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dickie_uk

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  1. Thanks David - that's pretty much what I'm doing at the moment. I've also been keeping a dedicated 'palette' track where I have the 'un-looped' versions that I can copy from , but thanks for clarifying I'm not missing something obvious!
  2. This is probably a very specific use case, but while constructing / arranging a track on a current project, I often find that I need to replicate an existing region (which is already looped) to later in the same track, but with a different or preferably no-loops. Is there a way to cmd+something and drag just a region to just copy the source region without the existing loops? Thanks!
  3. Ahh - I fixed it. Apparently the recording did capture the filter-on in this case, so once I added that lane it was obvious and could add the 'on-point'
  4. Hey team - this is probably something obvious in my understanding of automation, by why isn't the attached track-automation playing with the audio? The filter parameters have been recorded and they are all turned on - I was expecting them to play in parallel with the regions. As it is, its just playing the underlying audio region. Have I completely missed the point of track automation, and I should instead be recording these as region automation? Thanks team
  5. Just saw your reply - perfect! Thanks did the trick. Thanks again - you saved my sanity! (preferences / general / accessibility in case anyone else finds this thread!)
  6. It's only a single-click to flip it back on the fly, but it seems to be causing some issues with my Roland Cloud AU's - so curious if anyone knows how to reset the default behaviour. I've reset all the AU's and rescanned, so I'm fairly sure this is a logic global preference - it also does it if I create a new project. Thanks in advance!
  7. Hi team - not sure if I've changed a setting by mistake, but whenever I open a new virtual instrument (both embedded Logic instruments and external AU) - they always open by default in the 'Controls' editor mode, rather than the 'remote view' mode.
  8. Thanks as always David - same outcome as mine but with a 3000% more efficient workflow. Thanks again for all of your help!
  9. Resurrecting this thread - I'm actually going through it right now importing some old MIDI files into new tracks. Another option is to stay in the tracks view, use the marquee tool (cmd+click) to highlight the areas of the single contiguous regions where you can see notes, then option-click the marquee region to split based on the selection. Once you've done that all along the track, you can just 'select empty regions' and delete the spaces in one go. Then using 'trim > set optimal region sizes' makes it a lot easier to manage visually. Completely agree though, would be nice to have a 'split into regions based on no events' (basically the way that Flex detects transients in audio but for MIDI events that you can +/- the sensitivity). (Unless of course @David Nahmani knows of any secret features do do this!)
  10. Thanks David - that's perfect! Thanks again for your time and effort working on the book - its truly changed my Logic-Life
  11. Ok - so I think I might have figured it out - If you mute or solo any of the tracks, it automatically mutes/solos all the tracks that share the channel. It's more of an implied relationship than anything specific in the interface, but it should be good enough. As you say, In mine I'll name/color them accordingly (perhaps even create a folder stack for clarity) in my projects, but not everyone is as well organized
  12. Davids book is helping me to dig into areas of Logic I might never have touched before, and some of them are making my workflow/layout much easier. In the book 'Lesson 7: Creating Content", there's a session on creating a new track with the same channel, and using that track to record the automation with the step sequencer (RemixFX in this example). All of this makes sense to me, but my question is - if someone had given my this project already completed, and this is the first time I'm seeing it - is there any easy way to tell that any particular track is sharing the same channel as another? The track obviously doesn't show up in the mixer (which is a give-away its an automation track I guess), but other than the track label (which you hope would be the same), is there an easy way to see which track it is the parallel automation for?
  13. Thanks for the feedback Christian - You pretty much confirmed what I suspected. If they're 'done' record them as is, and if they're not rework them with something more flexible list a VST. If there are the odd one-shot samples I can always grab those into the quick-sampler as required. I'm sure I'll be much creative modeling new sounds anyway, even if 'inspired' by the originals - rather than trying to re-create history with a sampler (I'm pretty sure there's already an entire business around that). Thanks again for the clarity of thought!
  14. My only other comment is be wary of TB3 vs TB4. There is a long running thread on Macrumors (and I experienced it myself) , that TB4 implements protocol tunneling for buses. From my understanding this means regardless of the end device, the hub appears transparent and it should connect at native speed to the originating port. This isn't an issue for regular USB devices (even high-speed audio interfaces) as they don't tend to push higher than USB2 speeds (480Mbps - as an example for my MOTU M2). However this does appear to be causing problems for USB3.1 devices connecting at full speed to the host - no matter what I tried with a TB4 hub or direct to the MacBook, including engineering support calls with Apple, I couldn't get it to connect at anything higher than 5Gbp/s). As TB3 does not use protocol tunneling, it seems it operates as a regular hub, connects downstream to the host at thunderbolt speeds (40Gb/s) and then independently manages the port protocol and speeds with the peripherals at their appropriate native speed. As soon as a put in a TB3 Hub everything works at full connection speed 10Gbp/s to my USB3.1 drives (per the previous answer, the Caldigit TS3 Plus ones are great. I got an Amazon Basics TB3 hub that does for what I need). Ideally I'd recommend connecting the display via DisplayPort, or you might need a usb-HDMI adapter for the monitor. TL:DR; I don't think any will be a bad choice for your instruments and control surfaces, but for your external HDD you might want to consider a TB3 hub instead (unless you have a rare native TB4 HDD). More than enough throughput for your devices, and probably cheaper that the TB4 variants today.
  15. Hi all - I'm in the process of updating a heap of legacy tracks into Logic (thanks again David for an awesome book!), and I'm at a decision crossroads. Looking for peoples general opinions and pro/cons/best practices from the wider, more experienced group I have a number of MIDI tracks that trigger external synths. In order to capture those sounds as regions / tracks into a project that I can share with other people, I think I've got 2 options; 1) Record the audio directly as an audio track (pretty easy) 2) Use the Sampler plug-in to 'reconstruct' the key elements in the note range of the synth, and then continue to drive it as MIDI events (p.s. I know there is an option 3 (recreate the instrument in a VST), which I will do for some things) --Option1 can obviously be flexed/pitch corrected with precision but layers & polyphony/layers/chords make me think this is more about capturing the region as-is --Option2 is likely the most flexible and allows for future tweaking and even new tracks using the same sounds, but the complexity (if it is single, multi-sample etc for a sound) of the source might become it a never ending task to recreate the synth accurately. To re-affirm - I will obviously always have the synths on-hand 'at base', but I'm thinking about having access to refine/create new tracks on the road, or share it with other people to edit. Curious how people approach this in your own productions. Thanks all for any comments
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