Jan Melander <janne@Melander.Biz> wrote: >I gave up on BFD, it's an amazing product but it is >taxing on Your system and I never felt that I could rely on it. The minimum RAM recommendation on the box is a joke (as it is for many products, like Ivory etc..). Anything less than 2GB and it will not work correctly, or at the very least it'll bog down the computer unnecessarily. The marketing suits think that recommending 512MB will generate more sales, because it won't scare off people with this small amount of RAM. That's true, but it can backfire because the program takes on a reputation of being a CPU hog that brings down even the fastest computer, when in fact it just needs lots more RAM. f-erenc szabo, smarty pants Z+E+R+O+B+E+A+T "NOW POWERED BY THE MIRACLE OF THE TRANSISTOR!" <http://home.goodmedia.com/~zerobeat>

I just bought a USB Samson C03U microphone, and I'm attempting to record a vocal track in Logic Express 7.2. I've adjusted the Input Volume in System Preferences -> Sound, and experimented in Logic quite a bit. I've noticed that on some high notes in Logic Express, it starts to clip a bit. I've also noticed that in Logic, even if I adjust the volume knob on my vocal track to reflect a lower volume, it doesn't seem to affect the microphone sensitivity. I've even switched the microphone to -10db, and I'm still experiencing some clipping. Does anyone have any experience with this USB mic and Logic? I'm not able to find a decent way to control the sensitivity of the microphone....help!!!

On Dec 30, 2006, at 7:33 AM, Chris DuBrock wrote: > Message posted by Chris DuBrock <cdubrock@optonline.net>: > > Does anyone know how to circumvent the Core Audio overload? We > have a G5 > with 3 gigs of RAM; why are we getting this message? Thanks. How could they? You have not said a word about what you are doing when it happens.

Hi, Ed wrote, >...if I could chime in here, I agree with George that >Ozone is a capable, powerful mastering tool, and can allow >for excellent, even professional, results....<snip>... >That being said, an experienced, successful Mastering Engineer >will get you there quicker and usually better, albeit at a much >higher price. Thanks Ed and George, and I'll follow your advice in both ways - I have a backlog of recovered analog recordings and can't justify professional mastering prices for all of them; Ozone should do for these; on the other hand I have work in progress I want the best for, so that will probably go to a professional. And, having Ozone, I might work through the mastering myself on a couple of the in-progress ones, so I'll be able to engage in a more useful dialog with the mastering engineer. Steven Rowat

For some reason, my USB microphone is not being recognized by Logic Express...I had it working before but now nothing? The only options I see under my Core Audio prefs are Internal Microphone and Line-In? Any ideas why the mic isn't working now even when record-enabling a track?

> Anybody have any tips for > entering notes into Logic in a similar way (i.e., qwerty-only?). I > know the event editor might be a possibility, but I haven't found a > decent way to make this work. Hit caps-lock in Logic and watch what happens. :) Maurits.

Hi Steven, On Friday, December 29, 2006, at 9:06 PM, "stevenlebeau" <stevenlebeau@yahoo.com> wrote: > While I've been dabling with sequencing (hardware and > software) for a few years, I have had complaints about my music > sounding stiff, mechanical, etc. I'm sure a lot of CC messages to vary > parameters during a sequence would help, but again, stylistically I > have no idea what works and what doesn't. Play your main track live, reclock the song to it (if necessary) then add the rest of your tracks. This is what I've been doing for ages, and it definitely works. Best, Andy

I don't wanna mess up my system with a demo, so I'm asking you guys: what's the added value of Ozone, when having Logic Pro 7?

Hello, My setup is a dual 1.8 G5 with 3 GB RAM. I recently had problems with the East West Gold library crashing Logic, but after unplugging everything because of lightning in the area and then replugging, Gold worked again. I was able to build up a little latin funk tune using an Apple loops loop, live electric bass on an audio track, the Steinway B sample from the Gold library for a piano comp track, but when I added an English horn sample from the Miroslav Philharmonic library, Logic crashes. Did it several times. Battery is also loaded as part of the autoload, but I wasn't recording with it. The only other plugin is the IK Ampeg pluggin used on the bass. Nothing else- no Space Designer reverbs or other CPU hogs. I can't believe that this is much of a demand on the system, so why is Logic crashing? Logic is on one drive, and all the samples are on a separate drive, and Logic records to a third drive. The Samples drive is the same model as the drive for recording, a Rockstor FW 400 7200 drive, which has been fine for over a year to record to. Logic is working without problem otherwise. I know my rig is starting to get old, but one loop and three instruments hardly seems like it would be much of a strain on it. James Irelan

