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Input Monitoring in Digital Performer Pagina 1 Input Monitoring in Digital Performer Pagina 1 Input Monitoring in Digital Performer : March 2008 Sound On Sound quick search Home Search News Articles Forum SOS TV Subscribe Shop Directory Readers' Ads Info My SOS Saturday 2nd October 2010 In this article: Input Monitoring in Digital Performer Not Just For My Account Digital Performer Notes & Techniques Buy PDF Recording Logged in as: Ital Rolando Published in SOS March 2008 A Real-world Technique : Digital Performer Notes My Account Printer -friendly version Example My Contact details Dealing With My Readers Ads details There's more useful stuff than you can shake a My Forum details Latency stick at this month, including advice on input My Downloads DP To CD? monitoring, ways to get around latency issues, My Subscription My Email Who's and news of CD-burning and audio networking My Password Recommending applications to make your life easier. Logout Soundfly? Robin Bigwood View cookies Over the last couple of months we've been looking at monitoring: what it is, and how to make it work for you in Digital Performer with a range of typical studio situations and hardware setups. In this final instalment of our monitoring extravaganza, DP5's Input Monitor function and aux tracks come under the spotlight, and I offer suggestions for incorporating hardware effects units into your DP-based rig. Not Just For Recording Three approaches to input monitoring : an You could be forgiven for thinking that monitoring is only relevant Input Monitor -enabled audio track handles for recording — specifically, for supplying a headphone backing- the signal from Reason 4 (above ), while an track mix to an artist recording a performance. But it encompasses aux track is set up to receive the return from more than this, especially in the modern studio integrating a Yamaha REV 500 effects unit . Meanwhile , hardware and software synths and effects. MOTU 's CueMix Console (lurking bottom left ) provides a zero -latency monitor of a Korg Radias synth . To illustrate what I mean, imagine Reason and DP are running on the same Mac. The Rewire link between the two applications carries audio from Reason to DP, but in order to hear Reason at all some sort of 'open input' is needed in DP. An aux track is often perfect for this, bringing the Reason audio into DP's Mixing Board, and allowing it to be mixed alongside other track types. What the aux track is really doing is monitoring the live signal from Reason, allowing the engineer to hear it while working on other aspects of the mix, just as a singer would hear a backing track as they recorded vocals. These 'open inputs' are useful for all sorts of things, not just Reason. You could use them to monitor the return from a hardware effects unit, the signal from a hardware synth, or a signal from another Mac arriving digitally via an ADAT connection or across a network. All these need to be monitored as you work on your track, until you choose to record them and capture their signals to an audio track. So what are the options available to you? Aux tracks: Aux tracks are a long-standing DP feature. You can't record on them; instead they're a lot like mixing desk channels. They can be fed with inputs from your audio interface, DP's internal busses, or the Rewire signal from other software — all of which is useful from a monitoring point of view. What's great about them, too, is that their operation is not affected by DP5's Audio Patch Thru mode — you could have it set to Off and they'd still work. Also, if you have a MOTU audio interface and are using Direct Hardware Playthrough mode, they still allow you to monitor your input through any effects plug-ins instantiated. Audio tracks: You've always been able to monitor input signals through audio tracks, courtesy of DP's Audio Patch Thru feature, by simply record-enabling them. But in recent versions of DP you have more flexibility, thanks to the Input Monitor function. This means that an audio track can be made to permanently 'patch thru' its input to its output, whether the track is record-enabled or not. Just click the track's Input Monitor button in the Tracks Overview (the 'Mon' column), Sequence Editor (a loudspeaker icon in the track's info pane) or Mixing Board (the Input button next to Rec, Solo and Mute). An Input Monitor-enabled audio track is not quite the same as an aux track, though. First, it does respect DP5's Audio Patch Thru mode, so if that's set to Off the Input Monitor function is essentially disabled. Also, if you're using Direct Hardware Playthrough mode with a compatible MOTU audio interface, Input Monitor will not run the signal