Four Letter Records
Four Letter Records
The monitor console for your interface. User manual — v0.4.94.
New here? Start with the Setup Guide (in Artemis: Help ▸ Setup Guide).
You can open this manual any time from inside Artemis: Help ▸ Artemis Manual, or the User Manual button at the bottom of Settings.
From a fresh install to hearing your DAW through Artemis, in order:
.artemislicense file. Without one,
Artemis plays for five minutes per launch, then goes silent; that silence is the trial ending, not a fault.For a mic or a headphone mix: add a track with INPUT set to your interface input, and set its OUTPUT to CUE 1 or CUE 2 for headphones (section 9).
Artemis turns the interface you already own into a monitoring console. It sits between your hardware and your DAW as a virtual device named Artemis that mirrors your real interface — same inputs, same outputs, your interface's own channel names.
Artemis needs macOS 12.0 or later (apps as individual tracks need 14.2; see section 7).
The microphone question comes first. The very first time Artemis opens on a Mac, macOS asks whether Artemis may use the microphone — Artemis asks it straight away, with its console in front, before it starts any audio. Click Allow: that is what lets Artemis hear your interface's inputs. Until you answer, no audio starts anywhere on the Mac (that is macOS, not Artemis), and the LCD reads Waiting for microphone access. If you click Don't Allow, Artemis still runs — your DAW, App Send and the outputs all play — but every input is silent. Artemis then shows Artemis can’t hear your inputs at every launch for as long as the microphone stays off; its Open Microphone Settings button opens the page where you turn it on: System Settings ▸ Privacy & Security ▸ Microphone (on macOS 12: System Preferences ▸ Security & Privacy ▸ Privacy ▸ Microphone). If the question ever ends up behind another window, Artemis comes to the front with “macOS is asking for microphone access” to point you at it.
On first launch Artemis picks a starting interface for you (your Mac's built-in output, or whatever it can find) and comes up with a new console: one track on your first input, sent to MAIN, its fader at the floor, and the master rising to 0 dB (100 %). Pick your real interface (an audio device such as a Komplete Audio 6) under Settings ▸ Audio. The header shows your sample rate and buffer size, the amber LCD shows your monitoring path's true latency (mic in to your headphones) by default — Cmd-click it (rest the mouse on it for a reminder) to see the DAW's own round-trip latency instead, and Cmd-click again to switch back; a small caption under the number always says which one you're looking at. Interfaces don't report their converters' delay, so the LCD can only add up what they report until you measure it once: connect a free output to a free input with a cable, choose Artemis ▸ Measure Latency…, pick the output, then the input. Four quiet clicks play from that output only (never outs 1-2). Artemis stores the result for this interface, sample rate and buffer, and the LCD then reads air to air; until then its caption says Not Measured. At the far right, under the sample rate and buffer size, the CPU Meter shows how much of each buffer Artemis uses — the number is the recent peak, the bar the average — and turns red at 80 %: near 100 % it will click, so raise the buffer size. It reads OVL in red for two seconds whenever the Mac itself missed or ran a buffer late, even if Artemis was using very little: something else on the Mac is taking the processor, so close it or raise the buffer size. When that happens your speakers and headphones fade back in over a few milliseconds instead of snapping back on. When the engine is not running there is no sample rate, buffer or CPU to show, so none is drawn and the LCD says why. In a narrower window the header type steps down to the biggest that fits, and at one or two tracks wide the ARTEMIS name moves above the LCD.
Artemis is licensed with a small file, Artemis License - Your Name.artemislicense.
It arrives by email when you buy, and it's always in your account — sign
in with the email you bought with; there's no password. Double-click the file in Finder (a .artemislicense file opens in Artemis), or use
the license sheet's Locate License… button. Artemis keeps its own copy, so later
updates never ask again, and the same file works on every Mac you own — no activation, no
machine lock, nothing phones home to verify it.
Without a license Artemis runs for five minutes per launch (the header counts down, then reads TRIAL OVER in red); at zero the master fader glides down and every output — hardware and DAW alike — goes silent, nothing else interrupted. Click the red tag, or Artemis ▸ Licenses, any time. The License sheet has Close, Remove License (only when a license is installed), Buy Artemis… and Locate License…. When the five minutes end, the Trial Over sheet offers Close, Buy Artemis… and Locate License….
