Mar 06, 2003 Firewire and Audio TC-Works Powercore/Yamaha 01X. Discussion in 'Community' started by daveg5, Mar 6, 2003. Speaking of Yamaha, I am still waiting for OSX drivers for my DSPfactory, right now I am using my older Audiowerk2 card with Cubase SL in OSX, while using Logic and Cubase VST5.1 (I have tons of vstfx and PLUGS for OS) in OS9 with. The Yamaha 01X boasts DAW support for Cubase SX, Nuendo, Sonar, Logic Audio, Digital Performer and many other software products. Track-arming, transport control, plug-in-editing, mixing, window selection plus much more can all be controlled directly from the 01X.
- Yamaha 01x Multitrack Recorder
- Drivers Yamaha 01x Logic Games 2
- Yamaha 01x Review
- Drivers Yamaha 01x Logic Games Online
- Yamaha 01x Manual
FIG. 1: The Yamaha 01X combines the functionality of a freestanding digital mixer, two effects processors, a DAW control surface, and an mLAN-based audio and MIDI interface in a single device weighing less than 14 pounds. Impressive flexibility and outstanding ergonomics ensure ease of operation.
Imagine linking all of your audio and MIDI equipment using one bidirectional cable for each device. The mLAN protocol, introduced by Yamaha more than a decade ago, can carry dozens of audio tracks and hundreds of MIDI channels over a single IEEE-1394 FireWire cable (see the sidebar “What Is mLAN?”). No muss, no fuss, and no bother — that's the promise of mLAN. The device that goes the furthest to make good on that promise is the Yamaha 01X.
The Yamaha 01X is many devices rolled into one. It's an mLAN-based multichannel audio and multiport MIDI interface for your computer. It's an 8-input, 24-bit A/D converter that handles sampling rates as high as 96 kHz. It's a freestanding digital mixer with two onboard stereo effects processors and dynamics on every channel. It's a remote control surface with reassignable knobs and motorized faders for your digital audio workstation (DAW) software. Use it to track, mix, and master your studio recordings. Tuck it under your arm and carry it into a nightclub to automate your band's live mixes. I agree with Yamaha's claim that there's never been anything like the 01X.
SCRATCHING THE SURFACE
Considering all of the functionality that is packed into the 01X's silver gray front panel, its user interface is a miracle of modern ergonomics. All of the controls are exactly where I want them to be, facilitating speed and ease of use onstage and in the studio. I'm glad that the layout is so logical, because the 01X does so many things that it would be easy to get lost otherwise.
FIG. 2: The 01X's rear panel has eight channels of analog I/O, stereo S/PDIF, 32-channel MIDI, and two mLAN connectors. Mic preamps are provided for all eight inputs, but only two have XLR jacks and phantom power.
The front panel's left half contains eight channel strips (see Fig. 1). From bottom to top, each has a 60 mm motorized fader, an on button, a select button, a channel knob, and a gain knob, which is continuously variable from line to mic levels. The main display, a 2-by-55-character LCD with LED backlighting, stretches across all eight channel strips between the two rows of knobs. Each channel knob changes the value of whatever parameter appears above it in the display, and pressing the same knob selects a displayed value. To the right of the channel strips is the main stereo fader, which also has on and select buttons. Above that is that Name/Value button, which switches the display between showing parameter names and their values. Pressing Name/Value while holding the Shift button lets you toggle from no metering and viewing a vertical bar meter for a selected channel to viewing horizontal bar meters for the stereo output.
The lower-right quadrant contains transport controls, eight function buttons, a shuttle/jog wheel, and a button to enable scrubbing. Additionally there are cursor and zoom buttons, buttons to locate and write markers, shift and flip buttons, and buttons to scroll through fader banks. All are within reach of one another. The Shift button is an important one, because pressing and holding it toggles several other buttons to perform alternate functions. The transport buttons feel like those on an old multitrack tape deck, and their tactile response practically invites you to smack 'em hard.
The gray silkscreened area in the upper-right quadrant contains groups of mode, page, and mixer layer buttons. Two of the mode buttons select whether the front panel controls the onboard mixer (Internal) or external software (Remote), and the remaining three let you select and store Scenes, access Utility functions, and quickly toggle the monitor source between the internal mixer and DAW tracks. The Monitor A/B function is handy; by holding the button and turning a knob, you can adjust the balance of the two sources. A single knob controls the monitor out levels and the headphone levels.
In the Page section, the Selected Channel button determines whether the display shows several parameters for a single channel or a single parameter for eight channels. Four EQ buttons summon equalization settings for four bands. Pressing the Pan button displays each channel's pan position and lets you control panning with the channel knobs. In the same section, pressing the Send, Dynamics, and Effects buttons displays the aux send, dynamics, and effects settings, respectively. The Group button lets you define and disable fader and mute groups and pair adjacent faders.
