Using Outboard Gear with Logic Pro X

[@EverythingMusicRecording]

Hey everyone. Let me know if you have any questions about using outboard gear with Logic.

[@razashush1839]

how do i keep the changes that i did in the external gear into the track?

[@EverythingMusicRecording]

Hey Raz. You can print the output of the external gear onto a new track. That way you always have a printed version. I think I showed that in the video. Always take note of any settings on any outboard gear too, make a note or take a photo. For example, I send snare drums to my SPX900 and when I find the settings I like I note the patch name and any parameters I changed in Logic. If I was using an external EQ or compressor I’d do the same thing plus keep a photo of the settings. Hope that helped.

[@razashush1839]

@@EverythingMusicRecording thank you man you realy helped me !!

[@EverythingMusicRecording]

No worries at all!! If you have any other questions don’t hesitate to ask.

[@grocerynoize1972]

Can i use this method to reamp? Or maybe use pedal as an effectsboard?

[@henrydavis4525]

this is the best explanation of this I've seen, potentially very complicated so you make it so simple

[@RichmondDrumLessonsBC]

Thanks so much for this tutorial. Ive been trying to use my SSL BUS+ with my Apollo 8xp for some drum compression and your video was the only video that worked for me. You saved me a lot of time and frustration. Thanks again so much very much appreciated!

[@drewnwiseman]

I watched several videos on this and yours was by far the best! Great job!

[@EverythingMusicRecording]

Awesome!! Thanks for the kind words Drew. It’s good to hear from time to time 🙂

[@joezmiko4744]

I was struggling to access my outboard gear with logic and Focusrite 18i20. Looked at several videos and read lots of articles. It wasn't until I found your channel that i was able to make the connections easily. I know I'm getting on in years (just gone 70, but my head still thinks I'm 18) but the other versions of a solution seemed very complex and long winded. Thank you for presenting a solution in an easy and pleasant way. Keep up the good work. I shall continue to follow your channel with interest

[@EverythingMusicRecording]

Hey Joe! Wow, that was a great comment and I’m very happy to hear the video was helpful. 70 and still at it eh? That’s awesome. I also have the same issue as you except I’m 40 going on 12… I don’t think I’ll ever grow up. As for the video, yea, before I started the channel I would end up in the same predicament. Trying to figure something out only to end up in the weeds and getting lost in overly complicated steps, explanations that didn’t make sense, or steps would be missing and you would just end up hitting your head against the wall. So I try my hardest (I don’t know if I always succeed) to make every video simple, easy to understand and no steps are ever missed in the process. If someone watches one of my videos and still can do what I taught, then I’ve failed them. Anywho, enough rambling from me lol. Thanks again for the kind words Joe, they put a smile on my face. And you’re a prime example that age doesn’t matter so keep at it my friend. Cheers 🙂

[@The-Jim-Miller-Project]

Excellent vid man! I just got an old Alesis Quadraverb, and also Have an old 90s Mackie 32-8 Bus Mixing console but, I still only have an interface with two inputs, and outputs for now until I upgrade. Can this method still be done with just a two Bus interface?

[@andreajonesmusic]

I also have an interface with two inputs, and outputs (SSL 2+) AND the Mackie 32-8 Bus Mixing console too! Would love to know more about your progress!

[@musicmwmusic]

Killin' it with these videos my man! Well produced and succinct. Thanks for classin' up the joint. Looking forward to the next :)

[@EverythingMusicRecording]

Sweet!!! Thanks for the kind words my friend! Also good to know I’m classing the joint up and not just putting the “ass” in “classy” 😂

[@producemusicathome]

Thanks for the simple quick answer!

[@EverythingMusicRecording]

Anytime my friend =)

[@BplusK]

I think with I/O on you can still use BIP it would do that in real time as well and possibly use less computing power? Don’t quote me on that, would need to do more testing to see if there was any differences in sound BIP vs recording in a new track, but in theory it should provide the same result.

[@emilytvmusic]

how do you send a stereo signal to a mono compressor and do each side one at a time

[@thedelaluz]

Hell yeah this was very helpful as we have started to work outside of the box thank you for your knowledge !

[@EverythingMusicRecording]

No worries at all!! Glad I could help 🙂

[@brettantoni]

Man, you are a lifesaver bro! I greatly appreciate this!

[@EverythingMusicRecording]

No worries Brett, that’s what I’m here for 🙂

[@dennis8636]

Nice vid man. For modulation and reverb effects, this is a good approach. However, when I wanna use an external compressor, distortion or ramp a DI, I like to adjust how hot I'm feeding my outboard with an actual fader on the mixer. So drum bus compression for example, what I like to do is the following: 1.) create a send from the dry drum bus to a new Bus called sth like 'Drum PreComp' and set it's output to the compressors inputs. That will be my input level control for the Comp. The output of the dry drum bus will be set to 'no output' 2.) create another bus called sth like 'Drum Comp' or 'Drums Wet' and set it's input to the compressor outputs. This bus then acts as my output level fader. The output goes to whatever next gain stage I might have, which is usually directly to the (dry) mix bus. 3.) for printing, I like to create a send(!) from the wet bus to a new track I then call sth like 'drum bus print'. The output of those kind of print tracks usually then go to a separate stem bus. By doing it this way, I have a super flexible routing. I can simply switch between the dry drum sound and the wet drum sound by just routing the outputs of the respective busses to the mix. I can adjust the input volume to my gear by using a fader, which is super convenient when a) you use a hardware DAW controller and b) you work with static settings on your outboard gear and control everything with levels. It also makes Gain staging super easy. Another benefit is that I can create stems super quickly with these parallel print tracks. By sending them to a separate print bus, I can quickly mute/unmute all the prints with one button and prevent them from spilling in my mix without having to delete my last print, in case I decide to tweak it a little more later on. And to free up my audio gear, I can just mute the bus that is feeding the interface output and use it for sth else. That way, my routing stays intact the whole time. That's just my two cents. Hope that was remotely comprehensible ^^

[@EverythingMusicRecording]

Completely valid approach Dennis. Thats part of the fun with this stuff, there isn't really a "right or wrong" way to do things (generally speaking) and if it works and sounds good, then thats all that matters at the end of the day. I had to present the video using safe send/return levels though. I don't want anyone who might be less experienced to start slamming levels and potentially clipping the life out of their converters. Another way to do the same thing you're doing as well and have no worry about clipping converters would be to use a clean signal booster instead of pushing the levels coming out of your DAW. Slap one between your interface and outboard gear or guitar amps 🙂

[@gabrielrox777]

You tend to get more Delay this way. His approach has the delay compensation when he hits ping. I tried doing this and found that even if I set my buffer to 128 it still came out, out of phase. His approach saved me a headache.

