Logic 10,3 is here.

[3ple]

My answer to pretty much all your questions is YES! Now, of course, it depends on what you're trying to achieve, as you said about the orchestral work. Do the strings that come with Logic sound good enough to sound real enough? Definitely. The same with drums. The Drum Kit Designer is great (and I'm telling you this from a drummer's perspective who's been playing drums for 25 years). All you gotta do is understand what a drummer does, all the dynamics and "tricks" to make it sound real. But the sound is great. It wasn't in Logic 9 without Drum Kit Designer, but now it is.

Cool man, I'm a drummer myself, been playing professionally for 16 years now. The issue I have with the Logic drums are the samples themselves... when I compare them to Addictive Drums or Abbey Road Drums they don't sound as great... but maybe I need to look into the processing a whole lot more.. 

I'm pretty convinced by now that Alchemy is killer and I could probably let go of my paid third party options, Serum, Iris 2 and Sylenth. But Omnisphere 2? Synplant? Those are just too precious to me.. It's so hard!  And I don't think I could part with my Soundtoys bundle either. I could probably let go of my iZotope Music Production Bundle 2, but not Soundtoys 5 I don't think. 

My point of view is: no synth has "a sound" attached to it. The sounds you get from Sylenth, Synplant, Omnisphere, etc... they are all created using waveforms/wavetables, filters, modulation, distortion, etc. The only thing I always mention is the features on each one of them. Maybe some are quicker to work with and get certain results, but at the end of the day, if I play you a bounced song, you won't be able to tell me "hey this is XYZ synth", because there's no synth that produces a unique sound that none of the other do. Even if you didn't use Alchemy, by using a combination of plugins like the ones I mentioned (distortion, modulation, delays, weird reverbs - Space Designer let's you import audio as impulse responses, in case you didn't know that), you come up with amazing sounds, textures, etc. After all, Logic is loaded you tons of presets and sometimes just by turning one knob or fader, you get a totally different sound.

When it comes to drums, I really like the samples from the Drum Kit Designer. Program them as a real drummer (that is easy for you, of course) and then process it to fit the song. After all, when you go to a studio and record drums for a song, you only know what to do to each piece once the whole song is laid out, right? You can have a killer sound by itself, but once you have bass, guitars, vocals, etc, it can change the way that awesome kick fits (or doesn't fit) in the song.

Yesterday I was actually testing a 3rd party plugin that I have for guitar (Vandal, by Magix) and I was always telling people that nothing beats that plugin. And well, in some situations, it's pretty good, but then I was comparing it with the Patches for guitar that come with Logic... damn, I guess I never really explored the potential of that. I just decided: no more guitar emulations for me Get a good guitar with good pick-ups and you're good to go.

So basically, as I said, the 3rd party plugins I'm keeping is just because they are useful tools that make my creative process faster and more interesting. Nothing else

[fisherking]

Cool man, I'm a drummer myself, been playing professionally for 16 years now. The issue I have with the Logic drums are the samples themselves... when I compare them to Addictive Drums or Abbey Road Drums they don't sound as great... but maybe I need to look into the processing a whole lot more.. 

I'm pretty convinced by now that Alchemy is killer and I could probably let go of my paid third party options, Serum, Iris 2 and Sylenth. But Omnisphere 2? Synplant? Those are just too precious to me.. It's so hard!  And I don't think I could part with my Soundtoys bundle either. I could probably let go of my iZotope Music Production Bundle 2, but not Soundtoys 5 I don't think. 

My point of view is: no synth has "a sound" attached to it. The sounds you get from Sylenth, Synplant, Omnisphere, etc... they are all created using waveforms/wavetables, filters, modulation, distortion, etc. The only thing I always mention is the features on each one of them. Maybe some are quicker to work with and get certain results, but at the end of the day, if I play you a bounced song, you won't be able to tell me "hey this is XYZ synth", because there's no synth that produces a unique sound that none of the other do. Even if you didn't use Alchemy, by using a combination of plugins like the ones I mentioned (distortion, modulation, delays, weird reverbs - Space Designer let's you import audio as impulse responses, in case you didn't know that), you come up with amazing sounds, textures, etc. After all, Logic is loaded you tons of presets and sometimes just by turning one knob or fader, you get a totally different sound.

