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Mechanica

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  1. True. Even simpler is just copy the channel strip setting and paste it to the duplicates every time you make changes. Still, pretty cumbersome.
  2. Shame that no longer works, would have been pretty simple. Right, sending them to a shared bus is the issue. I don't think I explained clearly. If I want to bounce stems all at once and not have to individually solo tracks, or if I want to route to separate outs, I have to make duplicate, identical (same plugins) aux tracks so that instruments sharing the same reverb but needing different routing can be separated. Afterwards I'd like to be able to control the identical reverbs identically across the duplicate aux tracks. Track stack smart control is a potential solution, assuming it works for folder stacks, but a summing stack defeats the separate routing which was the goal.
  3. Apparently cabling them together does not work. I'm not sure why. Despite a monitor object showing that the fader messages are correctly formed and passing through from one channel strip to the other, the settings on the second instance seem to ignore them for some reason.
  4. I realize I'm reviving a dead thread here, but I came searching for this same functionality. For me the usefulness of this comes when I am doing summing. Say I have a vocal and a guitar that both go to an aux with a reverb on it. This is fine while I'm producing, but when I want to send the guitar and the vocal to separate outs and I want the reverb to go with them I have a dilemma. I can duplicate the aux so I have an instance of the reverb for each out, but making any changes to the reverb after that becomes cumbersome if I'm trying to keep the instruments "in the same room", so to speak. I'm sure there are other uses too, it's not the first time I've wanted this. Cabling in the environment seems the simplest option; I appreciate the tip!
  5. I have one long audio region I want to cut into pieces, overlap, and then pack into a take folder. I'm trying to find the most efficient way to achieve this. I was hoping I could just drag them all so they're overlapping on the same track, select them and 'pack take folder', but this seems to give me a take folder with only one take. Ok, so it seems I need them all on separate tracks to pack them as separate takes. This is annoying, but maybe the 'Create New Tracks for Selected Regions' shortcut will make it faster? No, it looks that only puts all selected regions on one new track. Anyone have a quick way to achieve this?
  6. "That issue should be a high priority fix..." he said, 2 years ago. Has this been fixed? Because I just got the dreaded dialogue box. Had it on several occasions before and it's never good, although sometimes it's significantly more bad.
  7. I need this all the time when trying to align automation or make accurate marquee selections.
  8. Title pretty much says it all. I sure hope this is a bug. Using the "Go To Selection End" command on a region shorter than 1/16 results in the playhead being placed 1/16 from the region start. This seems silly, and frustrating if you're doing precise, small edits. Thanks, -M.
  9. David, I really appreciate your response and seemingly bottomless willingness to help. Thanks to your prompting, I figured out the issue: In the midi transform window, values used in the "Position" condition used to be based on absolute bar/beat numbers. In recent versions (not sure how recent) they've changed it to operate relative to the first note of your selection. At least, where velocity is concerned. So that was my issue. Velocities use the new relative interpretation of the "Position" values, while pitch uses the legacy, absolute interpretation. In summary, it works but it's quirky. They ought to make the "Position" condition consistently interpreted across parameters. I'd still say this is a sort of a bug.
  10. I'm still trying to work out exactly what's happening here, but this is the closest I've come to having a clear view of a problem that has plagued me with Logic for a while: sometimes an arbitrary plug-in somewhere inside a project will cause roughly a 16th note or more of latency in all MIDI notes played via controller, unless low latency mode is activated. There seems to be complex interaction taking place, because if I delete enough tracks (that don't contain the offending plugin), the latency will clear up. Or, if I just remove the one problem plugin, I can have as many tracks as I want with no issue. For example, I'm working on a project with many instances of different relatively power hungry synths and samplers (Diva, Kontakt, etc.), having no latency issues. Then I add an audio track with an instance of Waves UltraPitch and I have a 16th note of latency on all MIDI input (notes anyway, not sure about other MIDI data). This seems wrong. Anyone have any thoughts on this? Thanks, -M.
  11. I don't know if this is a bug, but it certainly isn't a feature. The MIDI transform function to crescendo a value over time doesn't work when applied to note pitches. It just moves all the pitches to the highest or lowest note on the piano roll, depending on wether you entered a crescendo or decrescendo. The dumb dumb dumb (dumb, dumb...) workaround is to crescendo your velocity, then patch the velocity to the pitch and process again, but this is dumb. It works, but it's dumb. Just glad this isn't a function I need with any kind of frequency. That's all folks. -M.
  12. That's actually very reassuring, thank you. Ah, amazingly I think that was one of the few things I never tweaked, the actual event sending method. Glad I didn't now!
  13. Thank you! That's good to know. Alas yes, I was doing all sorts of ridiculous things like subclassing from the event class, and extending existing classes. It was all madness anyway. Really appreciate the reply!
  14. I realize this was 2 years ago that you posted this, and it's amazing how long it's taken me to catch wise, but I just wanted to chime in and lament. I exploited the mess out of that EventTypes file, extended it out into a 3500 line library of methods for MIDI manipulation. All essentially worthless now. Raise a glass to the good ol' days.
  15. Thanks for making that vid. The reason that's happening is because any track with a plugin sidechained to an AUX with latency inducing plugins on it will be pushed out of time. So by copying the gate, you're just adding the same messed up timing to the phase-swapped bass track, so now they're both messed up. But cancelling!
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