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snerkler

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  1. Thanks, yeah I've tried the different flex modes but will check out the Audio FIle Editor. What do you mean when you say work on a "real copy of the audio file"? Do you mean copy the original file and keep it somewhere safe, then work only on the copy?
  2. Hi, I'm into making jungle breaks using the Amen break and I love the sound of the old Akai timestretch that gives that oldschool "metallic" sound. There is an app called Akaizer but it doesn't work with Macs using anything later than OS Mojave and I'm running Monterey on the latest M1 Macbook Pro. Logic's own timestretch doesn't give me that particular sound, just changing pitch if you use speed (FX) time stretch. I've found TAL Sampler which can do the Akai type timestretch but it's £50 and I was wondering if there's a way to do it in Logic without spending any money please?
  3. Figured it out thanks to your help. Selected the region, opened the events list, deselected all the options apart from controller and deleted the ones associated with volume, pan etc. Thanks for the help
  4. Thanks for your help, but this is what I’m struggling with as I don’t know how to do any of the above. I checked the events list in the main window but I don’t know how to narrow down to the events just within the region containing the imported MIDI and I don’t understand all the lists and numbers.
  5. Hi, I've imported some MIDI files that have data/events embedded in them such as volume levels for the track so whenever I adjust the volume fader it just snaps back to where it was, how do I remove all of this data/events please? I just want the notes with none of the other info.
  6. Yes, exactly. Thanks very much, appreciate all the help.
  7. It's best only if that's what you want. In some situations you may want something else. For example you want to send a vocal to a reverb and be able to slowly fade out the dry signal while keeping the reverb the same so that it sounds like the singer goes away from you and is progressively more and more reverberated: in that case you can use a pre-fader send and then automate the volume fader on the vocal channel strip to turn down the dry signal while the signal sent to the Aux that has the reverb stays constant. That's only one example, there are many other situations where you may prefer pre-fader sends. The idea is to not get stuck in some kind of recipe, "best for all" scenario. Know your tools, know how they work, and for each situation, determine which tools works best, and how you want to use it for that specific situation. That's how you can be truly creative. Same answer: you choose the output if you want to compress all the sound from the track. If you want to do parallel compression, where you can blend the dry and the compressed signal together, then you could use a send. Or you could use the Output, route it to a bus, and use that bus as the input of two different Aux channel strip, one that has a compressor, one that does not. Keep in mind that there are different ways to achieve the same thing. If you want to do that, you can. But if you have multiple sends on your vocal channel strip then the same vocal signal is sent in parallel to the different busses. Thanks, it's really starting to click now. Am I right in thinking that if you have the balance/blend of wet and dry right using a post fader send then if you adjust the fader then the blend will be the same just the volume will be less, whereas if you used a pre fader send and lowered the fader then you are not altering the wet signal just the dry, therefore you're changing the blend?
  8. Thanks, I appreciate the explanation. I would assume from this then that when mixing it’s best to use post fader sends so that you can get the balance of sound right using the bus gain and then you can control the overall volume of the track using the fader? If you have a compressor on an aux track I would assume that you would output the track to that aux rather than send to the aux so you’re adding the compressor to all the sound from the track? Lastly, if you send a track to several buses does it go from track > bus 1 > Aux 1 > bus 2 > aux 2 etc or does the signal go down each bus simultaneously?
  9. I'm not sure what you mean here. You can route via one output and as many sends as you want, and for each send you can choose whether they are pre fader, post fader or post pan. If you have one output routing and are also sending to a bus, then you are routing to two destinations, whether you have that send set to pre fader, post fader, or post pan. Thanks again for your reply. It was your response that I was referring to as you mentioned that you're routing via two destinations: You're now routing via two destination and you can adjust the level of each one. Depending on the type of send (pre or post fader), the amount of signal sent to a bus can be dependent or independent of the gain applied by the channel strip's volume fader. I was thinking that sending post fader meant that you were sending it to the stereo out, but I get now that post fader means that you are still splitting the signal (some going via the bus to the aux and some direct to the output) but the fader affects both the bus to aux signal as well as the track to output signal. This raises another question, if you can control the amount of send using the send gain, why would you then want to adjust it again using the fader? I'm clearly missing something, but I can't figure out why you'd send post fader?
