dubsak

I am vindicated! Yeah, the cursor was telling me "You can do it" and then refused to do what I wanted it to do. Thanks, folks.

I'm an idiot. I had the Gain Tool selected and so no go.

Did you also check that is activated in iLok?

Hey there. I'm having trouble adjusting my markers in the latest version of Logic (10.8.1). Did I accidentally change a setting? Is anyone else experiencing this? Used to be I'd just drag at the front of the marker but now…no dice. Any ideas?

If I'm understanding this correctly, you're talking about that you've drawn your automation and you've decided "nope, this instrument needs to be 1 dB louder". If that's the case you can use the Trim control on the Volume lane to move all your automation accordingly. Otherwise, every time you start playback, your fader will just jump back to its original position.

There are some benefits to keeping tasks separated. So it often makes sense to have a Logic project that's everything from the session, warts and all, another project that's edits (silence removed, timing edits, etc) where each track gets exported out as a single file of the same length, and a final mix project where you actually start doing all the mix work from the exported edit files (not necessarily stems, just edited files) that can be easily imported into any DAW if the mixing is being handled by another person or just to sort of "safety" your edits. I think it's personal/collaborator preference but this is the sort of process I got taught in school so it's what I (often/mostly/sometimes) do. It helps me keep track of/archive things and it's why I have a Shortcut action that just builds a folder structure for me so I can (attempt to) adhere to that sort of principle.

Important to remember with a snare mic, and with a "phase" button, you're really talking about polarity since it only works by flipping the signal 180 degrees. So, a phase/polarity button works for snares where it's obvious that the top mic is picking up a strike away from the mic and the bottom mic is picking up a strike towards the mic if that makes sense. In the instance of a kick in and kick out mic, your intent is to correct a time difference (because each mic is picking up a sound coming from the beater in the same direction just at different time ). So, sometimes that works and generally you're just looking for the sound that has the most low end when you reverse polarity on one of the mics. For overheads, the main trick is to just ensure that your mics are an equal distance from the source you want in the middle (usually a combination of snare and kick) so you will measure from the snare to each overhead and ensure they're the same distance away from that source. I've never had an instance where I've switched the polarity on overheads and heard a magnificent difference. If you're hearing a phase issue on the overheads, the only remedy is moving them in space/time until the issue is solved either by moving the mics or moving the waveforms post-record in the DAW. You can use a plugin for that or use the delay option in the Region Inspector to positively or negatively delay the region. Another likely more useful trick is to manually adjust the region by nudging it forward or backwards to get rid of any comb-filtering or frequency cancellation you might be hearing. Getting those mics in perfect alignment time wise isn't very beneficial though because you kind of lose the sense of space that comes from distance microphones if that makes sense. There's a great article on SOS that's worth a read: https://www.soundonsound.com/sound-advice/q-should-be-time-aligning-my-drum-tracks In short, don't aim for perfect alignment, just fix issues if you hear them. Hope that's helpful. If you're a drummer that's beginning to record yourself, I highly recommend: Recording Drums by Mike Major: http://mikemajormix.com and Recording and Mixing Drums by the MetAlliance: https://metalliance.com/recording-and-mixing-drums/ which is great and will actually help get you out of your own head a little.

Slip Tool is pretty cool. I can see that being useful. It would be really nice though if you could see a Slip value in the Region Inspector because I can't see anyway to undo if you do something by accident or what have you. Would be nice to have a numerical value you can tweak. Mastering Plugin is nice but there's maybe a little too much "magic" in there in that so much is hidden from view. A tool like that that does things automagically is great but there's not much opportunity for the user to learn from (outside of EQ) the tool because the interface isn't totally transparent about what is occurring.

If you can't access a separate output on the Tascam as Fuzzfilth suggests, you can likely use Sonnox ListenHub to get past that limitation. It will let you apply a plugin (like Sonarworks) before your monitors using a pseudo output that won't have any effect on Logic's stereo bus. That's just a "drat, I can't get to those outputs!" solution (even though it's an incredibly useful plugin but not trying to lead you to spending money you likely don't need to spend)

My desk is an old drafting table that I've converted. Added a keyboard shelf beneath and build myself a little 2 space 1U rack for under my monitor. Works real well for me as the drafting table allows itself to be height adjusted but that was a set it and forget it sort of deal. My keyboard is only a 61 though so something real large might not work under that sort of thing. The thing I like most about my set up is that the desk was free and I don't have to feel precious about it so I feel comfortable making it feel good. It feels like a place I want to be.

This looks like a Studer to me. Maybe a 962?

You can occasionally fix this up by choosing Bounce Real-time and selecting Bounce 2nd Cycle Pass.

