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tomorrowstops

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  1. Oh. DOH input sources set to mono then allows mono output options to then be selected. What a ding dong I am. Thanks you two~
  2. Trying to figure out if this is an audio interface limitation or my brain not being able to connect the dots within Logic/MacOS. I want to route instrument and audio tracks to individual, mono outputs on my interface. Track 1->Output 1 and Track 2->Output 2. I then want to send each hardware output on the interface to individual hardware chains which will then be captured into a second computer rig with its own interface. Default outputs in Logic are tied together as stereo, track output dropdown menu does not reveal any mono output options. I/O assignments in preferences don't reveal any ability to change that. Audio/Midi Setup doesn't reveal a way to alter the I/O structure either (like adding mono outputs). Am I missing another configuration window in Logic/MacOS? Or is my interface not capable of this? It's a cheapy Komplete Audio 2 - there's no native software to configure either.
  3. Is there a way to do this? I'm working in the piano roll window and find myself often reaching for the ability to mute the track or region I'm in for a second. For instance, this morning I'm lining up my midi performance note by note against an audio recording in the session. Just by ear and a very loose grid (audio recording is loosy-goosy). Occasionally I'm questioning rhythmic choice, so I just want to mute my performance so I can clearly hear the original. Right now, I have switch back to the arrange or mixer window to mute. Or select the notes I want muted in the piano roll and mute. I just want mute and solo buttons next to say, the quantize adjustments!
  4. A new album of contemplative electro-acoustic sound collages is headed your way 9.4.20!
  5. I did some searching around - did you check out this thread yet? viewtopic.php?t=135628
  6. The only direct experience I’ve had with the 16”, is a few minutes with one at the Apple Store a few months ago. Honestly, I don’t remember the exact spec I was playing with, but it got hot super quick. Couldn’t tell if the fans came on (the store is always super loud). All I had open was Logic and a single audio track playing. I wasn’t impressed. I also did the same on the 13” model, which I remember being an i5. Same, almost instant heat up. Again, not impressed and I walked away ho-hum about the whole idea of replacing my current Macbook. My current 13” (2013 i5 w/8gb ram) rarely gets warm, never hot, and I never hear the fans while working in Logic. So I dunno. The 2020 13” has caught my eye, as its got a new processor and supports up to 32gb of ram. Reviews from people using media intensive apps seem to be favorable, but I’ve yet to talk to anyone first hand doing music production with one.
  7. Yeah, I was referring to audio tracks. But you know, that might be an interesting work around (converting audio to midi, then modulating FX parameters) hmmmmmmmmmm
  8. There's still no way to modulate things like parameters on FX plugins, other than writing traditional automation, right? I've doing it that way for so long, that I might be missing something. (Although, I'm pretty sure there's no other way to do it) Definitely my biggest wish for a future update.
  9. So I brought the 'exported' files back in....everything lines up perfectly with the original regions, except at about halfway it stops. Oh, it happens to also export the very last region for some reason, lol. It's also interesting that the default naming convention is audiobus255_xx for the exported files whereas converting defaults to the original region names. I got distracted converting regions to Sampler (hey - there's also an option in the dialogue box for Alchemy now!) Of course, you can only do 128 samples at a time, so I split the 431 regions into 4 samplers. I still want to do something clever with the raw regions, but haven't figured out what yet. A little more background for the curious - The piece I'm working on is centered around a 6 minute piano improv that a friend recorded. He then handed it off to me to 'do my thing' to it (sonic manipulation). My goals for this are maintaining the integrity of the composition, while introducing a lot of subtle discontinuity at the same time. So I’ve been using the flex tools in a destructive way, on parallel tracks to the original audio. So for example, the 431 regions are from 431 flex markers I placed while in monophonic flex time mode, that I’ve adjusted various ways to alter the timing of most notes and spaces through out the 6 minute piece. I’m the process of doing the same thing on new tracks with each flex time mode. The big trick (as usual) will be in the mix process; trying sculpt all of this together in a beautiful way!
  10. Yeah, I’ll import them back in and line em up against the originals to see. ‘Need’ is definitely a strong word haha. I’m just headed down a rabbit hole for my own entertainment. Favorite part of experimenting - having no clue where I’m going till I get there!
  11. I've got a flex track that I've sliced up into 400~ regions. When I select them all and choose 'export as audio files' it seems to only export 250~ files. And yet, when I go into that folder and playback the highest numbered file, it is indeed the last region in the session. Now if I instead choose 'convert regions to audio files' the dialogue box that pops up is telling me there are 431 files to saved, which is more accurate. Of course, n the grand scheme, I'll just choose convert every time because it doesn't really matter - but I'm just curious as to what Logic is doing with 'export' - must be some sort of cap on the number of regions it can handle this way or something.
  12. Thankfully I was 'trained' in an analog studio, so gain staging was kind of beat in to me. But it took me forever to understand it in the digital realm, and to be honest, I still don't totally get it (red meters in Logic don't necessarily mean...anything!) But I've at least found a method to work through my own productions with and whereas it can be a little hit or miss (I work exclusively in experimental-music-land), I've found that basic gain staging principles (tracks@ -12db~/mix bus@ -6db~/master@ -0.1db~) still gives me results I'm happy with. It can get tricky with the virtual instruments as there are usually multiple gain stages within them. Then there are some mixing plugins that have stages of their own. One thing I've also learned recently is reducing levels using the gain plugin is no different than moving a fader - super handy if you have a lot of automation in your mix. I've learned a lot from YT and forums like this, but have also learned to kind of take it all with a grain of salt - toooooo many variables to have a static 'recipe'-like approach (well put, David!)
  13. Yeah, it really depends on what you're trying to use for instruments and plugins. I run 30-40 tracks plus a crap load of STOCK plugins at mix down on the MBP you see in my signature, which is a 'lesser-than' computer to your 2017 model. I don't live track too often, so I run my system at the 1024 sample rate all the time. I CAN run some 3rd party instruments/plugins here and there, but if I try and load up a session with Spitfire/Kontakt orchestral instruments, I'll choke the CPU/ram out very quickly. In a sense, I've partly shifted the entire way I make music, to balance system resources against expressive creativity - because of these limitations (couldn't be happier though!) - just something to think about. Laptops will always be more challenging to manage, but it's obviously possible - yours is no different! When I finally bite the bullet and upgrade, I'll most likely stick with the format, as I just have a thing for laptops. However the consensus seems to be that (at least right now), the 2019 27" iMac with the i9 (8 core) processor is the best bang for the buck, albeit a lot of $$ (at least for me!)
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