[@EverythingMusicRecording]

I’ve been having intermittent issues with the I/O plugin the last while and got to the point where I’m not trusting it (especially when it comes back with something like “-48 samples” because apparently the signal can travel back in time… So I’ve been adding a sync pop track so I can double check the print and adjust manual if I need too. I just tried to type an explanation of what exactly I’m doing and it hurt my head. It’s gonna be one of those “I’d be better off making a video about it” so I’ll do a “I/O plugin is being stupid” work around videos in the next week or two.

[@neonether]

Same principle for stereo bus?

[@EverythingMusicRecording]

Correct. You’ll just be using 2 ins and outs instead.

[@neonether]

@@EverythingMusicRecording Appreciate the quick reply, new sub!

[@EverythingMusicRecording]

No worries, and thanks Chris 🙂

[@jamesokeeffe3216]

This was brilliant thank you so much☘️❤️🙏

[@carllarsson6466]

Great video!

[@mildinconvenience7]

could you do a video on how to actually set it up to your interface and the routing? that would be helpful!

[@EverythingMusicRecording]

It's on my "to-do" list. The issue is I'd have to tear my whole setup apart to do so. Everything is too tight to get a camera in behind anything currently. I do need to re-arrange my studio in the next couple of months to start prepping for an Atmos rig so that's when it would make sense to do a more detailed video. But you're 100% right =)

[@fuzzcityrecords432]

This video actually helped us! Glad we found your channel! Subbed.

[@EverythingMusicRecording]

Hey M&D! Glad the video was helpful for you, and thanks for subbing. If you ever have any questions, always feel free to ask.

[@JorgeSalasGuitar]

Great help! Thank you!

[@EverythingMusicRecording]

Thanks Jorge! Glad the video was helpful for you.

[@jasaionthetrack7045]

Thank you bro. just what i needed... new subscriber alert ;P

[@EverythingMusicRecording]

Sweet!! Glad the video was helpful for you, and thanks for subbing 🙂 If you ever have any questions, always feel free to ask.

[@Tonsaay]

Why u print only reverb but not snare.

[@DanBires]

So what about a bus. Can you do this. This way you dont have to print correct.

[@EverythingMusicRecording]

Correct Dan. The only time you would really need to print is if you need to free up a piece of outboard for a different track that needs different settings. As an example I only have one SPX900 which I mostly use as a snare reverb. If that’s all it’s being used for on that song then I don’t have to print the snare. But sometimes I also like to run the bass thought it using the symphonic patch (Andy Wallace trick) so in that case I’d have to print the snare first, or get a second SPX900. Same thing would apply if you’re using outboard gear on your busses. Now you don’t have to do this, but I’d still recommend printing anyway just as a back up. If at some point down the road you had to open a mix but no longer had a certain piece of outboard gear that was used, at least you have a printed backup. Hope that made sense… I just woke up lol

[@Intrinsic.Recording]

Hey great video. I have a question though, if you print the reverb return, does it stay time aligned with the original track via the i/o plugin? In other words, say I print the track, and I solo both the i/o'd snare track alongside the new print, are they still phase locked and time aligned? With things like verbs there may be some predelay in the patch, so it might not be super critical that it's time aligned. But an 1176 or something, you'd hope that the printed track is still aligned like the i/o track after pinging it. Can you verify that this is the case? Thanks for the cool video! Just subscribed.

[@producedbyramson1436]

Same question here. For parallel procession it is super important to have a perfect aligned signal. In Cubase it is no problem.

[@Theclashcast]

Would be cool to see how to connect outboard gear to the computer

[@EverythingMusicRecording]

You’re not wrong on that lol. It would have been a bit of a nightmare pulling everything apart to do that though. BUT… I need to rearrange my setup in the next few months so as long as my spare interface still works then that would be a good time for me to make that video for sure 🙂

[@chickenlickin3820]

Thanks Dude!

[@EverythingMusicRecording]

Anytime my friend =)

[@tyerac]

great video man. do you have one for patch bays with logic pro by chance?

[@EverythingMusicRecording]

Thanks Kevin!! Not currently. I do need to buy a patchbay soon and I’ll do a video once I pick one up. Is there something I can help you with in the meantime?

[@jaydee3514]

Hi, can you use multiple in/out utility , one on snare, one on kick , one on overheads or guitars at same time? Thanks

[@SonnyGreenwichJr]

I'm doing everything in the box but always wondered about the I/O thing, thanks! Maybe a video on how you are physically routing would be cool, your capture devices etc... I've smashed all the smashers! Salutations from wet, grey and still sorta weirdly not back to normal Ireland! ☘️☮️🤘🏽🤠👍🏽☮️☘️

[@EverythingMusicRecording]

Hey hey Sonny!!! Hope all is well in Ireland other than not being back to normal. I’m 1/4 Irish actually. I’m in the box too except for the SPX900. Trying to get out of the box where I can. It’s only 3 cables connecting my SPX to my Focusrite but maybe I could do a short to show how that’s connected. I’ve never done a short. Let me know what else you wanted to know about it and I’ll put something together 😃

[@David-dv2lb]

Really nice simple video. One thing I'm curious about with Logic and I can't see another video on it, is if I'm bouncing or printing a mix, and I want to run the whole thing through an outboard compressor, what is the best/right way of doing that in Logic? I noticed just having an I/O plugin on my mix bus in Logic and then bouncing doesn't seem to do it. Thanks!

[@EverythingMusicRecording]

Thanks!! Glad you liked the video. I think I just glossed over it in the video but you HAVE TO bounce in real-time when any outboard gear is involved. So if you hit “Command-B” the Bounce window will open up. On the left hand side in the middle you see “Mode”. Make sure “realtime” is selected and also the “include audio tail” check that option as well. Offline bouncing is just fine when everything is in the box. But no DAW can process outboard gear offline. So Logic will basically skip the I/O plugin when bouncing offline. That’s why you’re not hearing your compressor after you bounced. Let me know if there is anything else I can give you a hand with 🙂

[@David-dv2lb]

@@EverythingMusicRecording thanks for the quick reply. I should've been clearer, I am using real time bounce and can actually hear the compressor when it's playing/bouncing but when I then compare that bounced wave file (with outboard comp applied) to my mix in the session it doesn't sound the same (less wide, eq sounds different etc). Is there another way of doing this?

