This was the clearest instruction to automate Omnisphere, picked from Logic Forum, and it worked!
“whenever I’ve employed Automation on an Omnisphere track I’ve never used Latch Write or Touch in Logic to get the job done..
I Enable Host Automation on the Omni Parameter I want to automate as described previously.. then in Logic I go to the Omni track.. open up the Automation view (KS =A).. go to the drop down automation menu and scroll to Omnisphere.. and in that selection there will be 255 numbered options to display.. usually somewhere near the top of the list will be the parameter I just enabled for automation.. so I display that and use Read automation.. maybe all this time I’ve been doing it wrong but it seems to work just fine.”
I was confused about how to route Native Instrument ‘The Mouth’ but found this guide quite handy:
1. Put some audio on an audio track (let’s assume “Audio 1″).
2. Put some MIDI on an instrument track (let’s assume “Inst 1″).
3. Select the audio track (Audio 1). In the I/O section, click on the output button, and select “No Output” in the menu that pops up. (This prevents the untuned audio from coming to your speakers. Auto-Tune will be your output device, so you don’t want it also coming from here.)
4. Select the instrument track (Inst 1). In the I/O section, click on the input button, and select the sub-menu “AU MIDI-controlled Effects”, then the sub-sub-menu “Antares”, then the sub-menu “Auto-Tune” (mono or stereo). This instantiates the plug-in, giving it the MIDI data that’s on this instrument track as its input.
5. In the plug-in window that pops up, at the top, near the middle, click on the button under the title “Side Chain:”, and select the track number where you’ve assigned the audio. In this example, it is labeled “Audio 1″. (This selects the audio that you put on that audio track as the “side-chain” input for the plug-in.)
Well, returning to the track that needed a little help I find that the vocals are just too harsh – part of the process is to revisit the track with fresh ears several times. So what went wrong?
I have learned that the original producer felt that the vocals needed to be re-recorded but the Singer didn’t want to do this. So I have been trying to correct something that isn’t great to start with, but after another 6 hours or so of work, I think it is as good as it can be. I had to get many more tools out of the box though – Exciters and even the Multi-band compressor.
So resting the ears before finishing-up.
Only 2 tracks left before the Charity Album is ready for preliminary reviews.
Re-mixing a pretty little song called Coming Home.
One of the songs for the Charity Album needed a little help. The mix seemed a little problematic for the artist to get right in the short space of time we have left for entries. I offered to take the original Multi-Track Master and do a remix using my own studio. Spent just 3 hours on it but it sounds good to me. I hope the artist is pleased: fingers crossed.
I was only too pleased to master this charity compilation for my colleagues at work. It’s an eclectic mix of genres, styles and sounds with around 30 tracks that has made this really challenging, and it’s not finished yet.
I’m into about week 4 and I have just 5 songs left to do. Then there will be 3 to 4 weeks of listening and tweaking I’m sure.
Anna is a young orphan girl who has managed to survive on the streets and in the wilderness after the death of her guardian and last living relative. This would be the compilation sound track to Graydon’s novel, if he ever finishes it and if it was ever to be made into a movie. Graydon thinks of it as a theme of the album of the soundtrack of the movie, of the novel!
Anna was written, recorded and produced by Graydon Jones. No other musicians were harmed during the making of this song.
Thank you Nell Fallcard for the wonderful artwork.
Find it in the Instrumental Rock or Soundtrack genres