Linear Phase EQ

Not hearing the difference at all to be honest.. ::: What is the use of this in Lemans terms?

You'll hear, and notice the difference immediately if you are trying to EQ a stereo recorded sound, say, like a stereo mic's acoustic guitar.
If one side of the stereo signal needs EQ's, such as if the two mics weren't the same make and model, and you try and add channel EQ to that track, the signal will become heavily out of phase. You'll hear the image shift drastically, and the timing will be off as well.
The Linear Phase EQ will keep the signal in phase, using this example.

Similar Messages

  • Logic's Linear Phase EQ vs. Waves Renaissance EQ

    Hi all, I was wondering what your opinions were in regard to these two EQ's. Which one seems to be the way to go, and what are the differences between the two?
    Are there some things that one would be god for over another, or is one just flat out better than the other for all things?

    I have never used renaissance so im not sure about the two, but in theory any linear phase eq is better than one that is not due to the mathematical algorithms that it use to process the audio.
    The way it works is that most eq's are made to be processor friendly so they have a few downfalls which is a slight phase distortion , this can be heard most when moving a peak notch along the spectrum. Most of the time this won't really be noticed but linear phase eq's resolve this problem but will consume alot more CPU, as the maths is considerably larger.
    My recommendations though are to use 2 eq's which i love by PSP. NEON (linear phase) NITRO (normal), plus another great plug is Vintage Warmer2. As me my friends say: if it moves Vintage warmer. Well there u are, a short answer to ur question.LOL Thanks Stu.

  • Least square linear-phase FIR filter

    I need to geta second order derivative of an array based on 2 stage filtering with a least square linear phase FIR "differentiator " filter. Previously this was done using the matlab routine firls using the "differentiator" tag. Any ideas how this can be done in LabView?
    Thanks in advance.

    I don't believe that LabVIEW has any differentiation functions that use this algorithm. The only derivative function is located in the analyze, signal processing, time domain. You would probably have to build your own.

  • Linear Phase EQ and Latency?

    So after reading up on all the positive tidbits of the Linear Phase EQ vs. the good old fashioned Channel EQ, I decided to start giving it a shot. I like the subtle nuances LPEQ has over CEQ and have been enjoying it.
    Tonight, however, I ran into a major issue. Every instance of the LPEQ introduced some nasty latency onto the track it was put into. I tried to EQ a kick drum and the thing became so far off that I couldn't believe it. Bypassing the plug immediately sent everything back to normal.
    Why does the LPEQ introduce so much latency when used? Is there any sort of workaround to lessen the effect? I bumped my buffer settings up to 512 and there wasn't a bit of difference. What's going on in the LPEQ that would make that drastic of a change? Am I missing something?

    Thanks for the input, noeq.
    You're weclome Brent
    For the record, the latency issue started before
    changing any settings. There's also no recorded
    audio in the session file, all of it is soft-synths
    and samplers.
    I am devising a test for the synths only...without any audio in the session.I'll keep you posted on what I find.
    Are you suggesting that PDC should be off to avoid
    the latency issue?
    At this point I am not suggesting ANYTHING.so please don't change your setup until you can find out exactly why the latency happens.By Sunday I'll have results of my tests for you to look at.
    I don't think it's just my issue or a myth,
    especially since tbird, iS and X all posted as having
    the exact same issue with the LPEQ.
    I'll be looking into this.So far with my only test,to determine default latency of Logic Plugins only,I have found it to be the case that the GuitarAmp Pro and the Space designer reverb DO have different latencies,after all other latencies have been accounted for.The Linear Phase EQ in this particular test,came out to have no latency.
    Perhaps it will be a different result when I do the synth-only test.
    But until I do the test,I cannot know.
    Here is one of my favorite quotes,from aristotle:
    "We suppose ourselves to possess unqualified scientific knowledge of a thing, as opposed to knowing it in the accidental way in which the sophist knows, when we think that we know the cause on which the fact depends, as the cause of that fact and of no other, and, further, that the fact could not be other than it is. Now that scientific knowing is something of this sort is evident-witness both those who falsely claim it and those who actually possess it, since the former merely imagine themselves to be, while the latter are also actually, in the condition described. Consequently the proper object of unqualified scientific knowledge is something which cannot be other than it is.”
    — Aristotle, Posterior Analytics (Book 1 Part 2)
    Cheers

  • Delay with Linear Phase EQ

    Hi!
    I woukd like to know .
    Why i have delay when i use LPEQ?
    There is no delay with other Logic's plugins .
    Thanks!

    It's required for the nature of the algorithm. You can use PlugIn Delay Compensation. Also, ChannelEQ's settings are interchangeable with LPEQ's - use Channel while tracking if you must.
    J

  • Difference betwwen phase linear eq and chan eq

    they look excatly the same. do they behave differently?
    thanks

    I don't really have much technical knowledge.. have just picked up stuff along the way.
    AFAIK:
    when it comes to mastering, any kind of linear phase EQ is by far the choice most engineers would go for... this is because a mixed track is a very complex beast, with a lot of very precisely sculpted and placed elements within it.. well, in theory at least..
    so, using an EQ that messes with phase risks to cause all sorts of unwanted shifting and artefacts all throughout the mix when all you are trying to do is EQ it. this manifests as blurring of stereo placement, and even things like transients and punch being affected badly. so linear phase is by far the choice for mastering cos it does not do this at all.
    when it comes to EQing individual sounds.. really, it's anyone's call. you should learn the sound of your EQs by imprinting their signature in your brain. treat yourself like an impulse response analyser, and learn the character of every EQ you have.
    sometimes, I even go for the fat EQ because I am looking for its particular kind of notchiness on a certain sound. other times, I'll go for a UAD cambridge because I like the way it helps reveal grain and harmonics without being brittle. also, right now I'm really liking the URS EQs.
    linear phase or otherwise, when you are equalising individual sounds in your mix, it's really about finding the frequency scuplting tool(s) that give the nuances you are after. if a certain EQ does it with a touch of pleasant personality that works, then great. if it unfocuses and disturbs your sound in unwanted ways, try something else.
    generally speaking though, linear phase EQs are a cleaner sounding EQ, which is useful when that is what you are after.