When it comes to drums, I really like the samples from the Drum Kit Designer. Program them as a real drummer (that is easy for you, of course) and then process it to fit the song. After all, when you go to a studio and record drums for a song, you only know what to do to each piece once the whole song is laid out, right? You can have a killer sound by itself, but once you have bass, guitars, vocals, etc, it can change the way that awesome kick fits (or doesn't fit) in the song.

Yesterday I was actually testing a 3rd party plugin that I have for guitar (Vandal, by Magix) and I was always telling people that nothing beats that plugin. And well, in some situations, it's pretty good, but then I was comparing it with the Patches for guitar that come with Logic... damn, I guess I never really explored the potential of that. I just decided: no more guitar emulations for me Get a good guitar with good pick-ups and you're good to go.

So basically, as I said, the 3rd party plugins I'm keeping is just because they are useful tools that make my creative process faster and more interesting. Nothing else

as far as my experience goes, synths do have a sound; sylenth1 has it's own character (which i burnt out on, after years, and no longer use). so i know what to expect from my 3rd-party synths. i love sometimes going to them for the unexpected. but they definitely have a 'sound'; for me, that's sort-of the point.

when i started using logic exclusively (2009), i had no 3rd-party plugins. now, 95% of my sources & effects are 3rd-party. this works (for me), and i know what i can do, and need to do.

still, whatever works. tools are just tools, and good music can come from anywhere...

[des99]

My point of view is: no synth has "a sound" attached to it. The sounds you get from Sylenth, Synplant, Omnisphere, etc... they are all created using waveforms/wavetables, filters, modulation, distortion, etc.

Yes they do. Their "sound" comes from the feature set, the available waveforms/sound sources, the choices and implementations of filters and so on, just like real hardware synths have different sounds. To anyone experienced, you can *easily* spot a JP8, or an Oscar, or a DX7, or a Prophet 5, or a Minimoog and so on.

 

Yes, some instruments have similar character, and there are a lot of bland soft synths with a fairly neutral character, but to suggest soft synths don't have a "sound" or "character" is incorrect, imo. Alchemy has a character, so does Sculpture, Omnisphere, impOscar, Zebra, the Arturia M12V, Serum etc etc, and many more...

[BBeasley]

Agreed. MANY soft synths have a sound that is unique. You simply can't whitewash the entirety of virtual instruments and say they all sound the same because each one has an oscillator, an envelope, a filter and modulation. Do all guitars sound the same by virtue of the fact they all have strings? 

 

And no, EXS24's orchestral strings do not sound like orchestral strings. Not by a long shot. They are charicatures of orchestral strings rendered by ancient sampling technology. Check out Spitfire Audio and what they're capable of. That is what "better" sounds like, just FYI 

[kokobeware]

Plugins can't be opened using the Environment audio mixer with a Frameless floating window. If you double-click, it acts like a single click with the drop down menu to change the plug. If I triple click the plug, most times I can get the plug to open.

 

Can anyone else confirm this?

[Eric Cardenas]

Yes. It looks totally broken here on my end.

Single-click brings up the menu directly.

[Arnaud]

* Some achieve things that stock plugins can't, or so awkwardly that it's not worth mentioning. One example is true dynamic EQs (e.g. the equivalent to a Channel EQ where any, several or all of the nodes may have their gain and Q vary - independently from one another - depending on the material going through it - or depending on sidechained material).

viewtopic.php?f=1&t=25036#p661034

Yeah, I saw that thread, but that's why I wrote "so awkwardly that it's not worth mentioning". Unless I'm mistaken, the solution in that post is not what I mean by a true dynamic EQ (see in your quote the full definition I give of it) : The compressor will compress the whole specturm of the main channel signal, albeit based on a filtered sidechain signal, that's definitely not the same as (in its most basic form),a parametric EQ which gain (boost or cut) would depend upon the level of an incoming signal (whatever that incoming signal is, i.e. either the full main signal, the range of freqs where the EQ is active, another range - why not - or even a totaly different signal).  Next step would be something like, OK, replace the Compressor by a Multipressor, but that's still not the same, at best you get band-pass, not parametric EQ, and tweaking the sidechain for each band becomes a bit of an issue as well. Then you say, OK, so I use only one band of my Multipressor, narrow enough so that it's equivalent to a parametric EQ, but if you have to deal with 3, 4, 5 nodes at a time in your EQ (all independent from one another), you'll have to replicate that trick with 3, 4, 5 instances of Multipressor in a row... Then, the next step, you want your parametric EQ to be of the "proportional Q" type (it's Q varies according to its gain). Mmmh, Multipressor reaches it's limit. Well, I'll stop here, I think I've made my point.

