Vacheto

Well, I new you will do your best to censor my post again guys as you do always when somebody shows something good, which somehow underrate your own reputation here ( I'v never seen such censored forum ), though I guess why.... I do not wish to go into troubles any more. As far as mentioned before, it's a working demo and does not crash the system until you try to unpack.Why do you try to unpack when know that it's right protected. I can understand your curiosity but sometimes there are some licenced protection laws which you try to break down - is that legal in USA ? Something more - I'v seen many environments which crush somebodies system for some reasons whithout to try to unpack etc ( midi feedback caused by personal template prefs etc.. )... but this does not mean that they will crash all the systems or to remove from hosts. I tried to give direct answer to the head topic with 100% working Environment, and free demo - what more ? I can not see any use of you previous posts, where you try to unpack licenced NI scripts and publish their passwords which is of topic ( though the author announced it long time ago ). Thanks to Ski, he did his effort to try at least to show us Monitors objects. Wow - they are giant then the factory Logic Transport chord Monitor. An useful tool for retired long time Logic users... If wish, censor the post and the file, but this is the truth. It was a pleasure to discuss that with you. Thanks !

As I said it's not official video and I have no time to create pro-videos right now ( I will do my best to anounce the official video, but I need some months to finish the ethnic woodwinds of the orchestra, so it will be final job I guess ). By the way I missed to say to open the Marker List text editor to read the operation instructions ( the screenset in L8 can not open the text editor, though it was saved this way ). I did my best to create very simple GUI of the "CHORD TRANSLATOR". Just two faders: For example: Say you have Emaj chord mapped to key/note E3 in your existing EXS and you must set the "Chord Translator" Maj Macro to recognize and map a certain chord to that key. 1/ Select "Emaj" in the Macro flip text fader labeled as "Chords". 2/ Set the green text fader labeled as "Note" to E3. So the "Chord" fader determines the Macro chord recognition i.e the real chord you play ( look at the Transport in the demo video which chords I play on my external keyboard G,D,Em,D#dim etc..), while the "Note" green fader determines the target/mapped note/key. It's fairy simple ! NOTE: This Environment tool uses huge amount of intelligent system memory which can calculate or auto save some data in temporary clipboards etc... though it's interface is very simple ( which is the main idea ), for example you will find autosave feature for your mapping notes - when choose new chord in the flip "Chord menu" the "Note" text fader automatically jumps to its map note !!! About the Macro crash - ( the Macros are protected, like NI Kontakt scripts with their password protections ) so it's a demo version of the of the tool, not Environment tutor ! I will outline some of these system gears in appropriate workshops, training tools etc... Anyway, it's an evidence what can be done in the Logic Environment ( that's why I share this idea here ), so everyone of you can try to recreate... I'll be really happy if you could recreate that one day, though I doubt - it's NBA Pro-division game, man...

That's right, but not a problem for the big guns... Working on my "Bulgarian Folk Virtual Orchestra" sample project ( which will be cross format released Ni Kontakt & EXS ) I had to construct some NI Kontakt script for the plucked instruments like the Tamboura which most play chords in the big orchestras. It was not difficult to do that for Kontakt, but EXS version and Enviro construction was a hard task, I new that it's never done before... Anyway I could build full working Environment called "CHORD TRANSLATOR" which is a small Macro Ensemble, where each Macro translates given chord type like Maj, Min, Maj 7, Min 7, Dim etc...It's easy to import between different projects. Tunador, I may disappoint you, but for now it will be released as helper tool in a pack with my "Bulgarian Folk Orchestra" sample product, so I'll announce when it will be ready in my site: [commercial link removed by Admin] The site is still under development but I'll do my best to upload some demo songs recorded with the Virtual Orchestra and Virtual Bulgarian Choir as soon I can ( right now I'm very busy with other projects ). I just exported a short non-official quick video of the "CHORD TRANSLATOR" ensemble, and extracted a small Logic 8 demo of the "Maj" Macro to give you a try with Logic "12 String Guitar Chords" etc.. The file attachment is under the Pic below ! [Files removed by Admin]

What do you mean - Multichannel or Multitimbral ? If Multichannel - just insert EXS as Multichannel instance and use the bottom + to add as many Aux ( audio auxiliary outputs ) as you need. If Multitimbral - EXS is not a Multitimbral sampler ( like Kontakt for example ), so you must insert separate Audio Instrument EXS instance per given patch.

