Roger Paolo

I bought ARC from IK multimedia, because I don't think I will be able to tame the frequencies below 100 Hz. First results are pretty good, my mixes become more transparent. the top end 'opens up' because there is more room in the spectrum somehow. I am going to work on the 135 hz peak but for now I am mixinf

so the room is 440 cm long, with a partly angled back wall (it's an attick). the width is 330 cm at listening position, going to 360 in an angle. so I would like to make an absorber you mention. There are several bass traps around the room, the typical Auralex corner traps and some homebrewn 6cm rockwool traps in the different cornerers. bUt these are all broadband and won't manage frequencies in the lower range. How do I calculate a membrame trap for 132,5 Hz?

Hey people, I measured my studio with Room Eq Wizard, a couple of times. i don't have a measurement mic so i used one I have, in this case it's a Violet Designs Dark Knight. I know, it will add some coloration but for the low frequencies it should give me some idea of possible problems. It resulted in the following waterfall diagram. I see 3 problems: a peak with long decay at 41 Hz and 132.5 Hz, and a big dip at around a 100 Hz. I recognize the 132,5 one, that's a frequency I regularly cut while eq'ing my bass guitar, and with kick drums. If I do a frequency sweep the peaks and dip are clearly audible. The wavelength of 132,5 hz is 343 m/s (speed of sound at 20 deg) / 132,5 hz = 2,59 meter, about the height of my studio. The sidewalls of my studio are angled but my ceiling is not, so this could be the reason for a standing wave. I could tackle this issue in 2 ways: by making an angle in my ceiling (could do this with plywood) but that's a pretty radical solution, I would have to make a pretty solid construction. The other one could be absorbing this wave. So I would need to make a narrow band bass trap. Can anybody give me some direction in how to calculate this trap? 100 Hz dip is harder for me to explain, it could be a result of other standing waves interfering, so getting rid of the 132 one would be my first step. Any help is much appreciated!

Hi there, I use a Komplete Kontrol 2 as a controller for Logic. I noticed that recently, after the 10.4.2 update, the meters on the Komplete are buggy. They flash and they don't follow the meters on Logic's mixer as good as they did before. Anybody an idea how come? I also posted this on the NI forum. But it could be something on the LP side.

did not do the upgrade yet, and had not taken the time to read the release notes. At Last!!! Apple provided us with this feature. Works like a charm. Love it.

guys works perfectly, there is however an issue when you also have Final Cut installed. FCPX uses the Apple Loops folder too, for sound effects. Somehow it does not get tricked by the alias created and re-downloads it's content everytime after creating the symbolic link (even when you are not opening the program). After this Logic follows the newly created Apple Loops folder and not the symbolic link (I even think it is being removed by the FCPX dl process). Any thoughts?

oh ok.. i used the import from other project function. that works better than just copying and pasting...

Our singer recorded 7 tracks of vocals for of our songs. She used the bounce of my project as a guide track, i a new Logic project. She sent me the project. If I past the seven tracks in the original project some of the tracks she recorded are routed to channels that are already used. If I route the pasted track to a new channel I lose the settings she used on that track. Pretty confusing. What should I do?

bump... nobody got an idea?

hey there, I also used Symbolic links to store the factory content externally. Works like a charm. But if the disk is not connected to my laptop Logic automatically starts downloadint the basic database. I don't want that. how can I prevent this?

you can do that, but that is a destructive process, you can't go back. When you want to edit comps in the way that I showed in the movie clip, you need to change from comp to edit mode. Clickt the comp button in the audio file: http://d2nwkt1g6n1fev.cloudfront.net/skydocu/wp-content/uploads/content/logicpro/images/logicpro-en-S0895_recQuickSwipeComp.png it becomes a little scissors. Now you can edit like it was a normal audio file. If youre done, you can go back to comp mode.

like this? https://cvws.icloud-content.com/S/AS5ho3PDdcWB0F31hHoajo6Rb6xl/split+audio.mp4?o=AvyrEu1eTEg-V99s6O4x7aRZKe73X9alzmIU8vgh1j-0&v=1&z=https%3A%2F%2Fp35-content.icloud.com%3A443&x=1&a=BqFFaVenTm9wuespvqRw9F6tQ_c-AyIcRAEAAANuG0Q&e=1530122989&r=72fc9d3f-8c0e-4044-95e2-b5877bd48c04-1&s=AwSIf0ZRPDPuJLqw7GJTQsC1B2s

So after finishing a few projects I sold the S3 for about the same price I bought it for. I really liked the faders and the assignable buttons, but I did not really use enough of the functionality to justify the amount of money parked on my desk. Also the lack of transport control bothered me. So I bought a Focusrite Scarlett 18i8 (that has a lower latency than the S3) and invested the rest of the money in new surf gear )

Haha yes it certainly is fun to play with. You can make Moog’s filter do things it didnt dear to dream of!

Thanks Alan. I have been playing around with these settings but it would not give the result I was looking for. I ended up with something different. An arpeggiator did the job, firing a tone every second 1/8th. By setting a slow attack and a long release I get the desired effect....