[Arnaud]

viewtopic.php?f=1&t=25036#p661034

Thanks for baking up my idea by sharing that I use the filter on the compressor quite often and I love it. I even use it as a Deesser as well. This just proves most people don't know what they have when they work with Logic and they spend money on 3rd party plugins (or torrent them, whatever) just because they are "supposed" to be better than stock plugins. It's not the equipment, it's what you do with it and how well you know it inside out.

Please see my reply to anp27. But let's not start a "Stock vs 3rd-party" war here. Stock plugins are great too and as I said, they form about 80 to 90% of what I use. If you're OK, let's just settle on say that there's a possibility that they don't serve the whole needs of the whole spectrum of Logic users, and that there's a possibility that some of these users have an honest reason (not just lack of knowledge) to determine so.

Cheers!

[Arnaud]

My point of view is: no synth has "a sound" attached to it. The sounds you get from Sylenth, Synplant, Omnisphere, etc... they are all created using waveforms/wavetables, filters, modulation, distortion, etc.

Yes they do. Their "sound" comes from the feature set, the available waveforms/sound sources, the choices and implementations of filters and so on, just like real hardware synths have different sounds. To anyone experienced, you can *easily* spot a JP8, or an Oscar, or a DX7, or a Prophet 5, or a Minimoog and so on.

 

Yes, some instruments have similar character, and there are a lot of bland soft synths with a fairly neutral character, but to suggest soft synths don't have a "sound" or "character" is incorrect, imo. Alchemy has a character, so does Sculpture, Omnisphere, impOscar, Zebra, the Arturia M12V, Serum etc etc, and many more...

I couldn't agree more...

[3ple]

Thanks for baking up my idea by sharing that I use the filter on the compressor quite often and I love it. I even use it as a Deesser as well. This just proves most people don't know what they have when they work with Logic and they spend money on 3rd party plugins (or torrent them, whatever) just because they are "supposed" to be better than stock plugins. It's not the equipment, it's what you do with it and how well you know it inside out.

Please see my reply to anp27. But let's not start a "Stock vs 3rd-party" war here. Stock plugins are great too and as I said, they form about 80 to 90% of what I use. If you're OK, let's just settle on say that there's a possibility that they don't serve the whole needs of the whole spectrum of Logic users, and that there's a possibility that some of these users have an honest reason (not just lack of knowledge) to determine so.

Cheers!

We just go back to what I said before: it's not that they sound better. They just have different features. How can one say that a Neumann M 149 sounds better than an SM57? They are used for different things. That being said, you can only say that something "sounds better" when you put a second or third variable there: the purpose.

So in the synths world is the same thing. As an example: let's say you need a crappy, 8 bit type sound in your song. You have a free, super simple synth with one sine wave available and a bit reduction knob. On the other side you have a super expensive analog synth with multiple features, but no bit reduction option. But what you need can be done with the free (not-so-good) synth and not with the expensive one. So which one "sounds better"? I think we would first have to clarify what "sounds better" means. Is there a definition for that? No, because it's subjective, not only based on what each one of us thinks "sounds better", but also based on the purpose. 

Listen to records from the 50's, 60's, etc. The quality of that, if it was recorded today, would be considered "crap". But a lot of people out there love that "analog" feel that comes from it. Analyze those songs in terms of frequencies compared to what's made today and it is in fact "crap". But of course, because it was made with analog gear back in the day, most people "love it" Ironic.

Another example, since I saw that you have the Korg M1. Play that typical M1 piano as a "normal piano", on a classical piece. Sounds like s***, right? But play the same piano on a dance music track and it's exactly what it needs. So once again, what "sounds better" really depends on the purpose and on our taste.

And the "war" is just because I see a lot of people out there working with 3rd party plugins, just because they turn a knob and suddenly everything sounds loud and so they assume that the plugin is "better" than what they have for $200 when they buy Logic. And yet they bought another plugin for another $200 I'm not saying EVERYBODY is like that, but a big percentage of people I know or talk to online. To me is more about knowing what you have and how you use it, than the equipment itself. Let's not forget that great records were done in the past with just analog gear (limiting the number of equipment that could be used per track), limited number of tracks, etc. And those people had to be creative to make things work. It was about the song first. Then the musicians, the instruments, the room. All that combined made the whole song sound 80% great. All the other stuff was just the final touches to make the song a physical thing: a record/cassete.