through DP (or any effects plug-ins SOS FREE SERVICE — on the track), but instead set up a temporary CueMix zero-latency routing. MUSICIANS : BUY & SELL YOUR USED GEAR Zero-latency hardware monitoring: There's nothing to say we have to control all monitor signals from 1000 s of gear bargains for external hardware with DP. In many cases the best approach is to monitor external effects returns, and sale TODAY in SOS Reader especially hardware synths, via a hardware mixer or an audio interface with zero-latency monitoring, as you Ads — Keyboards , Synth might when setting up monitoring for a vocal take. The external hardware signals can be incorporated into Modules , Samplers , your control room mix independently of DP, until you want to record them into your track. At this point you just Software , Mics , Monitors , GLOSSARY : Tech Terms record-enable some audio tracks in DP and route them in. PA , Computers , Guitars , explained Amps and more ... CLICK FOR INFO (FREE listing ). Get help in our Discussion A Real-world Example Forums Here's a situation I've mocked up that incorporates all three types of input monitoring, using my own setup of a Power Mac G5 and MOTU Traveler (which has CueMix zero-latency monitoring). I'm running DP 5.13 and Digital Performer Courses SOS News Headlines Reason 4, and also have some external hardware: a Korg Radias synth and a Yamaha REV500 reverb. This More info ... IBC 2010: Azden (Video) is how everything's co-ordinated (see screen at start of article): October 2010 IBC 2010: Sony NEX- VG10 (Video) Input: Reason software On sale now at main IBC 2010: Sonodyne BMS newsagents and bookstores 205 (Video) Monitoring Method: Input Monitor-enabled audio track. (or buy direct from the SOS Web Shop ) Keycontrol 25 XT Description: As it's providing some synth and percussion parts, I IBC 2010: Rotolight RL48- A (Video) want to monitor Reason constantly as I work on my song. Using an More... audio track with Input Monitor allows me to do this, and when I'm http://www.soundonsound.com/sos/mar08/articles/dpworkshop_0308.htm 02.10.2010 02:57:41 Input Monitoring in Digital Performer Pagina 2 nearing completion I'll record-enable it to record the signals as The Time Shift plug -in can help to Gear Reviews audio in DP compensate for monitoring latency with Technique synths driven from MIDI tracks . Classic Tracks Input: Radias synth Secrets of the Mix Engineers Monitoring Method: CueMix Keyboards +Synths Ableton LIVE techniques Description: As I'm using the Radias to provide the basis of my arrangement, including bass and key rhythmic parts, I want to hear it completely free of latency. Hence I've set up hardware monitoring in the Apple LOGIC techniques CueMix Console: the Radias signal is not coming into DP at all. But when I've finished my song, I'll record the Cakewalk SONAR separate parts into DP on audio tracks for the final mix and any further treatment. techniques Digidesign PRO TOOLS Input: REV500 hardware reverb Click image for October 2010 techniques Other recent issues: MOTU DIGITAL Monitoring Method: Aux track September 2010 PERFORMER techniques August 2010 Propellerhead REASON Description: The REV500 is patched into my setup so that it's fed by one of the Traveler's outputs (with a July 2010 techniques corresponding Aux send in DP) and returns back into a couple of inputs. I'm bringing its signal into an Aux June 2010 Steinberg CUBASE track so I can further treat it with a MAS plug-in. I suffer some latency because of the round-trip out of DP and May 2010 techniques the Traveler and back into DP, but it's not a problem, as it simply becomes a bit of additional reverb pre-delay. >> Access All Issues Microphones If I need to record the REV500's signal later, I could route the aux track via a bus pair to a record-enabled Mastering audio track. SOUND ADVICE : Tips /FAQs Sound Advice People This all works great for me as I'm developing my song. For Audio Patch Thru I'm using the Blend mode, and Photos too small ? Click on SOS Podcasts I've set a 512 buffer size. The mix of hardware and software monitoring presents no problems here. But it's photos , screenshots and not always so easy... diagrams in articles to open a Video Media Larger View gallery . Music Production and DAW Dealing With Latency software courses online at Berkleemusic As we've seen over the past few months, latency can be a problem with certain approaches to monitoring. Musicians generally hate it if the headphone monitor mix of their live performance is anything more than a few milliseconds late — which is why zero-latency solutions like suitably-equipped interfaces and hardware mixers are routinely used for monitoring.
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