Exactly, I tried to clarify that since the default "right tool" is text tool as far as I remember in the environment and many people expect when they hit Command to switch to hand tool (which happens at the moment click only). I'v seen such posts where the people did not try to set the "right tool" to arrow or pencil ( since the environment window tools have different behaviour than the track mixer where you have hand tool ), that's why I clarify that.

Some additional info.. The guys here already let you know how to operate in the Track mixer. Note: if try to use same method in the Environment window ( mixer layer ) you will find that these methods do not work. I posted a little tip about in Trick & Tips few days ago: Have a look here.

Well, I think I have a solution guys... The Logic Settings->MIDI->"Input Filter" is not universal - it's a global midi event type filter where you can not customize certain event numbers to filter. That's why I created the "Advanced Midi Filter" Environment tool, which is a part of my Logic Essential Environment plugins bundle. Right now I can share a beta version of the CC# and Prg# Macro tools. Download and have a look at the non official quick video just to have an idea how to operate ( there is not audio comment yet ). Logic Pro 8 Advanced Midi Filter v1.1 - DOWNLOAD

Lots of L8 users post that there is now way to manage the Audio Configuration using the Environment Window like they do using the Track mixer... Well, here's the trick. 1/ Open the Environment window and assign the "right tool menu" to arrow tool. 2/ Command - click a certain plugin from the channel strip and the arrow tool will switch to hand tool. 3/ Grab the plugin and move...

Many people wish to use track automation as alias data to be able to edit only the original region automation. Unfortunately the track automation events are recorded in a separate Track Automation Folder which is not region based, so if try to make an alias of a given region which contains some automation data, you will find that the automation does not work when play the alias region. I offer some methods which solve the problem... Scenario 1 Most of the track automation data uses so called Fader messages ( Logic behaviour messages type), that's why "Move Current Track Automation Data to Region" does not work with fader messages and it's hard to convert ( I'll describe how to in Scenario 2 ). Let's try to draw some ES1 Cutoff automation and make it work in the alias regions. Instead of drawing or record track automation ( which is a problem as I mentioned before ) I'll draw region automation. 1/ First you need to know the outgoing parameter Fader message number, its internal channel strip midi channel etc.. . Example: Insert ES1 as Audio Instrument instance, go to the environment mixer layer, create Monitor object from "New" menu and patch/cable the ES1 channel strip to the Monitor object. Twist the ES1 cutoff and you will see F2 10 ... outgoing messages ( F=Fader message; 2=Midi ch.2; 10=Cutoff parameter number; ....=value ). 2/ Open Hyper Edit and create or modify some existing event definition of a hyper set and name "ES1 Cutoff" • set the "Status" to "Fader" in the Inspector; check the Channel box and set it to midi ch.2; check the Number box and set it to 10; so the event definition will be customized to show ES1 Filter Cutoff only. • create more hyper event definitions for other ES1 parameters and combine in a Hyper Set labeled as "ES1 Synth". You can create hyper sets for ES2, EVB etc...\ Using the above method you can create aliases of the original region with working automation. Scenario 2 You have some existing Track Automation and you wish to convert it to region data to make it work in the alias objects. 1/ You can use "Move Current Track Automation Data to Region" which will work with continuous control events (CC#) like the channels strip level and pan faders, but "Fader" type plugin messages will be a problem yet... 2/ Hit Ctrl+Command+E to open the Track Automation Event List ( where you will find lots of F2 10 ... events ), draw empty midi region or select some if any, where the ES1 cutoff automation is. Open that region with Event List, so you will have two event list editors opened now ( Track Automation Event List and the Region Event List ). If there is some volume or pan CC automation on the same track just click the Controller Filter button of the event list to be able to see the Fader massages only. Select all F2 10 .... events ( shift click to deselect the first message with position 1 1 1 1 ), copy and paste in the Region Event List in the same position. 3/ If have more than one automation parameters which are fader status based ( recorded in same or near event positions ), then it will be hard to filter and select them in the Track Automation Event List Editor, so try next example: The ES1 Cutoff ( F2 10 ..) and Resonance ( F2 7 ...) are shown in messy order in the Track Automation Event List. If like to select the ES1Cutoff ( F2 10 ... ) messages only, just select one message and go to Edit->Select Similar events, so this operation will select the Cutoff automation events only. To edit the extracted track automation Fader massages for a certain region which must work as original for its aliases, use the Hyper Edit method described in Scenario 1 above !

