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Jope

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  1. I followed the link and found it quite interesting. One wrote about "Planned obsolescence on perfectly working hardware" - that's pretty aptly put. There is no miracle about audio drivers, the old one should do the job if it were allowed to. But if I think of the two adapters I needed for the FA-101, I realize that FireWire is just dead - the whole thing was more of a zombie. I am quite happy with my new Volt 4... Although it produces some RF noise at its outputs which is inaudible but can be seen on an oscilloscope. The Edirol dinosaur didn't do anything like that. The people from UA told me this would be normal and I could expect less of this only with the more expensive interfaces... But the Volt 4 sounds good anyway.
  2. And here we go with 13.0.1 - as far as I understand it this adresses some security issues but is not a "real" new version.
  3. Alright then, FireWire is a retired protocol. When I bought the FA-101, I thought I would need many inputs for external synths, and FireWire was the fastest connection on my computer... but this was a long, long time ago (to be honest)... I haven't been using external synths for years. I'm fine with one or two mic inputs providing phantom power and some line in and out, so it's time to get a new interface, maybe the Scarlett 4i4, or what do you think of Universal Audio Volt4 (I know this is a different discussion for a different thread - just anybody tell me if there are reasons to buy one of these under no circumstances)? BTW if someone is interested in an as-good-as-new FA-101 plus some useless adapter stuff, you can have it 🙂
  4. Oh good. Simple-minded people might think: The interface hasn't changed, so the way getting data from and to it hasn't changed, and they are still digital audio data, so there is no need for a new driver... But we all know better: Audio data processed by old drivers just sound... old. Apple does not want to expose users to old-sounding data. Okay, I'll shut up already.
  5. Exactly. What I don't understand is: My computer is able to identify the Edirol FA-101 by name as FireWire device in the System Profiler (connected via the chain [Thunderbolt 3 to Thunderbolt 2 adapter] - [Thunderbolt to Firewire adapter], both adapters made by Apple)... So the computer still knows FireWire exists... But I cannot select it for audio out oder in. Do I want to buy a new interface... Or just wait and see if Apple just forgot something but will add soon... Or maybe someone else finds a solution? BTW Monterey had no problem using the FA-101.
  6. Just downloaded it... Hmmm. Ventura still finds my old Edirol FA-101 (system profiler), but it doesn't know it's an audio interface...
  7. Yes! this is what I meant. Glad you succeded in catching it in this GIF. Watch the little blue arrows above and under the mouse pointer: They stay there all the time although the selection of the line (and the place where the value is changed) jumps.
  8. Unfortunately I cannot tell when exactly it happens... But this is what happens: I normally use the Piano Roll and the Event List together. I use the Piano Roll for selecting notes (quite often chords) and then treat these in the Event List (most often I adjust the position, or sometimes I tweak somethin else). For some time past (but I don't know exactly since when) I sometimes lose the event I was click-holding in the Event List when shifting a value - the focus jumps just to a different event and the action runs out of the rudder. First I thought I might have failed to use the trackpad correctly (which I am quite capable of doing though), but the same thing happens when I connect a trackball. Did anyone experience the same?
  9. Glad to help! I do this sort of things (tweaking, experiments and solving problems) all the time... Rather than creating music.
  10. Switch Vector Mode to "XY", then set up the Vector Envelope as shown in the screenshot: Loop Mode to "Forward", Loop Count to "Infinite", the Loop point to the first of the three points, sustain to the last point. Set Loop Rate to 1/8, because that's what you used for the LFO2. The loop will then run with this speed; the time is divided into three sections, two of which you see by the line in the picture (47.5% in my example); the third section is the remaining 5% as shown under Loop Smooth. Select the three points one by one and set the dot in the XY-pad all the way down for the first point, in the middle for the second point and all the way up for the third point (the position's X-component doesn't matter in this case). Now, in the router, replace LFO2 by Pad-Y. While the Loop is running (starting when the note starts), Pad-Y will start with -1 (corresponding to the dot's vertical position for the first vector envelope point), then rise to 0 and further to 1, and then it will fastly return to -1 when the loop repeats. And so on. Pad-Y behaves like a rising sawtooth, but it returns more smoothly (controlled by the Loop Smooth parameter).
  11. The second sound uses a sawtooth waveform for the LFO, the edge of which is sort of fed through the filter (which I would consider normal). You can generate a softer sawtooth-like wave using the vector envelope. The popping in the first sound seems to be related to the use of the legato mode... If you make it polyphonic (you can reduce the number of voices to two), the popping disappears.
  12. Ok, I just closed again re-opened the GUI, and the odd display is gone - everything normal again. Before this, I had a look on the other Ultrabeat voices, same thing...
  13. Seems to be a new Ultrabeat feature: A sort of time warping... I don't know how I did this, nor can I get rid of it by moving the handles. It was like this after re-opening the GUI at some point.
  14. Maybe this caused my trouble with sidechaining with Sculpture, too. I use an ES1 instrument track as a source for an "External" exciter in an instance of Sculpture on another instrument track. Sculpture is followed by Izotope's Neutron 3, which causes a lot of latency no matter whether latency compensation is switched on or off. I guess when latency compensation is switched off, I hear the delay of Neutron 3, while switching delay compensation on makes logic delay the ES1 instance, ignoring the fact this kind of "compensation" will feed a delayed signal into Sculpture... I then used the Voxengo Latency Delay plugin for the ES1 track (a helper that reports an adjustable latency to the host), which seems to work for me, but obviously this is just a workaround.
  15. Tuning Logic's synthesizers is simple via the project settings->tuning. If I just like a' to sound at 434Hz: Turn down the fader to -24 (or type -23.8) cents, and here we go... As long as Logic's built-in synthesizers are concerned. I use some third-party plugins quite often... And this makes it somewhat more complicated. (Aside: I could hardly believe it at first, but there are actually plugins that don't provide any tuning capabilities at all!). Fortunately, my favourite plugins do have a master tuning fader or knob, so it's a little bit more work, I have to adjust this for every plugin, but that's ok. Now Modartt's Pianoteq has a "MIDI tuning" option, and if I activate it, any movement of Logic's "Software Instrument Pitch" fader tunes Pianoteq. If I were to like using different scales: Even microtuning data are transferred! But. Sometimes at startup or when (for whatever reason) the plugin is reloaded, MIDI tuning does not happen. Why? But the underlying question is: What does Logic do in order to tell plugins about the tuning, when does it do so, and how could I force these messages to be sent? Is it real MIDI information? I didn't find details in Logic's documentation.
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