Logic 10.3.2

 

AL LPX 10.3.2Apple fixed the GUI bug present in some of its Retina-Optimized instruments and plugins in LPX 10.3.2. For those who took notice, some of the stock Logic Pro X instruments and plugins produced an annoying graphical bug in regards to the number entry field when placed on any scale factor other than 100%.

Some of the plugins affected by this issue included: Retro Synth (in the screenshot above), Vintage B3, Vintage Clav, Vintage Electric Piano, Drum Kit Designer, Compressor, Channel EQ, Linear Phase EQ.

In the past: The blue halo that appears around the number entry field was distorted and out of place. That issue has now been resolved. The blue halo that appears around number entry field now complies with the scale factor of the plugin. Rock on Apple!

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Upgraded to Sierra

LPX & Waves on macOS Sierra – Inst

I upgraded to Sierra and I am glad that I did. The OS feels much faster and lighter than El Capitan and the new optimized storage features are certainly a welcome addition. Logic Pro X appears to be working much better than it was on El Capitan and best of all, I am no longer having audio drop outs / distortion when using applications such as iTunes.

After copying over all my useful content (such as music, photos, videos etc.) from a backup, my first step after installing a new OS was to create a backup. For this, I used Time Machine. The backup when through just fine with the exception of “iCloud Drive” which took a while to download content during the backup process. Once all iCloud content was downloaded, the backup process was complete.

I opened up Logic Pro X and tested it without any 3rd party plugins installed. The DAW was as fast as its ever been since the OS X Mountain Lion; certainly a plus in my book. The next step was to install 3rd party plugins. Many companies in this area have warned users not upgrade to Sierra yet. Of course that did not stop me as I tend to keep 3rd party plugins at minimum. I opened up Waves Central and installed a local backup of my plugins after which I authorized. At first it did not authorize but this may have been due to the unstable internet connection at the time. After trying again it worked.

I opened up Logic Pro and my Waves plugins were fully operational. Recorded, mixed and mastered a song. Performance wise the improvements are certainly visible.

Plugins from Plugin Alliance do not work officially yet as told by the manufacturer however, I found a temporary solution that will work until the problem has been officially fixed. See below:

  1. First copy the auvaltool file from the /usr/bin folder from your El Capitan install on to a USB Stick.

  2. Restart your Sierra install and hold down Command + R until you see the Apple logo and loading bar.

  3. Once in recovery mode, Open Terminal from the Utilities menu and type csrutil disable

  4. This will disable System Integrity Protection, which will enable you to replace the auvaltool on Sierra with the one you copied from El Capitan. Be sure to keep System Integrity Protection disabled while you use the previous auvaltool otherwise the it will not work anymore.

  5. Once a fix is officially released, simply replace the auvaltool you copied from El Capitan with the one installed by Sierra.

  6. Reboot your Mac and hold down Command + R until you see the Apple logo and loading bar.

  7. Once in recovery mode, Open Terminal from the Utilities menu and type csrutil enable in order to re-enable System Integrity Protection.

After following steps 1-4 you may need to configure file permissions. Do the following:

cd /usr/bin

sudo chown 0:0 auvaltool

sudo xattr -c auvaltool

sudo chmod 755 auvaltool

Disclaimer: Please note that this temporary fix is not endorsed by Plugin Alliance and you must use at your own risk. Plugin Alliance say that they are working on an official fix. SIP must be disabled in order for this workaround to work and should be re-enabled as soon as an official fix is released by Plugin Alliance. Disabling SIP (System Integrity Protection) poses a security risk and should only be disabled when it is absolutely necessary.

My EP entitled “Progression” has been released recently and is available for purchase on iTunes, Amazon MP3 and Google Play. BUY IT NOW!

Once again than you all for the support.

Alexander Lindo

Download: auvaltool from El Capitan

Update: Plugins by Plugin Alliance now officially support Sierra. Rock on!

Studio Tips – Episode #1

alstudiotips1

Music is an art-form. It builds, strengthens and enhances the human life. It is built with the purpose of delivering a message. It is therefore extremely important to ensure that (as artists, producers, and engineers) our message is delivered in the most accurate way possible. In the “Studio Tips” series I discuss methods on how to enhance the experience and delivery of “the song”. Enjoy!

Location

Ensure your environment is optimal as an uncomfortable environment will leave you with a poor performance. Surround yourself with people who love you for who you are, what you do, both as an artist and as a person. Do not be quick to “take what you get”, as you always have options. Never let anyone make you think that you don’t have options. If you are unhappy with the situation it is bound to show.