A session is one file, ending .artemis, that holds your whole console — every
track, its inserts and their settings, routing, mixes, talkback, MIDI maps. Your chosen interface
is not part of it — that's remembered per Mac instead, so a session opens the same way on any rig
you've set up.
.artemis file in Finder opens it in Artemis. Save a Copy writes a snapshot without changing what you're actively working
on. ⇧⌘O reopens your most recently saved session from anywhere.Settings ▸ Console ▸ Save as Default Session saves the console exactly as it is right now as what every future plain launch opens — the way Ableton keeps a default set. Until you save one, launch opens a new console (one track on input 1). Quitting normally never asks anything on the next launch. Only if Artemis didn't quit cleanly last time (a crash, or a force-quit) a sheet, Artemis Did Not Quit Cleanly, offers Recover (comes back exactly as it was, every plugin loaded Inactive until you trust it again; switch them all back on with Edit ▸ Activate All Inserts) or Start from Default (discards that state and opens your saved default instead).
After the Mac's audio system restarts, the console comes back up by itself and fades in.
Recalling a session on a different interface than it was saved with — different input or output counts — walks you through reassigning anything that no longer fits, right there, instead of silently leaving a stale setup or refusing to open. Each question lists the inputs you can pick; click one, then Assign. Artemis remembers those answers for that interface and uses them only for what it doesn’t have: a session whose own inputs are there always opens on them, mono or stereo as saved.
A track is a thing you put on the deck yourself — Artemis adds only the first one and, when a DAW starts playing into it, a DAW track (section 7); nothing removes one for you. Up to 64 can exist; drag a track by its nameplate or any open part of it (not a control) to reorder the deck.
The Tracks menu holds New Track (⇧⌘N), Duplicate Track (⌥⇧D), Rename Track (⌘R), Delete Selected Tracks (⌃⇧⌫, at once, with no sheet and no Undo) and Track Delay Meter. Duplicate Track copies a track's inserts, routing and settings, but a track that took its input from an app, App Send, the DAW or Talkback starts with no input: each of those can feed only one track at a time, so you pick one for the copy yourself.
Turn on Tracks ▸ Track Delay Meter and a dly field appears on every track, showing the delay (in samples) that track's own plugins cause (it sits under the fader's dB readout, above the track name): Auto-Tune at 1000 reads 1000 on every track it is on. Delays do not add up across tracks. The number in the header is the real latency of the longest route (the worst of MAIN / CUE 1 / CUE 2), so five tracks with a 1000-sample plugin each still read about 1000 there; Cmd-click the header readout to see the path through the DAW instead. Like Pro Tools' delay meter, it takes room: when it is on, only the tracks scale down to make space; OUTPUT and the CUE section keep their normal size.
Drag the console window as narrow as one track or as wide as the whole screen allows; the height sets the scale of everything.
Select tracks, then Tracks ▸ New Group… (⌘G). Name it, choose its tracks, and tick what it links: Level, Cut, Solo, Pan (Level, Cut and Solo start ticked). The group's letter appears on each track's nameplate; click it to turn the group off, modify it, select its tracks or delete it. Moving a grouped fader moves the others by the same amount, each keeping its difference. Suspend All Groups (⇧⌘G) pauses every group. Groups are saved with the session, and each change to a group is one Undo.
Plugin groups. A group also links its tracks' inserts slot by slot: insert 1 on every track in the group goes with insert 1 on the others, insert 2 with insert 2, down to insert 10. Which of the ten it links is Insert 1 … Insert 10 on the group's Attributes page; a new group links all ten. A linked insert carries only to the same plugin in the same slot of another track: turn a knob in its window and the others take the same value; Bypass, Make Inactive, Remove or drag it to another slot and the others do the same. Load a plugin into a linked slot and every track whose slot is empty gets it at the same settings — a track that already has a plugin there keeps it. A different plugin in the slot is left alone. A grouped knob, Bypass, Inactive or drag is one Undo for every track it reached.