  • Logic 10.0.5 is out! Three new drummers, LOADS of fixes.

    I have not yet finished reading the release notes, it is almost 5,000 words...
    http://support.apple.com/kb/TS4498
    Logic Pro X 10.0.5: Release notes
    Symptoms
    Logic Pro X 10.0.5 is an update to Logic Pro X. Logic Pro X is a new paid version of Logic Pro.
    Resolution
    Logic Pro X 10.0.5 update
    New features and enhancements
    Includes 3 new Drummers and 11 new Drum Kit Designer patches.
    Significant enhancements to Channel EQ and Linear Phase EQ plug-ins, including:
    Redesigned, easier-to-use interface that's also accessible within the Smart Controls area
    Double Precision processing provides more accurate filtering, especially for low frequencies
    Oversampling option improves high-frequency clarity
    Option to apply EQ only to stereo left, right, middle, or side signals
    There is now an option to set the Piano Roll to a light background color.
    Selected notes in the Piano Roll are now highlighted by a selection frame.
    When Logic is stopped or in Play mode, the glyph on the Metronome button in the control bar now illuminates to indicate that “Click while recording” is enabled.
    The Shuffle commands are improved (see Logic Pro X Help for details).
    User interface
    There is now a command to assign region names to track names.
    The waveform size in an audio region now adapts to the value of the region gain parameter.
    Loops that belong to the same family can now be selected and changed using a new control in the region header.
    Logic Pro X now assigns region and Mixer channel colors that are closer to the original colors when opening a project created in an earlier version of Logic.
    Option-clicking a disclosure triangle in the Project Audio window now toggles all disclosure triangles in the window.
    The Windows menu again lists all currently open windows.
    The Mixer can now be reliably resized when in All mode.
    Renaming multiple selected Mixer channels now reliably renames all channel strips in the selection.
    When creating a duplicate track, the correct track icon and color are now assigned to the duplicate.
    The song title is now automatically populated in the Share to iTunes dialog when sharing a song created in Logic 9 or GarageBand for iOS.
    It's once again possible to browse or load patches onto the Output channel strip via the Library.
    The View menu items One Track and Selected Regions in the Piano Roll are now disabled when Link mode is disabled.
    Performance
    Improves processor balancing for multi-output software instrument configurations.
    Improves handling of multiple displays on OS X Mavericks v10.9.
    Resolves an issue that in some cases might cause audio clicks and pops when scrolling.
    Moving an automation line while playing no longer spikes in CPU usages, or clicks and pops in the audio output.
    Resolves an issue that could cause clicks and pops in the audio output when adjusting the gain or output level settings during playback in the various plug-ins.
    Logic's interface no longer freezes when using the Native Instruments Maschine controller to adjust two macro controls simultaneously.
    Fixes an issue in which a warning about not enough memory might be displayed when performing Undo after editing a protected track.
    Adjusting the frequency controls while playing audio through the Stereo Spread plug-in no longer causes audible zipper noise.
    Improves the performance of scrolling when dragging regions in the Tracks area beyond the currently visible section.
    Playing notes live into the Arpeggiator plug-in no longer sometimes leads to spikes in CPU usage.
    Fixes an issue that could cause a spike in CPU usage when recording near the end of a project.
    Logic 9 projects that contain a macro object in the Environment now behave more reliably when opened into Logic Pro X.
    Multiple instances of the Scripter plug-in no longer have the potential to cause stuck notes.
    The Scripter plug-in is no longer prone to causing stuck notes when using the Delay Note Until Next Beat preset.
    Switching between presets in the Space Designer plug-in no longer sometimes results in noise.
    General
    Regions copied from a Track Stack can now be muted as expected even when they are within a Track Stack that is muted.
    Deleting an audio Track Stack while it was soloed no longer leaves all the remaining tracks muted.
    Entering a new crossfade value in the Region inspector for multiple selected regions now works as expected.
    Region-based automation data beyond the end of a region is now chased properly even when playback is started after the last automation node within the bounds of the region.
    Logic now maintains the correct relative levels when automation on multiple tracks belonging to the same Group are copied by dragging.
    Resolves an issue in which track automation might be deleted when switching patches.
    The default display setting when showing automation on Track Stacks is now Volume, instead of Display Off.
    A track is now created as expected when using a control surface to set the automation mode of a channel strip not previously assigned to a track.
    Moving a SMPTE locked region can no longer  cause the automation on the track to  move.
    The position of the automation line no longer jumps unexpectedly when it is selected after creating 4 automation points with a Marquee selection.
    Adjacent automation points of the same value are no longer sometimes inadvertently deleted when moving automation points on a grouped track.
    The Repeat Section Between Locators command now includes automation on tracks that contain no regions in the repeated section.
    When using Touch mode, Logic no longer writes unneeded automation points at the held value when holding a fader at the same position where there is an existing automation ramp.
    Writing automation to an Aux not assigned to a track can no longer potentially cause tracks in a Track Stack to be rerouted to that Aux.
    Copying multiple regions where only some affected tracks contain automation no longer activates Automation Read mode on the channel strips that have no automation.
    Chase now works as expected for MIDI controllers on channels other than channel 1.
    Takes are now shortened as expected when the take folder containing them is shortened by an edit operation and No Overlap mode is enabled.
    Fixes an issue in which the visible area might jump unexpectedly when comping in a take folder that was not on the selected track.
    Fixes an issue that caused some audio regions to be immovable when duplicate regions are packed into a take folder.
    Packing regions with names containing non-ASCII characters into a take folder no longer creates garbled take names.
    Numbers assigned to MIDI takes now increment reliably.