Preparation

If your intention is to record, make sure that you have adequately practiced the material before hand. Magic can and may happen in the studio but it is always best to prepare. If you are a singer ensure that you are hydrated, as failure to do so may leave you with some dry sounding vocals. If you are a guitarist ensure that your guitar is properly tuned and that you have at least 2 extra set of strings available. Other than failure to prepare it can be equally disconcerting when the performer is unable to record a take due to technical difficulties. If you are the producer/engineer set up your project with plugins that introduce the least amount of latency / CPU usage during tracking / recording.

The Message

Vocals / Lyrics are the most important part of every song (that contains vocals). They tell the story, and you want them to shine to the best of their ability. Be sure that your engineer is providing you with a space carved out just for you. Listen to the mix. If you cannot hear yourself clearly when the music is playing, you will be shouting above the mix and this is never recommended. The same goes for performing live. If you cannot hear yourself, you will not perform correctly. It is therefore extremely important to get the balance right, before you open up.

Focusrite Red 2 & 3 In-Depth Look

 

AL Red 2 & 3 In-Depth

The Red Range was established in the year of 1994 by Focusrite. Both hardware units inherit the sound and circuit design of their predecessors from the ISA range of processors.

The Red 3 is a compressor was built as an outboard successor to the ISA130 compressor module built by Rupert Neve for Sir George Martin’s console at Air Studios London. This compressor is famously known for maintaining mix intelligibility, even in the event of significant compression. Due to its simple and intentional VCA circuit design, this compressor is well suited for a variety of sound sources.

Focusrite has continued on with the philosophy of providing  microphone pre-ampfliers that are accurate with the least amount of artificial colouration possible. Where many audio companies today seem to create equipment that purposefully imposes harmonic distortion onto the signal being passed through it, this has never been the aim for the folks at Focusrite.

The Red 2 EQ and Red 3 Compressor had no measurable distortion as evidenced in their specification sheets and thus you will not find any present in their plugin counterparts. In addition to near zero distortion, these pieces of equipment also had a lot of headroom available to them thus making distortion due to overdriving them near impossible to do.

The Red 2 EQ and Compressor plugins come bundled with the purchase of any Scarlett, Claret, RedNet, or Safire audio interface and are also available for sale via the Focusrite website.
After testing these plugins must say that I was rather impressed with them. Aside from the beautiful and realistic graphical user interface, the sound that I produced while using them was truly remarkable.

Red 2 EQ: I placed the Red 2 EQ on a Kick Drum, shaved off some lows using the low pass filter, boosted some lows at around 60 Hz while taking out some of the boom using the low-mid bell filter with a medium bandwidth. The result was a more solid and punchy kick. Using this graphical representation of the hardware piece always re-enforces what great joy it is to use hardware, due to its knobs and VU meters. I will always love my VU meters, to the point where, if they are not present on the hardware, then I probably will not buy it. Of course there are exceptions to this rule, for example in the event of the audio interface: most use LED meters, but non-the-less VU meters are definitely preferred.

Red 3 Compressor: After achieving an adequate balance of the drum kit, I then placed the Red 3 Compressor on the Drum Sub-master. I set the ratio at 4:1 with a fast attack and fast release. First ensuring that all levels were correct on the way in to the compressor as to prevent clipping, I then proceeded to bring down the threshold parameter. I could start to hear the aggression kick in, as to be expected with compression, however the aggression that this compressor provided was one of the pure kind. The sound remained solid and took a bit of an effort to became grainy. After receiving a reasonable amount of compression, I then proceeded to adjust the mix knob to taste, in order to bring back the dynamics of the drum kit that were lost due to compression. The result was a solid sounding drum kit.

Placing the compressor on the bass and guitar parts yielded similar results. Using the EQ, I was able to bring out some mid-range on the guitar parts, further adding to their character. Placing the compressor on synth parts led to a slightly more aggressive sound and one that remained full. I was careful not to overdo it as to prevent the pumping effect from occurring. Due to the extensible attack (0.300ms to 90ms) release times (0.1second to 4 seconds), setting this compressor to taste was no problem. In the topic of pumping: I would have loved to see a key input option provided.

I progressed towards the lead vocal for my single entitled “Hurt” of which I originally had the stock Logic EQ and Compressor on. Up first was the EQ, The vocals were recorded using a condenser microphone, recorded through the preamplifier of the Scarlett audio interface. Both the microphone and the audio interface have a relatively flat frequency response and near zero THD (Total Harmonic Distortion). Using the high shelf filter at around 12 kHz (the 1073 frequency) I turned the high end up only about 2 dB in order to increase presence within context of the mix. It did indeed provide a sound unique to this equalizer. A somewhat airy effect, however subdued it may be. After removing some lows, I progressed with a 1 to 2 dB boost at around 1.2 kHz in order to gain legibility in the mix.

