> I have Bob's excellent book and am well aware of the basics (at least) > of summing principals. Although there may be a theoretical benefit to > a higher summing bus resolution, you would have to have something like > 128 tracks at 0db gain to exceed the headroom of a 48bit fixed bus, > and a similar number to exceed the headroom of a 32bit float bus. > > That must be some pretty serious mixing your're doing there if you can > really hear a significant difference! Sorry, in fact a 32bit float bus has a lot less headroom than 48bit fixed (I was thinking 64bit float). However, I'd still maintain that you would need to have considerably more tracks than any typical digital mixer normally has to handle, in order to exceed the available headroom. I'd guess at least 64 tracks at 0db gain, or many hundreds with a more typical dynamic range. I'd certainly be interested to hear some comparisons of mixes where it makes a real difference. BTW - is your soundcard dithering down from 64bit float to your output bit depth? If so, that could be part of any perceived difference? If not, why not? Jules

I just heard from someone in a "position to know" who wouldn't really say but hinted that Apple/Emagic is waaay behind on, but still working on, a Mac specific (G5 I think) audio interface. Anyone heard anything more concrete than this? We're evaluating options right now, and this could be a factor in the mix, so to speak... -Glenn @ Schadowrider

Remco, I absolutely love my Mobile I/O 2882 +DSP. I am an active member on their list as well, and I can say there are some very very smart/good people on that list. Paul

> > I have Bob's excellent book and am well aware of the basics (at least) > > of summing principals. Although there may be a theoretical benefit to > > a higher summing bus resolution, you would have to have something like > > 128 tracks at 0db gain to exceed the headroom of a 48bit fixed bus, > > and a similar number to exceed the headroom of a 32bit float bus. I'm currently recording a demo and am probably going to master it myself, in hopes that later, some label will pay for a mastering pro to do it. Would you recommend Bob's book for me, or is it too deep?

At 15:11 Uhr +0100 31.03.2004, Jules Bromley wrote: >There have been numerous scientific tests undertaken, which have >categorically confirmed that digital summing (unless broken in the >application) sounds identical in all the major hosts I said this earlier related to something else, personally (!!) I don't care about the theory really, I just trust my ears (which may or may not be right, but they are the only reality that I can really deal with!) >Amazing how the same old myths are able to self perpetuate .... Again, I though Logic was fine, but when I started mixing on the MIO all of a sudden my reverbs had depth (I use one separate master for the reverbs) and also as soon as I move a piano part away from the drums , both of them sound better. And yes, I do not use any FX on the masters themselves! Cheers and good night Hans

Glenn at Schadowrider wrote: > I just heard from someone in a "position to know" who wouldn't really say > but hinted that Apple/Emagic is waaay behind on, but still working on, a Mac > specific (G5 I think) audio interface. Anyone heard anything more concrete > than this? We're evaluating options right now, and this could be a factor > in the mix, so to speak... -Glenn @ Schadowrider > Like any other hardware rumor.. Wait until you see it before you start planning your studio around it.. -- Chris http://www.descentrecords.com

At 15:47 Uhr +0000 31.03.2004, rsadoff wrote: >Digital Performer has a function where a sequence can be saved as a >"Chunk". The advantage to this is that the chunk can be moved >anywhere and still retain its tempo changes, meter changes, clear bar >designations, etc. That would be a very handy feature, did you send it to emagic? I know I will! Cheers Hans

Hi George, George Leger III wrote, > Try just not using the assistant, and also, remove your audio card > drivers, see if it works, and then reinstall them.. There are no audio card drivers to worry about. This is strictly the Powerbook's built-in audio. Even without using the assistant, I still get prompted for the audio card drivers. Immediately after clicking the OK button (the only option there), Logic displays the Audio Driver preferences pane but I can't select anything and a few seconds later it crashes. I've tried everything that I can think of except for reinstalling. I've got to dig out my install disks in a little while to see if that will fix anything. Thanks again. Fernstudio

