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whitfield

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  1. Thought I'd throw up a quick experiment — I've been working on this beat since starting this thread and applied some of this technique to that while letting the bass pattern play through. Just a proof of concept. http://angledend.com/shared/logic/Playing%2003-26-22a.m4a
  2. Awesome, thank you for that explanation! I probably should have posted an example track from the start. I don’t completely understand the setup you describe here but I’m going to step through it carefully to see if I can re-create it. Thank you!
  3. Okay, I've burned about an hour trying to get this to work. I was able to side chain a compressor, sort of controlling one track with another, but the end result bears little resemblance to what I'm trying to do, it's totally imprecise. So I think I'm going to back up here and make sure it's clear what effect I'm trying to produce. The chopped-out sections across this track make a pretty good example, I feel like this was done as much with Mute control as with sample compilations (I've heard stronger examples, really, but I can't find them at the moment). Does anyone know a typical way of achieving this? I hear it in a lot of electronic stuff.
  4. Ah, you might be onto something there! If I could cause the target tracks to duck 100% when X instrument plays (or better, vice versa) then that might be what I’m looking for. I’ll investigate, thanks!
  5. Hmm... I'm not sure that gets me there. A direct connection between my MIDI controller and the Mute automation of a track or tracks isn't really what I'm wanting, if that's what you're suggesting — I just want the existence of sound in one track to affect the Mute automation of other tracks. If I have that then my MIDI controller can be used to write to the "control" track.
  6. I'm diving back into LP after taking a break for several months and trying to effect a special effect setup that I've been envisioning for awhile: have the audio output of a track or tracks be dependent on the existence of sound in another "control" track. This would allow me to use a drum pad to tap out rhythms where the track audio only "exists" during the notes that I'm tapping. Essentially, I'm trying to find an easy way to create the kind of rhythmic cutting in/out effect that you hear in a lot of electronica tracks, and I'm open to other methods of achieving that. I can see that one automation mode is Mute, which would seem to be the appropriate tool for controlling the audio, but I'm not seeing how I would control the Mute automation of one or more tracks using another track. Any ideas?
  7. Hey Kurt, I'm not totally sure I understand what you mean by "double time" here, but my guess is that you're trying to wedge extra beats into parts your 16-step sequence, creating notes "between" the normal notes. If that's the case then I believe Note Repeat is your only option — it will allow you to add as many of that note as you want during that beat (up to 16). Granted, you can't create nuance *inside* those notes, they will all play at the same velocity. But you *can* offset them so that they start "inside" the beat, if that's helpful. Does this relate to your goal?
  8. Yeah, I totally get that. And for sure, I've created my primary templates that have those icons set to my main summing stacks and sample instruments, but of course the icon settings all go out the window once I start adding things. I doubt Apple is going to fix this anytime soon, so I'll probably turn them off as well. Boo.
  9. Hey guys, I know this will probably sound like a lame thing to ask/complain about, and I think I already know the answer, but I wanted to ask before requesting it from Apple: is there any way to compel LP to choose one-color icons by default? I truly hate the skeuomorphic versions — they feel like visual clutter in an already highly-detailed UI, and not something my eye can quickly scan while trying to jump around my project — but I do want icons to be present to aid in that scanning. It kills me that Apple installed these lovely, more simplistic versions only to force us to manually choose them every. single. time. (even after you've already selected one and you just switch instruments). Again, I've already researched this at least as far as not reading about or finding a setting for it, but I wanted to verify that understanding. Thanks!
  10. OMG, this is funny — I saw those 'T' values in the SS rate menu but ignored them because the numbers all used multiples of two, then I wondered last night if I shouldn't have tried them. Now I realize that T probably refers to triplet. And I guess the 8 that you set it to refers to 8th notes. So that's great, this should let me proceed as I was wanting to, thanks again!
  11. Whoa, awesome! Thanks guys, I appreciate the quick help here, I’ll check the example out tomorrow.
  12. Before I resign myself to using the MIDI editor to compose the rhythm of my 6/4 track, I want to make sure that doing this in the Step Sequencer isn't feasible (since I usually prefer to at least start there with rhythm composition). I did figure out how to change the Workspace and MIDI editor grids to triplets, but I don't even see the ability to do true triplets in the SS (other than three of the exact same note), much less divide the grid into groups of 3 or 6. Here's a simple export to make it clear what I'm creating: http://angledend.com/shared/logic/basic%20triplet%20beat.m4a I had expected to be able to set LPX up to show three quarter notes per grid group in the SS, but that doesn't appear to be possible? Thanks!
  13. Thanks for that, David, I turned on one option that I think I had misunderstood the use of and did get an email notification about your message here, so I think we're all good now.
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