[@EverythingMusicRecording]

No worries and oh… well that could be likely how the file is being bounced. If as an example you have Logic set to record at 24/48 and the file type is AIFF and you’re bouncing your track down as maybe a 16/44.1 wave file then that could be part of why it’s sounding different. Could also be the dithering setting (if any) you have selected when bouncing down. So I would start by checking the other settings in the bounce window. But bouncing to different sample rates, bit depth and file types will always have some affect on how the audio sounds. You’d want it to be as minimal as possible but there will always be some amount of change. Think listening to a CD and then listen to that same album on vinyl. It’s gonna sound a little different. Same idea. Keep me posted tho and let me know how you’re making out.

[@chris.ambience]

Really helpful! THX!

[@EverythingMusicRecording]

No worries at all Chris 🙂

[@brocktpate]

Thanks so much for this video. Honestly helped a lot more than other information I’ve found out there. Question: obviously when we’re printing reverb, we’re using a 100% wet return and bringing the level up on the reverb track. How would this process look differently if we were using, say, Compression or EQ? Do we blend the effected signal with the original or just use the effected signal? I assume we want ALL compressed or ALL EQ’d. I’m just a little confused. Thank you again!!!

[@EverythingMusicRecording]

Hey Brock, thanks for the kind words!! Generally yea, your return would be 100% wet and you’d blend it in with the original to taste. For compression, this would be parallel, or, New York compression. In this case you would usually hit the compression much harder then you normally would, then blend to taste. You could do the same with distortion as another example. EQ in the other hand. There is zero reason to ever us a parallel EQ, it will just cause issues and possibly phasing nightmares. Many will stack EQ’s though. Just keep it all on the same track. Let me know if that answers you question 🙂

[@brocktpate]

@@EverythingMusicRecording Thanks so much for getting back to me!! This helps a lot. I understand that this method using a hardware insert would be parallel compression. Am I correct in my understanding that the ONLY way to get a hardware compressor on a track itself (real-time) is to track through that compressor? (Compress on the way in)I would assume so. Sorry if these are dumb questions. Moving from the digital to the analog world is its own thing! :)

[@EverythingMusicRecording]

Hey Brock, there are no dumb questions, just dumb answers lol. You can absolutely track via a compressor in real time. But you could also run that track back out of your DAW and print the return from the compressor after the fact like we talked about. In that case though you can just mute the original track and only use the printed track instead of blending the two. The thing to keep in mind when tracking through a compressor is that you can’t undo it. If you’ve over compressed on the way in then the only way to fix it is to replay, or sing the part. So in many cases is best to use light compression on the way in, say a 2:1 or 3:1 with only a couple dB of gain reduction, then add more compression when you’re mixing.

[@brocktpate]

@@EverythingMusicRecording Peefect. This is the exact answer I was looking for. Thanks so much! You’ve earned yourself a new subscriber, sir.

[@EverythingMusicRecording]

Lol no worries at all Brock!! Glad I could help. If you ever have any other questions always feel free to ask 🙂

[@Sujimon1]

Well explained and you really made it understand easily. Thanks. Same way we can add reverb to other instruments too right? Is the" 299' digit added by using the Tempo calculations ?

[@EverythingMusicRecording]

Thanks Sujit, glad the video was easy to understand. Pretty much yea. The only difference is we are using hardware instead of a plugin. No, the 299 is. a delay calculation and has nothing to do with the tempo. When audio is sent out of Logic (or any DAW) through DA converters, into outboard gear, back into AD converters and (in this case) back into Logic there will be a time delay for the signal to make the round trip. This is measured in samples. I record at 48kHz which means audio is being recorded at a resolution. of 48,000 samples a second. So this means that in this situation the audio returning to Logic is delayed, or behind in time by 299 samples. By pinging before hand Logic will compensate for the time delay (when it's working, sometimes the ping function acts up) In my case because I was having to record the screen and such it seemed to really be throwing the numbers off which is why I typed in 299. I figured out what it should have been before I started shooting the video. I hope that explanation made sense. I'm getting tired and my brain is falling asleep lol so just let me know if you have any more questions =)

[@Sujimon1]

Got it. In that case can we use Word Clock for avoiding Latency issues?

[@EverythingMusicRecording]

Word Clock is for locking, or syncing devices together. As an example, when you have an audio interface connected to your Mac or PC, one unit will be the master and the other the slave which means one will provide the word clock and the other will lock to that. If devices aren't clocked properly it can lead to jitter issues, click and pops, all that jazz. But thats the quick explanation of word clock. Latency is completely different. It's basically the delay time it takes us to hear something back. For instance, if you plugged a guitar into a few pedals, into an amp and through a speaker, there is latency between you hitting a note and the sound traveling through the pedals, cables, amp, out of the speaker and to your ear. But the latency time is so short that it is pretty much imperceivable. The same thing applies when we plug that same guitar into an audio interface. That signal has to leave the guitar, through a cable into the interface, be converted into a digital signal, into our DAW, through any plugins we may have going, out of our DAW to our interface, converted back to an analog signal, out speaker cables to speakers and to our ears. To adjust the latency in our DAW we would adjust the buffer settings. The lower the buffer, the less latency you'll have. But this is taxing on your CPU and how low you can set the buffer will depend on your computer. If your buffer is set too low you'll get clicks and pops because your CPU can't handle it. Plugins can also add latency. And how much will depend on the plugin and how its coded and how resource-heavy the plugin is. Some will add almost zero latency. Other will add so much that you can't use them when tracking. I keep my buffer set at 128 in Logic and never have any issue. Then once I'm done tracking I set my buffer to the highest setting to allow for more plugins. I hope that makes sense. Let me know if you have anymore questions or help Sujit =)

[@Sujimon1]

Ok. I used go down 32 buffer...while tracking and go highest 1024 when doing Mix-Mastering...

