Electronathan

I'm back because today I realized that with all the updates I've done the graphics are still whack. Anybody else?

Wow. There is a firmware update! And all is well in the world.

The graphics for the mixer, mainly the meters in both the inspector as well as the track mixer, are completely glitchy for me on my MacBook Pro. I'm wondering if other people with similar machines are seeing what I'm seeing? I run 32-bit mode, if that matters. Anyway. Some meters will either be non-responsive to audio during playback or if they are responsive the graphics for the meters have a terrible refresh rate. Mind you it's not on all tracks, but maybe 1 - 3 at a time and it all seems pretty random which tracks will do it. I can also reproduce this in a session with 1 audio track playing an appleloop only. Anybody have an explanation or some possible leads?

OK... Sorry for all the questions, but it can do that for fixing MIDI drums, right? Can you listen to a MIDI cymbal track, play a new note here and there, and Live will replace the old notes with th new you play? From what you already wrote, that seems to be the case, and if it is, it should probably work for polyphonic MIDI recordings as well. I may misunderstand some of what you have written (English isn't my native language), but it seems that Logic already can do several of the things you mention that Live can do. I think this all comes down to one difference between the two: Live prohibits overlapping notes in its MIDI clips. Logic allows overlapping of MIDI events, so when you go to replace velocites by overdubbing your performance (I'm assuming there is auto-quantizing happening in each circumstance) Live replaces similar note events by default, Logic will stack them up.

Logic's EQ vs the Sony Oxford: They cancel each other out in most in most standard applications. (When you do phase canceling of course.) I do reccomend you checkout Fabfilter's latest creation though: http://www.fabfilter.com/products/pro-q.php best UI ever!

You're reading my mind.

Think back to the mid-eighties. Ghostbusters theme song, Cameo used it too. New Wave bands like New Musik (Warp) used it alot. I hear it in Italo-disco tracks too. I remember hearing it on segue scenes of Saved by the Bell. It doesn't sound like a snare, but more like a tom hit. There isn't a strong transient but rather a big tone with the pitch rolling down on the decay. Can you solve my riddle?

oooooh.... that's nice.

When you go the apple store to check out macs the damn store is so loud and the staff are all in your face asking if you need help and all the machines are so pretty, etc. You can't really gauge what kind of noise the machine is making. And then you take one home, set it up and start working.... how quiet is it?

Hi. I think it's case by case. The correlation meter can be handy, but ultimately you have to decide how much of the side band you want in your mix, submix, etc. Rather than observing a meter though, do a single speaker mono test. Sum your 2mix to mono and turn off one of monitors to hear what your sound is going to be like in mono coming out of one speaker (like an iPhone speaker for example). check out this link: http://musformation.com/2009/04/back-to-mono-part-1-mix-in-single-speaker-mono.html They also mention how this technique can work for panning (it's cool!)

Digitalfishphones.com makes their freebies as AU. Perhaps you downloaded the wrong package? This is the link for V1.1 (AU): http://www.u-he.com/fishfilletsAU.zip

Ah, I see. Thanks for clarifying. I suppose if you get some intrinsic pleasure from building a machine (that happens to run OS X) then go for it.

I've read about hackintosh from places like macrumors and the lawsuits between the two companies. It sounds like a "play at your own risk" kind of deal that in the short term would be okay, but who knows what it'll be like to work on one of these machines in a year or two. My opinion is stay away from it mostly based on ethics. I admit I'm naive about building machines from scratch, but with lawsuits and the self-righteous attitude of a company deliberately and publicly undermining another is something I wouldn't want to be vicariously involved with. Perhaps technically it's no big deal.... still makes me wonder what Randy Cohen from the NYtimes would say about it

your gut instincts are usually right the first time. the longer you work on something, the more likely you are to screw it up. I screw up all the time. don't worry about it and don't be ashamed to go back to the beginning.

My approach to gain staging is primarily to keep my entire mix from clipping at the output. And, like your example states, the remedy for clipping can easily be compensated for as far as rendering an AIF. Mathematically there is plenty of headroom internally to add and ultimately subtract. In the example where creative/deliberate distortion is the goal, is it typically the same kind of math though? Take something basic like the Gain knob on Guitar Amp Pro: Is there a neutral setting for it? (There doesn't seem to be) The numbers that distinguish the settings are arbitary yet it does both +/- gain... Anyway, is it redundant to use the Gain plug-in to reduce the signal before hitting the G.A.P gain stage where the signal will be cranked and even cranked some more on the Master knob (and alas, taking the overall level down via the output slider on the bottom if ye so desires...)?