mixer.
When stereo mode is disabled, CPU bandwidth is
preserved. Pan position and automation Audio input
assignments are preserved, even if you turn off Any external audio input can be fed into MX4 via
stereo mode. a mono or stereo sidechain bus. This input is then
blended with MX4’s own signal. To enable the
Panning sidechain input, use the on/off switch provided
MX4 places panning in a somewhat unorthodox (Figure 7-37), choose the desired mono or stereo
position in the signal flow: on the output of each side chain bus from the menu (Figure 7-37) and
oscillator, rather than the output of each voice, or turn up the audio input gain. Be sure that the
after the filters. The pan position can be audio signal you wish to feed to MX4 is being
modulated using polyphonic envelopes and LFOs. routed to the same bus in Digital Performer that
For example, a six-note chord could produce a you chose for a sidechain input into MX4. The
spread of 18 shifting pan positions. external signal is routed internally in MX4 as
shown in Figure 7-9 on page 167, where you can
apply filter effects, note triggering, and effects.
Fundamental level
Ring modulator level

Oscillator
volume and pan
External audio input on/off and level

External audio input source
Ring External Stereo mode

mod input
pan pan
Figure 7-37: The mixer.
186
EFFECTS Chorus
To view the effects section, click its disclosure Chorus achieves its effect by mixing the input
triangle (Figure 7-38). signal with a slightly delayed version of itself.
Standard rate, delay, depth and mix controls are
Effects menus provided:
The effects section provides two effects “slots” in
its signal chain for each preset: Parameter Unit Range Explanation
Rate Hz 0.01-2.00 Modulates the delayed signal.
■ a modulation effect slot that
Delay ms 0-20 Controls the delay time.
provides chorus, phaser or flanger
Depth Percent 0-100 Controls the modulation of the
■ a time effect modulation that delay within the range of the
delay setting.
provides reverb or delay
Mix Percent 0-100 Amount of blend with dry
Five effects are provided: Delay, Chorus, Flanger, signal.
Phaser and Reverb. Choose the desired effects
from the two menus shown in Figure 7-38. The Flanger
topology of the effects (their placement in MX4’s The Flanger creates its effect by mixing the input
signal chain) can be determined on the mods with a delayed version of itself.
page. See “Gate and Effects topology” on page 180.
Effect slot Enable button

Use the Enable button (Figure 7-38) for each
effects slot to enable the effect for that slot. When
the button is green, the effect slot is enabled. Figure 7-39: Flanger.
Rate and Depth

Depth and Rate (Figure 7-39) control the
modulation of the delay around 2 ms.
Feedback
The Feedback control (Figure 7-39) adds some of
the output back into the input.
Effect slot Modulation slot Effect slot Time Effect Modulation slot Show/hide effects
menu Enable
Figure 7-38: The Effects section.
187
Mix To generate complex, poly rhythmic effects, try
Mix (Figure 7-39) controls the overall level of the choosing different note values for the left and right
Flanger effect mixed with the original signal. channel delays.
Phaser Sync
The phaser creates its effect by sweeping notches Engage the Sync button to specify the left channel
up and down the frequency spectrum. (L) and right channel (R) delay amount in beats
and bars. This causes the delay taps will stay in
tempo with Digital Performer.
Out of range
If sync is engaged, the Sync light blinks when the
Figure 7-40: Phaser. delay length you’ve specified makes the total delay
time longer than 2 seconds (the maximum time
Rate
Rate (Figure 7-40) controls the rate at which the allowed by this plug-in).
notch center frequencies are modulated.
Note that the current sequence tempo factors into
Width the delay time for sync-based delays. For example,
Width (Figure 7-40) controls the bandwidth of the a quarter note is one second long at 60 bpm but
notches, within a range determined internally. only a half a second long at 120 bpm. So if you
When Width is 100%, the bandwidth is set to the specify a whole note delay, and the sequence
maximum allowed value. tempo is 60 bpm, the total delay time you’ve
specified is 4 seconds, which is longer than the 2-
Depth second maximum allowed by the plug-in. In this
Depth (Figure 7-40) controls how far the notches case, the Sync light blinks to alert you to this fact.
sweep. To turn off the light, choose a shorter beat or bar
value. Or increase the tempo of the sequence.
Mix
Mix (Figure 7-40) controls the overall level of the
Feedback
Phaser effect mixed with the original signal. The feedback setting controls how much post-
delay, post-filtered signal is re-injected back into
Delay
the delay processor. Used sparingly, these controls
Use the enable/disable button (Figure 7-38) to add
can greatly add to the complexity of the delay
delay. The delay plug-in produces classic delay
effect.
effects. With stereo processing and separate left/
right channel controls, you can create complex ☛ Warning! Be very careful when working with
stereo and ‘ping-pong’ delay effects that are saved feedback, as it can quickly generate ear-splitting,
with the preset. speaker blowing feedback if you are not careful.
When you combine feedback with the highpass or
Left/Right Delay
These settings control the length of the delay lowpass filter, and then add resonance, the result is
independently for the left and right channel. You instant runaway feedback. The only way to stop
can specify delay time in milliseconds or, if the this feedback is with Digital Performer’s Stop
Sync button is engaged, by specifying note Sounding MIDI Notes command (Studio menu).
duration (or bar length).
188
One way to prevent this sort of feed back is to RANDOM
apply LFO modulation to the filter frequency. This The Random controls let you generate new patches
modulates the feedback path and keeps it in check. by randomizing parameters of your choice.
Filter Choose any desired patch as a starting point. Then

This is a standard EQ filter that you can apply to check the parameters you wish to randomize (see
the signal before it is fed into the feedback “Randomizing tips” below). When you are ready
processor. Filter types include low pass, high pass, to go, click Apply, and then play the patch to listen
notch and bandpass filters with appropriate L/R to the results. To try again, simply click Apply.
frequency, width and resonance settings, where
applicable. This is a great way to apply an ‘effected’ Randomizing tips
sound to the delay taps, which can add more Overly randomized presets that include
interest and dimension to the overall delay effect. modulation assignments can produce rather
disturbing results. MX4 includes several useful
Mix options for constraining randomization within a
Controls the overall level of the delay echoes preset. For example, you can randomize oscillator
mixed with the original signal.
parameters, but exclude pitch. Or you can at least
constrain pitch randomization to consonant
Reverb
MX4’s reverb provides several basic controls: intervals such as octaves or 4ths/5ths.
You might also experience better results by

excluding filter topology and filter frequency
modulation. Changing the filter topology can
change the fundamental nature of the preset.
Figure 7-41: Reverb.
Similarly, filter frequency modulation can easily
Time produce sonic chaos.
Time (Figure 7-41) controls the length of the
reverb tail. If you like the way a patch responds to external
control, but you’d like to try variations on how it
Cut frequency sounds, then exclude (uncheck) modulation
The Cut Frequency (Figure 7-41) provides high- ranges and enables.
frequency damping.
Spread
Spread (Figure 7-41) controls the amount of stereo
spread for the reverb.
Mix
Mix (Figure 7-41) controls the overall level of the
Reverb effect mixed with the original signal.
189
Modifier key legend
The modifier key legend (Figure 7-42) shows you
various shortcuts for adjusting the MX4
parameter controls in the main MX4 window.
Signal path block diagram

The signal path block diagram (Figure 7-42)
shows the basic signal path layout of MX4.
Rear panel grill

Do not attempt to service MX4. Servicing should
only be performed by an authorized MX4 service
center.
Apply
Click Apply to randomize the current path. Click
the Main button to return to the main MX4
window.
Modifier key legend Flips back to main Randomize options

MX4 window
Signal path
block
diagram
Randomizes the
Figure 7-42: The Random options. current patch
190
MODIFIER KEY SHORTCUTS Randomize base values and modulation values
MX4 provides the following modifier key Same as Randomize base values, with this addition:
shortcuts: if a parameter currently has a modulation range,
the upper and lower limit of the range are also
Modifier changed to a random value.
key Target Operation Explanation
command any fine value Provides fine-tuned
parameter adjust adjustment of any Copy this item to all others
parameter. Applies all settings from the source oscillator,
control any contextual Opens a menu of filter, envelope or LFO to all of the others. For
parameter menu additional options for example, if you control-click oscillator 1 and
the item that you
control-click (see the choose Copy this oscillator to all others, then
next section).
oscillator 1’s settings are applied to oscillators 2
option parameter add Applies the and 3.
without modulation currently selected
modulation modulation source to
the parameter. Individual parameters
option parameter with modify Adjusts the range of Control-click an individual parameter (slider or
modulation modulation modulation. knob) to see additional menu items that apply only
range
to the individual parameter.
option parameter with modify Adjusts both the top
bipolar modulation and bottom of the
modulation range end modulation range Enable the current modulation source
points simultaneously.
Causes the parameter to be modulated by the
shift parameter with modify base Adjusts the base value currently selected modulation source (in the
modulation value of the
modulation range. Source section).
Disable the current modulation source

CONTEXTUAL MENUS Disconnects the parameter from the currently
Hold down the control key (or the right-click selected modulation source (in the Source
button on a multi-button mouse) and click on any section).
item in the MX4 window to view a contextual
menu of additional options for that item. What Disable all modulation sources
appears in the contextual menu depends on what If the parameter is currently being controlled by
you control-click. several modulation sources, this command
Disconnects the parameter from all current
Contextual menu items that apply to the entire modulation sources.
oscillator, filter, envelope or LFO
For oscillators, filters, envelopes and LFOs, Swap current modulation range
control-click the graphic to see menu items that If the parameter is currently being controlled by a
apply to the entire oscillator, filter envelope or modulation source, you’ll see this menu item,
LFO. Control-click a slider to see additional menu which swaps the base value with the endpoint of
items that apply only to the individual parameter. the modulation range. For bipolar modulation
ranges (which swing between a positive and
Randomize base values negative limit above and below the base value), the
Applies a random value to the base setting for base value jumps to one of the original range
every parameter of the oscillator, filter, envelope endpoints and the size of the range stays the same.
or LFO. For example, if the base is 50% and the range is
191
+/- 25%, the new base is 75% and the range stays Forget controller mapping
at +/- 25%. If the original range was -/+ 25% If the parameter is currently assigned to a MIDI
(where -25% is first instead of +25%), then the controller for external control, you’ll see this menu
base will jump to 25%. item, which clears the MIDI controller (and
disconnects the external control). You can then
Invert current modulation range reassign it, if you wish.
If the parameter is currently being controlled by a
modulation source, you’ll see this menu item, Copy this setting to all others
which inverts the modulation range using the base Applies the setting from the source parameter to
value as the axis for inversion. As a result, the base all other similar parameters. For example, if you
value remains the same, acting as a “mirror point” control-click the Symmetry parameter for
for reflecting the modulation range endpoint to oscillator 1 and choose Copy this setting to all
the other side of the range. For bipolar modulation others, then oscillator 1’s Symmetry value is
ranges (which swing between a positive and applied to the Symmetry parameters for oscillators
negative limit above and below the base value), the 2 and 3.
modulation range endpoints are inverted.
Copy this setting and modulations to all others
Invert all modulation ranges Same as Copy this setting to all others, with this
If the parameter is currently being controlled by addition: if the parameter currently has a
several modulation sources, this command inverts modulation range, the upper and lower limit of the
all of their modulation ranges, as described above. range are also applied to the other parameters,
regardless of whether they are turned on or not.
Invert and Reverse
The contextual menus for the Pattern Gate, Set the modulation range for quantizing
Arpeggiator, Pattern Sequencer and Trigger This contextual menu command applies to the
Sequencer have Invert and Reverse items. See their oscillator pitch sliders. See “Mapping equal-
respect sections earlier in this chapter for details. tempered pitches” on page 183 for details.
Randomize base value Global randomize

Applies a random value to the base setting for the To randomize all parameters in the MX4 window
parameter. in one operation, control-click anywhere in the
MX4 window and choose Global Randomize.
Randomize base and modulations
Same as Randomize base value, with this addition:
if the parameter currently has a modulation range,
the upper and lower limit of the range are also
changed to a random value.
Learn controller mapping

