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kingminotaur

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  1. Sorry if I was unable to find this--So did they add the cut, paste insert duplicate, delete columns in LiveLoops ? obviously needed Sorry I know columns is wrong term but seems comprehensible
  2. I'm sure there's an embarrassingly simple answer, but I couldn't find it: I want, most of the time, to NOT create track folders, or alternate takes, I find I just end up confused and indecisive about takes. I only want multiple take folders when I am doing the lead vocal track. Having subfolders and multiple takes on other tracks tends to get me bogged down with too much material in varying layers of findability. I want record on a track to start recording, and overwrite whatever may be there-- like a tape recorder does/did. Thanks
  3. Excellent and compact. Is there such a thing as "copy marquee selection". Great for covering up mistakes!
  4. It seems idiot simple desirable to me as well, even for someone not working with the filters and MIDI controlling layers described--- As an idiot simple songwriter, it would be SO useful to me to move a bridge back and forth , to determine "After second chorus or third?" by just dragging a column. This CAN be done in tracks area but once you have a track locked ( I have been close to ruining tracks with 100s of hours in by NOT locking tracks) Arrangement section drags don't work any more AFAIK. Since apple has all the money in the whole world I think they'll probably do it, and I bet some of the genius programmers use the program as well and can see the benefit.
  5. I think if an important competitor has more flexibility as previously described maybe they’ll add the feature. Some of the programmers must see the need. I submitted request via their official way
  6. Same thing wrong, same thing worked, thanks. List of undos seemed to be there ( not 100% sure) but the top menu choice in edit menu was greyed out. I restarted Logic and it seemed to work correctly again.
  7. Does anyone know if the Touch Bar can be used for automation on the MBP m1 , like an automated fader?
  8. Thanks for suggestion. Could you offer an overall opinion on the Presonus Faderport? I am thinking of getting one as the x-touch single seems much larger and I'm trying to be mobile.
  9. des99--Super Helpful!! thanks, been bothering me for literally years. What worked ( I believe) at this point: Once I had the channel strip set to "Quick Sampler" -- from the "Library" Chooser Or the channel instrument pulldown set to Sampler (Multi Sample)
  10. Here's my conundrum: Files seem present, IDK if the right places... Macintosh HD/LIbrary/Application Support/GarageBand/Instrument Library/Sampler/Sampler Files/Crotales/Crotales-Me_p/ Macintosh HD/LIbrary/Application Support/GarageBand/Instrument Library/Sampler/Sampler Instruments/Crotales.exs But I search in the search field in the Logic interface , but no Crotales found at all , refresh Library doesn't fix. I think the cool modern brass and string section multi-instruments are gone too. I'm doing the "reinsttall Library" approach, don't know if it will load all instruments provided from all time, it says 62 GB.
  11. I was trying to use logic remote on my iPad, it is well designed but for me I don't think it can be usable for mixing because of the lack of tactile feedback as to whether your fingers are in control of the fader. When you are holding a mechanical fader, you can tell when it's in contact withy your fingers, and the feedback as to whether you are moving it is pretty positive. With logic remote, for me it was really easy for my finger to lose contact with the virtual fader and not know it. So I was sliding my fingertip up and down but had lost contact with the virtual fader and was not changing anything. To counter this, I had to look down at the iPad to check if I had contact,thus losing the use of the computer screen. I want to be able to watch the screen while I move faders-- like bring up vocals, while bringing down a guitar.
