simonlangford

Ahhhh...why didn't I think of that?!??! DOH!!!! So instead of routing all the "submix" busses that I have to Output 1-2 I route them to another Bus instead...and then set that to "No Output" and then have two auxes running off of that that the feed the Output pairs that I need...did I understand right?? If so that makes sense!!! Thanks for the advice...I will give it a try...and yeah...I didn't think about that...I can use the Mac Internal audio as 1-2 and the Duet as 3-4 (or vice-versa) Will let you know how it works out! Thanks again!

Hahaha...maybe so...that was just off the top of my head!

If you mean the "stabby" sound that comes in about half way through then that sounds like something you could easily do on the ES2. A couple of sawtooth oscillators slightly detuned to one another (say +5 and -5 cents), fast attack on the Volume Envelope (Env3), keep the sustain up full, add a reasonable release (maybe 300ms), then using the "Router" set LFO1 to about 4.4Hz and sawtooth wave, and route "LFO1" to "Pitch 123" and adjust the amount until you get the right effect. Add a little Tape Delay and a touch of Reverb and you should be getting there

I think this is what you are talking about: 1) You select all of the audio "slices" that you want to Quantise in the arrange window. Then, in the top right hand corner, you will see a button that says "Lists". If you click on that it should show you a few tabs...one of which is "events". Click on this and then the slices which you have already selected should be highlighted in the list. Sometimes you have to make sure that the track with the events on is highlighted in the arrange window first and, if they are still not highlighted in the list view then SINGLE click on the first one and that should highlight the whole group for you. 2) Once you have them highlighted then you should see, at the top of the list, a quantise menu with the different options (including your 16D!). 3) Choose the option that you want and you are in business! The only slightly annoying thing is that, if you later decide to change to a different groove you have to reselect the events and go back in this way. There isn't (as far as I know anyway) a way to simply highlight in the arrange window and then choose a quantise option like you can with MIDI parts...but at least it IS possible... Hope this helps! EDIT: See above!!! haha

Hi all, Hopefully somebody out there might be able to help with a dilemma I have. I currently run the audio out of Logic using the Mac built in sound (yeah...I know!!!) but will be upgrading to an Apogee Duet sometime soon. But here is my problem. I do a lot of online collaboration where I take the audio out from the Mac and feed it into a little Behringer mixer...then take the main outs of that to feed my Dynaudio monitors and then use the FX send on the mixer to create a feed to go into the line input on my PC which then feeds into Skype so that the person I am working with can hear what I am doing "real time". It works a treat and I don't have any problems with it. Of course, I COULD do the same thing with the Duet...but I really want to bypass the Behringer mixer completely as it will undoubtedly be a "weak link". So here is my question. If I get another cheap little USB soundcard (Behringer do one for about £20 here in the UK) and connect that up to the Mac as well and use THAT to feed the Behringer desk (to then feed Skype), is there anyway way that I can route all of the audio to "Output 1-2" AND "Output 3-4" at the same time? Is there a plugin that I can put at the end of the chain on Outputs 1-2 that will just "mirror" it to Outputs 3-4? I know that I COULD do it by using Aux Sends on the channels or busses, but that would exclude any 2-bus plugins that I have on Outputs 1-2. It seems like a pretty simple thing to want to do...and I am sure that some of the multiple output soundcards which have built in "consoles" would be able to do it...but I work entirely ITB so would like a simple solution. Any advice or recommendations would be appreciated! Thanks in advance!

True true...Apple's "secrecy" is the stuff of Myth and Legend...that much I have to agree with! But then, on the other hand, there are some companies that announce products SO far ahead of time that people get equally pi*sed waiting for them. I am a long-time Melodyne user, and when they announced Melodyn Plugin 2 with it's "Direct Note Access" feature I, like many others I am sure, was absolutely gobsmacked! It was originally scheduled for "Fall 2008". Well "Fall 2008" has come and gone...and the release date was duly updated to "Spring 2009". Well, ahem, if I am not mistaken that is right about...oh...now! And nothing as yet. I wouldn't be surprised if it eventually comes out Summer/Fall 2009. Nearly a year late. Apple would be proud! Seriously though, I don't know what is worse...communication without delivery...or delivery without communication. Either way is not good. But I guess that's the way of the world...sigh...

Fair point...but is there ANY software that doesn't have bugs? I use software from Microsoft, Adobe, Steinberg and many others...and there are always bugs. You cannot possibly test every piece of software in every possible scenario..it simply can't happen! OK, maybe Logic has more bugs than some others, but I use it day in and day out, 7 days a week, and apart from one rather annoying thing which causes it to crash every now and then (which I can avoid by being careful not to get carried away and try and do things too fast) I really don't think it is especially buggy. And remember that Logic was developed by somebody else originally Apple have been holding the reigns for a while now...but it ultimately ISN'T their product. They have taken over product development and I am sure that things will get better as time goes on. Consider the long term benefits. Think of how good the Pro Tools system is with its hardware and software integration...everything made by one company...everything working well together. That is what we can hopefully expect from Apple in the future. The software developed to run on a platform that they ALSO have control over. OK...there wouldn't be the hardware "integration" in the same way as there is with Pro Tools in the sense of the soundcards being manufactured by the same company (unless this Apple/Apogee thing develops further) but at least the software is RUNNING on hardware and an OS that is designed by the same company as the DAW!!! I agree that there are problems with Logic...fortunately I seem to be having less than most people, but that WILL get ironed out. And in the mean time the average user has two choices...either wait much longer for a product to be released, or get the new features of the new version sooner at the expense of possibly having some bugs. There is nothing forcing you to upgrade to the new version. And for those of us that want the new features sooner...then we have to decide whether or not we are prepared to run the risk of having buggy software. I for one like the way that Apple are taking Logic, and I think that this is just the beginning. Once they have the Open CL integration into Snow Leopard working properly this will give users much more power...and I am not talking about being able to harness that power now...I am talking about being able to extend the life of the Mac that you have invested so much money into for a little (or maybe a LOT) longer. Then you know that the software will absolutely make the most of the OS as it was written by the same company. Of course...there will be people that disagree with me, there will be Logic haters, and there will be Apple haters in general...but then I guess that nobody is holding a gun to your head and forcing you to either upgrade to a new version OR to use Logic AT ALL!