Lets you assign any external MIDI controller to
the parameter. To do so, choose this command
and send the controller message you wish to use
(move the knob or slider).
192
CHAPTER 8 Five Things To Know About MX4
MX4 is perhaps the most powerful and flexible only, which you can also do when no modulation
synthesizer of its kind ever devised, due in large source is selected. The modulation range always
part to its powerful modulation system. If each keeps its position relative to the base value.
modulation routing had a dedicated knob, the
MX4 interface would have over 3500 knobs. To Control-click any parameter to reveal a contextual
efficiently represent this modulation system on a menu of additional parameter-specific operations.
computer screen, we devised a few, simple user
If you forget which key command is which, the
interface metaphors. The power of MX4’s interface
random pane provides a handy crib-sheet.
is its ability to distill its flexible modulation system
into a handful of simple gestures. So, even if you
3. Bipolar and unipolar modulation sources
are a synthesis guru, here are the Five Things You There are two kinds of modulation sources in
Need To Know About MX4 to quickly unleash its MX4:
potential.
■ bipolar (LFOs, pattern sequencer)
1. What is a base value?
The base value is the nominal setting of a ■ unipolar (envelopes, most MIDI controllers)
parameter without any modulation applied to it. Bipolar means that the modulation range extends
Any modulation sets forth from the base value. If both above and below the base value. Unipolar
a modulation source is not selected, when you means that the modulation range extends only in
move a slider or knob in MX4, you’re adjusting the one direction (either above or below the base
base value. If a modulation source is selected, value). Another way to understand the difference
another way of moving the base value is by using is to think of a pitch bend wheel and a modulation
the shift key. wheel. The nominal position of a pitch bend wheel
is centered, and modulation can occur above and
2. Modifier keys
The command key invokes a ‘fine’ adjust mode. below the nominal value, making it a bipolar
For example, the oscillator pitch slider adjusts in range. On the other hand, a mod wheel’s nominal
semitone increments. If you hold down the value is all the way down, or zero, and modulation
command key, you now have resolution in 1 cent occurs up from zero only, making it unipolar.
increments.
MX4 operates in the same way. Modulation ranges
With a modulation source selected, the option key behave slightly differently depending on the kind
allows you to create a modulation range, or of modulation source you have selected. If you
modify an existing range. This modifier key can be select an LFO, which is a bipolar modulation
held down together with the command key for source, the modulation range extends two end
fine adjustment of the modulation range. points, center-justified from the base value. If you
select an envelope, a unipolar modulation source,
If you have a modulation range assigned, you can the modulation range extends in a single direction
move the defined range using the shift key. What away from the base value.
you’re essentially doing is moving the base value
193
MX4 allows you to directly manipulate topology diagram. Distortion is turned off when
modulation range end point handles the knob is all the way off (in the left most
independently. If you’re editing a single endpoint position).
of a bipolar modulation range, be aware you’re
actually doing two things: editing the modulation
range and changing the base value. (Hint: If you
just want to edit the modulation range and not the
base value, hold down the option key.)
4. The initial modulation gesture is meaningful

Consider a low pass filter: as you move up its
frequency slider, the filter opens. If you move the
slider down, the filter closes. Let’s say that you
want an envelope to control the filter cutoff
frequency. When you create the modulation
range, your initial gesture determines the
direction of the range. If you drag the modulation
range up from the base value, the envelope will
open the filter as the envelope progresses, just as if
you were moving the filter knob up manually. If
you drag the modulation range down from the
base value, the envelope will close the filter as the
envelope progresses. If you accidentally drag in
the wrong direction, don’t worry. Control-click
the parameter and choose the contextual menu
option called Invert modulation range to switch it.
The same holds true for bipolar modulation

sources. Your initial gesture can phase invert the
output of the LFO. For example, if you want an
LFO to pan an oscillator from the center off to the
right, your initial modulation gesture should move
from the base value to the right. Now, with the
same LFO, you can create a mirror version of the
LFO on another oscillator by dragging left from
the base value.
5. What is the white block with the ‘D’ in it in the

topology diagram?
The white block represents how distortion is
positioned in the filter topology. The block labeled
‘1’ is filter 1 and the block labeled ‘2’ is filter 2. The
filters are disabled if they are not present in the
194
F I V E T H I N G S TO K N O W A B O UT M X 4
Part4
Appendices
APPENDIX A MX4 Troubleshooting
OVERVIEW When I move the cutoff frequency knob for the Filter,
MX4 FAQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197 nothing happens.
Conserving CPU resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198 Make sure the envelope depth in the filter section
General troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198 is set to a value where you can actually hear the
MIDI troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199 envelope. For example, if you have set the depth to
Audio troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200 a value of 1 and the attack of the envelope is 0.00,
Preventing Catastrophe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200 the filter will have no effect at all.
Technical support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Why is the output of MX4 is distorted?
MX4 FAQ It is possible for MX4 to output more than unity
gain. This can happen, for example, if you use
I have a preset loaded, but I don't hear anything. resonant filters that add gain. Keep an eye on the
If you are playing notes from an external output level of the MX4 track and attenuate that
controller, make sure the MIDI track or signal if it gets too hot.
instrument track in Digital Performer is record-
enabled. For other MIDI troubleshooting tips, see How do I record the audio output of MX4?
“MIDI troubleshooting” on page 199. Digital Performer can bounce your project to disk
without first rendering virtual instruments as
MX4’s MIDI activity LED is flashing, so it’s receiving audio. Simply include MX4 in your selection of
MIDI data successfully, but I still don’t hear any tracks to be bounced.
sound.
It’s time to check audio. See “Audio trouble-
Alternately, you can manually bus the output of
shooting” on page 200.
the MX4 track to another audio track, and record
the audio output of MX4 onto that track. Here is a
When I play on my keyboard, there's a delay before I
hear a note. step by step procedure:
In order to get the fastest possible response from
MX4, you’ll need to set the sample buffer of your 1 Create a new stereo audio track (not the one
audio hardware driver to a low number. where MX4 is used) and name it Record MX4.
Experiment with this setting to get the best
2 Route the MX4 track to an unused bus (e.g.:
response and computer performance. For
Bus 1-2).
complete details, see “Buffer Size” on page 30 in
the DP4 Getting Started Guide.
3 Select Bus 1-2 as the input pair for your Record
MX4 track.
How do I get MX4 to play multiple different sounds?
Each “instance” of MX4 plays one preset. If you
4 Record-arm the Record MX4 track, and start
want to play two or more presets at the same time,
recording.
just open additional instances of MX4, each on its
own track. If you wish to hear MX4 while recording, engage
Studio menu>Audio Patch Thru> Auto. In
addition, choose Setup menu> Configure Audio
197
System> Input Monitoring Mode and choose the 2. Long envelope times can increase the
Monitor record-enabled inputs through effects polyphony count — without being obvious. Make
option. sure your amplitude envelope is set only as long as
is necessary. For details, see “Envelopes” on
That’s it! MX4 audio output will be recorded into page 173.
the new track.
3. MX4’s built-in effect processing will increase
Everything is working fine, except that intermit- the CPU load.
tently, notes don’t play for no apparent reason. Why?
Check your polyphony setting for the part to make 4. Stereo mode doubles the effect of filters because
sure that MX4 has more than enough voices to in MX4, the signal is split into stereo before the
play the notes you are feeding it. filters, so be mindful of stereo operation with
filters (and lots of polyphony).
CONSERVING CPU RESOURCES 5. Polyphony affects CPU bandwidth. In other
MX4 provides several settings that are crucial for
words, the more notes that MX4 plays simultane-
managing your computer’s precious processing
ously, the more load is placed on your computers’
(CPU) resources. Another setting, Digital
CPU. You can cap polyphony to limit CPU
Performer’s buffer size setting (“Buffer Size” on
loading.
page 30 in the DP4 Getting Started Guide), can
also dramatically impact MX4 performance. In 6. The unison multiplier multiplies the number of
general, settings of 256, 128 or 64 samples produce voices you use per note, so only use it if your patch
better latency performance. But lower settings requires it. For details, see “Unison multiplier” on
place higher demand on your computer’s page 164.
processor.
7. The digital rectangle and digital sawtooth
The Polyphony setting oscillator waveforms are more CPU-efficient than
The Polyphony setting (see “Polyphony” on their non-digital counterparts. Use them
page 163) lets you control the maximum allowed whenever possible (when the slight aliasing that
number of stereo notes that can be played can occur with these waveforms is masked by
simultaneous by MX4. The upper limit is 256. The other components of the sound). For details, see
more notes that MX4 plays simultaneously, the “Waveforms” on page 167.
more work you computer does. The Polyphony In summary, you can conserve CPU processing in
settings lets you put a ceiling on the number of a preset by using only one — or zero — filters,
notes that will play simultaneously to conserve turning off stereo mode, turning off chorus and
CPU bandwidth. For further details, see page 163. delay and capping the polyphony.
Other ways to optimize MX4 performance GENERAL TROUBLESHOOTING

Here are three additional ways you can optimize Troubleshooting is always simplest and most
MX4 performance: effective when the exact problem can be specified
clearly and concisely. If you are surprised by an
1. Filters require processing bandwidth because
error message or by seemingly erratic behavior in
they are applied per voice. So be prudent in your
the program, take a moment to jot down the
sound design when employing one or both filters.
relevant details: exactly what the error message
Band-pass filters are particularly more “CPU-
said (including any error ID numbers), what
expensive” than highpass or lowpass filters.
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A P P E N D IX A : M X 4 T R O U BL E S H O OT I N G
actions were done on-screen just before the Check the ‘Read Me First’…
problem occurred, what kind of file you were It’s human nature to blow right past the Read Me
working with, how you recovered from the First, but you’ll probably be glad you took the
problem, and any unusual conditions applying time. If you experience problems with MX4, check
during the occurrence of the problem. This may the Read Me notes that ship with the current
not enable you to solve the problem at once, but version you are using.
will greatly aid in isolating the problem should it
reoccur. If you cannot open a particular MX4 project or
session in Digital Performer…
First try opening other existing files, or a new file,
If the problem you are encountering seems
to be sure MX4 is working at all. If other files work
inconsistent, try to determine what the necessary
fine, try temporarily removing the MX4 plug-in,
pattern of actions are that will cause it to occur.
or disable audio in Digital Performer. If other files
Genuine bugs in application software like MX4 are
also exhibit similar behavior, then you know that
almost always consistent in their manifestation:
the problem is not specific to one file.
the same set of actions under the same conditions
invariably brings about the same results. MIDI TROUBLESHOOTING
Determining the exact cause of a bug often The most important tool for tracking down MIDI
requires experiments which replicate the problem input problems is the MIDI Activity LEDs for each
situation with one factor changed: choosing a part. If there is a hardware problem, or if your
different (smaller) preset, turning off 32-bit mode, channel assignments are wrong, the problem
etc. should be apparent by looking at the MIDI LEDs.
If the problem is truly inconsistent, then it is likely In order for external MIDI to get to MX4, the
to be a hardware problem: a faulty hard drive, a MIDI track or instrument track must be record-
failing computer motherboard, a loose enabled. A quick test to determine whether MIDI
connection, etc. is reaching the track is to hit record and tap a few
notes on your controller. If no MIDI appears in the
Isolate the problem…
track, check that your controller and MIDI
One of the best troubleshooting techniques is to
interface are set up properly. If MIDI data does
try to isolate the problem. If you can whittle down
show up in the track, and your sequencer uses a
a complicated setup or scenario to a much simpler
separate MIDI and instrument track for virtual
case, chances are you’ll zero in on the problem
instruments, make sure the MIDI track output is
more quickly.
assigned to MX4 and is assigned to a part that has
Simplify your setup… a preset sound ready to go.
One of the most common causes of problems is a
conflict with other software in the system. Run If MX4 is unable to play any MIDI data…
Does Digital Performer receive MIDI data from
MX4 by itself, with no other plug-ins or virtual
your MIDI controller? Does MIDI play back
instruments, and see if the problem you are having
successfully to other MIDI instruments? If the
still happens.
answer is no to either question, double-check your
cable connections and MIDI controller settings.
See if your controller registers in Audio MIDI
Setup.
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A P P E N D I X A : M X 4 T R O UB L E S H O OT I N G
If you are trying to play MX4 from your MIDI Keep plenty of free space on your hard drives. This
controller, make sure that the MX4 MIDI track or will prevent the Mac from running out of disk
instrument track in Digital Performer is record- space.
enabled.
TECHNICAL SUPPORT
Often only A/B tests will reveal the source of the We are happy to provide customer support to our
problem. It may be necessary to switch your MIDI registered users. If you haven’t already done so,
cables, and if possible, to try using a different please take a moment to complete the registration
MIDI interface or synthesizer for input/output. card in the front of the manual and send it in to us.
The easiest way to test if MIDI data is actually When we receive your card, you’ll be properly
getting to MX4 is to look at the MIDI activity registered for technical support.
LEDs in the Parts section.
Registered users who are unable, with their
AUDIO TROUBLESHOOTING dealer’s help, to solve problems they are
In order for audio to be heard from MX4, the encountering with MX4 may contact our technical
output of the audio or instrument track in Digital support department in one of the following ways:
Performer must be sent to an output that is
connected to speakers or headphones. Can you ■ Technical support phone: (617) 576-3066
play back any pre-recorded audio? That’s always a ■ Tech support fax: (617) 354-3068
good way to check that the rest of the audio system
is set up correctly. In some cases, a sequencer ■ Tech support on line: motu.com/support
requires an available voice for MX4 playback. ■ Web site (for information, tech support
Make sure all outputs and voice assignments are database and downloads): www.motu.com
correct for the MX4 track.
Technical support is staffed Monday through
If you still don’t hear sound, check the following Friday 9 AM to 6 PM, Eastern Time.
things:
If you decide to contact technical support, please
■ Make sure the volume is turned up on the part have your MX4 manual at hand, and be prepared
you are playing, as well as MX4’s global volume to provide the following information to help us
setting. solve your problem as quickly as possible:
■ Make sure that the appropriate faders are up in ■ The version of MX4 you are working with.
Digital Performer’s Mixing Board. This is displayed to the left of the MX4 logo.
■ Make sure you have cables connected to the
■ A brief explanation of the problem, including
correct plugs on the outputs of your audio the exact sequence of actions which cause it, and
hardware. the contents of any error messages which appear
on the screen. It is often very helpful to have brief
PREVENTING CATASTROPHE written notes to refer to.
Keep up-to-date backups of your MX4 patches file,
so that you always have copies of the most recent ■ The pages in the manual which refer to the
work you have done. Almost any software problem parts of the program which you are having trouble
is survivable as long as you have kept backups of with.
your work.
200
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
Our technical support telephone line is dedicated

