What Would You Like to See?

We are now taking your suggestions for what you’d like to see on logicproanswers.com in Video Tutorials related to Logic Pro, Pro Tools, Music Production, Synth Plug-Ins Programming, Studio Systems Configuration, Winter Migration Patterns of the Bridlington Shrieker, (just kidding on that last one).

Feel free to suggest topics you’d like to see covered here. Keep it clean 🙂

    39 comments… add one
    • David A.

      How might I control, in real time, a gradually opening filter, such that I could re-initialize the envelope every four bars?

    • Hi David A,

      Thanks for your post, I’m going to take your suggestion and make a video answering that question later today!

      Marlowe

      See Video entitled Dynamic Filters in ES2: http://www.logicproanswers.com/videos/logic-pro-videos/

    • woody aplanalp

      Hi Alex . This is a beginner question , but coming from pro tools , I can go to the drive allocation window and make sure my audio files go to my external drive . How do I send my audio files to my external drive in Logic Pro 9 ? Thanks ! Woody

    • Hi Woody,

      Thanks for your comment, that’s a common question a lot of people have, when you first create a new Logic Project, a Project Folder is created and saved in the location you select when initially saving the Logic File. In the Logic Project Folder, another folder is automatically created and named ‘Audio Files’ – That folder is where all Audio Files recorded in the Project are saved, unless you direct Logic to save Audio Files in another location. I recommend creating a folder on your external hard drive called ‘Logic Projects’, and saving all your projects there.

      If for some reason the Audio Files are being saved in the wrong place, you can set the save location by clicking on the Settings Button, in the upper left corner of the Arrange Window, choosing Recording Settings, Under ‘Core Audio’ Recording Folder, click the ‘Set’ Button, and choose the location where you want your Audio Files to be saved.

      Unless you have a really good reason to do otherwise, I highly recommend always saving all Audio Files for each Project in the Audio Files Folder inside the Project Folder of each Project.

      I will be doing a video on this topic soon!

      See Video entitled Logic Pro 9 Lessons: File Saving: http://www.logicproanswers.com/videos/logic-pro-videos/

    • Justin

      Hey Alex-
      I’m running Rewire through a midi track. It records just fine, but won’t playback any audio.
      The input/outputs all look correct. Any suggestions?
      Thank you

    • Hi Justin,

      Thanks for your comment, I will be doing a Video on this question soon!

      Marlowe

      See Video entitled Pro Tools and Reason Rewire Set Up: http://www.logicproanswers.com/videos/pro-tools-videos/

    • Justin

      Hey Alex-
      What are the pros and cons of having a sampler plug in?
      I want to remix a few songs and am not sure if having one is necessary.
      Thanks!

    • Hi Justin,

      A Sampler Plug-In will enable you to play samples, like drum hits, and loops, as well as sampled instruments, like Pianos, Horns and Strings, from your keyboard. Native Instruments Kontakt is one of the best Sampler Plug-Ins on the market, see the Links Page on this site for a link to their website.

      The full version of Kontakt comes with 43 GB of Sampled Instruments and costs $399, there is also a free download Kontakt Player, you might want to give that a try to get started. There are many 3rd party developers who create sound libraries for Kontakt, see the Links Page for more info on that as well.

      Most developers of sample libraries will offer some free sounds, to give you a chance to try out their stuff before you buy. When you’re doing remixes in particular styles you can look for sample libraries that provide sounds commonly used in those styles of music. Loopmasters has a broad range of sounds in many different styles. If you get Kontakt, or the Kontakt Player, you would want to get libraries in the Kontakt format.

      Good luck and happy remixing!

      Marlowe

    • David A.

      What’s involved in incorporating a high data-content sample like the Ivory piano into MainStage, and what should I expect in terms of latency? Would it use the EXS24? Are there any other less memory- (and cost-) intensive pianos you recommend?

    • Hi David A,

      That’s a good question, of course there are many sampled pianos out there, and it’s to a great extent a matter of taste which one a given pianist is going to like, and find effective for a given style of playing.

      The Ivory Pianos are high quality Multi-Sampled Instruments, but as you rightly point out they’re also memory-intensive, so for use with Mainstage in live applications they may not be the best choice.

      I like Alicia’s Keys from Native Instruments, the instrument sounds really good, is very playable, only takes up 385 MB of RAM when loaded, plays in the free Kontakt Player, and costs $119.
      Kontakt is one of the best and most stable Sampler Plug-Ins available, I was just playing Alicia’s Keys in Mainstage, it loaded fast, and with the buffer at 128, played with minimal latency.

