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Dave K

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  1. Small peek at Logic here in a few places. I didn't watch the whole thing, but what I saw wasn't very technical. More about the experience of writing the song. But still a cool video: How Billie Eilish and FINNEAS Created 'What Was I Made For' DK
  2. fyi, I have submitted as feedback to Apple this case of Flex Pitch corrupting audio in parts of a region far from any Flex Pitch edits, and I linked back to this post. Let's see if they reach out again for more info.
  3. If this is true, it sounds like great news for simplifying workflow. I tried to summarize in my post above the awesome input offered by everyone, and I'm gonna mark that as the resolution here. If we get consensus here that we get reliable results from disabling flex on all regions in a track except the ones needing edits, then I'll update my post and happily make my life simpler!
  4. How? Logic doesn't "know" anything until you explicitly tell it what you want to do Not only does it try to detect if it's polyphonic based on the content, it actually got it right, and even so in the context of Flex, where it introduces the distortion:
  5. That distortion is caused because Flex Pitch isn't designed to handle the polyphonic audio material you applied it to. Thats not "buggy". 1) Logic knows that the track is polyphonic and it still presented notes for editing via Flex Pitch in the region where individual notes were played. If modifying the pitch wasn't supported, then it should not have offered the note handles for editing. If it IS supported, then it should not have corrupted my audio. So that's either a bug or a UI failure. 2) many portions of the piano track that were NOT Flex Pitch modified -- such as the chords -- have garbled audio; you can hear it in the project. So the only way that Flex Pitch could have messed it up is if a change elsewhere in the track -- or maybe even just enabling Flex at all -- caused the audio to distort in these spots, when it should not have touched those spots at all. This would be a bug. Either way, Flex is a point-and-click fully-managed interface. There's no excuse for leaving you with corrupt audio after using Flex. It's not like using a distortion filter, or driving your gain into a clipping region, or editing waveforms by hand -- actions where Logic allows you to shoot yourself in the foot.
  6. Folks, there’s a wealth of experience and valuable input here, and I’m extremely grateful to you guys. Let me try to summarize the takeaways for any other novices that may stumble on this thread and to make sure I got this straight. 1. Flex is cool and fast, but also known to be buggy and distort audio on occasion. 2. The best way to sandbox Flex is to: a) let it operate only on select problem regions, not the entire track; b) do those regional Flex operations on separate throwaway tracks. Since Flex Pitch tends to be buggier than Flex Time, use separate throwaway tracks: one for Flex Time (only) region edits, and another for regions requiring Flex Pitch or both Pitch and Time; and then c) bounce or copy those regions back to your main, un-Flexed track as soon as they sound right. 3. In order to keep your original audio pristine, keep it in a Track Alternative that doesn’t get touched, and keep your candidate/working/“comp” track, the ultimate destination for all your edits, in another TA. 4. Optionally, keep any number of additional TAs with descriptive names and containing specific regions, to keep track of intermediate Flex or other edits, before copying them to the final “comp” TA, so you have a history of where they came from and a place to fall back to if needed, without needing to start over with the raw original. Did I get this right? Now, to go back and start over with my piano track edits and see how things turn out… 😅
  7. Yea, I'm not clear on how "Flex and Follow" works. The manual only mentions Flex Time, not Pitch: And it seems like Logic may be messing with the whole track even if you disable Flex and Follow on some regions, getting us back to the potential audio corruption we're trying to avoid. I really don't know. But a true "keep-your-hands-off-my-No-Flex-regions" would be handy 🙂
  8. Exactly. That's what I was saying, and why I was surprised Flex had trouble with it. But you'll see in this thread that people clarified that because the piano track as a whole was polyphonic, and FlexTime/Poly has trouble getting that material right, it garbled the audio. So various best-practices were suggested as alternatives. I'm still compiling that list 🙂
  9. First of all, thanks a TON! Okay, I played your GIF a frame at a time and reread your posts a ton of times, and I think I'm getting what you're saying and it almost all makes sense. A couple follow up questions: 1) You talked about Track Alternatives, but I see that FLEX PITCH and FLEX TIME are separate tracks entirely. Why not keep them organized as Track Alternatives like the others? Is it because Flex can't be individually enabled on just one Track Alternative, and so enabling it on the entire Track puts the whole Track at risk? And so, after you harvest the edits into "Flex Edits", you just discard the FLEX TIME and FLEX PITCH tracks entirely? If so, I get it. 2) If you have to both Flex Time and Pitch the SAME region, do you just work in series and do the time first and then copy it to the Pitch track and do the pitch work there second? Thanks again in advance! DK
  10. Very helpful tip for a very annoying issue. It appears that's what @Atlas007 is doing as well. It's too bad you can't enable Flex on just a Region instead of a whole Track, eh? Seems like it would simplify workflow a lot.
  11. Thanks so much for the follow up. I think I get what you're saying. So even though the ONE Flex Pitch edit I did to the piano track was to a single note (not a chord; monophonic), the fact that the track as a whole was polyphonic affected Logic's algorithm and caused it to distort audio that hadn't been pitch-adjusted at all? I wonder if the portions that were distorted by Flex Pitch were the ones that were time-adjusted by Flex Time..... Very cool. So I think what you're showing me is that your solution is to split the track into two, and perform Flex Pitch edits on #1, and move select regions for Flex Time edits to #2. Am I following? By the way, notice that you can still hear distortion such as on measures 98-102. The distortion goes away if you disable Flex Pitch on that track. So is your proposal to cut out those regions and move them to Track #2 where Flex Pitch will stay off?
  12. I'm all about giving back! You guys have been a huge help, and finding good info online is often hard and so I'm really happy to have my learning curve help others. 😎
  13. Ugh, I see that now. I scoured that page several times. I feel like their page keeps changing. Even this morning it said $399 for RX Standard. I swore I saw $199 before. Now it says $199, on sale from $399 (again). (fyi, At Sweetwater, they show the $399 price but the $199 is only available as an upgrade or for Academic.) I had told their support team that the grid section wasn't showing. Maybe they fixed it. Or maybe it was a browser issue. I had searched the entire web page for the word "mouth" and nothing came up. They definitely changed something. Or, entirely possible, I have lost my mind LOL.
  14. Okay, that makes sense. I have played with that at some length, and it certainly sounds natural. If I'm just editing a few individual notes, though, I think Flex Pitch might be less hassle. I'm just gonna have to keep a close eye out for audio corruption. Okay, damn, Track Alternatives seems perfect for what I'm trying to do. After I read this, I spent all evening reading up on and experimenting with the feature. It's perfect. It keeps all by save-points tidy and organized with useful names so I have a clean, documented history of what I changed. I'll probably also number them in sequence since they are going to be cumulative. Trying to follow here. These edits are on your "comp" alternative? But then you have another comp track later called "original alternative"? Next question: I think I get this, but then why do you Join them all together? Wouldn't you be able to go back and see the pieces you edited better, if needed, if you left the pieces/regions intact? Also, if you do Flex Time and Flex Pitch edits in parallel on separate track alternatives, how will you merge them back into a single track? Don't you have to do one first, copy the track alternative, and then do the second on top? Your workflow sounds very effective, but I want to understand it 🙂 Thanks in advance!!
  15. For the community, I reached out to iZotope... the Mouth De-click (which is what helped me) is not included in the cheaper RX Elements. The latter apparently also lacks the standalone application. RX Standard has both. I don't think either of these details is visible anywhere on their web site. But logicprohelp.com is here for you 😎😂
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