to helping registered users solve their problems
quickly. In the past, many people have also taken
the time to write to us with their comments,
criticism and suggestions for improved versions of
our software. We thank them; many of those ideas
have been addressed in this version of MX4. If you
have features or ideas you would like to see
implemented in our music software, we’d like to
hear from you. Please send email to sugges-
[email protected], or write to the MX4
Development Team, MOTU Inc., 1280
Massachusetts Avenue, Cambridge, MA 02138.
Although we do not announce release dates and

features of new versions of our software in
advance, we will notify all registered users
immediately by mail as soon as new releases
become available. If you move or otherwise
change your mailing address, please send us a note
with your change of address so that we can keep
you informed of future upgrades and releases.
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A P P E N D I X A : M X 4 T R O UB L E S H O OT I N G
202
APPENDIX B Glossary
32-bit: Refers to the number of bits used to CoreAudio: The term used to refer collectively to
describe an individual sample. MX4 audio is the built-in audio services provided by Mac OS X.
generated internally at 32-bit resolution (32 bits to
describe each sample). CoreMIDI: The term used to refer collectively to
the built-in MIDI services provided by Mac OS X.
Amplitude envelope: Also see Envelope.
Modulates the volume of a sound over time CPU: Central Processing Unit. This is the “brain”
according to the settings of each envelope stage. of a computer, where the majority of the
Four of the six stages in the MX4 envelope are computing is done.
specified in units of time, and the sustain stage is
Cutoff frequency: The frequency above or below
specified in level (amplitude).
which a digital signal processing filter is applied.
Audio Unit (AU): A standard Mac OS X plug-in
Effects: Signal processing applied to an audio
format. Programs like Digital Performer can host
signal. MX4 has five effects: chorus , flanger,
AU plug-ins.
phaser, delay, and reverb.
Automation: The process of changing a plug-in
Envelope: A modulation profile that changes over
parameter over time. For example, MX4’s filter
time, applied to an audio signal. For example, in
cutoff frequency can be automated by sending a
samplers, amplitude envelopes are applied to
stream of automation data values that change over
samples to produce more dynamic-sounding
time.
notes, with distinct attack, sustain and release
Bend: The process of changing the pitch of a note characteristics.
smoothly, or the range over which such a change
Filter: An audio signal processor that modifies an
can occur.
incoming signal in some way. MX4 provides two
Buffer: A small portion of computer memory that classic filters, along with a wide variety of ways to
is used to temporarily store audio data as it is program, modify and modulate them. See “Filters”
being moved or processed. Larger buffer sizes can on page 171.
increase system latency. See “Buffer Size” on
Filter modulation: The process of changing the
page 30 in the DP4 Getting Started Guide.
filter cutoff frequency over time. For details, see
Bus: A connection from one point in a mixing “Modulation” on page 176.
environment to another.
Fine-tune: A pitch control setting that allows you
Cents: a unit of measurement for pitch transpo- to change pitch in cents (a hundredth of a
sition. There are 100 cents in a semitone and semitone). Also see cents.
twelve semitones in a octave. 50 cents is a quarter
Frequency: The rate at which an audio signal
of a tone.
oscillates. Also see cutoff frequency.
203
Gain: Volume, amplitude. Latency: a very short delay that can occur
between when a MIDI note is played and the
General MIDI: A standardized, basic sound set resulting MX4 sound is triggered. See “Buffer
with a standard organization adopted by the Size” on page 30 in the DP4 Getting Started Guide
electronic music instrument industry to provide for further information.
users with a familiar sound set, regardless of the
instrument being used to produce the sounds. LFO: See Low Frequency Oscillator.
Hardware buffer size: The size of a small Low Frequency Oscillator: A low frequency
amount of computer memory used to transfer signal that is used as a control signal for a signal
digital audio data to and from external audio processor (such as a filter).
hardware. See “Buffer Size” on page 30 in the DP4
Getting Started Guide. Low Pass Filter: A signal processor that allows
frequencies below its threshold to go through and
High Pass Filter: A signal processor that allows mutes frequencies above its threshold.
frequencies above its threshold to go through and
mutes frequencies below its threshold. LPF: See Low Pass Filter.
HPF: See High Pass Filter. MAS: A plug-in format for Digital Performer.
Instance: An instantiated MX4 plug-in (see MIDI: Musical Instrument Digital Interface. A
Instantiate below). command and control protocol for electronic
musical instruments and software.
Instantiate: Specifically in regards to MX4, this
term refers to the process of opening MX4 within Modulation: The process of modifying a signal
Digital Performer as the host software. over time.
Insert: A point in a signal chain where an Mono: One channel.

additional signal path loop (out and then back in
Multi-timbral: Producing (or the ability to
again) can be added. More specifically, in MX4, an
produce) more than one type of instrument or
insert is a place where an effect can be added.
sound at a time.
I/O buffer size: See Buffer.
Normalize: To boost the amplitude of an audio
Key follow: The amount of keyboard tracking signal by whatever constant amount is needed to
that can be applied to an oscillator. For details, see make the loudest peak reach digital full scale (zero
“Oscillator keyfollow” on page 169. dB).
Layer: Multiple presets (patches) that are played Note-on/off velocity: A parameter of MIDI note
simultaneously by the same note. data event that specifies the strength of the attack
and release of the note.
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A P P E N D IX B : G LO S S A RY
Octave: A frequency that is higher or lower by a Trigger: Something that initiates something else.
factor of 2. For example, the A above middle C is For example, a MIDI note-on event can trigger a
440 Hz. An octave higher is 880 Hz. Two octaves sound.
higher is 1760 Hz.
Velocity: See note-on/off velocity.
Off-velocity: See Note-on/off velocity.
Virtual instrument: Software that produces
On-velocity: See Note-on/off velocity. sounds in a similar fashion to real acoustic or
electronic instruments.
Parallel filters/effects: Two or more signal
processors that can be applied independently to
the same input signal.
Plug-in: A piece of software that operates within a

host application.
Polyphony: The characteristic of sounding two or

more notes at the same time. More specifically,
this MX4 setting determines the maximum
number of notes a part can play simultaneously.
See “Polyphony” on page 163.
Preset: A reference to a patch, which is a

“snapshot” of all of the settings in the MX4.
RAM: Random Access Memory. This is the

portion of a computer where data is temporarily
stored during the computer’s operation. When you
restart or shut off the computer, RAM is flushed.
Release velocity: See note-off velocity.
Resonance: A boost in amplitude around the

cutoff frequency. Also see cutoff frequency.
Serial effects: Two or more signal processors that

can be applied one after the other to an audio
signal.
Stack: Multiple presets (patches) that are played

simultaneously by the same note.
Threshold: A specific frequency, amplitude or

other audio signal characteristic that is used as a
trigger.
205
A P P E N D I X B : GLO S S A RY
206
A P P E N D IX B : G LO S S A RY
APPENDIX C MOTU Instrument presets
00 Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 08 Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

