Compositing Logic

I'm looking for a simple explanation why FCP layers composites differently from other nonlinear editing software. I've recently found myself giving instruction to other converts, and I would like to supply them with a better reason than "that's just the way it is."
I came off of Avid, where you would put the matte on the video layer directly above the beauty you want it to affect. In FCP, it is the reverse. The beauty is placed directly over the matte.
Logically, the Avid method makes more sense to me. You "look down through the matte" to reveal the portion of the clip below. Can anyone come up with a good metaphor that I can share with other editors baffled by the way FCP wants us to composite beauties and mattes?

Well, it's good to know that I'm not the only one who has trouble with FCP's "logic" when it comes to mattes. I was half afraid that I would be mocked for such a silly question.
I've been working with FCP long enough that I'm used to it by now, but I'm simply at a loss to describe why FCP works this way when I try to teach others how to composite their sequences (and the more experienced they are, the worse it is).
I've started doing so much tutoring around here that I'm actually getting certified as an FCP trainer in May. Maybe they can give me a beautifully simple teaching technique. I'll let you know if they drop some paradigm-shifting wisdom...

Similar Messages

Linked continer issue

Hi Guys,
This issue is specific to TLF 1.1 and does not happen in TLF 1.0.
Have 2 linked container and try typing on the second para of second container, you will see a flicker . Also if you hit "ENTER" in the first para of second container the content will dissapear .
You can try the same here ..
Is this a bug in TLF or am i doing something wrong ?
Thanks
Rafique Gilani

I've been looking into this -- thanks for reporting this! I have a workaround for you to try. I haven't done extensive testing with it, but it fixes the basic problem. The bug is caused by the new incremental composition. We added new code for composing from the middle of the container, instead of requiring to start at the beginning each time. This bug happens when we are applying the incremental composition logical, but are starting from the start of the second or subsequent container. In this case, it gets confused about where the composed lines should go. The fix is to extend the damaged area slightly, to include the very end of the previous container. You can do this by adding an event listener for DamageEvent to the TextFlow. When you get a damage event, and the damaged area starts at the start of the controller (and its not the first), damage backward by one character.
Here's an example event listener:
        private function damageHandler(event:DamageEvent):void
            if (event.textFlow == activeFlow)
                var controllerIndex:int = activeFlow.flowComposer.findControllerIndexAtPosition(event.damageAbsoluteStart);
                if (controllerIndex > 0)
                    var controller:ContainerController = activeFlow.flowComposer.getControllerAt(controllerIndex);
                    if (controller.absoluteStart == activeFlow.flowComposer.damageAbsoluteStart)
                        activeFlow.tlf_internal::damage(controller.absoluteStart - 1, 1, false);
You can attach this event listener to textflow as follows:
            activeFlow.addEventListener(DamageEvent.DAMAGE, damageHandler, false,0,true);
Let me know how this works -- my apologies for the bug.
Thanks,
- robin

How many cores do I need?

I don't know what kind of Mac Pro I should buy. My existing computer is a dual 2.0 G5. My reason for upgrading to a Mac Pro is mostly for speed and to have an Intel processor (not having an Intel processor has become increasingly limiting in the past years).
My main applications for the system will be:
50% Final Cut Pro work (1080p editing) and music composition (Logic & Finale)
30% general computing & email
15% photoshop & DVD SP work
5% After Effects, Motion and other graphics applications.
I also want to use the system to stream movies from Netflix, AppleTV and other sites.
I thought about shooting for the moon and getting the 12-core, until I read that it isn't super fast unless it utilizes software meant for lots of cores. Last I heard, Final Cut Pro doesn't take advantage of the multiple cores. So is it wiser to go for a dual quad core? 8 core?
Thanks for your input!

Some have made the mistake of getting those el cheapo 2 x 2.26 from 2009, or 2 x 2.4GHz - and lived to regret the decision realizing that a faster processor sometimes trumps slower, and 12-core systems aren't always able to fully realize even with video editing (the second processor adds 70% and Apple highest 12-core is only 2.93GHz).
How Many CPU Cores?
http://macperformanceguide.com/blog/2011/20110204_Cores--macpro.html
An 8-core at 3.46 GHz is a near optimal solution: fastest clock speed and 8 cores serves just about any need. A 12-core 3.46 GHz is a great option also, but will cost even more (available soon), and will be useful mainly for specialized software.
Your most cost effective upgrade for a 2010 Mac Pro is to buy the slowest model (2.8GHz 4-core or 2.4GHz 8-core), then upgrade it.
http://macperformanceguide.com/blog/2011/20110209_MacPro346--upgrades.html
http://macperformanceguide.com/Mac-MacPro-upgrade.html
And weight the cost vs the ever reducing benefit that drops off.
http://www.barefeats.com/wst10c3.html
http://macperformanceguide.com/index_topics.html#MacProWestmere
http://macperformanceguide.com/Reviews-MacProWestmere-CoresExplained.html
So if you are going to bake a dozen cakes, go for it, otherwise, the 6-core 3.33 is still the sweet spot for most tasks and everything will benefit from higher clock.

