fuzzfilth

I know some guys who fit that description precisely.

These are quite probably the same ones that you can load from the bottom entry AU MIDI-controlled Effects. It's Logic's (in my opinion) completely backwards way to get MIDI into plugins that can use it. You put the FX into an instrument slot (this is how you get MIDI into it), then you select the source track via the Sidechain Menu (this is how you get audio into it). Did I mention I think this is completely wcakbrads ?

Which is what I would have suggested if only you were still taking advice after just 51 minutes.

Yes, SMPTE Lock is not the right tool for this. There is a Track Protect button which you can put in the Track Header. If that's too heavy, you could also BIP a Track Alternative so all there is is one long Region. Everyone's workflow is different, but I haven't had the need to lock stuff in 40+ years in the studio, often working blazingly fast, how does it happen that you move stuff without meaning to and without you noticing until later ?

I have talked a couple of times about my drum rig which deals quite flexibly with this during live shows. Depending on the situation, I'm using four kinds of tempo reference: 1. Tempo click only in my in-ears which I start and stop before I myself count the band in, to get a rough reference from where we can take it where we like. 2. Count In (in everyone's in-ears) followed (or not) by ongoing tempo click only in my in-ears. 3. I wrote a MIDI plugin in C++ which I named Tempomat, it analyses the time between snare hits and shows the resulting tempo against a reference in real time, with extra green colour if I'm within a 5% accuracy corridor and blue colour if the snare is on, but not on 2 and 4. This is great when I need to hit a certain tempo halfway through the song, but I don't want to tie myself up with a click until then. Looks like this: 4. In situations where I can't have in-ears, there's a light metronome which signals the tempo quietly to everyone with a sight line to the Macbook screen:

...in contrast to all the guitar and the saxophone players who invariably have impeccable timing, and lets not forget the singers who always seem to have a caesium clock built in.

In many areas you have three click tools immediately available, and you can set these as you wish by setting up the Click Tool Menus. The left tool gets activated with the left mouse button, the middle tool gets temporarily activated when you hold down the command key and click the left mouse button and the right tool gets activated with the right mouse button, like this:

Ellen, this is hilarious. Also, you have put out more music than the majority of members on LogicProHelp. Because of this, you are hereby granted a perpetual license to ask any questions you want. Please also note that from now on you will be regarded as the authority including but not limited to any matters of fake cows, and any upcoming questions and/or inquiries related to fake cows will be directly forwarded to you. Thank you for your service.

Well, with *fake* right in the topic title, you're good to go.

I'd rather leave them in and repair the few erroneous ones, than redo them all over.

If it's MIDI, then yes, Sustain pedal can be problematic, as punching in will likely result in more or less Sust On events that Sust Off events, both of which will probably bite you later. I'd suggest playing a couple independent takes on separate tracks, then stitch the best bits together, like this: Now, Sustain is usually quickly released right after the start of the new chord, then pressed again. This means if you cut right before the new chord like I did in the demo, Sustain is pressed and cutting there will create an extra Sustain On event right there. So what looked like this: now looks like this. Note the extra two Sust On events right before the chords: Click on these and delete them, else you may get some chords keep sustained erratically even with Sustain off.

Well, it's not here ? Levels are pretty much identical.

I probably would have just done it that way, faster and with less effort, and casually go back one or two breaths to finetune the gain adjustment while watching the producer's reaction. 😛

So what happened when you tried either ?

Actually it's 1 and 2 and 3 and 4 1 and 2 and 3 and 4 1. To get this, set your sig to 7/8.