I know a lot of Logic users have problems with the way that Apple handle things...and a lot of them aren't happy with the Logic 8/Studio updates...but there IS one good thing about Logic being owned by Apple...and that is the forthcoming OpenCL issue. If Apple manages to implement this in Snow Leopard then there is the potential to be able to unlock HUGE amounts of computing power for (relatively) little money. The thought of being able to add another three graphics cards to my Mac Pro and being able to use the power of those as part of my system cannot be underestimated. OK...I have an 8 core 2.8GHz machine and I haven't even come CLOSE to using all of that power yet...but the time will come when I will...and at that point the idea of being able to just spend a few hundred on a graphics card to potentially double (or more) the power of my machine (if what I have read about the power of these graphics cards is to be believed) is simply too good to resist. And how does this relate to Logic? Well, being an Apple application it is probably fair to assume that they are working on optimising Logic to use that power effectively. From what I understand the power of the graphics cards will be best used for things like graphics apps (obviously!!!), video and....audio processing!!! In fact, a lot of the rumors and forum posts about the UAD-2 card said that the processing power contained on them is nothing compared to the latest generation of graphics cards. So imagine the "DSP" power that would be available using just ONE graphics card. Maybe te same power as a couple of UAD-2 Quads? Maybe more? All available to your entire arsenal of AU plugins. OK...you wouldn't have the UAD plugins themselves, unless Universal Audio FINALLY do the decent thing and release the plugins as Native versions...but we all know that is unlikely to happen...but still...it opens up the market for other companies to develop plugins that are as DSP intensive as the UA ones and know that there will be ample power available to run them. I am sure that ProTools and Cubase and all the others will quickly follow suit...but Apple may have a head start here as Open CL is actually THEIR baby. So maybe it will come sooner, or maybe it will just be better timplemented...who knows... For me, Apple now owning Logic isn't necessarily a bad thing. And if Logic 9 (or 8.x??) can incorporate this Open CL technology in an efficient and USEFUL way, then that is a very important upgrade on it's own. Sure, I have a wish list as long as my arm of other features I would like to see implemented in future versions of Logic, but this would be a pretty major one and one that I would certainly wait and pay for.

Thanks for the info guys...I do appreciate what you are saying about the audio files...but my work in 95% Audio Instruments as I work in dance music production (yeah yeah...I know...not REAL music ). So, David, given what you wrote above, I appreciate that the dynamics of the individual parts can be controlled in advance thereby negating the need for the extra headroom on each track...but would it be worthwhile bouncing down the mix internally (assuming I was mixing it "in the box") as 24 bits to give me the extra headroom on the final mixdown? Or does it not work like that? I know that Logic can mix and match different bit depths in the same song...and I am sure I read somewhere that the internal "summing" that Logic does when you do a mixdown is at 32 bit floating point...so I am guessing that even though the "source" files were 16 bit and dynamically controlled...the final mix could still benefit from the extra headroom of 24 bit when considering the dynamics of the track as a whole...and I am assuming that when I bounce to 24 bit the 32 bit summing would be down converted to 24 bits instead of 16 so I actually WOULD benefit from the mixdown being in 24bit... Phew...sorry about that...just wanted to double check that fact... Once again, thanks for the replies! Simon

Hey guys, Newbie here so go easy on me if the answer to my question is real simple! OK...I am working on a song in 16bit/44.1KHz to conserve CPU power. All the parts (except vocal recordings) are Audio Instruments so are running "live". Now I want to bounce each track as an audio file so that I can take the resulting "multitrack" to a friends studio to mix it down. When I go to the "bounce" window there are options there to change the sample rate and bit depth. Now I looked at a few other posts on here but got the impression that if I chose, say, 24/96, even though the resulting file would be a 24 bit file at 96KHz, the actual quality wouldn't be any better than a 16/44.1 because Logic simple "wraps" the 16/44.1 recording in a 24/96 file. So my question is this. Is there any way to start a song as 16/44.1 and then, when it comes time to bounce all the individual tracks, to somehow change the settings so that the actual bounced files I get have all the advantages of 24/96 (greater headroom and dynamic range and extended frequency response) rather than just up-converting a 16/44.1 file? Or do the options in the bounce window do exactly that? I have done a fiar bit of Googling and couldn't find a straight answer so I thought where better to go than here! hehe Thanks in advance! Simon