lookatthisguy

Their small business team actually has loyalty pricing… but you see a small percentage discount on not-freshly new products after you spend $5k within a rolling 12 month period. The point was that all those things can be had in this supremely thin new device. Though it did sting to see those instruments get pancaked.

Alternatively, you can route the track and auxes to a bus, set that bus as the input of a new audio track, and record. Effectively an 'on-line' bounce, but it keeps the file in place for you. Soloing things becomes more complicated that way, so you may want to return to the previous routing afterward, but that depends on your needs. My templates are built this way so stems can be printed readily. Alternatively, you can also do the same method I listed above — run the auxes to a bus, set that bus to another audio track, record in real time.

Decades old? The current look has only been around since macOS Big Sur, released November 2020… You may want to look back at images of the UI dating back to 2000 when Mac OS X was first released. Over time, everything went from being bright and colorful and very 3D to simpler and flatter and metal-er and glassier and boxier/square-r and then started going back again. It's always been in flux, but with Apple designing their own OSes now, parity in UI isn't just optimal for trying to seduce new users further into the ecosystem—it's literally just simpler and faster, since everything shares the same codebase now.

Fair guess: a lot of Apple’s apps really use the Neural Engine exclusively for those AI/ML tasks (though the mention of ML acceleration in the regular CPU cores is above my understanding at this point but caught my attention), so there really isn’t a way for Apple to add those AI features to Intel compys* without a lot of extra coding. * If you’re of a certain vintage, you may know Homestar Runner, and if you know that webtoon, you’ll understand why I slangily call computers compys.

Yes, just observing that it *felt* to me personally like it got darker. Really it was just the much much flatter UI (and the surprising choice of purple as the highlight color) that I think gave me that feeling. And yes, I agree about the mixed bag and about FCP looking more elegant. Early Logic 10 was, in retrospect, a lot on the eyes. I do love what we have, but an Apple Pro Apps skin circa the Final Cut Studio and Logic Studio days is fun to think about too. Ignore me, I’m just geeking out.

Never even thought about it really before my day job had me get super focused on Apple UI but it looks like a lot of the changes from 10.4 to 10.8 came about because of Apple moving to consistently using SF Symbols across all apps…

No kidding? I missed that bit of trivia. Funny that FCP feels like it went darker over time while LP did the opposite.

Though that said, the orchestra-heavy film composer in me is yearning for a spate of new, better, additional instrument vector images for track icons. A new look in those terms would be much appreciated. Actually, I also wouldn’t mind it if the UI got darker again, akin to when Logic Pro branding still sported the roman numeral X… fine with the reduced skeumorphism, but bring back that darker interface!

Then that’s all there is to it. Either way, there’s going to be some rounding, and we can’t get around that. The video will be exported from whichever NLE in full frames*, so you should see that as you advance frame by frame in Logic, the SMPTE numbers line up. *And if they don’t, then you might check to make sure that you aren’t operating in a non-drop frame rate when you should be in a drop frame rate, or vice versa…

Are you not setting sync points using Project Settings > Synchronization?

Beat me to it.

Again, you want to use the Rewind one Frame and Forward one Frame key commands. I don’t recall if they have keys mapped by default, but my workflow has me going to my sync point (say, 5 1 1 1) and rewinding however many frames (I don’t do 10 precisely — I tend to decide by feel) by using my key command, then setting the in point. Then I go far enough past the music’s tail, go forward a frame or two, then set the out point. In my case, I have key commands for all this, but I also have keys set for this on Logic Remote. I don’t use @wonshu’s “banner” region idea when scoring to picture, though I do use it when exporting segments for video games. Not sure why I never thought to carry that over… Since time immemorial (read: since I started using Logic Pro about 15 years ago), it’s always been said — on here, in fact — that things can break very easily in that negative space, or because of it. There’s at least one composer I know whom resets their work to bar 1 when prepping their cues for recording, but it’s never been an issue to any orchestra I’ve seen. Plus, it’s always made sense to me that the clicks are actual bars in the score — just avoids questions that can waste time in a session. I’m sure there are plenty other media composers whom start from bar 1 and don’t have any issues, but this is what this forum and my master’s program taught me, so I’ve always held to that workflow.

Yeah, we're saying the same thing. Maybe I'm not being clear. This is why I'm saying, if you use the Rewind/Forward one Frame command, Logic always places your playhead at .00 subframes. Use that command to set in/out points of your bounce/s, then everyone downstream will have an accurate starting point when they drop the music in. And then at that point, it doesn't matter how far into the file the music starts, because the file itself is placed correctly (though yeah, four bars is a lot and is just asking for trouble). I think where I got stuck was the distinction between cue starting TC and bounce TC. I agree that it's a best practice to sync the exact start of the frame to your musical grid, but academically speaking, I can't imagine it would cause any issues once the music is out of Logic, so long as it was exported correctly out of Logic (as in, the bounce start being at .00 subframes). So I was trying to figure out why OP felt that only one or the other could be aligned at .00.

Yeah, that makes sense… but I mean, unless I'm misreading something, no one I've ever worked with is checking the first frame of music, if you will. As long as the stems or 2-mix are bounced to align right, things should be fine. And if you're setting your sync point using a "clean" timecode, then both should inherently be settled… Or is there greater nuance in this conversation I'm not picking up on?

Looks like you snuck in there saying the same thing while I was trying to post!