01 Piano & co . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .223 09 Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233
02 Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .225 10 Ethnic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234
03 Acoustic Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226 11 Choirs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
04 Electric Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227 12 Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
05 Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .228 13 Drums Acoustic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
06 Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .229 14 Drums Electronic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245
07 Misc Classical . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231
00 Loops Big Beat 109-Filters
115-Electro
117-Rock Beat
125-Electro Loop
129-Electro
130-Electro
133-Electro
134-Speed
137-Acoustic
138-Move Beat
139-FxLoop
140-Acoustic
140-Run Loop
140-Tech Loop
141-Filters
142-Electro
142-Speed
148-Speed
154-Speed
Disco 113-Yellow
114-Acid
114-Bus
207
114-Retro
115-Phazing
115-Pick
116-Tribal
117-Jumping
117-Trash
118-Clavi
118-Laughing
122-In Car
122-Nice
122-One
123-Alpha
124-Funkytar
130-Hot
131-Waynes
Drum & Bass 140-Loop 1
140-Loop 2
143-Loop
150-Loop 1
150-Loop 2
150-Loop 3
151-Loop 1
151-Loop 2
160-Loop 1
160-Loop 2
160-Loop 3
160-Loop 4
160-Loop 5
160-Loop 6
169-Loop 1
169-Loop 2
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A P P E N D I X C : M OT U I N S T R U M E N T P R ES E TS
169-Loop 3
170-Loop 1
170-Loop 2
171-Loop
Drumloops Brushed 076-HRoad Beat
076-Hroad Var
080-GVibes Beat
080-GVibes Var
092-GVibes Beat
092-GVibes Var
092-HRoad Beat
092-Jazzy Beat
092-Jazzy Var
096-HRoad Beat
096-Hroad Var
097-HRoad Beat
104-GVibes Beat
106-Hot Road
116-Hot Road
126-GVibes Var 1
126-GVibes Var 2
145-Gvibes Beat
Drumloops Funk 097-Funky Beat
097-Funky Var 1
097-Funky Var 2
119-Funky Beat 1
119-Funky Beat 2
119-Funky Var 1
119-Funky Var 2
121-Funky Beat 1
121-Funky Beat 2
209
A P P E N D I X C : M OT U I N S T R U M E N T P R E S E TS
121-Funky Var 1
121-Funky Var 2
128-Funky Beat
128-Funky Var
Drumloops Premium 100-GT Funk B 1
100-GT Funk B 2
116-GT Brush A
120-GT Brush A 1
120-GT Brush A 2
120-GT Brush A 3
120-GT Brush A 4
121-GT Brush A 1
121-GT Brush A 2
121-GT Brush B 1
121-GT Brush B 2
125-GT PopRock C 1
125-GT PopRock C 2
134-GT Brush C
Drumloops Rock 096-Classic Beat
096-Classic Var
096-Pop Beat
096-Pop Var
120-Pop Beat
120-Pop Var
120-Speed Beat
120-Speed Var
126-Classic Beat
126-Classic Var
152-Pop Beat
152-Pop Var
152-Speed Beat
210
153-Speed Tom
Electro 119-Bonus Loop
120-Bonus Loop 1
120-Bonus Loop 2
120-Elephant
120-Train 1
120-train 2
120-Wasch 1
120-Wasch 2
121-Bonus Loop
121-Elephant
124-Dry
124-Fat 1
124-Fat 2
124-Intestinal
124-Skip
125-Intestinal
125-Skip
126-Dry
135-Crunchy
Funk 069-Cully 1
069-Cully 2
085-Caste 1
085-Caste 2
089-Kool 1
089-Kool 2
092-S Again 1
092-S Again 2
093-Strack
095-Funky 1
095-Funky 2
211
098-Organic 1
100-Babe 1
100-Babe 2
102-Road 1
102-Road 2
103-Shafty
107-Mirwo 1
107-Mirwo 2
Industrial 070-Fabrik
078-Xenon
080-Jerikan
080-Risk
083-Triphase
087-Vrac
088-Cat
098-Halt 1
098-Halt 2
098-Wagon
100-Interval
100-Large 3-4
100-Maarto
101-Anklum
104-Plastic
104-Work
110-Uzine
115-Sector
119-York
120-Van 5-4
120-York
120-Zink
130-Neon 7-8
212
132-Brite 1
132-Brite 2
143-Electrik 5-4
145-Crak
145-Electrik 5-4
174-Quartz 1
174-Quartz 2
Instruments Bass Loops 074-G-Green
086-C-Touch
094-C-Strange
098-A-Light
098-C-Nuts
098-D-Smooth
100-D-Soul
102-D-Bounce
106-A#-Wall
111-A-Free
115-A#-Phazing
118-A-Grunge
120-G-Pop
123-A-Walter
126-F-Night
Brass 063-C-Sax Riff
063-Sax Riff 1
063-Sax Riff 2
063-Sax Riff 3
108-Barytone Riff
108-D#-Sax Riff
108-D#-Trumpets Riff
108-Sax Riff 1
108-Sax Riff 2
213
108-Sax Riff 3
108-Trombone Riff
131-D#-Line Riff
131-Line Chord
131-Line Riff
131-Trumpet Up
133-Line Riff
131-Trumpet Up
133-Line Riff
133-Trumpet
162-Sleep 1
162-Sleep 2
162-Sleep 3
D#-Long Hit
Ethnic 080-Am-Adon Olam
080-D#-Clarinet
093-Bm-Mongol Topshur
096-F#-Thas Paso Accordion
100-F#-Vlaque Violin
110-Am-El. Bouz
117-G-Kora St
120-Am-Rondeau
120-D-Oud
130-Am-Polka
138-A-Dzumbus Strings
140-Am-Astrid Solo
165-C#m-Bouz. Rumba
180-A-Baglamas
185-Dm-Tzouras
A#-Isshakausansun
Am-Nishaku Piece Da
214
D-Bagl. Solo
D-er Hu
Dm-Shaku Cicada
Guitar 080-C-TripHop
089-Bm-Groovywah
092-Dm-Funky
110-A-Pick
110-Bm-12 Strings
110-Cm-Pick
110-F-12 Strings
120-Am-T-Wah
120-Am-WahWah
120-Dm-Blues Rock
120-E-Jazz Dark
120-Em-Guitar Solo
120-Em-Jazz clear
160-C#-Jazz
Vocal Hooks Baby Let
Check This
Dont want
Ha Ha
Han
Hey Hi Hey
Hey Yaa
Hi
Hm Hm
Mm Ah Mm
Na Ha
Old Ragga
Ooh
Ow Yeah
215
Running Back
Scream
U Laugh
Jungle 160-Jungle 1
160-Jungle 2
163-Jungle 1
163-Jungle 2
165-Jungle
166-Jungle 1
166-Jungle 2
166-Jungle 3
168-Jungle 1
168-Jungle 2
169-Jungle 1
169-Jungle 2
169-Jungle 3
169-Jungle 4
170-Jungle 1
170-Jungle 2
172-Jungle
173-Jungle 1
173-Jungle 2
173-Jungle 3
Old Hip-Hop 089-Old Rap 1
089-Old Rap 2
089-Old Rap MPC 1
089-Old Rap MPC 2
089-Old Rap MPC 3
090-Old Rap 1
090-Old Rap 2
090-Old Rap 3
216
091-Old Rap 1
091-Old Rap 2
091-Old Rap 3
092-Old Rap
093-Old Rap MPC 1
093-Old Rap MPC 2
093-Old Rap
094-Old Rap MPC
097-Old Rap 1
097-Old Rap 2
100-Old Rap
Percussion Bongo 100-Bongo 1
100-Bongo 2
100-Bongo 3
100-Bongo 4
100-Bongo 5
119-Bongo 1
119-Bongo 2
119-Bongo 3
119-Bongo 4
119-Bongo 5
131-Bongo
132-Bongo
133-Bongo 1
133-Bongo 2
134-Bongo
Conga 089-Conga 01
089-Conga 02
089-Conga 03
089-Conga 04
089-Conga 05
217
089-Conga 06
089-Conga 07
089-Conga 08
089-Conga 09
089-Conga 10
100-Conga 01
100-Conga 02
100-Conga 03
100-Conga 04
100-Conga 05
100-Conga 06
100-Conga 07
100-Conga 08
100-Conga 09
100-Conga 10
100-Conga 11
100-Conga 12
100-Conga 13
100-Conga 14
100-Conga 15
100-Conga 16
100-Conga 17
100-Conga 18
100-Conga 19
100-Conga 20
100-Conga 21
100-Conga 22
100-Conga 23
119-Conga 1
119-Conga 2
119-Conga 3
218
119-Conga 4
119-Conga 5
119-Conga 6
119-Conga 7
133-Conga 1
133-Conga 2
Djembe 091-Djembe 1
091-Djembe 2
091-Djembe 3
091-Djembe 4
091-Djembe 5
101-Djembe 1
101-Djembe 2
101-Djembe 3
120-Djembe
121-Djembe 1
121-Djembe 2
Guiro 080-Guiro
081-Guiro 1
081-Guiro 2
090-Guiro 1
090-Guiro 2
090-Guiro 3
099-Guiro
100-Guiro 1
100-Guiro 2
Shaker 084-Shaker 1
084-Shaker 2
084-Shaker 3
084-Shaker 4
089-Shaker 1
219
089-Shaker 2
089-Shaker 3
089-Shaker 4
089-Shaker 5
089-Shaker 6
089-Shaker 7
089-Shaker 8
094-Shaker 1
094-Shaker 2
094-Shaker 3
094-Shaker 4
094-Shaker 5
094-Shaker 6
100-Shaker 1
100-Shaker 2
100-Shaker 3
Tambourine 085-Tambourine
089-Tambourine
094-Tambourine
095-Tambourine
119-Tambourine 1
119-Tamboruine 2
134-Tambourine
Triangle 089-Triangle 1
089-Triangle 2
089-Triangle 3
089-Triangle 4
100-Triangle 1
100-Triangle 2
100-Triangle 3
101-Triangle
220
119-Triangle 1
119-Triangle 2
119-Triangle 3
119-Triangle 4
Reggae-Dub 063-Rasatafari
080-Digi Soul
080-Roots
080-Stylee
080-United
086-Loop
098-Loop 1
098-Loop 2
098-RaggaUK
101-Loop
108-Loop
110-Tripragga 1
110-Tripragga 2
113-RaggaUK
116-N.Jamaican
126-Freaks
131-Jamaican 1
133-Ragga2000 1
133-Raggadance 2
136-Loop 1
136-Loop 2
150-Jamaican 1
150-Jamaican 2
150-Jamaican 3
152-Jamaican 1
152-Jamaican 2
157-Tripragga 1
221
157-Tripragga 2
160-Bill
160-Future Jazz
160-Organic
160-Raggadance
160-Strangled
170-Futuragga
175-Futuragga
Trip Hop 056-Brush
062-Bizar
063-Overdoze
063-Phaser
064-Big
064-Out
065-Dead
065-Making
065-Mil. Polic
065-Strange
066-Cow Boy
066-Filter
066-Zeus
068-Dark
068-Sea
070-Mother
070-Shadow
071-Regret
072-PackMan
074-Devil
Big Beat Scene
Disco Scene
Drum & Bass Scene
222
Drumloops Brushed Scene
Drumloops Funk Scene
Drumloops Premium
Scene
Drumloops Rock Scene
Electro Scene
Funk Scene
Industrial Scene
Instruments Scene
Jungle Scene
Old Hip-Hop Scene
Percussion Scene
Reggae-Dub Scene
Trip-Hop Scene
01 Piano & co Acoustic pianos Concert Grnd Piano
Concert Grnd PianoFX
Concert Grnd Pno Classical
Concert Grnd Pno Dark
Concert Grnd Pno Prepared
Concert Grnd Pno Rock
Concert Grnd Pno Ultra Rock
Real Detuned Piano
Virtual Detuned Piano
Electric pianos Classic EP Di
Classic EP DiSoft
Classic EP DiTremoHard
Classic EP with Amp
Classic EP with AmpChorus
Classic EP with AmpMedium
Classic EP with AmpTremolo
Jojo Electric Piano
223
MKS Twenty
MKS TwentyFX
Old CP Seventy
Old CP SeventyWide
The Wurli
The WurliHard
The WurliHardFX
Tines and co
Tines
TinesFX
WibraMix
Wibratzer
Wurli Cool
Wurli CoolFX
Funky Keyboards Analog Clav 1
Analog Clav 2
Analog Clav 3
Old Dirty Clav
Old Dirty ClavFX
Original Clav1
Original Clav2
Original ClavFX
Original ClavMute
Keyboard & pads 70's C Pad
Classic & Pad
Classic EP Pad
Dram Piano Pad
Grand Piano Strings
Wurli Pad
Mallets Celesta 1
Celesta 2
224
Glockenspiel
Marimba
Music Box
Vibraphone 1
Vibraphone 2
Xylophone
02 Organ Church Clarinet
Cornet
Flute-Gedeckt
Foundation 8-4-1
Gedeckt 8
Medium Church Organ
Pedal-18-8-4
Pedal-Tutti
Plein Jeux 16 Great Organ
Principal
Trombone 16
Trompette
Unda Maris
Viol 8-4-2
Electric Baby Jazz
Best Regards
Black Fading
Convention
Deep & sweet
El Organ
Eye K up
Fruity Flute
Hard Pop
Intimate
Italian Organ
225
Jazz DI
M hundred
Mistycal
Mr Fletcher
Old Fashion
On the Beach
Over the moon
Pollux
Really Full
Seventies
Standard Jazz
Suitcase Perc
The H 1
The H 2
The H 3
Vibration
03 Acoustic Guitar Classical Guitar Classical Guitar
Classical GuitarHard
Classical GuitarWide
Guild Guild
GuildHard
GuildMedium
GuildSoft
GuildWide
Martin Martin
MartinHard
MartinMedium
MartinSoft
MartinWide
Misc Dobro
DobroSoft
226
Gerome
GeromeHard
Pads Guitar 12 Strings Pad
Classical New Age
Guildy Pad
Marhu Pad
Martin Aubry Pad
Spanish Guitar Mahura
MahuraHard
MahuraMedium
MahuraSoft
MahuraWide
Spanish Guitar
Spanish GuitarHard
Twelve Strings Twelve Strings
Twelve StringsHard
Twelve StringsSoft
Twelve StringsWide
04 Electric Guitar Clean LesP Twin
LesP TwinHard
Strat DI
Strat DIHard
Strat DIMedium
Strat DISoft
Strat Jazz Chrs
Strat St Rev
Strat St RevHard
Strat Twin Reverb
Crunch & Distortion LesP Marschall
LesP TwinFX
Strat Crunch
227
Strat CrunchHard
Strat CrunchMedium
Strat CrunchSoft
Strat DI FX1
Strat DI FX2
Strat with Distortion 1
Strat with Distortion 2
Jazz Guitar Jazz Guitar 1
Jazz Guitar 1Oct
Jazz Guitar 2
Jazz Guitar 2Oct
Jazz Mix
Jazz MixOct
Mute Gibs 335 Autowah 1
Gibs 335 Autowah 2
Gibs 335 Twin 1
Gibs 335 Twin 2
Strat DI Hush 1
Strat DI Hush 2
Strat Fuzzface 1
Strat Fuzzface 2
Strat Twin 1
Strat Twin 2
05 Bass Acoustic Bass Acoustic Bass
Acoustic BassFX
Acoustic BassHard
Acoustic BassHardFX
Dark Double Bass
Dark Double BassFX
Electric Bass Fretless Fretless Normal
Fretless NormalFX
228
Fretless Vibrato
Fretless VibratoFX
Harmonics Fretless
Jazz Bass Fend. Jazz 1
Fend. Jazz 1FX
Fend. Jazz 2
Fend. Jazz 2FX
Fend. Slap All
Fend. Slap Long
Fend. Slap Short
Jazz Bass DI Complete
Jazz Bass DI FX
Jazz Bass DI Slap
Jazz Bass DI Soft
Misc Ampeg Ac. Bass
Ampeg Ac. BassFX
Ampeg Ac. BassHard
Ampeg Ac. BassSoft
Brazil Bass
Chap Stick
Cuba Bass
MusicM Slap Long
MusicM
Precision Pick
RickenBass
West Indies Bass
06 Strings All Strings All Strings KS
All Strings pizz
All Strings sus
All Strings susF
All Strings trem
229
Quartet
QuartetPad
Strings Ensemble 1
Strings Ensemble 2
Tutti Strings sus
Tutti Strings susF
tutti Strings susP
Celli Celli sus all
Celli sus f
Celli sus p
Cello KS
Cello marc
Cello pizz
Cello sus all
Cello sus f
Cello sus mf
Cello sus p
Contrabasses Contrabass KS
Contrabass marc
Contrabass sus all
Contrabass sus f
Contrabass sus p
Contrabass KS
Contrabasses pizz
Contrabasses sus all
Contrabasses sus f
Contrabasses sus p
Violas Viola KS
Viola marc
Viola pizz
Viola sus all
230
Viola sus f
Viola sus p
Violas KS
Violas pizz
Violas sus all
Violas sus f
Violas sus p
Violins Violin KS
Violin marc
Violin pizz
Violin sus all
Violin sus f
Violin sus p
Violins KS
Violins pizz
Violins sus all
Violins sus f
Violins sus p
07 Misc Classical Classical Cymbals
Classical Gran cassa
Classical Snare Drums
Harp Classical
Harp Koto
Harp Soft
Harp Wide
Harpsichord 1
Harpsichord 2
Timpani hits
Timpani roll
Tutti Orchestra stac
Tutti Orchestra sus
231
08 Brass French Horns French Horn sus all
French Horn sus f
French Horn sus mf
French Horn sus p
French Horns stac 1
French Horns stac 2
French Horns sus all
French Horns sus f
French Horns sus p
Misc Tuba sus all
Tuba sus f
Tuba sus p
Tutti Brass stac
Tutti Brass stac
Tutti Brass sus
Riffs Brass Riff 091 Bpm
Brass Riff 108 Bpm A
Brass Riff 108 Bpm B
Brass Riff 111 Bpm
Brass Riff 131 Bpm
Saxophones Sax Alto
Sax Baritone
Sax Bass
Sax Soprano
Sax Tenor
Trombones Trombone mute all
Trombone mute f
Trombone mute p
Trombone sus all
Trombone sus f
Trombone sus p
232
Trombones stac
Trombones sus
Trumpets Trumpet 1
Trumpet 2
Trumpet 3
Trumpet mute all
Trumpet mute f
Trumpet mute p
Trumpets accent all
Trumpets accent f
Trumpets accent mf
Trumpets accent p
Trumpets stac all
Trumpets stac f
Trumpets stac mf
Trumpets stac p
Trumpets sus all
Trumpets sus f
Trumpets sus mf
Trumpets sus p
09 Woodwinds Bassoon all
Bassoon f
Bassoon p
Clarinet all
Clarinet f
Clarinet p
English Horn all
English Horn f
English Horn p
Flute all
Flute f
233
Flute p
Oboe all
Oboe f
Oboe p
Piccolo all
Piccolo f
Piccolo p
10 Ethnic Accordion 1
Accordion 2
Accordion 3
Accordion Bandoneon
Accordion Musette
Baglamas sus
Baglamas trem
Balafon 1
Balafon 2
Bamboo Flute 1
Bamboo Flute 2
Banjo 1
Banjo 2
Cymbalum 1
Cymbalum 2
Flute Indouh
Harmonica 1
Harmonica 2
Indian Harmonium
Koto 1
Koto 2
Koto 3
Mandolin
Ocarina
234
Oud sus
Pan Flute 1
Pan Flute 2
Recorder
Sanza 1
Sanza 2
Sanza Luba 1
Sanza Luba 2
Shakuhachi 1
Shakuhachi 2
Shamisen 1
Shamisen 2
Sitar 1
Sitar 2
Sitar Hybrid
Steel Drums
Tambura
Whistle
11 Choirs Male Ahs sus
Male Ohs sus
Mixed Choirs Ahs sus 1
Mixed Choirs Ahs sus 2
Religious Fem Ahs sus
Religious Fem Ohs sus
Religious Mix Ahs sus
12 Percussion Agogos
Berimbau
Bongos
Cabassa
Cajon
Castanets
235
Congas
Cowbell
Cuicas
Darbuka
Djembe
Flamenco Steps
Kit-Latin Tradition
Kit-Shaker Mood
Pandeiro
Shakers 1
Shakers 2
Surdo
Tablas
Tambourine
Timbales
Triangle
Woodblock
13 Drums Acoustic Drum Kits Brushed Kit 1
Brushed Kit 2
Drumstick Kit 1
Drumstick Kit 2
GM Analog
GM Brush
GM Electric
GM Jazz
GM Power
GM Room
GM Standard
GT Brush Kit
GT Stick Kit
Hot Rods Kit 1
236
Hot Rods Kit 2
Jazz Kit
Raw Kit 01
Raw Kit 02
Raw Kit 03
Raw Kit 04
Raw Kit 05
Raw Kit 06
Raw Kit 07
Raw Kit 08
Raw Kit 09
Raw Kit 10
Raw Kit 11
Raw Kit 12
Sorted Elements Bass Drum B0-C1 BD Brushed Kit 1
BD Brushed Kit 2
BD Drumstick Kit 1
BD Drumstick Kit 2
BD GM Analog
BD GM Brush
BD GM Electric
BD GM Jazz
BD GM Power
BD GM Room
BD GM Standard
BD GT Brush Kit
BD GT Stick Kit
BD Hot Rods Kit 1
BD Hot Rods Kit 2
BD Jazz Kit
BD Raw Kit 01
237
BD Raw Kit 02
BD Raw Kit 03
BD Raw Kit 04
BD Raw Kit 05
BD Raw Kit 06
BD Raw Kit 07
BD Raw Kit 08
BD Raw Kit 09
BD Raw Kit 10
BD Raw Kit 11
BD Raw Kit 12
Crash C#2 CC Brushed Kit 1
CC Brushed Kit 2
CC Drumstick Kit 1
CC Drumstick Kit 2
CC GM Analog
CC GM Brush
CC GM Electric
CC GM Jazz
CC GM Power
CC GM Room
CC GM Standard
CC GT Brush Kit
CC GT Stick Kit
CC Hot Rods Kit 1
CC Hot Rods Kit 2
CC Jazz Kit
CC Raw Kit 01
CC Raw Kit 02
CC Raw Kit 03
CC Raw Kit 04
238
CC Raw Kit 05
CC Raw Kit 06
CC Raw Kit 07
CC Raw Kit 08
CC Raw Kit 09
CC Raw Kit 10
CC Raw Kit 11
CC Raw Kit 12
HiHats HH Brushed Kit 1
HH Brushed Kit 2
HH Drumstick Kit 1
HH Drumstick Kit 2
HH GM Analog
HH GM Brush
HH GM Electric
HH GM Jazz
HH GM Power
HH GM Room
HH GM Standard
HH GT Brush Kit
HH GT Stick Kit
HH Hot Rods Kit 1
HH Hot Rods Kit 2
HH Jazz Kit
HH Raw Kit 01
HH Raw Kit 02
HH Raw Kit 03
HH Raw Kit 04
HH Raw Kit 05
HH Raw Kit 06
HH Raw Kit 07
239
HH Raw Kit 08
HH Raw Kit 09
HH Raw Kit 10
HH Raw Kit 11
HH Raw Kit 12
Ride D#2 RIDE Brushed Kit 1
RIDE Brushed Kit 2
RIDE Drumstick Kit 1
RIDE Drumstick Kit 2
RIDE GM Analog
RIDE GM Brush
RIDE GM Electric
RIDE GM Jazz
RIDE GM Power
RIDE GM Room
RIDE GM Standard
RIDE GT Brush Kit
RIDE GT Stick Kit
RIDE Hot Rods Kit 1
RIDE Hot Rods Kit 2
RIDE Jazz Kit
RIDE Raw Kit 01
RIDE Raw Kit 02
RIDE Raw Kit 03
RIDE Raw Kit 04
RIDE Raw Kit 05
RIDE Raw Kit 06
RIDE Raw Kit 07
RIDE Raw Kit 08
RIDE Raw Kit 09
RIDE Raw Kit 10
240
RIDE Raw Kit 11
RIDE Raw Kit 12
Rim C#1 RIM Brushed Kit 1
RIM Brushed Kit 2
RIM Drumstick Kit 1
RIM Drumstick Kit 2
RIM GM Analog
RIM GM Brush
RIM GM Electric
RIM GM Jazz
RIM GM Power
RIM GM Room
RIM GM Standard
RIM GT Brush Kit
RIM GT Stick Kit
RIM Hot Rods Kit 1
RIM Hot Rods Kit 2
RIM Jazz Kit
RIM Raw Kit 01
RIM Raw Kit 02
RIM Raw Kit 03
RIM Raw Kit 04
RIM Raw Kit 05
RIM Raw Kit 06
RIM Raw Kit 07
RIM Raw Kit 08
RIM Raw Kit 09
RIM Raw Kit 10
RIM Raw Kit 11
RIM Raw Kit 12
Rim D#1 CLAP Brushed Kit 1
241
CLAP Brushed Kit 2
CLAP Drumstick Kit 1
CLAP Drumstick Kit 2
CLAP GM Analog
CLAP GM Brush
CLAP GM Electric
CLAP GM Jazz
CLAP GM Power
CLAP GM Room
CLAP GM Standard
CLAP GT Brush Kit
CLAP GT Stick Kit
CLAP Hot Rods Kit 1
CLAP Hot Rods Kit 2
CLAP Jazz Kit
CLAP Raw Kit 01
CLAP Raw Kit 02
CLAP Raw Kit 03
CLAP Raw Kit 04
CLAP Raw Kit 05
CLAP Raw Kit 06
CLAP Raw Kit 07
CLAP Raw Kit 08
CLAP Raw Kit 09
CLAP Raw Kit 10
CLAP Raw Kit 11
CLAP Raw Kit 12
Snares D1 SD1 Brushed Kit 1
SD1 Brushed Kit 2
SD1 Drumstick Kit 1
SD1 Drumstick Kit 2
242
SD1 GM Analog
SD1 GM Brush
SD1 GM Electric
SD1 GM Jazz
SD1 GM Power
SD1 GM Room
SD1 GM Standard
SD1 GT Brush Kit
SD1 GT Stick Kit
SD1 Hot Rods Kit 1
SD1 Hot Rods Kit 2
SD1 Jazz Kit
SD1 Raw Kit 01
SD1 Raw Kit 02
SD1 Raw Kit 03
SD1 Raw Kit 04
SD1 Raw Kit 05
SD1 Raw Kit 06
SD1 Raw Kit 07
SD1 Raw Kit 08
SD1 Raw Kit 09
SD1 Raw Kit 10
SD1 Raw Kit 11
SD1 Raw Kit 12
Snares E1 SD2 Brushed Kit 1
SD2 Brushed Kit 2
SD2 Drumstick Kit 1
SD1 Drumstick Kit 2
SD2 GM Analog
SD2 GM Brush
SD2 GM Electric
243
SD2 GM Jazz
SD2 GM Power
SD2 GM Room
SD2 GM Standard
SD2 GT Brush Kit
SD2 GT Stick Kit
SD2 Hot Rods Kit 1
SD2 Hot Rods Kit 2
SD2 Jazz Kit
SD2 Raw Kit 01
SD2 Raw Kit 02
SD2 Raw Kit 03
SD2 Raw Kit 04
SD2 Raw Kit 05
SD2 Raw Kit 06
SD2 Raw Kit 07
SD2 Raw Kit 08
SD2 Raw Kit 09
SD2 Raw Kit 10
SD2 Raw Kit 11
SD2 Raw Kit 12
Toms TOM Brushed Kit 1
TOM Brushed Kit 2
TOM Drumstick Kit 1
SD1 Drumstick Kit 2
TOM GM Analog
TOM GM Brush
TOM GM Electric
TOM GM Jazz
TOM GM Power
TOM GM Room
244
TOM GM Standard
TOM GT Brush Kit
TOM GT Stick Kit
TOM Hot Rods Kit 1
TOM Hot Rods Kit 2
TOM Jazz Kit
TOM Raw Kit 01
TOM Raw Kit 02
TOM Raw Kit 03
TOM Raw Kit 04
TOM Raw Kit 05
TOM Raw Kit 06
TOM Raw Kit 07
TOM Raw Kit 08
TOM Raw Kit 09
TOM Raw Kit 10
TOM Raw Kit 11
TOM Raw Kit 12
All BD
All CC
All HH
All Rides
All SD
All Toms
14 Drums Electronic Electronic & Machines 6 Months Kit
80's Drum Kit
400 Kit
500 Kit
600 Kit
800 Kit
900 Kit
245
D-tation Kit
Dfour Kit
Jam Electro Kit
SD one Kit
Tribe Electro Kit
Kits by Style Dance Kit 1
Dance Kit 2
Disco Kit 1
Disco Kit 2
Electro Kit 1
Electro Kit 2
Groove Kit 1
Groove Kit 2
Hip Hop Kit 1
Hip Hop Kit 2
House Kit 1
House Kit 2
Jungle Kit 1
Jungle Kit 2
Lo-Fi Kit 1
Lo-Fi Kit 2
New York Kit 1
New York Kit 2
R'n B Kit 1
R'n B Kit 2
Techno Kit 1
Techno Kit 2
Trash Kit 1
Trash Kit 2
Vinyl Kit 1
Vinyl Kit 2
246
Process Drums FX Kit 1
FX Kit 2
Mpc Percs
T-Air Percs
Vinyl Kit
Vinyl Sounds
Sorted Elements Bass Drum B0-C1 BD Electronic & BD 6 Months Kit

