Cubase audio dynamics change, Is this possible in Logic 9 ?

Yes, since the contextual menu only shows you the last 5 items used in the contextual menu.

Thanks!

Note that you could automate volume without cutting the region: click anywhere on the region with the marquee, and use left/right arrows and Shift-left/right arrows to adjust the borders of the selection to the previous/next transient, then drag your selection up/down in automation view.

Thanks, yeah that's what I would do. I just got interested in this thread when logicno8 couldn't find the function "Slice at Transient Markers". I was curious to know why so I ran my own tests.

You need Logic 9.1 to be able to slice at transients withOUT flex being turned on. I think this is where the confusion is coming from.

And this is why, since I am still on 9.0.2 (a little hesitant to jump up to 9.1 since most everything is working nicely for me on 9.0.2 at the moment). Thanks for the info davidpye.

And this is why, since I am still on 9.0.2 (a little hesitant to jump up to 9.1 since most everything is working nicely for me on 9.0.2 at the moment). Thanks for the info davidpye.

For me 9.1 is more stable than 9.0.2, has better features and the upgrade worked flawlessly. Just FYI.

For me 9.1 is more stable than 9.0.2, has better features and the upgrade worked flawlessly. Just FYI.

Thanks David! That's great to know. Just the thing I needed to hear to push me forward and upgrade.

Sometime we need compression for make things "tight' more...and this guy in the tutorial from my first post was showing how there are parts when some musicians went to low or to high ( agressive ) dynamicaly in some moments and he wants to make less difference between these soft/loud notes before compressing everything. THAT"s why I wanted to know whays how can I do what he have done with his CUBASE. I saw him making similar size WAWEforms (which still doesn't mean he will get result he want) but as DAVID said most important thing we're gonna relly to ia our HEARING, not size of a wave form so I'm ok with that that LOGIC doesn't make wave form changes during VOLUME reduction.

I would stick with this MARQUEE tool edit mode because sometimes when I make too much cuts on my audio region, there are those pops and clicks (usually if I interrupt some part where there is no quiet piece) and I know this can be reduced or dissapear when using FADE's but still I think that marquee tool could come into play as "less job tool" for this

Thanks a lot to everyone.

Sometime we need compression for make things "tight' more...and this guy in the tutorial from my first post was showing how there are parts when some musicians went to low or to high ( agressive ) dynamicaly in some moments and he wants to make less difference between these soft/loud notes before compressing everything.

I must admit I didn't watch the video you linked to in your first post. I've just been following along from reply to reply. The quote above is first time I've seen the reason for asking about how to change the volume of isolated parts of a region. I bolded and enlarged the word "before", because it's very important.

If you have a compressor inserted on an audio channel strip and perform volume automation on the related track to raise the soft parts and lower the loud parts (to make less difference between these soft/loud notes), it will not affect the compressor at all...because the fader is after the inserts. You would be automating the volume of the already compressed audio...Not what you want.

To achieve what you want with a compressor inserted on an audio channel strip you have several options.

1. Cut the regions to isolate the loud and soft parts and use the Gain parameter in the Inspector to adjust accordingly.

(These gain adjustments would occur before the inserted compressor)

2. Insert a Gain plugin before the compressor plugin and automate the Gain plug up or down to achieve the desired results.

3. Use the Sample Editor to destructively change the gain up or down which would affect the compressor and achieve the desired results.

4. Automate the Threshold and Gain of the compressor. (WAY too much trouble!)

Another way to achieve what you want, is to set the Output of the audio channel strip to a Bus and insert the compressor on the resulting Aux channel strip whose input is set to that bus. With this method, automating the volume of the audio track up or down will affect the compressor and achieve the desired result.

Knowing Logic, there are probably 5 or 6 OTHER ways to do this also.

Really important point there, redlogic, great that you brought this up.

One more option to add to the list:

-Adjust volume automation until it's "perfect", bounce in place and then compress.

J.

Many thanks. Big explanation RedLogic. It's just

When thinking of an AUDIO file I would never put COMPRESSION before GAIN reduction. It's just...If I have had a drummer slammed crash too hard or guitar player that made it too loud in last part of the riff I would just bring any of these VOLUME (dynamics) ways we discussed on this thread and AFTER I would make it smoother I would bring up a COMPRESSOR. Though, I didn't know that If I bring a COMPRESSOR on a channel, bypass it (turn off), than do my dynamic smoothening, turn compression ON, I will get differend result than if I would do dynamics first and than put compression...now I'm confused

Is there any difference in actual putting compression on a channel strip, turning it off and than adjusting VOL settings, or just in listening dynamics (velocity, however) changes DURING having COMPRESSION turned ON ???

Really important point there, redlogic, great that you brought this up.

 

One more option to add to the list:

 

-Adjust volume automation until it's "perfect", bounce in place and then compress.

 

J.

It could work, but it might be kind of hard to know where "perfect" is in regards to how it will interact with the compressor settings without hearing it while it's happening.

Know what I mean?

Though, I didn't know that If I bring a COMPRESSOR on a channel, bypass it (turn off), than do my dynamic smoothening, turn compression ON, I will get differend result than if I would do dynamics first and than put compression...now I'm confused

It all depends on how you do the "dynamic smoothening".

With a compressor inserted on the audio channel strip, anything you do with that channel strip's volume fader (At any time) will NOT affect the compressor, because the fader comes after the inserts.

(Volume automation automates the channel strip's volume fader.)

Do a little test.

1. Put an audio file on a track.

2. Insert a compressor on the channel strip corresponding to that track.

3. Pull down the Threshold on the compressor so you're getting about 12 dB of gain reduction.

(You can really hear the compression and see the gain reduction on the compressor.)

4. With the compressor plugin window open, pull the channel strip's volume fader all the way down to silence.

5. Notice the gain reduction meter on the compressor......it's not affected by the volume change.

Is there any difference in actual putting compression on a channel strip, turning it off and than adjusting VOL settings, or just in listening dynamics (velocity, however) changes DURING having COMPRESSION turned ON ???

If I understand you correctly, there would be no difference because the channel strip's volume fader does not affect the compressor.

Try some of the methods in my previous post and you'll get what you want.

Really important point there, redlogic, great that you brought this up.

 

One more option to add to the list:

 

-Adjust volume automation until it's "perfect", bounce in place and then compress.

 

J.

 

It could work, but it might be kind of hard to know where "perfect" is in regards to how it will interact with the compressor settings without hearing it while it's happening.

Know what I mean?

Yes, I know what you mean...it's better to keep things as flexible as possible, and the methods you listed keeps them that way. No guesswork involved. I like number 2 the best.

J.

Another quick and easy way to get the effect, is to insert a Limiter before the Compressor.

This way, you're not worrying about bringing up the soft stuff and bringing down the loud stuff with automation.

You only worry about the loud stuff.

Use the Limiter with fast attack and release to only catch the peaks. Tweak it to the material.

Now the Compressor will see a more constant level.

Depending on how erratic the dynamics of the audio are, this method can work really well.

A classic example of this is: Vocal---> 1176 ---> LA2A