sabbatti

Hi everybody - having a really bizarre issue when trying to set up a headphone BUS mix using Logic X (10.0.7) and a Universal Apollo Quad. I don't think this has anything whatsoever to do with the Apollo, but is a bug in Logic X. I first noticed this behavior on a large, multitrack project. I decided to create a simple, single track project and see if I could replicate the issue. Same problem with small project as large. Below is the setup and an explanation of the issue. MY EQUIPMENT: Mac Mini 2.3ghz Intel Core i5 OS X 10.9.5 Logic X 10.0.7 Universal Audio Apollo Quad connected via Thunderbolt Most recent UA updates and drivers AUDIO PREFERENCES: http://www.johnisley.com/hosted_images/logic-users-group/Audio%20Prefs.png RECORDING SETTINGS: http://www.johnisley.com/hosted_images/logic-users-group/Record%20Settings.png I have a single audio track, no inserts, no FX, just bare audio being bussed to BUS 2 which is assigned to OUTPUT 27-28, which corresponds to the HEADPHONE 2 output routing on the Apollo. APOLLO OUTPUT LIST: http://www.johnisley.com/hosted_images/logic-users-group/Apollo%20Output%20List.png CHANNELS STRIP SETUP: http://www.johnisley.com/hosted_images/logic-users-group/Phones%20Bus%20Output.png BUS SETTINGS: http://www.johnisley.com/hosted_images/logic-users-group/Bus%20Assignment.png THE PROBLEM: Everything works as it should for initial recording or cycle recording into a take folder. As soon as I attempt to OVERDUB onto the same track, whether in replace mode or not, the already existing audio on the track shoots up to PRE-FADER levels. It happens when in AUTO-PUNCH mode, and in standard on the fly punching as well. I have the INPUT MONITORING button on the channel strip in the OFF position, and AUTO INPUT MONITORING selected in the RECORDING MENU. The bizarre part is that this ONLY happens when monitoring through the bus routing. If I switch to monitoring the STEREO 2MIX output (MON) in the photo below, this doesn't happen at all, and the monitoring levels remain the same when punching in/out. With the Apollo, I can choose which source I'm monitoring. Headphone 1 is at my mix station. Headphone 2 runs to my recording booth. http://www.johnisley.com/hosted_images/logic-users-group/Apollo%20Monitoring.png I should also note that I am hearing the original audio on the record enabled track EVEN WHILE OVERDUBBING, regardless of the input monitoring settings. I have tried every conceivable combination of settings between all of the various menus, and nothing seems to effect this. Ideas would be very welcome! THANKS IN ADVANCE!

That's great! Thanks for the clue... Now to figure out which controller to map to get the result I need... I think this might be the door opener. Thanks again! John

That's an interesting solution but it's some serious overkill for what I need to do! And for $75, I'd rather build it myself... Thanks for the link though. What I really need to know is what the FADER message # and definition is for muting aux sends. Normally you can cable a monitor to the output of a channel strip and by clicking, dragging etc. of whatever object, you'll see the FADER message in the monitor. Not the case with aux sends Anybody know what that message might be? Thanks...

Hello everybody, Wondering if it is possible to mute each aux send either individually or as a group on a given channel strip using MIDI in the environment? I have successfully created objects to control send levels and can easily trigger those with MIDI to send alternating values for levels but I'd really like to be able to actively bypass/mute the send itself when I'm not using it and leave the levels alone. I have also successfully created objects that will bypass the insert i/o as well as all of the FX inserts. I'm just curious if it's even possible to accomplish this. After all the research I've done on it and looking all over the web, I suspect the answer's no, but hey, if ya don't ask... Why? I'm of the old school opinion that the more things that are sitting open and unused in an app like Logic means the more wasted CPU cycles you're burning. I'm using this as a live performance rig and the more CPU I can squeeze out of it the better. Thanks in advance! John

Hi all, I first became interested in random harmonic generation when I heard some early computer music while in college. I found it interesting and unique in that while it was unpredictable, when the programming was handled in the correct way, the resulting “music” - if randomly generated sound can be called that - had the potential to be mesmerizing. In 1987 Michael Brecker released his album “Michael Brecker” and one of the hallmark sounds on that disc was his use of the EWI (Electronic Wind Instrument) and synthesis to create an amazing palette of sounds. As an EWI player, I've been fascinated with his work. One of the most interesting things he did was to use a feature of the Oberheim Xpander module to randomly rotate through a series of harmonies. It works something like this: The Xpander had a setting called “Rotate Mode” with 6 voice polyphony. Michael was able to turn that into an amazing harmonic tool by creating two zones on the synth, one with two “static” voices set to re-trigger and one with four rotating voices in rotate mode. Voice 1 & 2 are static intervals set in semitones above or below the input note. Assuming a C3 is played, the static output would be C3 and G3 (seven semitones above C3 or +7). Every time C3 is pressed, the static voices will sound the parallel 5th C & G. The rotating voices are set (relative to C3) to -10 (D2), -7 (F2), -8 (E2) and -2 (Bb2). Every time C3 is pressed the static 5th plays as well as one of the rotating voices in sequence. So: Play middle C (C3) four times: Voices 1 and 2 always play a parallel 5th C & G Voices 3, 4, 5, and 6 play in rotation D, F, E, Bb Output would be [DCG], [FCG], [ECG], [bbCG] The Harmonic Xpander functions in exactly the same way, but since it has been designed in Logic’s environment, it can be much more flexible and adaptable, and can be utilized in many different ways. I created this in the environment and I've uploaded my "lite" version here for everyone's enjoyment. It's a fun and remarkably useful tool and can really kickstart your creativity bending your ear into really fun new places for composition and new harmonies. I've created a ready to play version with the Xpander interface in a floating window. Just open and go! There is a pdf read me file included that covers the basic usage of the Xpander. ENJOY! EWILabs Harmonic Xpander Lite V1.0.1 Files.zip

Dude! - I have spent a LOT of time in the environment programming and creating widgets. This is VERY cool! I'm looking forward to downloading this and playing with it. Nice work! John