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Bebop26

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  1. Ok, I’ll read this again slowly. Thanks Atlas007 !
  2. Oops... maybe I have a clue. My tempo track seems to continue forever. I don't see how to have it to end at bar 127... maybe that causes the project to continue until bar 154 ? I purposely changed the end of the project to bar 200 to see what was happening with the tempo track and to be sure that no data was existing after the end of the project, at bar 127 (I will put it back there). See the screenshot. Can it be the tempo track the problem ? (I once tried a tempo change in that song but then changed my mind and kept it steady at 110 bpm.)
  3. Yes, David, I understand and this would give me a solution. Thanks to all of you, David, Polanoid and des99 !
  4. Thanks dess99 for answering me. Well, in Share to Music, there is no option Include audio tail. But yes, the option was checked in Bounce. I unchecked it and did a bounce, to be sure that the option would be memorized. The mp3 that I bounced ended correctly, at bar 127. Then, I did again a Share to Music (where I do not have the Include audio tail option) and the song ended once again at bar 154. *** I went back to the Logic Guide and realized that some plugins might sometimes cause a project to last too long when the Include audio tail is checked. I won't check it anymore, but it does not seem to be the problem here. What can it be ?
  5. Well, I was not a slow learner in my life, but I might be getting old ! Maybe the language is partially responsible for my difficulty here. I do finished projects that sounds OK, with MIDI, audio, step sequencer and Live loops, but I do not understand AT ALL what are the things implied with the LINK buttons. I've read the Logic Guide but still, I'm confused. If there would be an exam of this question, I'get a zero ! Shame on me... - For instance, why does the Guide suggests to take Link off at a certain point when working with Scores ? - If I create a link when clicking on a link button, why doesn't it ask me : link it to what ? - When I have a part (score) opened, it doesn't change anything if I click or unclick the link button. Same is true with other link buttons elsewhere (tracks for instance...). I'd need the course « Linking for the nulls ». Can someone kindly help me ? Thanks.
  6. Hi ! I have a project that ends at bar 127. In the control bar, the « Project end » indicates bar 127 and the last data ends at bar 125. When I share the project to Music (File : Share : Song to Music), it bounces the project up to bar 154. I absolutely see nothing after bar 127. Even the tempo track ends at bar 127. Someone has an explanation ? Thanks for your precious help.
  7. I'll keep this link for a possible further use. Thanks a gain !
  8. WOW ! I fall off my chair ! Concerning writing for transposing instruments and printing their individual parts, either in concert key or transposed key as well have having their parts written in concert key or transposed key in the director score, ALL OF THIS IS EASILY POSSIBLE IN LOGIC. It's all there ! At first, things are not quite obvious, but by working with Staff styles, everything is possible. Within a click, a complete part can be transposed on the score or on individual parts for any of the numerous transposing instruments. And the transpositions do not affect the playing. I am amazed ! It's fantastic ! I still have to get used to some tricks and learn many other related tricks, but it seems that all the tools for scoring had been properly implemented in Logic Pro X. In french, I would say « Chapeau » ! Thank you so much for the hints you gave me, Plowman !
  9. Wow, I just gave a look and I think that you bring up a very interesting solution. I realize that I went too quickly through the section on Staff Styles, assuming it was only a matter of style, or visual aesthetic,but it goes far beyond that ! I have to read that part of the Guide on Staff Styles to efficiently apply what you suggest. I will mark your comment as the « solution » and might come back with further positive comments or questions. Thank Mr. Plowman !
  10. I do completely appreciate Logic Pro. It is my DAW and I just love it. But it would be very useful if diatonic transposition could be done (Digital Performer use to offer that decades ago). Also, it would be great to have the possibility to use different Key signatures for different staves, for scoring purposes, while still having a main key signature for the whole project (that could change through times). Musescore 4 offers that, even if it is globally far, far behind Logic Pro. Is there a place where we can suggest new implementations ?
  11. Hum, I will have to read this again a few times to grab everything. it seems very interesting. By the way, is there a way to transpose diatonically MIDI data, rather than by an amount of semitones, in order to have more correct sharps and flats ? I did not find how to achieve such a diatonic transposition… Thanks so much for your help.
  12. Hi ! This time, I made my homework and I read everything that I found in the Logic Pro Guide related to the questions I have here. I went through the complete chapter on scoring and through everything I could find related to transposing. Maybe I missed something, but I did not find my answers. So here I am. Those who write for brass, woodwinds or some orchestral instruments know that there are some (many) transposing instruments : all the saxophones, trumpet, trombone, tuba, french horn, all the clarinets and some more. This means that when these instruments read let say a concerto in A minor, their own part will be written in a different key, with a different key signature. I won’t go into details. I have read in the Logic Pro Guide that there can be only ONE key signature at the time in a project, but the key signature can change whenever we want through time. This means that at measure one, for example, it can only be in ONE key signature, let say C major, but at measure 32, it can switch to E major… etc. How can we deal with this when scoring for instruments that include some transposing instruments ? If I write a score for piano, strings, bass, Bb clarinet and Eb alto sax, I can write the complete score in the « real » tonality and key signature, including the staves for those transposing instruments, so the director has the real portrait of what is to be played, let say win A major. But when it comes to printing individual parts for the clarinet (a Bb instrument) and the alto sax (an Eb instrument), their own individual part HAS to be written in a different key, with a different key signature. In fact, if we look at the individual parts for that song, we will see three different key signatures. Did I miss something in the Logic Pro Guide or this is simply impossible when scoring with Logic Pro ? The only way I can figure out to get things done would be quite complex and would generate extra painful work : - Finish to compose the music - Duplicate the project in a second project alternative in the second key (for Bb instruments), and one more project alternative in the third key (for Eb instruments). - Print the complete score in A major with the first project alternative, and the Bb and Eb parts with the second and third project alternatives. - While working on the song, rehearsing and adjusting that song - which might be a work in progress- keep going from one alternative to the other to change one note here and there (when changing a note for alto sax, I would have to change it on the complete score and also on the individual part), same thing for the Bb instrument. I could also have an F instrument… (french horn for instance…) and thus a fourth project alternative in a fourth key signature would be required. So, is there a better way to score for transposing instruments ? Is there anyone reading this and used to write for woodwinds, who could help me and tell me how to deal with this ? Thanks for reading me.
  13. H David, Thanks so much fo these precisions. I'm into intense reading sessions of different sections of the Logic Pro Guide, which I sort of discover or re-discover. You point-out things that do not seem to be specified in the Guide and I really appreciate that you took the time to explain me these things. Thanks again and have a good day, David.
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