On 04-03-31 23.53, "Hans Hafner" <hanshafner@...> wrote: > Again, I thought Logic was fine, but when I started mixing on the MIO > all of a sudden my reverbs had depth (I use one separate master for > the reverbs) and also as soon as I move a piano part away from the > drums , both of them sound better. And yes, I do not use any FX on > the masters themselves! > > Cheers and good night > Hans My experiences with my new RME Multiface are similar to Hans. The same mix sounds better when distributing used busses to 18 outputs and re-recording digitally over RME S/PDIF to a 24 bit stereo file. This file is then dithered to 16 bits and given a careful "mastering" treatment. I'm comparing this to my old way which was to route used busses to one Logic output, apply the carful mastering treatments there and bounce to a 16 bit file. When listening back to the two 16 bit files on an audio cd the RME summing method sounds better to me. I don't have the time, knowledge or interest to discuss it by any technical means. If it sounds good is good :-) Best wishes Per Boysen (Digital Voodoo Logician) -- www.boysen.se www.looproom.com

> From: "Sascha Franck" <S.Franck@...> >Subject: Re: Logic and Loops - General Clarification Oh, by the way... Welcome back! :-) howard

hi there Board members, i have learnt a lot over the last couple of years from this board and for financial and other reasons i have not migrated to Mac. I have done a search of this board before posting but no one past post has really answered the knowledge that i'm seeking. On Sweetwater's website i came across this url http://www.sweetwater.com/store/detail/Logic5ProUp/ that shows the upgrade to Logic Pro 6 ($199) in the latest edition of EM - (April - pg 35) i have also read that there are 3 ways to upgrade and that from Logic Gold/Platinum 5 (which i have cross platform permanent codes for) or 6 the upgrade is called Upgrade A. I already have most of the soft synths and i would like to know what i would have to pay for the upgrade to Logic Pro 6 from my version of 5.5.1 on Windows. I know that i don't get logic pro 6 for the PC but i think that i should upgrade at least my xskey to Pro 6 so that i can use all features of Pro 6 on a mac if i finally migrate and still be able to use all the soft synths on the 5.5.1 version on PC. I would like to use the software instruments that i don't have, on my PC - will my XSKey be authorised for the mac version, and more importantly, the PC version for the following instruments if it upgrade to Pro 6 ... ES1, EVOC20, EXS24mkII, ES1 (which is what i don't have). Ok lets assume that i buy the Pro6 upgrade A mentioned above and send the temporary code to emagic - they should be able to send me the type A (permanent) codes for all aspects of Pro 6 even if i have not installed the upgrade on a mac right. I could then enter these permanent codes on my PC and authorise everything - even space designer (which i know won't work on a PC) Or will i have to install Platinum 5 on a Mac, Plug in my xskey, then the Upgrade to Pro 6 on a Mac and then authorise it for Logic Pro 6 there and then take the xskey and be able to use it on my PC. - which means i'll have to borrow someone's mac just to authorise the xskey and then uninstall it from their system. Any help regarding this technicality will be much appreciated - Thx for any feedback and sorry for bothering you all with something that may not be that important to most of you already on Logic 6 Vim

> I'm currently recording a demo and am probably going to master it > myself, in > hopes that later, some label will pay for a mastering pro to do it. > Would you > recommend Bob's book for me, or is it too deep? I'd recommend Bob's book to anyone who ever has anything to do with recording music, digitally or otherwise, whether you're mastering or not. Not only are there articles explaining, in simple terms, the ins and outs of digital recording, what is "loud" etc, but his whole philosophy of getting the emotion of music onto the cold hard material of hard drive/audio tape is worth considering. Ian ------------------------------ Ian G. Morris - Tonewright ian@... www.igmusic.co.nz

