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dmitch57

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  1. Note that AAC is not lossless; you should probably bounce to PCM.
  2. Nice, I didn't know that one. Marquee tool also works for this, but only in the Tracks window.
  3. I'd like to do it that way because I put the chord symbols in the marker track early on in the project, way before I generate a lead sheet. I always hate having to enter them twice. OP might have different reasons of course. 🙂
  4. There's another useful workaround: create the MIDI tracks with channels other than channel 1 (using "New Track With Next MIDI Channel"). Then the automation for those MIDI tracks doesn't interfere with the automation on the actual instrument track.
  5. Sure, here you go. TwoAutoPoints.zip Move the faders to somewhere else above 0, select all tracks, and do a "Create 2 Track Automation Points For Visible Parameter". You get this: The kind you get when you do Track > Other > New Track With Same MIDI Channel, with an Instrument track selected.
  6. Here's a TL;DR summary, since nobody replied. Here is one screen shot showing the anomaly. 5 tracks. Each track starts with two auto points for volume, value +0.0 dB. Later, where the playhead is: move all faders (three of them) to around -5.0dB. Select all tracks. Create 2 Track Automation Points For Visible Parameter The Alchemy and Audio 2 track behave as expected. The Drums Instrument track behaves erroneously. (The MIDI tracks follow in kind.) I'll report it to Apple as a bug.
  7. Sometime recently, I believe the behavior of the "Create 2 Track Automation Points For Visible Parameter" Key command has changed for only one specific type of Software Instrument track. I've always used this command to create two auto points on a track: one point for the current automation value, one for a new value specified by a mixer fader. It lets you make a clean transition in a parameter, like this (the playhead is the point at which two automation points were created in all images) Zoomed in, the two points look like this: The left point is the old/current value; the right point is the new value as specified by the current mixer fader. This always worked the same on all types of tracks. However, now when you do this on a Software Instrument track - in a certain condition (see below) - the first of the two created points is not the "current" value; it's the new value. So instead of the clean transition to the new value, you get a gradient from the previous value - just as if you'd entered only one auto point: The two created auto points look like this (zoomed in): The odd thing is that this only happens in the following case: Software Instrument, with... Multiple MIDI tracks, and All tracks - the Instruments *and* the MIDI tracks - are selected when the "Create 2 Track Automation Points For Visible Parameter" Key command is executed. If you only select the Instrument track - and not the MIDI tracks - the behavior is as expected. (The reason I generally have the MIDI tracks selected in addition to the instrument track is that I do a "Select All Tracks" before writing two auto points to selected tracks; that's just my workflow. The Volume parameter on the MIDI tracks always follows the Volume parameter for the associated instrument.) I'm 100% sure this is fairly new behavior, certainly in the last 6 months or so. Looks like a bug to me...what do y'all think?
  8. I think the most recent one is Kontakt 7. You just need the free player package. There is only one for Mac.
  9. @shub22: .nki instruments are used by the Kontakt player. It's free from Native Instruments. There is an AU plugin version of Kontakt. So...download Kontakt, load it as a plugin, and point that Kontakt at your .nki instruments (and all their respective samples).
  10. It's easy enough to try and find out. How does it feel/sound when you double the sample rate? Some/all of the "MIDI latency" might just be an internal feature of the Alesis drums. I.e. a lag between the drum hit and the MIDI event sent over USB. There is nothing you can do about that, short of buying new drums.
  11. One easy way to decrease latency is to increase sampling rate. Double the sampling rate (e.g. from 48 KHz to 96 KHz), with the same buffer size, and you cut latency roughly in half.
  12. Good news/bad news. The bad news is, Apple is probably never going to tell us things like their algorithms for divvying up CPU core usage in Auto mode, or what the M-series performance cores are and are not capable of. This stuff is behind the curtain, and will probably stay that way. So trying to infer what they are doing with them, and (worse) what they will do in the future, is an exercise in futility. The good news is that the folks who are responsible for the Logic code - and its algorithms for utilizing M-series CPU resources - are in a better position than the developers of any other DAW to make the best decisions on this topic. That's a big benefit of designing the CPU in-house. There are facets and features of the M series - and of the macOS multithreading support which uses it - that Apple may never tell anyone outside of Apple. But Apple developers - including the folks working on Logic - are privy to these secrets. We, the users of Logic, get a huge benefit from this. Logic may always have better utilization of M-series multithreading capability than any other DAW. Even if we, the lowly users, don't understand exactly why. 🙂 I'm all for experimenting, trying different configurations, measuring the performance of Auto multithreading, etc. I've done a fair amount myself. But I'd wager that Auto core management is going to yield the best performance in most (not all, but in the vast majority of) cases....because the folks who implement Logic multithreading know things about the hardware and OS that we will never know.
  13. I'm running 3.6.6 as well, but on Apple silicon. I saw this on two projects, including a brand new one from a stock template.
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