But I will always end my posts on this "war" with this: whatever works for other people, go for it. If it works for you, that's what matters. What I'm trying to prove is that sometimes people waste money buying stuff they don't really need. That's all

[3ple]

Agreed. MANY soft synths have a sound that is unique. You simply can't whitewash the entirety of virtual instruments and say they all sound the same because each one has an oscillator, an envelope, a filter and modulation. Do all guitars sound the same by virtue of the fact they all have strings? 

 

And no, EXS24's orchestral strings do not sound like orchestral strings. Not by a long shot. They are charicatures of orchestral strings rendered by ancient sampling technology. Check out Spitfire Audio and what they're capable of. That is what "better" sounds like, just FYI 

Orchestral strings in Logic have their own purpose. Of course, if you want to have your strings sound better, then buy the "Spitfire Audio" you mentioned (have no idea what that is though lol) or any other pack... but then I will tell you: all those plugins for orchestral strings sound like "crap" compared to the real thing, played by real musicians, real instruments, recorded in a studio with real microphones, a mixer, etc. That's the REAL thing. So each thing has its purpose, it's space and time.

If we would always want to emulate real life, electronic music would never exist, or hiphop, etc. Things evolve.

I never said that all synths sound the same. And they don't, just because of the features they have. What I said is that there's no "better" synth, because it's subjective. Why is "fat" always good? Well, it's not, if your song doesn't need another "fat" synth in it. And guitars can't be compared to a synth. What makes sound in a guitar is a string, as you said, then goes to a pickup. The wood it's made from and all the other elements combined, make a single sound: a note. You can't have a guitar without a pickup (unless it's acoustic, of course). You can't have a guitar without a neck, a body. So all of those combined, make the sound/character of a guitar. A synth that produces a sine wave or any other wave, is what makes the sound of a synth. You don't need anything else to make sound from a synth. Waveforms/wavetables are what makes a synth, a synth. When you start adding filters, modulation, etc, that's the same of using pedals on a guitar. We are not analyzing the raw source. So that being said, a sine wave, a saw tooth or square wave are the same in ALL synths. There's no "better" sine wave on a particular synth, or a square. That's the raw source. All those waveforms follow a specific mathematical formula. No changes. That's what we need to analyze, not all the other features, because those are not the "character" of a synth. They are the "pedals" in a guitar, changing the raw material. A great guitar with a crappy fuzz pedal, sounds like crap (even though it can serve a certain purpose, of course). A "great" synth (whatever that would mean to you or other people) with a filter and modulation that makes no sense, will sound like crap as well. So where's the "character" of that synth, then?

Anyway... if it works for you guys, great! I'm not saying we should all dump our 3rd party plugins. If it works for your music and serves your purpose, great. For me, I realized I don't need them to make my music, so I save money and can improve my skills on those fewer synths/plugins I use from Logic

[skijumptoes]

Logic gets better with each new update. Manny improvements Logic is on the right way. But Logic can better. like EXS24 is from the Stone Age, If you compare the Logic sampler with Ableton sampler then the sampler from Ableton is better. 

Don't forget Alchemy with Logic, it too is a mighty Sampler with some fascinating functions.

[schlomojorgensen]

Agreed. MANY soft synths have a sound that is unique. You simply can't whitewash the entirety of virtual instruments and say they all sound the same because each one has an oscillator, an envelope, a filter and modulation. Do all guitars sound the same by virtue of the fact they all have strings? 

 

And no, EXS24's orchestral strings do not sound like orchestral strings. Not by a long shot. They are charicatures of orchestral strings rendered by ancient sampling technology. Check out Spitfire Audio and what they're capable of. That is what "better" sounds like, just FYI 

Orchestral strings in Logic have their own purpose. Of course, if you want to have your strings sound better, then buy the "Spitfire Audio" you mentioned (have no idea what that is though lol) or any other pack... but then I will tell you: all those plugins for orchestral strings sound like "crap" compared to the real thing, played by real musicians, real instruments, recorded in a studio with real microphones, a mixer, etc. That's the REAL thing. So each thing has its purpose, it's space and time.