      Truepianos is also a very good option, as far as sound, cost and RAM usage, I haven’t tested it in Mainstage yet, I’ll post more info after I give it a try.

      Let me know how it works out!

      Marlowe

    • David H.

      What 3rd party companies would you recommend for effects processing plugins to do such things as Reverb, Delay, etc for Pro Tools, etc.?

    • James

      Hi Alex-
      I wanted to know your thoughts on Pro Tools vrs. Ableton Live for programming/playing live/mixing…the whole nine yards.
      I know a lot of DJs are using Ableton now-
      Thank you!

    • Hi David H,

      Thanks for your post, that’s a great question, there’s no one right answer, of course, since it depends on your taste and the kinds of Music Production you’re doing.

      Here are some suggestions, check the Links Page on this site for links to various Developers of Plug-Ins.

      My favorite reverbs are the Convolution Reverbs, that use Impulse Responses, which are recordings of the reverberations in actual spaces, like cathedrals and concert halls.

      My favorite of these is Altiverb from Audio Ease, http://www.audioease.com The Space Designer Reverb in Logic Pro is also very good.

      SIR Audio Tools makes the SIR1 which is an Impulse Response Reverb that is available as a free download from: http://www.knufinke.de/sir/sir1.php. There are many Impulse Responses that are available on the internet as free downloads as well.

      Blue Cat Audio has a free Plug-In Bundle available that’s worth downloading. http://www.bluecataudio.com/Products/Bundle_FreewarePack/ This is a good way to get an idea what you like from various developers before you start purchasing from them.

      I also like the Classik Studio Reverb from IK Multimedia, the company that also offers the excellent Amp Simulation Software Amplitube.

      For Synth Plug-ins, TAL Noisemaker is good, and a free download, (if you find it useful consider donating): http://kunz.corrupt.ch/products/tal-noisemaker

      Also check out Rob Papen Predator: http://www.robpapen.com/predator.html and reFX Vanguard http://refx.com/products/vanguard/summary/ both excellent Plug-In Synths!

      All the plug-ins from Waves are excellent, although a bit expensive.

      Hope that gets you started, let me know what you find that you like!

      Marlowe

    • Hi James,

      Thanks for your comment, of course different producers use various tools for the different parts of the production process, but generally speaking Pro Tools is an excellent Digital Audio Recording/Editing/Mixing environment, Abelton Live is an Excellent tool for DJ-oriented production, working with loops, DJ mixing, remixing, on-the-fly, intuitive, and live performance processes, Logic Pro is an excellent Composing/Arranging/MIDI Editing environment, etc.

      People often seem to talk about software in terms of ‘this application VS the other application’ which one is better? Pro Tools VS Logic Pro or Pro Tools VS Abelton Live, etc. My view is that each of these applications are useful tools in the production process, and the audio files of a project may be processed in various ways in several different applications over the course of a session, a groove might start in Abelton Live and then be exported to Pro Tools to mix, an arrangement might start in Logic Pro, be bounced as loops and remixed in Live, etc.

      Let me know your thoughts on this as you go forward!

      Marlowe

    • Hi Alex,

      I’m wanting to create a 2 staff music notation part (right hand and left hand on a split keyboard but both treble cleffs) for a musician from 2 tracks in my arrange window in Logic. I’ve spent several hours but am not really getting anywhere. Can you come to the rescue please?

    • Hey Alex,

      How do you zoom in to your selected spot? and how do you loop? on Pro tools?

    • Justin

      Hey Alex-
      Justin again….
      I was wondering how to hear myself playing along on a record enabled track, without having to actually record it.
      Thank you-

    • Hi Justin,

      In Pro Tools, there are two Input Monitoring Modes that effect the way you monitor when recording:

      Auto Input Monitoring and Input Only Monitoring

      Auto Input Monitoring – Used for Punch In Recording. In this mode, with a track Record Enabled, when Pro Tools is stopped, you’ll hear the instrument or Mic that is plugged in to your interface on the selected Input. When you start to play or record, you’ll hear the existing audio on the track up until the Punch In Point, then you’ll hear the Instrument/mic input signal until the Punch Out Point, when monitoring will switch automatically back to the existing material on the track.

      Input Only Monitoring – In this mode, with a track Record Enabled, you’ll hear the instrument or Mic that is plugged in all the time, regardless of whether Pro Tools is Playing, Stopped, or in Record, as long as the Track remains Record Enabled. Keep in mind in Input Only Monitoring, you won’t hear the existing audio on the track until you disable Record on that track, so this mode is not ideal for Punch Ins.

