Droopy_TX

Thanks for the reply, David. I hear ya. Between SSDs for backup images and legacy OS images (to maintain compatibility with friends with older Macs), Samsung is making a fortune off of me. But, it's not so much the expense that bothers me, as my preference of having an all-in-one kit with no dependencies on external devices; especially knowing there's some of that content I will never use. My 2015 MBP only has a 500GB internal SSD. The full library (I think) now would take half of that. I am going to try being selective, initially, with 10.7; but may end up following your course in time. Thanks again.

Well... I take the lack of any further responses as a, "No."

Is there a comprehensive listing of the Sound Library content in Logic Pro 10.7 that shows what is in each section, producer pack, sound pack, etc.? Given the storage requirements for the latest collection, it would be nice to be selective. I'd prefer not to have to use an external drive for the Sound Library. I do not create EDM or do remixing; but, there may be some instruments, etc. in some of those packs that are useful in more traditional music. Thanks in advance.

That’s the first I thought when I saw Live Loops.

Eric, my understanding is that this is because LPX project files are really just ZIP-like archive files, and that Dropbox recognizes this, and presents them as folders in the web interface. It is, indeed, a pain. Note, though, if you install the Dropbox application on your computer, so that you open Dropbox as a replicated folder on your local hard drive, the LPX project files are presented in their "monolithic" file structure. My collaborator and I trade project files via this method, using the installed app on both sides. It makes it pretty seamless.

You like to find things ridiculous do you? Spend a lot of your free time doing that? Chill that attitude dude. I concur. And this applies to a number of folks on this thread. I always thought these "10.x.x is out." threads were for highlighting the new features and how they are working; not having to wade through endless sniveling and moaning in TLDR monologues about what it isn't.

I am not certain about the 1.3.x version family, but I ran the whole 1.2.x family (even on Sierra) on that unit. Initially I did it with 4GB, but that's a struggle. You would really need to manage your plug ins and take advantage of the Low Latency feature. When I bumped it to 8GB, it was like a whole new machine. The original HD, which I think is a 5400 RPM spindle, was enough to handle 20 or so tracks. It actually worked really well. Your SSD would likely do even better.

Incredible indeed! Very nice job.

Guys, If I want to raise or lower the overall volume of a track with a Volume automation envelope, I do it by using the Automation Value Trim setting, as shown. Perhaps this is what the OP is looking for? Also, I've seen some older messages saying that this could be done by pressing the Command key while moving the volume fader; but, that does not work for me.

As indicated previously, I downloaded a demo copy of both the MIDI Guitar and MIDI Bass apps; and spent some time testing them. First, let me say, in demo mode, the apps are fully functional as they indicate. The apps pop up a "interruption" screen every 2 minutes from which you can get a license and register the app, or simply click "Continue" to keep using the demo. However, all the features work. You only get the stand-alone app with the demo (no plug-ins). However, it is possible to integrate with LPX using the application's Virtual MIDI Out. With that, I was able to drive Alchemy and the EXS24 sampler, as well as to record MIDI data to LPX tracks. As with any analog to MIDI conversion, my first concern was with latency. The app allows you to configure the sampling rate and buffer size which determines the latency. At the default (44,100 Hz; 256 samples) the indicated latency was 5.8 ms on my system. This seemed nicely responsive. My second concern was tracking accuracy. Also as with any analog to MIDI conversion, accuracy is also dependent on cleanly articulating notes on the guitar. However, the app has some functions that can help you there. There is a noise gate function that will cause the app to ignore minor errant string noises. There are also Velocity settings (gain, curve, compression) that control velocity sensitivity, and how that ultimately converts to the output MIDI velocity level. This really helps give you access to the full range of velocity, if you want it; and to smooths things, if you don't. But, in general, I would say, with reasonably clean playing, it tracks pretty well. Certainly, good enough for live play; and, anything recording for posterity, I would capture the MIDI data to allow it to be tweaked, if necessary. The app has some built-in software instruments; but for this crowd, I would suggest you use it to drive the LPX or other 3rd party synths/samplers you have. It also has some guitar amp/cab modeling and (IR) reverb; but it only comes with one setting. So, yes, they work; but, I didn't really dig deep into that aspect. There are other cool bells and whistles, too. The integrated guitar tuner is very nice. It's one of those polyphonic ones that can do all strings at once. The app can do half-step and octave transpositions. You can use a sustain pedal with it. Unfortunately, pitch bends appear not to be implemented yet; at least in the demo version. So, no portamentos; but it will do a discreet glissando if you bend or slide. I tested the bass version, too. I have to say, as I am primarily a bass player, I am somewhat disappointed. The bass version is not polyphonic yet (future release). You must make certain you play monophonically or the tracking glitches. Otherwise, it appears it is basically the same program. It seems the only significant difference is the frequency of the notes being analyzed. This may be somewhat of an oversimplification; but it does appear that they could combine the two apps, and include a switch to indicate which instrument is being played. I actually played my bass through the guitar app; and, it did just fine tracking (polyphonically) anything above E2. So, in summary, (IMHO) the Jam Origin MIDI Guitar app is a very functional analog-to-MIDI conversion app, and more with the built-in synths, amp/cab modeling, and IR reverb. Latency and tracking is not as good as dedicated and optimized guitar synth hardware; but, the application's performance and capabilities are quite respectable. Plus, software can be more easily upgraded and is significantly cheaper than a hardware solution. When the MIDI Bass app achieves parity, I would consider it the same; but I would prefer to see the two apps merged. In closing, I hope this read-out helps those interested. And, for the record, I am in no way affiliated with Jam Origins.

The MBP is much more mobile. That was my deciding factor.

I have not used it, but I am interested. Will download the demo version later today. I l'd ike to see how it compares to the Roland GR-55 midi guitar system in terms of tracking and latency. I am a bit puzzled as to why there's a separate bass guitar version. The GR-55 supports the bass, too; but, switching between them is simply a mode change. Hate to have to buy two versions.

The Mode is set to "Delete selected events". It should be set to "Apply operations to selected events".

A side question: What is advantage of leaving flexed regions in a "state of flex" versus committing the changes via 'Bounce in Place'? Personally, I don't trust leaving flexed regions in a modified state even within the same app version.

I understand the usefulness of doing group editing with actual phase-locked audio tracks (e.g. drum/drum room mics, multiple guitar mics, etc.); but, wouldn't vocal double tracks each have unique tuning and timing transients that would need to be accommodated individually?