Is it possible the page will supporting arabic

i hope one day apple will create iwork with full arabic support people these days in meddil east the are using apple but the problem the arabic please

> I hope one day Apple will create iWork with full Arabic support
Solving the problem is systemic: it involves the UCS/SFNT font model of the TrueType Specification that maps input characters to output glyphs, it involves mapping of layout rendering order to logical reading order in SGML-compatible DTD Document Type Definitions, and it involves modernised page description programming models.
Mac OS was the first system software to support Arabic in 1992. Apple's approach has the composition logic in the font file (like the successful ICC approach has the separation logic in the profile file). Microsoft's later approach has the layout logic in the application software, or in a system level layout shaper.
PostScript has no concept of Unicode page text, nor of the SFNT Spline Font file format required for complex rendering in Apple and Microsoft system software. PDF 1.5 and higher is able to embed the CMAP Character Map for simple TrueType shaping, if PostScript is not intermediate.
PDF 1.6 and higher is able to embed Microsoft extension tables (GPOS and GSUB) for reshaping, if PostScript is not intermediate. No version of the PDF Reference Manual has a specification for embedding Apple's extensions to the TrueType Specification. ISO 19005 PDF/A-1:2005 was not satisfactory for several reasons.
ISO 19005 PDF/A-2:2011 includes embedding of Unicode character information. This ISO upgrade is intended to compete with ECMA 388 Open XPS which Microsoft advertises has the ability to embed Unicode character information and SFNT Spline Font file format glyph runs (which is what produces WYSIWYS What You See Is What You Search for reshaping and reordering in complex line layout).
The root of all these problems is that the printing industry has rejected any and all page description programming models that solve the shortcomings in PostScript, since RIPs still process PDF by converting down to PostScript, so the RIPs that feed the printing presses become the real obstacle. The pressure to solve this problem somehow is big, but so is the problem.
/hh

I am considering buying a new MAC laptop to run LOGIC for composition and band live/recording, but which one is best as I do not want to spend too much money? Does it have a line in and how do you monitor sound? Will I need adaptors and a interface?

Can anybody help?
I am considering buying a new MAC laptop to run LOGIC for composition and band live/recording, but which one is best as I do not want to spend too much money?
Does it have a line in and how do you monitor sound?
Will I need adaptors and an interface?
Also, I am guessing as Logic only runs on MAC surely then they would not the best spec to recommend to run it?
I see all the upgrades as additional memory or a faster process?
Is a retina screen necessary, and why flash based storage against a 1TB hard drive, and a i5 instead of an i7
The main reason for this purchase is to play live and use backing tracks and record found sounds and make creative songs.
I hope you can provide some valuable feedback, as I am a longtime MAC user and see upgrades and changes happen regularly but the most important thing is the songs not the equipment.
I have £500 already and willing to add another 500 to 700 pounds, then software extra.

Can anybody help?
I am considering buying a new MAC laptop to run LOGIC for composition and band live/recording, but which one is best as I do not want to spend too much money?
Does it have a line in and how do you monitor sound?
Will I need adaptors and an interface?
Also, I am guessing as Logic only runs on MAC surely then they would not the best spec to recommend to run it?
I see all the upgrades as additional memory or a faster process?
Is a retina screen necessary, and why flash based storage against a 1TB hard drive, and a i5 instead of an i7
The main reason for this purchase is to play live and use backing tracks and record found sounds and make creative songs.
I hope you can provide some valuable feedback, as I am a longtime MAC user and see upgrades and changes happen regularly but the most important thing is the songs not the equipment.
I have £500 already and willing to add another 500 to 700 pounds, then software extra.