      You can switch between the two modes by selecting either Auto Input Monitoring or Input Only Monitoring in Pro Tool’s Track Menu. Option-K will also toggle Pro Tools back and forth between the two modes.

      Hope that helps! I’ll try to do a Video on this topic soon, in between sessions! 🙂

      Thanks for your comment,

      Marlowe

    • Hey Sean!

      The basic way to Zoom In and Zoom Out in Pro Tools is using the ‘R’ and ‘T’ Keys

      R to Zoom Out – T to Zoom In.

      When you click somewhere on a Track in the Edit Window with the Selector Tool and then use the R and T Keys, you will Zoom Out/In around the location of the Edit Cursor (where you clicked with the Selector Tool.)

      To Loop: Hold the Control Key and click on the Play Button in the Transport so that you see a round arrow circling the Play symbol, then click, hold and drag in the grey band of the Timeline to select the bars you’d like to Loop.

      Hope this is helpful, take a look at the Video Tutorial called ‘Essential Pro Tools Keyboard Shortcuts’ on the Pro Tools Videos Page of this site, for more info!

      Thank you for your comment,

      Marlowe

    • Hi Terry,

      Regarding your question about creating a 2-Staff Music Notation Part from two tracks in the Arrange Window:

      We covered this in your Online Consultation, but I’m posting a quick answer so others can refer to it as well, this is a pretty easy one:

      1) Be sure that each part is made up of one continuous region on it’s own track in the Arrange Window, if a track is made up of separate regions, select all regions on the track and click on one of the regions with the Glue Tool to combine them into one region.

      2) Click on the first region that contains a part you want to include in your score, then hold the Shift Key and Click on the second region that contains a part you want to include in your score, so that both regions are selected.

      3) Hold the Command Key and press the 3 Key. A Score Editor Window opens, displaying a score that includes both of the parts you selected in the Arrange Window. Those two parts are saved as a Score Set.

      4) In the top left corner of the Score Editor there is a Pop Up Menu used for selecting Score Sets, notice that the current Score Set is labeled with the names of the two Channels that contain the two parts. You can recall that Score Set at any time by selecting it from this Pop Up Menu.

      Thanks for your comment!

      Marlowe

    • David A.

      If I use channel strip aliases, can I change their various attributes/ranges etc. in the individual songs, or must the exact instance be identical in every song?

    • Hi David A,

      Thanks for your comment, I know from our recent Online Consultation, that you’re referring to Mainstage, and the method we talked about of conserving CPU resources in the Mainstage Concert by using Channel Aliases.

      Click on a Channel Strip in one Patch and press Command-C on your keyboard, then select another Patch and press Command-Option-V on your keyboard to paste an Alias of the copied Channel into that other Patch.

      The Alias is only a representation of the original Channel from which it’s copied, the original and any aliases will mirror each other, so that any changes made in either the Alias or Original will be reflected in both.

      Hope that helps!

      See the video on this site entitled Mainstage Quick Tip: Create Channel Alias http://www.logicproanswers.com/videos/

      Marlowe

    • David A.

      When using a channel strip alias, do ALL adjustments to the sound/ch. strip carry back to the original? I wonder if synth settings are different from note range assignments etc. in this regard.

    • Hi David A,

      Good question, thanks for posting. When creating an Alias of a Channel in another Patch in Mainstage, the MIDI Input and Layer Editor Settings can be assigned in the Channel Strip Inspector differently for the original channel and for the Alias in each separate patch!

      See the Video on this site entitled: Mainstage Quick Tip: Create Channel Alias II http://www.logicproanswers.com/videos/

      Marlowe

    • Feb. 11, 2012

      Dear Marlowe, 
      question: what are considering factors and justifiable charges for a producer to charge a client for a CD project, that is very open ended?  Pros, and cons?  looking at the factors from  the client? AND the producer?

      where the music i going too? and who the person that is in charge and accountable for the project? THE PRODUCER!?? 

      I know personally, I program beats, track with bass and guitar and keys, write music, words etc and record with logic and P tools! and had a very nice home studio and have had work on several CD’s

      Thank you for your professional opinion 
      your friend 
      -bobby 

    • Hi Bobby,

      Thanks for your post.

