11

It's hard to tell from the images what it actually sounds like, as there's no time-scale, but that's the criterion I'd use - what it sounds like. Sometimes, a good groove is based on the average beat-centre provided only by the whole band, it doesn't rely on any single part. Listen to some early Stevie Wonder for a perfect example of this - try Superstition....


10

This is a known issue in Mojave. There's something wrong with CoreMIDI that causes it to take much longer to initialize than it used to. Logic Pro X has a hard-coded CoreMIDI initialization timeout that expires before CoreMIDI finishes starting, so Logic on High Sierra takes a long time to launch (waiting for CoreMIDI), and then can't use MIDI because the ...


9

If you have a problem with "hiss" in a sound, then it's rarely something that needs to be solved with a narrow frequency peak: you more than likely just need to cutoff highs above a certain point. This isn't something that requires super precise EQing, it can be done on any modern amplifier by simply rolling off the "highs" on a multi-band EQ. Having said ...


8

Try opening your score editor then on the left hand side make sure the “region” box is opened. The second item down in the region box is “quantize”. This is the quantizing of the visual written notes, not the actual recorded rhythms. “Quantize” is a flip menu. Yours might be set to 4,12 or 8,12. Change it to 16,12 or 16 and that should do the trick. Below ...


6

You are correct and Logic is wrong if looking at beat in the traditional way. Logic and most other DAWs will always assume the quarter note gets the beat no matter what the time signature is so it will see 4 total beats in 2/2. From a music notation perspective the time signature dictates the beat and in 2/2 the half note gets the beat and there are 2 ...


6

An equalizer works on the complete signal. It's like using a camera filter in order to mask some unwanted detail in a scene you are photographing. A pick noise is a sharp "click". This has a wide distribution across frequencies. Going at it with an equalizer will take energy from the click while making it muddier. If you want to work with an equalizer, ...


6

Instead of sending it to two different busses, just duplicate the track. Put a high pass filter on one copy, and a low pass filter on the other copy and make sure the cutoff frequencies are the same. Then just put whatever plugins you want on one track or the other. This was done quite often in the analog world, where one tape track was multed to two or ...


6

You may need to hit the "Show/Hide Flex" button, which is next to the "Show/Hide Automation" button. The keyboard shortcut is Command-F. Additionally, you don't need to delete all the alternate tracks, but you have to flex edit them each individually. If the tracks are packed, you will need to expand the take folder, and you will be able to flex edit each ...


6

By copy/pasting the exact same sound to two tracks then panning them hard left & right, you have in fact created a mono sound that just takes up two tracks. In stereo recording, the very definition of centre-panning is that the same sound comes at the same volume from both sides of the stereo field. The only way to perceive the attack as not centre-...


6

I figured it out! 👏 In the left inspector channel strip (this is where you will find your plugins), select "Gain" ("Stereo", not "Dual Mono"). When you receive the Gain pop-up menu, turn on "Mono", and the audio should now play out of both sides.


5

You can use ReWire to essentially turn the basic version of Ableton Live into a plug-in that runs inside Logic. This is a very common way to use Live inside Logic or Pro Tools. Typically it is done for exactly the reason you describe: to add the Session View to an existing studio. If you have Logic, you don’t need Live Suite, because you already have “Logic ...


5

Switching between bypassand on can produce a click in many plugins and there is no way to avoid it. In these cases you don't want to automate the bypass. You have other options. The more obvious is to automate the depth. Keep it at 0 when you don't want the effect, and increase it on the parts where you want the effect. Another popular option is to use two ...


5

Of course you could copy the track and add distortion to the copy and now you have a distorted copy. Personally I would not use the words "crisp" and "clear" to describe vocals that have any distortion on them. As with most things, the best way to get a great vocal mix is to start with a great vocal recording. When pro tracks have clarity ...


5

So, this is actually a mono file that has erroneously been rendered as single-channel stereo. So one fix is to convert it back to mono, which can then be used like any other mono file (panned to either side). Any DAW worth its money, or even its freeness, will have an easy way to do that. (Logic is IMO not worth its money, but still pretty sure it can do ...


