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iwannalearnfacts

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  1. I'm trying to recreate a bassline from this song (@ starts at 1:03, lasts 3 seconds)My sound design skills are lacking and I'm at a loss of how to recreate it. Anyone knows how to sound design synth bass?
  2. I found some great compressor plugins, but some of them are unavailable in Mono (if I'm on a Mono track, the compressor doesn't show up in the Audio FX menu). However, it is available in the Audio FX menu when I'm on a Stereo track, and what I noticed is that I can instantiate the compressor on a Stereo track, switch the track to Mono, and the compressor stays on the track, albeit still in Stereo form. If I instantiate a Stereo-only compressor in this way and use it on a Mono track, will it behave as a normal Mono compressor?
  3. You'd have to use track automation to lower one track as you raise another. With volume automation?
  4. This might sound crazy... but is it possible to 'fade' (transition smoothly, as opposed to instantaneously) between performances?
  5. Thanks for the straightforward answer. Have you had an experience or heard of one where audio problems were created from exporting a 44.1 kHz WAV file from a Logic project which was all recorded and worked on at 48 kHz?
  6. I'll definitely do some A/Bing. Say I join the 48 kHz club and end up having to find an appropriately good converter to audition since the downsampled export from Logic sounded bad, do you have any recommendations where I might start? Which dedicated hardware or software converters do you use, if any, and why?
  7. I know the whole sample rate debate is severely overblown. It's quite possible that, in all practicality, this situation is a nonissue. I just want to clear up a few concerns so that I can make a confident and educated decision and lay uncertainty to rest. Spotify always converts to WAV 44.1 kHz, so I'm highly inclined to record and bounce at that sample rate... However, my concern with 44.1 kHz is the issue of anti-aliasing, that 44.1 kHz might be sonically subpar (whether that means distortion on the song when played back at lower quality formats or maybe loss of very high-end frequency content in the song, I'm not entirely sure) to 48. I also read a post David made talking about how the pros work at 48 kHz, and the hits that play on the radio are at 48. I don't want to record and bounce at 44.1 kHz only to find 48 would've put me on par fidelity-wise with professional releases (assuming the much more important aspects of music making--production, recording, mixing, mastering--were on par as well). Based on what David said and other good things I'm reading about 48 kHz (such as it's useful if you ever have your song on TV/in a movie), I figure I'll record/bounce at 48 to be safe... However, I'm reading that SRC and downsampling is often less than ideal, and can result in loss of audio fidelity, especially without expensive equipment and converters. Is this SRC and downsampling concern of mine a nonissue, and I should just bounce down to 44.1 (from recording/working at 48) when I export my WAV from Logic? Or does recording at 48 kHz really not provide sufficient fidelity-related improvement to justify itself, and I should just record at 44.1 to avoid the potential problems of SRC? Thanks to anyone for any input.
  8. Because doing that causes issues with the compressor or dynamic compressor (for some reason, I still don't know for sure), one of those issues being my first post in this topic. Again, it could just be my computer, but this method of sidechaining Audio instead of the original Software Instrument seems to fix the problem when it does arise (for me it arises about 40% of the time when I'm using bass drum or bass guitar, for all other instruments the simple method of sidechaining the Software Instrument track like you said works perfectly).
  9. UPDATE: While I haven't 'solved' the problem in the strictest sense, I have found a very practical solution: bouncing the sidechained MIDI track to Audio, and then sidechaining that Audio track. With all the issues I've had with sidechain compression, and sidechain dynamic compression (these problems having existed in forms beyond that presented in this topic)... they went completely away, and the compressors worked perfectly, when I changed the sidechain from the MIDI track to an Audio track equivalent. In theory, I shouldn't have to do this (maybe my computer's crap), but I've heard people say MIDI can be unpredictable compared to audio. I never took that notion to heart, but based on this experience I might begin to.
  10. the (relatively) cheap price range. 3-way system. the very good reviews. the only other positively reviewed 3-way system in this price range I know of is Kali IN-8, but the M-Audio M3-8s have lower distortion with the Class A/B amps
  11. I'm looking for an M-Audio M3-8 but I cannot find any for sale: does anyone know of a good place to look for discontinued monitors? (excluding eBay, I tried there)
  12. It works (see attachment). So then the problem resides in my project itself (maybe in the project settings? or in Ultrabeat where my 808 sample is?). At this point, however, I've exhausted the energy I'm willing to put into identifying the cause of the problem and I need to move on with my mix, so as a makeshift solution I'm using Channel EQ automation instead of Dynamic EQ.
  13. Logic's compressor doesn't work either. Yeah, very odd. Maybe there's something wrong with my computer
  14. I tried using a different Dynamic EQ (Waves F6) to see if the problem resided in the plugin itself... but when I use F6, the problem remains. So I'm doing something wrong in my DAW, but can't seem to figure out what that is
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