If we would always want to emulate real life, electronic music would never exist, or hiphop, etc. Things evolve.

I never said that all synths sound the same. And they don't, just because of the features they have. What I said is that there's no "better" synth, because it's subjective. Why is "fat" always good? Well, it's not, if your song doesn't need another "fat" synth in it. And guitars can't be compared to a synth. What makes sound in a guitar is a string, as you said, then goes to a pickup. The wood it's made from and all the other elements combined, make a single sound: a note. You can't have a guitar without a pickup (unless it's acoustic, of course). You can't have a guitar without a neck, a body. So all of those combined, make the sound/character of a guitar. A synth that produces a sine wave or any other wave, is what makes the sound of a synth. You don't need anything else to make sound from a synth. Waveforms/wavetables are what makes a synth, a synth. When you start adding filters, modulation, etc, that's the same of using pedals on a guitar. We are not analyzing the raw source. So that being said, a sine wave, a saw tooth or square wave are the same in ALL synths. There's no "better" sine wave on a particular synth, or a square. That's the raw source. All those waveforms follow a specific mathematical formula. No changes. That's what we need to analyze, not all the other features, because those are not the "character" of a synth. They are the "pedals" in a guitar, changing the raw material. A great guitar with a crappy fuzz pedal, sounds like crap (even though it can serve a certain purpose, of course). A "great" synth (whatever that would mean to you or other people) with a filter and modulation that makes no sense, will sound like crap as well. So where's the "character" of that synth, then?

Anyway... if it works for you guys, great! I'm not saying we should all dump our 3rd party plugins. If it works for your music and serves your purpose, great. For me, I realized I don't need them to make my music, so I save money and can improve my skills on those fewer synths/plugins I use from Logic

When you mix, does it take like a VERY long time? 

[3ple]

Orchestral strings in Logic have their own purpose. Of course, if you want to have your strings sound better, then buy the "Spitfire Audio" you mentioned (have no idea what that is though lol) or any other pack... but then I will tell you: all those plugins for orchestral strings sound like "crap" compared to the real thing, played by real musicians, real instruments, recorded in a studio with real microphones, a mixer, etc. That's the REAL thing. So each thing has its purpose, it's space and time.

If we would always want to emulate real life, electronic music would never exist, or hiphop, etc. Things evolve.

I never said that all synths sound the same. And they don't, just because of the features they have. What I said is that there's no "better" synth, because it's subjective. Why is "fat" always good? Well, it's not, if your song doesn't need another "fat" synth in it. And guitars can't be compared to a synth. What makes sound in a guitar is a string, as you said, then goes to a pickup. The wood it's made from and all the other elements combined, make a single sound: a note. You can't have a guitar without a pickup (unless it's acoustic, of course). You can't have a guitar without a neck, a body. So all of those combined, make the sound/character of a guitar. A synth that produces a sine wave or any other wave, is what makes the sound of a synth. You don't need anything else to make sound from a synth. Waveforms/wavetables are what makes a synth, a synth. When you start adding filters, modulation, etc, that's the same of using pedals on a guitar. We are not analyzing the raw source. So that being said, a sine wave, a saw tooth or square wave are the same in ALL synths. There's no "better" sine wave on a particular synth, or a square. That's the raw source. All those waveforms follow a specific mathematical formula. No changes. That's what we need to analyze, not all the other features, because those are not the "character" of a synth. They are the "pedals" in a guitar, changing the raw material. A great guitar with a crappy fuzz pedal, sounds like crap (even though it can serve a certain purpose, of course). A "great" synth (whatever that would mean to you or other people) with a filter and modulation that makes no sense, will sound like crap as well. So where's the "character" of that synth, then?

Anyway... if it works for you guys, great! I'm not saying we should all dump our 3rd party plugins. If it works for your music and serves your purpose, great. For me, I realized I don't need them to make my music, so I save money and can improve my skills on those fewer synths/plugins I use from Logic

When you mix, does it take like a VERY long time? 

No, it's actually the opposite, because I don't waste time trying 10 different plugins for the same purpose. Also, when I'm creating music I'm already making certain decisions. Sometimes I have great mixes just with volume,, panning and some reverbs and delays

[fisherking]

When you mix, does it take like a VERY long time? 