To the right of the window, the Display up and -down buttons let you scroll through parameter pages. Pressing the Page Shift button at the same time lets you jump to particular pages within each category. Below those, the Auto Edit and Auto R/W buttons enable automation in your DAW program. Pressing the Solo button lets you use the channel buttons to solo channels, and pressing the Record Ready button lets you arm recording for each channel by pressing its channel button.
MAKING CONNECTIONS
Rear-panel connections are arranged in two rows, one above the other (see Fig. 2). The top row, from left to right, contains a single stereo ¼-inch headphone output; two unbalanced ¼-inch monitor outputs; two unbalanced ¼-inch outputs for the stereo, record, or aux bus; and eight mic/line inputs. Inputs 1 and 2 are balanced XLR jacks, and inputs 3 through 8 are balanced ¼-inch jacks. All eight inputs have built-in mic preamps; if you want XLR jacks on all eight channels, all you need is Yamaha's optional TRS-to-XLR snake ($29.95). An additional ¼-inch input on channel 8 accommodates high-impedance instruments such as electric bass.
The lower-left side of the panel features the power switch and a connector for a lump-in-the-line power adapter. Two MIDI In and two MIDI Out ports accommodate 32 MIDI channels. Two footswitch jacks let you start and stop transport operations and punch in and out while recording. Next to those are coaxial S/PDIF in and out ports and a switch to enable 48V phantom power on the two mic inputs. Alongside two mLAN ports, an LED indicates mLAN activity.
INSTALLATION AND SETUP
For this review, I tested the 01X using a dual-processor Power Mac G4/1 GHz with 1.5 GB of RAM running Mac OS X 10.3.5. My DAW software was MOTU Digital Performer 4.12 (DP4). My audio sources included miked voice, percussion, and acoustic guitar, as well as synthesizers, electric guitar, and electric bass.
Two installation CD-ROMs labeled Tools for 01X and Plug-In Effect came with the 01X. A helpful tutorial DVD coproduced by Yamaha and Keyfax called The 01Xperience was also included.
I ran the plug-in installer and authorized all four plug-ins with a serial number (see the sidebar “A Sweet Little Suite”). When I inserted the Tools for 01X disc, though, I didn't find any software for Mac OS X. I consulted the documentation and learned that I needed to download OS X installers from www.mlancentral.com. The Web site currently has the latest software for Windows, Mac OS 9.2, and Mac OS X 10.3.3 and up, as well as setup documentation. Yamaha says that future installation discs will have updated software.
An editor application called Studio Manager for the 01X (Mac/Win) comes bundled with the 01X. A version of Studio Manager ships with every Yamaha digital mixer. Studio Manager is a virtual mixer that works bidirectionally with the 01X; whenever you make a change in one, it is reflected in the other. Moving a fader onscreen moves the corresponding 01X fader, and moving an 01X fader moves the corresponding fader onscreen. Studio Manager can access every 01X parameter.
SOFTWARE ISSUES
The Mac OS X version of mLAN Auto Connector that I found on mLAN Central's Web site was version 1.0.2b, a public beta. When I asked my contact at Yamaha why it was called a beta, he said it was because it contained known bugs. Nonetheless, it was a vast improvement over the prior official release. I began my review using Mac OS X 10.3.4, which had many mLAN-related problems that were (thankfully) solved by the release of 10.3.5.
The program mLAN Auto Connector is a necessary component for using the 01X with a computer. It has the means to specify the sampling rate, the word-clock source, and the number of channels.
However, mLAN Auto Connector is a nonpersistent application, which means that you must open it and change its settings every time you power up the 01X. Unless you happen to use the factory defaults, you must manually reset its various parameters and select Connect for the settings to take effect. Then you have to leave mLAN Auto Connector open until you're ready to disconnect the computer from the 01X. It would be a tremendous improvement if Auto Connector did what its name suggests and connected automatically.
Whenever I powered up the Mac and the 01X, I ran mLAN Auto Connector, changed the sampling-rate setting, enabled channel monitoring, and then selected the Connect command. Fortunately, the 01X has a way to save its user defaults — word-clock source, DAW remote assignment, fader levels, panning, and so on — by means of the Utility page's Backup command. Without that function, the startup routine would have been much more complicated (see the online sidebar “Convolution Shuffle” at www.emusician.com).
The current version of mLAN Auto Connector supports only point-to-point connections if you're using Mac OS X; consequently, it works with only one device and is incapable of handling a true network. When Yamaha introduced the mLAN-based Open Network Expansion (O.N.E.) in January 2004, the promise was to be able to link gear from various manufacturers into a unified system. If you're a Mac OS X user with another piece of mLAN-compatible gear such as a PreSonus FireStation or a Kurzweil KSP8, this limitation is a serious (if only temporary) setback. Yamaha assures me that future software will solve the problem and that the Windows and Mac OS 9 versions are already network-ready.
