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zplane

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  1. There are still used OWC Thunderbolt3 docs around for sale that include a Firewire 800 port, e.g., https://www.amazon.com/OWC-Port-Thunderbolt-Dock-Space/dp/B01N51P3BB/ref=sr_1_6?crid=7Q65PEXOVX9Y&keywords=OWC+Thunderbolt+3+dock&qid=1703821822&s=electronics&sprefix=owc+thunderbolt+3+dock+%2Celectronics%2C66&sr=1-6 Don't know if you can use a TB3 doc with a newer TB4 Mac. We've had no issues with using those OWC docs with older TB3 Macs including using the FireWire port.
  2. The reference track(s) to create the tempo map are often one or more drum tracks recorded with consistent kick, snare, hi-hat, etc. hits at 1/4, 1/8 note or finer resolution. Analyzing tracks with the most frequent and consistent rhythmic events creates an accurate global tempo map for added tracks to follow. Logic can import a set of tracks and analyze them for tempo as a "multitrack set", e.g., multiple drum track audio file stems. You select which tracks in the multitrack set to extract the tempo from. Likewise it helps to apply the project tempo map to imported audio with beats/transients within a few beats of the audio used to create the tempo map. Normal playing usually does not jump from 85-90 bpm across consecutive measures. If your global tempo track starts out with jumps like this, then it is probably not accurate, i.e., not enough transients/beats at regular intervals to analyze. You could go into the tempo list event window and edit it to smooth out the jumps. I think Logic also has a smooth tempo function. I have not found guitar tracks to be good references for tempo maps. Say you had 4 players in an instrumental group all playing in time (no drums or percussion). You can try tapping in time to the recorded audio using a MIDI controller to record a sample of a hi-hat hit with a drum VI (at least 1/4 notes). Then you can use the recorded hi-hat audio file to create the project tempo map. If you align both audio tracks in the arrange window and nudge/shift one so they both start at the same time, maybe they sync rhythmically. if you can't tap in time to both, then the tap strategy above won't work. If you align the start times, and trim the files to have the same start/end time, you could export them. Then try selecting both those files to import into a new project (no existing tempo map) as a multitrack set - and select both for tempo analysis. That may not help if there's not enough or conflicting rhythmic/transient info there. Beat mapping is the most reliable way I've seen to conform a new track with the track(s) already used to create the tempo map. You have to do beat mapping from left to right in the time line since everything to the right can be affected by changing where the beats fall on the left. Sometimes correcting only a few beats on the left helps to correct the alignment of everything to the right. If dragging a beat marker causes a huge shift/glitch in tempo or alignment, then you should undo it, and look for a different beat to align.
  3. Even before Logic 10.8.0 was announced, NI was listing MacOS 13.5 or higher as required to support their new MIDI 2.0 (S series) keyboards. I have not seen a detailed spec for the new Korg MIDI 2.0 keyboards. So far these all have polyphonic aftertouch. I take the NI listing to mean Core MIDI needs to be from that minimum MacOS revision to fully support MIDI 2.0 - so that could be a reason to upgrade to MacOS 13.5. As I understand it, a fully functional outboard MIDI 2.0 synth receiving MIDI 2.0 data to control playback of its internal sound engine(s) won't benefit from using the old Emagic Unitor MIDI interfaces running under Logic with the Apple driver. Timing should be accurate with a direct USB connection from the synth into the Mac since all MIDI 2.0 data is timestamped (part of the standard). I suspect the "MIDI 2.0" checkbox in Logic's preferences still needs to be checked.
  4. There's always been a market for the high end synths in an unweighted 76 (or maybe 73) key format from Roland, Korg, Yamaha, Kurzweil, etc.; those can double as master MIDI controllers. Professionals in orchestras, ensembles, theater productions, touring bands often prefer 88 keys, but most of those models are weighted, less portable and may not hold up well. Music is often expected to be played with, e.g., written for, more than 61 (if not 88) keys, so 76 is a good compromise. The higher price tag for MIDI 2.0 keyboards means some vendors will initially offer them in smaller sizes to be more affordable and test the market.
  5. I don't see the Korg Keystage as currently available and is only listed in smaller non-professional form factors with less than 76 keys. Those claim MIDI 2.0 integration. Neither do I see the new NI S-series mkIII controllers available. NI lists MacOS 13.5 (Ventura) or newer as a requirement for MIDI 2.0 support. I take that to mean updates in MacOS and/or the included Core MIDi framework in that release of Ventura or later is required for the NI controller to work with Logic (and probably other DAWs). MIDI plugins would also likely use Core MIDI in MacOS and so could have a similar dependency. So while you can already check the box for "MIDI 2.0" via the pull down menu "Logic Pro" --> Settings --> MIDI ... I suspect it is pretty useless unless you are running Logic on the correct version of MacOS with Core MIDI *AND* you have a MIDI 2.0 controller running firmware known to work with some combination of Logic/MacOS. Back in 2000 Roland listed the A-88 mkII keyboard controller as "MIDI 2.0 ready". I have not checked if the release notes mention MIDI 2.0 , but Roland released firmware/driver updates thru MacOS Ventura. Roland also makes the code available under a typical open source license. You should read the keyboard controller info carefully as language like "MIDI 2.0 ready" or "MIDI 2.0 integration" may not mean it is a fully functional MIDI 2.0 controller. I would wait for some review/test report to come out about a new MIDI 2.0 controller. I would not be eager to buy a MIDI 2.0 controller that does not allow firmware upgrades given early 1.0.X firmware versions will likely be buggy and need fixes.
