DP9 combines workflow improvements, such as floating plug-in windows, automation lanes, MIDI note muting, and Music XML export with a bumper crop of synth-style audio processing. Megasynth applies virtual analog subtractive synthesis to guitar, bass, or anything else you want to feed it. For a simpler signal flow, try MicroG and MicroB, a pair of Polyphonic Octave Generators designed specifically for guitar and bass, respectively. MultiFuzz models Craig Anderton’s Quadrafuzz, bringing independent distortion to four frequency bands for some serious audio havoc.
MOTU models the classic 1176LN Limiting Amplifier with the MasterWorks FET-76, offering all of the controls of the hardware unit. Perhaps the most exciting is the inclusion of MOTU’s MX4, a three-oscillator, wavetable synth, whose capabilities extend well beyond analog synth tones, into hyper-animated sweeping sounds and bizarre timbral shifts thanks to a generous pool of wavetables and a brilliant modulation matrix. There is good reason for Digital Performer’s frequent appearance in our Editor’s Choice Awards; its deep set of recording and editing amenities, intuitive workflow, and terrific-sounding plug-ins keep it ahead of the pack, and this year is no exception.