ONE MIXER TO GO
First and foremost, the 01X is a digital mixer in the tradition of the Yamaha 01V96 and its predecessors. Its feature set and price make it ideal for project studios, and it has a lot to offer live performers as well. Although the 01X is advertised as a 28-channel mixer, it gives hands-on access to some additional channels on the Master layer.
In Internal mode, you can access every channel by pressing the four Layer buttons or by scrolling with the Bank buttons. The first layer controls the eight analog inputs. The second and third layers control 16 inputs over mLAN. If you have instruments with mLAN outputs or an mLAN audio interface such as a Yamaha i88X, you can make use of those 16 channels without the need for a computer, even using the 01X onstage as a freestanding mixer; if you don't, you can stream them from your computer's DAW program, using the 01X to control your audio track outputs.
Layer four is the Master layer, which has the record bus out master, four aux bus masters, and two stereo inputs. The aux inputs and the stereo inputs differ from the others in that a single fader controls a stereo channel, they have no direct output, and no dynamics processing is available on those channels.
All of the other channels have compression, expansion, and gating. User parameters give you control over five degrees of knee hardness, as well as the usual threshold, ratio, attack, release, and gain. The 01X has a library of 40 dynamics presets, each tailored for a specific instrument or application, and 88 user presets.
Each channel also has four bands of sweepable parametric EQ: low, low mid, high mid, and high. Center frequencies cover the entire range of normal hearing, and gain allows up to 18 dB of boost or cut. In Multi Channel mode, you can change the EQ for all channels at the same time. As with dynamics, a 4-band EQ library lets you select from 40 factory presets and 88 user presets.
EFFECTS WIZARD
Two pre- or postfader aux buses are available for external effects, and the other two are for routing signals to the internal effects processors. Onboard effects can process any of the 24 individual channels (analog or mLAN), either aux bus, the stereo bus, or the main stereo outs. The limitation is that you can patch only one processor to a channel or bus, which means you can't have ring modulation and a rotary effect, for example, on the same track. Twelve combination presets pair certain effects in series or in parallel, but they might not always be the pair you'd prefer.
The two processors are identical, each furnishing 43 factory presets and locations for 85 user presets, which you create by modifying factory presets. The library has a nice balance of reverbs, delays, and modulation effects. It also features distortion and guitar-amp simulation; filtering, flanging, and phasing that respond to changes in dynamics; and a 3-band resonant multimode filter.
I've always liked Yamaha's reverbs, and the 01X's are as smooth and usable as I had expected. I also appreciated the amp simulation, which gives a choice of ten amp types and five distortion types. All effects present an abundance of parameters to tweak, although none provide any means to control them using external switches, pedals, or MIDI controllers.
MANAGE A DAW
It's safe to assume that most 01X customers will want to use it as the hardware front end for their DAW software. In combination with a digital audio sequencer, the 01X can make recording with multitrack software feel a lot like recording with multitrack hardware. It has faders, knobs, and buttons for controlling most aspects of DAW recording and playback — even controlling plug-in parameters.
In Remote mode, the first three mixer layers give hands-on access to 24 audio or MIDI tracks with full automation capabilities. In addition to a moving fader, each track has an on button that serves as a mute function. You can use the channel knobs for dialing in the values of selected parameters.
The mLAN network has five virtual ports called plugs. Before using the 01X with DP4, you must create MIDI devices and make connections in Audio MIDI Setup (AMS). Plug 1 is used to control DAW software with the 01X, but DP4 is the only program that requires you to connect an 01X device to plug 1. Plugs 2 and 3 connect to the 01X's physical MIDI ports; if you want to use those, connect appropriate devices there as well. Plug 4 connects to Studio Manager, and plug 5 controls Scene changes; neither requires that you actually connect them.
The documentation and DVD have plenty of information about using the 01X with Steinberg Cubase SX. If you use another multitrack recording program, a remote function list in the owner's manual conveniently lists 01X functions specific to several other DAW programs. When you press the Remote button on the 01X's Utility page, you can select templates for Logic, Cubase, Sonar, or Digital Performer; a general DAW template is also supplied. Pro Tools support is conspicuous in its absence, however, because Pro Tools requires Digidesign audio hardware.
To use the 01X with Digital Performer, my first step was to specify the mLAN network in DP4's Configure Hardware Driver window. I then opened Control Surface Setup, enabled the Mackie driver, and specified a connection to the 01X. After that, when I opened a song file, its tracks corresponded to 01X channels: the first track was the first channel, the second track was the second channel, and so on. Changing their order in the Tracks Overview changed the assigned 01X channel, which meant that I was able to determine which fader controlled which track by changing the order of tracks onscreen — a nice feature. I assigned the first eight channels to the 01X's analog audio inputs, but beyond that, anything was possible.
Whenever I pressed an 01X Bank button to scroll to the next set of eight channels, DP4's Mixing Board window changed after a two-second delay to display only the corresponding eight tracks. I discovered that if I had more tracks than would fit in the Tracks Overview, pressing the 01X's Display up or -down buttons shifted the window to display the tracks located at the top or bottom. The function buttons were handy for opening and closing various edit windows; in most cases, that was a two-finger operation using the Shift button.
