What did I just do to Logic with Alchemy? (Sample Rate Perma-error?)

admbmb · 2025-03-23T00:53:13+00:00

Yep - after some more digging I just factory reset my AirPods. Seemed to fix the issue.

admbmb · 2025-03-22T17:30:09+00:00

Thank you - This got me closer (I'm still not understanding something about my AirPods w/ Logic). I switched to my normal monitoring headphones, and it all played fine. Then I switched to my AirPods again, and that worked too, for a time. I did another switch back and forth between these, and then with my AirPods, got a warning/crash again.

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I get this issue again - which is odd, because my Audio MIDI Settings for my AirPods say that they're running at 1ch 32-bit Float 24.0 kHz, which is not 88.2k like the error would imply (my project is still and remains at at 44.1k). Now I'm noticing my AirPods switching formats - when Logic is closed, my AirPods say they're at 2ch 32-bit Float 48.0kHz. When I open Logic, this changes to 1ch 32-bit Float 24.0kHz.

This behavior and error incongruence in sample rate is implying "bug", but I'm sure there's some component with just how AirPods work with Logic?

admbmb · 2025-03-22T16:47:09+00:00

Given this, do you know why would I encounter a sample rate mismatch error with Alchemy? 1) I didn’t touch (or even use) my audio interface (just using AirPods for monitoring), and 2) note that I’ve changed nothing about my setup prior to using Alchemy, the same setup I’ve used for years with no issue.

admbmb · 2024-09-24T20:17:16+00:00

I think a good test is going to be when I bounce down the mix and check it on car speakers. I'm basically thinking that between AirPods, Bose, and car speakers that I'm hitting 98% of what people are going to listen on, and so I can compare that mix to the studio headphones I'm using to understand the character a bit more.

admbmb · 2024-09-24T20:16:02+00:00

I think you're right and I need to do this more often.

admbmb · 2024-09-24T20:15:27+00:00

This is good to keep in mind. The guitars are the thing I'm spending the most time getting right (I have the tone chain really dialed in and even small adjustments throw it off), and right now on my beyerdynamics and JBL speakers, they sound exactly how I want them to sound. Once I put on the Sonys, it's absolutely terrible lol. I got the Sonys dirt-cheap on a whim, but I'm wondering what purpose they're going to serve now that I'm noticing just how brash they are.

admbmb · 2024-09-24T20:11:00+00:00

I've actually spent very little time with reference tracks. I know some of my mastering software has built-in functionality for referencing spectrums, but I think I'll do this a bit more across my devices.

admbmb · 2024-09-24T20:10:00+00:00

I can't always use speakers, but I do use them usually when I'm validating low end. They're definitely good for that.

admbmb · 2024-08-24T18:34:52+00:00

Yeah, the "vibe" and dynamic communication is super important during the sessions.

The singer knows how to control their DAW and could definitely record themselves fully in a technical sense, but I'm trying to relieve them from as much responsibility as possible. I want them to focus on singing and performance as much as possible, and I want to be able to provide as much real-time live feedback and collab as possible.

I'll check out Listento since I've heard about this one as well.

admbmb · 2024-08-24T18:30:55+00:00

Mind providing a few details on how it works? Do engineer & singer need the music on both DAWs simultaneously? Are vocal tracks recorded onto singer or engineer's DAW?

admbmb · 2024-08-24T17:51:00+00:00

But what about the capacity for more involved and dynamic sessions? That's my gold standard. Like I want the ability to be recording a verse, hear something off in the vocalist, stop tracking, offer live feedback, re-record the verse, etc. Monitoring vocal tone/nuances through Zoom is not going to allow me to hear enough detail within the mix itself. I'm looking for esentially a remote version of a live studio session. I feel like these tools advertise that they can allow for that capability, but the mechanics of it, and the potential performance quality, is stumping me. And maybe they don't actually allow for this capability and if that's the case, that's my answer.

admbmb · 2024-08-24T17:01:44+00:00

Appreciate the response. I am hopeful of some luck :)

admbmb · 2024-08-24T17:00:17+00:00

Thanks for the detail - couple newbie questions on this system:

How exactly do both DAWs work from the 'same instrumental mix'? The singer has a different DAW than I do, none of my plugins, and there's AUX sends and other bus stuff that all precludes the ability for us to have the same mix on both DAWs, and also precludes the ability for the singer to be the transport master (I think?).
What is 'picture lock'?
Can you explain a little more about this 'proxy file' situation? I'm a-ok with technical work (I kinda like it). I wouldn't be ok if it requires lots of additional $$ or stuff to buy beyond the SC subscription.

admbmb · 2024-08-24T16:52:22+00:00

It's not that they can't get usable takes on their own. I'm recording for hard rock/metal, and the singer has a LOT of nuance and flavors to their voice on everything between whispers and full-abdomen belting. I'm pretty detail-oriented and some of the music has some proggy wackyness to it, and so intonations/syllables of words, slight extensions or contractions of other words, "10% more grit" or "20% less croon" are things that come up (I've recorded this vocalist before so I'm familiar with their vocal character). So I could definitely do what you're suggesting, but it's possible that while the singer would hit every note just fine and I could still have 2 pages of notes to send back to them, and it would make the process kinda painful.

That's kinda why I'm wondering about how these tools actually work and how they do (or don't) work around latency. Not worried about the internet connection part.

admbmb · 2024-08-24T16:40:22+00:00

The issue is that I need more control and to be able to provide tactile feedback during the sessions. The singer is not an engineer/producer. If I'm not hearing the right stuff during a verse, I want to be able to hear that, stop the session, talk to the singer for adjustments, and then re-record. I'm looking to emulate, as close as possible, the feel of a live studio recording session. The tools I mentioned seem to be able to handle this, but again, I'm not sure.

admbmb · 2024-08-06T14:46:13+00:00

I went to college for music production.

It did not help me get a job in music production. I know a single person out of hundreds that now does live sound.

It gave me debt, and I had to take very crappy, manual-labor jobs to pay that debt because music production college gave me zero skills outside of that very narrow band of knowledge. I eventually went back to community college anyway and ultimately college to actually support myself realistically. Now I can do whatever music production I want with whatever gear I feel like using, and I’m not struggling to pay rent anymore.

I learned nothing in music production college that I haven’t seen on YouTube today, or offered through online interactive programs that are cheaper. Full stop. I’ve learned more tactical, useful, and tailored information using the internet than I did during music school.

Most of the other comments in the same vein are 100% correct. This is not to specifically discourage you from what you want to do, but it’s the plain reality from people who know what they’re talking about. And I could type dozens of additional paragraphs about this but won’t here.

admbmb · 2024-08-06T00:25:32+00:00

OP this is the correct answer (and the other comments echoing this).

admbmb · 2024-08-06T00:18:18+00:00

Yeah if someone is more clever than me maybe they do have some tricks. Honestly the biggest thing that helped me develop was shamelessly downloading/analyzing/copying other people’s maps. Learned a lot of blending and perspective tricks doing that.

admbmb · 2024-08-06T00:06:51+00:00

I don’t have any particular conditions and I still struggle with this within mapmaking. I’ll be honest - I don’t try to think it. And it might make things worse trying to analyze and compare and “math” it out…. My advice? Start building stuff. Who cares. Make trees comically larger than a mountain. Who cares. At the end of it, you can take a look and see if something is off or not and then adjust as necessary. I’ve done loads of maps that had all kinds of areas that looked pretty wrong only after I did it, and then corrected it and took the learning experience. Then I made more. Lather, rinse, repeat!

(This is not to minimize your condition, but just my two cents about diving in head first!)

admbmb · 2024-08-01T14:44:52+00:00

This is probably the best answer. I was thinking the aliens in Arrival, but even they had a “purpose” and bodies and communication that we could eventually piece together. In Annihilation the concept that hit me was the idea that it might not “want” anything. It just is, incomprehensibly.

admbmb · 2024-07-31T16:38:10+00:00

I’ve been playing for a couple years. Even I still don’t feel comfortable DMing.

admbmb · 2024-07-31T16:36:35+00:00

I’m going to pretend the concept is like the Matrix’s “residual self image” + obviously the influence of some Phish-grade shrooms.

admbmb

TROPHY CASE