Ten insert slots per track, drawn from every effect and music-effect Audio Unit installed on your Mac (instruments and generators are not offered) — Artemis scans once at launch, dedupes duplicate installs, and never gates the list to a vendor allowlist. Hold ⇧⌘R at launch to force a rescan.
Two ways to take something out of the sound, and they are not the same:
A plugin too slow for the buffer. If a plugin takes longer than the buffer allows, only its own track drops out: it fades out, and fades back in when the plugin catches up. Everything else keeps playing. A plugin that keeps running late keeps its track silent until it has kept up for half a second. The slot says running late — its track dropped out with a count, for ten seconds, and the log names the plugin. Use a bigger buffer, or make that plugin Inactive.
The same two states work on more than plugins. Right-click, or ⌘-click / ⌃⌘-click:
| On | Bypass | Inactive |
|---|---|---|
| A track (its name plate) | Every plugin on it is bypassed; the track keeps playing. A track with no plugins has nothing to bypass: its Bypass row is greyed and reads "Bypass (no inserts)". | Its plugins go Inactive and the track is silent. |
| A track's input, output or App Send | The path keeps running but is not heard (a short ramp, never a step). | The path stops. |
| OUTPUT, CUE 1 / CUE 2 LEVEL, TALKBACK LEVEL | The knob is taken out of circuit: the level goes to 0 dB, ramped. DIM and CUT still apply, and TALK must still be held. | Silence, ramped. |
Undo covers Bypass, Inactive and moving a plugin. To switch everything back on at once, use Edit ▸ Activate All Inserts. Sessions saved with a plugin switched off by the old Cmd-click open it Inactive, the way it sounded when saved.
Any app making sound on your Mac — Music, a browser, Zoom, a call — can become a track: point a track's INPUT at it and Artemis captures what it produces directly, muted at the Mac's own speakers, with no separate routing step. Clear the track's input, or remove the track, and the app's sound goes straight back to playing normally.
An app only appears in the INPUT menu while it's running, and shows PLAYING only for the moment it's actually audible — nothing is shown while it's paused or silent.
If a track's source is gone — its app has been closed, no DAW is playing into Artemis, or its input isn't on your interface — the track's INPUT plate says so in red, in a few words: “No DAW”, “No Spotify”, “No input 3”, “No inputs 3-4” (a stereo pair), “No App Send”. Nothing on the track moves, and the plate shows the input’s name again the moment the source is back.
A DAW is not required. A new console is one track on your first input. When a DAW starts playing into Artemis and no track is listening to it, Artemis adds one DAW track for it (on MAIN, fader at 0 dB). Remove that track and it stays removed in that console. On a full deck (64 tracks) no DAW track is added.
Capturing one app at a time needs macOS 14.2 or later. On any Mac — and on an older one this is the way in — you can instead send apps to Artemis the way your DAW does, and hear them all on one stereo track. On macOS older than 14.2 Artemis cannot capture a single app, so apps play into Artemis App Send instead:
Everything those apps play arrives on that track, mixed together — fader, inserts, cues and a DAW-send pair all work as on any track, and it starts from silence like every other track. Only one track holds Apps at a time. It has no App Send knob: it already is what the apps sent, and sending it back would play each app to itself. While the Mac's output is on Artemis App Send you hear those apps only through this track; set the output back to your speakers to undo it.
The DAW is whatever app you set to play into "Artemis": set Pro Tools' Playback Engine, Live's or Logic's audio device, or any app's output to Artemis, and it appears in Artemis as the DAW with that app's own name. There is no list of known DAWs. The first app to do so stays the DAW; to change which app it is, pick the other app on the DAW track's INPUT menu. If the DAW quits, the newest app playing into Artemis becomes the DAW, silently. Point a track's INPUT at DAW (INPUT ▸ DAW) to hear it. The row is always in the menu: before your DAW is running it reads DAW — waiting for your DAW, and the track you give it stays silent until the DAW opens the Artemis device, then hears it. That track has no App Send knob and no DAW-send pair, because feeding the DAW's own mix back into itself is the one loop Artemis won't create.