Composite components with logic in JSF 1.2

Hi there,
I wonder if anyone could direct me to a god, top-to-bottom, easy to follow tutorial on how to create custom composite components in JSF 1.2 with server-side logic. I've read on this forum (http://forums.sun.com/thread.jspa?forumID=427&threadID=5353923) that the version 1.1 was actually easier in this regard but unfortunately I'm bound to work with 1.2 and still need to solve the problem. Here's what I need:
I need a composition component composed of an h:inputText and rich:calendar as icon-only. I need to be able to add some custom JavaScript on top of the page (once and only once), be able to bind the component's value to a bean (that'd be at the value bound to the h:inputText being part of the composition) and set a couple of additional properties that either be propagated to the rich:calendar, h:inputText or just be used during the custom rendering process.
The reason for that is that the rich:calendar component does not allow arbitrary text to be stored in the backing bean which is a strong requirement for the application I'm writing. The user-entered text is then transfered over the wire and must stay exactly the same as it was entered. Another point to make is that the controls need to be in a particular envelope (a table with single row and two cells) for proper scaling in the parent table cell.
So far I've tried to do it using Facelets (which failed due to the fact that the final control needs to have id composed of parent's id and some text which is not usable from within the call to rich:clientId(...)), I've tried to add controls to a parent control (which failed because the value was not stored properly in the backing bean) and tried to extend the rich:calendar control to add the separate h:inputText to it (which sort of worked, but didn't store/restore the state to/from the backing bean. In the last two approaches I've been adding the components in encodeAll() if they were not already there in the getChildren() list.
I'm desperate!!!
Thanks for your help!

To be more specific (if anyone here knows ASP.NET): The UserControl has something called Page, that component has Header and Body, if I add something to the Header (like Link for one) then it'll appear in the head section of my page.
I need the component to add one JavaScript file that will contain my client-side logic (it's not trivial nor short so it needs to be externalized).
Apart from that it's not doable for me to do all the rendering for myself because the controls I'm using have to be from RichFaces (architect's decision - not mine). So all I can do is either manually glue things together in the xhtml template directly and add the necessary JS to the template (again: manually), or create a compound component that will be composed of the two components that already do what I need them to do and add the necessary additional JS file automatically when the component is added to the page.
However what I wanted to do is to create a component that will reuse the functionality of one of the RF components and add an input field in front of it that'll hold String and not Date (like the cumbersome RF component does).
Can you help?
Edited by: padcom on Jun 7, 2010 12:15 PM

Composite Planning Forms Rule Logic

Hi,
I have a composite form. Now I select an entity on form 1. Enter some numbers. On form 2, I select some other entity and enter some numbers. Now I have a logic that should calculate based on the entities i have selected on the two forms.
Is it possible, to run a single business rule, that applies to both forms. like for eg. Entity 1 has 'x' seats and Entity 2 shares some the seats with Entity1 (it does not have dedicated seats) . Implies Entity 1 is primary. The rule should allocate a percentage of the total cost to entity 2. How best can this be implemented(I havent thought of making a connection between the primary and secondary entities using UDA's for eg as both might change frequently. I would be using a smartlist to differentiate primary and secondary). Is there a way where I can use form1 as an object like "form1.entity"?? Please help.
Thanks,
Shaw

Any help please.??

IS LOGIC A COMPOSITION PROGRAM??

HI newbie here..with a very big question to all logic users...me and my songwriting buddy are about to take the plunge to logic 7.2 and a g5 dual 2.0...but he has alot of questions..i told him i been on here asking about it and reading information from the forum..we r coming from a pc enviroment and from pro tools le 6.1..before he lets out his wallet he wants to know....WE HEAR THAT LOGIC IS A COMPOSITION PROGRAM FOR MUSICIANS...WHAT DO U MEAN A COMPOSITION PROGRAM?...THEN WE HEARD IT IS SORT OF LIKE ACID PROGRAM..A BUNCH OF CLIPS STRUNT TOGETHER TO FORM THE BASIS OF A SONG. what would be the benefit is songwritng with logic over pro tools?...thanxs and sorry if i offend anyone with these question...any info is great appreciated

Well, Logic is a fully functioning DAW (like protools/cubase, etc)--
The way I see it--Pro Tools is an Audio Editing/Recording program (Sound Designer) that has adapted Sequencing capabilities. Logic on the other hand, was originally a composition/sequencing only program (Notator) that adopted audio editing, etc.
In this way, the two programs take completely different approaches to making music. It's a whole different topic when it comes to comparing the differences of PT and LP though.
The biggest part about Logic is the MIDI capability it offers--which makes it a composition beast. You can route MIDI signals to anywhere you could think with logic's Enviroment (The heart of the program). It can all get fairly complicated, or as simple as you want...but what I'm trying to get across, is if you have a substantial outboard MIDI setup, with keyboards, controllers, synths, etc--you will be able to control basically anything you want from anywhere you want, anyway you want to do it. It just takes some learning of the environment (feel free to ask questions here when/if the time comes, theres a few of us very proficient with the eviro.)
Aside from the MIDI--Logic really just 'feels' like a composition program-as I said, it is an evolution of the MIDI Sequencer Notator-it is always (for the most part) acting on a grid specified by you. It is very easy to do ACID type arrangements with logic, because of the way logic utilizes Regions. Regions are blocks on the Arrange that represent either MIDI sequences or Audio Clips. These can then easilly be looped, chopped or edited.
For MIDI editing, there is the Matrix editor, which is a classic Piano Roll style sequencer--but in my opinion, is one of the most elegently implemented (especially compared to Protools).
Plus, the arsenal of sound design tools Logic provides is unmatched--Synths, Samplers, Dynamic FX, Modulation FX---I dont know the exact number, but I know you are provided with almost 100 plugins. This alone makes for a composer's playground.
I could go on and on about why Logic is my choice for composing music--but ultimately it comes down to personal preference...my suggestion is try to toy around with Logic (Do you have a local Apple Store? They usually have a store display that is running Logic)--or find a friend who has it...or go here and download the Logic Express Trial to get a feel for the program....
Some people simply cant stand the way Logic works--as it is almost the exact opposite of ProTools when it comes to functionality. So try it out, test the water, and if you do decide to jump in, the user-base here is always willing to help.
In anycase, best of luck with your decision.

