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John_D

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  1. FYI it appears your 10.5 book is now available in the US Apple Store (link). I won't be buying it, as I already got it through the US Kindle store.
  2. For anyone interested, this book is now available in Kindle format on the Amazon US site.
  3. For anyone interested, the Kindle version of the book is now available in the Amazon US store.
  4. Here is the link to your 10.5 book on Amazon. There's no Kindle version available. Unfortunately I can't generate a URL for the Apple Books store. I did a search for "Nahmani" (a name as rare as mine!) and found 7 listings relating to Logic Pro, but the most recent is the book on 10.4. I considered ordering from Peachpit direct but watermarks on every page would drive me nuts. Very much looking forward to buying your book!
  5. Does anyone have an idea when this book will be available either on the US Kindle store, or in Apple Books? I've been checking almost daily.
  6. Assuming the MIDI was programmed to a grid, yes. On the other hand, if the MIDI was programmed to sound in sync with a rubato (audio recording) performance recorded in a straight tempo project, then all bets are off. I think I understand your point. Would quantizing be a way to force back into sync?
  7. The relevant portion of the Logic Pro Software License Agreement says on p. 2 under B. Sample Content: What you're proposing doing -- creating your own patch on Alchemy then sampling the sounds of keypresses and distributing them as samples -- does not seem to run afoul of what this section says. But broader provisions of copyright law MIGHT apply. One idea in copyright law is that an infringing action causes harm to the copyright owner in diminishing the market for the original product. It seems laughably unlikely that you could produce samples such as what you're discussing in any quantity that could affect the market for Logic Pro X. And you could probably argue that Alchemy is not unique in its ability to produce the sound you've created. I do think you would be on MUCH thinner ice if you were to, for example, add some filtering to an Apple Loop then redistribute that. I also think you would be ill-advised to use the words Alchemy or Logic in describing your sample set. Although in a world where all sorts of folks are selling unmodified TR-808 samples, maybe the unspoken rules are more permissive than the letter of the law.
  8. Any chance you could give a one-minute explanation of what that is and what it does?
  9. Sould be out within the next few days now! The official release date is the 24th of September, that's 3 days from now! Do you have an ETA for the Kindle version on Amazon US? I see the print version is available now.
  10. Could you explain how intrusive the watermarking is? I'd sure like the book but I'll wait for the Kindle version on Amazon, if the watermarking is on lots of pages. I don't care if it's just on the title page and/or cover.
  11. The USB Computer Port is for MIDI only, not audio. But you can do it a sneaky way, assuming your computer has a headphone jack. While you're playing the VST via the FP-90, plug headphones into your computer and listen. Do you hear the VST? Great! Plug a stereo patch cable from that jack to the Input Stereo Jack on the back of the FP-90. You'll hear the VST via the FP-90's speakers. Control the volume using a combination of the PC's volume, and the "Input/Bluetooth Vol." in the settings accessible via the Function mode on the FP-90. EDIT: I mentioned earlier you could use a piece of hardware to do page flips on your phone. I forgot the FP-90 has that ability using its own pedals. Check out "Using the Pedal to Turn Pages on a Music Score App" on p. 22 of the FP-90 manual.
  12. I THINK what you're saying is that you removed the pickup covers, messed around with the pickup heights. And now the pickup covers won't stay in place. Is that about it?
  13. I can't speak for anyone else, but I was hesitant to click the link. Can you post a picture here instead? I'm a guitar guy but I wasn't able to fully understand just from the text.
  14. I'd pull up, from Mac's Applications, Utilities | Activity Monitor. You can ignore most of what's going on but look at the little graph at the bottom of the CPU, Memory and Disk tabs. Does something max out when the song starts to sound bad? Also for clarification: I think you're saying that it gets muddy partway through the song, and that if you stop THERE and restart THERE it sounds fine. Is that right? In other words, the exact measures that sounded bad before, sound fine after you stop the playback and "let it breathe". If that's true, it sounds like the project is ready to sound great, just the computer is overtaxed. In that case, you can do a couple things. First, close any other Mac programs that are competing for whatever is overtaxed. Reboot your Mac and do NOT select "reopen windows", then close stuff that auto-starts anyway before you load LPX. See if that helps. If not, bounce groups of tracks to submixes, then disable the original tracks and bounce the final mix from the submixes. You might consider adding a signature like those of the others on the thread. It helps everyone understand what machine you're using, version of LPX, plugins and relevant gear.
  15. You're looking for a VERY SPECIFIC solution - you are asking how to change the keyboard's channel. But what you're really trying to accomplish is simpler - you want the track you select in LPX to automatically get its input from your keyboard. That can be easy to achieve, but the best method depends on other aspects of your project. That's why I was curious about your workflow. I'm quite sure you can find a way to move fluidly among your tracks without manual effort that disturbs your creative flow. I do think that is very important. Good luck!
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