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Kolzing

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  1. You can set the Drag option to Shuffle L (found on top right of the screen). This will move whatever is to the right of what you remove, to the left (fill the gap) when you delete something.
  2. This usually happens when regions overlap/don't overlap inside the stack. So I guess the one that shows up with the waveform in the collapsed view has no overlaps on either side, but the others do on at least one side. It is mostly a handy feature, telling you if more than one thing is happening at once. And if not, it will show you exactly what's going on. You can try to play around with the regions' start and end points and see what happens. If you drag out the end of the git verse 2 region to overlap the chorus-region, I would think you would see the whole stack as just a series of blue lines.
  3. Hehe, I agree. I guess the wording could have been better on my part, easy to forget it's hard to convey any form of sarcasm with text.
  4. Yeah, was mostly just for ruling out that there was anything extremely horrible going on.
  5. Does a completely different project work? An old one or something. Does this happen if you make a new project and don't import anything? The question is basically: is this happening regardless of what project is open?
  6. I don't use this particular kontakt library, but is there any DAW sync feature on it? Like if you press play in Logic, it automatically starts to play. That could be one thing to check out. Another is to make sure there are no open sustain pedal messages at the end of the region. Apart from that, I can't think of anything else right now. Except that there's a bug somewhere, but what kind of solution is that?
  7. Ahh, okay. Well, the only way to really do that would be to send the outputs of the tracks you want compressed to this bus. But that can quickly become very inconvenient, especially if early on in a mix/production. You would also miss out on the possibility of using more convential subgroups, like all synths, drums, bass, vocals etc. One compressor per track or stack you want to compress, as you said, would be a good way to go!
  8. By the looks of it, what you want to achieve here is to side-chain compress the bass with the kick? Just put the compressor on the bass track (or the track you want affected) and choose the kick track in the side-chain dropdown menu on the top right of the plug in window. No need to go through any buses!
  9. Sadly, no. This is a topic from the New Feature Suggestions about this very thing (and some more stuff that should be searchable). viewtopic.php?f=41&t=162293
  10. Just felt like adding this to a half-dead thread, answering the original question: I have owned Bitwig for some years now, and it really is a TON of things you can do there that you can't do easily, or at all, in Logic. Not to say that it is better, it just has a very different focus area. Bitwig is more about easy incorporation of eurorack/CV outboard gear (there is built-in functionality to interact with CV, and they also made a hardware eurorack interface specifially for this), sound design etc than being predominantly a recording and mixing platform, if you could say so about Logic. The whole concept behind Bitwig is that everything is modular, so, to put it simply, insted of giving you e.g. one crazy do-it-all behemoth synth like Alchemy, it just gives you lots of smaller components to build whatever ramshackle structure you want. If you want a synth with 50 lfos all modulating the pitch of a saw oscillator independently, and you want to modulate the rate of each of those 50 lfos with 3 lfos each, all running at different speeds (or whatever else you can think of, probably something better than that!), Bitwig is the place to go! It also let's you use all of it's modulators with third party software, so you could easily add extra functionality to those (like more lfos, envelopes, random generators, you name it. Think of having an unlimited supply of MIDI FX in Logic), or build some kind of dream instrument with the oscillators from your favourite soft synth paired with the filters from e.g. FilterFreak or Volcano, all controlled by the same envelope, lfo or other modulator. It also has the Poly Grid, which is in effect a Reaktor-style graphical modular system where you build what you want, it has the same for FX called FX Grid and, lately, also for modulators. They have also incorporated some neat stuff like being able to put plugins that have a habit of crashing in their own environment, so if the plugin does crash, it only crashes the instance of the plugin and not the whole of Bitwig. And Bitwig don't support AU, no, arguing they won't use resources on that since it's a cross-platform system, and AU is only for macOS. That said, there is of course stuff Logic does way better than Bitwig. But I have made sounds in Bitwig I haven't been able to make anywhere else, so it definitely has it's own thing going. I find it hard to really compare the two, as they excel at different areas of music making. Price wise, I guess Logic is the odd one out on the DAW market, having a more than reasonable price.
  11. I think elektronikon is talking about how this works in another DAW, in this particular case I would guess Ableton. If you drag an audio file into a midi region on a midi track in Ableton, it will give you three choices on how to convert the audio to midi. And if it's possible to recreate this particular workflow in Logic. You could maybe try to use the Drum Replacement/Doubling function to create midi out of the perc loop audio file, but I don't know if it's possible to generate flex markers out of a midi region on another track. So maybe then converting the lead loop to a new sampler track, and then using the midi from the drum doubling operation to play the sampler track?
  12. I think you should get a popup window asking if you want to change your project sample rate or change the sample rate of files when you drag them into a project (if the sample rate of the files does not match the setting for the current project). If you have audio files with a different sample rate than the one the project is set to, they might play back faster/slower/different than expected, so they need to be matched one way or the other, at least. No expert on this, but I don't think going down in sample rate will be any worse for your files than recording them in 44.1 in the first place, so I guess that is a safe option. If the mixer guy only works in 44.1, then I guess he will probably convert the files when he gets them anyway, if you send them in 48. What you want to do is in the end up to you! I think Pro Tools might still (or at some point/some version) have 48 as it's lowest sample rate setting, so if the drums were recorded in Pro Tools, that could be one reason for them being 48. But this might be wrong. You can set (and see the current) sample rate for the project either: - under Record > Recording settings and then click the Audio tab - or in the transport display, if you have activated the sample rate checkbox (can be found under the little arrow on the right side of the display, first choosing "custom", then clicking the arrow again and then clicking on "customize control bar and display", and then on the sample rate checkbox on the menu that appears)
  13. Sounds like you've accidentally changed your Drag setting. This can be found on the upper right of the screen, just over the ruler/bar numbers. Set it to No Overlap, and you should be back in action!
  14. I don't have any specific knowledge about this issue, but I believe Merging is not supporting OS 12 Monterey yet. So the issue could stem from there.
  15. Booting won't really solve the problem, as it takes longer time than to wait for the unresponsiveness to go away. And I have booted it since this issue appeared, hehe, but it is still happening. I will, however, try resetting this other stuff and see if that makes a difference!
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