Controlling transport functions and mixing with the 01X quickly became second nature. According to the owner's manual, I should have been able to add and jump to markers using dedicated 01X buttons. With the Marker button enabled, pressing the Rewind or Fast-Forward button did jump to the previous or next marker as expected, but pressing the Write button didn't add markers as it was supposed to. I checked with Yamaha, and the problem appears to be a limitation of DP4 rather than the 01X.
AGONY OR 01XSTASY?
The Yamaha 01X is an amazing machine that makes more of mLAN's potential than anything else, providing high-quality sound, flexible functionality, and logical operation at a remarkable price. Its crystalline sound gave my projects a nice transparency that I had hoped for. The mic preamps are good, especially when you consider the 01X's price. And once you get going, operating the 01X is a breeze.
Software notwithstanding, there's not much I would change about the 01X. I wish it had balanced XLR outputs; for some users, unbalanced ¼-inch outputs will relegate it to the semipro category. In addition, the documentation could be better organized. Despite a well-written manual, a supplementary DVD, and third-party online support (see Fig. 3), I had a hard time learning how to do what needed to be done at a given moment. Information about how to perform certain operations, such as saving Utility defaults, was buried in the manual.
If you're a project-studio owner in need of a DAW control surface with motorized faders, you're bound to like what you see in the 01X. If you're convinced that mLAN is the wave of the future for studio data communications, the 01X provides an opportunity to get started in that area. If you're a live performer who wants to automate your show, the 01X's Scene capabilities can store and quickly call up setups for up to 99 songs. The 01X combines a lot of desirable functions in an attractive, ergonomic, and portable desktop device. It will undoubtedly find its way into many studios and onto many stages.
EM Associate EditorGeary Yeltonlives in Charlotte, North Carolina. Despite his best efforts, his software-based electronic-music studio continues to depend on new hardware.
01X Specifications
Sampling Rates 44.1, 48, 88.2, 96 kHz Sampling Resolution 16-, 24-bits Analog Inputs (2) balanced XLR, 48V phantom powered; (6) balanced ¼' TRS; (1) unbalanced ¼' TS Analog Outputs (2) unbalanced ¼' stereo/aux; (2) unbalanced ¼' monitor; (1) ¼' stereo headphone Digital I/O (1) coaxial S/PDIF I/O; (2) mLAN ports Other Connectors (2) MIDI In; (2) MIDI Out; (2) ¼' footswitch Faders (9) 60 mm motorized EQ (28) 4-band parametric Display 2 × 55-character LCD with LED backlight Effects Processors (2) multi-effects, (43) factory presets, (85) user presets Dynamics Processors (26) compressor, expander, gate Preset Libraries (100) scenes, (128) effects, (128) dynamics, (200) EQs, (33) input patches, (33) output patches, (129) channels Power 100-240 VAC to 16 VDC adapter Dimensions 17.83' (W) × 4.57' (H) × 15.39' (D) Weight 13.67 lbs.
SWEET LITTLE SUITE
The Yamaha 01X ships with a suite of four VST and Audio Units (AU) plug-ins with individual PDF manuals. Whereas the 01X Channel Module (Mac/Win) is specifically for use with the 01X, the other three modules are general-purpose plug-ins that are available separately: Vocal Rack ($199), Pitch Fix ($299), and Final Master ($199). You can use them with any compatible host in Windows, Mac OS 9, or Mac OS X.
Channel Module lets you edit EQ and dynamics within your DAW software and transfer those settings to and from the 01X. The plug-in provides a graphic interface for controlling parameters, and it has all of the presets from the 01X's dynamics library. Channel Module's greatest advantage is that you can specify EQ and dynamics parameters even when the 01X is not connected. Additionally, you can transfer those settings to the 01X later when it's time to record.
Yamaha 01x Multitrack Recorder
Vocal Rack furnishes compression, 3-band EQ, a noise gate, a de-esser, and a simple delay with a range from 0.1 to 50 ms. A Harmonic Enhancer slider boosts a track's overtone content. A simple highpass filter and a phase-inversion switch are also included. Twenty presets are optimized for lead vocal, background vocal, radio effect, and so on.
Final Master is a multiband dynamics processor that is optimized for use in a final mix. Graphics sliders let you divide the frequency spectrum into three bands. Each band supplies a compressor and a limiter, and you can apply one of three soft-clipping curves to the entire spectrum. Fifteen factory presets are available to get you started.
Pitch Fix is a sophisticated pitch-correction plug-in that lets you apply manual controls or assign a MIDI track to control an audio track's pitch (see Fig. A). You can shift formants and pitch simultaneously, which preserves the natural timbre, or you can shift them independently for special effects. Pitch Fix can automatically create vocal harmonies, change a singer's gender, or keep a vocal track in tune.
