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basils

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  1. I wrote this song and did an animation for the people of Ukraine, because I felt helpless, and I just had to say or do something. https://youtu.be/gw35rw-A0uo
  2. Having always paid attention to the knowledge you have shared here, I'm really looking forward to an insight into your world. Thanks for the time and effort.
  3. Well, it surely was frustrating. Pretty tough to comp when this is going on, so a big thanks. I'll be dragging from now on. It also has me looking into track stacks, which the more I dive in seems like a pretty powerful, elegant way of grouping and controlling tracks.
  4. You nailed it. Dragged it down from Slide 2 to Amp and sound appears. So is this the Master Track then? Is it just there as a control for the other tracks within the stack? There is never audio (or midi) here? I've read quite a bit on Track Stacks, but most articles/tutorials explain the types and what they "can" do, but haven't come across anything that goes into detail as to the mechanics. Thanks for solving this.
  5. So here is what I get when I open the stacks. I think it must have something to do with the guitar amps I have chosen. If I solo any of these I still get no sound on my cut and paste region.
  6. Will do. I have solo'd and still no sound. No imported files, just audio from scratch. I'm using Logic Amplifiers for the guitar tracks, could it be possible the track stacks are part of the creating particular amp sounds? I'm still downloading, so can't check it out yet. (rural real slow downloads)
  7. Thanks, I'm new to track stacks and summing, so I'll have to do some reading. I was on an older version so I'm in the midst of downloading 10.3. Thought that may help as well. I'll check the stacks when the download is complete.
  8. Thanks for the input. No this is a project started in LPX. I'm having a few little issues, so I don't know if I just need to change some settings, or if the file is corrupt. As you can see by the track count, I've just started, but I don't want to do anything rash till I have an idea what may be happening.
  9. Here you go. I don't have the " other" open in the inspector. If you need to see it let me know. The original region is the Slide track, the cut and pasted region is Slide 2 Thanks
  10. Just starting to have a chance to work with Logic pro X, after moving from LP 9. In a project I am working on if I cut and paste an audio region to a new track, or even move the region within the same track, there is no sound during playback from the new pasted region. I cut and pasted to a new project file, and the playback sounded fine there. This is also happening on full audio region forming a full audio track, cut and pasted to a new track. Again no sound on playback from the new cut and paste. What am I doing wrong? Thanks
  11. Yes, you've already been a great help to me.
  12. I'm just starting to dig deeper into drum designer, so this is fantastic. Thanks.
  13. I posted this, because I think he had some interesting points. The first was that 44.1 is a CD standard, and that Video Standard is 48. So at minimum, we should be recording at 48kHz. Secondly, he noted that the difference between 48, and 96, is measurable, so therefore it is discernible. And he said that at the moment with bandwidth what it is, it may be overkill, but, really it is about capturing the information for the future, and that by recording at 44.1, you are locked in. He did note that the downfall is CPU resources. Kind of peaked my interest, Here is an interesting quote from the Presonus website: "As noted earlier, in the digital conversion process, the converters record and play samples at specified sample rates. The Nyquist-Shannon sampling theorem states that in order to accurately reconstruct a signal of a specified bandwidth (that is, a definable frequency range, such as 20 Hz to 20 kHz), the sampling frequency must be greater than twice the highest frequency of the signal being sampled. If lower sampling rates are used, the original signal’s information may not be completely recoverable from the sampled signal" And Further: "In addition, higher sampling rates enable you to record very high frequencies above the normal range of human hearing. While inaudible by themselves, these ultrasonic frequencies can interact, creating intermodulation distortion (such as beating) that results in audible frequency content that many engineers believe to impart subtle psychoacoustic effects." I doubt I'll jump to 96, but I may get into the habit of using 48kH. I just thought it would make for interesting discussion. Food for thought.
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