The Artemis device is there whenever Artemis is running — even before its engine is up (no interface picked yet, your interface unplugged, or another app holding it), when it plays silence — so your DAW can always see it and pick it. It is listed in every app's audio settings but not in the Mac's own Sound menu, so macOS can never switch your system sound onto it by accident (Artemis App Send stays there for you to use). Quitting Artemis takes it away.
A track reaches a physical output only through a bus — there is no hidden straight-through path. MAIN is your primary monitor pair; the cues (CUE 1, CUE 2, and up to CUE 10) are independent headphone mixes, each with its own LEVEL and a tilt EQ, built ahead of the master fader so an artist's cans are never touched by your own DIM or CUT. Assign a track to a bus from its OUTPUT menu — assignment is a plain on/off at nominal, not a separate send level.
Settings ▸ Routing is the one place left for what no track covers: which hardware output pair MAIN, CUE 1 and CUE 2 each use, and which hardware input talkback listens on — a grid with one square for every output and every input your interface has (2 on a pair of speakers, 64 on a large rig; a wide grid scrolls sideways), click to assign, ⌘-click to start the pair on that square, click a square you already own to unassign it. Each bus can use as many output pairs as you like, and two buses can share a pair — they are added together there. An interface with more channels than Artemis’s driver can carry is refused. The DAW Main Out box at the top right sets which pair of the DAW's outputs is its main mix (default 1-2). The one thing here that changes the deck is Default: after OK it rebuilds the console to its shipped state, one track on input 1 sent to MAIN.
A fresh console starts with MAIN assigned to your first output pair (outs 1-2) and the master at 0 dB (100 %), rising to it over about two seconds at launch, so there is always a named monitor path; unassign it here if you want those outs to yourself, and that choice is what a saved session remembers.
Four small keys sit in one row under DIM and CUT, the same style of key at a quarter of the size: A and B on the left, MONO and Ø L on the right. They change only what MAIN plays — never the cues, never what the DAW records:
The cues scroll. The cue boxes sit in one window under the keys that shows one and a half of them, so the half box tells you there is more below. Scroll it with the wheel or trackpad; turning a cue knob never scrolls it, and TALKBACK stays below it.
A new console has CUE 1 and CUE 2. Scroll to the bottom of the cue window: under the last cue is a +, drawn like the + at the end of the track deck. Click it to add the next cue, up to CUE 10; at ten the + is gone. A new cue starts silent — its LEVEL down, its TILT flat, no output pair and no track on it — so adding one never makes a sound. Give it outputs in Settings ▸ Routing (a row per cue), put tracks on it from their OUTPUT menu (Buses ▸ lists every cue), and bring its LEVEL up. Talkback, Bypass / Inactive on its level, and MIDI learn on its LEVEL and TILT work exactly as on CUE 1.
To remove a cue, right-click the title of the last cue and pick Remove Cue N. Only the last cue can go, so the cues are never renumbered (CUE 5 in a singer’s headphones stays CUE 5, with its outputs and its MIDI controls), and CUE 1 and CUE 2 always stay. A cue that is removed fades out, and the tracks on it come off it. Adding or removing a cue is not an Undo step, the same as adding or removing a track; changing a cue’s level, tilt or outputs is. Sessions save every cue; a session from before 0.4.87 opens with its two.
On an HDX rig with HDX DSP on, the Pro Tools Audio Bridge carries six channels: MAIN, CUE 1 and CUE 2 (outs 1-2, 3-4, 5-6). Cues 3 and up have no lane of their own on the Bridge; give them outputs of another interface, or share one of those three pairs.
Every one of them glides in and out with no click, is saved in the session, can be undone, and can be MIDI-learned.
Your Mac’s volume keys move the OUTPUT fader 2 dB a press (hold to keep going; it stops at 0 dB); hold Control while you press them for fine steps of half a dB, and the mute key works CUT, while Artemis is open and MAIN is playing. The Mac’s own volume does not move with them; when Artemis has no sound to give (no interface, trial over, MAIN switched off or on no output) the keys work the Mac as usual. This needs Accessibility (see Permissions). If it is off, Artemis says so once on a Mac and then stays quiet; Edit ▸ Volume Keys… shows the steps again any time (it is grey while the keys already work).