Importing a Finale Composition into Logic Express (8)

Hi, I would like to know how to go about importing a composition done in Finale to Logic so I can master it. I have saved the finale file as a midi file and opened that in Logic, but it doesn't retain the Garritan instrument sounds, and I really don't know what I'm doing anyway. Can someone tell me what is the best process for doing this?

Thanks, actually I have read through the manual a bit, and when it comes to tracking and editing I do know what I'm doing, but when it comes to this specifically, I don't :P
I read the part about importing/opening midi, and I followed the instructions, and it seems that it did actually open all the right parts and everything even with the right Garritan instruments, but now I don't hear anything during playback. I see the little trim meters moving when the sound should be playing, but nothing comes out:/
Right now I'm going to try the long process of extracting each different part from my score and then make an audio file of each to import on a its own audio track. This should work in principle, but it just seems to me that there should be an easier way.

HT3161 I have a 27" mac running with a 3.4 ghz core i7 and 16 gigs of ram and using the latest logic. I have a composition consisting of 7 audio tracks and 4 software instruments and 4 plugins on 4 tracks so why is my CPU spiking ?

I'm running a 27" imac with a 3.4ghz core i7 processor and 16 gb of ram.... In logic I have a project with 7 audio tracks with various plugins running and 4 software instruments which incidentally are not playing all the way through the track...my CPU spikes even if the project is paused...why is this happening on such a high end machine.....wasting my money again seems to spring to mind !!

Did you read this support article?
http://support.apple.com/kb/ht3161

Composite deployment to web logic server

Malformed WS Binding port. Missing # between namespace URI and service/port names on deploying composite project

<binding.ws port="http://namespace#wsdl.endpoint(abstractAsyncService_Client_ep/AbstractAsyncService_pt)"
location="http://hostname:8001/soa-infra/services/default/AbstractAsyncService!1.0/abstractAsyncService_Client_ep?WSDL"/>
<callback>
<binding.ws port="http://namespace/#wsdl.endpoint(abstractAsyncService_Client_ep/AbstractAsyncServiceCallback_pt)"/>
</callback>
In your composite.xml file the declarations you have for your reference or service definitions are missing correct endpoint definitions. You need something similiar to the above, pointing to your services.

Logic Pro 9 When I open a file which contains a composition of many midi and audio tracks, no sounds play or some tracks are playing the wrong sounds. The project was working perfect when it was saved and closed down.

Does anyone else understand what is happeneing, its like all the tracks and plugins are confused and are playing all the wrong sounds if at all. I've checked the audio setting which seem fine but cant understand where it all goes horribly wrong. Thanks

Is it just a Logic problem; can you for-instance play audio in iTunes trough the Tascam? And what about new projects; you get audio there?

How do i email copy of a logic pro composition to a friend ?

I composed a song for a friend and would like to email them a copy. how is this done and do they need special software to hear it ?

If you use Dropbox, make sure you zip up the project before adding it to Dropbox due to a quirk in how Dropbox works.... in regards to Logic Pro projects.
Also;
To ensure the person you send the project to has everything needed from your project, save out the project including all audio files. IRs etc using the checkboxes in the Save Project Dialog window.
Note: If you have used any 3rd party plugins or libraries, these will not be included with the saved project. Your friend must have the same 3rd party plugins and libraries installed to be able to play back the project correctly...or you must save out the tracks as audio stems (bounced tracks) so your friend then doesn't need any 3rd party libs or plugins. However, your friend will not be able to edit the original tracks in this circumstance because the tracks will be audio tracks with all fx etc, printed in the audio.