  6. There are quite a few postings about shaperbox and like plugins that need to sync to the time/rhythm having their timing be off in various DAWs including Logic, Bitwig FL Studio over the years going back to shaperbox 2 (when placed after plugins inducing "significant" latency). Not clear to me why such a chain of plugins would work differently on an aux instead of an audio channel if PDC is set to all. The link below suggests a workaround in Logic is to use an instrument track to control the timing of shaperbox via MIDI. I assume that means trigger shaperbox via the MIDI sidechain. My understanding is Logic reads plugin latency as reported from plugins when playback starts. If however, a plugin subsequently changes settings thru automation or other time dependent controls that *change*the*latency* during playback, then even though the AU framework allows latency changes to be reported to Logic - Logic may ignore those reports. I can't verify that is still the case as I am not up to date on those dev postings. But that could explain why the timing of time sensitive plugins goes awry when placed after other (dynamic) plugins inducing latency.
  7. Was plugin delay compensation set to "all" when you tried the plugin in the Aux channel where the timing was off ?
  8. Sorry - I should have said if multithreading is set to playback and live tracks (and not PDC).
  9. Another difference between the 2 screenshots is there is a track armed for record (solid red record button with white R) in 1 and then in the other a different track record enabled (R only red). Logic makes a guess-timate of needed resources to run the project looking at all the tracks in the transition from stop to play, subsequently reflected thread wise in the performance meter. The record armed track could make a difference especially if plugin delay compensation is set to include live tracks. I would not expect to see the same exact thread load or distribution twice in a row after stopping the project and hitting play.
  10. The 10.7.9 release notes say, "Projects created from templates saved with record-enabled tracks now open with those tracks record-enabled." But still not working with our projects created with version 10.X up thru 10.7.5. Tried making a new project in 10.7.9 and importing everything from a project file created with 10.7.5 (about 30M). Logic 10.7.9 reported out of memory for that on a machine with 32G RAM and no other apps running on the machine. We are still on all Intel Macs wth Monterey 12.6.7 since some AU plugins still seem unreliable on Ventura (10.13.X).
  11. The behavior you describe reads as inconsistent, but there is a preference for whether or not plugins should open on insertion. You could check that preference is set to the expected behavior or maybe experiment with switching it on/off.
  12. I have not been able to read thru the entire thread, and so would appreciate if someone could point me to the description for settings that need to change for this to match the behavior in 10.7.5 (apart from maybe changing the default swing value in the inspector). I assume 10.7.5 projects with swing/quantize values already set are not affected. We've saved quite a few projects in 10.7.5 virtual instruments in what I think is/was called multi-player mode, i.e. 1 instrument is record enabled (R button illuminated red), while other VI tracks show only the text of the R highlighted in red. These map to different external keyboards with splits/layers transmitting on individual MIDI channels to (only some of) the individual VI's in the Logic project. Those record set/enabled track settings are saved and recalled with Logic 10.7.5, but they are not recalled when the project is opened with 10.7.8. Wondering if there is a workaround for this in 10.7.8.
  13. I thought the default was that if you drag audio or MIDI files into an empty project, then Logic automatically creates the correct track type and names the track after the region. Subsequently you can change the track name and force the region to have the new track name, e.g., right click on a region, select name and color, and in the sub-menu choose "Name regions by track". I presume that default is why I don't see an option to "name track by region". Don't recall now how MIDI export choices affect what the region name will be upon subsequent import. This thread might be useful,
  14. You've probably already figured this out, but if your graphics card does not support the Apple Metal graphics framework, then video performance can suffer. We noticed it with the Logic score scrolling in real-time and other apps running on hackintoshes w/o such cards. You can check that with some simple code, see https://developer.apple.com/forums/thread/712565. More detail on that https://developer.apple.com/documentation/metal/gpu_devices_and_work_submission/detecting_gpu_features_and_metal_software_versions Apple articles can still be found listing metal compatible cards, and you can often buy them used, https://support.apple.com/en-ca/HT202239 so still practical to build Intel hackintosh. Apple has deprecated OpenGL in favor of metal, https://appleinsider.com/articles/18/06/28/why-macos-mojave-requires-metal----and-deprecates-opengl. Gaming graphics engines support Metal under the hood for Mac releases.
  15. You could try recording a MIDI region where you only toggle the sustain pedal down and then up again a single time. When you open the MIDI event list for that region, I think you should see the CC64 controller entry switch between a value of 000 and 127. You do not want to see values in between those, as that could confuse Logic as to when the pedal is off and on. That can happen if you plug the sustain pedal into the wrong jack.
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