Alex Fraser
Requires ☕️
After looking at the new system requirements, my ancient iMac is hanging in there, but my iPad Air looks like it'll no longer run Logic remote. That's a shame.
Since EXS does that "keep common samples in memory when switching projects" thing (basically the same as "Preserved But Not Decoupled" in VEPro), I can avoid hosting anything other than Kontakt/Omnisphere/Play/Spitfire in VEPro and project switching will stay under 10 seconds. .
Can you please elaborate on this?
There are people who work like this. One example might be when a variety of remixes live in the same session with the original multitrack recording. You wind up with a number of alternate versions, each with 100+ tracks. I saw that sort of thing when I was working in the record industry. The recording artist wants it that way, and the arrangers and engineers have to deal with the headache of keeping it all organized.I would really like to witness a full production using even 700 tracks i mean come on guys.
ok i guess that,s one way to build up track count
JunkieXL's
I would really like to witness a full production using even 700 tracks i mean come on guys.
... and it did. What's your point?I would hope a $15,000 computer can handle 1000 carefully selected tracks for a live demo on software that is optimized for that OS and hardware.
I have never seen a project using that many tracks simultaneously,
but I have indeed seen guys with well over 1000 tracks loaded into their templates. Many composers work like this.
I'm new to Logic but I feel I need to study all of Charlies excellent advice on the subject. Thanks for typing all this out man!For the last 15 years or so, Logic's EXS24 sampler has had a function that's very similar to using "Preserve = ON, Decouple = OFF" in VEPro. Open the EXS plugin, then under the Options button on the front-panel GUI, choose "Preferences". This opens a small dialog that's just for the EXS24 settings, and this is the only place you can find and adjust these settings. You can do great things like specify an incoming MIDI event to go to the next/previous Instrument for quick browsing (I wish Kontakt had this, or if it does, that I knew where it was!).
But the interesting one is the bottom-most checkbox: "Keep common samples in memory when switching projects". When this is enabled, Logic will not un-load and then re-load the samples needed by EXS24 when you switch between projects that both use the same instruments.
So, if you build a template with a zillion EXS instances, and then have a whole bunch of projects that were all created from that template, switching between those projects will be VERY quick. Logic just compares the EXS instances in the outgoing project to those in the incoming project and you can watch it just blaze through the process. In my projects that use 200+ EXS instances it takes about 10 seconds to switch between projects.
So it's like "Preserve but NOT Decouple" in VEPro - the front panel settings for all EXS instances ARE saved with each project, so you can adjust filter / ADSR / mod matrix / whatever in one project and then go to another project and those settings will be changed to whatever they were when that project was last saved.
This is absolutely killer, and I don't like to work any other way. I want each project to have unique, saved settings for all front-panel settings for every sampler instance. Of course, this isn't such a huge deal when working with Kontakt orchestral libraries, since many of them don't even have anything worth adjusting on the front panel - no ADSR, no filter, etc. This is a huge pain for the way I like to work, and is a big reason I hardly use Kontakt.
Plus, EXS puts the velocity-switching and crossfade controls on the front panel, as mod matrix routings, so you can instantly switch between velocity-crossfade and modwheel-crossfade and tweak the crossfade amount and curve. Doing that in Kontakt involves going under the hood, selecting groups, finding and then dealing with that crazy "curve table" modulator, etc. Pain.
Yes, EXS is very limited compared to Kontakt - no true-legato-transitions, difficult (if not impossible) multi-mic position support, etc. etc. etc. But dang is it quick to use, and I can manage massive templates almost as quickly as if they had no software instruments at all. I did a test a while back where I converted all of the EXS Instruments in a template to Kontakt, and then rebuilt the whole thing using Kontakt instances, and it was torture to work with. My quick and light template (even with 250+ EXS instances) acted like a pig once I had 250 Kontakt instances. So I deployed all of those Kontakt instruments in VEPro, and Logic acted a little snappier but the workflow was a huge drag for me.
So I'm still EXS all the way.... or at least, as much as possible. All eight of the SAW movies, all of my other movies and tv series... all EXS, except for maybe twenty cues (out of thousands) where I used a few Kontakt or Omnisphere patches. I just finished another film score that's 100% EXS and audio tracks. Quick-n-easy.
Exactly, I mean... Are they now going to have us wait 7/8/9/10, etc years before the next paid update then?I'm 100% agreed with anp27 . Six years is a very long time...
There are quite a lot of invisible features (not announced by Apple) which were implemented in the latest LPX versions (a sort of tests in the update builds).
- I noted quite a lot Environment new features which were not announced.
- Some of the factory Instruments came with more than 127 Articulation IDs.
- I noted a new development of CC Art IDs which makes me think that Apple are trying to develop Note expressions (similar to Cubase ones).
- etc ....