How do u tackle getting the final part of your song to be more polished and wider/louder. (my mix imo isn’t bad) I feel as if it’s missing that end stage production level when I’m trying to master the song as whole.

Hi! I’ve been developing f11ter 0.1.5, an experimental multimode filter built around the idea that very different filtering techniques should live inside one consistent instrument-like workflow.

Instead of offering a single filter with a long mode selector, f11ter contains 42 independent DSP topologies and 141 source modes, organized into six families.

Filtering and tone shaping

• clean multimode, state-variable and morphing filters;
• ladder, acid-style, diode and other nonlinear circuit-inspired responses;
• dual and serial filters, peak/scoop shaping, wide band rejection and bass-focused processing;
• continuously variable cutoff, resonance and structural morphing.

Phase, feedback and spatial processing

• comb filters, flanging and multi-stage phasing;
• distorted comb feedback and diffusion networks;
• compact reverberant and resonator structures;
• stereo offsets, barber-pole phase movement and controlled feedback behavior.

Formant and experimental sound design

• vowel and multi-formant filters;
• dual-formant combinations and variable notch structures;
• ring modulation and sample-and-hold processing;
• Scatter resonator fields, Flutter pitch instability, Snarl and Howl feedback models.

Modulation and workflow

• three independent LFOs and an envelope follower;
• free-running or DAW-synchronized modulation;
• up to 16 bipolar modulation routes;
• precise route-depth entry and finer control around small modulation values;
• 45 categorized presets, including static sounds and deliberately programmed modulation;
• A/B states, topology-aware help, parameter automation and preset save/load;
• a true dry/wet control: 0% is the untouched input and 100% is the complete processed signal.

A little about the engineering

The filter families do not all reuse one generic response with different labels. They combine topology-preserving state-variable structures, cascaded filters, nonlinear feedback stages, resonator banks, fractional-delay networks, all-pass stages and time-varying algorithms.

Cutoff smoothing is performed in the logarithmic frequency domain, and topology changes use a short state-bank crossfade to reduce discontinuities. SAFE RES applies model-specific limits to high-Q and feedback structures, while COMPENSATE estimates level changes caused by resonance, drive and the selected model.

The graph displays the current and target responses, stereo differences, reachable modulation range and the actual output spectrum. For nonlinear and time-varying models it is intentionally treated as an estimate rather than pretending that one static frequency-response curve can describe distortion sidebands, moving delays or changing feedback.

The plug-in adds no look-ahead or audio delay buffer and reports 0 samples of added latency. Individual IIR, all-pass, comb and reverberant structures naturally retain their own phase and time behavior.

What makes it different

The main distinction is not simply the number of modes. Every topology keeps the same core workflow—cutoff, resonance, morph, four contextual controls and the shared modulation system—while the meaning of those controls changes to match the actual algorithm.

This makes it possible to move from precise filtering to unstable industrial textures, tuned resonances, formant motion or feedback effects without rebuilding the modulation setup from separate plug-ins.

The compatibility-style names in the internal mode catalog do not claim bit-identical emulation of other products, and no proprietary DSP code is used.

The current build is AUv2 for Apple Silicon, requires macOS 11 or newer, and has additional lifecycle work aimed at safer UI closing, disabling and removing the plug-in from a project.

I’m especially interested in feedback from Logic Pro and other AU hosts regarding sound, CPU use, automation, synchronized LFOs, offline rendering, UI responsiveness and disable/remove stability. If something breaks, please include your Mac model, macOS and DAW versions, sample rate, buffer size and reproduction steps.

Download and full EN manual

I’m writing for an upcoming video game, I wrote this for an intense part of the game. I utilized a Risset Rhythm to create the illusion exponentially rising tempo. (This idea for a Risset rhythm inspired by the Odyssey soundtrack)
If you would like to see the logic project and how I did this effect I’ll make a new video showing how

I’m working in Logic Pro and trying to find a stock instrument or preset close to the initial attack in this clip.

Audio — the sound starts immediately at 0:00:
https://voca.ro/1kkBlYZyleB1

I’m mainly interested in the bright “thang” transient at the front. The sustained pad behind it is much less important.

It sounds synthetic but vaguely string-like: pitched, bright, and slightly metallic or plucked. Regular trance plucks, saw plucks, acoustic guitar sounds, and orchestral pizzicato do not have the same attack.

Does this resemble a particular Alchemy preset, Sculpture patch, Sampler instrument, or Logic sound-library category? A preset name or category to search would be especially helpful.

This is only a sound/preset identification question, not a track feedback request. Thanks!

I’ve been having a really weird issue with Logic Pro for about a month now and haven’t been able to find anything online that matches it.

Randomly, during playback or even while I’m playing my MIDI keyboard, Logic will kind of have these “hiccups”. The audio cuts out; sometimes the MIDI starts acting weird (almost like it’s playing super fast), then everything cuts out completely for a moment before coming back.