Some apps may consume more ram resources than Logic can handle, that's why they run perfect in stand alone mode ( if you have enough physical ram they require ). There is a trick to run them in stand alone mode with Logic using "Soundflower" ( virtual audio cables ) and IAC Driver ( virtual midi cables ). Have you heаred about this trick ?

It's quite late here and I'm a way of my studio and L8, but as far as I remember my tests around, there was some phantom Logic behaviour about. I.e, only the first audio track could handle that but the rest do not....

I'll try to share some thoughts and will be OFF topic for a while in attempt to clarify the phantom Logic behaviour... I spent lots of years to investigate the Logic Environment phantom message behaviour in an effort to clarify if it's a bug or some kind of self protected organism system, which chooses its best way to survive ( sharing its best resources in a unique way - for many of you it can sound like absolute fantastic tales, so do not read that, if do not have any interest ). I'm almost sure that no one of the Emagic programmers had a thought to create such self controlled behaviour system. Anyway my tests with huge environment schemes and Macro ensembles gave me the idea that Logic tries to find it's best way to operate. It's quite complicated to explain that's why I did my best to collect all extra behaviours in schemes in a try to show what causes that. In many of the cases a spend a week of more to investigate any message routing, what is the best message order, etc... so I found that Logic chooses the most direct way of the messages, and filters as "Phantom ones" all others which are splitted multiple times from single objects ( though these schemes work perfectly if use in little environments gears ). Well, I'll stop with OFF topic examples and come to the point where all of us must try to investigate the Logic behaviour and not say " It's a BUG ". A few thoughts about L8, It's quite young system which is different from the older Logic versions though many people can not see that regarding the internal engine. Now Apple did their best to get all the useful features from the older versions in a try to fix many useful features and in the same time trying to update the app. Regarding the solo and mute L8 phantom behaviour... I'm crossing the forums and try to get more evidences about. Why I do that ? I'm still not sure what causes that, though have some suspects about LSO conversion in L8 projects or Events list based behaviours. What I mean about the Event List Based behaviours ? For example the Sysex faders ( which are event list based environment objects which was fixed in L8 ). In L8.0 I found a mess in the sysex faders message order which was fixed in 8.1 regarding the message order. But there still is a bug about the sysex event list which is relative to the Automation event list etc... When you close the sysex event list an reopen, you find that all messages are selected inside which causes value change of the last message byte, so it could be the problem in the relative event list behaviours. Finally, Take great attention and try to systematize what causes that: 1/ LSO conversion from older Logic song projects. 2/ About the Mute & Solo phantoms - try to test "Preferences ->General mode->Track Mute/Solo settings", - they are still cross based between old versions and the new engine etc... Sorry for the long off-topic article...

N/p

Sorry David, but your method does not work with Audio Regions otherwise I could show it first ! This method works with midi regions only, and will cause Audio Stretch if try to operate with audio slices, that's why I showed the tip with Event list length toggle of the target sequence ! If you follow the Topic title, the question is "audio regions".

1/ View Track Automation. 2/ Select the Pan Automation Parameter sub track you like to copy. 3/ Option Click the first node to select all automation of the source track. 4/ Hit Copy keycommand. 5/ Select the destination track and paste. Does not matter where the SPL is of which automation parameter is current selected, so if you copied Pan the clipboard will paste Pan etc..