The bundle has additional software for Windows users. SQ01 is an audio sequencer, and TWE Wave Editor is a multitrack audio-editing program. If you happen to own a Motif Rack, a dedicated editor lets you control its functions from your PC screen.
PRODUCT SUMMARY
Yamaha
01X
digital mixer/mLAN interface
$1,699
digital mixer/mLAN interface
$1,699
FEATURES4.0EASE OF USE3.5AUDIO QUALITY4.5VALUE4.0
RATING PRODUCTS FROM 1 TO 5
PROS: Compact size. Solid construction. Motorized faders. Flexible routing. Superb audio quality. Excellent effects.
CONS: No XLR outputs. Lackluster support for Mac OS X. Documentation needs better organization.
Drivers Yamaha 01x Logic Games 2
Manufacturer
WHAT IS MLAN?
First proposed by Yamaha in 1993, mLAN is a digital communications protocol that uses an IEEE 1394 (FireWire) connection as a pathway for high-speed data transfer. By design, it can carry multichannel audio, multiport MIDI, word clock, video, and control data bidirectionally on a single cable. mLAN adds to the usual point-to-point FireWire protocol the ability to intelligently handle audio application-specific data and manage multiple devices in a network. Like the MIDI protocol, mLAN is an open standard that is not proprietary to a single manufacturer. Numerous other companies, including Kurzweil, PreSonus, and TerraTec, have joined Yamaha in producing mLAN-compatible hardware.
I have a Yamaha MOX8. I am using m-audio Uno as a midisport driver to connect the piano to my computer. I want to record tracks in Logic Pro X with the voices from the MOX8, but every time I do it and make a second track and change the voice, both the tracks change their voice. How would I do this where only one voice will change and the other will stay where its
I'm afraid you have quite a learning curve ahead of you.
MIDI is not audio, the MIDI tracks you record are not sound, they are little tiny bits of data that tells what key note was presses and how fast (velocity) you played it. The data you're recording will play any sound on any MIDI Instrument. To get the sound of the MOX8 -IN- Logic you would have to record the audio outputs of the MOX8 into Logic as an audio track.
As with most Workstations you can set up a 'Performance' mode that has different instruments on separate MIDI channels, this is for use with the Internal MOX8 sequencer but can also be used by an external sequencer like Logic. For instance, you could have different instruments on MIDI Channels 1 thru 9 and a drum set on channel 10, In Logic you could have ten tracks set to the MIDI channels you want to play on the MOX8.. however, the sound would not be in Logic, the sound comes from within the MOX8. To actually get the sound in Logic you have to record it as an audio track. There are other more advanced methods but that's enough to think about. You will need to the Yamaha MOX8 manual and figure out how to set up a performance mode.
MIDI is not audio, the MIDI tracks you record are not sound, they are little tiny bits of data that tells what key note was presses and how fast (velocity) you played it. The data you're recording will play any sound on any MIDI Instrument. To get the sound of the MOX8 -IN- Logic you would have to record the audio outputs of the MOX8 into Logic as an audio track.
As with most Workstations you can set up a 'Performance' mode that has different instruments on separate MIDI channels, this is for use with the Internal MOX8 sequencer but can also be used by an external sequencer like Logic. For instance, you could have different instruments on MIDI Channels 1 thru 9 and a drum set on channel 10, In Logic you could have ten tracks set to the MIDI channels you want to play on the MOX8.. however, the sound would not be in Logic, the sound comes from within the MOX8. To actually get the sound in Logic you have to record it as an audio track. There are other more advanced methods but that's enough to think about. You will need to the Yamaha MOX8 manual and figure out how to set up a performance mode.
Similar Messages
Yamaha 01x Review
- Is it a bad idea to use antivirus software with Logic Pro ? Thanks..! gtrdashVery bad idea and completely unnecessary.
Barry - I currently own a Yamaha O1x which is a mixer/control surface/audio interface that I use with Logic Pro 7. I am planning on selling the O1X and replacing it with the Mackie Control Universal as my DAW controller and using the Apogee Ensemble as my audio interface. I already have purchased the Mackie Control Universal and would like to begin using it instead of the O1X as my DAW controller, but while I am waiting for the Apogee Ensemble to be released I still need the audio interface capabilties of the O1X. The O1X uses Yamaha's MLAN protocol to connect to the G5. MLAN is a firewire interface that can transmit both audio and midi. Does anyone have a suggestion for a work-around solution so that I can use my Mackie Control Universal (which connects via midi cable) and only use the audio capability but not the control surface of the O1X via the firewire connection? I haven't been able to figure my way through this one and see if it is possible. I have already tried having them both hooked up at the same time, and the Mackie Control seemed to work fine but the audio on the O1X didn't seem to be connecting and functioning properly. I appreciate any help as I am anxious to use my Mackie Control.
