Seriously, this should just be a plugin…and seriously Ableton Live & Reason do this better. I still feel like this is a magic voodoo trick to have to do to get this in Logic, but I want everyone to know it’s possible. Let’s begin:
1: MAKE YOUR INSTRUMENT
No further explanation needed. I picked ES1 if you need a suggestion. I’m going for something like the arpeg found in “Ayo Technology”. Yes I listen to fiddy. Next!
2: CLICK ON WINDOW -> ENVIRONMENT
Or just hit command-8.
3: GO TO THE “CLICK & PORTS” TAB
Located in the top left of the environment window.
4: TURN ON YOUR CAPS LOCK KEYBOARD
Play some notes to see how the MIDI signal path that you see is working.
5: CLICK “NEW” THEN CHOOSE “ARPEGGIATOR”
Also, take a moment to send Apple feedback reminding them that everyone else just makes this an included plugin and doesn’t require Max/MSP -style patching to accomplish this. Moving on.
Connect the output of “Input View” into the Arpeggiator. Connect the outlet of Arpeggiator into “Sequencer Input”
7: IT STILL DOESN’T ARPEGGIATE
Until you hit play. Go to the Environment window to change the note values, etc. (setting both note values to 64ths will get you that Timbaland sound that’s so popular with the kids these days).
(p.s. to preempt all of the Logic defenders out there, I’m one of you. I just wish this one feature were packaged in an easy to turn on/automate plugin rather than using the environment. I realize the advantages of keeping the environment around but also that most non-MIDI-guru users aren’t going to realize it exists at first.)
Last week the local orchestra I play with performed Carmina Burana. I got to speak in depth with Mike Hughes, the recording engineer for the event, to see what his strategy for recording a big event like this is. I noticed he changed setups a couple times during the last rehearsal, which is uncharacteristic for him. Here is his process:
Two Sennheiser omnidirectionals spaced in A-B pair about 10’ above stage and 15’ back from stage lip. Two Schoeps subcardioids spaced 25% on either side of the choir onstage, set up about 8 feet. Mike ended up changing this setup due to his favoring a less dry-sounding choir.
This is the one he went with for the show. Same omni A-B’s in center. Schoepps capsule change to cardioid and move to about 25% positions on the same height plane as the omnis in front of the stage. He also added a cardioid spot mike on for the children’s choir, which was coming through a bit soft with only the omnis picking it up.
A-B VS ORTF VS ???
Why would you use A-B stereo versus something like ORTF for a large group recording? Simple: A-B is much more directional, and a choir is a directional ensemble. A multi-directional group like a band or orchestra can be picked up with many various patterns and still retain an “attack” quality – choirs end up sounding muddy or washy in a non-straight pickup pattern.
All of the gear is going through a Soundcraft mixer (only hard pans – this is still a pure stereo recording barring the spot mic of course), and then into a 1-bit DSD recorder. The preamps are hand-built from the now defunct Decca Classical label (the engineer I believe sells these himself now).
I admire Mike’s commitment to pure recordings; he doesn’t really add effects unless something is really off (air handlers, etc.) and he tries to only gently compress a recording during the mastering phase. His recordings have serious dynamic range and clarity.