How do I create a short length IR using a Sine-Sweep? Every time I create an IR using the Sine-Sweep, it creates an IR with the length of the Sine-Sweep, which is about 13 seconds. What I want to accomplish is the creation of an IR that is shorter than 13 seconds. Editing the created IR using trim at the start and the end of the file in the Sample Editor doesn't work. It destroys the quality of the IR (reverb), and it adds a big side effect noise. And of course a 13 seconds length IR is a juice eater in the CPU. I know I can shorten the IR in the Space Designer parameter, but this is only readable by SD as a saved preset. What I want is the creation of the actual IR ( the audio file) to be short, let's say 3 or less than 3 seconds instead of 12 or 13. It would be nice if you could save the presets of SD IR as an IR-audio file on your hard drive By the way, I'm sampling my unit, the KSP8, not an acoustic place (yet) So, how do I create a short length IR (audio file) using a Sine-Sweep? Thanks in Advance -- LAMP 6.4.1/WBPro 2.2.1/Dual G4 1.25/Two Motu 1296 & 2408mkII/ADATs XT20/MTP/AV non-USB/ KSP8 Bus Processor with 8 Analog I/0 + RSP8 - Mac0s 9.2.2 & X./ Adaptec dual channel 31139 SCSI Two Monitors Video Card. Willian Aleman. Latino Mastering Studio, Inc. Yonkers, N.Y. USA

At 1:05 pm -0800 2004.03.31, Mothra wrote: >Glenn at Schadowrider wrote: > > I just heard from someone in a "position to know" who wouldn't really say >> but hinted that Apple/Emagic is waaay behind on, but still working on, a Mac >> specific (G5 I think) audio interface. Anyone heard anything more concrete >> than this? We're evaluating options right now, and this could be a factor >> in the mix, so to speak... -Glenn @ Schadowrider >> > >Like any other hardware rumor.. >Wait until you see it before you start planning your studio around it.. Yep. Right now, the just-announced RME FireFace 800 is looking like the best of the bunch, but only if it doesn't cost $3k and ships before Christmas. PreSonus' new FirePod was near the top of my list too, but it appears now that it won't actually ship for a long time (which is probably good, since I'd like to know that they've had plenty of driver experience, relying on Yamaha mLan for their FireStation [ad]venture). Apple will probably avoid announcing anything until it's ready, but man, it's hard to shop right now. So we wait.. G

On Mar 31, 2004, at 10:13 AM, Cyril Blanc wrote: > > Very interesting ;o) > It is the death of hardware synth ;o) From my point of view this won't be the death of anything. Actually, based on what i see here, with AutoSampler you will use your hardware synths much more, for sound design... > We are going to need a G8 running at 20 Ghz with 300 GB of memory ;o) Cyril, i have one bad and one good news for you. The bad news is that i just checked my macs here, and there is no G8 yet The good news is that i just checked my macs here, and there is no G8 yet :) > But it is going to be a big job for synth like the A6 Andromeda Good results were obtained with old vintage analogic synths. Of course it's still a sophisticated set of samples against a real synth.. for many applications this will be ok, for others it won't. Best Regards Andrea at Redmatica

> From: Remco Muntz <rmuntz@...> >> The MIO Console Application has 80 bit resolution and thanks to the >> sterling efforts of BJ and his team much better code implementation >> than >> Logic: more accurate math=less denigration >> when summing = better sounding result. [Logics out's set to unity >> gain] >> Also, The converters/internal circuitry of the 2882/ULN-2 give >> stunning >> results for monitoring (Software monitoring in Logic disabled so using >> Metric Halo's driver [also an improvement IMO]) which gives a more >> accurate impression of what you 'have' which, for me, leads to better >> mix decisions. >> > > Can anyone tell if it's better sounding than the RME Hammerfall DSP? I > think the RME sounds great as well, but am very interested in the > Metric Halo. Maybe my next audio interface... The MetricHalo DSP vs. the RME Totalmix? Hmm ..... no idea. don't hear any difference in the 'summing' (can't hear this word anymore :) The convertors and analog design of the MetricHalo interfaces (2882, ULN-2) is completely great! Might seem a bit expensive first, but worth it. I have an ULN-2 sitting here and it's my volume knob feeding my monitors (great D/A!), my micpre (with features and sound that's really too good for this price range), my digitalinterface, ... etc... I think about adding a second ULN or the 2882 for location recording. http://www.mhlabs.com/ cheers, bernd

I posted this a couple days ago and nobody responded.. So, does nobody know how to use snapshot automation in Logic? Or does nobody feel it's a worthwhile feature? I think it's a glaring omission... But then I guess that's why Im carrying this conversation on with myself. carry on.

