Saving Fader Levels

Hi
Lets say I've recorded all my tracks in Logic and I have all the fader levels set nicely, and then I need to record something again. I need to change the fader levels to suit my headphone mix while recording again, so is there a way I can save the 'bounce' version of my fader levels (and all of the control strip settings), then after messing about or whatever reload the previous 'bounce' levels. I don't really want to get into writing automation levels for each fader or using the 'save as' facility to make separate Logic projects.
Thanks!

Impressive indeed. However, as with all extensive Environments that are directly cabled to Channels, it prevents you from using the new and nifty Automatic Channel Strip Management, which takes care of creating and duplicating Channel Strips as and when you need them.
I think we have commented that many times with you Christian... But this is quite new prototype of a whole complex Environment tool and as I mentioned the Song template supports 32 Audio, 32 Instr and 32 Aux tracks. I think it is quite enough as beginning... The "Snapshot Console" is organized as one "Master" and a few slave ( have a look at the "Link" buttons next to 'Save and "Load". Any SC can be Master or Slave depends of the "Link" buttons modes. My idea was when hit "Save" on the Master all other to "save" as well, same with load. So you can copy the SC and add more tracks.Honestly I have not tested with more then these 96 channels yet, but it must work...
In addition I forgot to mention that there are a few SC tracks in the Arrange. The user can draw or record Program change messages ( it supports Program Names according your Presets names ) on any of these "Snapshot Automation" tracks to control separately some given sectors of the Logic Mixer, or to draw or record Program Change massages on the "Master Console" global "Snapshot Automation" track, to control the whole Logic mixer using one program change message only etc...
Regards,
Ivan
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Sampleconstruct wrote:
It´s due to the subdivision of the fader into 128 Midi steps.
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I don't know where all this "fader fear" is coming from.
In DSP terms, making something louder or quieter is simply a really simple DSP calculation. It doesn't matter whether you turn you softsynth down 3dB, or turn the fader down 3dB, the end result is exactly the same.
The faders are there for easy controlling of levels. It's why mixers were invented and designed this way.
I think these days someone reads a post on some esoteric audio forum about how their mix was so much better when they left the fader at 0dB in some obscure DAW back in the 90's, and translate that into "I must never use faders" or "I must never EQ" or "I must effectively work out my mix beforehand by my mic choice and positioning so all the signals magically combine into an artistic mix."
I'm trying to keep all of this in the context of how it would be done
in a studio with "real" instruments. Where the volume level is the
volume level and if you want it louder you play harder or you turn
up your amp.
You completely lost me here. Learning about gain staging is Elementary Audio Engineering Class 2 (the one afer the "what is a signal", and "what is a transducer").
You set the level of your recording device or mixer's input depending on the item you are recording, so the natural sound of whatever your source is corresponds to some nominal level for your recorder. It doesn't just magically happen on its own.
If you're recording an instrument that doesn't put out much sound level, you use the mic preamp to boost the signal to an appropriate recording level. And if you're recording Concorde taking off, you adjust your preamp, probably turning it down or padding the signal, again so it fits the range of your recorder.
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Faders don't bite. Use 'em.

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Thanks, I guess it makes sense. However I now have another question about the bus. If you don't feel like giving me a lesson on an aux channel and wanna tell me to RTFM, great... but please tell me where;)
Here is my example: I have two GTR tracks from two different mics, I have them panned just the way I want, and the volume difference just the way I want. Your suggestion makes sense about changing both in volume... but is there a way to keep the placement in the stereo field the way I like it... cause whether the Aux channel is clicked as mono or stereo... I loose the Placement.
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Pre Fader Metering Query...