[@EverythingMusicRecording]

Oh wow, 32 is low. I track at 128 but my iMac is also 7 years old. If I tracked at 32 my computer would burst into flames lol

[@isiromo6517]

Hi, congrats on the great video. Unfortunately, I seem to be having a problem with Logic X’s I/O plugin. The sound seems to go out fine but nothing returns. The I/O plug in worked on a previous Mac I had, but does not with my current model (3.5Ghz i7 imac). The other details: Logic version is 10.4.7, Mac OS is 10.14.7 (Mojave), Apollo Thunderbolt v. is 9.9. Any idea of what the problem might be and how to fix it? Or a workaround? Thanks a million!

[@EverythingMusicRecording]

Thanks, glad you liked the video. As for your question, thats a tough one to answer just because your version of Logic and Mac OS are quite aways back. Off the top of my head though it could be a simple routing issue. Maybe the wrong input returns selected or something along those lines (we've all done it lol) It could be a setting in the Apollo Console SW (if you're using that) As for a workaround you could bypass the I/O plugin. Just set the channels output to where the signal need to go and have the return come back on a new track. Then you could just print the return. You will just have to manually line them up after to compensate for the time delay. A dead simple way to do this is on the track you're sending out add some sort of short sound, like a sync pop and place it a few bars before the track actually starts. Then you'll have a reference to line the tracks back up. I can explain that much further if need be, just let me know.

[@isiromo6517]

Hi, thanks a lot for your reply. Unfortunately I think I can rule out a routing issue, I suspect it could be a version mismatch/compatibility issue. As for the workaround, that’s a great idea and I was thinking of doing something like that (plug and unplug tech, coarse but… works! ☺). But it starts getting fairly unpractical when it comes to a multitrack session where you need a lot of different processors and would have to switch cables a dozen times or so. Or am I missing something? Again thanks.@@EverythingMusicRecording

[@cedarmusic]

hi thanks for your video ..question i want to use compression on the main output to use (master glue compressor ) how do i print as you cant buss the master output ?Any ideas ?thx in advance Great video 🤘🏽

[@EverythingMusicRecording]

Hey Jez. No worries and glad you liked the video! I'll answer your question how I am understanding it. It sounds like you have a hardware compressor you are running your mix though it and are then needing to print that mix back into your session onto a new track. If I got any of this wrong just let me know. Anywho, Logic doesn't have a means to bounce a mix on to a new track. So there are a couple steps involved but it's real easy. 1. Set your cycle region to cover the track from start to finish. 2. Command + B on your keyboard to bring up the "BOUNCE" window. 3. Left top corner of the bounce window under "Destination" select PCM 4. Just below that under "MODE" make sure "REALTIME" is selected. Anytime you are bouncing and using outboard gear you absolutely must select realtime. Offline is fine when you are ONLY mixing with plugins. 5. Right side of the bounce window, WAVE is fine. Set the resolution and sample rate the same as your Logic session if it's not already the same. File type should be interleaved and set any dithering option you might want. 6. Under the dithering option make sure "Add to Project" is checked. Then hit ok and Logic will bounce the track to disk. 7. Once Logic is done doing its thing, hit "F" on your keyboard to open the browser and when the panel opens up make sure the "PROJECT" tab is selected at the top. This will show all of the audio files in your Logic session. 8. Locate the file that was just bounced and then just drag it into the arrange window to create a new stereo track. It would be nice if Apple would add an option in the bounce window to add the bounced track to a new track instead of having to locate the file and drag it into the session. Let me know if that helped or if I totally misunderstood your question =)

[@cedarmusic]

@@EverythingMusicRecording wow ..many thanks for spending the time to answer my Q ... I really appreciate it 🙏🏼

[@EverythingMusicRecording]

No worries at all Jez 🙂

[@realiam1am]

can you use multiple channels at one time?

[@EverythingMusicRecording]

Hey hey. I hope I’m understanding your question correctly. The bottle neck for outboard gear with any DAW is the number of inputs and outputs on your audio interface. So yes, you can always run multiple channels to outboard gear IF you have enough inputs and outputs to support it. You can always print tracks thru outboard gear to free that gear up for other tracks as well. As an example I only have one SPX900 so if I want to use it on more than one track I’d need to print each track to free the unit up. But if I have enough in’s and outs and multiple SPX900’s then I’m sure you’re getting the point lol But long story short, the more ins and outs you have, the more outboard gear you can run through simultaneously. Let me know if I answered your question 🙂

[@FerFonsek]

If I were to record let's say the same snare going through a preamp would you suggest to replace the old one with this new processed one or to use both in parallel blending the sound?

[@oussmayo]

Theoretical setup will it work? Interface with multiple io, hardware synths, hardware samplers, and outboard processors. The music i create is all done OTB with hardware sequencers, synths etc, what i would like to be able to do is mix on the fly with all my outboard gear whilst im creating a track, meaning before anything would be recorded to a computer. For example using an outboard reverb for all my drums before on similar to like you would with a aux send on a mixer. Grouping drums/synths sending them out to outboard eqs, Using a comp on the masterbus etc. Basically what im saying i would like to be able to utilize all my outboard gear before anything would be recorded and commited to the computer? In otherwords having an analog mixer workflow with an interface. Is this type of workflow possible with just a interface or would i run into all sorts latency issues from the roundtrip to outboard gear? I would like to avoid having a mixer if i can. Suggestions on similar types of workflow with a setup like this? Cheers!

[@EverythingMusicRecording]

Hey Vince. Great question. Your computer and interface will be the biggest factor in how much latency you'll get. You will want to set the buffer in your DAW as low as possible (if you start getting clicks and pops then its too low for your computer and you'd have to bump it up) Also plugins can have no affect, or a huge affect on latency. So try to keep plugins to a minimum while you're performing, OR stick to plugins that add little to no latency. When I had a space where I could record my drums i used to have 14 mics on my kit and latency was never an issue even with multiple other tracks playing at the same time. Its just knowing how much you can throw at your system before it starts crapping out on you. But if your setup can handle it then your theoretical setup will work just fine.

[@oussmayo]

@@EverythingMusicRecording thx for taking the time snd helping, appreciate it!

[@EverythingMusicRecording]

No worries at all Vince. If you ever have any questions always feel free to ask =)

[@WooDeWow]

So I want to start adding outboard gear to my studio, im running an Appolo twin and have been using UAD n waves plugins mostly . My question is, so if I want to use the outboard gear , pre, eq, comp for tracking , and mixing . How would I do that? Say I have multiple tracks like chorus and adlibs and want to change the EQ on the outboard gear on that track ? If I change the setting on the outboard gear it would change it on the other track ? How does the daw save those specific settings on an outboard gear for individual tracks? I can’t wrap my head around this.??

