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grubmanus

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  1. Yea, @Atlas007 is correct. In Finder, your apple loops live at: User Library->Audio->Apple Loops->User Loops The 'SingleFiles' folder = My Loops in the actual Logic Loops Browser. Add as many folders as you want next to SingleFiles (not within it) and they'll show up in your loops browser menu at the bottom. FYI, you have to choose "Re-index All Loops" at the very bottom of the browser menu to have anything you did in Finder update in Logic. Also heads up, you can't nest folders any deeper than 1 level, but this gets you some decent organization.
  2. Well I was going to say daily experience, but after running a few quick tests, I just learned something! Here's what I do all the time: kick files out of Logic (say vocals), edit elsewhere, dump back into Logic into a song that has since sped up. These new (edited) files have tempo info stripped. So the pitfall is, you have to make sure to initially engage flex at the original tempo (not the new faster tempo), or else they're permanently stuck out of time. They "lock" in place relative to the grid/session upon that initial flex button press, so you obviously need to be sure to do so at the appropriate tempo. Now what I assumed was going on under the hood was that tempo metadata was being written to the file, and that's how Logic handled their flex behavior. But I'm very surprised to see that in fact this only holds true for the local session, not the actual files themselves. Meaning if you drop these same files into a different session (which I guess I've never done before), you get another fresh chance to "lock" them in at whatever tempo you want. Now I wonder where Logic is actually storing that info.
  3. Thanks, you're right. I should clarify though: tempo information does get burned into a file when engaging flex for the first time when the file has no pre-existing tempo information. This is common when dragging in audio from elsewhere. Also, processing audio in other software can sometimes strip the tempo metadata, so it's a good concept (potential pitfall) to be aware of for those learning. Otherwise though, very true: Logic just tries to handle all this automatically by writing tempo info to any file created in the DAW, which is probably 90% of the time for most people & sounds like the OP's case here.
  4. It was explained above, but in the plain terms, the reason for regions changing length when you engage flex is really simple: the regions have tempo information embedded in them, and it's a different tempo than your session is at currently. FYI, tempo information gets "burned" into a file when you engage flex for the first time, and then this metadata stays in the file (unless you manually change it). So say your session is 120bpm, you engage flex on a track, and boom, suddenly all files on that track are branded as 120bpm (even if that doesn't make musical sense). If you import these into another session that's 172bpm, the files all still say "hi I'm 120bpm" under the hood, and as soon as you turn on flex, they'll instantly get shorter because Logic is trying to play them back faster (120bpm files now playing at 172bpm speed). The main thing is: the files' tempo metadata and session's tempo are a mismatch. To fix a mismatch like this, you need to manually reset the tempo data of the file(s). In your case I would: 1) In your edit session, merge all files starting from the nearest bar (important). This will render all your edits and ensure everything stays on the grid. 2) Turn flex OFF. This should now sound good at 172bpm with no flex whatsoever. 3) Import these into your destination session & make sure it's set to desired tempo (172bpm). With flex still OFF, right click these files and choose Tempo->Write Project Tempo To Audio File. This basically says "brand these files as 172bpm instead." Now engaging flex will do nothing, because the file (172bpm) matches the session (172bpm).
  5. Getting a new computer and finally exploring the world of Apple Silicon. I work with others and it's always been a bit of a dance to keep all machines in sync (same OS or 1 away, same version of Logic, same plugs etc). So far everything in our world has stayed Intel for a variety of reasons. Since I can't yet test it myself: wondering if anyone has any experience sharing Logic sessions between Intel and Apple Silicon machines? Is this known to cause any problems? Particularly interested in 3rd party plugins--basically if they're loaded as the "native" version on 1 machine, but the intel version on another machine, and continually saved and passed back and forth. In theory I'd think that should work alright, but in practice I know there can always be quirks. Would love to hear if anyone's had any experience with this (or any related pitfalls). Thanks.
  6. Very weird. I assume the 1 bar thing is because the MIDI files I'm importing don't have notes beyond the first bar (so that's normal), but again, no tempo/markers here. Importing MIDI files with more content gives me a longer file with all the notes, but no tempo or markers. Anyways, don't want to hijack the thread too much, but interesting to hear this works properly for you (even on an older version). Something to look forward to when I eventually step into modernity & change versions.
  7. Not sure what to make of that... doesn't work here (just tried using several sessions / MIDI files, including yours). MIDI files imported using File->Import->MIDI File produce a MIDI region that's 1 bar long and no other tempo / marker information, even in a blank session. Same when using the file browser and double clicking the MIDI file that way. Got multiple computers available and they all do this. Just 10.5.1 maybe?
  8. Hey, glad you got it sorted. Interesting that the import tempo / tempo set interaction is now buggy--I'm on an old Logic (10.5.1) and it works just like I described here. Also didn't know tempo sets max out at 9 (guess I never pushed the ceiling), so I learned something. Out of curiosity, how are you importing the MIDI files? File->Import->MIDI File? This feature never used to work right to capture tempo/markers (doesn't on my version), and would require you to open the MIDI file to extract that stuff, which in turn required stupid workarounds like opening & saving 'dummy sessions' to then import from. If this works correctly now that would be a huge improvement.