Machines
BD 80's Drum Kit
BD 400 Kit
BD 500 Kit
BD 600 Kit
BD 800 Kit
BD 900 Kit
BD D-tation Kit
BD Dfour Kit
BD Jam Electro Kit
BD SD one Kit
BD Tribe Electro Kit
BD Hip Hop Kits BD 01-Timba Maxi Kit 01
BD 02-Timba Maxi Kit 02
BD 03-Timba Maxi Kit 03
BD 04-Funk Maxi Kit 01
BD 05-M&M Maxi Kit 01
BD 06-R'n B Maxi Kit 01
BD 09-Hip Hop Maxi Kit 01
BD Kits by Style BD Dance Kit 1
247
BD Dance Kit 2
BD Disco Kit 1
BD Disco Kit 2
BD Electro Kit 1
BD Electro Kit 2
BD Groove Kit 1
BD Groove Kit 2
BD Hip Hop Kit 1
BD Hip Hop Kit 2
BD House Kit 1
BD House Kit 2
BD Jungle Kit 1
BD Jungle Kit 2
BD Lo-Fi Kit 1
BD Lo-Fi Kit 2
BD New York Kit 1
BD New York Kit 2
BD R'n B Kit 1
BD R'n B Kit 2
BD Techno Kit 1
BD Techno Kit 2
BD Trash Kit 1
BD Trash Kit 2
BD Vinyl Kit 1
BD Vinyl Kit 2
BD Synth Bonus BD Fx Kit 1
BD FX Kit 2
BD Vinyl Kit
Crash C#2 CC Electronic & CC 6 Months Kit

Machines
CC 80's Drum Kit
CC 400 Kit
248
CC 500 Kit
CC 600 Kit
CC 800 Kit
CC 900 Kit
CC D-tation Kit
CC Dfour Kit
CC Jam Electro Kit
CC Tribe Electro Kit
CC Hip Hop Kits CC 01-Timba Maxi Kit 01
CC 02-Timba Maxi Kit 02
CC 03-Timba Maxi Kit 03
CC 04-Funk Maxi Kit 01
CC 06-R'n B Maxi Kit 01
CC 07-R'n B Maxi Kit 02
CC 09-Hip Hop Maxi Kit 01
CC Kits by Style CC Dance Kit 1
CC Dance Kit 2
CC Electro Kit 1
CC Electro Kit 2
CC Groove Kit 1
CC Groove Kit 2
CC Hip Hop Kit 1
CC House Kit 1
CC House Kit 2
CC R'n B Kit 1
CC Techno Kit 1
CC Techno Kit 2
CC Trash Kit 1
249
CC Trash Kit 2
CC Synth Bonus CC Fx Kit 1
CC Fx Kit 2
CC Vinyl Kit
HiHats HH Electronic & HH 6 Months Kit

Machines
HH 80's Drum Kit
HH 400 Kit
HH 500 Kit
HH 600 Kit
HH 800 Kit
HH 900 Kit
HH D-tation Kit
HH Dfour Kit
HH Jam Electro Kit
HH SD one Kit
HH Tribe Electro Kit
HH Hip Hop Kits HH 01-Timba Maxi Kit 01
HH 02-Timba Maxi Kit 02
HH 03-Timba Maxi Kit 03
HH 04-Funk Maxi Kit 01
HH 05-M&M Maxi Kit 01
HH 06-R'n B Maxi Kit 01
HH 08-R'n B Maxi Kit 03
HH 09-Hip Hop Maxi Kit 01
HH Kits by Style HH Dance Kit 1
HH Dance Kit 2
HH Disco Kit 1
HH Disco Kit 2
250
HH Electro Kit 1
HH Electro Kit 2
HH Groove Kit 1
HH Groove Kit 2
HH Hip Hop Kit 1
HH Hip Hop Kit 2
HH House Kit 1
HH House Kit 2
HH Jungle Kit 1
HH Jungle Kit 2
HH Lo-Fi Kit 1
HH Lo-Fi Kit 2
HH New York Kit 1
HH New York Kit 2
HH R'n B Kit 1
HH R'n B Kit 2
HH Techno Kit 1
HH Techno Kit 2
HH Trash Kit 1
HH Trash Kit 2
HH Vinyl Kit 1
HH Vinyl Kit 2
HH Synth Bonus HH Fx Kit 1
HH Fx Kit 2
HH Vinyl Kit
HH Vinyl Sounds
Ride D#2 RIDE Electronic & RIDE 6 Months Kit