[@EverythingMusicRecording]

Good question. I'll start with the tracking aspect. So the Twin does not have insert points. That means whatever you plug into inputs 1 or two feeds directly into your computer. No ways around that. With that said if you wanted to track using outboard gear you would first need an external preamp. You cannot plug a mic or guitar or anything really into an EQ or compressor. They HAVE to see a preamp first. So that chain would go, as an example, Mic --> Mic Pre --> EQ and/or compressor --> into the Apollo. For the second part of your question. The Apollo only has 4 outputs, 2 of which are being used by your monitors. So that only leaves you with outputs 3/4 to feed signal out to outboard gear. And that gear would have to return (to i'm assuming Logic) via inputs 1 and /or 2 as that is all the Twin has. So now as for using said outboard gear. Down the rabbit hole we go lol. Let's start with the easy part first. No DAW will save outboard gear settings. There are some pieces of outboard gear that also connect to your computer via USB and have a plugin interface so you can control the hardware via a plugin. But those are few and far between. So I'll speak to normal outboard gear. Let's say you bought an 1176. You decide you want to run a bass track through it. That's easy enough. But now your bass is tying up the 1176. What if you now want to run a vocal though it as well? Then you would either need a second 1176, OR, you just run the bass through the 1176 and print that onto a new track. Note the settings down just incase. And now that 1176 is freed up for the vocal. Rinse and repeat. Thats the thing with outboard. You either need a ton of it, or you just keep printing to free things up for the next track. Another trick, we can steal this from CLA. Much of his outboard gear is set to a given setting and he never touches it. So going back to an 1176, his Bluey 1176 is for his vocal chain. It's set a certain way. He simply adjusts the compression he's getting by how hard he is hitting the compressor. You can do the same thing in Logic simply by adjusting the output level on the I/O plugin (but don't clip your converters) and the I/O plugin would be saved in your session. You also wouldn't need to note down the settings on the 1176 either since the dials on it are "locked" in stone. Assuming again that you're using Logic, when I send out to outboard gear I make a note of the settings in the mixer view. With the mixer opened go to it's VIEW menu, channel strip components, and notes. You'll then have a little notes section under each track name in the mixer. This is where i make notes for outboard. I think i hit all of your questions. If i missed anything or you're still not sure on something just let me know =)

[@tonysergeev]

Thanks!!

[@EverythingMusicRecording]

Anytime Tony =)

[@usingbridge]

I have a negative Ping latency, is it possible? How can I fix it? Thank you

[@cashbich]

Howdy, have you had any issues with a double signal coming through once the plugin is turned on? Im going ( out of output 3 on interface mono> into comp in> comp out into ch1 patch return on interface) using id44. For some reason i just get a double signal that is slightly delayed while monitoring. Checked my audient mixer software and made sure my out puts for 3/4 or "daw thru " and mono. Any suggestions help, thanks!

[@willc1727]

Same here. Any resolution @cashbich ?

[@eddiehoang9718]

Hello sir, thank you for the video .. I love to hook up my old lexicon reverb to Logic Pro for my vocal track … can you pls help showing me how to hook it up !! Many thanks ❤

[@EverythingMusicRecording]

No worries Eddie. There have been a couple old lexicon units popping up for sale in my area lately. I’ve been considering grabbing one. Before I can help you out I just need to know which audio interface you have, and which lexicon unit you’ve got and we can go from there 🙂

[@eddiehoang9718]

@@EverythingMusicRecording thank you for quick replied sir, I also have Lexicon pcm 91, I just bought UAD Apollo x6 for my audio interface , I am using plug-in most of time ( in box mixing) .. but now I would to hook up this external unit to the system !!

[@EverythingMusicRecording]

Oh nice! Yea there are some MPX’s, an MX200 and a PCM80 for sale around here right now. I think the PCM70 is the one that goes for big bucks As for your setup, I’d do it this way. Run outputs 5-6 from the Apollo into the inputs on the lexicon. Then run the outputs of the lexicon into inputs 5-6 on the Apollo. You don’t have a ton of I/O on the X6 so if you want to run more outboard at some point I’d pick up a patchbay. Oh and the ins and outs on the lexicon are balanced so just grab some balanced TRS cables. If the units are close enough together you could just get some short cables. And that should be about all you need. Let me know if that helps and if you need more help just let me know 🙂

[@chuchinette]

HI, I just discover that amazing video and thanks for it. I'm not a professional but an amateur who like great sounds. Therefore I've bought both a Bricasti reverb and a pair of Moog analog delay serie 500 . since long time I was looking to get a different reverb or delay on different tracks. Would this process would work ? Also, how could I do this on a region of a track or should I move the region on another new track ? Sorry if it's unclear, but I'm not a native english speaker ? thansk again

[@EverythingMusicRecording]

Oh wow nice!! I'm not sure i could afford a photo of a bricasti lol, but I digress. Yes, the process would be the same. I'm assuming you mean you want the verb/delay on just a section of a track? In that case yes, I would cut those sections (or regions) out and put them on new tracks and them send them out to the bricasti and moogs. That way those regions will have the reverb and delay tails. Otherwise they would just suddenly stop when that section is done. Thats how I do it (hardware and plugins) when I just want a section to have an effect that will have a tail (like delay or reverb) Hope that answered your question, if not just hit me back up my friend =)

[@chuchinette]

Thanks so much, I'll try as soon as I'll be in the studio. Thanks and take care. A warm hello from Parma @@EverythingMusicRecording

[@EverythingMusicRecording]

@chuchinette sweet!! Let me know how it works out 🙂

[@zonabike1y2]

Hi Jeff ! Exelent video ! - I have a problem with mi configuration or my routing conexion - have a many feedback on my monitors when up the gain of external hardware - preamp or eq - what do you think need moded in my case ? Thanks !

[@EverythingMusicRecording]

Thanks Viktor. I'm not sure how to answer your question. It's one of those "I'd have to be there to help" situations. Off the top of my head the levels could be too hot. Do you have a track armed with a mic on it at the same time? Maybe a delay unit with the feedback set too high? I don't know, but I'd start with your levels and make sure you're gain staging everything properly and go from there.

