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To simplify it further I think you can group the 2 aux as 1 bus and put the pattern region on that bus so you have 1 step sequencer controlling both plugins It's not as intuitive but it works, it's really has me thinking the different ways I can manipulate audio

That's incredibly kind, thank you David. Yes, my understanding is that the way the original audio drivers for Logic were written - back in the day - the time it takes for an audio edit to correct or play back accurately is kind of 'baked in'. In other words, it would take a complete rewrite of the audio engine to make that not the case. (My apologies to Emagic and Apple if I've got that wrong). It is frustrating but, you're right, either pressing Stop, or looping a section and just kind of accepting that it won't be until the second time around that any audio edits will play back accurately is kind of just how it is. I must say I don't have that issue with Synths or Automation - all changes there are picked up on the fly. But the slight Audio edit/adjustment lag is real, no matter how capable the spec of your machine.

@ top man thank you !!!

Hi Greg. Exactly that - I have two channels of the Apollo taken up with preamp signals from the Britstrip and the UA LA-610, which leaves only 6 from the synths, so I bought the Line Mixer as a simple way to have them all connected into a stereo pair of inputs. Thanks for your question.

Thank you for the fast reply!

Thank you so much.

Thanks so much, Nicholas.

You're welcome! Thank you.

Hi Jeffy. A number of reasons, really. I like to change up my workflow and I definitely find that my headspace changes when I get up and go to one of the synths and have a play. I think hardware synths feel more like musical instruments (to me) than a computer ever will and so I just have a different relationship with them from a musical perspective. As I said in the video, a HUGE amount of my work does indeed happen in Logic with soft synths. But it's nice to have access to a different workflow and speed of work (ie slower!), from time to time.

Ha! Not just me, then... ; )

Oh no! But fear not - there’s plenty more to come from those beauties.

You're welcome, thank you Michael.

Thanks so much.

Huge thanks, Phil. Your kind words are enormously appreciated.

Oh no! Will's is working but, as you'll have seen from the studio tour, I went third-party for mine... : (

@@jonobuchananmusic The amt 8 is working fine but Logic crashes now and again on closing and is reporting a core midi problem so I was doing some driver house keeping which hasn't solved the crashing issue... thanks for the reply, all the best :-)

Hi Daniel. Appreciate you too! Thanks for your story, which is fascinating. Good luck on that course and do remember that if it's scoring you're interested in, my courses on Teachable might be of help. 'Orchestral Programming 01' is out now and Part 2 is coming very, very soon. Link here if you'd like to take a look: jono-buchanan-music-s-school.teachable.com/ Thanks for your continued support.

Right?! But only the cow saving up for a Model D... ; )

Aha! Brothers in arms. : )

Thanks so much, BF. Huge thanks to you for being along for the journey.

Thank you!

You're welcome, thank you too.

Thanks so much, Chris. Your continued support means a huge amount to me.

Ooof! Tell me how that is going when you've had a chance to have a proper play.

🗣️👔👖

That's very kind, thanks so much,

You're very welcome. Thank you!

Thank you Peter!

Oh! Now that IS an unusual pronunciation... Phew, glad it's not just me. ; )

Thanks so much, Lee.

Thank you! And welcome.

It really is, Rene. An excellent little chaos-machine.

It sure could! Let me know how that goes!

Ah! Thanks so much.

I believe the maximum is 24, as there can be 2 tabs of 12 each. Let me look into this for you - unless you beat me to it!

You’re most welcome!

Thank you!

That’s great, thanks so much for sharing that approach. 👍

Hi Neil. There's no 'need' to, per se, but it does make sense to follow that format if you think there's any chance you'll want to experiment with comparing the Kit you make to any other pre-existing Kit, or readily duplicate Snares/Claps/Kicks across Kits. It just saves you the hassle of having to Transpose the relevant notes between Kits. But if you're working with your Kit alone, feel free to use any note assignments you like.

Thx for your quick response Jono! I’m loving your vids! You explain things really well and the vids are really well paced! This particular video resonated with me as I often struggle to start a project but once I get going it happens quickly! So maybe I could request similar videos to quick start creativity!

Many thanks, Kieran, much appreciated.

Thanks Chris!

Hi Ross. Absolutely. I’ve always encouraged people to think of Logic (and technology in general) as a musical instrument. It requires practice but the rewards for mastering the features and aspects of its musical capabilities are that you’ll feel in control of the music you want to make. And because it’s such an open-ended, capable and sophisticated instrument, the vast array of possibilities for what that music can be is breathtaking. The only features which give me pause for thought are those which feel as though they could short-circuit that sophistication to rush us all to a predictable result too quickly. But as many have pointed out, even those features offer possibilities for wilful musical corruption or reinterpretation. So long as we keep our ears open, all will be well!

Thank you - that’s extremely kind.

You're welcome 🤗 ​@@jonobuchananmusic

This is a great question and it goes to heart of why the way we hear and the 'frequency capabilities' of any speaker (whether that of a Smartphone, or a pair of studio monitors) goes beyond the stated ranges. I don't mean to suggest that a speaker with a stated lowest frequency range of - let's say 150Hz - can play back frequencies below that. But I do mean that what you do to your mixes below 150Hz can have implications for the way that we hear frequencies above that point. The best example of this is what happens when you add a high-pass filter (or a low cut, which is the same thing) to any mix which is using a Stereo Compressor across the Mix Buss. As bass frequencies are slow and powerful, they often have the greatest impact in the way that a Mix Buss Compressor will behave. In other words, those low frequencies force the behaviour of the Compressor, which we can then hear in terms of the way that high frequencies behave. So, to answer your question, if you want greater clarity in the mid-range, often the best thing to do is to tighten up or play around with the Volume of low-frequency content, so that the speakers you're working with aren't overwhelmed by trying to play back frequencies they aren't capable of coping with. BUT...! Be careful! If you do this too much, in order for a Smartphone mix to sound the best it can be, those mixes will sound bass-light on any full pair of speakers. So what I'd suggest is that you pull any track that you really like the sound of on your Smartphone into Logic and carefully analyse what is happening from a volume/frequency perspective below the frequency range of that Smartphone's speaker. Compare that to the level and amount of low frequency content in your own mixes and that should provide some useful steer.

@@jonobuchananmusic thanks for the detailed reply and useful suggestions ... some homework for me

Thank you. You're most welcome.

Thanks BF!

Thanks so much Peter. Much appreciated.

Thank you so much, glad it was helpful.

When is a cat not riled up about something?

Pets as top-end testers - I like that idea. Like a version of a Studio dog-whistle. But for cats. I have no idea what the frequency range receptor of the tortoise is but I suspect that they’d be an excellent mix reference too.

@jonobuchananmusic Tortoise cat? Probably ~40hz to 60-80khz. Tortoises and turtles, a perfunctory google search tells me, can’t hear much over 1khz…

@ Difficult to say, but noticed when Jono was cranking the autofilter cutoff back up, one of my cats peeked her head up with a wild look in her eyes at around 70% cutoff. I suspect they are more sensitive to qualities in what we perceive as high frequency sounds, as it is barely mid-frequency sounds to them.

🦷👨🏻‍🚀👜