I am still trying to figure out how to play using Performance Mode on an XV -5050. I can send a SYSEX message to select the performance without a problem, but playing a note has no effect. I have no problems selecting and playing parts using the XVEditor. If I could see what was going to the Roland, I might be able to figure out what's (not) happening. Is there some way of seeing all the MIDI data that is being transmitted. I tried using a monitor object in the environment, but it only tells me the port, note and velocity of the note being sent. Other than that is there some way of customising the note messages being sent to the Roland. I need to send out a variable (90H - 9FH) with the note and velocity message. This variable tells the Roland which part of the performance to play the note from. e.g. 91 xx yy (where 91 is part 2 of the performance, xx is the note and yy is the velocity) I have downloaded the XV-5050 environment file from SwiftKick.com. In performance mode, I can select the different banks and performances (the display on the 5050 shows these correctly).

Hi All, A little bit of an update here. I believe that I solved the problem (although I only just got Logic working without a crash). I've rebooted and reloaded Logic Pro a couple of times without incident. I tried reinstalling Logic Pro and had no luck. I decided to press on and try to think of other things that I had not thought of yet. As I was going through a bunch of the directories, I saw the Project Manager directory (silly me - I completely forgot about this). Anyway, I decided to delete the Project Manager database. I did that and now Logic Pro doesn't crash. I could have sworn that I set Logic to never check the Project Manager database but perhaps I changed the setting at one time. Anyway, I appear to be back in business. I guess the bright side is that I only lost a day :-( Thank you to everyone, especially George Leger III, for offering their help. :-) Fernstudio

I'm not sure what happened but all my fades in my sequence are wrong!! How can I get them to re-render properly?

Does anyone know where to download an Antares Microphone Modeler demo that works with OSX 10.3 and LAP 6? Thanks Jim

> > I get the same issue. I'm using a pent. 1.6g w/ 512 gig ram. Is it > > my sound card? I'm gonna try matching my sound card w/ sample rate. > > > > Actually, > In my case I found out (after a couple days of troubleshooting) that it was a conflict > between a firewire hard drive and my motu 896. I disconnected the FW drive and the > problem vanised. > -Lou I'm gettin the same error, but it's coming from reaktor. Any reaktor plugin causes it. Any one else? mac g4 mdd 1.25x2 osx 10.2.8 logic pro 6.4.1 Reaktor 4.1.1

> I'm afraid you can not "get around" latency. It's the way hardware > (computer, AD process) works. It's not latency, but rather a weird audio routing issue; what's happening is the input signal is being routed directly to the monitors, AND the output signal from Logic when "software monitoring" is enabled) is being routed as well... okay, I guess that is technically latency, but what I mean is that I suffer zero latency when I leave software monitoring disabled, but of course that prevents me from using Logic FX during tracking as well... if I can figure out how to turn off the signal being passed directly to the monitors and only use Logic's output during tracking I think I'll be OK, but I don't think the M-Audio control panel allows for that... Brian :::::::::::::::::::::::::::::::::::: Logic Audio Pro 6.4.1 PowerMac G4 933MHz OS X 10.3.3 1 GB RAM M-Audio Delta 24/96 (fed via S/PDIF from a Yamaha DSP Factory)

Can any one help us? We have a Motu HD 192 I/O. Running Logic Audio 6.3.3 Under OSX Panther. Oru broblem is whae ever we select the 192khz sample rate . it crases the Motu core audio driver. And we have to re instal the drive each time. Is there a fix for this bug? Best Regards Oscar Deric Brown.

> Small I/O buffer size (128k or less) = imperceptible latency (the name > for the delay). > > Try it, you'll like it ;-) I absolutely will, thanks for the tip... hopefully it will work for my situation! Brian :::::::::::::::::::::::::::::::::::: Logic Audio Pro 6.4.1 PowerMac G4 933MHz OS X 10.3.3 1 GB RAM M-Audio Delta 24/96 (fed via S/PDIF from a Yamaha DSP Factory)