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[Bear-Faced Cow]

You can use the envelope release setting to dampen the kick. Using a curved release will create a more realistic dampening effect.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Coolness! Glad to see that you’re back up and running.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

What you can try to do is go into your fresh Logic file and from there open the media Browsers tab. Click on “All Files” and navigate to your old project and try to open it in the browser. If it opens, attempt to import what you can from the project except SD3 and save. Quit and re-launch to see if everything opens.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Basically yes. That’s pretty much the beauty of Midi in that you can apply it to whatever type of kit you’d like.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

You may have a either a corrupt Logic or SD3 project. A simple test is to launch Logic holding down Option and then creating an empty project. From there create a new instance of SD3 and save it and then quit and re-launch. If it loads, then there’s your answer and we can look at things from there.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Thanx Chris. 🙂

This entire situation has allowed me to get in touch with a lot of things from spiritual to just plain self-improvement. I think the hardest part of doing this song, aside from kicking my own ass to get it done, was getting the vocals down at 1am while my wife was sleeping (my stepson is usually up gaming with his headphones on, so that never concerns me). Mind you, that may have been tied with the bass guitar (this was part of my improvement initiative) as there many takes to (hopefully) nail those syncopated areas.

Thanx again for listening

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Pearl kick and Ludwig or Tama snare will pretty much give you what you’re looking for. You’ll need to EQ out some of the mid range and add some compression to make it sit in the mix. There are other things that you can tweak from there but I would say try this for a start.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

It has little to do with age of the SDX. We are talking about two different sub genres and their producers, along with the studio, equipment, and production techniques. It will all boils down to the type of sound that you want in your song. I have used progressive foundry in a few songs that required hard-hitting drums and they serve very nicely. Both Legacy of Rock and Rock Foundry SDX’s serve me very well in the classic rock type of sound, with the latter being a bit more hard-hitting.

however, I also do not use factory presets as I am often looking for a certain type of mix. I am known to use the ones that I have created as a jumping off point.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

If you Clear all Filters and then click on the Favourite column header it will display all of your favourites.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

On a standard circle of fifths, rather than the enhanced version that is on EZ Keys, you would get a more visual representation of your progression. It takes a bit of practice, but in time you can ascertain the tonal centre out of the visual representation. You can also determine the direction of the progression, as well as derive numerous cadences from it.

The real beauty of it within EZ Keys is the ability to change things around, from direction to cadences in the chord selection tool, which is as mentioned above, a more enhanced version of the circle of fifths. Visualizing the direction of a progression would take a bit of practice in that you would have to not see the relative minor part and use your imagination to map the progression out on the wheel.

When I am not using EZ Keys, I often find myself practising this with a mobile app on iOS called Tonally. It is also a decent song writing up when I am not near my computer.

My only regret is that I wish that I had listened more carefully and applied this when I was taught as a kid.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Are you using a Ross/clean kit? If so, you might have to apply some processing in order to get the results you’re looking for.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Key signatures don’t presuppose tonal centers. They contain 7 tonal centers within them. Tonal centres are defined by the circle of fifths. Key signatures define where they play in.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

I think the confusion here is between key signatures and modes. Key signatures are only represented in standard notation by their root or relative minor. That is common standard notation. In the real world, your G Dorian song will still be represented by stating the key signature is either an F or D minor. In fact, it would have been more common to say that the key signature was D minor using a G Dorian feel to it. This is not incorrect by any means. Neither would saying that the key signature was F. I am willing to bet that your conversations would have included the fact that the modes themselves are degrees of the major scale. The modes themselves are the tonal center. The key signature is a notational representation of your tonal center. You would be correct in that stating that your G Dorian piece being B-flat Lydian would be incorrect due to its tonal centre. However, stating that the key signature is F or D minor is very much correct and has no bearing on the Dorian tonal center. So yes, if I were to change the representation of my modal center, that does not mean that I want the modal centre to change with it.

considering that logic has behaved rather consistently with standard notation conventions since 1988, I don’t see this as an issue at all with EZ keys and using the circle of fifths to change your tonal centre would be the proper way to do it.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

• This post was modified 5 years ago by Bear-Faced Cow.

[Bear-Faced Cow]

All you are really doing here is preaching to a choir and the use of names (guitar heroes and GIT alumni) don’t really impress me, considering I grew up in the music business dealing musically with the who’s who of the Canadian music scene, as my mother was a music agent. I got to learn things they don’t really teach you in school thanks to them, which I am starting to share with my granddaughters as they are learning to play piano.

However, that’s not the point…

The point is that regardless of whatever mode I have used, I would not want it to change regardless of whether I said the key is G or Em. Just as we have stated, the tonal centre is defined by the degree used in the scale. And if I am centring my entire progression around B minor (hence Phrygian), I would want to keep that tonal centre, just as I would want to keep a Locrian progression.

EZ Keys behaves pretty much the same as Logic Pro with respect to key signatures. I am willing to bet that it is no different with many other DAW’s.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Bear-Faced Cow]

Sorry but I don’t agree. Stating whether a key signature is either G or E minor is merely an enharmonic representation. If I had a progression going from Bm C  Am D7 G, I would not expect that to change since the tonal centre is Phrygian regardless of the representation.

nor, would I expect it to change any progression that I input into easy keys with any browser Midi superimposed.

jord

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Jordan L. Chilcott

Web Site: https://jordanchilcottmusic.com/

[Author]

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