On 30 dec 2006, at 06.06, stevenlebeau wrote: > Anybody have any tips for > entering notes into Logic in a similar way (i.e., qwerty-only?). If you hit the capstan lock key your computer keyboard will send MIDI notes into Logic, the QUERTY way. Greetings from Sweden Per Boysen www.boysen.se (Swedish) www.looproom.com (international) http://tinyurl.com/fauvm (podcast) http://www.myspace.com/looproom

<quotes repositioned and trimmed by admin> --- In logic-users@yahoogroups.com, Paul Najar <pnajar@...> wrote: > It's performance is CPU hungry to be sure. It's architecture is > superb for mixing real sounding drum recordings and it's available > libraries are quite extensive now - but you have to be a great drum > programmer for it to mean anything at all and be prepared to spend > some time with it's output architecture, direct panning & ambient mic > flipping and finding the best midi velocities for every sound to get > the most out of it. Also factor extra $$$'s for additional library. > You will definitely want some. The standard kits are OK if not a bit > weak in the kick drum area. > > My summary - deep and very rewarding. BFD is awesome but needs real work (like a REAL drum kit would) to really blossom - multiple outputs, decent compressors, gates, eq, detailed programming etc. I also find the bundled original kits a little 'scratchy' but the 'deluxe' & 'Andy Johns' kits are wonderful. If you are new to recording drums or are struggling with BFD then get hold of a book called 'Recording Drums' by Dallan Beck (http://www.amazon.com/Musicians-Guide-Recording-Drums/dp/0634057146) which shows you how and will open up BFD's possibilities to you. I have also just read a fantastic review for Scarbee Imperial Drums XL which is similarly priced and spec'ed but has a more traditional HALION front end - I would love to hear your views on this one! Joe

--- In logic-users@yahoogroups.com, Eli Krantzberg <elik@...> wrote: > > Hi Noble, > > > > I get this error message when I start play back of a song. > > I've had this problem when the record path has been corrupted. For > example if it's set to drive that is offline. Or if you've changed > the name of a folder or parent folder in which it or the song file > itself resides. > > > -------------------- > Eli Krantzberg > http://www.nightshiftorchestra.com > Almat Productions I've had this when my AUDIO drive was FULL...

Hendrik De Clercq <hendrikdeclercq@tiscali.be> wrote: > Is Logic Pro 7, with a couple of decent monitors a good alternative? (supposing the guy who is working with it, knows what he does). I mean, is Logic, with it's different equalizing facilities, and other dynamic processing tools, ... offering enough to do a complete professional mastering? > Greetz, Gloomy Depends on what you mean by "professional". Professional is a relative term. If you're asking can you by a "couple of decent monitors" and logic and call yourself a professional mastering engineer the answer is yes and no. If you've mastered thousands of records and those monitors are in a great sounding acoustcally balanced room and you already have all the other gear you need to handle all the various things you'll be asked to do by a paying client then the answer is yes. In theory you will have everything you need to EQ, compress, edit, assemble and burn a CD master with Logic and Waveburner. If you're just using logic and "decent" monitors then the answer is no. Most would not consider that professional. on the other hand if by professional you mean can i do a good job of mastering my own projects with what is available to me in Logic/Waveburner and some decent monitors the answer is yes. The processors available are more than enough assuming some good taste and skill on the part of the operator.

> Thanks Ed and George, and I'll follow your advice in both ways - I > have a backlog of recovered analog recordings and can't justify > professional mastering prices for all of them; Ozone should do for > these; on the other hand I have work in progress I want the best for, > so that will probably go to a professional. > > And, having Ozone, I might work through the mastering myself on a > couple of the in-progress ones, so I'll be able to engage in a more > useful dialog with the mastering engineer. > > Steven Rowat Very welcome Steven. I might add that Ozone has a pretty informative free primer on mastering in general - well worth reading through a few times, when you have the time. Peace, Ed Billeaud Snowflake Studio P.O. Box 7637 Breckenridge, CO 80424 970-453-6830 edva@earthlink.net http://www.soundclick.com/edbilleaud

When I import new audio into logic 7.2.3 - often it will first say that is creating wave forms for the display. Q: I notice that the audio files on disk do not show an altered modified date - so where are these wave form displays being saved - on the audio file or inside the logic song? Q: I am interested in possibly going back and forth between logic and Pro tools LE - and at different times using the same audio files for both platforms. Assuming I am not doing any destructive editing - is it OK to use the same set of files for both platforms - or do I need to make duplicates (I'd rather not)? Also, how does this wave form display get dealt with by going back and forth between the two platforms? -- Thanks - RevDave CoolCat@hosting4days.com [db-lists]