  10. That's correct 100% of the time. Correct only for pre fader sends as you specified. Not sure what "dry" refers to in that context? The signal sent is always after all the audio effect inserts on the track's channel strip (if any). The send level knobs is, like the fader at the bottom of any channel strip, applying a gain. You can apply unity gain (100% of the signal), so the level stays the same when a fader or a send level knob is set to 0. You can apply negative gain, which means the signal is weaker, or positive gain, which means the signal is stronger. Then that's not a send any longer, that's an output routing. In that case you route the signal to a bus, but you don't send the signal to the bus. The control of how much signal you're routing to the bus is the volume fader on the track channel strip. And yes, the output of a channel strips is always after the pan knob, and after the volume fader. Basically you route via the output when you want to route the signal to one destination. You use sends when you want to keep the signal routed to its original destination while also sending a certain amount of it to a secondary destination (exemple: you're routing the output of your vocals to the Stereo Out but you're also sending some of your vocals to a bus, which reaches an Aux channel strip where you process them with reverb. You can then easily dial how much reverb you want in on your vocals with the send level knob. You're now routing via two destination and you can adjust the level of each one. Depending on the type of send (pre or post fader), the amount of signal sent to a bus can be dependent or independent of the gain applied by the channel strip's volume fader. A bus only transports the signal from point A to point B. If you're sending a track to a bus, then you have to have another point in your Mixer that receives that bus. For example an Aux. That Aux has its own routing (sends, outputs...). If the Aux has no sends and its output is set to Stereo Out then the routing is Track > Bus > Aux > Stereo Out ... and in parrallel.... Track > Stereo Out (assuming the original track's channel strip has its output set to Stereo Out) A bus does not have an output. You need to select the bus as the input of something, for example an Aux channel strip, or the external side chain input of a plug-in, or another audio track etc... This is all highly flexible. Yes, the send level knob determines how much signal is sent to the bus while the volume fader determines how much signal is routed to the Stereo Out (and can also affect how much signal is sent to the bus if the bus is post-fader or post-pan). Hope that helps! There are diagrams that detail the signal flow in Logic Pro, you can find them there: Track & Audio Channelstrip Flow Wow thanks so much for the lengthy explanation, it's very helpful and much clearer. My use of dry signal was a bit confusing (as well as incorrect) but I just meant it as the track before sends. One bit that's still slightly confusing me is this:- You're now routing via two destination and you can adjust the level of each one. Depending on the type of send (pre or post fader), the amount of signal sent to a bus can be dependent or independent of the gain applied by the channel strip's volume fader. If I have a pre fader send then as I now understand it some of the track gets sent via the bus to an aux and some of it direct to the stereo out (assuming I have the output set to that). The send gain affects how much goes to the bus and the fader affects how much goes to the stereo out. If I have send set to 0 and the fader set to 0 does this mean you're getting 100% of the track sent via the bus to the aux and 100% sent direct to the stereo out, or does the more you increase the send the less gets sent via the output? if it's the former how does it not then double the signal and make it twice as loud? If the send is post fader how am I then routing via two destination? (That workflow diagram is like a different language to me at the moment lol)
  11. I think that's confused me even more lol Joking aside, I think I understand what you mean and that's how to differentiate between pre and post fader sends?
  12. I'm still very much a novice and currently trying to get my head around sends and buses etc. Here's what I think is correct, please correct any errors:- With sends you send the signal from a track to a bus, and it includes all the effects on the track but not the pan or fader adjustment (assuming you send pre fader), also you can set the amount of dry signal sent. With regards to the amount of signal sent, how does it go above 0, I'd have thought 0 was 100% of signal sent to the bus? If you send to a bus via the output rather than send you have no control of how much of the dry signal you are sending, plus it includes pan, does it also include the fader adjustments? Is there any advantage of sending via output rather than send? Also, if you send via the send but set it to post fader how is this different than sending via output? Lastly, if you send to a bus does it go track > bus > track > stereo out, or track > bus > stereo out or does this purely depend on what the output of the bus is set to? What confuses me is that if I have a send to a bus, the output of that track is still showing as stereo out. Does that mean some signal is going track > bus > stereo out whilst some is going direct to stereo out and if so is the balance of what goes where dependent on how much send I have set? Any help would be greatly appreciated.
  13. It would be great if you could provide videos of what you're doing. Could help to explain what's happening. I’ll look into it properly (how to draw automation) and make sure it’s not just me doing it wrong first
  14. Sounds like the normal behavior is you have Snap Automation active? Are you drawing with the Pencil tool? It doesn't matter whether snap's enable or not, and it seems to have a mind of its own, sometimes it will do it sometimes not. And yes, trying to draw with the pencil tool
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