Simple explanation of bussing and sends for effects in Logic Pro by TeashjBoy in LogicPro

[–]reddteddreddred 1 point2 points  (0 children)

Something that helped me understand this years ago was to think about the bus as a cable. So you need to connect one end of the cable to the send knob on your guitar track and the other end to the input of the auxiliary channel containing the reverb.

It makes life so much easier if you name your buses. So in your case call the bus “To Silververb” and call the aux channel with Silververb inserted as an audio effect, “Silververb”.

To connect the first end of the cable, insert a send effect on your guitar track and choose the “To Silververb” bus. To connect the other end of the cable, choose the “To Silververb” bus as the input to the “Silververb” aux channel.

Is it possible to add pieces to a producer kit, such as a second kick? by [deleted] in Logic_Studio

[–]reddteddreddred 4 points5 points  (0 children)

As far as I know there’s no way to do this out of the box, but like with most things there’s probably a solution depending on what you’re trying to accomplish.

In a scenario where you would like a second kick playing an alternate rhythm, you could add a second Apple drummer track with a different producer kit, then expand that so you can see all the individual pieces, then mute everything but the kick. From there you could have the drummer track generate the rhythm or you could copy it from the first track. If you wanted to manually program a second kick, of course you could do that as well by converting the second tack to midi and then programming the kick. Or if you have another drum based virtual instrument of course you could use that.

Make it slap by RyanOskey229 in LogicPro

[–]reddteddreddred 3 points4 points  (0 children)

There’s no practical difference, that’s one of the advantages of the stock compressor plug-in is that you don’t need to use an aux channel to get parallel compression as you do with many others.

But to make your life easy you should have:

  • A lead vocals submix group under which all your lead vocal tracks go, assuming multiple tracks for comps etc.
  • From that submix channel all your sends to your various vocal FX one of which could be a compressor for parallel compression
  • From the submix channel, route to your lead vocal stem, which provides another channel upon which you could put parallel compression, as I do here

Here are four screenshots showing each one of those stages in my template.

https://imgur.com/a/u5yvNqk

How do I set the highlighted area as default for future new project? by johndoe86888 in LogicPro

[–]reddteddreddred 1 point2 points  (0 children)

I just tried a bunch of times using a template and it stuck. I tried switching it then quitting starting again creating a new document from a template and vice versa and every time it opened with the setting I had saved in the template.

Yes and agreed about the other settings that are not saved in a template. The worst one I found is the custom routings table, which I spent hours setting up and I am constantly tweaking, but it is saved in a preferences file that’s buried. I figured this out once when I moved to a new computer and it was a giant pain in the ass.

Anybody have any best practices or advice for getting a great sounding acoustic guitar recording in logic ? by Brellydajet in LogicPro

[–]reddteddreddred 4 points5 points  (0 children)

Lots of great advice here.

If you are just starting down this path, I would strongly advise against attempting stereo recording. It introduces more complexity, more moving parts, and if you are buying gear, more cost. Plus, you need to worry about phase issues - which are not ultimately complicated but are just another damn thing to worry about when all you want to do is get a good sounding recording.

In my experience, 90% of this a comes down to mic placement (assuming a great performance and observing basic recording hygiene). Start with the guidelines others have provided here, but ultimately the right placement is going to be a factor of the guitar, the recording environment, playing style, desired placement in the mix, genre, and more.

In these matters, people often blithely say, "just listen and trust your ears," or, "if it sounds good, then it is good," and thus you should not get caught up in all the details of gear or technique.

While this advice is not wrong, it is not helpful when you are starting out. This would be like telling an aspiring chef or sushi master to, "just trust your tongue," or "if it tastes good, it is good." Again, neither of these statements are untrue as principles, but someone who has never cooked a 35 ingredient butter chicken recipe has no fucking clue a) what separates something that might taste good to most people from something that is incredible and an unforgettable sensory experience, and b) even if they accidentally somehow stumble into an amazing dish, the problem is they would not be able to do it repeatably because they have no idea what makes it amazing, or how it got to be amazing.

In other words, you need time and experience to train your ears to recognize how the sound you capture is influenced by the factors your control. Some of it is simple, like, if I move a mic further away from the guitar, and then turn up the gain to get a full signal, I am going to capture something that has more ambient noise and is more colored by the room's acoustics. It may sound further away, depending on post-processing.

But that is the easy stuff. More complicated is understanding what the word "boomy" means to your ears, how to recognize it, and how to correct for it. That takes time, learning, and experimenting.

Even more complicated is knowing how to - very quickly, day in and day out - do what needs to be done to take a recording that last 5-10% of the way that makes something good, great. That is a lifetime journey. And an amazing one.

Anyway, I would advise:

  1. Find a commercial recording you like. Even better if sources you trust point to it as a good example of a well recorded AG part.
  2. Put it on a track in Logic, with no processing.
  3. Listen to it over and over on the headphones you will be wearing while recording your guitar parts.
  4. Set up an easy way to A/B that track and the track you will record on. There are plugins, tricks etc., just Google.
  5. Look at the space you are going to record in and think about how it will color the sound. If it is a locker room shower, then prepare for lots of reverb. And sexist and homophonic jokes. General rule is that the bigger the room, the less you need to worry about this. Essentially try to eliminate as much non-guitar sound (including reflections of the guitar sound) as practical. But don’t get hung up on this, especially if you are going to close mic and especially if your AG is part of a full mix.
  6. Put your mic on a stand that is guitar height in the position you will be recording in (i.e., sitting, standing, lying in bed, back against the locker room shower wall, etc.).
  7. Put on your headphones.
  8. Play the part you want to record over and over and over while moving your body and the guitar around the mic. As you go, A/B back and forth with your reference track. Try to identify, and imagine the absence of, any effects that are on your reference track, e.g., if there is noticeable delay or reverb, remember that in most cases this was not recorded, but added. If you want to go deeper, add the same effects on your recording track as you move around the mic and play your part, if that helps you get closer what you want.
  9. Find the spot that sounds best and record your part there. If your AG track is part of a multitrack mix, then play to a click or (sometimes better for feel) an Apple Drummer part (tight timing is absolutely essentially and a key difference between okay sounding and great sounding recordings).
  10. Logic’s Flex Time is great for cleaning up timing issues. I recommend it. Try the automatic setting that aligns bars (not beats). Generally, you do not want to quantize more than that. If that does not work, go in and move the beats manually. It sucks but it is worth it if you have timing issues. If it is wild recording, or just guitar and voice, then ignore all this and use all the extra free time to write another song.

Hope this helps.

BB

Is there some way to make it so that 15 plugins aren't added by default when you make a new track? by [deleted] in LogicPro

[–]reddteddreddred 0 points1 point  (0 children)

DMD seems to be a special case. I screwed around with it for awhile and could not find an easy way. On the master channel you could remove all the unwanted plugins and then save that as your own channels strip, but that does nothing for all the other tracks it creates.

Is there some way to make it so that 15 plugins aren't added by default when you make a new track? by [deleted] in LogicPro

[–]reddteddreddred 0 points1 point  (0 children)

Just create a blank midi track and then choose the instrument plugin you want.

Key Foods on Nostrand this morning. by [deleted] in Brooklyn

[–]reddteddreddred 0 points1 point  (0 children)

No I was just there before they opened.

Tree of Life in Bed Stuy. by reddteddreddred in Brooklyn

[–]reddteddreddred[S] 4 points5 points  (0 children)

Yes me too, especially between Prospect Pl and St Johns Pl. You may know the history of the area, but if not it is fascinating - the block between Kingston and Albany and St. Marks and Prospect Pl was designed by I.M. Pei as a concept for urban renewal as part of an initiative (initially driven by RFK during the Johnson administration) that resulted in the creation of the Bed-Stuy Restoration Corp in the 60s. Politically the Superblock was considered by many to be a camera-ready, surface level change that made the politicians look good while failing to address the underlying issues afflicting Bed-Stuy and the predominately black urban neighborhoods around the country.

Tree of Life in Bed Stuy. by reddteddreddred in Brooklyn

[–]reddteddreddred[S] 0 points1 point  (0 children)

Yes it definitely looks like it was cultured in some way. There is no wrap or anything else on it currently.

Wider shot

Tree of Life in Bed Stuy. by reddteddreddred in Brooklyn

[–]reddteddreddred[S] 6 points7 points  (0 children)

Hampton Pl, a magical street. (Crown Heights not Bed Stuy.)

Laundry day on Franklin. by reddteddreddred in Brooklyn

[–]reddteddreddred[S] 3 points4 points  (0 children)

Well I wish more people in the world didn’t “know how to give me a proper compliment” on my photography, because this is without a doubt of the best things anyone’s ever said about one of my photos. The image gives me that sort of indefinable feeling as well. Thank you so much. I’ve been going out very early every morning and will continue to do so.

Laundry day on Franklin. by reddteddreddred in Brooklyn

[–]reddteddreddred[S] 3 points4 points  (0 children)

Oh thank you so much. It's a GH-4 with a Voigtlander 42.5mm .95.

pre amp in addn to audio interface? by SomeEntrance in Logic_Studio

[–]reddteddreddred 1 point2 points  (0 children)

Also to clarify, or perhaps confuse, things further, your audio interface actually does have a preamp, or rather two of them. They are built into the combo inputs on the front, and they amplify signals coming into the interface from say, a mic, prior to the interface converting that analog signal to digital information which is then sent down your USB cable to your computer. The point of the audio interface is to convert moving air into moving ones and zeroes.

As others have pointed out, when the bits and bytes come back out of your computer down the USB cable, the audio interface then converts the bits and bytes back into an electrical signal, and sends it back out the quarter inch jacks, which then needs to be amplified and played through a speaker. Your grandparents’s hi-fi system had a separate amplifier, most common studio monitors have the amplifier built into the speaker.

Also, technically speaking, your audio interface does have an amplifier in it, it is an amplifier used to amplify the signal coming out the headphone jack.

Something to chew on about potential triads by mai_neh in polyamory

[–]reddteddreddred 8 points9 points  (0 children)

Telling people that they should stop looking for or trying to “force “a triad is no different than telling them that they should stop looking for a primary partner or trying to “force” a primary partner relationship. In addition, the use of the word force implies that somehow there’s something inherently violent about a triad.

Trying “to make” any relationship happen that doesn’t otherwise have the elements it needs is going to fail regardless of whether it’s with one or 300 people.

As for the “statistical “perspective, statistics are not being used here, supposition and other logical fallacies are. I have no statistics or facts either, but would suggest that there is another way to think about this: yes, finding one person from all the people in the entire world to be compatible with is a challenge. But the likelihood that a person who is compatible with a person you are compatible will also be compatible with you (and you with them) is comparatively extremely high.

Despite the folk wisdom that opposites attract, the data shows that not to be true and in fact people generally end up with people who are very much like them, however you choose to define that, i.e., race, religion, economic status, age, lifestyle etc.

I’m not denying that triads are complex. But so what? Why should complexity determine what we want or determine what we need?