No, it's actually the opposite, because I don't waste time trying 10 different plugins for the same purpose. Also, when I'm creating music I'm already making certain decisions. Sometimes I have great mixes just with volume,, panning and some reverbs and delays

if that's the way you work, cool. for me... everything is subject to change. i might change a sound at the very last minute, or an actual part. sometimes, i'll try different sounds just to see what happens, and sometimes, find something better. whatever method works, as long as the music is on point. my only thought is this: the more open you are, the more chance of making new discoveries; and where would music (or tech, for that matter), be, without discovery?

[itssofly]

Logic gets better with each new update. Manny improvements Logic is on the right way. But Logic can better. like EXS24 is from the Stone Age, If you compare the Logic sampler with Ableton sampler then the sampler from Ableton is better. 

Don't forget Alchemy with Logic, it too is a mighty Sampler with some fascinating functions.

Ouch thats true. But not everything have good quality in Alchemy like Granular Spectral  Formant etc.

[3ple]

No, it's actually the opposite, because I don't waste time trying 10 different plugins for the same purpose. Also, when I'm creating music I'm already making certain decisions. Sometimes I have great mixes just with volume,, panning and some reverbs and delays

if that's the way you work, cool. for me... everything is subject to change. i might change a sound at the very last minute, or an actual part. sometimes, i'll try different sounds just to see what happens, and sometimes, find something better. whatever method works, as long as the music is on point. my only thought is this: the more open you are, the more chance of making new discoveries; and where would music (or tech, for that matter), be, without discovery?

I guess you are missing the point. What I mean by that is that when I'm mixing I don't try 10 different compressors or EQs. That's because I stick to one (in this case the stock plugins).

And yes, discovery is great, but we can't spend a whole project just discovering or we will be trapped in a cycle of not finishing projects. We need to commit to certain decisions. That's why I bounce all my softsynth tracks once I'm happy with what I have. I accept what I have and I move on. Almost like recording a guitar or vocals. Once you know what you want it to sound like, you record it and that's it. You can't go back and change things, unless you record it again.

Don't get me wrong and this is not a personal attack or anything, but I just think people got too "spoiled" when it comes to making music and I say that because we have the flexibility of working with MIDI so we keep changing and changing and changing things, instead of committing and moving on. And actually, if you're talking about being open and discovering, it's when you commit to things by bouncing them, that you discover new things. Because now you have to be creative in order to "fix" or change things that can't really be changed. If I give you a loop of me playing a synth and say "make a song with it", you won't be able to change notes, length, velocity, etc. So you have to be creative

And going back to me making decisions before mixing, it's basically because I pretty much know what I want to achieve with my song so the sounds I pick and how I manipulate them before mixing them, are chosen based on that. It's pretty much the same way a musician picks the right instrument, the right strings or drum heads and then the recording engineer picks the right room placement, the microphones and the position of those same microphones. All of that, if done properly, will save time when mixing. Mixes don't have to be saturated with EQs, compressors, saturation (no pun intended), multiband compressors, etc. Sometimes one plugin here and there will do the work, if that's what the song needs.

[3ple]

Don't forget Alchemy with Logic, it too is a mighty Sampler with some fascinating functions.

Ouch thats true. But not everything have good quality in Alchemy like Granular Spectral  Formant etc.

It depends on what you mean by "quality". If it doesn't suit your purpose, of course it doesn't sound good. If you want to create an aggressive Skrillex-ish synth with Granular, maybe that's the wrong option

It's all about knowing what to use, when to use and how to use it. Alchemy for me changed the game in my productions. The only thing I kinda miss there is FM synthesis. But since we have EFM and Retro Synth, it's really not a big problem

[Eric Cardenas]

Guys!

Could you please start this conversation about 3rd party plug-ins or not on a separate thread?

[3ple]

Guys!

Could you please start this conversation about 3rd party plug-ins or not on a separate thread?

Good point

[bonebones]

Guys!

Could you please start this conversation about 3rd party plug-ins or not on a separate thread?

Amen. 

I could have written two tunes in that diatribe. Makes catching up on peoples experiences on Logic 10.3 in this thread extremely arduous.

[3ple]

Guys!

Could you please start this conversation about 3rd party plug-ins or not on a separate thread?

Amen. 

I could have written two tunes in that diatribe. Makes catching up on peoples experiences on Logic 10.3 in this thread extremely arduous.