    Expanding a take folder no longer potentially causes the playhead to fall out of sync with the audio output.
    When using OS X v10.9, the playhead in the Audio Editor now consistently maintains the correct position when switching from Flex Time to Flex Pitch mode.
    It's now possible to set a loop to a length of less than 1/16 note.
    The position of beat markers in the Global Beat Mapping track are now updated appropriately when using the various Cut/Insert Time commands.
    Inserting a beat marker in the Beat Mapping track no longer creates unexpected tempo events in some circumstances.
    Expanding a take folder no longer potentially causes the playhead to fall out of sync with the audio output.
    Resolves an issue in which some MIDI notes might unexpectedly change position when Beat Mapping.
    Adding a Beat Mapping marker no longer intermittently removes existing tempo events.
    Inserting a fade-in using Shift-Control and the Pointer tool now works consistently.
    Using the Fade tool to set fade-ins on multiple regions in a set of grouped tracks now works reliably.
    Dragging regions on multiple grouped tracks with the Drag Mode set to X-Fade  no longer potentially results in crossfades of varying lengths.
    The Delete command now works as expected on selected regions that are inside a collapsed Group in the Project Audio window.
    It's now possible to add a green Apple MIDI loop to the Tracks area as an audio loop by dragging it from the Loops browser while pressing the Option key.
    Logic Pro X no longer creates separate tracks for non-overlapping regions when unpacking folders in projects created by earlier versions of Logic.
    Using the  menu that appears when pressing the Metronome button in the Control Bar, it's now possible to set the metronome to sound only during count-in.
    Improves the reliability of Undo in several areas.
    The Mixer window  no longer intermittently moves when scrolling past the minimum or maximum value of the fader using a scroll wheel or gesture.
    It's now possible to select or open folder tracks in the Mixer.
    Right-clicking  an Aux or Output channel strip in the Mixer and selecting Create Track now behaves as expected even if the channel strip is not initially selected.
    Command-click again works reliably to  deselect a Mixer channel within a selected group of channels.
    The display of audio waveforms of regions in a track  no longer change unexpectedly when enabling or disabling the Groove status on a track.
    Looped regions inside a folder now update the point they are supposed to stop playing after extending the length of the folder.
    Overwriting an existing project  no longer potentially leaves assets from the original project in place.
    When creating a new project from a Logic 9 template, the default save path is no longer the location of the template.
    Improves the mapping of Smart Controls to channel strip settings created in Logic 9.
    The Follow Tempo parameter in the Region inspector is no longer incorrectly disabled for Apple Loops in songs last saved in GarageBand 6 or earlier.
    Clicking and holding down on the upper-right corner of a region no longer unexpectedly enables looping in the Region inspector, with a loop length of zero.
    The Region Inspector no longer displays a Loop checkbox for selected Track Stack folder regions.
    It's once again possible to disable Quantize in the Region Inspector for a region on a track slaved to a Groove Master track.
    Saving a song created from a template  no longer resets the tempo to 120 BPM.
    Text for alert messages now always displays correctly on control surfaces.
    Changing Region inspector parameters for MIDI regions on the main track of a Track Stack now behaves as expected.
    It's again possible to change the Transpose value in the Region Inspector using the + and - keys.
    Logic now consistently responds to Play or Stop key commands when a floating Region inspector window is open.
    It's no longer possible to give the same name to more than one project alternative.
    MIDI played from the Musical Typing Keyboard and Logic Remote is now routed through the Physical Input object in the Environment, which allows  Environment processing of MIDI as it is being played into Logic from these sources.
    Logic no longer adds 2 extra frames to the value when entering a SMPTE position in a project set to a non-drop frame rate.
    Regions copied by option-dragging in projects with a start position earlier than bar 1 now end  at the desired position.
    Moving the first arrangement marker in a project  no longer inadvertently moves other arrangement markers.
    Resolves a rare issue that could cause the timing of a track in a project with many tempo changes to be altered after turning Flex on and then off.
    Logic now asks the user to save the project when closing a project immediately after entering text into the Project Notes area.
    It's now possible to consistently add, remove, or edit plug-ins on tracks that were frozen in Source Only mode.
    Pressing the Control key while dragging a region with the Snap Mode set to Bar now moves the region by beats instead of ticks, as expected.
    Editing the left border of an audio region now behaves as expected when the Snap setting is set to “Snap Regions to Relative Value”.
    Resizing a region with the Snap setting set to “Snap Regions to Absolute Value” now behaves as expected.
    Resolves an issue that caused an event in the Event List to move later than expected when editing its position.
    The “Capture as Recording” command now works as expected when multiple MIDI tracks are record-enabled.
    It's now possible to preview sections of an audio file outside the current region borders by clicking the area in the Project Audio window.
    The tap-to-click option for trackpads now works reliably with all drop down menus.
    The “Discard Recording and Return to Last Play Position” key command now reliably discards the recording.
    It's again possible to use the Tab key to navigate to the next control while working with plug-ins in Controls view.
    The MIDI Activity display now shows chords as they are played when using Musical Typing.
    All currently found audio files are now reliably saved with a project when using Save As or Save a Copy As with a project in which one or more audio files are missing.
    The name of a project is now correctly updated after saving a  project created from a template.
    Fixes an issue in which clicking on the level LED in the track header did not select the track.
    Resolves an issue in which changes made to the setup for Mackie Control and other MCU-compatible control surfaces were not saved by Logic Pro X.
    Setting the Display Time preference to “SMPTE/EBU with Subframes”, “SMPTE/EBU without Subframes,” or “SMPTE/EBU with Quarter frames” can no longer  cause the time display to jump unexpectedly.