You should just be able to bypass it in its automation lane. If Bypass doesn't show up with the plugin, it may be in Main -> Insert (whatever number/plugin it is). Does that make sense? Other wise, you can fade in the mix. If automation is a pain, you can also just duplicate the track and apply your effect while trimming everything before and after it (and deleting/muting the section in the original track). This is likely the best approach if you are adding multiple effects as you can do everything at once and adjust EQ, etc on just that section.

This is kinda cool in a way. Not likely for me but I can see it being a big thing for people who make music mostly electronically. Hope there are some bug fixes in the desktop version when this gets released.

Sonarworks has a setting called Safe Headroom that will adjust the output of the plugin up or down by whatever the equalization is applying (though it always seems very safe in that it lowers the output by quite a bit more than required). You can disable Safe Headroom and adjust the output within the plugin to the level you'd like. Is that something you've tried?

I think Logic is already really flat. Where they break from that is only really buttons and buttons should be buttons. They should be instantly apparent that they're clickable. Logic tends to place the interface into that background which is my preference. Ableton is too distracting to me because it's so colourful. Pro Tools, when colour is involved, tends to kind of overdo it in my opinion. I suppose it's a preference but the less the interface is drawing my attention, the better.

I’m sorry. Just to clarify: this is a new problem on a set-up that has previously worked and nothing (to your knowledge) has changed from when it previously worked? If that’s the case, first thing to check would be that the Mac itself is outputting audio to the Ensemble in System Preferences. I’d then likely check that audio from iTunes or Music was being sent to the speakers. If it isn’t, I’d check Maestro to see if I’d accidentally switched the main out to a Mixer or another output. I know Apogee seems to have sunsetted Elements and Ensembles and I believe the FW driver for old ones isn’t available any more so you may wish to contact Apogee.

I use SD3 but this isn't specifically an issue I've come across. There is a thread about something similar on the Toontrack forums: https://www.toontrack.com/forums/topic/time-signature-follow-daw/ Not sure that they solve it to your satisfaction. Are you doing the drums right within SD3 or in Logic with SD3 just playing back the Logic MIDI?

I can't speak to the Apogee One but I'm using an Apogee Ensemble and Control and device controls show up for me. The most up to date software information is here on the Apogee site because I know sometimes things get a little messy over there and as you say, if the info is up to date because…Apogee.

This was fixed for me in the last update (10.7.6).

I’m unable to delete Flex Markers in the Track area by clicking the X above the markers while in Flex Time. I am able to delete them in the Editor area by clicking the X. Is anyone able to check whether this is also the case for themselves so I can determine if this is a bug or just a problem on my end? Thanks.

Destination: Selected Track Source: Delete Bypass Effect Plugins (If you want it pre-processing) Worth noting that you can Bounce In Place a region but have a different track selected and then…boom. It's moved to the other track so ensure you have the right track selected.

Part of this is how a VU meter works. The ballistics in a VU meter are pretty slow. So…for something like a snare drum, as @matthewbarnhart says, you'd look at something around -10 VU. That isn't to say that the peak of the snare drum hasn't gone higher. It absolutely has but a VU meter won't show that because it's very slow compared to a peak meter in your DAW (or a Dorrough meter). So, a tonal instrument like a bass or guitar makes using a VU meter much easier because its level is prolonged and the initial transients are not usually very extreme between say picking and holding the note. The ballistics of the VU meter, though slow, are a little more useful in this instance. If you set the normalization to peak at -18dB in Peak mode, a snare is not going to be the "-18" or "0 VU" they're talking about. They mean, as I think was mentioned earlier, that a sine wave at -18 dBFS = 0 VU. But that's a sine wave, not an instrument with a loud transient like a snare. But as several people have mentioned, this whole 0 VU think is not really something to be concerned about because of the nature of digital recording. In some instances, I believe it's purely marketing and in others, sure it's may be their reference but I think many people are fooling themselves into thinking that they hear or worse, the listener, hears a difference. Most people will say "sounds great!" not "I can really hear the subtle heat in the 1176 plugin you used. You really nailed the input." And in the time I wrote that @matthewbarnhart followed up. Also worth noting that I believe he worked at Electrical for a bit which is mostly to tape where all of this makes a difference. He'd be a valuable source about all this.

AUBandpass is also available though the slope is likely not as sharp as you'd like. FabFilter's Pro-Q 3 has the option to turn the slope on HP and LP filters to be brickwalled if that's an EQ you have in your arsenal. Though to me it sounds like you want to notch out frequencies within a range? Is that correct? In that case, you're very likely to be out-of-luck with stock plugins though, again, Pro-Q 3 would provide some options there. For example, you could use a notch filter to exclude frequencies and apply a 96dB/oct slope which is plenty steep.

Just to chime in here in case folks are unaware, Backblaze regularly publishes data on drive failures by brand (their business is cloud backup so…lots of drives, read/writes). Always worth a look to see which drives have performed best to make your own informed decisions. https://www.backblaze.com/blog/backblaze-drive-stats-for-q3-2022/