KeithJames

Thanks wonshu and David. On my little iPhone I first saw wonshu’s and marked as solution, but both helped.

I discovered I have some format issues for submission to publication in the simple matter of the titles of my WAV files because I have used unacceptable characters such as parentheses and forward slashes. Is it okay to just change the title of the file or should I imbed the proper name by rebouncing? I'm re-bouncing with the proper names but then wouldn't mind knowing the facts regarding just changing the title of the existing file....

I realize my question is hard to answer because I'm revealing a lack of understanding on certain things and applying this to a broad and complicated topic. In the interim, since reading online about the Apple LUF meter, I have set the target line on the meter to 18 (I didn't know it was moveable) and am going to just set the gain to each song to come up with similar readings and go with that. But I'm def still interested in feedback to this question, especially if it might change my tack here before finally submitting these for publication.

Until I was educated about looking at the loudness meter, my sole guide to a good volume was listening to my projects on handheld devices and more importantly on the stereo streamed to the car. My reference point was to simply find how loud/soft some of my commercial listening picks were when stremed on the car system at any given volume level and shoot for that on my own creations. Current project is music unlike I have recorded before, I have a collection of live recorded Renaissance guitar (lute) w/voice music that I made in the 80's on cassette and have now remastered, and they sound pretty nice. But also included newly recorded material on good equipment, examples of the same music style, my voice with classical guitar, and these recordings came out very nicely. The modern recordings are easy to level for the car and the loudness meter has them in the mid to low teens below the zero on the loudness meter. But the older recordings have more extraneous sound I guess and just sound louder, no matter how much gain I reduce for listening in the car; yet on hand-held devices but "eras" of recordings have had a fairly even perception of volume, even before going down this rabbit hole. But now that I've reduced gain repeatedly on these older tunes they are reading VERY low on the loudness meter (-40s to -20s) yet still sound louder in the car than the new recordings, yet are starting to sound a little soft on the handheld devices. Should I forget about this approach and just pick a level on the loudness meter for a median level per song to be matched across all songs and forget about how they sound next to each other in consecutive play?

Thank you Holger for this further information. It is helpful without a doubt. I am an artist by sound ear and musicality, but to call myself who is not even a computer native at the age of 66, a technical music producer is a far cry, but that is what I do from start to mastering; I do it all. So I am not cognizant of enough technicalities to be too worried about fixing my current project to some of the things I’ve have learned here. Going back through and redoing all the steps will hazard, the delicate piece of artwork I’ve already created. But I still am very interested in learning more about the technical side and definitely have learned things from you about dithering here which will inform me going forward, and I very much appreciate your time in helping me!

I should add that one of my concerns was that submitting the wrong bit rate or double+ dithered files - now realizing that I have been doing this - would cause some horrible distortion down the road when streamed from the wrong place. From your answers this does not sound to be the case or a worry…., and regarding double dithering just that I have been reducing quality and adding a layer of too much “hiss” so to speak

Thanks Holger and loukash. I pretty much understand what is being said here. I can indeed go back and do re-bounce from the earliest stages in 16 bit. I think a big takeaway here for me is that I should not be using dithering on the process of bouncing and arranging my clips until it’s all done and I’m in the master stage and then dither once at the end on the single track. I have been keeping my dithering level at the highest and it’s been on for all the bounces and etc. through the project so I’m over “fizzing” things I guess. KeithJames

Thanks for this information. Can I just slam (bounce) my final Master file from 24bit/AIFF into 16 bit/Wav? Thanks Holger

Finishing my first project, an 11 song album, on Logic Pro 10.7.9 freshly loaded on new mini mac (haven't gone to .8 yet). So, I have been presented to think about something I haven't in a long time. All prior projects were submitted to publication in WAV and in 16 bits. I don't know what the sample rates were, probably whatever was default. At some point, I read that 16 bit was the best to submit for mp3 distribution and I think that it didn't matter whether you submitted AIFF or WAV, I had been submitting all WAV. But now, I realize that my entire project has been done under different settings, seemingly Logic Pro defaults: I checked and all the recording and mastering was done on files set to AIFF, 24 bit, 44.1 sample rate. QUESTION: Are these good settings to submit my mp3s for streaming publication or should they be reduced to 16 bit...and what is the difference in outcome to submitting WAV or AIFF (AIF)? Thanks, KeithJames

Thanks David. I will find this information and start understanding its need for consistent setting. Though I am also facing a need to understand better the issues of 24 or 16 bit and I guess as well AIFF or WAV. I have always used WAV and for a long time I had settled on having everything set at 16 bits for wiser or not. I guess I read that CD and MP3 material should be sent in at 16 bits. But with my new computer and freshly loaded Logic, it happens that I’m finishing up an album project and realized all the songs are at 24 on AIFF (and really, they did not start out that way on the old computer). So I went reading and did find something saying that 24 is great for mastering but I’m still thinking I’m supposed to send material in at 16. Can I just bounce the final bounce to 16 bits without any concern or should I keep it/submit it at 24? And can I or should I just change it to WAV at the same time?

If this refers to the bit rate like 24 or 16, etc., the sample rate was the same. However, I did a work around this and dropped this issue. Sorry for the lack of resolution but at this point I’ve moved on.

Yesterday, I was making a mess by just copying and pasting regions from one project to another and it was not working out. On the forum here I was advised (thank you wonshu) to import by going to Browser and find what you want to import. This made sense but the data in the browser was very confusing. I went online and learned very similarly that I can just open a new empty project and in the pull down menu: "import", find the project, and then select the data for each track desired. All these tracks are recorded via microphone, alternating tracks of input 1 and 2 (condenser and dynamic mics). I clicked on for content, audio, plug-ins, sends. I skipped midi, in/out, and keep number. This worked out very well...almost. The tracks did appear and apparently with all the sends and volume controls, plug-ins, etc. because it sounded great: EXCEPT: the entire thing was raised up a couple steps higher. I tried doing it both ways: clicking on global tempo track before importing and not clicking on global tempo track, but it seemed a moot point because the document I imported from had zero changes to the default 120 tempo and the new document where the import landed also had the 120 default tempo. What setting in the original could be causing the change in pitch in the new document? Thanks. Ah, let me add here also, the 4/4 time signature and the key of Cmaj default settings also was constant between the original and the new document, and there is no Flex Time alteration involved.

That makes sense. Thank you for turning me on to the browser for import.

Hi wonshu: I found that I already had "browsers" in my control bar and I opened it . For the one Logic Pro project that only had 10 tracks, there was a tremendous about of stuff in the browser menu. 29 "multi-track sets" with a lot of options below each one, and then a list of things that seemed to correspond to the actual track names but they were six when there are actually 10 tracks. But now that I'm aware of the Browser and import route, I'm going to start looking at the browser at the start of a project when it's very simple and I can see how the data builds in the browser area. Right now, it is very confusing to me when looking at the myriad of data/clips that are presented for just one project file and I don't understand it. But for my current situation, I think I'm going to have to bounce each project down and then combine them. That should work shouldn't it?

Thank you. Yes, I have learned to never open two projects at the same time. But now, you are teaching me something new regarding how to import from other projects. I will look at this to figure it out and get back to you. Thank you very much!