Hold TALK — the faceplate button, a global hotkey, or a learned MIDI control — to speak; release to cut it, fast and clickless. Small buttons on the TALK panel (MAIN, one per cue, DAW, APP) pick every destination it reaches, any combination. The cue buttons sit in a little scroller that shows two at a time; scroll it to reach CUE 3 and up. Triple-click TALK (three clicks within 0.6 seconds) to arm Auto Mode (the AUTO label beside the panel name goes from grey to gold; click it to disarm): talkback opens by itself whenever the DAW's transport is stopped, and closes the instant it plays. Once your DAW sends its play and stop to the Artemis MIDI port (§6), Auto Mode follows exactly that, so the mic stays shut while the DAW plays silence or records. Until then it goes by the DAW's sound: playing while your DAW's own audio is coming in, stopped one second after it goes quiet. Auto Mode needs a talkback input (Settings ▸ Routing); with no DAW to follow, the NO DAW tag lights red. A held TALK closes itself after 20 seconds as a safety, except in Auto Mode.
Talkback as a track. A track's INPUT menu offers Talkback: the talkback microphone then goes through that track's inserts, fader, pan and outputs like any other input, and still only opens while TALK is held. A new Talkback track starts with its outputs on the TALK panel's destinations, in the panel's order — MAIN, the cues, DAW, APP — and afterwards its OUTPUT menu is the only place that routes it. Only one track holds Talkback; picking it on another track takes it from the first (which keeps its place with no input). While a track holds it, the panel's buttons are inert. Bypass and Inactive on the TALKBACK LEVEL work as described in §6.
Set the global hotkey in Settings ▸ Talkback — it works while any app, including your DAW, is in front, and never reaches the DAW as a keystroke.
⌃⌥⌘-click any fader, knob, button or insert row to arm learn for it, then move a MIDI control to bind it; the same click again cancels. A console control (fader, pan, App Send, CUT, SOLO, TALK…) is remembered per Mac; a plugin parameter is remembered by the plugin itself, so the same plugin loaded on any track, in any session, already has its mappings. A freshly-bound control has to be moved across the parameter's current value before it takes over, so nothing jumps the moment it's touched (you have to come within about 4 % of the current value). You can learn faders, pan and balance, App Send knobs, CUT, SOLO, TALK, the master, DIM, MONO, Ø L, Speakers A/B, the CUE and TALKBACK levels, and insert rows, plus any plugin parameter. Talkback’s own MIDI control is learned in Settings ▸ Talkback ▸ Learn MIDI.
If the control you moved already drives something, MIDI Control In Use asks: Cancel, Stack as Macro (both targets move together) or Move It Here. A template that brings its own mapping when you already have one shows Mapping Conflict: Use the Template’s or Use Mine. Settings ▸ MIDI lists every binding on this Mac; Clear Console Bindings clears the console’s own only — plugin mappings stay.
⌘, opens Settings — one window, categories down the left:
Settings ▸ Audio lists every interface Artemis can run on. Aggregate devices and Multi-Output devices are not listed: Artemis builds its own device around your interface and can’t put one aggregate inside another. Your Mac’s own microphone and speakers can still be picked as the input and output.
Hold Option while Artemis opens to choose before anything starts. “Which interface should Artemis use?” lists what is plugged in, with a tick on the one you used last. Click Continue with <name> to use it, or pick another in the list and click Use Selected. Nothing is opened until you answer. (The key is a Quick Key: Choose Interface, §16.)
If an interface can’t be used, Artemis says so instead of going quiet: “<Interface> can’t be used”, one line saying why, and the interfaces plugged in now, the last one that worked at the top. Click Use Selected, Pick Interface… for Settings ▸ Audio, or Quit. An interface that can’t be used is never remembered, so the next launch comes up on the last one that worked.