  12. When I write songs I start with some seed idea or phrase or just the title. Something that triggers an emotion in me. IMO Bob Dylan is the best lyric writer out there at this point in history-- power, variety, and scope. I've read Jimmy Webb's book on songwriting and have some ideas about what to do to improve lyrics that I use. Here's some random ideas from various sources: 1)Jimmy Webb- Use a rhyming dictionary. rhymezone.com. I also use thesaurus.com to try to find the most powerful and precise variation on a word. Compare "walk" with leap, crawl, stagger, stumble . 2) The songwriting teacher from Berkley has a YouTube video, he espouses the idea that more powerful VERBS are what improve lyrics, not the adjectives. Some prose writers argue that adjectives are weakening elements, but they all use them. I think the point is that the adjectives should be good-- precise, sensory-related, specific and evocative. But plausible. 3) Traditional RHYMING Is important, but I believe other types of RHYMING (INTERNAL RHYMING) and ALLITERATION are close behind. Below, the brown and town are obvious. But also effective is the alliteration of passports and painting, plus the internal rhyme of filled and sailors. It's easy to miss-- the "ill" sound is in the middle of both. It is non-tonal music. There is a partial rhyme -- the end of circus and is. Spelling can be deceptive. From DESOLATION ROW released when Dylan was only 24 They're selling postcards of the hanging, They're painting the passports brown The beauty parlor is filled with sailors, the circus is in town 4) PROGRESS/ESCALATION- In this verse, he progressively reveals more about the setting, placing you there. It's not just disjointed images. The sense of corruption is frightening, ominous, corrupt, unstable. Here comes the blind commissioner, (corruption) they've got him in a trance (Who's they?) One hand is tied to the tight-rope walker, ( On one hand unstable, on the other self-corrupting) the other is in his pants 5) INTERESTING PERSONAGES. I'm trying to use alliteration with P. Many times Dylan overcomes the brevity required in song lyrics by introducing characters of a well-known "type" or an adjective-character combination. Here and in other places he introduces several evocative characters in just 8 lines. Specifically, postcard sellers, passport painters, sailors,blind commisioner, tight-rope walker, and by suggestion also beauty parlor and circus people. SEVEN types of people , or individuals , in eight lines. We are conditioned to respond to people , to feel emotion and if you can pick them right they trigger something in listeners. Compare this to a song to one person. 6) Strongly EVOCATIVE ACTION: Some is depressing. The hanging was a reflection of a lynching of black circus workers in Duluth, MN Dylan's uncle was aware of it in the 1920s/30s People are selling, painting, going to beauty parlor, walking tightropes, masturbating, being "tied" to someone in danger. Again, all these people, all these actions00 in EIGHT lines. 7) PANORAMIC- You see a lot of the town where the lynching was, there's the recent past crime scene, they sellers, the parlor, the surrealistic commissioner. 8) PLAUSIBLE- Although there's surrealistic or symbolic elements, this verse is based on a true historical incident. This provides a grit to it, a masked truth that can't be argued with. It reminds me of Henley's "Boys of Summer', "One day I was on the road saw a deadhead sticker on a Cadillac." If Henley didn't see that, he could have. 9) REPETITION- The verses all end with some restatement of Desolation Row. That gives the listened a reminder of the theme, and makes them feel smart. They can feel it coming, and when it occurs each time they feel the satisfaction of feeling they know the song, the place.
  13. I've noticed another problem/solution related to this so I'm adding here: Problem: Some notes don't create flex pitch bars/markers. Exact situtation: The beginning word in a line of lyrics didn't generate a flex pitch bar, but others did. The phrase had been made into a region from a whole line by using "erase silence" function in main window. Solution: The very first part of the first word of the phrase had been "cut off" in the creation of the region. it wasn't totally obvious. "stretching" the start of the region to make it start earlier, so the full first note was sounding, triggered the FlexPitch to create a bar for that note, allowing correction. Lesson: Slightly cut-off notes ( done by trimming region) may not trigger FlexPitch.
  14. Is there a kindle/paperback combo package, want to buy but buying both is a bit steep for me
  15. This confused me for about an hour of my life so I am volunteering to prevent anyone else having same problem. PROBLEM: Adding SW instrument to Project started with out-of-tune guitar ( about 27 cents flat). Project is too complete to re-record, tuning polyphonically makes guitar sound unnatural. ( The Steinway here provides wonderful dramatic bass tones.) . Thus need to adjust tuning of Logic SW instrument to project tuning. SPECIFIC CASE: Software instrument chosen is not directly editable, for me it was "Grand Piano and Strings". So I can't directly edit tuning from there. The label shows up in the spot at top of channel strip, but clicking on the name "Grand Piano and Strings " does not open the sampler to tune within it -- because it's a "stacked" instrument ( IDK right label) composed of TWO sampler instruments-- the piano and the strings. SOLUTION: Eventually after floundering a while I realized that the selection of a "stacked" instrument creates N tracks in the main window, where N=number of instruments in the "stack." Selecting one of the individual TRACKs of the "stack" yields an individual channel with a sample instrument, which is accessible and can be tuned It seems in my case it automatically tuned the other member of the "stack" but I can't attest to reliability of that.
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