Logical Difference of defining Multiple Logical level keys

Hi All,
We add logical level keys in BMM layer by right cliking the logical level column of a dimesional hierarchy, doing so defines a new logical key, i already have another logical level column defined as logical level key.
When i double click on logical level hierarchy, it has keys tab where i have two keys now.
say the two keys are: "channel desc key" and "channel id key"
My question is in one key say "channel id key" if we click edit, i am getting all the columns including channel desc column, so if i click it as key, it forms a composite key of (channel id) + (channel desc) inside "channel id key". Then what is the use of maintaining another key = "channel desc key"
Is there any logical difference of ("maintaining two keys having single column defined as key in either of them") and ("maintaining one key having two logical columns defined as keys in a single logical level key")?
Thanks in Advance.
Regards,
Sreekanth.

Hey got the answer, there is a difference, if i add multiple columns as keys under a single logical level key, they both come under one key and its drill down on both the columns, i cannot select selectively out of which column of the two drill down is applicatble.
If i create two different logical keys for two columns i can selectively choose which column drill down is applicable to.
Drill Down is based on "Logical Level Key" not on Logical Level Column selected as key.
Thanks,
Sreekanth.

The problems with Logic (as I see them)

Hello Everyone,
Please keep in mind that I am writing this with the intention of expressing my frustrations, and what I feel would make Logic a better program. I realize not everyone will agree with the importance of what I say, but I am a firm believer of HAVING THE OPTIONS. Let the users choose what works for them and how they can best accomplish the tasks that they need to with their individual workflow.
That being said, here is my list of Logic's faults and why I often call Logic "Illogic".
General:
* Logic should have a feature to automatically save your song every X number of minutes. Final Cut Pro does this, why doesn't Logic? It should prompt you "Logic can automatically save your project if you save it" (assuming the current file is 'autoload') to remind users that they should create a project name and save their work.
* There should be a preference option for all windows to open as 'float'. Once upon a time holding option while double clicking parts would open them as a float (though having to hold down option every time in my opinion is an inconvenience, because I personally ALWAYS want my windows open as a float), however.. now in 7.2 that does not seem to work anymore. So, theoretically after you set your prefence to 'always float', then the when you hold option or control and click on a particular window, it will bring that window to the foreground...
* The loop region at the top of the screen is larger than the time-line ruler tab. This is the #1 annoying thing about logic. so many times, I click on an area of the ruler tab to start playing at a specific section.. and somehow I ACCIDENTALLY click on the loop area... If I could ask for ANYTHING it would be that there is an option to disable LOOPING turning on and off from clicking up there. My 2nd request would be that the ruler tab be re-sizeable so that it can be larger than the loop area. This is especially the case for the matrix window where it default opens up to a sizing where the actual time line is so tiny, and the loop region is HUGE.... Every time I open a matrix window I have to resize this and again the loop area is 2x as big as the timeline area, so I end up wasting screen space just to avoid the annoying loop feature being trued on. My suggestion is, require that the loop button on the transport be the only way to turn on the loop feature (other than key commands), and only when it's turned on can loop points to be set. Why is the loop area so big anyway?!?!
* Logic should offer a TALK BACK MIC button which will utilize the built-in apple microphone or iSight microphone and allow that to be sent to the audio interface. This would be an extremely useful feature for studio recording setups.
* Starting logic takes approximately 5 minutes for me. It says "scanning exs24 instruments" for the majority of the time, and I admit my sample library is huge. however, my sample library has not changed in over a year. Why does logic have to continuously scan it??? Can it not make a reference of how many files, compare and if its larger-- then scan???
Song Loading:
* When audio files are not found during loading a song, it asks you the first time what you want to do "search", "manual", and "skip"... if you click "skip", and then it finds another missing file, it no longer presents you with the "SKIP" option.. but forces you to either search or skip all.. Let's say you have a project that used 5 audio files that are all missing because you had them on a different hard drive, but have copied the data somewhere else. The first two files it asks for you don't need.. but you know where the 3rd file is.. So your plan is to skip the first two files and then click manually for the 3rd.. but oh.. YOU CAN'T DO THAT! You have to find your first 2 files if you want to even have the option to locate your 3rd file... Unless you are planning to locate the files within the audio window-- but still, Logic should not be so unfriendly.
Further, If you choose "manual", and what you're looking for isn't where you thought it was-- You realize you actually want to search for it.. So you click cancel and guess what.. It assumes you want to skip it, and so you either have to reload your project again, or deal with this in the audio window. Bottom line is this window should always have "Search", "Manual", "Skip", and "Skip All".
* When you open another project, Logic DUMPS all of the audio instrument data in memory. This is one of the worst things about logic. If you are working between multiple files-- such as when scoring a film, and you are using different files for different cues, then this becomes a complete nightmare and a waste of your time. Logic should be assessing "What instruments are in common between these two projects"... And utilizing all audio instruments to the best of the machine's memory capacity. There is no reason for Logic to behave like this.. I've had to revert back to previous versions of the same song because some data was different, and I am just trying to visually compare various settings one from the other.. Just clicking from one project's window to the other requires me to have to wait 3-4 minutes while Logic loads all these audio instruments (WHICH ARE IDENTICAL IN BOTH PROJECTS BY THE WAY!!!).. This is just incredibly dumb, and creatively stifling.
