fuzzfilth

Powerful feature indeed. Just think of the name for that feature. "Periodically Change The Metronome To A Different Time Base, And Only If The Time Base Itself Periodically Changes Already, But Different". And a check box next to that. I can imagine the 1000 yard stare from the cohorts of users who have yet to find out what 120bpm means and that you can change it and why. I also see us piecing together the answers to be copy-pasted into this forum, to desperate pleas for help from users who flipped that switch by accident and turned their world into hell by doing so. As I heard someone say once :"With great power comes great electrical bill." 😂

Ah, the 'move-the-goalposts game'. I should have guessed. 😁 Anyway, then quickly create an actual track with the Klopfgeist instrument and program your click there.

And you're sure it's not a trick question and he's trolling you ? If that's serious, there's several aspects to it: - if one track is mono, then panning it both left and right will change precisely nothing - if one track is stereo, you may further widen its image with the Stereo Spread plugin although this gets ugly pretty quick. *Always* check for phase problems in mono when trying this kind of stuff - to create "three more horns", pan the first three to the left, duplicate the tracks, pan those right and either use three Modulation Delays with some random modulation or three Automatic Double Track plugins (the Waves REEL ADT is pretty good) if the tracks are audio, or slightly randomize the MIDI notes and maybe use very slight instrument detuning in case you have MIDI parts.

Set up your project to alternate between 4/4 and 6/4.

But yeah, This will work fine, if the goal is to play and record each part separately, and one after the other, from the same keyboard.

Not on this computer

Check out the Touch Tracks object in the MIDI Environment. It does precisely this.

...which is pretty exactly what my landlord must have thought when he pointed me to the ladder leading into the upper floor, I guess.

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.