Walter_Odington

Are there any MIDI keyboards that are smooth?* *sliders and knobs must be 14 bit, not just rotary encoders

Yes, I saw those, I'm really glad someone has done it. My desire (and indeed my procurement need) is for a controller keyboard - how I wish for a 14bit one.

Man, I hope smoother control is implemented in Logic X.

Give me more MIDI edit: please

I'd love to get hold of a controller keyboard that was 14 bit. Anyone know of one? Or anything with partial 14 bit capability?

Hi Ski, thanks - folders has been missing from my life. This looks really great for sequencing. Got any tips for non destructively experimenting with dsp/signal path?

Hi, I use a lot of NLE software for editing video, and what I really like about it is that you can have many timelines. Typically you have a main timeline for the whole thing, but if you wish to create something in it's own sandbox you can start a new sequence. Once finished you can bring it in to your main sequence either by bouncing or just copy and pasting. I really like this approach, but I don't think it's possible on Logic as there is no interface for multiple timeline, and switching between timelines is like a major operation! What ways could I be using Logic to work more like the way I want?

I stand corrected on the turd polishing jbrad2, try out a noise gate. I suggest using the following settings and then adjusting the threshold. Once you got threshold set try adjusting release. threshold: -12db attack: 3ms sustain: 0ms release: 3ms hysteresis: 6db lookahead: 5ms After some noise gating a little EQ & reverb could be the final coat. See how shiny that turd can be!

possibly might help to use a noise gate, but no point polishing turds all day

oh man, I read this thread with excitement only to get to the end and found out it no longer works It would be a very good feature (in arrange window)

surprisingly tricky to get the nag of, but a fantastic tip! I'll be using this for sure. I'd like to see Apple make a few modifications to this, ie easy dragging of multiple items.

The new macbooks without fire wire are a bit of a turkey. I recently forced someone to buy a macbook 2nd hand rather than new so that it came with the FW port. I've bought turkies before, like this macbook pro I'm using now which only has 7/8s of a FW hub. Like you, I should have looked at the matter more carefully. For now you can learn from your mistakes, and maybe get a top spec internal for your macbook (500gb @ 5400rpm / 320gb @ 7200rpm).

Random exploration of the tutorials and documentation is definitely how I learned the most. I did a short course at Goldsmiths in London, and it was good. Sebastian Lexer was the tutor...

Hi there, sounds like an interesting project. You got a few options here and they all revolve around what you use to record the source, and what you use to process the source. You can probably get contact mics working ok, but if I were you I'd be looking at piezo electric pads (really cheap!). Try out different sized pads and different spec to get what works well. Only trouble is these break easily. You could also use a regular mic. Each approach has its pros and cons. You then need to process that signal in to MIDI data. You could use a Roland vDrum brain, Max/MSP, or probably other software. If you wanted to be really clever, you could program a PIC chip to take in a low quality signal and do the beat detection and output MIDI (there are kits online, like drum MIDI brain). Hope there are a few leads for you there.

on the car amp there will be a special sub out, which has a "cross over" in the signal path. The crossover is simply a filter, and for the "sub out" it will be of the low-pass variety, for example it could be 12db/oct at 120hz, or it could be much lower like 90Hz or 60Hz or even lower (or indeed higher) and have a different slope (higher db/oct is more expensive). Some amps have adjustable cross overs. Cross overs can be high pass or band pass too (its just an EQ circuit, so it can be like any EQ in theory). As you have probably gathered, the purpose of the cross over is to reduce the audio bandwidth, and keep the audio signal within a specific frequency range. This means that different parts of the system get different components of the sound for which they may be more specialised. If this was not done, valuable headroom may get swallowed up by frequency components that a particular part of the system handles badly. ie if you have the high freqs going in to the sub it will not be able to move fast enough to reproduce them, but that part of the signal is still taking up part of the signal being sent to the sub. So, the only sound going to the sub is the low low bass, so if the track doesn't have low low bass then the sub will not fire. If your not hearing the sub on certain tracks, it cause the track does not contain the range of frequencies that the sub responds to - they are all obove the cross over frequency. That or the driver only turns the sub on for the tunes he likes