I then placed the Red 3 Compressor on the vocal with a fast attack and a fast release. With a ratio of 4:1 and an optimum level, I began to bring down the threshold just until the sound was relatively constant. This was not at all difficult to achieve as compression began will little to no artifacts. I continued adjusting to taste. After was satisfied, I placed a second Red 3 Compressor on the vocal. This time with a medium attack and release. In this scenario, The first compressor is used to level the peaks and the second one is used to smooth them out. The results were as reasonable as one would expect. The voice remained clear, consistent and true to the source with out any sign of distortion.

For the fun of it I decided to lay down an additional vocal take with both the Red 2 EQ and the Red 3 Compressor instantiated. With a buffer size of 64 samples, I enabled Low-Latency mode in preparation of the event, that these plugins created any latency. I am glad to say, that this was not the case. This increases their value in the recording and tracking department. CPU load was placed at a minimum as well, leading one to conclude that these are indeed well coded.

I placed the EQ and Compressor on supporting vocal tracks and set them to taste in order to better evaluate the mix with their presence. After I was satisfied with the vocal mix, It was finally time to move on to the stereo master. Starting with a moderate ratio, medium attack and fast release I listened to the already well balanced mix come together in a beautiful fashion. This compressor has a way of making elements even smother than they already were. The compressor was definitely doing a great job.

Red 2 EQ and Red 3 Compressor are what I would consider to be an underrated pair of plugins that deserve attention (even if you do not own a Focusrite audio interface). If not only for their vivid appearance but also for the clean, transparent and full “character” they impart on your mix. In addition, these plugins do not require a dongle to run, which is always a plus in my book. The Red 3 Hardware Compressor has received praise from the likes of Chris Lorde-Alge who uses it on every mix.

If you are looking for the current hardware incarnation of the Red 2 EQ and Red 3 Compressor your best bet would be to check out the ISA 430 MKII Channel Strip from Focusrite. While it is not entirely similar, this remains the most current, favorable and enhanced reproduction of the original ISA 110 eq module and 130 compressor module originally designed by Rupert Neve, of which the Red 2 and 3 are based. The ISA 430 can be seen in the possession of top producers / engineers like Pharrell Williams and Damian Taylor and Adrian Bushby.

Waves Element AU Factory Preset Library

Element

With hits constructed by the likes of Depeche Mode, Duran Duran, Pet Shop Boys and many other synth rock/alternative bands. Synths have come a long way in regards to music and construction. One of the most common types of synthesis is known as subtractive synthesis. This is were sound is generated by an oscillator and shaped by a filter. This filter parameter in most cases is a low pass filter but can also include high pass and band pass filter depending on the features present on that synthesizer. This filter shapes the sound by taking away harmonics present within the oscillator’s waveform.

Sound travels from the oscillator to the filter which is controlled by an ADSR filter envelope, after this stage, the signal is then routed to an amplifier envelope which allows the user to further shape the overall Attack, Decay, Sustain and Release cycle of the synthesizer. In addition to the features listed above, most synthesizers include a LFO (low frequency oscillator) which can be used to modulate the signal. The most common incarnation being the wobble bass; which is achieved by modulating the filter cut-off frequency. The combination of these parameters provide the user with many sound shaping options.

The Element synthesizer by Waves is indeed a very powerful yet simple incarnation of a subtractive synthesizer. As shown in the picture above, all its parameters are layed out in an organized manner.

For convenience, I have converted all of the included factory presets (created by Waves) into the AU preset format (available here) so that they can be navigated easily from within the library of the industry standard music creation software: Logic Pro X.

While I rarely use presets when composing (unless I have created them), presets can occasionally spark inspiration while in the thought creation process.

Kudos to the Waves team for developing this great subtractive synthesizer.

Simply extract the folder from the .zip file and place this folder in “Users/Yourname/Library/Audio/Presets/Waves/“

The Library folder is hidden by default. You can access it by holding down “Option” while accessing the “Go” menu in the Finder menubar.

Kind regards,

Alexander Lindo
Singer-songwriter | Producer | Audio Engineer
Apple Certified Pro | Pro Tools Certified Operator

Check out my music at: http://alexanderlindo.com
Follow me on Twitter at: http://twitter.com/mr_impervious
Like me on Facebook: http://facebook.com/alexanderlindo
Visit Waves at: http://waves.com and while you’re at it, use this link to obtain 10% off your next Waves plugin purchase.

H-Comp Review

alHCmpReviewHaving worked with various compressors throughout one’s career, one comes to learn the various characteristics of these different units. Some are known for aggression, Some are known for their lush body, and others can go from clean to aggressive in no time. This plugin aims to provide you with the “best of all worlds”.