    Saving a project for the first time no longer resets the record path when it was previously set to an external path.
    Performing undo in the Piano Roll or after deleting a flex marker no longer has the potential to unfreeze currently frozen tracks in the project.
    Sample rate, tempo, and key information is now reliably stored within template files.
    Fixes an issue in which the Repeat Regions dialog did not have key focus when opened, making it necessary to click it with the mouse before pressing Return to confirm the operation.
    Individual MIDI Draw points in the Piano Roll are now  easier to grab.
    Deleting a track no longer has the potential to inadvertently delete regions on other tracks.
    Cut/Insert Time edits no longer add unexpected tempo changes.
    Scrubbing the SMPTE display in the LCD no longer moves the playhead to the wrong position.
    Copying an arrangement marker to a position between two other arrangement markers  now moves the end-of-song marker to accommodate the new section, as expected.
    Audio
    Audio regions now appear as expected in the Audio Editor, even when cycle is enabled and there are no audio regions within the cycle area.
    Flex Pitch now correctly detects notes for take regions that have manually inserted flex markers.
    The timing of notes played during the count-in on EXS24 or Drummer tracks is now more reliable.
    Pasting an audio region into a take folder now correctly places the region on the selected take lane.
    When saving an EXS instrument, the default save location is now ~/Music/Audio Music Apps/Sampler Instruments.
    Editing the start point and anchor in the EXS audio editor now consistently alters playback as expected.
    Logic no longer overwrites an existing audio file of the same name when performing a bounce with the option to create a split stereo file enabled.
    Audio tracks assigned to output to a bus now consistently maintain that assignment when imported into a different song.
    User-defined controller assignments now work as expected to control MIDI plug-in parameters.
    The Record Repeat command now deletes the previous recording when used after recording in Cycle mode.
    Quantize now operates reliably on takes that are displayed in the Audio Editor.
    The Tuner window is no longer affected by the Content Link setting of other plug-in windows.
    Audio now plays for multiple cycle iterations when using marquee selection to define the cycle area.
    When the Edit command “Analyze Audio for Flex Editing” is used, Logic now properly resets any existing pitch edits on the selected audio files.
    Command-clicking a selected note in Flex Pitch mode in the Audio Editor now deselects the note, as expected.
    Setting a track to Flex Edit mode with the Slicing algorithm no longer processes the track with Flex if no edits have been applied.
    It's again possible to set Software Instruments to mono.
    Logic no longer creates an extra audio file when merging or format-converting audio files.
    Resolves an issue in which the Mixer did not show the 8th bus send on a channel strip.
    Changing the input format of a stereo output channel strip to mono now creates a second mono output channel strip on the Mixer for the other channel in the stereo pair.
    Setting an external recording path now reliably resets the Audio Assets setting. Conversely, enabling the Audio Assets setting now disables an externally set recording path.
    The compressor meter in the channel strip is now in sync with the meter in the plug-in window.
    Drummer
    Improves the translation of articulations when an Ultrabeat-based patch is assigned to a Drummer track.
    When a project starts on an upbeat, a Drummer region at the project start now automatically creates a fill at the beginning.
    Changes to Drummer regions are now reliably applied when the regions are set to follow a flexed audio track.
    MIDI editors
    The Link mode button is now available for the Piano Roll editor.
    The “Limit Dragging to One Direction” setting now works  as expected in the Piano Roll.
    It's now possible to grab notes shorter than 15 ticks for editing in the Piano Roll.
    Double-clicking a region with MIDI Draw enabled now consistently opens or closes a MIDI editor.
    Resolves an issue in which recently recorded MIDI notes might disappear from view in the Piano Roll when recording with cycle engaged.
    It's again possible to alter the pitch of notes in the Piano Roll via MIDI input.
    Using  Option-Shift  to edit the end points of multiple selected notes to the same position in the Piano Roll Editor now works as expected.
    In the Piano Roll, it's again possible to use Option-Shift in conjunction with the Velocity tool to set all selected notes to the same velocity.
    An Event Float window that is linked no longer switches unexpectedly to the Region level when using arrow keys to move from note to note in the Piano Roll.
    Pasting events in the Piano Roll when the playhead is to the right of the region border will not trigger the error “Illegal Region number”.
    It's now possible to copy a note in the Piano Roll to a different pitch at the same position when the note starts before the left edge of the region.
    It’s now possible to move notes in the Piano Roll by increments smaller than 13 ticks when the “Limit Dragging to One Direction” setting is enabled.
    User-inserted rests no longer incorrectly appear as notes in the Piano Roll.
    Copying a muted note in the Piano Roll now creates a muted copy of the note, as expected.
    Fixes an issue in which some note events might not be selectable in the Step Editor.
    The contents of the Event List are now updated properly when deselecting a region from a multiple selection while Content Link mode is enabled.
    The Event List now displays the correct LSB values for 14-bit pitch bend events.
    Editing Release Velocity values in the Event List now behaves as expected.
    The “Copy selected events” option in the MIDI Transform window now behaves as expected.
    Score Editor
    Fixes an issue that could cause the menu option for switching between Parts and Score view in the Score Sets window to disappear.
    Double-clicking  a region with the All Instruments filter setting active now reliably reveals all regions on that track, rather than just the single region.
    The contents of the Event List editor are more consistently updated when changing the region selection from the Score window.
    Newly inserted key signatures no longer display “xx Major” in some circumstances.
    The Chord Grid Editor now correctly names Add 9 chords.
    The clef menu no longer disappears for a Mapped Instrument staff style set to “No Clef”.
    It's again possible to create a new Chord Grid library that uses an alternate tuning.