I want to add my way of mastering. I listen to CDs on my Genelecs all the time analysing the sound. Mastering is of course just the last stage of recording and mixing etc. I consider my product to be semi pro but when I compare to some commercial product out there I feel quite confident in my results. Alot of mixing is the knowledge and experience of the guy twiddling the knobs. You can see that two people using the same equipment produce different results. Each little tweak of a setting changes the sound. Here is my personal mastering method (currently, I am always open to new knowledge): I mix the song on my Genelec monitors as good as I can. Using a small boombox to get the levels of drums and vocals right is beneficial because the small speakers show up the balance better. It's a very common mixing trick to reference on a very small speaker. Get good at mixing as close to the sound your after(and producing, playing etc ha ha). Ok now my mastering recipe and philosophy: I bounce the track without any limiters on the master. Sometimes I bounce to a reel to reel for tape sound and compression but that's another story. I import the bounced song into 'Har-Bal' which is a PC only app I use on a little laptop, cause I'm on a G5. It shows the average frequency spectrum of the whole track as a frequency spectrum graph line. It also shows the peak frequency lines (which could go high up just from one cymbal crash in the song or any loud peak). 'Har-Bal' also shows the peak and average frequency spectrum graphs of any commercial CD you wish to compare to. Now I can feel some people thinking that this sounds like a match EQ or some crude way of copying a frequency curve of a song that doesn't relate to the unique song your working on. But I see it a different way. My experience is that the low frequency levels are very important if you are trying to achieve a similar loudness to commercial CDs using a limiter like 'waves loudness maximiser L2, L3'. If your sub bass and bass frequencies are too high then the limiter is going to have to work harder. The commercial reference is just a guide to be referenced subjectively and with commonsense. If you like the CD your referencing and it is your type of music then you can also benefit from the knowledge that it's frequency curve was tailored in a professional mastering studio. 'Har-Bal' also lets you make changes to your EQ curve. I treat the reference curve as an educational tool. Basically my philosophy and working method is to mix as nice as possible then get the EQ curve of the whole song right. Meaning the bass levels are where they should be and any other overall frequency tailoring is done, You can also use your ears to reference commercial CDs frequency curves, I was amazed at how much treble there was on Madonnas latest 'confessions on the dancefloor' album, we were mastering a house track and the artist wanted a similar sound. This made me boost the treble way more than I would have. Commercial CDs do vary alot. Then squash it with 'waves L2' or similar till it's loud enough. But yeah I don't like too squashed either. Gotta have some bump in the music. Ok that's my current method and I am happy with the results. But you can't verify my claims unless you heard it. Music is very subjective. There is no right or wrong. Some commercial CDs don't sound that nice to listen to. Maybe too squashed or some other problem. I also use the waves analyser RMS level to compare to commercial CDs RMS level and my ears. So in conclusion, my current philosophy is getting the overall EQ curve right before squashing with L2 limiter. But get your music sounding how you want it first. I go for fat warm old school hip hop and reggae, soul etc. Once you get into frequencies you'll be EQing kickdrums and vocals and everything in a more confident way. Just my thoughts, I would be very curious if my methods and ideas have anything in common with other manuals or peoples advice on mastering like the ozone manual etc. PS, I have been using parallel compression on some masters to get more level before the master EQ and squash. You send your mix to two buses and compress one bus heavily and mix it with the uncompressed bus. This leaves the transients of the uncompressed bus alone and gives more meat to the signal. So your snares still stay snappy etc.

I had a client call and ask if I could instantly transpose a piece of scanned sheet music, swearing she had been told there was software that could do this magical thing. Lo and behold, there is SmartScore, which at least claims it can do it. Has anybody had any experience with this software (or similar)? I'm curious as to how difficult it would be to scan music and import the MIDI-ized version into Logic for manipulation. Could be a great time saver if one was doing a lot of adaptations for people. Link is below for those who are curious. http://www.musitek.com/

Does anyone have any success with using Akai samples with the EXS? Here's my situation: I have an Akai S2000 with my samples on ZIP discs. I'd like to put them in some kind of format so that the EXS can use them. So far I've had no luck with transferring the ZIPs to CDRs so I thought perhaps I could take my ZIPs to a more recent Akai sampler and somehow burn them onto CDs from there. Any thoughts on this? -Bruce

