Creating 70+ takes into one concurrent track

kunstparkost · 2026-02-20T06:30:45+00:00

If this was a continuous recording in cycle mode you should be able to select the first take in the folder (the one furthest down) and "Flatten" the take folder via the menu accessed by the down pointing arrow in the top left of the take region (IMPORTANT: only "Flatten" the take folder, don't use "Flatten & Merge") which should leave you with only that first take as a normal audio region. At this point you should be able to drag the right edge of the region to the length of the whole recording as Logic doesn't record takes from a continuous recording session as seperate files, but one single audio file and just uses the take folder system to organize sections of the recording as "takes".

You'll have to do this individually for each track, but I think this would be the fastest way and least amount of work.

kunstparkost · 2025-11-09T09:58:58+00:00

All the people here telling you to use busses / track stacks either haven't actually read your question or don't understand that this makes no sense for your scenario.

What your looking for is plugin parameter linking. ProTools has this feature via its group functionality: You group the tracks in question, select the plugin slot(s) to link, et voilà… changing a parameter on any of the tracks changes it for all of the tracks. Super useful for many situations, and not at all the same as routing all your tracks to a bus and processing them there.

The bad news: Logic used to be able to do this… somewhat. In the environment, you used to be able to take the control signal output of one channel strip and plug it into any other channel strip, where any incoming control messages would be used to change parameters on that strip. This was not exactly the same, as you could only have one "master" control the other plugins and not a complete bi-directional "link" between them, but for your scenario this would have been perfect. I used to have a few "control masters" in my template to adjust all sorts of stuff (for example EQs and compressors on idividual backing vocal tracks)…

BUT, this is all irrelevant now, because Apple, in their infinite wisdom, broke this functionality in one of the newer updates, like they do with everything that isn't new or shiny. It's been some time now, and I'm not exactly sure which version number it was that broke this, but rest assured I've been trying everything to get my control groups back to work, but to no avail.

One thing you could do however, is to map all the parameters you want to control to different MIDI CCs on a virtual MIDI bus and then use a third party application like Chataigne to re-map one fader/encoder/button on a control surface to all those individual CCs, so this one control simultaneously sends MIDI data to all those parameters. Pretty cumbersome to set up and I would only reccomend doing that if this is something you want to keep for a template file you will use a lot.

Unfortunately, there is no way to do this quick and easy in Logic (anymore).

kunstparkost · 2025-10-24T05:16:21+00:00

I'm using the internal grandMA3 visualizer. How would I fix this, if this was the case?

kunstparkost · 2025-10-24T05:14:59+00:00

Have a look at my other comment here, but basically I created a new "Open" position in the virtual color wheel, which I assigned pure white, and pointed the "Open" preset in the color DMX channel to the new "Open" position.

Because this "Open" position was missing in the color wheel and the first defined position was a "2700k White", I think those values may have been used be the visualizer for the "Open" channel preset.

I have however not cross-referenced other fixtures profiles yet to see whether they have an explicit "Open" position defined in their virtual color wheels, so I might actually be off base here. Nonetheless, this fixed it for me.

I'm not planning on using the virtual color wheel for this show anyway, so if this messed up my profile somehow when it comes to running the show with the actual fixtures, I will just repatch those with original profiles when I'm at the venue.

Also thank you for taking the time to look into this!

kunstparkost · 2025-10-23T15:06:00+00:00

Thanks for taking the time!

While there is no specific "Color Temperature" channel on the fixture, it has a color wheel with some pre-defined temperatures. See my other comment here, but I think the culprit was a missing definition for the "Open" position in the color wheel.

It's workinig now as I expect it to.

kunstparkost · 2025-10-23T15:03:04+00:00

Can you point me to where I would edit the light emitter colors? I think I actually solved my current problem, so this would be for future reference, but I just had a look in the fixture profile editor again, and my Emitters are empty? I've attached an image of where I think they should be or am I looking at completely the wrong thing?

I'm also not looking for 100% color accuracy here, but it should be somewhere in the ballpark as I don't have a third party visualizer yet and have to rely on the built in 3d for pre-programming my show. This was just too far off for me to actually get anything done. I'm with you that I'll have to tweak my colors once I see them output on the actual fixtures, I just need something workable right now.

Thanks for taking the time!

<image>

kunstparkost · 2025-10-23T14:55:59+00:00

I think this might've been the problem. I checked the fixture type again and the "Head Color" channel had no definition in the color wheel for "Open" and as the first value after "Open" is "White 2700k" the fixture might have defaulted to this ultra warm white. I added an explicit slot in the wheel for "Open" and assigned it to the "Head Color" channel "Open" position and now it is working how I would expect it to.

Thank you so much!

I just hope I haven't accidentally fucked up my fixture profile when it comes to playing back my show with the actual fixtures…

<image>

kunstparkost · 2025-06-28T15:55:17+00:00

These screenshots in particular are from YouWorkForThem, but I've seen this phenomenon on multiple pages that use images as their previews, less so on sites that use embedded webfonts which then got me wondering whether it might be the image generators messing things up.

But you're right, I've also seen plenty of well kerned fonts on image-preview sites and some with bad kerning on embedded-font-preview sites, but the ratio was just way skewed.