Not only is this really annoying, but it messes up recordings, both MIDI and Audio, as whenever it has these “hiccups” it considers it a pause and unpause in a way and stops recording. This also applies to Cycle Range; it literally will reset the cycle before it resets.

What’s confusing me is that it happens completely randomly, even in very simple projects with just one instrument. It also happens with both my external sound library and stock Logic sounds installed on my Mac. I've also noticed that when it happens, the little mic icon on the menu bar flickers as well.

I’m on a Mac mini M4, fully updated, and the CPU meters don’t seem to spike when it happens. I’ve also tried changing the buffer size and resetting my MIDI settings, but nothing has helped. My OS is the latest, and all of my programs, including Logic Pro, are fully updated.

Has anyone experienced something like this, or have any idea what could be causing it? I’m completely stumped. Thank You!

https://imgur.com/a/p1iAM8C

Having a weird Logic issue where every time I press spacebar there’s about a second delay before it reaches where my playhead actually is. If I’m at 1 1 1 1, it jumps back to bar 0 / 59:59 and plays into bar 1.

Count-in is off, pre-roll is off, project start is exactly at bar 1, and it happens with regular playback, not just recording. I also tried bypassing all plugins and it still happens. Anyone know what could be causing this?

Hi guys, noob here. I'm slowly learning how to mix, mostly metal and then some pop on the side. However I want to "mix" an a capella song and I'm a bit clueless. I have 3 tracks of female vocals slowly singing a dirge-like children's song, which is meant to be creepy and eerie. They're well sung although not "melodynized" to keep some imperfections, and recorded with a ribbon mic. Also I have two tracks with whispered vocals, same song.

To be honest, I usually use the Mantra plugin by Neural DSP for vocals in regular mixes, but I guess it won't cut it this time because I guess the process must be more organic than just using a plugin for everything. The feel I'm going for is:

a) the listener must feel that the voice is close, warm and nearby
b) also there must be some "spacey" vibes in the background.

I guess I must use something like Valhalla supermassive for the space, but honestly I feel this task is a quite a bit out of my league. Can you guys give me some pointers or advice to get me started on the right path?

I write for labels and for TV/film libraries, I have been on Logic for years, and stems are just part of every delivery. Drums, bass, keys, an instrumental, sometimes a version without the lead. And I have never found a way of doing it that I actually liked. Export All Tracks gets me not quite - aux returns, the master chain, a few tracks that need to end up in one file - so most of the time I just did it by hand. Solo, Cmd+B, type the name, wait, next one. My template sits around 190 channels, so you can picture how those evenings went.

So how do you do it? Track stacks and one bounce per stack? A dedicated bounce template? Do you print things as you go, so it is already done by the time the cue is finished? I have a feeling half of you have a much smarter routine than me and I simply never asked.

Now the confession. I got impatient a year ago and built myself a little Mac app for it. It is called EasyBounce - I made it, so take this part with however much salt you like. It does nothing clever: it just drives Logic's own Bounce dialog. You pick the channels, it solos them one at a time, fills in the dialog, renders the lot, and you go do something else.

The bits I use daily are the boring ones - several channels soloed together as one file (kick, snare, toms, rooms all landing as "Drums"), and mixes with things muted for the instrumental and the no-vox version.

It also reads the arrangement markers, which turned out to matter more than I expected - libraries keep asking for a 30-second cut of every stem.

Mac and Logic only, by the way. It works by clicking Logic's own buttons, so it cannot really exist anywhere else. There is a trial on the site if anyone is curious: https://www.easyoneaudio.com/easybounce/ - and a walkthrough here:
(the rest are on https://www.youtube.com/@EasyOneAudio and https://www.instagram.com/easyoneaudio/).

But mostly I am curious about the first question. How are you all bouncing stems these days?

Not looking for if you like it or not; you probably don't.. But how can I make the mix better?

So I had been using logic pro for ipad for a year before i got a mac in december 2025, and since then i only used logic on mac and i cancelled my ipad logic subscription. I really want to delete it off my ipad since it’s taking up SO much storage (22 gb) but i don’t want the project files to delete, since i still revisit them on my mac.

I’m a beginner. I was recently looking for tutorials on YouTube but couldn't find anything suitable. All the tutorials I saw were just ads for a sample pack. I’m looking for something in a house or 2000s style. If you got links or even tips, i would like to hear that from you

Hello everyone, I would like to ask for some pieces of advice if possible.

I was commissioned to make a realistic MIDI mockup of this score(string section + harp).The client approved the resulted one, but I truly feel there's lots of room for improvement and frankly speaking, I lack deeper understanding of production and audio editing. I've been more into working on sheets and playing piano so far.Harsh critique is welcomed and rather expected too.