Machines
RIDE 80's Drum Kit
RIDE 400 Kit
RIDE 500 Kit
RIDE 600 Kit
251
RIDE 800 Kit
RIDE 900 Kit
RIDE D-tation Kit
RIDE Dfour Kit
RIDE Jam Electro Kit
RIDE SD one Kit
RIDE Tribe Electro Kit
RIDE Hip Hop Kits RIDE 02-Timba Maxi Kit 02
RIDE 04-Funk Maxi Kit 01
RIDE 05-M&M Maxi Kit 01
RIDE 11-Hip Hop Maxi Kit 03
RIDE 12-Hip Hop Maxi Kit 04
RIDE Kits by Style RIDE Dance Kit 1
RIDE Dance Kit 2
RIDE Electro Kit 1
RIDE Electro Kit 2
RIDE Groove Kit 1
RIDE Groove Kit 2
RIDE Hip Hop Kit 2
RIDE House Kit 1
RIDE House Kit 2
RIDE R'n B Kit 2
RIDE Techno Kit 1
RIDE Techno Kit 2
RIDE Trash Kit 1
RIDE Trash Kit 2
RIDE Synth Bonus RIDE Fx Kit 1
RIDE Fx Kit 2
RIDE Vinyl Kit
Rim C#1 RIM Electronic & RIM 6 Months Kit

Machines
RIM 80's Drum Kit
252
RIM 400 Kit
RIM 500 Kit
RIM 600 Kit
RIM 800 Kit
RIM 900 Kit
RIM D-tation Kit
RIM Dfour Kit
RIM Jam Electro Kit
RIM SD one Kit
RIM Tribe Electro Kit
RIM Hip Hop Kits RIM 03-Timba Maxi Kit 03
RIM 05-M&M Maxi Kit 01
RIM 06-R'n B Maxi Kit 01
RIM Kits by Style RIM Dance Kit 1
RIM Dance Kit 2
RIM Electro Kit 1
RIM Electro Kit 2
RIM Groove Kit 1
RIM Groove Kit 2
RIM House Kit 1
RIM House Kit 2
RIM Techno Kit 1
RIM Techno Kit 2
RIM Trash Kit 1
RIM Trash Kit 2
RIM Synth Bonus RIM Fx Kit 1
RIM Fx Kit 2
RIM Vinyl Kit
RIM Vinyl Sounds
Rim D#1 CLAP Electronic & CLAP 6 Months Kit

Machines
CLAP 80's Drum Kit
253
CLAP 400 Kit
CLAP 500 Kit
CLAP 600 Kit
CLAP 800 Kit
CLAP 900 Kit
CLAP D-tation Kit
CLAP Dfour Kit
CLAP Jam Electro Kit
CLAP SD one Kit
CLAP Tribe Electro Kit
CLAP Kits by Style CLAP Dance Kit 1
CLAP Dance Kit 2
CLAP Electro Kit 1
CLAP Electro Kit 2
CLAP Groove Kit 1
CLAP Groove Kit 2
CLAP House Kit 1
CLAP House Kit 2
CLAP Techno Kit 1
CLAP Techno Kit 2
CLAP Trash Kit 1
CLAP Trash Kit 2
CLAP Synth Bonus CLAP Fx Kit 1
CLAP Fx Kit 2
CLAP Vinyl Sounds
Snares D1 SD1 Electronic & SD1 6 Months Kit

Machines
SD1 80's Drum Kit
SD1 400 Kit
SD1 500 Kit
SD1 600 Kit
SD1 800 Kit
254
SD1 900 Kit
SD1 D-tation Kit
SD1 Dfour Kit
SD1 Jam Electro Kit
SD1 SD one Kit
SD1 Tribe Electro Kit
SD1 Hip Hop Kits SD1 01-Timba Maxi Kit 01
SD1 02-Timba Maxi Kit 02
SD1 04-Funk Maxi Kit 01
SD1 05-M&M Maxi Kit 01
SD1 06-R'n B Maxi Kit 01
SD1 09-Hip Hop Maxi Kit 01
SD1 Kits by Style SD1 Dance Kit 1
SD1 Dance Kit 2
SD1 Disco Kit 1
SD1 Disco Kit 2
SD1 Electro Kit 1
SD1 Electro Kit 2
SD1 Groove Kit 1
SD1 Groove Kit 2
SD1 Hip Hop Kit 1
SD1 Hip Hop Kit 2
SD1 House Kit 1
SD1 House Kit 2
SD1 Jungle Kit 1
255
SD1 Jungle Kit 2
SD1 Lo-Fi Kit 1
SD1 Lo-Fi Kit 2
SD1 New York Kit 1
SD1 New York Kit 2
SD1 R'n B Kit 1
SD1 R'n B Kit 2
SD1 Techno Kit 1
SD1 Techno Kit 2
SD1 Trash Kit 1
SD1 Trash Kit 2
SD1 Vinyl Kit 1
SD1 Vinyl Kit 2
SD1 Synth Bonus SD1 Fx Kit 1
SD1 Fx Kit 2
Snares E1 SD2 Electronic & SD2 6 Months Kit

Machines
SD2 80's Drum Kit
SD2 400 Kit
SD2 500 Kit
SD2 600 Kit
SD2 800 Kit
SD2 900 Kit
SD2 D-tation Kit
SD2 Dfour Kit
SD2 Jam Electro Kit
SD2 SD one Kit
SD2 Tribe Electro Kit
SD2 Hip Hop Kits SD2 01-Timba Maxi Kit 01
SD2 04-Funk Maxi Kit 01
256
SD2 05-M&M Maxi Kit 01
SD2 Kits by Style SD2 Dance Kit 1
SD2 Dance Kit 2
SD2 Disco Kit 1
SD2 Disco Kit 2
SD2 Electro Kit 1
SD2 Electro Kit 2
SD2 Groove Kit 1
SD2 Groove Kit 2
SD2 House Kit 1
SD2 House Kit 2
SD2 Jungle Kit 1
SD2 Jungle Kit 2
SD2 Lo-Fi Kit 1
SD2 Lo-Fi Kit 2
SD2 New York Kit 1
SD2 New York Kit 2
SD2 R'n B Kit 1
SD2 R'n B Kit 2
SD2 Techno Kit 1
SD2 Techno Kit 2
SD2 Trash Kit 1
SD2 Trash Kit 2
SD2 Vinyl Kit 1
257
SD2 Vinyl Kit 2
SD2 Synth Bonus SD2 Fx Kit 1
SD2 FX Kit 2
SD2 Vinyl Kit
Toms TOM Electronic & TOM 6 Months Kit

Machines
TOM 80's Drum Kit
TOM 400 Kit
TOM 500 Kit
TOM 600 Kit
TOM 800 Kit
TOM 900 Kit
TOM D-tation Kit
TOM Dfour Kit
TOM Jam Electro Kit
TOM SD one Kit
TOM Tribe Electro Kit
TOM Kits by Style TOM Dance Kit 1
TOM Dance Kit 2
TOM Electro Kit 1
TOM Electro Kit 2
TOM Groove Kit 1
TOM Groove Kit 2
TOM House Kit 1
TOM House Kit 2
TOM Techno Kit 1
TOM Techno Kit 2
TOM Trash Kit 1
TOM Trash Kit 2
TOM Synth Bonus TOM Fx Kit 1
TOM Fx Kit 2
All BD
258
All CC
All HH
All Rides
All SD
All Toms
259
260
APPENDIX D MX4 NRPN Mapping
MX4 parameters can be remotely controlled by NRPN 1004 Osc 1 FM

