"I mix everything as loud as possible". There is your problem. Right there.
Mixing music is not about making it "loud". If you think it is, you are focussing on the wrong thing entirely.
There are any number of resources available to you to learn how to mix - too many to list here.
One tip I will give you is to focus on spectral balance and dynamic range....
Best way I could find.
Make all your audio "follow tempo"
The way to do this is to mark the region,
and check the "follow tempo" checkbox in the inspector.
After you have done that you can just change the BPM to the desired speed.
Now, sometimes the "follow tempo" checkbox does not show up. I read somewhere that this is because the follow tempo feature is ...
I'm not sure I follow your question 100%. Is this to picture? If so, and maybe even if not, I would bounce down my music to individual stems. That way, the music's tempo changes, quantization, reverbs, eq's, and whatever else is already taken care of. Then you can pull those stems into a session that has a constant "tempo" (framerate, if to picture). As ...
I echo (LOL) Tim's recommendation but also suggest the use of Crystalizer after using an LFO. Available for Logic Pro. I also recommend warping and oscillating the pitch a few different ways and then running it through the LFO and Crystalizer in layers at different settings. It should give you a less electronic and more natural thick bubble sound based on ...
The only way it seems to be possible is by using 'Tempo Operations', which you can assign a keyboard shortcut to. Although it's possible, it's certainly not ideal.
You would have to hit your chosen command to bring up 'Tempo Operations', then alter the start and end values for 'Position' and the start and end values for 'Tempo' by tabbing through the value ...
I do this all the time. Position the playhead at a convenient/natural point between songs, select all the regions, and "Split Region(s)". At this point you will have a "song" and "the rest of the audio". Place a marker on the first set of regions. Make the song work. When you are satisfied create a new "Alternative" and move to the next song (position ...
If it is all one band doing one contiguous concert, I wouldn’t want to break that up into 16 projects, because you will likely want to treat each channel in basically the same way. It likely really is just one drum recording, one guitar recording, and so on, even though it is many songs. If you split it up, the things you do to the drum track, you might have ...
You can do this by selecting from the top menu Edit->Tempo->Show Tempo List, and then click on the + symbol to add a new tempo change. The default starting point will be the location of your time bar, though you can change that and the expected tempo by double clicking on the values that appear listed in the Tempo List window.
One solution would be to have the output of the track go to a bus, instead of output 1-2. Then you could either used the fader on the bus, instead of the track, or you could put the automation on the bus track (your would need to create a track for the bus to be able to automate on it).
You could also use a plugin and automate the output volume of the ...
If you're talking about the MIDI FX plug-in, then here is a simple tutorial that describes the process:
Just drag the MIDI Pattern to a MIDI/Instrument track.
Ok, figured this out on my own:
Quick and dirty:
Assign the two faders you want to crossfade to the same control, then set the multiply in the advanced assignment settings (Command+L) to -1.01 and 1.00 for the two faders respectively.
Get MRatio (http://www.meldaproduction.com/MRatio) and sidechain in the track you want to crossfade. Lots of control ...
Paulstretch is great for creating long, evolving textures and drones out of anything. Guitar riffs work incredibly well if you want a place to start.
Logic also has a convolution plugin called Space Designer, great for convolving two sounds together.
An interesting combination you can try out is having the sound of fire crackling be your source audio and a ...
I am not a Pro Tools user but this link offers some good information: http://bleepsandpops.com/post/37792760450/adding-cue-points-to-wav-files-in-c
The above link points to a page describing how to insert cue points into a wav file thru c programming.
You need a line per channel. You have 2 lines, so you can only record two channels at a time through the mixer. You would need to assign them to the left and right channels of your output respectively by using the pan knobs.
I'm not a regular pro-tools user, but a universal way I'd approach this in any DAW is to:
Open a new project with the sample in question.
Create an automation for the volume of the sample.
Add control points to the automation as required.
Render the stem to another sample. This could be achieved by simply rendering the project.
Optionally you can skip the ...
if you use multiple short grain delays you'll get exactly what you're looking for.
all the sfx during the first half were multiple short delays with high feedbacks and varying grain size settings.
I would say you could try a vocoder, or better yet, this is what I would experiment with.
Set up a long track with whispers and get your whole atmosphere going, right? so on its own it's just a crazy track of whispers and delays and mess.
Then, set up your other track which would be the "trigger" for lack of better wording. On your whisper track, set up a ...
Have not used Soundflower since discovering Jack http://jackaudio.org
Might be worth checking out.
EDIT: I guess it is worth pointing out that Soundflower will work for duel channel stereo between applications on one machine, but if more channels are required or the applications are on different networked machines, then Jack may offer a better solution.