[@dakotadewebervvk822]

For me I was using a line output of my Avalon into the xlr input on my interface, had lots of feedback but if I switched my input on the audio interface to line level, it made the feedback disappear

[@damion2226]

Great video. Would you approach it the same way if you were using a hardware synth that you wanted to print with an external reverb? Thanks

[@EverythingMusicRecording]

Thanks Damion!! If the hardware synth was already recorded and I then wanted to send it to an external reverb, then yes, the process would be the same as in the video. If I wanted to RECORD the synth WITH the reverb already on it, then I would patch the synth into the reverb unit and then into my audio interface. Hope that answers your question. If you have anymore feel free to ask 🙂

[@damion2226]

@@EverythingMusicRecording Thanks!!

[@EverythingMusicRecording]

Anytime 🙂

[@Faithaven]

When you clicked ping and brought a high value how did you know what value to enter manually?

[@EverythingMusicRecording]

Hey Faithaven. I checked what it was before I did the video. I had no idea if using QuickTime to record my screen plus Audition recording audio from my mic plus a feed coming in from Logic was going to cause issues and mess up the ping results.

[@MelomanTheNerd]

Great vid ! How did you know to re-calculate the 299 samples from the Ping’d number ? Also, where did you get that number ? I’ve seen it be argued back n forth that the computer does/doesn’t calculate the correct offset for latency compensation. Logic Pro ftw! Thanks

[@EverythingMusicRecording]

Thanks Meloman. If I recall, the 299 is what was coming up the day before and it sounded fine. (When I’m done recording I set my buffer as high as it will go, hence the high number) but yes, Logic can be all over the place with the sample calculations. I’ve had days where it calculates minus samples. Meaning the ping is traveling back in time and arriving before it was even sent… So with Logic I find it’s generally easier to print the return (in my case from the SPX900) onto a new track and line it up manually

[@jamespatient7438]

thanks so much for this vid. what would you do differently if you wanted to print the entire sound, (dry and compressed signals together, ie. the result of the compression, not just the compression/reverb etc)? Hope that makes sense. Either way I can just do it across 2 tracks as you showed in this vid, but it would be good to know if it’s doable in just 1? Thanks a million again, you’ve got a new follower :)

[@sergiourtasuniriarte]

hello, can someone help me? I am using analog inserts and an analog summing mixer. everything works fine but i can't do SOLO in any track, nothing is heard. does anyone know how to fix it?thanksss

[@ZabalaGuitarrak]

Hi nice video, I´m trying to put some reverb from my eventide pedal to my guitar track but it always sound like the reverb is in front of the amp and not in the fx loop. I´m using a plugin for the distosion (bias fx) and I´m using the I/O for ruting the pedal buy it doesn´t work. How can I put the pedal after the bias fx amp? Thanks.

[@EverythingMusicRecording]

Hey Zabala. With the way amp sims like Bias FX (I use amplitube which functions about the same as Bias) you can’t insert a pedal from the real world (your eventide) into the FX loop of a virtual amp. The closest you can get is to place your pedal after the amp before the speaker cab. In that instance your run bias fx with just the amp head. Then run the I/O out to your pedal, then into a second instance of bias with just a cab. That’s as close as you can get. But the FX loop on an amp is before the power section. So if you’re getting some of your distortion from the power section then that distortion is feeding into the eventide instead of the eventide feeding into the power amp. Which of course will change how things sound. So the options would be to just use your pedal between the amp and the cab as I mentioned above. Or use a reverb pedal from bias in the FX loop. Or if you can use a real amp head you can use your pedal in the real fx loop and then feed the real amp into a cab in bias. Hope that all made sense.

[@ZabalaGuitarrak]

@@EverythingMusicRecording Ok thanks a lot, I didn´t realise that way. I´ll try that.

[@1rallow]

How many ins-and-outs does Logic Pro X have

[@EverythingMusicRecording]

I’ve got to tackle that in two ways. First is your audio interface. If your interface has 8 in and 8 out, that’s all that Logic will show you. Logic itself tho can handle up to 1000 stereo tracks, which should mean 2000 mono tracks… but the manual is rather vague. I’ll leave you the link. The info is under the “Mixer” section. www.apple.com/lae/logic-pro/specs/

[@The.One.True.B]

I'm having a hard time getting what I want to happen here. My goal is to record something as usual, then run it out to outboard gear and back in so I can manipulate the knobs of that gear in real time as it records. I'm running into issues seeing up Focusrite's inputs/outputs and having it all play nice with Logic. Anyone have any advice?

[@sagacitybeatsllc]

I was doing it all wrong! Thank you for this. #newsub

[@EverythingMusicRecording]

No worries at all =)

[@Taxagent100]

Thanks for the content. Ive done this with my focusrite interface which has designated outputs but ive just upgraded my Mac to M1 and need to use a sound craft multitrack which doesn’t have outputs. It has auxiliary outputs. Is there any other way I can compensate for latency. I’ll run an aux send from the mixer to an external analog device snd then record to a new track. Thanks.

[@EverythingMusicRecording]

I saw your Username and now I have Taxman by The Beatles stuck in my head lol. Wait, is the Focusrite NOT working M1 macs? Which Soundcraft unit do you have? I can’t really try to help until I know which model you’re using. I don’t know which DAW you’re using but somewhere in the audio settings you can adjust the buffer. When tracking you want it set as low as your computer can handle. I keep mine at 128. When you’re done tracking tho you can boost the buffer and that will let your CPU handle more plugins. Hit me back when you have a chance and I’ll do what I can to help you out.

[@Taxagent100]

Soundcraft signature series 12 track multi track is my current device for tracking into Logic. My previous pre amp (which I’m still using at times) is the Safire liquid 56. It has plenty of in/out options. The sound craft can send tracks via USB back into the mixer which can then send out an audio signal via aux which can then go into the mixer on a new track but the plug-in to measure and compensate is where I’m challenge is. Maybe I’m just getting confused with aux. I’ll play around with the plug-in. Thanks

[@downunder103]

299 samples ! What’s the reasoning behind typing this . I have a eventide dsp4000 unit that pings 2000 samples and it’s got me stumped on how I offset these number as it’s so high . I tried bypass unit before ping but still get over 2000+ ping no matter what I do . Guess it’s dsp related but I just want to make sure the latency is offset and I’m confident

[@EverythingMusicRecording]

Oh geez, trying to make me remember THAT far back? What did I ever do to you?!?! lol The 299 I had tested with before filming the video. I knew running Quicktime to record the screen and such was going to cause issues and if I recall the 299 was what the I/O plugin gave me before making the video. 2000 is pretty high but your buffer settings and such can have an affect on that. Also there are times the I/O plugin likes to act up and give ridiculous readings. So that could be part of it too. I've more or less stopped using it as I have a different method. I should actually make a video about that process.

