Bear-Faced Cow
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Bear-Faced CowDid you trying resetting and rescanning the plug-ins in Logic’s Plug-in Manager? Chances are the AU Cache got “stuck” during the re-install. As long as nothing went wonky during the install, re-scanning may be all that is necessary.
jord
Did you trying resetting and rescanning the plug-ins in Logic’s Plug-in Manager? Chances are the AU Cache got “stuck” during the re-install. As long as nothing went wonky during the install, re-scanning may be all that is necessary.
jord
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Thanked by: spitakissBear-Faced CowThe settings are applied destructively when you select the next kit piece. Everything that you have applied are in the grid, but the sliders are reset to to their default positions.
jord
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Thanked by: blakeheartBear-Faced CowYeah, I’m definitely on the other end of the musical spectrum when it comes to guitar and songwriting. Lately, I’ve been more enthralled with old R&B, blues and other older stuff with a groove. If anything, I’ve been using my unfortunate COVID situation to not only keep my day skills sharp, but my guitar techniques. This dog ain’t never too old to learn new tricks. 🙂
I’m starting to challenge myself more and more by picking a random groove in SD3 as well as kit preset and then play the first thing that comes to my head. With the new version of Logic, I feel more encouraged to just get some ideas down and not worry if they will become a song or not. Some of them don’t happen right away. However, I can now play more of a game of chance with the live cell feature in Logic. It’s something I would have never thought have using before, despite the methodology being around with Ableton (I was unfortunately associating it with EDM and Hip-Hop).
jord
Bear-Faced CowAnd as far as the article goes (sorry, just thought of it now), never start off by listening to something loud. That will affect both your perception and possibly the way you are physically hearing the mix. This will affect the outcome. Always start at a low level and once you get it, then listen to it at a comfortable level. Make any adjustments after your ears have had a chance to “decompress”.
jord
Bear-Faced CowTotally interesting stories… almost makes me wish I was there instead of having been immerse into the recording industry via cheap country cover songs back in the 70’s, thanks to my mother (she was a rather notable music agent back then). Mind you, I guess if it weren’t for that, along with others in my life thanks to my mom, I might not have had the fascination to put my fingers to the faders. Being half geek also helps (I get that from my dad).
My friend mixed Balance and the concert movie Right Here, Right Now. I’m not sure if he was on For Unlawful Carnal Knowledge, but he worked alongside the late great Andy Johns for a long time and told me a few stories. I’m grateful that he got Andy to agree to put out a drum library before he passed. Although not a Toontrack product (I wish it were!), it was that library that made me really appreciate a well recorded drum kit from an in-demand engineer/producer. Also gives me a larger appreciation for all of the libraries that Toontrack puts out. Like the Andy Johns libraries, the Toontrack libraries are a becoming a legacy. The last two songs used the New York Vol. 2 SDX, which is now a moment in history. However, the drums not only carry on the memory of Allaire by making you feel like you’re there, but they are so amazingly recorded. It also helps that Nir Z knows how to hit a drum.
jord
Bear-Faced CowBut then you write “devil music” and then you only get compliments from the devil worshippers.
I doubt it… I’d probably get some derisive remarks. Mind you, that might be a sign that I was doing something right. 😀
I’ve received similar types of comments from the other side as well that make me chuckle.
I saw something on Facebook that went: why do we associate heavy metal with the devil? For all we know, he might like smooth jazz. LOL! 😀
Like I said, these days I just try to spill out whatever is in my head onto the computer. It’s good therapy for the times we live in.
jord
Bear-Faced CowUnless your keyboard allows you to split your input into zones, the ways to do this in Logic are to configure the input range on your instrument MIDI tracks in the arrange window, set up a series of transform blocks in Environment window or create a MIDI filtering JavaScript for each MIDI track to only record the note(s) you’re wanting to capture on that track. Otherwise, you would have do it after recording your region (which you can create a key command for).
jord
Bear-Faced CowThere are also a number of DAWs available to use. Despite Reaper being only $60 if you want to get rid of the nag, it is freely available for your usage. You can put your audio track there and play along to it with SD3 as a plug-in.
jord
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Thanked by: wilkBear-Faced CowAnd just like everything I post… my opinions along with a couple of bucks are worth a coffee and a donut.
jord
Bear-Faced CowWho really comments on Christian Rock songs? When they do, it’s comical, more from Christians than anyone else.
Maybe I need to write some “devil music”. LOL!
Like yourself, I just love writing songs… Many are just the product of an overactive imagination fuelled by emotion. I just can’t post every one of them here because they don’t all use Toontrack products, although I am starting to develop some weird ways of implementing them, thanks to recent software updates that add some method to my madness.
jord
Bear-Faced CowTrust me, I’ve had the same issues in the past.
The Reader’s Digest version of the Fletcher Munson effect is that the ear is a natural compressor and as the volume gets louder, certain frequencies get more compressed, particularly in the midrange regions. As a result, our brains tend to compensate for this. This will product misleading results at higher volumes. There’s far more to this and you can get a grasp of it here: https://ehomerecordingstudio.com/fletcher-munson-curve/
If you mix at a low volume through your headphones, you will have an improved sense of your mix as your ears and mind will be allowing more frequencies to pass without compressing them. You’ll also spare your hearing (that’s the last thing you want to lose!). You also need to be able to trust what your hearing through your headphones by listening to your favourite songs through them and use them as references. This is important because once you understand how they’re sounding, and you shape your mixes accordingly, then your mixes will translate everywhere just as they would.
If you mix sounds good at a low volume, it should sound just as good at a higher non-damaging volume.
A friend of mine, who happens to be a grammy-winning engineer (mixed a couple of my fave Van Halen albums), bestowed on me his trick: his secret to a better bass was to set the bass level at the low volume and then pull the master fader down really low and adjust so that he could hear the bass with the rest of the song.
All I can say is try it. It works for me, and I’m spending more time in my headphones these days because my wife hates the repetitive nature of mixing. I might make her a widow because of it someday… LOL!
jord
Bear-Faced CowEnable the scroll and three-finger drag gestures in your System Prefs. You will have more control over SD3’s controls.
jord
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Thanked by: Lawrence CollenBear-Faced CowGood song… also listened to “Hey, What you Tryin’ To Do” (liked it a bit better for some reason – not saying the other is bad).
Noticed the usual things I often mention to you, which again are pretty much characteristic of mixing loud with headphones.
jord
Bear-Faced CowI would imagine they would vary between SDXs due to the both genre and how they were recorded (and even played for that matter). SD3 core library is more of a “one size fits all” and may need tweaking to suit your tastes.
jord
Bear-Faced CowThat all depends if you are comparing the EZX to an unprocessed hi-hat. Big difference.
jord
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