    It's  now possible to adjust the Velocity setting in the MIDI Meanings settings window by scrubbing the value with the mouse.
    The length adjustment in the MIDI Meanings settings window can now be adjusted via a pop-up menu.
    In the Staff Style window, the check marks indicating that a style is used in the current song now reliably update to reflect changes when Content Link mode is off.
    Grace notes now scale properly when the scale setting of a Score Set is  less than 100.
    Resolves an issue that prevented reassigning instruments assigned to a Score Set after performing certain other edits.
    Fixes an issue that prevented naming a floating score Part box set.
    Plug-ins
    Solo now works as expected on channel strips using an external I/O plug-in
    Ultrabeat can now find samples that have been relocated from the default install location.
    Ultrabeat now correctly applies the Fine Pitch adjustment to all triggered samples when trigger mode is set to Multi.
    It's now  possible to halve/double the current rate of the Arpeggiator plug-in by clicking the Slow/Fast buttons.
    The ES1 synth plug-in  can now be set to offer 32 and 64 voices per instance.
    The Scripter plug-in now allows System Realtime MIDI events to pass through.
    The Scripter plug-in now offers an option to keep current control values when recompiling a script, rather than resetting all values back to their defaults.
    The Scripter MIDI plug-in now includes a Set Parameter function.
    Switching between Vintage Electric Piano patches while holding notes no longer potentially results in momentary jumps in level.
    The Vintage Electric Piano no longer potentially creates audible pops when switching patches when the Drive is enabled and set to Type II.
    It's now possible to continue working with the Scripter editor window when Logic Pro X is not in focus.
    The Surround Compressor plug-in now properly shows all the new circuit types available in Logic Pro X.
    It's again possible to copy or paste settings in the Space Designer plug-in window.
    The order of controls in the Retrosynth Filter Envelope and Amp Envelope sections has been reorganized to improve usability.
    The plug-in window no longer appears empty for Waves plug-ins opened in projects created in Logic 9.
    Fixes an issue in which inserting a plug-in on multiple stereo Software Instrument channel strips would insert mono versions of the plug-in on some channel strips.
    EXS24 or Kontakt settings are no longer  removed from a song if the Audio Device buffer size is changed before saving the song.
    Resolves an issue in which adjusting parameters on the Channel EQ while playing back might cause minor clicks and pops in the audio signal.
    Moving an Amp Designer instance to a different plug-in slot no longer sometimes changes its sound.
    “Save as Default” for Audio Unit presets again works as expected.
    Video
    It's now possible to exchange movie files in a project by dragging a new movie file into the Movie window or the Movie inspector.
    Logic Pro X can now work with the following professional video codecs, if OS X Mavericks v10.9 and the codecs are installed: Apple Intermediate Codec, Apple ProRes, AVC-Intra, DVCPRO HD, HDV, XDCAM HD / EX / HD422, MPEG IMX, Uncompressed 4:2:2, XAVC.
    There is now a Show/Hide Movie Window command in the View menu when the current project contains a movie.
    Resolves an issue in which some movies that were compatible with QuickTime X did not play in Logic Pro X.
    Exporting audio to a movie with a portrait orientation no longer causes the movie to rotate 90 degrees.
    Logic is now  able to export surround AAC audio to a movie even if the original audio in the movie was originally kept.
    The visible frame of a movie now updates as note lengths in the Piano Roll are changed.
    Import/export fixes and improvements
    XML projects imported from Final Cut Pro X now contain volume and pan automation when opened in Logic Pro X.
    Exporting a project as an Final Cut Pro/XML file with the “Export as Final Cut Compound Clip” option enabled now behaves as expected.
    Includes several improvements to the way Logic handles audio sample-rate conversion when importing Final Cut Pro XML.
    Logic now shows a progress bar when importing large Final Cut Pro XML projects.
    32-bit float audio files in Final Cut Pro XML projects are now converted to 24-bit files during import so they play properly when imported into Logic.
    The start time of imported Final Cut Pro XML projects is now consistently correct.
    It's now possible to export Music XML when the Score window is in linear view mode.
    Logic no longer shows multiple alerts when importing a Final Cut Pro XML project containing videos in a format not supported by Logic.
    Songs created in GarageBand 6 no longer load in Logic Pro X with an extra channel in the Mixer.
    Fixes an issue in which audio in a song imported from GarageBand 6 might play back too fast in Logic Pro X.
    Logic now offers to include embedded tempo and marker information when using Track Import to bring an audio file into a project that contains no other audio regions.
    Simultaneously dragging multiple MIDI files into the Tracks area now behaves as expected when using No Overlap mode.
    The default destination path for exported MIDI files is now the project folder instead of ~/Music/Logic.
    When importing projects, there is now an Add All button in the Aux import dialog.
    The user settings in the Bounce window are now retained after sharing to iTunes.
    Split stereo SD2 files no longer incorrectly import as AIFF files when the WAV file option is enabled.
    The “Share Song to iTunes” command now creates a playlist with the name entered if there is not already an iTunes playlist with that name.
    MIDI events that precede the start point of a region are no longer included when the region is exported as a MIDI file.
    Stability and reliability
    Includes several fixes related to stability and reliability, including to resolve issues that could cause Logic to quit unexpectedly in these circumstances:
    When changing the length of a time-stretched region
    When importing tracks from another project
    When recording with the color palette open
    When bypassing an instance of the Maschine plug-in
    When exporting Music XML after applying Enharmonic Shift to some notes
    When changing the range on an Environment fader whose style was set to Text
    When quitting a project that has a Surround Compressor inserted on a channel strip
    When removing a control surface from the Control Surface setup window when the Logic Remote is also present
    When changing the range value of a Smart Control during playback.
    When reapplying a Time and Pitch operation after undoing a previous one
    When dragging an audio region from a take folder to a new song