      I’d say if you don’t already own them, get your hands on Donald Passman’s book All You Need To Know About The Music Business http://www.donpassman.com/ and

      Jeffery and Todd Brabec’s book Music Money and Success. http://www.musicandmoney.com/

      Both are indispensable resources for Artists and Producers, Passman is a top-notch Entertainment Attorney, the Brabecs are former Record Company Executives, and excellent Consultants and Speakers on the Music Business.

      For the Independent Producer working with the Independent Artist, all of the factors you mentioned come into play, the track record and credits of the Producer, the size of the potential market in which the Artist is operating, the kind and range of services the Producer is providing to the Artist, do those services include Composing, Arranging, Programming Drums and Synths, Recording parts on Live Instruments, use of the Producer’s Studio, acting as a Production Coordinator (hiring Musicians, Engineers, scheduling sessions, etc) all need to be taken into consideration.

      Record companies pay Producers a percentage of proceeds from Retail Sales of CDs, and fees from Digital Downloads, (somewhere between 2% and 4%, but it can vary), in addition to a Production Fee for the services that result in a Finished Master of the Track.

      Of course, if the Producer is also contributing to the project as a Composer or Songwriter, those roles warrant participation in Ownership of Copyrights, Writer and Publisher Royalties.

      With the zillions of Independent Artists and Producers working today, I’m sure there are almost as many kinds of Business Arrangements being worked out between them.

      In my opinion the main thing is to be fair (to yourself as well as your client), have Integrity (do what you say you’re going to do), and be aware in doing projects on a Flat Rate basis (one fee to cover all of your services), that the time involved in completing a project can vary dramatically, based on the experience level of the Artist, their Band, their Management, etc.

      Best of luck, let me know your thoughts and what you learn about this along the way!

      Marlowe

      Couple of interesting articles on this subject:

      http://www.wired.com/entertainment/music/magazine/16-01/ff_byrne?currentPage=all

      http://www.soundonsound.com/sos/jul08/articles/agreements.htm#Top

    • David A.

      Are the sends/busses in MainStage pre- or post- channel effects inserts?

    • Hi David A,

      Thanks for the comment, good question.

      The Sends on Channel Strips in Mainstage function in the same way as they do in Logic Pro, they are post the Effects Inserts, so that effects applied with Inserts on the Channel Strip will be present in the signal routed to the Bus.

      When a Send is assigned on a Channel Strip (one of the Sends Buttons is Blue and indicates the Bus number assigned to that Send), you can choose routing options for that Send: either Post Pan, Post Fader, or Pre Fader. Click and hold on the Send Button to select one of those options. Post Fader is the default setting.

      Post Fader: The signal sent out on the Bus is taken after the Channel Strip Fader, so changes in volume on the Fader will effect the level of the signal going to the Bus. When sending to an Auxiliary Channel to apply Reverb to the sound, for example, the signal level sent to the effect will vary with changes on the source Channel Strip Volume Fader, so the amount of Reverb applied will vary as well.

      Pre Fader: The signal sent out on the Bus is taken before the Channel Strip Fader, so changes in volume on the Fader will not effect the level of the signal going to the Bus.

      Post Pan: The signal sent out on the Bus is taken after the Channel Strip Fader, and the Channel Pan Pot, so changes in volume on the Fader will effect the level of the signal going to the Bus, and the Pan Position set on the Channel Strip will be applied to the signal going to the Bus. The Auxiliary Channel to which the signal is routed needs to be stereo or Multi-Channel for the pan position to be applied.

      Hope this is helps! Let me know which routings you find most effective for your uses in Mainstage!

      Marlowe

    • Hi Alex

      I have just bought the 2 emagics 8x8s and I am looking to hook up about 14 different midi sound modules & key boards and a few mpcs 60 II 3000

      I’m use p tools and logic.

      Thank you so much.

      Your friend
      -bobby

    • Hi Bobby,

      Thanks for your post, this is a question of System Configuration, which I do, and usually requires an In-Person Consultation, since every studio set up is unique.

      The main connections are:

      USB from the Emagic Unitor MK II or AMT 8 goes to a USB port on your Mac, (it’s not recommended to go through a USB Hub).

      The first Emagic Interface is connected to the second using a Male-to-Male RS-422 Cable. (You can find one here: http://www.amazon.com/Belkin-Din8M-Serial-Printer-Cable/dp/B00004Z59N/ref=sr_1_1?ie=UTF8&s=electronics&qid=1300597493&sr=8-1)

      The MIDI Outs on the Emagic go to the MIDI Ins on your various MIDI Devices.

      The MIDI INs on the Emagic go to the MIDI Outs on your various MIDI Devices.