MIDI continuous controller data with the
NRPN 1005 Osc 1 Symmetry
following non-registered parameter numbers:
NRPN 1006 Osc 1 Gain
NRPN MX4 parameter that it controls
NRPN 1007 Osc 1 Pan
NRPN 0 Polyphony
NRPN 1008 Osc 1 Enable
NRPN 2 Unison Detuning Mode
NRPN 1009 Osc 1 Wavetable
NRPN 3 Unison Linear Detuning
NRPN 1020 Osc 2 Waveform
NRPN 4 Unison Logarithmic Detuning
NRPN 1021 Osc 2 Wavetable Index
NRPN 7 Lower Pitch Bend Range
NRPN 1022 Osc 2 Key-Follow
NRPN 8 Upper Pitch Bend Range
NRPN 1023 Osc 2 Pitch Offset
NRPN 9 Polyphonic Mode
NRPN 1024 Osc 2 FM
NRPN 10 Legato Mode
NRPN 11 Portamento On/Off
NRPN 12 Portamento Mode
NRPN 1027 Osc 2 Pan
NRPN 13 Portamento Time
NRPN 14 Unison Multiplier
NRPN 15 Arpeggiator Enable
NRPN 16 Arpeggiator Pattern
NRPN 17 Arpeggiator Pattern Length
NRPN 18 Arpeggiator Speed
NRPN 19 Arpeggiator Swing
NRPN 1044 Osc 3 FM
NRPN 20 Arpeggiator Duration
NRPN 21 Arpeggiator Range
NRPN 22 Arpeggiator Direction
NRPN 1047 Osc 3 Pan
NRPN 23 Arpeggiator Hold
NRPN 1100 Pitch Bend Mode
NRPN 1101 Stereo Detuning
261
NRPN 1102 Osc Analog Drift Mode NRPN 1133 Pattern Seq Step 8 Level
NRPN 1103 Osc 2 Sync NRPN 1134 Pattern Seq Step 9 Level
NRPN 1104 Ring Modulation NRPN 1135 Pattern Seq Step 10 Level
NRPN 1105 Ring Modulation Pan NRPN 1136 Pattern Seq Step 11 Level
NRPN 1106 Fundamental Blend NRPN 1137 Pattern Seq Step 12 Level
NRPN 1107 Volume NRPN 1138 Pattern Seq Step 13 Level
NRPN 1108 Audio Input Gain NRPN 1139 Pattern Seq Step 14 Level
NRPN 1109 Audio Input Enable NRPN 1140 Pattern Seq Step 15 Level
NRPN 1110 Audio Input Pan NRPN 1141 Pattern Seq Step 16 Level
NRPN 1111 Velocity Sensitivity NRPN 1142 Quantizer Pitches
NRPN 1112 Filter Layout NRPN 1143 Quantizer Range
NRPN 1113 Distortion Level NRPN 1144 Quantizer Mode
NRPN 1114 Filter Mix NRPN 1145 Envelope Follower Attack
NRPN 1115 Stereo Mode NRPN 1146 Envelope Follower Release
NRPN 1116 Transform 1 NRPN 1147 Trigger Seq Speed
NRPN 1117 Transform 2 NRPN 1148 Trigger Seq Swing
NRPN 1118 Sample and Hold Rate NRPN 1149 Trigger Seq Duration
NRPN 1119 Sample and Hold Mensural rate NRPN 1150 Trigger Seq Length
NRPN 1120 Sample and Hold Sync NRPN 1151 Trigger Seq Pattern
NRPN 1121 Lag Attack Time NRPN 1200 Filter 1 Mode
NRPN 1122 Lag Release Time NRPN 1201 Filter 1 Order
NRPN 1123 Pattern Seq Speed NRPN 1202 Filter 1 Key-Follow
NRPN 1124 Pattern Seq Swing NRPN 1203 Filter 1 Freq
NRPN 1125 Pattern Seq Length NRPN 1204 Filter 1 Resonance
NRPN 1126 Pattern Seq Step 1 Level NRPN 1205 Filter 1 FM
NRPN 1127 Pattern Seq Step 2 Level NRPN 1210 Filter 2 Mode
NRPN 1128 Pattern Seq Step 3 Level NRPN 1211 Filter 2 Order
NRPN 1129 Pattern Seq Step 4 Level NRPN 1212 Filter 2 Key-Follow
NRPN 1130 Pattern Seq Step 5 Level NRPN 1213 Filter 2 Freq
NRPN 1131 Pattern Seq Step 6 Level NRPN 1214 Filter 2 Resonance
NRPN 1132 Pattern Seq Step 7 Level NRPN 1215 Filter 2 FM
262
A P P E N D IX D : M X 4 N R P N MA P P I N G
NRPN 1300 Env 1 Trigger Mode NRPN 1403 LFO 1 Symmetry
NRPN 1301 Env 1 Delay NRPN 1404 LFO 1 Start Phase
NRPN 1302 Env 1 Attack NRPN 1405 LFO 1 Mono
NRPN 1303 Env 1 Decay NRPN 1406 LFO 1 Rate
NRPN 1304 Env 1 Sustain Level NRPN 1407 LFO 1 Delay
NRPN 1305 Env 1 Hold NRPN 1408 LFO 1 Ramp Time
NRPN 1306 Env 1 Release NRPN 1420 LFO 2 Waveform
NRPN 1310 Env 2 Trigger Mode NRPN 1421 LFO 2 Sync Mode
NRPN 1311 Env 2 Delay NRPN 1422 LFO 2 Mensural Period
NRPN 1312 Env 2 Attack NRPN 1423 LFO 2 Symmetry
NRPN 1313 Env 2 Decay NRPN 1424 LFO 2 Start Phase
NRPN 1314 Env 2 Sustain Level NRPN 1425 LFO 2 Mono
NRPN 1315 Env 2 Hold NRPN 1426 LFO 2 Rate
NRPN 1316 Env 2 Release NRPN 1427 LFO 2 Delay
NRPN 1320 Env 3 Trigger Mode NRPN 1428 LFO 2 Ramp Time
NRPN 1321 Env 3 Delay NRPN 1440 LFO 3 Waveform
NRPN 1322 Env 3 Attack NRPN 1441 LFO 3 Sync Mode
NRPN 1323 Env 3 Decay NRPN 1442 LFO 3 Mensural Period
NRPN 1324 Env 3 Sustain Level NRPN 1443 LFO 3 Symmetry
NRPN 1325 Env 3 Hold NRPN 1444 LFO 3 Start Phase
NRPN 1326 Env 3 Release NRPN 1445 LFO 3 Mono
NRPN 1330 Env 4 Trigger Mode NRPN 1446 LFO 3 Rate
NRPN 1331 Env 4 Delay NRPN 1447 LFO 3 Delay
NRPN 1332 Env 4 Attack NRPN 1448 LFO 3 Ramp Time
NRPN 1333 Env 4 Decay NRPN 1460 LFO 4 Waveform
NRPN 1334 Env 4 Sustain Level NRPN 1461 LFO 4 Sync Mode
NRPN 1335 Env 4 Hold NRPN 1462 LFO 4 Mensural Period
NRPN 1336 Env 4 Release NRPN 1463 LFO 4 Symmetry
NRPN 1400 LFO 1 Waveform NRPN 1464 LFO 4 Start Phase
NRPN 1401 LFO 1 Sync Mode NRPN 1465 LFO 4 Mono
NRPN 1402 LFO 1 Mensural Period NRPN 1466 LFO 4 Rate
263
A P P E N D I X D : M X 4 N R P N MA P P I N G
NRPN 1467 LFO 4 Delay NRPN 1703 Mod 1 Shaper Controller
NRPN 1468 LFO 4 Ramp Time NRPN 1710 Mod 2 Source
NRPN 1480 LFO 5 Waveform NRPN 1711 Mod 2 Shaper
NRPN 1481 LFO 5 Sync Mode NRPN 1712 Mod 2 Source Controller
NRPN 1482 LFO 5 Mensural Period NRPN 1713 Mod 2 Shaper Controller
NRPN 1483 LFO 5 Symmetry NRPN 1720 Mod 3 Source
NRPN 1484 LFO 5 Start Phase NRPN 1721 Mod 3 Shaper
NRPN 1485 LFO 5 Mono NRPN 1722 Mod 3 Source Controller
NRPN 1486 LFO 5 Rate NRPN 1723 Mod 3 Shaper Controller
NRPN 1487 LFO 5 Delay NRPN 1730 Mod 4 Source
NRPN 1488 LFO 5 Ramp Time NRPN 1731 Mod 4 Shaper
NRPN 1500 LFO 6 Waveform NRPN 1732 Mod 4 Source Controller
NRPN 1501 LFO 6 Sync Mode NRPN 1733 Mod 4 Shaper Controller
NRPN 1502 LFO 6 Mensural Period NRPN 1740 Mod 5 Source
NRPN 1503 LFO 6 Symmetry NRPN 1741 Mod 5 Shaper
NRPN 1504 LFO 6 Start Phase NRPN 1742 Mod 5 Source Controller
NRPN 1505 LFO 6 Mono NRPN 1743 Mod 5 Shaper Controller
NRPN 1506 LFO 6 Rate NRPN 1750 Mod 6 Source
NRPN 1507 LFO 6 Delay NRPN 1751 Mod 6 Shaper
NRPN 1508 LFO 6 Ramp Time NRPN 1752 Mod 6 Source Controller
NRPN 1600 Ramp 1 NRPN 1753 Mod 6 Shaper Controller
NRPN 1610 Ramp 2 NRPN 1760 Mod 7 Source
NRPN 1620 Ramp 3 NRPN 1761 Mod 7 Shaper
NRPN 1630 Ramp 4 NRPN 1762 Mod 7 Source Controller
NRPN 1640 Ramp 5 NRPN 1763 Mod 7 Shaper Controller
NRPN 1650 Ramp 6 NRPN 1770 Mod 8 Source
NRPN 1660 Ramp 7 NRPN 1771 Mod 8 Shaper
NRPN 1670 Ramp 8 NRPN 1772 Mod 8 Source Controller
NRPN 1700 Mod 1 Source NRPN 1773 Mod 8 Shaper Controller
NRPN 1701 Mod 1 Shaper NRPN 1780 Mod 9 Source
NRPN 1702 Mod 1 Source Controller NRPN 1781 Mod 9 Shaper
264
NRPN 1782 Mod 9 Source Controller NRPN 1901 Chorus Rate
NRPN 1783 Mod 9 Shaper Controller NRPN 1902 Chorus Delay
NRPN 1790 Mod 10 Source NRPN 1903 Chorus Depth
NRPN 1791 Mod 10 Shaper NRPN 1904 Chorus Mix
NRPN 1792 Mod 10 Source Controller NRPN 1905 Effect 2 Enable
NRPN 1793 Mod 10 Shaper Controller NRPN 1906 Delay Left Delay Time
NRPN 1800 Mod 11 Source NRPN 1907 Delay Right Delay Time
NRPN 1801 Mod 11 Shaper NRPN 1908 Delay Feedback
NRPN 1802 Mod 11 Source Controller NRPN 1909 Delay Filter Mode
NRPN 1803 Mod 11 Shaper Controller NRPN 1910 Delay Resonance
NRPN 1810 Mod 12 Source NRPN 1911 Delay Left Freq
NRPN 1811 Mod 12 Shaper NRPN 1912 Delay Right Freq
NRPN 1812 Mod 12 Source Controller NRPN 1913 Delay Mix
NRPN 1813 Mod 12 Shaper Controller NRPN 1914 Delay Left Mensural Time
NRPN 1820 Mod 13 Source NRPN 1915 Delay Right Mensural Time
NRPN 1821 Mod 13 Shaper NRPN 1916 Delay Mensural Mode
NRPN 1822 Mod 13 Source Controller NRPN 1917 Effect 1 Mode
NRPN 1823 Mod 13 Shaper Controller NRPN 1918 Effect 2 Mode
NRPN 1830 Mod 14 Source NRPN 1919 Flanger Rate
NRPN 1831 Mod 14 Shaper NRPN 1920 Flanger Depth
NRPN 1832 Mod 14 Source Controller NRPN 1921 Flanger Feedback
NRPN 1833 Mod 14 Shaper Controller NRPN 1922 Flanger Mix
NRPN 1840 Mod 15 Source NRPN 1923 Phaser Rate
NRPN 1841 Mod 15 Shaper NRPN 1924 Phaser Depth
NRPN 1842 Mod 15 Source Controller NRPN 1925 Phaser Width
NRPN 1843 Mod 15 Shaper Controller NRPN 1926 Phaser Mix
NRPN 1850 Mod 16 Source NRPN 1927 Pattern Gate Enable
NRPN 1851 Mod 16 Shaper NRPN 1928 Pattern Gate Depth
NRPN 1852 Mod 16 Source Controller NRPN 1929 Pattern Gate Speed
NRPN 1853 Mod 16 Shaper Controller NRPN 1930 Pattern Gate Swing
NRPN 1900 Effect 1 Enable NRPN 1931 Pattern Gate Length
265
A P P E N D I X D : M X 4 N R P N MA P P I N G
NRPN 1932 Pattern Gate Pattern
NRPN 1933 Pattern Gate Attack
NRPN 1934 Pattern Gate Sustain
NRPN 1935 Pattern Gate Decay
NRPN 1936 Reverb Cut Freq
NRPN 1937 Reverb Time
NRPN 1938 Reverb Spread
NRPN 1939 Reverb Mix
NRPN 1940 Effects Layout
266
Index
Classic mode 101 Sawtooth 168
Clear Pebble 17 Digital Performer
1-shot mode 101 Clear Sample 119 opening MX4 151
Comp button 53 Digital Wavetables 168
A
a/b 161
Compare 108
comparing 108
Direction (arpeggiator) 182
Disable all modulation sources 191
About MX4 Comparing (a/b) 161 Disable the current modulation source 154,
Version number 200 Compressor 27 191
ACE-30 10 Constant beat frequency 164 Disclosure buttons 160
Amp Env (Amplitude Envelope) 105 Constant Pitch Ratio 164 Disks
Analog Chorus 10, 11, 12, 13, 17 Constant portamento time 165 keeping enough free space 200
Analog Delay 11 Constant portamento time per octave 165 Distortion 113, 171, 172
Analog Flanger 12 Contextual menus 154 Distortion plug-in (see PreAmp-1 plug-in)
Analog mode 166 Control Level (Dynamics plug-in) 27 Drive 172
Arpeggiator 181 Convolution reverb (see ProVerb) Dry Pan
Attack 157 Copy this item to all others 117, 191 Chorus 16
compressor 27 Copy this setting and modulations to all Duration (arpeggiator) 182
Attenuation (level meter) 28 others 192 Dynamic Equalizer 25
Audio input 186 Copy this setting to all others 117, 192 Dynamics 27
Audio plug-ins 7-93 Copy To 101 Dynamics plug-in 27
Audition on Load 119 Copy to User/Project/Shared 119 Dyna-Squash 28
Author 109, 163 Copyright 109, 163
Auto Randomize 105
Automatic Memory Restoration 54
CPR 164
CPU EEcho 28
Automation 116, 178 conserving resources 198
Custom ’59 17 Echo plug-in 28
AutoPan 11, 12, 13 Edge frequency (in EQ plug-in) 66
Customer support 200
Cut Frequency (reverb) 189 Effects 187
B
Backup copies of files 200
Cutoff frequency 113, 172 chorus 187
conserving bandwidth 198
Cutoff frequency (in EQ plug-in) 66
Bandwidth delay 188
conserving 198 enable button 187
Bandwidth (in EQ plug-in) 66 D
D Plus 19
example 158
Flanger 187
Banks 107, 161
creating new 109, 163 D+ 19, 28 opening effects section 158
deleting 109, 163 D+ (see D Plus) Phaser 188
exporting 163 DADSHR 173 Reverb 189
importing 163 DC Notch plug-in 19 Enable (effect) 187
menu 107, 149, 161 Decay Enable the current modulation source 191
renaming 109, 163 Reverb 77 Ensemble Chorus 29
Bass Manager 14 De-esser 20 Envelope Follower 178, 183
Bass Note (Bass) 105 Delay 188 Envelopes 114, 173
BassLine 98 Chorus 16 attack 157
Bend feedback 188 conserving polyphony 198
mode 164 filter 189 modulating with 155
Nanosampler 102 Flanger 32 trigger mode 174
parameters 164 mix 189 Erase saved memory 54
range 164 Delay (LFO) 106, 175 Erase Saved Memory For All Models 54
Bend parameters 110 Delay plug-in 21 Error messages 198, 199
Bipolar sources 178 Delay Taps 29 Errors
Block diagram 190 Delta Fuzz 24 file 199
BP (band pass) 113, 171 Depth system 198, 200
BR (band reject) 171 Chorus 16 eVerb plug-in 30
Brightness Flanger 32, 187 Expander 27
Reverb 77 Phaser 68, 188 External audio input 186
Buffer size (see Hardware buffer size) Depth (gate) 181 External trigger mode 174
Destination section (File window) 109, 162
C determined 9
Detune 164 FFactory (menu item) 100
Calibration plug-in 15 Diamond Drive 24
Center frequency (EQ plug-in) 66 Diffuse Fade (LFO) 106, 175
Chorus 187 Reverb 77 Fade In/Out 103
Chorus (mono) 13 Digital FAQs 197
Chorus plug-in 16 Rectangle 168 Feedback 188
267
I N DE X
Flanger 32, 187 Makeup gain 53
Feedback Delay plug-in 21 II/O buffer size (see Hardware buffer size) Master section 109, 163
Feedback Path 29 MasterWorks Compressor plug-in 39
FET-76 49 Input level meter (Dynamics plug-in) 27 MasterWorks EQ plug-in 41
File button 108, 149, 162 Instrument plug-ins MasterWorks Gate plug-in 50
Files Bassline 98 MasterWorks Leveler 52
errors 199 Model 12 118 MasterWorks Limiter 55
Filter (delay) 189 Modulo 107 MegaSynth 59
Filter (Nanosampler) 106 Nanosampler 100 MF 43
Filter Envelope 106 PolySynth 99 MicroB 62
Filters 113, 171 Proton 124 MicroG 62
attack 157 Intelligent Noise Gate 33 MIDI
conserving bandwidth 198 Invert all modulation ranges 192 activity light 149, 163
cutoff frequency 113, 157, 172 Invert current modulation range 192 status light 149
distortion 113, 171, 172 Invert Phase 34 MIDI activity light 110
enabling 156 Invert shaper 184 MIDI Monitor window 199
frequency modulation 172 Inverting modulation 178 Mix (delay) 189
low pass 156 Mix (filters) 172
mix 158, 172
resonance 113, 172
K
Key follow
Mix (reverb) 189
Mix setting (in plug-ins) 8
topology 171 filter 113, 172 Mixer 186
topology menu 156 Key Track (Tracking) 106 Model 12 118
types 113, 171 Keyboard shortcuts 191 Modifier keys 190
Final Note 104, 105 Keyfollow 112, 169 Mods 180-185
Fine Tuning 165 Keywords 109, 163 Mods button 149, 162
Flanger 32, 187 Modulation 115, 176
FM 170 inverting 178
Forget controller mapping 117, 192 LL/R In Phase meter 179
Free-running phase 175 multiple sources 156
Freewheel 79 Flanger 32 oscillator settings 112, 171
Frequency Phaser 68 symmetry with LFO 154
filter cutoff 113, 172 Lag Processor shaper 185 wavetable with envelope 155
Frequency modulation 170, 172 LCD 110, 149, 166 Modulo 107
Fundamental 186 red numbers 156 Mono mode 109, 163
example of using 158 Learn controller mapping 117, 192 Mono retrigger mode 174
Legato mode 109, 163 Mono trigger mode 174
Legend 190
G
Gain
Length 101
MOTU
Instruments soundbank 139
Level 171 MS Decoder plug-in 63
EQ 66 LF 43 MultiFuzz 63
Nanosampler 103 LFO 114, 174 Multimode Filter plug-in 64
reduction (Leveler) 53 free-running phase 175 MW Compressor (see MasterWorks
Gate 27 modulating symmetry with 154 Compressor)
Gate and Effects topology 180 Nanosampler 106 MW EQ (see MasterWorks EQ)
Gate mode (Nanosampler) 103 polyphonic retriggering 115, 176 MW Gate (see MasterWorks Gate)
Glide randomizing phase 175 MW Leveler (see MasterWorks Leveler)
Proton 126 sync 106, 115, 176 MW Limiter (see MasterWorks Limiter)
Global randomize 192 type 106 MX4 123
Limit button 53 expanding the window 160
H
Hardware buffer size 198
Limiter 27
Live Room B 35
overview 145-148, 193-194
tutorial 153-158
Hardware Insert 32 Live Room G 37 window 159-192
Held 164 Live Stage 39 collapsing 149
HF 43 LMF 43
Load loop from sample 104
High pass filter (EQ) 66
High shelf filter (EQ) 66 Loop 104 N
Nanosampler 100, 103
Hi-Top Booster 33 Low pass filter (EQ) 66
Low shelf filter (EQ) 66 1-shot 101
HMF 43 amp env 105
Hold 173 LP (low pass) 156, 171
LP (lowpass) 113 auto randomize 105
Hold light (arpeggiator) 182 bass (note) 105
HP (high pass) 113, 171 bend 102
M
Main button 149, 162
Classic 101
Copy To 101
268
INDEX
Factory 100 Parametric EQ plug-in 65 Multimode Filter 64
fade in/out 103 Patch menu 107, 161 Parametric EQ 65
filter 106 Patches 108, 161 Pattern Gate 67
filter envelope 106 explained 107, 161 Phaser 68
final note 104, 105 managing 108, 162 Plate 68
gain 103 naming 109, 163 PreAmp-1
Gate 103 reverting 108, 161 Precision Delay 71
length 101 saving 107, 161 ProVerb 73
LFO 106 selecting 149 Quan Jr. 76
LFO sync 106 Pattern Gate 181 Reverb 77
LFO type 106 Pattern Gate plug-in 67 Reverse 77
loading a sample 101 Pattern Sequencer 178, 182 Ring Modulator 77
loop 104 Peak/notch filter (EQ) 66 RXT 79
normalize sample 103 Phase (LFO) 106, 175 SMPTE-Z 79
Play Until 104, 105 Phaser 68, 188 Soloist 80
Project 100 Phaser plug-in 68 Sonic Modulator 81
randomize 105 Pink noise 168 Spatial Maximizer 84
repeat 104 Pitch 112, 170 Springamabob 85
retrig (retrigger) 106 Plate plug-in 68 Subkick 86
Reveal In Finder/Explorer 101 Play Unitl 104, 105 Tremolo 87
reverse sample 103 Plug-ins Trigger 88
root 103 ACE-30 10 Trim 89
Sample End 104 Analog Chorus 10, 11, 12, 13, 17 Tube Wailer 90
sample start/end 103 Analog Delay 11 Tuner 91
sample tab 102, 103 Analog Flanger 12 Über Tube 92
settings tab 105 AutoPan 13 Wah Pedal 92
Shared 100 Bass Manager 14 Poly mode 109, 163
show mono sum 103 Calibration 15 Poly release trigger mode 174
show separate channels 103 Chorus 16 Poly trigger mode 174
Slice 101, 103, 104 Clear Pebble 17 Polyphonic LFO retriggering 115, 176
slice by 104 Custom ’59 17 Polyphony 110, 163, 198
slice end 104 D Plus 19 display of used 149, 166
stretch 101 D+ 19, 28 PolySynth 99
Trigger 103 DC Notch 19 Portamento 109, 165
tune 103 De-esser 20 Proton 126
User 100 Delay 21 PreAmp-1 plug-in 69
vel track 105 Delta Fuzz 24 Precision Delay plug-in 71
voices 102 Diamond Drive 24 Predelay
ZTX Stretch mode 102 Dynamic Equalizer 25 Reverb 77
Normalize Sample 103 Dynamics 27 Presets 107, 161
Dyna-Squash 28 Banks 149
O
Optimizing performance 198
Echo 28
Ensemble Chorus 29
comparing 108
comparing (a/b) 149, 161
eVerb 30 explained 107, 161
Oscillator 110, 166 FET-76 49 managing 108, 162
enabling 153 Flanger 32 naming 109, 163
fine-tune 153 Hardware Insert 32 reverting 108, 161
frequency modulation 170 Hi-Top Booster 33 saving 107, 149, 161
level 171 Intelligent Noise Gate 33 selecting 149
pan 171 Invert Phase 34 Project (menu item) 100
pitch 112, 153, 170 Live Room B 35 Proton 124
symmetry 112, 154, 170 Live Room G 37 glide 126
sync 169 Live Stage 39 ProVerb 73
waveforms 111, 167 MasterWorks Compressor 39 Pulse Shape 181
Out of range 188 MasterWorks EQ 41 Pulse width 111, 168
Output level (meter in Dynamics plug-in) 28 MasterWorks Gate 50 Pulse width modulation 154
MasterWorks Leveler 52
P
Pan 171, 186
MasterWorks Limiter 55
MegaSynth 59 Q
MicroB 62 Quan Jr. plug-in 76
Parameters Quantizer shaper 184
displaying 110, 149, 166 MicroG 62
modulating 154, 155 MS Decoder 63
returning to zero 153 MultiFuzz 63
269
I N DE X
Shortcuts 191 Tremolo plug-in 87
R
Ramps 178
Show Triangle wave 111, 167
Mono Sum 103 Trigger mode 174
Random button 162 Separate Channels 103 Trigger mode (Nanosampler) 103
Randomize base and modulations 192 Signal path 110, 166, 190 Trigger plug-in 88
Randomize base value 192 Sine wave 111, 167 Trigger Sequencer 185
Randomize base values 191 Slice By 104 Trim plug-in 89
Randomize base values and modulation Slice End 104 Troubleshooting 197, 198
values 191 Slice mode 101, 103, 104 disk errors 200
Randomize button 105 SMPTE-Z 79 error messages 198, 200
Randomizing 189 Snap 103 file errors 199
button 149 Soloist plug-in 80 MIDI status light 149
LFO phase 175 Sonic Modulator plug-in 81 system errors 198, 200
tips 189 Soundbanks Tube plug-in (see PreAmp-1 plug-in)
Range (arpeggiator) 182 MOTU Instruments 139 Tube Wailer 90
Rate Source 115, 154, 176 Tune (Nanosampler) 103
Chorus 16 bipolar 178 Tuner plug-in 91
Flanger 32, 187 on velocity 157 Tutorial 153-158
Phaser 68, 188 Source section (File window) 108, 162
Rate (LFO) 106, 175
Ratio
compressor 27
Spatial Maximizer plug-in 84
Spread (reverb) 189 U
Über Tube 92
Springamabob plug-in 85
Rectangle wave 111, 155, 168 Square wave 111, 154, 168 UFS files
Red numbers 156 Status LCD 110, 149, 166 MOTU Instruments 139
Release red numbers 156 Undo last memory-saving operation 54
Dynamics 27 Stereo Detune 165 Unison Multiplier 164, 165
Re-load saved memory now 54 Stereo mode 186 CPU bandwidth requirements 198
Repeat 104 conserving bandwidth 198 Unison multiplier 109
Resonance 113, 172 Stillframe option 79 Until note off 174
Retrig (Retrigger) 106 Stretch 101 Use host frame rate 80
Reveal In Finder/Explorer 101, 119 Subkick plug-in 86 Use host offset 79, 80
Reverb 77, 189 Surround User (menu item) 100
convolution (see ProVerb) Delay plug-in 22
eVerb plug-in 30
Gain 77
MasterWorks Limiter plug-in
Surround Edition 56
V
Vel Track (Velocity Tracking) 105, 106
Plate plug-in 68 Swap current modulation 157 Vel>Volume (Velocity Sensitivity) 165
ProVerb 73 Swap current modulation range 191 Velocity sensitivity 165
Reverb plug-in 77 Swing parameter 181 Virtual instruments
Reverse 77 Symmetry 112, 154, 170 BassLine 98
Reverse Sample 103 LFO 175, 176 Model 12 118
Revert (presets) 108, 161 modulating 154 Modulo 107
Ring Modulation 186 Sync Nanosampler 100
Ring Modulator plug-in 77 delay 188 PolySynth 99
Root 103 LFOs 106, 115, 176 Proton 124
RXT 79 light (blinking) 188 Voices
Nanosampler LFO 106 display of used 149, 166
SSample and Hold shaper 185 oscillator 169
out of range 188
Nanosampler 102
setting the maximum number of 110,
Sample End 104 Synchronize option 79 163
Sample Start/End 103 System Volume 109, 165
Sample tab 102, 103 troubleshooting 199
System errors 198, 200
Save
loop in sample 104 W
Wah Pedal 92
presets 107
Save (presets) 161
TTechnical support 200 Waveforms 111, 167
Wavetables 112, 155, 168
Save current T4 Cell memory 54 Threshold index 170
Sawtooth wave 111, 167 dynamics 27 Wet Pan
Self-modulation 177 Through zero option 16 Chorus 16
Sequenced trigger mode 174 Time (reverb) 189 White noise 168
Set the modulation range for quantizing 192 Topology 171 Width
Settings tab (Nanosampler) 105 menu 156 Phaser 68, 188
Shapers 179 Transform shaper 184
Shared (menu item) 100 Transpose 165
270
INDEX
ZZTX Stretch mode 102
271
I N DE X
272
INDEX