    Thanks Erik,
    If nothing else, this huge list of updates and fixes, shows clearly that the Logic Dev team is working hard on fixing and improving LPX to a major degree.... and from the list of fixes done.. show they do read the bug reports submitted!
    As an aside....
    I recall how all the 'naysayers' prior to LPX (and in some cases, since...)  were proclaiming how Logic was dead, the team was being disbanded, we won't see any further development, the Dev team doesn't listen or care... and so on....... I wonder where those people are now?

  • Best way to use Mastering Plug ins and order to use in the chain?

    I know this can vary from track to track, and it all may depend on the style of music. I just wanted to know if anyone had a set order that they find works best when using the mastering plug ins? Currently I master many different ways, usually by starting with Multiband Compressor, or Channel EQ and then moving to Linear Phase EQ, or sometimes not, then to Adaptive Limiter. At the end I'll sometimes throw an analysis plug in, or use Match EQ using settings from recorded tracks from other bands. Any suggestions for getting the highest push possible on a mix, while retaining sonic clarity? Let me know what you think, and thanks for your answer.
    Message was edited by: Sodacon

    For 'rough' mastering, I find that I use very little Linear Phase EQ, multi-band compressor (a touch) and often PSP Vintage Warmer or Tritone Digital's ColorTone Pro, or if I move the project over to PT, the Cranesong Phoenix which hopefully one day will be available as an AU. Sometimes I'll use Adaptive Limiter. Of course, it all depends on the material: everything I do is rock music destined for CD production so YMMV. At the 'real' mastering stage I use a mastering studio.
    I love the Sonnox stuff, but I find that I use those plugs much more on individual tracks except Inflator which can be amazing.
    +while retaining sonic clarity+
    You might want to check a demo of the MPL-1 from Kjaerhus. I was testing it out for a while, and since it was released in AU format (a first for Kjaerhus - a tiny Danish company known for their Golden Channel RTAS) I've been using it a lot - very clean and transparent when set right.
    http://www.kjaerhusaudio.com/mpl-1.php

  • The ever popular newbie EQ issue

    Hi all... as an experienced musician who's been dabbling in the DAW world for about a year I thought I'd share my EQ learning experience with my fellow newbies (pros, feel free to laugh! I can take it.)
    Anyway, I spent many months rendering my brilliant noodlings into absolute mud through complete lack of knowledge of what all them knobs and waves meant But now I;m now getting tracks that to my ears (and people other than my mom) sounds pretty good -- sounds the way I want it -- and getting mixes that sound fairly clear, at least not totally chaotic and muddy.
    As Bee Jay pointed out earlier, there is no "right" set of EQ settings that will work for every song (unless you can afford the Awesomizer!). But there's general frequency bands in which instruments (and I'm thinking of basic rock and roll instrumentation, eg Zeppelin, Sabbath, loud English-American blues) live the best, those are the bands where to begin EQing the signal.
    "The Mixing Engineer's Handbook" breaks out this info pretty well, I think. It also includes helpful interviews with a lot of well-known pros, and describes how they build their mixes. The book also describes places to cut and boost for each instrument that tend to have worked in the past -- and explains why those tried and true methods work. it helps one understand why the Logic presets are the way they are. I'll use those bands as a starting point, then tweak from there, depending on the composition.
    As for doing the actual EQing, I can't praise PSP Audio's MasterQ highly enough. It's a parametric EQ with a great interface (knobs for freg/Q/gain) and a nice big graphical display. What I will do, when EQing kick/snare/bass is have each channel's MasterQ instance simultaneously on my screen to ensure they're not crowding each other out. (Also highly recommend PSP's MixPressor and Vintage Warmer, and their Neon Linear Phase EQ!)
    So it's not totally mysterious... you just have to arm yourself with a bit of theory and get a EQ that functions and communicates in a way that's good for you. And futzing around, a lot.

    I find the best tool in this respect is the analyser, plus your ears of course.
    My latest remixes on Peter Gabriel"s Real World Website:
    http://www.realworldremixed.com/remixer.php?remixer_id=oqkx--xChQR1ZrHX8kI.

  • HELP! Weird "Underwater" effect when reducing high and low frequency noise.

    Hi everyone.
    I am in a spot of bother with Soundtrack Pro. I hooked up a reel-to-reel player's audio line out to my PowerBook's line in. Then in Soundtrack Pro, I hit record.
    So everything works out fine, except...
    There is some hissing in the audio file which I can easily remove with the "Reduce Noise..." feature, but there is this low "rumbling" noise in the background. When I try to remove that, the entire song sounds like it was played "underwater". I tried selecting only the low noise, goin to "Process>Set Noise Print" then reducing the noise, and the underwater effect gets worse.
    I need help pronto!
    Thanks

    Hmmm...OK. The hiss is removed, and the underwater effect is elimanated, but how do I get rid of this annoying low rumbling? I tried looking under the Analysis tab and selecting "Power Line Hum" but it couldn't find anything. High Pass Filter and Linear Phase EQ either kill the whole bass frequencies or they make the song sound "Tinny".
    Any advise?
    Thanks

  • Problem with the bouncing output always at 0 should be lower

    I am bouncing my mix for cd in the stereo out channel i have linear phase equ , then , multipress , than finally the Adaptive Limite which the output i set -0.1 . After bouncing the file peaked at 0 even whe i set the limiter output to -0.2 it still bounced and peaked at 0 .
    Any idea why itys doing this ?

    Also make sure, in the adaptive limiter extender parameters, that "no over" is checked... as in this pic.

  • Side-chain filter does what exactly?

    I'm sure this must be covered somewhere, but I can't find specifics in the manual or previous posts here.
    Which signal does the side-chain filter in LP8's compressor affect--the side chain signal (i.e., compression only occurs when certain frequencies are present in the sidechain source signal) or the audio that's being compressed (i.e., only compresses certain frequencies in the track in which the compressor is inserted)?
    If it's the former, how does one compress only specific frequencies using a side-chained signal? I'm asking partly because I want to use a kick drum to compress a somewhat bright bass, but I'd like to try compressing only the lower frequencies of the bass, down where the kick drum's frequencies overlap.
    Hope I've explained this all clearly.