      The MIDI Drivers for Unitor Family Products also need to be installed on your Mac, find those here: http://support.apple.com/kb/DL991.

      Best of luck, let me know how it goes!

      Marlowe

    • Thank you Alex. I will get the recommended cable to go from the amt8s. Thanks so much. Also is there any way to midi time code with garage band?

    • Hi Bobby,

      You’re welcome! GarageBand doesn’t have the capability to send MTC or MIDI Clock to Sync the clock of an external device, but Logic Pro does, and you can always open your GarageBand File in Logic Pro.

      Marlowe

    • Thank you Marlowe

    • Reid

      I do not understand how the VIA works on the envelope for the ES2. I have experimented a lot but still don’t get it :p plz explain

    • Hi Reid,

      Thanks for your comment, it’s a good question, since depending on other settings of the ES2, the Via Velocity aspect of the Attack Slider in an Envelope can seem like it’s not doing anything.

      The Attack Slider of each ES2 Envelope has two halves, the lower half of the Slider sets the Attack Time when notes are struck at maximum velocity, the upper half defines the Attack Time at minimum velocity. The span between the lower and upper halves of the slider determines the range of attack times that result from playing notes at higher to lower velocities.

      To get a better sense of this, pick an ES2 preset with a fast attack, like Synth Keyboards>Clav Phaser, then set the upper half of the ENV 3 Attack Slider all the up, leaving the lower half of the slider all the way down. Next play notes with maximum velocity, then gradually slower velocities. Notice that when you play with high velocity you get a faster Attack and as you play with gradually slower velocities the Attack gets slower.

      Hope this helps, when I get time I’ll try to do a video demonstrating the Attack Slider behavior of ES2 envelopes.

      I know from our previous Consultation Sessions, that you do a lot of experimentation with programming the ES2, let me know what you discover in using the Envelope Attack Sliders Via Velocity Parameters!

      Best,
      Marlowe

    • Reid

      How does the “Via” work in the ES2 router? thank you

    • Hi Reid,

      Thanks for your comment, sorry for the delay in responding, been a busy time!

      As you know the ES2 Modulation Router allows us to assign a Target, (one of the synth’s parameters), and a Source that will Modulate (control, or act on) that Target. The Slider on the Modulation Routing, to the right of the Target and Source fields, (Called the Modulation Intensity Slider), controls how much Modulation is applied by the Source to the Target.

      The Via Source is a way to regulate how the Modulation from the Source is applied to the Target, through a second Source (the Source that is selected in the Via field.)

      For example, in the ES2 default patch, the first Modulation Routing is set with a Target of Cut 1&2 (Cutoff Frequency of Filters 1 and 2), and a Source of ENV2 (Envelope 2). Of course this means that Envelope 2 will control the Cutoff of Filters 1 and 2.

      If we select a Via Source, ModWhl (Mod Wheel) for example, now the Modulation Wheel (in this example) will control how much of the Modulation (of Filter 1 & 2 Cutoff by Envelope 2) will be applied.

      When a Via Source is selected the Modulation Intensity Slider is divided into two halves: the Upper half determines the maximum amount of Modulation that is applied, the lower half sets the minimum, allowing us to set the upper and lower limits of Modulation Intensity.

      The Modulation Wheel is an easy Via Source to experiment with, try setting the Source and Target in a Modulation Routing to various parameters and the Via Source to Modulation, set the Modulation Intensity Slider upper half all the way up, lower half all the way down, then manipulate the Mod Wheel on your keyboard and notice the results you get.

      Have fun, and let me know a Modulation Routing using the Via Source for the ES2 that you find works particularly well!

      Marlowe

    • Julie

      Hi Alexander,
      How/where do I plug in my headphones and properly set it up so that I am monitoring previously recorded tracks and can also hear in the headphones the new guitar part or vocal that I am recording? My Focusrite interface has direct monitoring, but I can’t get it to work.
      Also, why when my guitar is plugged directly into my interface and I have chosen the correct interface input, the guitar part is recording onto the track but so is outside noise (like me quietly humming along)? It’s as though my computer’s internal mic is also on.
      Thanks!

    • Hi Julie,

      Thanks for your comment!

      Sounds like what you’re experiencing are Monitoring issues, see the explanation of Pro Tools Monitoring Modes I posted in the comments on this article, dated January 26th.

      As for the issue regarding outside noise picking up on your recording, check the Playback Engine settings, in the Pro Tools Setup Menu. Those kinds of situations often require a System Configuration Consultation to get them figured out completely, email me if you’d like to set up a session!

      Marlowe

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