  9. Use Tempo Sets for this. FYI, when you import a Tempo Map, it overwrites the current Tempo Set (all others stay unaffected). So basically, you can make a new session, and make a new Tempo Set for each song name, plus a "FULL LIVE SET" one (or whatever you wanna call it). They'll all be blank at first, just placeholders. 1 by 1, choose each song, then import the real tempo map from the corresponding session. You now have them all accessible in one session, they're just nested into separate 'playlists' and you need to combine them. You can copy and paste these tempo maps (or any sub-selection for that matter) between sets, and you can highlight any selection and drag the position starting from the bar like so: So basically just copy and paste them all into the "FULL LIVE SET" one, then move to wherever you want. I would do it in reverse order (get the last song in place first) so they're out of the way before pasting the next one. You get the idea.
  10. This is expected behavior as far as I know. My understanding has always been that when soloing a track, Logic includes routed auxes at the level of the channel strip itself (sends and outputs), but not inserts (i.e. sidechains). Can't really speak to bug vs design choice, but it's done this as far back as I can remember. However, I'm on an older version of Logic (10.5.1) and just tested @apaclin2's simple set up. I was surprised to learn that if you feed Track 1's compressor by Track 3 itself (rather than the bus), soloing Track 1 actually does retain the sidechain input even while Track 3's direct signal is temporarily muted by the solo. Seems like it grabs this signal after inserts but prior to the output stage (so output path, fader level, and even mute have no affect). Interesting. So that's something to consider. Key busses offer more control IMO.
  11. I typically make sidechain 'key busses' for this where the busses are set to No Output and are solo-safed (control click the solo button so there's a visible slash through it). Example: a kick track sends full level to the "kick key" bus, and a bass synth (or whatever you want) has a compressor sidechained to this same bus. If you solo the bass, you will not hear the kick or any other direct signal, but you will still hear the compressor pumping b/c the kick key bus is solo-safed. The key point is that the busses themselves are inaudible (No Output) and solo-safed, and you're sourcing your sidechain input from these inaudible copies rather than the direct track or any other audible bus.
  12. There's always multiple ways to do things of course, but one idea that might help is to essentially bounce your whole session as one long audio file, then automatically re-chop it and convert to new audio. Not 1 click, but it actually goes quick. I would: 1) Bounce whole session, then re-import this audio file onto a track in its original position. Can use "Move Region To Recorded Position" to spot in place. 2) Now you want to create a track that has a copy of all the regions on ONE track. These will come in handy to auto-chop the long audio file. So to do this: create new track. Select all original tracks and option-drag down. This creates a copy of all tracks/regions. Make sure your new empty destination track is selected, then select all the new (copied) regions you just created, and choose "Move Selected Regions to Focused Track." You can delete the all the empty duplicate tracks now. 3) Now you can use what I like to call the "cookie cutter." Option drag the track with the big long audio file so there's 2 copies. The setup you want is simple, 3 tracks: first, 1 track with all the regions. Then, 2 tracks with the long audio. Most importantly: you must be in No Overlap mode. Now you can simply select all the regions from track 1, copy them down to track 2 and DELETE immediately. This creates an exact inverse of the chops you actually want. Now do the same thing: grab all the regions on track 2 (the inverse chops), and move them down to track 3 and delete immediately. Your big long audio file should now be chopped to exactly match all original region lengths/positions. 4) Convert to new audio. Hope that makes sense. In some simpler cases you could also just do track export and then use "selection based processing" to print the master bus plugs in a single separate step. But if you have other bus processing (and it sounds like you do), track export isn't adequate & I would try the above.
  13. @polanoid Yep you're exactly right. Seems the file references initially use absolute paths rather than relative paths (and only point to the local copy files if the external pointers don't work). It never crossed my mind to report it as a bug as it always struck me more as a design choice I guess. Easy enough to mitigate when you know about, but I'd love for it to not do that so maybe I should.
  14. For what it's worth, I get this "file_1.wav" behavior when I: Have an external drive mounted (over a network if that matters) Copy a Logic session from this external drive to my drive (by dragging in Finder) Open this Logic session (the local copy) and save it while the external drive is still mounted This typically creates a full new set of audio with "_1" and is kind of a nightmare. Originals are not lost though. So I've learned the hard way not to do that. Not sure if that sheds any light. If I were you (and I understand correctly), I would get NameChanger to batch rename your files. If you have a full set of originals, but Logic is looking for "_1": copy your full set of audio into a new subfolder, use NameChanger to add "_1" to all the files, and dump all of these into the Audio Files folder of your project. Not ideal for saving space but might be a shortcut to get you going.
  15. Also to "send out" to the pedalboard, you should probably use a pre-fade send to output on the desired track in Logic, rather than changing the track's actual output. If you do it this way, you can still hear the direct signal of your Logic instrument (to hear what's going on) in addition to the wet FX return. And you get separate control (can fully turn down the direct signal if you want or blend to taste). Good luck.
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