The H-Comp aka Hybrid Compressor is not an emulation of a classic compressor but instead it takes the harmonic distortion characteristics of vintage equipment from the likes of SSL, API and Neve and merges them with the diversity of signal processing within the digital realm.

Lets get started shall we…

Analog

This knob provides us with various types of harmonic distortion emulated from their respective hardware counterparts. For a visual test, I placed the Test Oscillator emitting a 1000Hz sine wave at the first insert, followed by an H-Comp, and then the Blue Cat Frequency Analyzer. This will give us a better visual representation of what is taking place. At the end of the day it is all about the sound.

Starting with the “Off” position.

H-Comp 001 Analog OffAs we can see from the screenshot above …this compressor can be relatively clean with minimal distortion added to the signal.

Analog 1

H-Comp 002 Analog 1

Here we can see a somewhat smooth distortion pattern, with slight low frequency boost. Harmonics at the 2kHz, and 3.5kHz region appear to be most prevalent in this mode. Playback through this mode was quite clean with little to no audible distortion. This led me to believe that this mode appears to be emulating the Neve.

Analog 2

H-Comp 002 Analog 2

Based on analyses above, Analog 2 appears to be quite similar to Analog 1 with the exception of some faint white noise in the upper end of the spectrum. Harmonics exist on the 2Khz and 3.5kHz frequencies with an inversion in their amplitude. In my listening test, placing the H-Comp on entire mix while in this mode gave me a sound most reminiscent of the SSL 4000G console. The mix became a little more solid, while elements like cymbals came across with a gritty but gentle distortion.

Analog 3

H-Comp 004 Analog 3

This is the most aggressive out of the three as you can see from the image above. This one is not playing around. As you switch to this mode, you can instantly hear a change in the tonality of the sound. This mode appears to give the mix more dept. Harmonics are mainly within the high mid frequency range.

Analog 4

H-Comp 005 Analog 4

Distortion in this mode was lush sounding with a slight distortion present on the tail end of notes. You can also see a decrease in the lower mid range to lower frequencies.

It is amazing to think that in the past most manufacturers were aiming for minimal THD (total harmonic distortion) in their designs. Now in this day and age it is considered the pinnacle of  their establishments. The term “in-the-box” is often associated with terms such as “sterile” and flat sounding. Many engineers believe till this day that these consoles add the magic touch necessary to give the mix more life. This plugin claims to provide the best of all worlds and I have to say it is definitely proves to be a hybrid.

On to the other stuff…

Ignoring parameters commonly known to the compressor, we have a knob called “Punch” and it does exactly that. Turning the knob clock-wise causes the compressor to let more transients through, regardless of the attack time set.

We have Sync control, which allows us to adjust the release time of the compressor based on the tempo (beats per minute) of the song, Great when you’re going for accuracy. And of course you are also provided the old-school with the option to have it work in milliseconds (MS).

We have a Mix knob enabling us to parallel compress audio on the fly without having the need to create a separate aux channel strip to buss a copy of the signal to. Very handy indeed.

To provide icing on the cake, Waves have built a limiter right into the H-Comp.

In another one of my tests, I placed the H-Comp on my Drum Sub Master and hit play on the transport. It provided instant gratification before even tweaking the knobs. Adjusting it to a medium attack and a short release, I was able to get a lot of punch out of the kit. While listening I watched the channel strip meter in Logic and adjusted the Output knob on the H-Comp, bypassing and un-bypassing the plugin to make sure that I was not being fooled by the perceived loudness that normally takes place in automatic make-up gain situations. I was not fooled at all, though to be expected, the plugin did boost the signal ever so slightly.

Having said that, the sound coming through the H-Comp was noticeably fuller and richer in comparison to the dry signal. Using Analog 4, I was able to hear more ghost notes from the drum kit. My next move was to try it out on the bass, normally 1176 territory, then again the 1176 sounds great on just about anything (but you probably should not go about putting over your entire mix). The H-Comp shined when inserted on the bass, especially when cranking the Output knob. Of course the increased gain was compensated for by using the stock “Gain” plugin provided with Logic Pro. I proceeded to test out the different Analog modes and modes 2, 3, and 4, shined like silk. Indeed this plugin has earned my Editor’s Choice Award. Go ahead and try it out for yourself, I doubt that you will be sorry.

Alexander Lindo is a singer-songwriter, producer, audio engineer, technology enthusiast, Apple Certified Pro and Pro Tools Certified Operator. If you enjoyed this article don’t forget to like me on Facebook, follow me on TwitterGoogle Plus. When you are done, please check out my music. Thank you for your continued support.