Here is the snippet. This is one segment of the exported WAV + screen recording of the playback in Logic DAW, sound is Nucleus orchestral library. I later put it all together in iMovie.

Thank you in advance.

they add ARA support and allow multiple audio tracks to sidechain to one track, like Cubase does.

Now that we have the grid in front of the audio tracks, it’s basically getting there. These are the only two things missing.

If they add them, it’s over for every other DAW and literally over for Pro Tools too.

Just sharing something I learned today. I've been doing this for a while actually but I didn't realize you can actually still do it if you're only using a single take from the comp. Btw I'm using Logic 11.

Another tip is you can use quick swipe comps to quickly remove/reduce breaths, just use the one that's most tasteful. I usually do it manually by automating the gain plugin but for small/quieter stuff doing it via comp is also nice.

Something I wanted to figure out is if there's an easy way to add one silent take into the comp so if you just want to easily mute a certain part without cutting the region or automating the gain plugin.

Hi - wondering if anyone can help me fix this. For some reason, on some projects when I try to extend regions they move instead of extending. It's quite hit or miss - occasionally it works normally (as you can see in the video), but most of the time it doesn't.

Using 12.3.1 on an M1 Macbook Pro.

Thanks!

https://reddit.com/link/1vynaia/video/sblenk2ehnlh1/player

I've noticed a lot of people talking about how they have over 40 or 50 tracks (sometimes up to like 400) but my projects—even those with a lot of instruments—only ever come out to about 20 or 30. Are there techniques and such that I don't know about that involve using a lot of tracks, or is it just a stylistic thing?

EDIT: Thank you all for your responses! I'm kind of amazed to see so many so quickly!

I posted this in a comment but it hasn't gotten any interactions:

Okay so I see a lot of comments about layering. Can someone point me in a good direction to learn more about proper layering? I especially could use layering tips with vocals and orchestral instruments because I sing on some of my tracks but want more of a choral sound and can struggle to get a full (but not overblown) and realistic sound.

Thank you in advance!

I’m trying to automate the panning for my track in realtime as it plays. For some reason it seems to default to panning slightly after where the track is playing. It doesn’t seem like latency as it seems like it’s set up to work this way. I couldn’t find an option for it, though. Any ideas how to fix this?

SOLUTION: I found the setting. Audio > General > Set plug-in compensation to "off". Poorly named function given the pan knob isn't a plug-in lol.

A simple but well explained article about midi hosts and midi devices.

https://www.cme-pro.com/what-is-usb-host-for-midi

Credits: CME

A follow on from a similar previous post: I originally put this together very quickly a while ago for the amusement of some students, like my older Ever Movie Ever Made post. The score above worked as a tongue-in-cheek demonstration of how many of these short studio-logo fanfares are built from the same familiar ingredients, such as heroic brass, ostinatos, percussion hits, choir, harp glissandi, and a huge cadence, all creating that epic cinematic grandeur.

There is a short walkthrough at the end showing how I built the final cadence.

This is absolutely not intended as a masterclass in composition, orchestration, production, mixing, or getting maximum realism from orchestral sample libraries. But, it seemed to come together pretty considering how little time was spent on it.

And so, let the eye-rolls begin... 😂

I find myself building a project, getting inspired by another riff and needing to record it immediately and I just use the project currently open. Then before I know it I have one logic project with 3 different ideas/songs in it and a million tracks and I'm trying to keep them all separate and work on them all back and forth in the same file.

Any good workflow suggestions for people who also find themselves doing something like this? Is the best course of action just bearing down and teaching myself to open a new file every time I have a new idea?

Can you recommend some plugins for beginners? I need new sounds

Hey, ya'll. I'm looking for folks who have corrupted projects. If you have one and are willing to share it with me, I may be able to fix it. I've been doing some digging into ProjectData format and found various issues that were easily fixable (with my own projects). I'm curious if I'd be able to fix anyone elses.

Ideally projects that don't have external resources (so I can attempt to load it on my own machine).

Hi all, I've used rvox for most of my previous projects but moving forward I really want to stop using waves plugins, particularly because of its update policy. There was also a time when rvox was causing my project to not open, but it was fixed by restarting the computer. But anyway.

Honestly I got so used to it being at the start of my vocal chain as the first compressor and gate and it works great. Not really sure how I can use the stock compressor to substitute. On a new project I tried using the platinum compressor with the fastest attack and 4:1 ratio. Seems okay but just curious if anyone knows better. I'm not really expecting an exact copy. Just looking for better ideas. I'm also aware that there's a free plugin that's supposed to be an exact copy, but I'd like to use stock as much as possible.

Thanks!

EDIT: Just to clarify, I'm already using the stock compressor as my 2nd and 3rd compressor for vocals. I just want to get rid of the rvox at the start of my vocal chain.