Hello to all,
I've been following a couple of threads recently and the topic of Pre Fader Metering has come up in regards to the level of the final stereo Output. I would like a little more clarification on this.
My individual track levels often times are in the "red" Pre Fader, but that seemingly never has anything to do with my final stereo output level; it's my Post Fader level of each track that affects it.
How, if at all, does the Pre Fader level affect the final stereo output? Since Logic has 32-bit floating point architecture, isn't there a ton of headroom on individual track level and its like impossible to really overload/clip?
Thanks in advance for any insight on this.
M-DAY

Yeah - sorry for the headrush, that thread was a doozy!
Yes, the same issues occur on for plugins in any audio path - if they use a fixed-point implementation, like for instance some Waves plugins do, or have low input headroom, then you can be distorting the audio through the input stage before the plugin is even doing anything, if you send in high or over-0dB values.
It is quite posible to clip the outputs slightly without really hearing much - the ear is used to small amounts of distortion, but you are damaging and changing the audio by doing so. Some people like this effect and even use it regularly.
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And any distortion you add into the chain, make sure it's introduced and controlled by an artistic decision, not a side-effect of not understanding what's happening...

Pre-fader vs. post-fader metering

I generally avoid any internal clipping on my virtual instruments by making use of logic's pre-fader metering option, is this really necessary?
Which is best, mix post fader and forget about internal levels of plug-ins, instruments etc. or always make sure there is no internal clipping?
What are the results really when making sure there is no post or pre fader clipping?

Chance Harper wrote:
I did a quick experiment to see what the result would be if I overloaded or pushed the internal volume of a plug-in but made sure the output channel wasn't clipping VS. a plug-in that got leveled pre and post.
I used only a drum kit from battery 3 with a simple riff. Pushed the plug-ins overall volume to +6.0dB and then made sure my post fader level wasn't clipping, both of them then got mastered using ozone 4.
Both of the tracks reached the same RMS level, neither of the two sounded louder than the other.
The one I pushed up in the plug-in sounded a bit squashed and not as clear or pure as the one that considered the pre and post fader metering. The drums sounded way more defined and clear when ensuring both pre-and post metering wasn't clipping.
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Message was edited by: Chance Harper
Message was edited by: Chance Harper
Message was edited by: Chance Harper
again, i would agree with BeeJay's original reply to the original post. it's not good practice to let internal levels fly out of control and there's really no good reason to. and i would also agree that keeping levels lower result in better quality mixes.

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I'm getting low input signal levels when recording in Logic (-17db to about -10db, on average), and am hoping someone here can point out an obvious oversight on my part.
I'm recording mic'd guitars and vocals (one track at a time), with the mic(s)running into a Mackie 1402 mixer via XLR. Signals are strong and fine when I solo on the Mackie.
The signal runs out of the Mackie via the Alt 3-4 bus into the first and second 1/4" inputs on the back of a Motu 828 mkII, then into Logic.
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Hi,
You wrote:
I'm recording mic'd guitars and vocals (one track at
a time), with the mic(s)running into a Mackie 1402
mixer via XLR. Signals are strong and fine when I
solo on the Mackie.
The solo on the Mackie is probably louder,check to see if you have it AFL(after fader listen or PFL(pre fader level or "level set").
The signal runs out of the Mackie via the Alt 3-4 bus
into the first and second 1/4" inputs on the back of
a Motu 828 mkII, then into Logic.
The first thing to check is to see what kind of cables you are running into the Motu mkii.
A. Unbalanced (ie "guitar-type" with two wires)
B.Balanced (ie "stereo-type" with three wires)
The second thing is to check what your inputs on your Motu are,there are two choices: +4dBu("pro") or -10dBV("consumer")
Here's the catch:
You MUST MATCH the correct cables for the correct levels.If the Mackie is outputting -10dBV but your Motu is thinking it is +4 you see less level no matter how loud you make the Mackie outputs.
The Mackie can output AUTOMATICALLY either -10dBV or +4dBu depending on what cable is hooked up to it.
Even if I drive the signal to near clipping on the
Mackie, I get these low levels when recording in
Logic. This is true whether I'm using a condenser mic
with phantom power for vocals, or a dynamic mic on a
guitar amp. I've also tried swithcing XLR mic cables.
This is not where the problem lies.It lieas between the output of the Mackie and the input to Logic.
I'm running Logic Pro 7.2.3 and OS X (10.4.9) on a G5
2.5 DP.
Is my signal path in need of some tweaking, or
perhaps it's a setting I'm overlooking on the Motu
828?
Yes,a setting somewhere in the Motu is not set correctly.Check above for how to do that.
Any help greatly appreciated to get this rookie back
on track!
G5 2.5 DP
Mac OS X (10.4.9)
Cheers

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