[@lukemurphy1747]

Thanks for this video, exactly what I needed to know heading to my new studio today. I've a question and if you've covered it already in a vid please direct me to the link - if I want to send a whole mix through the limiter on my ART TPS II and bounce it back as two L and R tracks is this the same process? The TPS II is a 2 channel, so e.g. - stereo bus sent to outputs 3+4 from my interface to TPS channels 1+2 with identical settings, then the TPS 1+2 outputs to two separate tracks in Logic, would this give me a L+R master of sorts? And is that the process for using any 2 channel outboard gear on a whole mix? Thanks again!

[@EverythingMusicRecording]

Hey Luke. Congrats on the new studio. You hit the nail on the head. Process would be the same in the video, just applied to your master buss. If you don’t need to use the ART on other tracks then you can just put the I/O plugin on the MB and just make sure you bounce in real time. If you want the returns printed to a separate track then yes, your setup will work just fine. Arm the track and let it play. Also make a note of the settings on the limiter and save it in the notes section of Logic in that session. That way if you ever have to do a recall then the settings for the ART are saved in your session.

[@lukemurphy1747]

@@EverythingMusicRecording great thanks again!! I'm fairly green when it comes to using outboard gear with a DAW. Brilliant YT channel, keep it up!

[@EverythingMusicRecording]

No worries Luke. You’ll figure it out. Outboard is really no different then plugins, except that it’s OTB. If you have any other questions always feel free to ask.

[@80Phantom]

Wonder if you can help 🙏 I am trying to set up my M7 reverb … HARD-WEAR ROUTING: From Apollo x16 out ( in this case, output 1) into ➡️ M7’s AES (input ) then M7’s AES (output) back into ➡️ Apollo IN ( in this case, input number 3 ) Regarding the m7, I brought up the Audio format To Digital, so that it’s internal routing is through the AES I/o ( see attachment). So I assume that part is covered So the problem I am having I believe is with using pro logics X I/O plug-in .. Firstly, I record a stereo acoustic track using the Townsend microphone so I assume I have to use the I/O plugin in stereo ?? .. In the plug-ins Output, I have put 1 In the Input, I have put 3 .. Doing so i can hear audio , But also latency in the “dry” mode and the ping function doesn’t seem to be engaged as I do it get any numeric summary after I press it . Also in wet slider at 100% I cannot hear the m7 when I scroll through the various reverb presets Any suggestions as to what I am doing wrong and how to final hear the unit doing its thing through the DAW will be super !

[@EverythingMusicRecording]

lol with the amount of questions I get involving an Apollo I think I'm gonna have to eventually suck it up and buy one. So, knowing I don't own an Apollo, nor a Bricasti (I'm a little envious btw) it sounds to me like the issue is in the Apollo. AES is 2 channel. So Logic should be sending, as an example, to Outputs 1-2, and coming back on 3-4. But you only mentioned sending on 1 and returning on 3. You also mentioned changing the Bricasti's routing to digital (which to use it's AES ports is correct) but you never mentioned anything about AES on the Apollo which makes me wonder if you are outputting and returning to the Apollo via the DB25 connector and not AES, which you would need to do. If you are feeding out and back in VIA the Apollo's AES ports then those ports may not be configured correctly in Console. I don't know if they default to this setting or not, but many use the Apollo's AES ports to feed extra monitors. This is configured in the Hardware section of Console. So take a look in there and see if you can find out what, if anything is being sent out via AES. If MIRRORING is turned on then they are set to mirror the main monitor output. Either way you'll need to make sure that 2 channels out and back in are assigned to the AES ports in Console. I have a hunch that is where your issue (may likely) reside. Keep me posted =)

[@fa0179]

awesome

[@EverythingMusicRecording]

Thanks 😊

[@anywherenearzero]

i assume in this case you have simply gone IN to OUT and not bothered with SEND RETURN on the actual hardware. i am running many units from a patch bay and will have a simple one patch back to one in on soundcard (if this makes sense)

[@EverythingMusicRecording]

In my case yea, the SPX900 is currently the only piece of outboard I have so it’s just hardwired into my interface. Patch bays and more outboard are on the list whenever I can manage to get around to it… or win the lottery lol

[@anywherenearzero]

@@EverythingMusicRecording yeah I’ve been building mine up for several years. Yes I’ve got plugins etc etc but nothing beats hands on

[@EverythingMusicRecording]

That’s wicked!! Let me know what you’ve got if you want too. I’d like more FX units. I have a list of 80’s units that are still used in studios today but are pretty cheap. It’s just hit and miss whether I can find any in my area (or within a couple hours drive) and they don’t come up often. There is also some Neve and Chandler Limited stuff I’d love to get, it’s just having the funds to shell out that kinda money lol. TBH if money was no issue I’d have a console. Doing things with plugins and such is great, but I’ve always felt that disconnect. A keyboard and mouse have never done it for me.

[@anywherenearzero]

@@EverythingMusicRecording yeah keyboard and mouse is frustrating that’s why I dived into Raven Mti2 so I can touch and actually be a lot more hands on

[@EverythingMusicRecording]

Oh, tell me more. A buddy of mine bought one a number of years ago and ended up getting rid of it. And the big music store in the area has never had one in stock or on display to mess around with. I have always wanted to try one out. I always thought 2 of the Ravens paired with a Mackie (as an example) MCU with 2-3 of the fader extensions (for 24 or so faders) would be about a perfect combination.

[@waves7300]

Is it possible to track vocals with the i/o and it be printed after being recorded?

[@EverythingMusicRecording]

Possible, yes. But it would most likely add too much latency and it would then be very difficult to track vocals. You would be better off recording thru whatever outboard you might want to use before coming into Logic (Example, mic --> mic pre --> EQ, compressor --> interface --> into Logic) or sending it out after you have finished recording.

[@waves7300]

@@EverythingMusicRecording imagine though?

[@colinjames2469]

why dont you use a bus to send the signal from the drum track instead of using the snare out to route the signal??