Thank you!You need to connect only the Audio and not the MIDI between your 01x and Mac. You can achieve this in mLan Graphic Patchbay-connect the cables between the Nodes in Audio part of a Graphic Patchbay, connect the Wordclock but do not make any MIDI connections. this way it should work as you want. the other way is to Make your regular connection from mLan Autoconnector and disable the MIDI ports that are dedicated to control the DAW by 01x by some freeware utility (01x uses port 1 for that..)
As this is quite 01x specific, please visit 01xray.com/forums where you will find more help, or send me PM.
As Apogee enssemble is expected to have great features, I would rather recommend the i88x instead of Enssemble (i88x has two Mic preamps-the best Yamaha produces (derived from Dm2000)VERY good converters (mLan is known for low jitter and it was tested with Rosseta by a mate from 01x forum who said (he tested it in store with other people) that i88x sounded better-may believe it or not..).The mLan Graphis Patchbay application allows you to patch connections between mLan devices and computer -very flexible. 01x already does almost the same as Mackie control and it is for almost the same price.. But maybe you are pi_ssed of waiting for new mLan drivers? I am just speculating.. - Hello,
Having problems with audio output from both usb ports on my Macbook Pro - I have a VRM box connected to the usb port and sound is coming from the left side of my headphones only. Any help / advice with this much Appreciated.
IanI'm afraid you have quite a learning curve ahead of you.
MIDI is not audio, the MIDI tracks you record are not sound, they are little tiny bits of data that tells what key note was presses and how fast (velocity) you played it. The data you're recording will play any sound on any MIDI Instrument. To get the sound of the MOX8 -IN- Logic you would have to record the audio outputs of the MOX8 into Logic as an audio track.
As with most Workstations you can set up a 'Performance' mode that has different instruments on separate MIDI channels, this is for use with the Internal MOX8 sequencer but can also be used by an external sequencer like Logic. For instance, you could have different instruments on MIDI Channels 1 thru 9 and a drum set on channel 10, In Logic you could have ten tracks set to the MIDI channels you want to play on the MOX8.. however, the sound would not be in Logic, the sound comes from within the MOX8. To actually get the sound in Logic you have to record it as an audio track. There are other more advanced methods but that's enough to think about. You will need to the Yamaha MOX8 manual and figure out how to set up a performance mode. - I've been given a .mid file from someone I know but I'm not having any success trying to access the file in Logic.
The file should just contain a piano piece he had written.
When I first downloaded the file it automatically opened with QuickTime Player. I closed this then tried various ways of getting it into Logic. Software peta kota bandung area. Firstly I went to File > Open, and chose the .mid file. This was the result:
'Damaged project or not a Logic Pro project!
'Search for fragments?
'Damaged projects might create problems and crashes!'
'Search' or 'Cancel'
When I click 'Search' I'm told:
'Read error!
'This is not a Logic Pro project!
'No tracks found'
'Continue'
So, is the file empty (no tracks found)?
Or, because it was not created in Logic, it can't be opened in Logic. (I think he is using a PC, not confirmed yet - I also don't know what DAW he's using, yet)
That's ridiculous though, I thought MIDI was a universal language?
I also tried dragging the file straight into a Logic project, which tells me:
'No tracks found'
Can someone please give me a little hand!? Thank you
Message was edited by: JofishSamuelJofishSamuel wrote:
Okay? Sorry, I have no experience with .mid files as I've never exported or imported them or moved them before.. or even highlighted one before!
Two ideas, have your friend check and make sure the mid file plays on his/her system.
and/or
If the mid file checks out good on his/her system have them compress (ZIP) the file and resend as it could have become corrupted during transfer. It can happen.
Your description of the file (zero length) sounds like it missed the last few bytes.
pancenter- - Hello
Using-OSX Mavericks, Logic Pro X
I have a lot of experience with GBand, but I am new to Logic all together. When I plug in the Apogee One to use for recording guitar, I hear the clean guitar tone coming through the output. National plumbing code of canada 2010. The only issue is I cannot tweak the tones at all using Logic's built in amps (or Amplitube). All I have is the basic, clean tone that the One provides upon connecting. I just want to use the One as a guitar interface, and I am sure I am just missing a basic setting that will allow me to change the tone using the program's built in amps. I have also tried changing the knob on the One unit itself (guitar, mic, etc) Any suggestions?A suggestion. Yes, the Logic manual
1. Make sure you have 'Logics Audio Preferences' set up. (see link)
http://help.apple.com/logicpro/mac/10/#lgcpbb81aca5
Next, you want Software Monitoring on.
And Using the software control panel that came with the Apogee you need to make sure that 'direct monitoring' through the interface is disabled. Direct Monitoring let's you hear what the audio interface is hearing, basically, your straight/clean guitar.
