Fleabag

Once the download is complete and the installer window opens, you should be able to close it. The downloaded file is normally to be found in your "Applications" folder rather than in your "Downloads" folder. Copy it from there to wherever you need it, eg another machine or a backup disk.

You can't beat a Marshall stack

Hey Fusion Let me start by saying I have a Scarlett 2i4, an Apogee Jam and a Gibson Les Paul Studio guitar. I'm going to suggest a slightly different answer than the other responders. I do not necessarily disagree with any other comments here, I just have my own opinions and experience to go by... Yes, you could buy an Apogee Jam, but at the end of the day it is just another audio interface with a specific "instrument" input designed for guitars - your Scarlett offers this too. I bought a Jam only because it was an easy way to plug a guitar into an iPad and get good quality audio for recording into Garage Band. Yes, you could mic up your guitar cabinet. This is the perfect thing to do if you are really happy with the sound of your guitar/amp/cabinet combination and you want to capture that sound. You do need to play around with mic distance from the centre of the speaker as tonality changes dramatically, you can also mess with the distance away from the cabinet to capture more or less reflected room sound in addition to the direct sound. The thing is, what you hear when playing and what the mic captures are going to be different, depending on those positions and the type and quality of the microphone. It's the conventional thing to do and so long as you find the right settings for you then there is no problem. The only downside of this method in a modern DAW is that you are capturing the effect sound not the original clean guitar sound. If you overdo the overdrive for example, you're pretty much stuck with accepting it or re-recording the part. On the other hand if you record the clean sound then apply a plugin in Logic to get overdrive, you can change it to your heart's content right up until mixdown time. I like that approach because I'm not that good a musician and because I can never make a decision on the "right" sound... Latency might be a small problem because you need to play through your chosen plugin(s) while recording because they surely influence how you play, but the results are worth it. Logic always records the signal presented at the audio interface input, which is the clean guitar. You get to hear the effected (eg overdriven) sound while recording if you are using plugins on the track, but the effected sound is not recorded. The fact that the clean sound is what is recorded means you are later free to increase or decrease overdrive or switch to a different plugin etc as you see fit, without having to re-record the guitar part. What I am going to suggest is that you should be able to get a good recorded clean sound out of your Scarlett 6i6. It's a good quality bit of kit. Another responder mentioned impedance. That really is the key thing to recording a guitar signal, you MUST be going into an "instrument" input which is designed with a high impedance which matches that of a typical guitar pickup, otherwise you get a dull, flat, lifeless sound. See my really old article here on why that is, if you are curious. Your Scarlett already provides that sort of input, you just need to ensure that the "inst" light is lit up for the input channel you are recording your guitar through. For the 6i6 this can only be done through the "Focusrite Control" software application that comes with it. You cannot choose between mic/line/instrument on the front panel of the 6i6, unlike my 2i4 where there is a physical switch for line/inst, instead you have to use that software to make the selection. If you have not been doing this then I suspect this is where you have been going wrong. If on the other hand you have been doing this then I am stumped.... Another option for capturing your guitar sound directly is a DI box. This has a high impedance input for your guitar and converts the signal to a balanced mic-level signal which you can then connect to your Scarlett using an XLR lead. You then need to have the Scarlett in mic input mode, not line or "instrument". DI boxes can be a cheap way to do it, but I really do not see why you would need to when the Scarlett has its "instrument" setting for the inputs. Hope this helps! Fleabag

Eric's code looks pretty similar to what I would have written, looks like you should be good to go! Thanks for sharing, Eric. ps I'm a software developer by trade, I don't mind writing scripts for fun stuff like Logic Fleabag

I think it can probably be done using a MIDI FX Plugin script. I can write some code if you're interested. Fleabag

You could probably fairly easily track which notes are on and which are off, with their poly pressures, using an array. Update that array each time a note on, note off or polypressure for a note is received. You could then use something like the average of the polypressures from all the notes that are currently on to form the normal aftertouch value to send Then the player can play chords or get away with accidentally hitting two notes...

