TimMoore13

I am using Logic Pro X 10.3. I recorded a guitar track and it is green. I opened a new duplicate track and when I recorded it is now purple. Can you help explain why one track is green and one track is purple and why neither are blue? Typically, when I record audio the tracks are blue and I currently have audio tracks in this project that are blue.

Thanks David! I really appreciate the answers. I also spoke to a friend that manages a tech support team for PreSonus and he echoed everything you said. Thanks again! Tim

Thanks Dave! Last question on this. I found this link from Apple's website: https://support.apple.com/en-us/HT203930 and the 1st solution offered was use of an external hard drive. Are there simply a lot of people using insufficient hard drives or is this advice from the Apple website simply incorrect? It just seems odd that I started having exponentially more issues after I downloaded the Komplete 11 suite. I guess I am to assume this means the instruments from Komplete are much more CPU intensive than the ones from Logic. Tim

Below is the error message I am getting: "The audio engine was unable to process all required data in time." "You can try increasing the i/o buffer size, change the Multithreading option at Logic Pro X > Preferences > Audio > Devices." My I/O buffer size is currently "256". My Multithreading option is set to "Playback & Live Tracks." Using the monitor it looked like my CPU was very high and the Disk I/O was barely registering. If this is all true as you explained, then why do so many people recommend a 2nd external hard drive? Are the instruments that come with Komplete 11 that much more CPU hungry than the ones that come with Logic Pro X? Also, what do you recommend I do to resolve the issue? Thank you so much for your help!!! Tim

Hey David, I have a MacBook Pro with a Sandy Bridge 2.2 GHz Intel Core i7 processor. I have updated the RAM and now have 16GB of RAM. I used to periodically get system overload messages but since installing Komplete 11, I get these drop outs with this error message a lot. I have read numerous articles that have recommended using an external hard drive. Native Instruments also recommeds this for Komplete 11. I am certainly open to other suggestions. Tim

I found this link, which seems to answer my question. Please let me know if anyone feels differently or if anything has changed with the latest OS or 10.3 that makes this process easier. https://www.logicprohelp.com/move-logics-additional-content-secondary-drive/

I am looking to move libraries from Logic Pro X 10.3 as well as libraries from Komplete 11 to a Glyph Studio 1TB external hard drive. 1. Does anyone have good directions for how to accomplish this without disrupting the pathway for other projects? My fear is I move everything and Logic doesn't know where to find the audio for previous projects. Here is a link to a video but it's 3 yrs old so I didn't know if there was a better way now or if this was the best way. 2. What files should I move? I saw something in another thread about film composers. I only create house music with synths, etc. Thanks, Tim

Sounds good, thanks.. In terms of further educating myself on the different compressors in Logic, I know each was designed more or less to mimic specific hardware compressors. I was simply planning to better understand how each has been traditionally utilized, while continuing to experiment as you already noted. I'll worry less about the RMS levels moving forward.

This is great feedback. I typically use compression by ear and just started this idea of monitoring levels when using compression. I agree it seems a bit counterintuitive. So do you monitor the RMS or LUFS levels during the mixing phase and if so how do you address peaks and the overall RMS or LUFS level to ensure you don't leave your mix in a situation where it takes extreme processing during the mastering phase to get the average level to the desired level? Do you typically use a small amount of limiting on specifics tracks, i.e. kick drum, snare, etc, to reduce peak transients or do you typically just use compression, EQ, etc? I have been experimenting with the various compressors in Logic. I'll make it a point to further educate myself on how each one handles transients.

Perhaps utilizing the limiter on the compressor or putting a limiter behind the compressor with a small amount of limiting on specific tracks would be helpful?

I always keep the autogain turned off. I'm essentially trying to decrease a few peak transients and increase the RMS level of a few individual tracks to reduce my overall peak level and increase my overall RMS or LUFS level to reduce the amount of limiting that will be needed in the mastering phase. My understanding is the mastering engineer should not have to apply more than 4 db or so of gain with the adaptive limiter. I am not competing in the loudness war. I would be happy with an overall average level of -10 to -12 dbfs once mastering is completed (not to be confused with the final peak level, which will be much closer to 0 dbfs). I realize the mastering engineer will apply more processes than just an adaptive limiter but I am still trying to provide the best pre-mastered product. I have been using EQ, compression and various other processes to accomplish this. When going back and analyzing individual tracks with peak transients it just seems like the compressor is impacting the RMS level more than the peak transients.

When using compression it seems like I have to spend a lot of time finding a setting that actually decreases the peak level but not the RMS level. Most of the time the peak level seems to stay the same or increase and the RMS level decreases. I thought the general point of compression was to decrease peak transients and increase the volume of the lower parts, which would in turn increase the RMS level. Any help would be much appreciated. Tim

I've had a few issues and I am wondering if they may be from the result of having too many midi tracks. I am using Logic Pro X. 1. During playback, I will sometimes have bizarre noises occur during transitions. For example, I may get a "bang" sound instead of a white noise filter sweep but then when I play it back a 2nd time it sounds fine. 2. When bouncing a project to listen to in my car and on other speakers the project doesn't always seem to convert correctly. For example, I have a project with 35 tracks and when I bounce the project 1 of my effects may not convert correctly or the bass may seem a bit muffled, etc. Then if I bounce the project again it may bounce down correctly. Would bouncing some midi files in place to audio solve these issues? Any help would be much appreciated.

This is very helpful! Just to clarify, you select all of the tracks, open automation and then move the trim on one track correct? So essentially you are doing the same thing you would be doing in the mixer view but in the automation view correct?

In Logic Pro X, I know that to increase or decrease the volume for every track at once you can select every channel in the mixer view and then pull one of the volume sliders up or down. This; however, does not appear to change any volume automation you may have on specific tracks. Is there a way to increase or decrease the volume for every track including volume automation or do you have to open automation and manually change each track individually using the trim feature?