* BUG * -- Mind you, if you have two projects open, and you close one.. Logic begins loading all the audio instruments of the remaining project.. If you close that project as it's loading audio instruments, Logic will crash.
Matrix Stuff:
* BUG * If you have a part with lots of notes, and you begin to make a selection and scroll horizontally through all the content until then entire part is covered in the selection... After you release the mouse button and make this selection, quite often many random notes are unselected. This can be demonstrated by watching the following quicktime move:
http://www.collinatorstudios.com/video/logicbug.mov
* When you select a single note in the matrix window, it sounds.. This is a GREAT feature... However, when you make a selection of multiple of notes, they all sound at the same time.. This is just plain dumb. It once blew up my speakers... There is NO reason why a multiple selection would need to sound.. It's just dumb.. bad for your speakers, bad for your ears. The rule should be, if selection box = yes, then sound = no... else, sound = yes.
* When viewing the matrix window while recording, all note events disappear until after recording stops. This is highly annoying (and illogical) as it causes confusion if you are relying on watching the note events in that part to know where you are supposed to come in.
* The grid cannot be set to divisions other than 2 or 3. Musicians use 5 and 7!!! And also, can logic please offer an option to display the grid as NOTE symbols... It is much more musician friendly to see a 16th note with a 3 over it than "24". 24 means nothing to me as a musician.
* Quantizing should allow custom input for tuplets.. So that users can quantize odd figures such as 13:4 for example.
* If you move the song locator to a specific time location in the arrange window, and then double click a part to open it in the matrix window, the window is not opened to the locator's position. Thus causing annoyance and confusion as far as what the user is even looking at.
* During horizontal scrolling of the window, the locator temporarily disappears, making it difficult to find where the locator is-- which usually is a marker for us to know what we are trying to find-- ESPECIALLY WHEN YOU OPEN A WINDOW AND IT'S NOT EVEN DISPLAYING THE SONG LOCATOR'S POSITION!!!
* If you have two parts on the same arrange track, adjacent to each other and you enter the matrix window of the first part.. (assuming the link/chain icon is lit) When you scroll to the end of the note data, logic automatically takes you to the next part... The problem with this as it is, is that it does not take you to the FIRST note event of the text part, but rather continues to align the song locater with where ever it previously was (so you end up viewing somewhere further down in the next part).. To clarify, say you have a part what begins at MM-7 and ends at MM-14, the 2nd part begins at MM-15 and ends at MM-22.. If you begin scrolling the song locator past measure 15, then suddenly you see measure 22. When you really should be seeing measure 15. This is confusing and weird.
* Every time you enter the matrix window of a part, the chain/link button is on. For me, this is incredibly annoying. There should be a way to set this so that the button's default is OFF...
* When you move the mouse around the matrix window, whatever pitch corresponds to the vertical location of the mouse--- that particular key of the piano keyboard on the left side of the window should highlight so you could clearly see what note you are hovering over.. Logic tries to help with this by offering things like contrast options for C D E, but this clearly would be much more helpful.
* With the velocity tool you can (MOST OFTEN ON ACCIDENT) double click on empty space in the window and cause all note events in all parts to appear on the screen-- Yet once you do this, you can't double click on a particular part's note to only display that part again. You have to switch to the arrow tool to do this. This is inconsistent and ILLOGICAL...
ON A SIDE NOTE: PLEASE ENABLE A FUNCTION TO DISABLE THIS "ALL NOTES OF ALL PARTS APPEAR" when double clicking on empty space feature! I want NOTHING to happen when I double click within the matrix window... Make it a button within the window or just an option in the drop down menu only. * BY THE WAY * When you DO double click the background of the matrix window and multiple parts appear.. If you move notes of one part to match it up with other, it is incredibly slow. there is a 1-2 second pause each time you move a note move.. My g5 fan goes on each time I do this.. I'm sorry, there shouldn't be anything too CPU intensive to accomplish this simple task!!! I am only viewing 2 parts at the same time and it's slowing down my cpu...
* Occasionally when I adjust note lengths, I accidentally double click on an actual note.. This opens the event list editor, and there is an intermittent bug where this note sounds-- and for some reason when the event list opens, the note sounds on top of itself a million times, so the result is a super loud flanged note which again, almost blows up my speakers and hurts my ears... PERSONALLY, I would like an option that DISABLES the note event list from opening by double clicking. Preferences currently has "double clicking a midi region opens: <selectable>"--- why not also have "double clicking a NOTE in matrix window does: <selectable>"-- and please allow "DO NOTHING" to be one of the options.
* Why does the finger tool only change the end position of the note event??? Should this not be replaced with the bracket tool which appears automatically when using the arrow tool on closely zoomed in notes? This finger tool seems like an outdated old logic feature which has been replaced and improved upon. What would be nice is to have this bracket tool where we can be assured we are altering note start and end positions without moving things.
* In the hyper-draw >> note velocity section--- This is highly annoying to work with... It's far from user friendly. first of all, to move a note's velocity position, you have to click on the "ball".. if you click on the line, it does nothing.. Because the ball is so small to begin with, quite often the user is going to miss the ball and somehow begin to "START LINE"-- Which is weird because it's activated by holding the mouse button down briefly. There really should be a "line tool" for this, because "START LINE" is too easily accidentally activated-- this is frustrating for the user. Most important though, these 'velocity markings' should be adjustable by clicking on the line as well-- not just the ball.. there should be a 2-3% area around each ball/line which logic will recognize as part of the ball/line so that it can easily be moved. I also feel that there should be some specific features for this section, such as a way to select multiple note velocities and apply a random pattern to them, or apply a logarithmic curve to the line tool. Yes, you can accomplish this stuff somewhat with the transform tool-- but this way would be more user friendly, and allow a lot more creative flow.