Your DAW keeps running. The Artemis device stays connected and plays silence, so Pro Tools (or any DAW) never loses its playback engine and your session stays open. Artemis comes to the front with “<Interface> was unplugged” and four buttons:
On a Mac with Pro Tools | HDX the same sheet can read HDX is in use by Pro Tools: the card is Pro Tools’ while it runs, so nothing is unplugged. In Pro Tools set Setup ▸ Playback Engine to Artemis and quit it; in Artemis click Reconnect, then reopen Pro Tools.
If you switched, plugging the first interface back in asks “Switch back to <Interface>?” — Switch Back or Stay. Artemis never switches on its own. Quitting Artemis still disconnects its devices, exactly like unplugging an interface.
The values you pick in Settings wait for OK; Cancel discards them. The buttons that do something — Clear Console Bindings, Set… and Clear for the hotkey, Learn MIDI, Clear Peak, Save as Default Session — act the moment you press them.
Artemis never checks for updates by itself, at launch or at any other time. Choose
Artemis ▸ Check for Updates and it reads
fourletterrecords.com/artemis/latest.json. If a newer version exists, the
Update Available sheet offers Not Now or Download;
the installer downloads, and installs when you next quit. If you are already up to date, nothing
appears. If the check cannot finish, Update Check Failed says so. A downloaded installer is
verified cryptographically before it's ever offered to run: it must carry an Apple Developer ID Installer
signature from our team (ID 9WTFGV63S2) — anything else is deleted, never installed.
Help ▸ What’s New shows what each version changed.
The REPORT button, beside SETTINGS at the bottom of the master column (or Help ▸ Send Report…, the same thing), opens Report a problem; its Send attaches your engine logs and a rig snapshot to an email to Four Letter Records. Tell us what you did, what you expected, and what happened instead, then send. Save Log to Desktop puts the report and log in a folder on your Desktop instead of emailing.
Heard a pop? Note the time and send a report. The log counts clicks and dropouts every ten seconds at each point of the path — your inputs, the DAW's playback, MAIN, the cues and the outputs — with the time of the first one, so it shows whether the pop came in that way, was made inside Artemis, or happened after it, in the interface.
Artemis tells you when a permission is missing, with a sheet that opens the right Settings page. It can't turn them on for you — only you can, in macOS.
| Permission | Why | Where, on your macOS |
|---|---|---|
| Microphone | Your interface's inputs. Without it they are silent; the outputs and the DAW still play. | macOS 13 and later: System Settings ▸ Privacy & Security ▸ Microphone ▸ turn on Artemis. macOS 12: System Preferences ▸ Security & Privacy ▸ Privacy ▸ Microphone ▸ tick Artemis. |
| System Audio Recording | Hearing one app as a track (macOS 14.2 and later). | System Settings ▸ Privacy & Security ▸ Screen & System Audio Recording ▸ turn on Artemis under System Audio Recording Only. |
| Accessibility | Your Mac’s volume and mute keys driving MAIN. Without it the keys work as they always did. | macOS 13 and later: System Settings ▸ Privacy & Security ▸ Accessibility ▸ turn on Artemis. macOS 12: System Preferences ▸ Security & Privacy ▸ Privacy ▸ Accessibility ▸ tick Artemis. |
The Artemis driver is installed by the Artemis installer; if a sheet says it is missing or doesn't match, run the installer and restart the Mac. Run Artemis from the Applications folder; a copy running from anywhere else shows Move Artemis to Applications.
If Pro Tools is routing an Aux Input back into Artemis, Artemis silences MAIN and the cues and shows Pro Tools is feeding Artemis back into itself. Remove that Aux Input, then click OK.
