#RENOISE PITCH SHIFT AUTOMATION PRO#
#RENOISE PITCH SHIFT AUTOMATION SOFTWARE#

There are so many useful features here, even if you don’t need the cue mixes. I really can’t explain this as well as a 15 minute video can. This workflow can be accomplished with an external macro, but having a native key for it is fantastic. It’s nothing more than 1 button press to: delete current recording, rewind to beginning, record again. The value I get from this feature is immense. While the AU spec does allow for some of these features, DP is a cross-platform DAW and ideally should support VST3. What’s so great about VST3? Autosuspend, Dynamic I/O, Native window resize support, Sample accurate automation, better preset organization, VSTXML, better midi support, Audio input for instruments, multiple midi I/O, and more.

#RENOISE PITCH SHIFT AUTOMATION SOFTWARE#

Since DP supports the OSC protocol you can use software like TouchOSC to make your own controller, but that is tedious and will lack the functionality available in a properly made control application.

#RENOISE PITCH SHIFT AUTOMATION PRO#

I will say that Pro Tools Control does work with DP, but it’s not nearly as good as it could be. Check out Studio One Remote, Cubase iC Pro, Logic Remote and Pro Tools Control. Other DAW makers have apps available that far surpass DP Control even if it worked. There’s numerous thread about alternatives, but there’s nothing directly from Motu. Absolute GridĭP Control exists, but it’s basically broken. With DP’s amazing large project navigation features it’s astonishing that there’s no VCA capability! I hate mixing without VCAs and it’s one of the #1 most irritating things about using DP.

Done.ĭP does not have VCAs or anything resembling VCAs. You can have the most complex automation imaginable on dozens, or hundreds, of tracks and if you want to add a slight swell over 1 minute you can just add a VCA and boom. VCAs are non-destructive to the tracks they control unless you explicitly combine the VCA automation and track automation. You can have VCAs that control VCAs as well. VCA tracks allow you to separate layers of automation and do it across multiple tracks while maintaining routing integrity. One option would be to use ‘trim’ automation to scale the existing automation destructively, but a better option is a VCA. Imagine that you have 10 guitar tracks that you need to fade down before a chorus, but all of these guitar tracks already have their own automation data. Now you may say, well why is this different from grouping the faders? Another layer of VCA wonderfulness is that it allows you to easily layer automation. Since the track faders move, this also affects any post-fader effects! This also means that you can automate a VCA and it works correctly with post-fader routing. When you move a VCA, all of the faders attached to it are scaled by the VCA fader. A VCA gives you a fader that controls other faders. Even worse, imagine trying to automation a subgroup and having to go back and match the automation on all of your sends and post-fader effects. Now imagine turning down a group greatly and then having to go back and adjust all your sends. However, a subgroup will not affect the sends and post-fader effects of the tracks routed to it! You can mute a subgroup, but you will still hear all of your sends. When you use a subgroup to group tracks you can lower the volume of multiple tracks at once. This is done by setting your send as post-fader. When the track’s volume increases the reverb’s level should increase, and when you lower the track volume the reverb should become quieter. Ideally a reverb send needs to be post-fader, otherwise the reverb will be a fixed level no matter what you do to your track’s fader. The easiest, but not only, differentiating example between a VCA and subgroup is when you have a reverb send. The first thing that you need to understand about VCAs is why you can’t simply send multiple channels to a bus/subgroup instead. VCAs confuse a lot of people, but once you understand them and use them they are an invaluable. If you follow this blog, you’ll soon see how badly they annoy me! VCAs These are the things that annoy me on a daily basis when using DP. Multi-channel control in mixer (plug-ins).

Better sounding time/pitch manipulation.Things I don't hate about Digital Performer: 10 edition.

Some of these things cause creative blocks, require tedious workarounds or simply aren’t cool. There’s quite a few things that I would like improved and features that I feel are blatantly missing compared to the competition.

Renoise pitch shift automation