Software monitoring let's the signal be run through Logic but the Interface has to be chosen as the input. (see link)
Apogee may have another name for direct monitoring, some call it 'low latency monitoring'. - Hey everyone, i recently bough and installed logic pro 8 but whenever I use my POD X3 with it there is feedback which no matter what I do I cant stop. does anyone have any ideas or suggestions about how I can fix this please??? thanks alot!Joe Dexter wrote:
Hey everyone, i recently bough and installed logic pro 8 but whenever I use my POD X3 with it there is feedback which no matter what I do I cant stop. does anyone have any ideas or suggestions about how I can fix this please??? Alberta grade 8 math textbook. thanks alot!
Hi.
1. TURN OFF YOUR SPEAKERS!!!
Ok. Now that you don't hear the feedback..you can start troubleshooting.
2. UNPLUG YOUR MICROPHONE OR GUITAR!!!
There..That's much better.
3.READ THE FRIGGIN' MANUAL THAT CAME WITH YOUR X3 THINGY.
Ok. Once you read it, AND ,much more importantly, understand it, you will most definitely find what is wrong with your setup. The solution will be in the manual.. despite what you might think. If you don't find the solution in the manual, you can always make earplugs out of it, provided it is made of soft paper. If the paper is hard, you might need to chew on it, or use some water, to soften it enough to put in your ears.
Here is the mother of all clues:
FEEDBACK.. it only occurs when you have a live input(microphone or really loud guitar) in the same acoustic space as the output (speakers), or when you are feeding a computer output directly into a computer input.. ie creating a loop that feeds back into itself.. get it??? Feeds Back???
Cheers - i try to use flex pitch with a previous logic 9 session and and soon as i switch to flex pitch it just crashes no matter what session i bring up in 192k, i dont have any 96k files to test but is flex pitch non-caompatible with 192k sessionsJofishSamuel wrote:
Okay? Sorry, I have no experience with .mid files as I've never exported or imported them or moved them before.. or even highlighted one before!
Two ideas, have your friend check and make sure the mid file plays on his/her system.
and/or
If the mid file checks out good on his/her system have them compress (ZIP) the file and resend as it could have become corrupted during transfer. It can happen.
Your description of the file (zero length) sounds like it missed the last few bytes.
pancenter- - Hello, I was wondering if anyone still uses their Aardvark hardware interfaces with Logic. I used to for OS9 but when I switched to OSX I found that Aardvark had disappeared from the game. I went online witht the intentions of downloading their Driver (for the USB3 to be particular) when I had found that they went out of business. I do know that they had one for OSX but I of course never downloaded it because I didn't yet need it. I sure could use that driver! Anyway, how is everyone's hardware holding up with the latest version of Logic?I have been looking evvverrywhere for the driver. Every internet search engine turned out nothing useful. You would be my hero if you could possibly email me the driver (the driver that was offered for free from the aardvark website before the company vanished). =)
This hiccup has hindered my audio recording with Logic! Thanks! - I recently changed over from Logic Audio Platinum 5.1 to Logic Pro X. I opened an old file from 5.1 and it opened beautifully in Pro X. I can run G-player through the Logic Pro X. I have a G-player trombone put onto a new channel/track (left side channel strip). I can play this trombone using my keyboard controller. But - when I pull a previously recorded music track onto the trombone channel, the previously recorded music track is mute - will not play. What adjustment do I need to make to get the notes on this previously recorded track to play the new G-player trombone sound?
The old version of Logic 5.1 would easily and simply play any track moved onto any instrument voice. Logic Pro X will not. Why, I need to know?
Thank you,
RobertI figured out how to make it play. Never mind! - My colleague is looking for a way to automate his set list live using Logic.
We were looking at OnStage.
If anyone can let me know how it works, and if it's working well, I'd appreciate it.
CharlesI downloaded it today. Doesn't seem to work. It gives you to the option of playing from 'Logic Pro' or 'Logic Express'. When I click 'SET' to set the project to fire, all of my logic files are grayed (assuming that means they are not an option).. Waste of 20 bucks.
Steve
Branson, Missouri - Hi. Since the Logic Pro X upgrade (10.1.0), I have been unable to successfully play my Arturia SparkLE rhythms on Logic Pro X. There appears to be sound on the output - but I just cannot hear anything. Can anyone lend a hand to a complete novice?Hey CFaller,
Thanks for the question. If I understand correctly, you are using external audio hardware and have no sound. I would recommend that you read this article, it may be able to help the issue.
Logic Pro X: Troubleshooting basics - Apple Support
6. Test using the computer's built-in audio hardware
If you use external audio hardware, try setting Logic Pro X to use the built-in audio hardware on your computer. Choose Logic Pro X > Preferences > Audio from the main menu and click the Devices tab. Choose the built in audio hardware from the Input Device and Output Device pop-up menus. If the issue is resolved using built-in audio, refer to the manufacturer of your audio interface.
Thanks for using Apple Support Communities.