You might want to post this in the MIDI FX Plugin forum http://www.logicprohelp.com/forum/viewforum.php?f=45. Someone may be able to help you write your own plugin to do precisely what you want. Some questions to think about..... Would you envisage the plugin creating the harmony for you? ie one note in, three notes out? or If it's three notes in, three notes out to different instruments (probably different MIDI channels), what happens if at some point the input drops to 2 notes or 1 note....? Which of the outputs would the remaining notes map to? Regards Fleabag

When you record audio onto an audio track in Logic, the original audio is what is recorded, even if you use plugin FX on that track. The plugin FX get applied live every time you either play the track or enable monitoring of the audio input(s) routed to that track . You can click the bypass button on each and every one of the FX on a given track to hear the original audio at any time (you can even automate it if you want to say turn off the reverb on a guitar for a couple of bars), and you can of course change (and automate) the FX settings until they are right for you. eg you can turn down the amount of distortion on a fuzz box applied on a guitar track or change it for a completely different plugin, with no need to re-record the original guitar. If on the other hand you plug a guitar into an external FX pedal and then into Logic, you would have no control in Logic over hearing the original uneffected signal. Logic records precisely what it sees at the audio interface input. The same bypass options apply if you route your vanilla audio from a track to be effected elsewhere (eg using a bus or a send), you can bypass the FX wherever they are applied or turn off a send temporarily. It is common to set up a mixer channel for something like vocal reverb, so that several vocal take tracks can all be sent to the reverb channel to be given the same reverb treatment without having to insert an identical reverb on every track. You can then bypass the reverb on its channel (or mute the channel) to hear the complete vocal mix dry, for example. Fleabag

Excellent, thanks! 8)

I tried and tried but no joy - there is no method to force the GUI to honour changes and redraw. I think we are stuck with how the GUI is created at load-time.

A normal drum trigger pedal would sense the impact from your foot and output a note-on event each time. A pedal that sensed how hard you hit it would set the note velocity accordingly, other pedals would just send a fixed velocity. Looks like the EX-P is a "continuous" MIDI controller, which will give you a range of data values from 0 to 127 according to the pedal position. Great for controlling volume or wah-wah, but a bit more tricky as a drum trigger. It might be OK for the occasional input of kick drum beats but I would not want to use it for regular drumming, it might knacker the pedal thumping your foot on it a lot! If you have the pedal plugged into the expression pedal input of a MIDI keyboard (or even the sustain pedal input if that input supports continuous controller pedals, I know one of my MIDI keyboards does and the other does not), you will probably be getting a range of controller 11 (expression) values from 0 to 127. Is that what you are seeing in the environment? You need to find an acceptable way to convert this data into note-on events. One possibility might be "When the controller 11 value rises above 64, send a note-on for a kick drum. When it falls below 64, send a note-off.". However, this might provide false triggers when the pedal is close to 64 - if your foot was rested on the pedal close to 64, then small changes in the output value from the pedal would cause unwanted extra kick drum hits to be triggered. Use of "hysteresis" would cure that, for example "When the controller 11 value rises above 70, send a note-on for a kick drum. When it falls below 60, send a note-off." - that change in range provides a dead-band which prevents false triggers. Logic X supports MIDI plugins (written in javascript) and it would be easy to write a plugin to implement the algorithm that I suggested above. There are several people using logicprohelp who write small plugins for free, including me, see the MIDI plugins forum. Hope this helps a bit. Fleabag

There could be one of perhaps three things going on here. 1) Put Logic into record and try your best to play a scale with the same finger velocity for each note. Have a look at the recorded notes. If you find the velocity transmitted for C3 on the Oxygen 49 is wildly different from that for the other notes then I would suggest there is a fault with the Oxygen. 2) If the velocity looks about right then the next possibility is that the instrument you are using is responding differently to one or more notes. If its a straightforward simple synth patch then you would not expect any particular note to be louder than others, but if it is a sampled instrument it is possible that they have mapped several notes to a given sample and C3 might be the point where the sample changes. I have a sax instrument like that, you play a few notes of a scale and they all sound similar, then you go up a semitone and a different sample is used and it stands out as very different. 3) If its not 1 or 2 then could it be your room? No room is a perfect acoustic space. The way audio waves bounce around the room can have a dramatic effect on sound. Waves add together, giving peaks and troughs of volume. If you set up a simple sine wave synth sound and sweep the sound from very low to very high frequency, over say 10 seconds, you may be surprised how much the apparent volume goes up and down during the sweep. Could C3 coincide with a room mode where the waves are much louder when they combine? Another test you could do is to use headphones and see if C3 is still a bad note. Just my two penn'orth.... Fleabag

No worries, good luck in your quest...

Hi stigc56 I really cannot comment on the multi-machine setup side of things, my setup is much simpler/cheaper (Garritan not VSL etc). But with regard to the Scripter plugin, it does only work on Software Instrument tracks. But from what I have read, you can assign the instrument "External Instrument" to a Software Instrument track, meaning that the MIDI data can be passed through MIDI plugins including Scripter and still get sent to an external MIDI device. I have not tried it for myself, I found that info here https://www.gearslutz.com/board/logic-pro-x/859170-logic-x-midi-plugins-external-midi-instrument.html Hope that helps you in some way... Fleabag

Nice work!