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Trying to do something very simple here and convert a single snare sample in logic into an exs24 so that it spreads at different pitches across the keys. It’s only sending the single note to a single midi note and then I have to go into exs24 and manually drag the note across all keys. Then an extra step again I need to ‘save’ the exs24 patch?!? Seems Stone Age. Why is this function not available at the level where you convert to sampler track? A simple ‘spread note across all keys’ would be great. Is anyone else annoyed at how many steps it takes in logic to get a sample to play like a keyboard? There must be an easier way.

Slow. Not usable when scrolling through many loops. Maschine and ableton much snappier at auditioning looos. Apple loops are still the way to go

Not so much if you continue to load those existing projects on Logic 9. Logic 9 will still be available in the app folder after the upgrade. There are people here who claim that opening projects in Logic 9 on Mountain Lion is the same as running them on Logic 9 on Snow Leopard/Lion: will run as usual. Loading L9 projects into Logic Pro X might run a higher risk at things being different. I've never opened a L9 project in LX so I can't really say how much it is affected. Can anyone else explain how well an existing L9 project loads into LX?

You got my vote Ashton. Big time! I can't believe that after all the moaning and whining about losing 32bit functionality from stacks of people this post holds only 2 votes in over 10 days!

I just learned about this method the other day. Didn't know it was possible! Very handy. So I select the check-box that says "bypass fx" and it will only just include the flex changes in the bounce. Cool. Only thing is, I still think we need a "commit flex button" somewhere in the editor where the pitch notes can be changed. Heres why: If you got a take folder full of takes, you can still flex-pitch one of the takes as it currently stands by double clicking the region within the folder. With a commit flex button we could then exit the editor with the flex changes burned into the wave and still be in "Take folder mode" with other takes to choose from and comp with. The BIP method would be taking place right in the same area that the take folder is and probably overwrite it. Am I wrong? Can that BIP be auto-placed into that take folder by any chance?

No Problem I agree with you 100%. I can't stress how disappointed I am that I waited 3 years to have flex-pitch only to find now that it doesn't quite fit in with my work-flow. That said, I was also very happy to leave Cubase behind with all it's melodyne features. That program seriously became so bloated and hard to work with. Logic is still in the lead with all these work arounds I believe. Good luck.

Thindave was also saying that after pushing that button, he was able to put the fade back on. Do you think that's possible?

Really? You're kidding? It would appear that turning flex off automatically makes a background wave file with the flex changes. If so this would be perfect!! I hope it's not a bug heheh EDIT: Didn't have any luck reproducing what you did. Turning flex off surely reverts to the original audio. Where in Logic are you turning it off? There are a few places you can turn it off. On the track header there is the purple button and then theres the region flex check box. I'm sure there's also another place I can't seem to recall at this moment.

I wish it were that simple. Thanks for teaching me about the marquee select I didn't realize it was possible to bounce regions to the same track. Every time I selected a region, the only option was to bounce to a new track. The only problem with this method is the bounce includes all 5 of my other insert fx plugins when all I want it to include is a tiny EQ change to the wav for example to remove unwanted harshness on a vocal track prior to any live processing. I don't want to individually turn off all 5 plugins just so they wouldn't be included in the bounce. It's still quicker for me to open a new empty track, open 1 single eq plugin and bounce back to the original track. But in all seriousness I think it has become a very normal practice among producers to commit certain processing to regions so why the heck haven't they put in Audio-suite style processing after all this time? I mean seriously? You find a part of the vocal that obviously has a peak and all you do is select it and apply a quick EQ reduction to it and move on. It's common practice. Not very easy to do in Logic!

We need a button that will burn the flex-pitch changes into the wave/region. This will provide a quick way to fix the pitch of a vocal and be able to still use fades on the audio. As it stands now, fades and x-fades are disabled when a track is being flexed. Rather than bouncing in place and the result landing on a different track, this method will literally "bounce it in place" on the same track so we can move on and not be bogged down transferring regions between tracks.

Where is the LPX suggestions forum? I don't see it there? EDIT: I was already in it and all I could see was LP9 and LP8 forums. Silly me! duh.

My newly educated take on it is that there really is no way fade files can ever work with real-time flex. Live x-fades and fades need to be implemented like Cubase has it. They could technically make it so the flex-pitch info is burned into the fade files along with the volume changes but there will still be a loud click right where the fade file starts because flex-pitch sound is slightly different every time it plays and the fade file never changes. This is why on previous versions of LP when they allowed fades on flexed audio it used to click like crazy at times. They obviously disabled it entirely due to this. Live fades are the answer.

That's nothing new. For logic's sake (no pun intended), the files shared between GarageBand and Logic go into the GarageBand folder (why would a user have a folder for Logic content when they don't have Logic?), and with Logic 9, content was stored hierarchically instead of in a singular, chaotically massive JBOS(amples) or JBOL(oops) folder. It's actually quite sensible. I don't yet have LP X (I'm waiting a couple of updates) but understand it creates a folder to make the other folders more easily accessible, especially given that since Lion the Library's been hidden by default. That new folder is just a hard-link to the original ~user/library/application support/logic. All it contains is the sampler instruments folder which may or may not contain the actual samples depending on where you put them. The downloadable content goes into a million different locations under the root library and not into any user folders. This way it makes it hard to know where anything has gone and hence harder to move the contents to an external drive to free up space on the main drive. I've given up trying to keep track of it and just rest assured knowing that it's no more than the overall size of LP9's content plus the 35gb of LPX. Overall i'd say the worst case scenario is that there are duplicates and that it's at about 85-100gb in total. That's easy to live with these days with 750gb hard drives etc. Everything else you install from other plugin manufacturers gives you a different drive location to store the large data so I'm cool with apple stuff living on my root drive and not knowing where it's all sitting.

I thought about my answer above and it doesn't really take into account if you would like to fix pitch on the fly while you're recording vocals. Sometimes you just want to correct the same offending note the singer keeps missing take after take and you can't comp it because that takes too much time and you just wanna get the pitch of that note right quickly and move on. If you fixed it on the fly the regular way then suddenly that region won't be able to be used with fades as we discussed earlier. So what you do is keep a dummy flex-pitch track under your main lead vocal and move vocal bits to it to make corrections and then bounce back to the main vocal track. It's quick enough to fix and bounce back during recording sessions. You could even bounce it back into a take folder on the original track for flattening later on. This way your main vocal channel never has to have flex-pitch turned on and it's constantly able to use fades and x-fades. I imagine most people wouldn't mind burning their flex-pitch edits and not leave them live. This way it doesn't chew up more CPU and it's like a faster way of doing the usual melodyne plugin without the transfer times etc etc. Good luck and I hope this removes your hindrance

No problem James. The quickest work around is to get your vocal comp with fades and cross fades and select "merge". It will flatten all the audio pieces into a longer region. I do this on a verse/chorus basis. Then enable flex-pitch and do your editing. No bouncing required and don't ever have to leave the same audio track. I think the method still beats the melodyne plugin method by a long shot. It just means do not touch flex on anything until the audio is faded correctly with all breaths etc. then you can merge verse with chorus and it will print the flex-pitch yet again without leaving that track. I use merge quite a lot for bouncing purposes when I don't want to leave the track. I wish logic would introduce a basic bounce in place where it can bounce over itself on the same track in the same way merge does but when there's nothing to merge. I'm always copying a tiny piece of audio over just so that merge has something to stitch together.