Have a good one,
Mario - I have downloaded the core audio files, and I am stuck. I'm not really sure how to open it up in Logic, and control it. If anyone can give some advice, or post a tutorial that would be great. Also, the MBOX2 seems to only power on every other time I plug it in. Its very inconsistent to power up. Any explanations on that? Thanks for all the help.When I switched from PC/Pro Tools LE to iMac/Logic, I tried to work with my MBox2 but gave up. It's just not well suited for working with Logic. I bought the Duet for $500 and it works great and sounds much better than the MBox2. Better pres and converters. I'll upgrade to an Ensemble soon, but for $500, if all you need is two channels, the Duet is a great way to go. Also, latency is much better with Duet than with MBox, at least in my experience. I keep my buffer at 256 and can barely discern latency at all while getting all the plug-in power I need. If I need to truly knock out latency, I can still go down one or two more buffer sizes.
- Hi
Struggling with something that i imagine is very simple but just cant work it out! Please help me.
I will be using Logic 8 within a live environment and need to basically get various audio tracks 'out' of logic via my interface into a mixing desk. I have 8 sub outs on my interface which is fine for me. (prob lots of people do this also with a mixing desk in the studio environment for intergration with the desk and outboard gear so i 100% sure it can be done!)
Prob 1 is that the track sub outs in logic come in stereo pairs. If i want bass to go to output 1 , and kick for eg to go to output 2, how can i do this???? Is there a way to change the track outputs to mono?
Prob 2 is that if i change the outputs in one session, for example click to output 3 - 4, vocals for example to output 5 and 6, then save the session, close and reopen, they have all reverted to output 1 and 2. In a live situation it is annoying to have to change these before each song starts!
I play in a electro band that incorperates live drums, analog synths, logic audio (backing tracks kinda thing) aswell as live instruments, and finding logic pretty challenging to use for this!! We are flat broke and cant afford new stuff so have been living with it but we are now starting to need more outputs (for the benefits of live mixing , ie not giving the engineer a stereo out) . Surely the mixer in logic is capable of these totally bog standard audio routing options?!?!?
Thanks alot for any help
Davidjayme Lewis wrote:
So here's the problem. I went on a shopping spree recently and purchased an 8-core Nehalem 8-core Mac with 14 GB RAM, Apogee's Symphony system (With Rosetta 800 and AD-16X), and I use this gear with Logic Pro 8.
I still get system overload messages. Sometimes with only 1 virtual instrument and 8 audio tracks!
What gives? I'm running the fastest machine on the fastest system with the fastest/cleanest hardware.
I'm running Logic Pro on all of its highest settings (like it should).
?It's highest settings?
Do you mean the sample buffer is at 32 or 1024.
Even though you have Apple's flagship system it's still possible for Logic to bring it to it's knees. High sample rates plus a couple of space designer reverbs can send a single core into an overload condition.
Try these settings under Preferences/Audio.
I/O Buffer Size - 256
Process buffer - medium
Do NOT have the I/O Safety Buffer selected.
More info.
What sample rate and bit depth are you recording at? ie: 48kHz, 24-bit?
When you open Logic's CPU meters are you seeing a single core spiking?
What effects are being used on the audio and single VI track?
pancenter- - So here's the problem. I went on a shopping spree recently and purchased an 8-core Nehalem 8-core Mac with 14 GB RAM, Apogee's Symphony system (With Rosetta 800 and AD-16X), and I use this gear with Logic Pro 8.
I still get system overload messages. Sometimes with only 1 virtual instrument and 8 audio tracks!
What gives? I'm running the fastest machine on the fastest system with the fastest/cleanest hardware.
I'm running Logic Pro on all of its highest settings (like it should). Of course I could drop the buffer size and unclick a few things here and there. but why? Is my machine powerful enough to handle it or not?
I've deleted the plist a bunch of times and repaired hardisks and everything. any help from a certified LOGIC pro would be excellent and much appreciated! thanks in advance,
jaymejayme Lewis wrote:
Simatic prosave v10 download yahoo version. So here's the problem. I went on a shopping spree recently and purchased an 8-core Nehalem 8-core Mac with 14 GB RAM, Apogee's Symphony system (With Rosetta 800 and AD-16X), and I use this gear with Logic Pro 8.
I still get system overload messages. Sometimes with only 1 virtual instrument and 8 audio tracks!
What gives? I'm running the fastest machine on the fastest system with the fastest/cleanest hardware.
I'm running Logic Pro on all of its highest settings (like it should).
?It's highest settings?
Do you mean the sample buffer is at 32 or 1024.
Even though you have Apple's flagship system it's still possible for Logic to bring it to it's knees. High sample rates plus a couple of space designer reverbs can send a single core into an overload condition.
Try these settings under Preferences/Audio.
I/O Buffer Size - 256
Process buffer - medium
Do NOT have the I/O Safety Buffer selected.
More info.
What sample rate and bit depth are you recording at? ie: 48kHz, 24-bit?
When you open Logic's CPU meters are you seeing a single core spiking?
What effects are being used on the audio and single VI track?
pancenter-
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