    Randall--thanks so much for all your info. Like Dalek, I initially thought the side-chain filter does what I needed to do, but I guess not. The solution is a bit complicated, but that's not your fault; you didn't write the software, and at least you thought of a clever way to do selective-frequency ducking in Logic. I haven't had time to try it yet, unfortunately, but hope to tomorrow. I've taken the liberty of pasting below your post that you linked to on the Logic Pro Help board (hope this is OK), mostly so that anyone else with this same problem can find the answer all in one thread.
    Randall's post:
    Pursuant to my previous tip on improving noise gate performance:
    http://logicprohelp.com/viewtopic.php?t=17553
    . . . a couple of people asked me if I'd write up how to do selective frequency bandwidth ducking to improve a signals presence in a busy mix. So I thought Christmas day would be a good time to write this up and create an example as I'm deliberately not doing any "real" work today!
    So here's the typical problem. A bunch of noisy guitars driving along and you want to inject an acoustic guitar or vocal lead in there once in a while. But you can't get the track hot enough or eq'd enough to overcome the noisy guitars. Ducking the guitars with either automation or a sidechained compressor might be too noticable, so this trick allows you to just duck the specific frequency range that is masking your lead track. Here's how to do it:
    Note: the attached LP8 example just uses some stock Apple Loops that everyone should have, (I hope).
    1. This is a mix technique and we'll be assigning plugs to auxes, so make sure PDC is set to "All" in your preferences.
    2. Assign your noisy guitar tracks to a bus. We'll use bus 10 as in my example.
    3. Assign your lead track to your main outputs. Create a Send on this track to bus 11 and set its level to unity, (ctrl-click the send).. This will also create an aux in your mixer. Delete this aux.
    4. Create 2 new aux channels. Assign both their inputs to Bus 10, and both their outputs to your main outs.
    5. Don't put any plugs on the first aux. On the second aux, (from top to bottom) place a Linear Phase EQ, a Noise Gate, then a Gain plug.
    6. Set the EQ up with a Lopass and a Hipass only, with steep 48dB/oct slopes. Leave the Q at .71.
    7. Set the Noise Gate as follows.
    Threshold & Reduction: -100dB
    Attack, Hold & Release: 0mS
    Hysteresis: -20dB
    Lookahead: 20.000mS
    Sidechain: Bus 11
    8. Open the Gain plug and enable Phase Invert(s). Close the Gain plug.
    Here's what's happening in my example. When the acoustic guitar plays, the gate opens up on the second aux track that has the flipped phase noisy guitar signal. With the EQ bypassed and the aux faders at unity, you'l hear none of the noisy guitars as they will cancel out. In my example, I want to hear more of the body of the acoustic guitar which is about 225 to 1300 Hz so that's what I've set the EQ to pass. So now everything below and above that band won't be canceled. If I drop the fader down on the second aux, then the signal isn't cancelled as much.
    When the acoustic plays, the body of the guitar sound comes through the mix a bit more as I'm attenuating the noisy guitars just in that band and just while the acoustic is playing. So your guitars can keep driving along!
    You have a lot of control as you can tweak the reversed aux's fader for the amount of ducking and tweak the lo and hi pass freq parameters on the EQ to tune the band that gets ducked.

  • Looking for a third party go to EQ plug to work with Logic.

    Hey folks, here's the deal: I'm looking for a great sounding, versatile, linear phase EQ. This will be used on a track by track basis, so low CPU overhead would be a plus, but I am running this on a dual 2.8 GHz eight core Mac Pro with currently 6 GB's of RAM, later to be expanded, so sound quality is more important to me than anything else. Cheaper, of course, is better, but I don't really want to miss out on quality to save a buck either. I already own two UAD-1 cards, and bought the Precision EQ, and while I like it, it's really mainly for mastering and not for finely tuned mixing work. I also own the DDMF EQ's, and enjoy them. I also own T-Racks 3, and use the linear phase EQ's with that, still, I am looking for something else for some reason. I am mainly using Logic Pro 8, and the linear phase EQ with it as my go-to channel EQ at the moment, but I also own Ableton Live 5, Digital Performer 5.13, and Pro Tools M-Powered 8, so I have access to the EQ's in those. But Pro Tools is only just for getting projects and audio out of Pro Tools, I can't use it well with the rest of my system, so that's that. Ableton is great, but not really what I use anymore, although I wish I had more time to get down with it.
    Anyway, here is what I'm mainly considering, although I could go with any other idea at this point, so please make any suggestion you feel fit.
    1) Ozone 4. (http://www.izotope.com/products/audio/ozone/)
    I like the company a lot, and it's going to be inexpensive for me due to a student discount. I probably will buy it sooner or later, my thoughts are though that it largely duplicates what I already have with T-Racks 3, and I can't see using it necessarily as a channel EQ for some reason, although I probably could. I don't know how it sounds really either, I imagine pretty good, though.
    2) Nugen Audio SEQ 2 Master Edition (http://www.nugenaudio.com/seq2.php)
    Again, not expensive. I do really like the 10 Hz-30kHz possibilites with this guy. I own their Visualizer and other plug ins and enjoy them. I've downloaded the demo and liked that too, but you can't really measure how much you like the sound in a week or whatever. I mainly didn't hear any sound, which is probably good. The interface is less than beautiful, but then again, I'm not buying art here.
    3) RNDigital Unique-lizer. (http://www.rndigitallabs.com/Plug-ins/U ... lizer.html)
    I have their D4 compressor and absolutely love it. I have demoed their Inspector XL and loved that. I think they've got some killer plug ins going, and again, will probably get this sooner or later, likely as part of a package with the Inspector XL and the other EQ (the FirEQ), and a limiter or something. I really like the visual aspect of this plug, it would probably be helpful in isolating a troubling frequency in a snare hit, say.
    4) The UAD Cambridge EQ. (http://www.uaudio.com/products/software ... index.html)
    By now you are noticing that I want a more graphically styled modern EQ, and not a vintage emulating plug in. I intend to add some of those at some point (I guess I have some already with T-Racks and whatnot) but for now I want a super clean and versatile modern plug in style EQ that I would feel comfortable using on every track for it's uncolored sound. This is probably my least consideration, I think I would get much more processing power out of my native processing rather than my two UAD-1 cards, frankly, especially if Snow Leopard performs as promised. I am thinking the UAD-1 cards will turn out to be more of a processing liability more than anything else, I'm new to them though, but that's what it's looking like to me. I am unlikely to want to go to UAD-2 at the moment either, and am suspicious of the limitations of it's processing power vs. native as well. And this seems like an older offering of UAD's, and seems to want to be a "classic" console style EQ as well as the more neutral style version I am looking for... but then again, I don't know much about it compared to most.
    That's the big ones- I have looked into URS, which seems like more vintage emulating stuff to me, as well as Sonalksis, which seems good. Waves is always there. TC Powercore and the Liquid Mix are possible (well TC Powercore unlikely, that's big time money) but I am sort of unwilling to add another Firewire bus PCIe card and am using a Firewire interface.
    If anyone is still awake after this, I'd love to hear your thoughts! I'll be posting this on a few forums so let me know what you think please, thanks, L