4

Ok, I was about to say sorry, and that I'm an idiot and "why I didnt come up on it earlier!", but no. The solution is not intuitive, because it is not consistent with how other up/down button works (on the insert for example)... The answer is to hold down a left mouse button on the up/down button of the send until you'll get the contextual menu with options....


4

Right click the audio passage -> convert -> convert to new sampler track. You can also go to the audio menu and select convert to new sampler track directly. Select create zones from transient markers, and select the sampler's range. Click ok. And you are done.


4

The only way to do this is to bounce all your tracks down, one way or another. You can export all your MIDI tracks as MIDI files which will include automated controller data. You can import these MIDI files into logic and the automation will be visible in the hyperdraw - however, for that to work you'll need to have the same AU plugins installed for logic ...


4

It's the MIDI "program change" number which is usually used to indicate what instrument should play on that channel (and track in this case). General MIDI dictates a specific list of what instruments correspond to what numbers. That way different implementors can all make their own sounds and stay compatible with existing MIDI files, etc. So one company can ...


3

Not sure which version of Logic you are on but this video is for Logic 8 and is a very good tutorial on a quick way to do this. Creating samples for EXS24. I'm not familiar with Logic X but I'm fairly certain that this functionality will translate with maybe minor differences, as it does translate directly to Logic 9, which I use. This guy, SFLogicNinja, ...


3

In the inspector (above the channel strip of the focused track) you'll see a section with the name of the track. Expand it (if it isn't already) and you'll see a MIDI channel section. There you can select a specific channel for the track to listen to, instead of the default "all". The rest will depend in your devices (keyboards, surface controls, etc). ...


3

My Logic Pro X doesn't have this preset, nor does my LP9. Are you sure this isn't a custom preset? My Logic Pro 9 shows the following organs in the library (bold entries are settings utilizing EVB3): Abstract Organ Angelic Organ Cathedral Organ Circus Organ Classic Rock Organ Gospel Organ Heavy Metal Organ Jazz Organ Lounge Organ Modulating Synth Organ Old ...


3

When you export your movie, immediately before Logic X bounces your audio, you are presented with a dialog window that looks like this: This window lists all of the audio tracks that are found in the original movie that you are editing. (Usually, this will be one stereo track.) Any tracks that are selected when you click "OK" on this window will be included ...


3

I suspect that the bpm you specify is in crotchets (quarter notes) per second. In 2/2, you have two minims (half notes) per bar. Hence, you also have four crotchets a bar (obviously). If the 'beat' in beats per minute was minims, then each bar would take a second, as you expected. If it's really crotchets per second, then every bar will take two seconds. ...


3

You might find it easier to change the output using the Channel Strip in the Inspector, rather than in the mixer, as it has a less restricted view. In the picture below you can see the Inspector window, which is between the Library window and the main tracks window. This should open automatically; if you can't see this, press "I". To change the Output of ...


3

Ok I got it. I set up a similar Logic session and tested different things. Short answer: Your system doesn't have the processing power to support 192 kHz sample rate for the amp designer plugins. There might be other plugins that won't work either. The way I figured this out is by changing the buffer size. Click on Logic Pro X -> Preferences -> Audio. Look ...


3

Below is a shot of the latency numbers from Focusrite's page on the Clarett line specifically: This chart shows us a few interesting things. First, latency is also a function of sample rate, and more importantly for you, the host software and operating system both affect latency. So you could try a larger buffer setting with a higher sample rate to see if ...


3

You have at least two options: Find a VST/AU instrument that includes those sounds. There are plenty of vocal synths but I don't personally know of any that do "fixed-do" as opposed just "oohs" and "aahs". I wouldn't be surprised if one exists though. Create your own with EXS24. So, in other words you'd record yourself or somebody else singing through the ...


3

In garage band those bars visualize expression. Could be the beginning of the region has 0-values for expression, which would mute the sound


3

Some multi-FX processors have parametric EQs that will allow you to sweep a peak (or trough) in the way you describe. Here's an example from the (manual of the) Zoom G3: If you're not using a multi-fx and are using separate dedicated pedals, you can also get dedicated parametric EQ pedals - the Empress ParaEq is an example. Do the amp models in ...


Only top voted, non community-wiki answers of a minimum length are eligible