Event list/Tempo list:
* When one event is selected, by moving down X number, holding shift+clicking SHOULD select all events between those two points. However, the shift key for some reason acts as the OPTION key does in the finder-- (meaning it will only add one additional selection at a time).. This is highly inconsistent with the actual behavior of a Mac... Open a finder window and hold shift and click on items that are not vertically next to each other and a group is selected... Now do it in logic, and it causes GREAT frustration and annoyance. What happens if you have a million note events that you want to erase? You have to go page by page and click with shift on each one?? Or drag a selection and wait for logic to scroll you to where you want to go?????????? No thanks.
Arrange stuff:
* "REGIONAL CONTENT" (meaning the visual representation of note events) does not accurately depict the event data as note lengths cannot be visually identified. Everything shows up as a generic quarter note... My #1 suggestion is that regional content should be customizable so that you can view it in a miniature matrix data style. The biggest problem for me is that I cannot see where my notes end-- I can only see where they start, this makes it very difficult to identify what I am looking at.
* Track automation data should only be inputable by the pencil tool. I cannot mention how many times automation data has accidentally altered when using the arrow tool. The pencil tool should allow you to raise and lower the lines reflecting automation data... What is the point using the pencil tool for automation if it's only function is to create "points" yet you can also create points with the arrow tool..??? Pencil tool should act as the arrow tool does in the sense that it raises or lowers automation data.
* Recording preferences do not offer the option to automatically merge new part with existing part when a region is NOT selected. How annoying is it to have to select a part every time you want to record something just so it will be included in that original part!
* Ruler at the top of the screen should also give an option for tuplets. 5, 7, etc.
* When in record mode, if you click on the ruler to another time position, all audio instruments cut out and it takes approximately 3-4 seconds before tracks begin playing audio. This becomes very annoying if you are trying to do a pick up and want to just start 1 measure before hand.
* There should be a way to EASILY (without having to cable two tracks together in the environment) temporarily link multiple tracks together so that automation data will be duplicated. So theoretically you can link 3-4 tracks together, and by adding automation data to one, you are adding it to all 4.
* If a part is soloed, and you hit record. The part stops being soloed and you can no longer hear it. This makes it impossible to record a pick up on a soloed track unless it's locked, but it shouldn't need to be locked.
* When you are zoomed in tightly, and you are trying to align notes within two parts on different tracks (meaning using the PSEUDO NOTATION DATA that appears in the part to align), there needs to be a VERTICAL line that snaps to the note closest to the mouse cursor. When trying to do this in parts that are a far vertical distance apart, it becomes VERY difficult to eye this alignment. Logic does this with automation data.. but for some reason they left it out for actual part alignment...
* There should be a way to force the downbeat of a measure to occur at any given moment... What I mean by this, is composing for film is an absolute PAIN in Logic. Scenes, last for odd amounts of time, and Logic's reference manual claims that you can solve this by using various tempo tricks, however it is ineffective for the most part. What Logic needs is the ability where you can click on a drop down menu item within the arrange window and FORCE that where ever the song locator is, the rest of the measure is eliminated and a new measure downbeat occurs right there. This will allow you to always have new scenes on the downbeat of a measure without having to mess with your tempo and meter.
Hyper Edit Window:
* I can't even begin to comment on this... The hyper edit window is one of the worst things I have ever seen in a music/audio program. It is a horrible interface, you can't get it to do anything correctly without messing everything up. This thing needs a complete overhaul... I mean, just try to create a simple crescendo with note velocity and it will take you all night.. Try to add pitch bend data, and it adds note velocity data as well.. It's a total nightmare, and I would love to hear someone's practical application of this window.
Score Window:
* The method that the song position locator moves along with the notation is very strange. It is not at all how a person's eyes function when reading music. A much more logical approach to this would be for a transparent colored block of some type to highlight an entire measure, and each note head will glow as it sounds. The current way is so strange, it speeds up and slows down-- makes absolutely no sense, and it is more disruptive than anything.
* When the Hyper Draw > note velocity area is exposed, if you use the velocity tool to increase/decrease a particular note's volume, the data in the hyper draw window does not update in real-time as you use the velocity tool. This behavior is inconsistent with the matrix > hyper draw's note velocity section-- where as in that area, the velocity ball/lines do update in realtime.
EXS24:
* when you are in many levels of subdirectories and you are auditioning instruments, it becomes very time consuming and annoying to have to continually trace through all the subdirectory paths. There should be a feature directly under the load instrument window that takes you to the subdirectory of the current instrument.
* Seems when SONG SETTING > MIDI > "chase" is turned on... When starting sequences using audio instruments, (I am using a harp sample within the exs24), there is a latency hiccup upon starting, which is very disruptive when trying to listen to a short isolated moment in a composition. And I do want to chase note events in general-- but this present situation makes it difficult for me to work. I would suggest that you can specify tracks to exclude chasing.. Or fix the latency hiccup issue.
Thank you.
-Patrick
http://collinatorstudios.com