| Symptom | Try |
|---|---|
| Inputs silent | System Settings ▸ Privacy & Security ▸ Microphone — Artemis must be allowed. For an app as a track, the same page's System Audio Recording must allow it. |
| DAW can't see Artemis | Make sure Artemis is running and macOS's microphone question has been answered (§3). Then relaunch the DAW and re-pick Artemis as its playback engine / audio device. |
| "<Interface> was unplugged" sheet | Your DAW keeps playing into Artemis. Press Switch to … for the last interface you used that is plugged in, or plug yours back in and press Reconnect — it does not come back on its own — or pick another under Settings ▸ Audio (§12). |
| An app never appears in the INPUT menu | It has to be running, and on macOS 14.2 or later to be captured on its own track (otherwise use Artemis App Send, §7). |
| Update won't apply | Artemis only installs a package signed by Four Letter Records; anything else is refused and deleted automatically — try Check for Updates again. |
Artemis ▸ Quick Keys (⌃⇧K) opens one list of every shortcut. Click a shortcut's key box and press the keys you want; if another action already uses them you are asked to Cancel or Reassign. Shortcuts that belong to macOS can't be changed, and a few chords can never be assigned (Shift-Option-S, which dictation tools use, and Command-Delete / Shift-Command-Delete, which trash files in Finder). The Talkback hotkey is set with Set… in Settings ▸ Talkback, or in Quick Keys by clicking its row’s key box. Each row also has a small ✕ that leaves that action without a shortcut; a refused key shows a line saying why; Reset All puts every default back and Done closes the list. While a key box is waiting for your keys, every other shortcut is switched off, ⌘Q, ⌘H and ⌘M included, so the keys you press are recorded rather than acted on; Esc cancels. These are the defaults:
| Action | Default |
|---|---|
| New Track | ⇧⌘N |
| Delete Selected Tracks | ⌃⇧⌫ |
| Rename Track | ⌘R |
| New Group… | ⌘G |
| Suspend All Groups | ⇧⌘G |
| Duplicate Track | ⌥⇧D |
| Solo Selected Tracks (follows Settings ▸ Console ▸ Solo Mode) | ⇧S |
| Cut Selected Tracks | ⇧M |
| Track Delay Meter | none — assign one if you want it |
| Copy Plugin Settings (plugin window in front) | ⇧⌘C |
| Paste Plugin Settings (plugin window in front) | ⇧⌘V |
| Clear Peaks | ⌥C |
| Speakers A/B (MAIN between its A and B outputs) | ⌥B |
| Quick Keys | ⌃⇧K |
| Talkback hotkey | set in Settings ▸ Talkback or Quick Keys |
| Nominal level, 0 dB (click a fader) | ⌥-click |
| DAW / Monitor latency (click the header readout) | ⌘-click |
| Open Most Recent Session | ⇧⌘O |
| Rescan Plugins (hold at launch) | ⇧⌘R |
| Choose Interface (hold at launch) | ⌥ |
| New Session / Open / Save / Save As | ⌘N / ⌘O / ⌘S / ⇧⌘S |
| Undo / Redo | ⌘Z / ⇧⌘Z |
| Cut / Copy / Paste / Select All | ⌘X / ⌘C / ⌘V / ⌘A |
| Settings / Show Console | ⌘, / ⌘1 |
| Minimize / Hide Artemis / Hide Others / Quit | ⌘M / ⌘H / ⌥⌘H / ⌘Q |
Not in the list because they are clicks: ⌘-click a plugin or control to Bypass it, ⌃⌘-click to make it Inactive (§6), ⌃⌥⌘-click to learn MIDI (§11), and Shift-Option / Shift-Option-Command while picking an input or output (§5).
Choose Artemis ▸ Uninstall Artemis…. The sheet has one box, Keep my sessions and settings, ticked: leave it ticked to keep your sessions, settings and license, or untick it to remove those too. Click Uninstall and enter your Mac password when macOS asks. The app, the audio driver and the leftovers (logs, caches, preferences) go to the Trash, and the installer receipts are forgotten. Nothing is deleted outright, and your Mac is never restarted for you: the Artemis device stays in the Sound list until you next restart, then it is gone.
The same steps run from Terminal. --dry-run only prints what would be moved; add
--keep-data to keep your sessions and settings:
sudo sh "/Applications/Artemis.app/Contents/Resources/uninstall-artemis.sh" --dry-run --home "$HOME" sudo sh "/Applications/Artemis.app/Contents/Resources/uninstall-artemis.sh" --keep-data --home "$HOME" --user "$USER"
ARTEMIS · Four Letter Records · fourletterrecords.com