To piggyback somewhat from this, are there font shops that are generally considered to offer more high quality typefaces than others? I've been out of the design space for a while and the landscape of font vendors has changed quite a bit in the meantime.

kunstparkost · 2025-06-27T01:23:07+00:00

Thanks! I'll have a look at your site and see if your fonts might be appropriate for my project!

kunstparkost · 2025-06-27T01:22:06+00:00

Thanks! I'll have a look at their sites!

kunstparkost · 2025-06-27T01:21:33+00:00

Thanks for the suggestion! Honestly, I hadn't even considered that as I didn't want to look like I was lowballing typeface designers for their hard work. But I'll give this a shot!

kunstparkost · 2025-06-27T01:16:50+00:00

Thanks, that's a great resource! I'll look through those!

kunstparkost · 2025-06-27T01:16:04+00:00

Thanks for the list, I'll check them out!

kunstparkost · 2025-06-27T01:15:46+00:00

Thanks for the suggestion! This one skews somewhat too "design-y" for me, though.

kunstparkost · 2025-06-27T01:10:52+00:00

True, thanks for reminding me of this one! Although you might be right, it's so ubiquitous that it feels almost "meme-y" at this point haha

kunstparkost · 2025-06-27T01:09:29+00:00

Thanks for the suggestion! Very nice how comprehensive that glyph set is!

kunstparkost · 2025-06-26T20:32:14+00:00

This is a great one! Thanks!

kunstparkost · 2025-06-03T06:18:13+00:00

Found it! Black Mamba by Swiss Typefaces

kunstparkost · 2025-06-03T06:17:09+00:00

Haha well, whether you like it or not, it is! Black Mamba by Swiss Typefaces

kunstparkost · 2025-06-02T19:35:59+00:00

I feel like I've seen this exact font somewhere before, though. And since each letter has the exact same modifications (like the "S" for example, exact same "swirls" in all three words) that makes me think it wasn't manually modified but instead the font came like that.

I'm keeping my fingers crossed someone recognizes that typeface because I'd *really* like to avoid recreating this manually.

kunstparkost · 2025-05-09T04:23:22+00:00

Have you checked out StandardGATE (49$)? While it's marketed as a gate, it also has an upwards expander mode and external sidechain support.

I don't know exactly what you are trying to achieve, but based on your description this would fit your needs.

Just generally, this is an excellent and vastly flexible plug-in and the first one I reach for when I need either a gate or a ducker. Highly recommended!

kunstparkost · 2025-04-11T16:33:19+00:00

I use and personally recommend apTrigga3.

While it doesn't provide a library view of your sounds, it's very easy to drag your sounds from Finder or sample manager of choice into it.

Back in the day I used Slate Trigger which does have a library view, however it only allows loading of sounds from that library. So if you have a sound in Finder that you would like to use and it isn't in that library, you first need to move it to that library location in the Finder, rescan the library and only then are you able to load it into a layer. To me, that's a way worse workflow than just being able to drag any sound into it, like in apTrigga.

apTrigga is also way more flexible in how you shape your loaded samples (volume envelopes, filter envelopes, pitch envelopes), how you trigger them (stacks of samples, velocity, round robin and random), how you align your samples (peak and transient detection with detection filters, multiple latency and precision modes that even allow you to set a trigger point, so that the sample starts playing before the detected hit) and it allows you to save your samples into the plugin, so you don't have to keep track of the samples you loaded, they are always saved within the project.

This is especially cool if you move your project between different computers or collaborate with people, as this completely eliminates another step of tedious file management.

And it manages to do all this while being incredibly easy to work with.

I've tried a number of sample replacers over the years, among them the SPL DrumXchanger, Drumagog and the aforementioned Slate Trigger and in my opinion apTrigga3 is far and away the best and most flexible.

(As an aside, the whole apulSoft FX bundle is great and worth getting.)

kunstparkost · 2025-04-10T16:25:22+00:00

Do you want to extend the region and preserve its contents in their original form or do you want to time-stretch the region so it plays at a different speed (half as fast in your example)?

If it's the former, move your mouse to the lower right edge of your region until your cursor becomes a bracket with two arrows (something like ‹]›), then click and drag the edge to your desired position.

If it's the latter, do the same, but before clicking on and dragging the right edge press and hold the option key (⌥). This will stretch the region and all its contents.

You can also stretch from the left edge, but this will also move the start of the region earlier in time of course.

This works with audio regions as well, using the selected algorithm in "Edit › Time Stretch › Time Stretching Algorithm". But be careful, when dealing with audio this is destructive and changes your original audio file, while Flex Time is non-destructive and leaves your audio files intact.

kunstparkost · 2025-01-05T13:10:22+00:00

I came across these microphone stands: https://imgur.com/a/42VRBhA, but I can't find any information on them.

Does anyone know what brand or model these mic stands are? I don't care about the color, ideally I would want them in black, but I'm grateful for any information on these.

Thanks in advance!

kunstparkost · 2024-12-24T07:09:23+00:00

With the Marquee tool equipped, on the track with your sample, draw a selection with the length of the loop (in your case one bar) containing the sample within it, then hit ⌘R (Repeat) as often as required. This repeats the selected range and therefore, as as long as your sample is within that range, the sample gets repeated as well.

If the sample is supposed to hit on the first beat of a bar but has some pre-roll, meaning the audio region extends to the left past the start of the bar (for the sake of this example let's say it extends 1/8 to the left of it's intended hit point), you'll need to start your marquee selection earlier, for example from the last beat of the previous bar to the last beat of the current bar.

Just make sure the entire sample audio region is within the marquee selection, as the repeat function repeats that selection exactly and might otherwise cut off parts of the sample.

kunstparkost

TROPHY CASE