When you separate by note pitch, Logic assigns all of the newly created tracks to the same channel. So what you do to one, you do to all. Not ideal if you ask me, but they have their reasoning. An easy fix is just to create new channel strips for each new track. The easiest way to do that is to just select the track, then hold CMD while pressing the DUPLICATE TRACK button (the white box with the "+" sign in it above your tracks in the arrange window). Holding CMD button while pressing that will create a new channel strip with the same regions & same settings as the old, but minus the group attachment to the others. You can then just delete the prior strips. Let me know if this works for you!

Thanks I will let you know

I'm not sure why that would be happening. Are these midi notes connected to a... drum machine? If yes, maybe its the routing there? If you don't need to edit the midi any further, you could bounce to audio and just move to another track. But this is just some simple setting somewhere, 100%.

Actually, does this answer that I posted for someone else work for you? His issue sounded similar to your issue, Here is what I wrote: When you separate by note pitch, Logic assigns all of the newly created tracks to the same channel. So what you do to one, you do to all. Not ideal if you ask me, but they have their reasoning. An easy fix is just to create new channel strips for each new track. The easiest way to do that is to just select the track, then hold CMD while pressing the DUPLICATE TRACK button (the white box with the "+" sign in it above your tracks in the arrange window). Holding CMD button while pressing that will create a new channel strip with the same regions & same settings as the old, but minus the group attachment to the others. You can then just delete the prior strips. Let me know if this works for you!

@@onnseanbeats1012 Yes that works well. Thanks for the reply.

@@onnseanbeats1012 You cracked it! Thank you!

Thanks Zoreslav!

You're welcome!

Right back at ya!

No doubt! Just checked out your guitar skills in your holiday song, and gave you a follow. Nice job!

@@onnseanbeats1012 made sure I subbed too, thanks for the dope content

Thanks for watching. I probably wouldn't use Alchemy for that. Is it necessary for you to use Alchemy for this? If yes, what is it that you're trying to do to the synth bass exactly? Lemme know and I'll try to hook you up! That said... if it's not a requirement then I'd just turn on Flex Time on the track that the bass synth sample was on, and then adjust the timing of the sample right there so that it fit the tempo. There are a number of ways to do that, actually. I guess after you did that to the sample, you could then drag your new timing-adjusted sample into Alchemy if you still wanted to. Then you wouldn't need Alchemy to do the timing adjustment, as it would already be done. Make sense?

@@onnseanbeats1012 Coming here a couple of years later because I am trying to build an instrument in Alchemy that I could share with friends. I think I have a similar issue to what @spookymanelacrow4001 had. I am mapping a range of my main sound to slot A, the don't need any timing adjustment. On slot B I am adding processed rythmic "companions" to the main sound. All of these where rendered at 120BPM. I would like to tell Alchemy that they are always 1 bar long, and if I want to use my Alchemy preset at different tempos, I would like these samples to be appropriately stretched.

Glad you think so!

Thanks for watching.

Wow, Stevie! Great info. Spoken like a theory ninja!