    For what it is worth, I am a fan of NuGen, I have both SEQ 1 and 2 and two stereo enhancing tools (stereoizer and stereoplacer I think they're called). Since I have the SEQ 1 it replaces all Channel EQ's. And the stereotools sound great and very lush, in stead of the more usual cheezy combfilterthingies that pass for stereo enhancing tools.
    And I actually like the interfaces. Simple, but stylish, functional and ergonomic (in this case meaning you can see all parameters in a quick glance, no guessing at settings).

  • Improving Audio

    I have some old martial arts training footage that I have converted from old VHS to DV. I have trimmed out the unnecessary sections in FCP and now I want to try and improve the audio in STP. The issues I am having with the audio is first the overall volume is much too low. On top of this there is some sort of hiss noise constantly in the sound. I am not sure if it is just room noise or tape hiss from the VHS conversion. Should I increase the audio level before or after noise reduction? What is the best way of removing the noise? Is there a way in STP to figure out what frequency the noise is at to remove it that way or is my best bet the noise reduction feature? One last thing, when I open the audio clip in the editor the entire audio file shows in there with a dark grey line about the section that represents the clip; are the effects I use being applied to the entire file or just that section representing the clip?

    If the noise is a very narrow band you can try to EQ it out with a steep notch filter (probably the linear phase EQ). To find the offending frequency place the band to maximum gain and sweep the frequency, you'll pretty easily hear when you center on it - then change the max gain to max attenuation.
    If the noise is more broadband (likely), then you need to look at a noise reduction process. Sample a short bit of the noise only and apply the noise reduction process to the file.

  • Node is not processing

    Hallo friends,
    after years of using Logic I am trying to set up a Node. Without success
    What works: a LAN connection between my two Macs. I used automatic configuration, under TCP/IP Configured IPv4 Using DHCP.
    I can connect to the file server from / to each of my Macs. I can mount hard drives, share internet connections...
    I installed Logic Node app on my MacBook and I used the Logic Node installer located in utilities folder on my dualG5 (I am trying to use MacBook as a node and Dual G5 as a Master computer).
    I started the Node app on MacBook first, than launched Logic app on dualG5. Without opening new project I opened Preferences / Audio / Nodes. Now: I can see my MacBook available (not with grey letters). No box is checked (near "Enable Logic Nodes" or near "MacBook" under Node). So I check "Enable Logic Nodes". I can see *Initializing Core Audio* is working. Than I try to check the box near my MacBook node, but I can' t. The whole line turns into darker grey as soon as I select the checkbox,but nothing happens. when I try to select it another time, the popup window occurs and says:
    *Logic Pro lost the connection to the Node "MacBook"*
    Please relaunch Node application or check network connection
    My network connection seems to work fine, I can log in, mount drives, share internet... The Node app seems to be or it' s icon looks like connected in MacBook dock (and it says "Connected to G5"). What I found out is, that if I try to Quit the Node app on MacBook either when Logic is running on G5 or after I quit Logic on G5, I am never able to quit Node app on my MacBook normally as it stops responding, when I try to quit it. I always have to Force Quit this Node app...
    Now the second way I tried: started Node app on MacBook, launched Logic on dualG5. Opened Preferences / Audio / Nodes. Nothing is checked AND NOW I CHECKED the checkbox near the MacBook node FIRST. It can be done (remember nothing happened when I tried to check it after I checked "Enable Logic Nodes" checkbox). Than I checked "Enable Logic Nodes" , seems to be OK. The Node on MacBook says and looks like connected...
    I opened a project and created approx. 10 audio tracks. I inserted Linear phase EQs, Logic compressors, Deessers, EQs to them. I also inserted whole lot of Waves SSL bundle to some tracks, but kept Logic native and Waves plugins separate. The system was pretty maxed out. Now the maximum I could get whenassign a track to a Node processing, was that the Track Node button showed green arrow, but did not light green. Whing according to manual is: Sync Pending and not Enabled/Active. I even could see some tracks Enabled/Inactive.
    After spending last 24+ hours how to figure it out, I am asking for help.
    Here are some answers I expect you might ask:
    -yes, I have same versions of Logic and Node
    -yes, I have Waves SSL bundle installed on my MacBook, same version as on DualG5
    -yes, I tried it with native Logic plugins only
    -yes, the Firewall is OFF on both machines (Preferences / Sharing)
    - I unchecked all Ports except "Built in Ethernet" on dualG5 and "Airport" and "Built in Ethernet" on MacBook in Preferences / Network Port Configurations
    -yes, I tried it with "Airport" unchecked also
    -yes, I tried to reboot many times - both machines. I put Node app into login items on MacBook. I tried to shut both machines of, start MacBook first, make sure Node is "on", started dualG5, launched Logic...
    -yes, I inserted so many plugins to so many tracks that may dualG5 gave me "System Overload" message everytime I tried to playback the project, but Node did not start to process...
    -no, I am not networking genius
    -yes, I tried different LAN cable (CAT5 always, one "crossed" or "cross-patched")
    -I've got Parallels and WinXP installed on my MacBook, but they never run, when I tried Node setup (actually, I am almost never using them )
    Any ideas appreciated, thank you.
    Message was edited by: Diamond Dog

    I'd start with something simple - one audio track, with one Logic plugin.
    Can you get a solid green node light on that? if not, no point trying anything more complicated until you can get this fixed.
    Note - I briefly tried it with my MBP and my old Powerbook as a node, and it worked fine without any particular headaches setting it up...

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