northernlogic

Hi music_boy David just directed me to your post. Here is a quick summary of the content of the ASK Video Logic pro Tutorial DVDs (http://www.askvideo.com). Level 1 concentrates on configuring Logic to suit your working methods, as well as basic recording functions. Proper configuration is essential to acheiving efficient workflow in Logic, but can be a bit complicated. We've tried to keep it simple so you can be up and running faster. Level 2 covers the everyday functions. Audio and MIDI recording, editing, mixing, bouncing, and so on. Level 3 covers the more advanced features, like notation (the Score window), ReWire, the Project Manager, Video, ProTools support and, most importantly, a large section explaining the Environment and how you can put it to use. You can find sample videos and more details about the content of each DVD on the ASK Video website. http://www.askvideo.com Thanks for your interest in my DVDs - I hope you find them useful!

bobabooey99, I've been off the forums for a while due to my substantial workload and haven't been able to complete a block diagram for the guitar rig. I was actually thinking of rebuilding it to try and make it more efficient when I have a few spare afternoons. However, if you'd like to have a look at the environment and try to trace the signal path, PM me with your email and I'd be happy to send it to you.

All are good methods. Which you use depends on whether your sample has solid time, in which case you usually only need a quick readout, or has looser time, in which case the Beat Mapping track is essential. Much better than the old "guide track" workaround!

You could also try the BPM counter plugin in Logic 7.1. It takes a moment to find the tempo, but it works!

There are often differences in tone between hardware and software synths/samplers/drum machines. I know a few people who still prefer to use their old AKAIs for beats because they feel that they sit in a mix better than the cleaner, more "clinical" software samplers. Keep in mind that effects, compression and EQ are largely responsible for the Triton's sound, while UltraBeat's output is left dry. I once sampled the entire drum library out of a Triton (unfortunately lost in a disk crash before I could backup) and I couldn't believe how thin it sounded when I bypassed the effects. Check out the FX settings on your favorite patches in the Triton and imitate them on similar sounds in UB/Logic. I expect it will go a long way towards getting the mix you're looking for. The Triton is designed to sound "big" as soon as you lay a hand on the keyboard. UltraBeat offers better versatility, but needs to be used in conjunction with Logic's EQ/effects to reach the same conclusion.

Not sure about the match EQ, but the mono>stereo plugin category appears when you attempt to load a stereo plugin on a mono channel.

I just posted some information on an Environment for live use that I'll be making available soon (I just have to write the manual): http://www.logicprohelp.com/viewtopic.php?t=991 Might give you some ideas.

Alright, looks like it is time again for a shameless plug. The first of my 3 volume DVD set on Logic Pro 7 for ASK Video (http://www.askvideo.com) should be out within a month, with volumes 2 and 3 following by the end of the year. The first volume covers configuration and basic recording and editing. The second and third volumes will deal with advanced editing, mixing, the Environment, ProTools support, and more. My GarageBand Tutorial DVD is now available. In addition to these projects, I have (finally) completed my Logic Guitar Interface, an environment developed to address many of the limitations encountered when using software instruments and plugins in live performance. Key Features: -16 Audio Instrument channels for synthesis. -16 Aux channels for live signal processing. -8 busses. -Channel strips and plugins activate/deactivate in response to program change messages. -Unique preset map saves up to 128 channel strip combinations with user-definable preset names. -Easy configuration of two MIDI expression pedals per channel. -"MIDI Inserts" provided on every channel to allow the incorporation of special MIDI processing routines. -Separate guitar tuner channel. -MIDI output routed to the sequencer for easy live MIDI recording (live audio recording depends on hardware routing). -Built-in Sysex support for the Roland GI-10 guitar-MIDI interface. I will make this available for use and study as soon as I have completed the operation manual, block diagram and technical explanation in the hope that it will provide Logic users with practical examples of creative Environment programming.

I'm glad everything worked out on Saturday! The transformers should be connected in parallel. Otherwise, the first transformer will filter out all the data that needs to go to the second transformer. You could use CC123 (All Notes Off), but the nice thing about CC9 is that plugins don't use up any processing power when a channel is muted. This allows you to set up as many sounds as you want, each on its own channel, without worrying about overloading the CPU. You can use a Sysex fader, triggered by a program change message, to send multiple messages at once. In my guitar synth rig, I use Sysex faders to send CC messages to mute/unmute the channels and bypass/enable the first 8 inserts according to incoming program change messages. I spent the weekend revising the guitar synth rig to provide better ergonomics and to make it easier to expand. I have a little more work to do to support the foot controller, but once it is finished (and once I've written an operation manual) I'll look into uploading it for others to study. I'll probably have to put it on my own website and provide a link, as I understand there is a 512KB file size limit on this forum.

We had a thread going on this topic the other day: http://www.logicprohelp.com/viewtopic.php?t=884

Neat. It never dawned on me to EQ the bass and kick out before the phase reversal. Of course, I never use prefab loops or sample from other people's songs and I rarely work with vocals, so that might explain why...

There really isn't any way to accomplish this without significantly altering the sound of the beat. Once the tracks are mixed, they're mixed. There have been attempts to remove vocals by reversing the phase of either the left or right channel, but this cancels everything that is panned to the center- including the bass, snare drum and kick drum- not exactly the desired effect. You could try using a parametric EQ to carve out some of the voice, but you'll lose a lot of the midrange, where the snare and toms are most prominent. One thing to try- if you are working with a repetitive beat, look for breif moments in the song when it is not obscured by the vocal. You might be able to find enough "free" sections to splice together into a new, composite beat.

Whether they had issues with the sync or the sonics, I'd want to know what hardware (and monitors) they were using when they determined that Logic had a "poor" audio engine. Musicians and audio engineers (and artists in general) have a penchant for dogma- trust your own ears over other people's opinions.

I haven't tried the CME controllers. If you have doubts about it, see if you can try out an Edirol or a Novation. I've found both to be quite solid, especially the Novation, which has a much more playable keyboard than the cheaper controllers.

What MIDI interface and controller/keyboard are you using? That many hanging notes is really unusual and it doesn't strike me that it would be an issue with Logic. Your PowerBook should easily be able to handle what you are doing- I can usually run far more than 10 instruments on my 1gHz iBook, depending on the CPU load needed by each instrument.