​@@onnseanbeats1012 Here's a real time saver for this function: When you "flip" the scale or chord, in most case you'll get many of those "out-of-key" accidentals. You have to do them *one at a time* meaning if your in the C major-scale and you flip (invert) by C3 and get Db, Eb, Ab, and Bb as accidentals ; you'll have to adjust these four-notes to maintain diatonic-harmony. The two types are *real-inversions* (what Logic gives you- mirror-image) and the ones being adjusted and referred to as *tonal-inversions* i.e they conform to a given scale. OK - The easy-part: (1) To adjust these to scale, open the part in the score-editor or window, select the accidental, and use the key-command 'shift+s' while that note is selected. All of them will become selected within the progression / sequence. (2) Then while they are still selected, use 'option + up-arrow' *one* time to correct them. Repeat for every accidental until they are all "in-scale". I recommend you transpose the piece to its traditional-modes (scale-degrees) so if something is wrong, you catch it right away. When your in another key, you have to deal with the accidental and the key-signature. For most cases, root transpositions are: C for major-key; A for natural minor; G for mixolydian (major with the dominant 7th on the tonic). (3) This is a process of "serial-development". I always duplicate the track and perform these functions on the duplicate and name accordingly. Adding a step-number is very helpful. I dedicate a piano-instrument for this so I can clearly hear what is going-on. Sloppy pads will hide things. (4) You will accumulate many sequences/tracks and start making a mess so learn the "create track-stack" function. The lock-function will keep you from deleting them accidentally. You always need to follow-back your process. (5a) You can mix-n-match these inversions and combine /insert within the original-progression. Inversions can be thought of as "surrogates" to the original note or chord. This is similar to creating a 'comp' (compilation) like you do with live-performances such as vocals though you are extending the progression. This is also known as a "prolongation" in Schenker-counterpoint. (5b) A pattern for this can have a "rhythm" as well. The poly-rhythm resulting attack-pattern of 3 against 2 (3÷2) is 2 + 1 + 1 + 2. Assign (a) as the original-chords and (b) as the inverted-chords. The pattern would be 2a + 1b + 1a + 2b = (a + a) + b + a + (b + b). If the chord or note changes for each attack, it will be 6-chords or 6-notes between the original and the inversion. (6) Learn those key-commands and get an Apple extended keyboard. I almost never need to go the menus and in Logic they are sometimes buried several-times. *Note* that chromatic-inversions aren't usable - to the contrary. Bach and many other classical-composers onward to jazz and blues composers use chromatic-harmony extensively. Its just that main-stream is challenged in that department and you always compose for your audience, not yourself. That's what hobbie-projects are for. (7) Amazing feature - only your posting here on YT and its been in Logic since 1991 when I started with it when it was EMagic.

@@steviesfv7782 This may be one of the most detailed comments I've ever seen in YT. LOL! Fantastic insight, and well stated. Thx Stevie

Thx for watching Neil. Post a link to your music!!!

Thx. Even easier to get audio into Alchemy now in v10.5. I've been so distracted with the new Quick Sampler & Drum Machine Designer lately that I haven't even launched Alchemy since the day I upgraded. Lol

Much appreciated.

Hey Alan, thanks for watching & commenting. Yep, should've addressed that. Pretty simple though. When you separate by note pitch, Logic assigns all of the newly created tracks to the same channel. So what you do to one, you do to all. Not ideal if you ask me, but they have their reasoning. An easy fix is just to create new channel strips for each new track. The easiest way to do that is to just select the track, then hold CMD while pressing the DUPLICATE TRACK button (the white box with the "+" sign in it above your tracks in the arrange window). Holding CMD button while pressing that will create a new channel strip with the same regions & same settings as the old, but minus the group attachment to the others. You can then just delete the prior strips. Let me know if this works for you!

​@@onnseanbeats1012 Worked perfectly, thanks a lot for the help my friend. Great tips and very well explained :)

@@alencoo97 Great! Anytime Alan.

@@onnseanbeats1012 boom thank you so much

You're welcome!

Appreciate it!

No doubt

Sup Ernie M! Thanks man, I appreciate the luv. Logic's Delay Designer is the best one Logic has to offer by far, and it's really tight. It's fully programmable, in that you can not only just select which delay pattern you want, but you can design your own very easily. Works great for vocals, music, or whatever. Yeah, I can put one together for Delay Designer, but it may take me a little while unfortunately as moving date is fast approaching. Also you know 'the Cory' has everything all jacked up right now. Lol! That said, it's a great topic for a video though. It's always good to see a new Logic user. Such a dope program. So look into Delay Designer, and I'll bang out that video as soon as I can.

Thank you very much!

Yup. Thx for watching!

Happy to help

Lol! Also, playing with the parameters a bit can really give some interesting results.

I like to know the theory behind what I'm doing but I use this technique for negative harmony a ton to test out ideas without having to manually map them note by note...reverse pitch around the root note and shift it up or down a 5th. Has led to some cool melodies :)

Along with scale quantizing, the possibilities are endless...mirror a melody and then scale quantize it back to the key you came from.