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DP 's automation is not as straightforward as its simpler equivalent in Reason, for example, but that's not to say it's difficult to use.

Second, automation controls and facilities crop up in different guises in the DP environment, with MOTU providing lots of different ways to crack the same nut. Data is mostly displayed as lines, 'ramps' and breakpoints superimposed on tracks in the Sequence Editor, so it's easy to see how automation and track content align. In the case of a track with an automated level fader, for example, the automation data is part of that track - there's no separate 'automation track'. The first thing to remember is that automation is track-based in DP.

If you're using software instruments hosted in DP you can also make automation change multiple parameters simultaneously - even more than if you had a knobby analogue synth in front of you! Basic Concepts By taking advantage of automation in DP you can make your mixes more fluid and reliable, deal with thorny problems such as tracks that vary wildly in level, and achieve contemporary-sounding effects such as filter sweeps and dynamic low-fi treatments. In Digital Performer, mix automation allows the recording of movements of on-screen controls and parameter values such as Mixing Board level faders and pan knobs, track mute buttons and plug-in parameters.

If you are a user of MOTU's Digital Performer sequencing software, you have access to an extensive and full-featured automated mixing environment. Three types of automation data are visible in this track, though the active layer is a 'pop-up' or 'switch-style' data type, in this case allowing a Multimode Filter's filter type to be automated.

After effects wiggle expression to volume