this is excellent patrick. can you number your points so that the thread can be discussed?
1. yes
2. ok
3. great idea
4. even better idea. you could set something up with aggreagate device i suppose but it would be better to have the feature to hand.
5. you need to look into your project manager prefs. scan the paths and the links to the audio files will be saved meaning they will load up in a fraction of the time.
6. yes this is nuts. you can skip all and sort it out with PM but then you shouldn't have to.
7. this exists already. perhaps it ought to be a default but you need to set your esx prefs to 'keep common samples in memeory when switching songs'. then it will do just as you wish it to. you can also use the au lab in the devlopers kit which will allow you to load in au units etc seperately from logic, which logic can then access. this is a good way of getting around the 4 GB memory limit with logic too.
8. ok, don't know about this bug.
9. yep happens here too.
10. doesn't worry me this one. you can turn off midi out.
11. yes this is silly.
12. well, i think this is something we can get used to. i am a musician and i am used to seeing '24'.
13. you can already set up groove templates to allow for quantizing irrational tuplets. i do it all the time. i would like to see step input for irrational tuplets though.
14. yes this is silly. the button for the KC 'content catch' is getting very worn out.
15. ok.
16. not sure i understand this one.
17. yes this drives me nuts too. i have to lock screensets to get this to stay off.
18. you can use KCs for 'go into/out of sequence' - but yeah.
19. ok
20. there are a couple of features that use old technology that cause hangs and poor performance. score is a good example of that. maybe the matrix is too. the score is being updated we assume with newer technology maybe the matrix will too.
21. there are probably better ways of adjusting velocity than using matrix or hperdraw velocity. have you tried holding control-option and click dragging a note in score?
22. as i pointed out in 20, this is an old feature. you could change things to be consistent with modern macs and annoy long term users such as myself, or leave them and let them be inconsistent to confuse newbies. i think depending on what it is we oldies could upgrade our work habits.
23. this one doesn't worry me so much.
24. good point (no pun intended).
25. well, i find the opposite - that merging new parts to objects i have accidentally selected to be annoying. perhaps more detailed prefs?
26. yep.
27. this will be down to your audio settings. you can improve this lag but it will be dependant on the capabilities of your system.
28. i don't know why this feature doesn't work in logic. it is supposed to have ti already and i just don't understand why it doesn't. maybe it will be fixed in the next upgrade.
29. agreed.
30. ok - i have other work flows for this but it would be nice.
31. i don't agree that logic is a pain to score with to film, i do it nearly everyday. but you are discribing an interesting feature which might be worth discussing more. i think you might find yourself getting alarming and unmiscal results doing this that will end up having to be sorted out the conventional way. but its a good idea.
32. oh yes.
33. yeah - this could be improved.
34. ok, well i wouldn't go about it this way, but yeah there is generally sticky spots with regards to updating of information al around logic.
25. very very good idea.
26. there are lots of problems with the chase function. very annoying. i certainly agree with this.
in general, some of these could well be done as their own threads. some of the missing functionality may exist. if you can confirm a bug then you are on stronger ground when you submit feedback. but this list is full of fantastic ideas.

Compositing Logic

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