Digital Performer Plug-Ins Guide

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Title page

1280 Massachusetts Avenue

Part 1: Plug-ins 50 MasterWorks Gate

Part 3: MX4 Multi-synth Part 4: Appendices

145 About MX4 197 MX4 Troubleshooting

OVERVIEW Live Room B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Here’s an example: let’s say that your sequence

Tone Cut: similar to the presence control of a ANALOG DELAY

Volume: controls the master volume (the final

M-M M-S M-n S-S S-n n-n

Analog Delay is a companding delay pedal model

Mix: this is essentially a wet/dry crossfader.

X-Feed: this controls the stereo routing of the

For a mono-stereo signal, 5 is equivalent to

For a stereo-stereo signal, the mono behavior is

Pedal switch: the footswitch works like the

Range: controls the “endpoints” of the sweep, or

Rate: controls the LFO frequency.

Tempo lock: pan can be specified in real-time or

Waveform: determines the desired LFO wave

Rate: sets period in Hertz (Hz) in real-time mode,

Center: the pan will rotate an equal amount

Speed: controls the LFO frequency.

The S-S and n-n versions of AutoPan feature an

input mute: mutes input of LFE or surround

Calibration will send pink noise to each speaker in

Your system is now calibrated. At this point, save

☛ Keep in mind that calibration is a monitoring

Custom ’59 is an amp modeling plug-in that lets

Pedal switch: bypasses/enables the effect. This Marshall® JTM45®

Create your own amp

Input jacks: selects the input channel and

Vol I, Vol II: volume controls for each channel.

frequencies. Power Amp models

M-M M-S M-n S-S S-n n-n

The DC Notch plug-in helps eliminate DC offset.

DC offset is when an audio wave form has an

Load Z: impedance of the next device in the

Status light: displays the bypass/enabled state;

BW: bandwidth of the bandpass filter.

Sensitivity: sensitivity of the sibilance detector.

Attack: attack time constant of the compressor/

To generate complex, poly rhythmic effects, try

Mix ☛ If you accidentally generate a feedback loop

Feedback graph and

Figure 1-7: The surround delay.

Mono to n - One input gain knob is provided to

Status light: displays the bypass/enabled state; Volume: output gain.

Control unit range

Min Gain: sets a floor for the gain reduction. This

Band dB scale EQ FFT FFT Filter Bandwidth Show/hide Compressor/expander

Global settings FFT analysis: frequency analysis of digital signal

Figure 1-8: Show/hide buttons.

Static response: shows the outline of the EQ

Dynamic response: shows the current dynamic

Output level The original Dyna-Comp “script logo” was a staple

DYNA-SQUASH Link (stereo-stereo only): links (or unlinks) the