True... my bad. If the moderators and the other users involved in this discussion agree on deleting those posts to make this thread just relevant to Logic 10.3, I'm totally ok with having mine deleted, as they are not relevant to the original post

Sorry for getting too excited about the discussion

[noisenet]

Had another issue come up in 10.3

In a project I was working on last night I created a Buss for the clean guitars in the project - two of which are track stacks containing two tracks each (one for each mic on the amp). That was all fine and good but i wanted to move it over closer to the guitar tracks in the mixer but right clicking and selecting 'Create Track' or however it's worded, to add it to the tracks area so i can move it, nothing happens. It stays where it is and it's not reflected in the tracks area. Anyone here ever seen that?

[itssofly]

Me to excited:p. I read this everyday about Logic 10.3

[Arnaud]

Had another issue come up in 10.3

In a project I was working on last night I created a Buss for the clean guitars in the project - two of which are track stacks containing two tracks each (one for each mic on the amp). That was all fine and good but i wanted to move it over closer to the guitar tracks in the mixer but right clicking and selecting 'Create Track' or however it's worded, to add it to the tracks area so i can move it, nothing happens. It stays where it is and it's not reflected in the tracks area. Anyone here ever seen that?

Not in front of my LPX computer but I think I recall there's some setting in the mixer (view menu ?) to make it reflect the main window, like display or not display hidden tracks, etc. I may be wrong because I write this just our of blurred recollection but I would look there to see if a setting of this kind was changed (undeflaulted, so to say) in 10.3, which you could get back the way you want it. Another thing, maybe the way the mixer display reacts to tracks order in the main window depends on whether you select the Tracks or All view buttons...

Hope this helps....

[3ple]

Had another issue come up in 10.3

In a project I was working on last night I created a Buss for the clean guitars in the project - two of which are track stacks containing two tracks each (one for each mic on the amp). That was all fine and good but i wanted to move it over closer to the guitar tracks in the mixer but right clicking and selecting 'Create Track' or however it's worded, to add it to the tracks area so i can move it, nothing happens. It stays where it is and it's not reflected in the tracks area. Anyone here ever seen that?

Not in front of my LPX computer but I think I recall there's some setting in the mixer (view menu ?) to make it reflect the main window, like display or not display hidden tracks, etc. I may be wrong because I write this just our of blurred recollection but I would look there to see if a setting of this kind was changed (undeflaulted, so to say) in 10.3, which you could get back the way you want it. Another thing, maybe the way the mixer display reacts to tracks order in the main window depends on whether you select the Tracks or All view buttons...

Hope this helps....

Noisenet: Not sure if this is what you're looking for and Arnaud pointed that out, but viewing the mixer as Tracks or All changes the way the mixer displays each channel strip.

If Tracks if selected, it shows what the Arrangement window has and its order, from top to bottom.

If All is selected, then it shows all the tracks you created based on when they were created, it's chronologically ordered.

Hope this helps in any way. If not, sorry that I didn't understand the question... and if so, can you explain it again?

[noisenet]

Hey guys, thanks for the responses. The mixer is set to Tracks view. Regardless though, right clicking and selecting 'Create Track' doesn't create a track for that particular channel strip in the arrange window. I did that a few times already in the project, wondering why it stopped working.

[Arnaud]

I had missed the fact that no track is even created (for sure, without it, there's no way you can have your channel strip move to another place in the mixer).

 

Didi you try starting from a blank project and test form there whether you can create a track from the mixer using the same sort of channel strip as what causes you an issue (btw in your post above, you say it's a bus, but is it technically a bus channel strip or an aux channel strip - with that bus as an input - that you want to create a track from)? The idea is to try and see wether it's a project-specific issue or whether it's more wide-spread.

[noisenet]

Im sure it's project specific. Just started happening in this project. I'd already sent a few other aux's to become tracks so I could arrange em, then it just stopped working. You're correct in that it's an sux being fed by a buss.

[stardustmedia]

Ok I did it. I'm also in the party now. 

 

Looks good... and now sound much more warmer, more analog. Unbelievable how my 3rd party plugins now sound much more like my Manley Massive Passive when bypassed. I believe that's thanks to the expanded color palette ... sheesh :D

 

Next step is to go thru to my most important new features and check them out... I just tried (without reading the manual) the track alternatives, and they didn't work as I would expect. Seems I don't work logically