Apple Logic Pro /LogicExpress Discussion

From Barry Michael,

 This Is an excellent suggestion and is very probably the best way to handle this particular issue. I have been using logic since 1994, but I am 55 years old and still approach problems like this in an old fashioned manner. I stated out on MCI JH 450-550 consoles and the jh -24 2-inch 24 track machine. I am of the people who still approaches EQ in the old fashioned "set it and leave it" school. Guilty as charged. I understand this about myself, and I'm fighting it. I have scads of Pro Tools experience, and logic is a better program and was a better program even Before Apple reworked it and even when it Was a lot quirkier than ProTools. I was working on Protools at work on Digi high end A/D interfaces, and working in my home studio on Logic  Platinum, using various different A/D converters, and getting a lot better tracks at home. I was taking them back to the studio and changing peoples minds about what could be done. A couple of artist requested that their vocal tracks be cut on my Logic system and brought back into Pro Tools. I was getting a completely different and a really authentic sound from my "alternative" rig. just an anecdote. I do feel as you do, that this may not actually be problem with this vocal track itself, but some type of interplay between the frequency content of this track and the frequency content of some other track or tracks. I have to agree that the best approach in Logic is EQ automation. Thanx, New to this group. I can already understand its' value.

BarryM 

--- In Logic_Cafe@yahoogroups.com, "Mark" <markjseagraves@...> wrote:
>
> Hey I just wanted to offer up a couple of ideas on the problems you're having with that vocal line. 
> 
> When faced with a dynamic or frequency dependent issue, a lot of us tend to go for a plug-in solution and with good reason; it is quick and usually gives good results. This however a generalized approach and it overlooks one of the central advantages to using a DAW in the first place namely - Total Automation. In the hardware world, eq and compression tend to be 'set & forget' solutions. Often times we carry this over into the DAW realm overlooking the fact that we can manipulate every singe parameter of an eq, compressor or any other plug-in parameter in real-time and with near sample accuracy. I really encourage you to dive into the automation side of Logic. It is simply, fast and incredibly powerful. 
> 
> Try this: Solo the part and then find the area that is being a problem. Isolate the region and set locators. Cycle the region. Next add a single band eq to your channel strip. If you already have plug-ins rolling, place it after your main eq and before any other processing. Hit A on your Mac keyboard to go to automation mode. In the track header you will see a pull-down labeled Volume. Using this pull down you can select the frequency and gain of the single band. Use automation break points to to gently dip the problem frequency only where you have the problem; literally only during the 300-400 msec that the problem is occurring. This is similar to what a de-esser would do, only here, you have total control over what's going on. If you are familiar with your automation tools, you know you can copy and paste the data from one area to the others very quickly and then tweek each spot individually. Using this method you can make absolutely transparent corrections to only the problems spots leaving the rest of the track unmolested.
> 
> Once you get this down, you will quickly realize what you can do with dynamic automation of compression-eq to draw out breaths, selectively compress the tail-ends of lines or create all sorts of wild effects. Give it a shot.
>