![]() Prior to v10, options such as BassLine, PolySynth, NanoSampler, Modulo, Model 12, MX4 and Proton were usable if perhaps not pushing any boundaries. With DP, perhaps the most obvious gap has been the bundled virtual instruments. However, there is no single DAW/sequencer that’s perfect for every user and, as with any of DP’s obvious competitors, it’s possible to point to some areas that might benefit from some extra development. DP is undoubtedly a music production environment with very many strengths. And, while it might have built its initial core following amongst film and TV composers, features such as the Clips Window - added in v10 and very much aimed at using DP in a live performance context - clearly demonstrate MOTU’s desire to keep expanding DP’s appeal. As briefly summarised there, DP’s feature set most certainly makes it a worthy member of the DAW/sequencer elite. SOS reviewed DP 10.1 in the April 2020 issue. ![]() However, over its 30+ year lifespan, it has gradually evolved into a deep, powerful, cross‑platform (Windows support appeared alongside the Mac OS version in 2016) music production environment with a comprehensive feature set to appeal to almost any type of music maker.ĭigital Performer 11 is now with us (indeed, the subject of this review is actually v11.02) so what have MOTU added to turn up DP’s ‘buy me!’ factor to one louder than 10? Let’s find out. It initially found favour amongst media composers with ahead‑of‑the‑game support for working with video. MOTU’s Digital Performer is a well‑established product within the DAW/sequencer marketplace. DP11 might not be any louder than DP10, but it’s got plenty more to offer.
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