On 30.12.2006, at 10:54, Hendrik De Clercq wrote: > I don't wanna mess up my system with a demo, so I'm asking you > guys: what's the added value of Ozone, when having Logic Pro 7? Ozone is actually a plugin suite and as a whole considered as a mastering plugin and that is the value. It is of good quality. You are not forced to mess up your system with a demo. Izotope has full versions also. ___ Peter Ostry

Waves or Ozone? Well.. Waves is the best.. But how "the best" is it? Comparing prices.. As a budget engineer, what is the most bang for the buck? (Thanks for 2006, see You 2007.) CaLLa/Caiez::

On Dec 30, 2006, at 3:08 PM, Sean McCoy wrote: > I had a client call and ask if I could instantly transpose a piece of > scanned sheet music, swearing she had been told there was software > that could do this magical thing. Lo and behold, there is SmartScore, > which at least claims it can do it. Has anybody had any experience > with this software (or similar)? I'm curious as to how difficult it > would be to scan music and import the MIDI-ized version into Logic > for manipulation. Could be a great time saver if one was doing a lot > of adaptations for people. Link is below for those who are curious. > > http://www.musitek.com/ I've used older versions. The good news is it does work, to a fairly decent degree of recognition. The bad news is that absent a set of tools equivalent to word processing's spelling and grammer checkers, even 1% failure rate is REALLY painful to correct. Mind you, I've not yet used the latest upgrade, which promises great improvements and improved tools, but... Think about OCR. Think about OCR for a foreign language, one you know but are not a native in. Think of correcting a 25 page document (or, gods forbid, a 250 page document) after OCR without benefit of spellling or grammer checks. For me, that was the main issue that made it less useful than I had hoped. On the other hand, it's the only game in town for most users. cheers, Bill

Is there some way that I can take a clip of a dvd and get the sound wave view of it's soundtrack? Thanks, Eric.

On Dec 30, 2006, at 12:23 AM, Joe Pipitone wrote: > > I just bought a USB Samson C03U microphone, and I'm attempting to > record a > vocal track in Logic Express 7.2. I've adjusted the Input Volume > in System > Preferences -> Sound, and experimented in Logic quite a bit. > > I've noticed that on some high notes in Logic Express, it starts to > clip a > bit. I've also noticed that in Logic, even if I adjust the volume > knob on > my vocal track to reflect a lower volume, it doesn't seem to affect > the > microphone sensitivity. I've even switched the microphone to > -10db, and I'm > still experiencing some clipping. > > Does anyone have any experience with this USB mic and Logic? I'm > not able > to find a decent way to control the sensitivity of the > microphone....help!!! I have not used the C03U - but what you need to realize is, the A/D conversion is performed inside of the mic. If the only sensitivity control is the 10BD pad, then that is all that you can do adjustment wise. You will simply have to position the mic at a distance - or - at an angle that will allow less sound into the mic, to avoid clipping. YMMV Dave Shirk Pamlico Sounds

> > Does anyone have any success with using Akai samples with the EXS? Here's my situation: I > have an Akai S2000 with my samples on ZIP discs. I'd like to put them in some kind of > format so that the EXS can use them. So far I've had no luck with transferring the ZIPs to > CDRs so I thought perhaps I could take my ZIPs to a more recent Akai sampler and somehow > burn them onto CDs from there. Any thoughts on this? > > -Bruce > with CDXtract v4.1.5 you can put alot of samples(extantions) in to EXS extantion. thats how i do it. hendro

--- In logic-users@yahoogroups.com, "Chris DuBrock" <forums@...> wrote: > > Message posted by Chris DuBrock <cdubrock@...>: > > Does anyone know how to circumvent the Core Audio overload? We have a G5 > with 3 gigs of RAM; why are we getting this message? Thanks. > Core Audio Overload is a nasty, annoying problem that has plagued me for years through every computer (G4 and G5), every operating system upgrade, every version of Logic, any amount of tracks, any amount of plug-ins, or any other variation of conditions. It seems to be mostly random but unfortunately frequent. I personally believe it is a problem with how OSX handles data transfers either from hard disk and/or from DSP cards (I am using two UAD-1 cards) or converter (I am using a MOTU 828MkII). I have tried many bits of advice from LUG folks, UAD forum folks and others and, though some of these methods may reduce CPU load or disk access rates, I have still not found anything that has helped me avoid seeing this particular problem occur repeatedly during every session. I would love to find the silver bullet that kills it, but I fear it is in Apple's court and still doesn't seem to be on their radar. FH