[@EverythingMusicRecording]

You can do either or. Since it was just sending the snare drum I didn’t see the point of creating a bus. I always print external effects on to new tracks anyway. Now if I was say, sending the whole kit to a external compressor then I would have done the same thing except I’d have placed the I/O plugin on the drum bus. Also I prefer to use busses for groups, reverbs and delays (think of the layout of a console) and keep them together on the right side of my mixer window. When I see people mixing and they have busses all over the place and mixed in with regular tracks it makes my OCD twitchy lol.

[@DOLODAN808]

Yo man anyway you could make a video on how to do this with UAD Console? I’m trying to print back into logic from UAD

[@EverythingMusicRecording]

Would if I could but I don’t own any UA hardware so I have no access to Console. Sorry

[@JoarAndersen]

How did you know what your latency offset would be? I’m trying to use an external compressor for some paralell compresson but there’s way to much latency… so it’s just sounds weird

[@EverythingMusicRecording]

Hey Anderson. I’m the I/O plugin you’d wanna hit the PING button. When you do that Logic sends a quick little BEEP thru your hardware. That’s how it calculates the offset. Mine was super high in the video because I had my buffer set high, plus trying to record the screen mucked it all up. Under normal settings mine is around 30ish samples. So try the PING button. If it’s still not right just try either restarting Logic and/or your Mac. That always fixes it for me when it’s being weird. Keep me posted.

[@JoarAndersen]

@@EverythingMusicRecording hey! Thank you for the quick reply!! Tried ping and everything. The ping tells me there’s -3 latency… but there’s a clear delay everytime I play back a loop to find a setting I like. Almost like slapback..

[@EverythingMusicRecording]

Hey Anderson. No worries at all. Ok so I’ve been ripping my hair out for over an hour now. I have bad news and bad news. But also a “work around” My I/O plugin seems to be broken as well (OS update a few days ago, haven’t used the I/O plugin since) and no matter what I do it always PINGS back at -45 samples. So somehow the ping arrives back at the computer BEFORE the computer even sends the ping… that’s a good trick… I feel like Doc Brown is somewhere freaking out about time paradoxes, I might not also be thinking 4th dimensionally… lol I could find very little about the issue and most of what I could find was in forum posts from 5-7 years ago… So I sadly don’t have an answer to this issue atm. BUT I do have 2 work arounds. But both mean you’d have to print the output of your compression on to a new track. First is align the tracks manual after printing the compressor return. Just zoom in so you can see both tracks. The second is the same but add a super fast beep sound to the track you’re sending to the compressor BEFORE the audio in the actual track starts. Like that film beep sound they would use to sync audio to film back in the day. It’s just a super quick single frame beep. That will give you a clear as day transient to align the two tracks back up after printing the compressor return. That’s all I’ve got. I’m wondering if the OS update maybe broke something in Logic. If I figure something else out I’ll let you know. I wish I had a better answer for you.

[@anywherenearzero]

Please tell me those yams are not still laid sideways 😢

[@boogieman-k9t]

when i hit ping theres no sound and no response. ive made sure the routing is correct. may i ask what the problem is?

[@EverythingMusicRecording]

Hard to say without being there to see what’s going on. Besides the routing I’d double check all the physical connections are correct (we’ve all patched things into the wrong thing, it happens) Otherwise try bypassing the I/O plugin and see what happens. Take a track and set it’s outputs to wherever your outboard is connected too and set up another track with its input set to the return of your outboard and see if that works. Could also be as simple as rebooting as well. Sometimes the I/O plugin can do some weird shit

[@everydaysame4880]

THANKS, do you think its a good idea to use an outboard compressor on the mix bus? im asking cause i like the sound of the new warm wa 1b but its a mono comp and im wondering weather i should get a comp thats stereo so i can use it for mixes..

[@EverythingMusicRecording]

I think it’s a good idea to use whatever works for you, be it a hardware compressor or a plugin. You’re right tho, you wouldn’t be able to use the WA1B unless you had a second unit since it’s a mono comp. So if you really like it you could get a second (which would give you something different then the typical SSL style bus comp) or you could find a stereo compressor that you like and use that instead 🙂

[@everydaysame4880]

@@EverythingMusicRecording thanks

[@SocialGore]

You can also just solo the track, and bounce it in real time. Then you don't have to do all that input switching and bussing

[@EverythingMusicRecording]

You can do it that way as well for sure, so long as the "add to project" box is checked. But at the same time if using mono gear you might not want a stereo file after bouncing.

[@williampetty3075]

But I want to hear it in context

[@christopherdragone8621]

YOOOOOOOOOOO THANK U

[@EverythingMusicRecording]

lol no worries at all Chris =D

[@dakotadewebervvk822]

When I use the I/o plugin I only get audio from my left ear? Help? The only solution I have found is copying and pasting the mono recording to a duplicate track, and setting the first track to output 1 and the second track to output 2 even though I am only using a single line to xlr cable out of output 1 on my interface

[@EverythingMusicRecording]

Off the top of my head it sounds like you have a mono track but might be adding a mono-stereo instance of the I/O plugin. So the plugin is expecting to see a stereo return from your outboard gear. Make sure that in this case the I/O plugin is set to mono. Let me know if that helped any

[@dakotadewebervvk822]

@@EverythingMusicRecording update! For some reason my Logic Pro routing is SUPER BUGGY! it works fine sometimes other times I have to out to a bus, then delete the bus and switch back to stereo out on the track. Or switch the track input to no input, then back. Sometimes the fixes it if I just solo the track and then unsolo it.

[@EverythingMusicRecording]

Sorry for delay Dakota, been crazy busy over here. That’s messed up. I’ve never had Logic do anything like that so I’m a little lost for words on that one. Are you using a mix template or are you starting sessions from scratch? Reason I’m asking is that if you are using a template then maybe the template file could be starting to become corrupted. IF a mix template has the issue but a new session file does not then you’d know it’s the template and you’d want to recreate it. If it’s not something like that it could be a preference file issue, could be Logic itself. Sometimes trashing the .plist files for Logic and rebooting can solve weird issues like that. Other times you may just need to uninstall and reinstall Logic. I’ve never had to go that far but there have been times over the last 17-ish years of being a Logic user I’ve had to trash plist files. That’s all I’ve got off the top of my head. Let me know if any of that helps

[@GokulChandCreation]

mic in ur voice over in the video please??

[@EverythingMusicRecording]

I use an Audio-Technica AT875R with a FETHead Phantom attached to it.

[@paulmolive1821]

Whenever I use the I/O plugin, I get crazy feedback and repeats like a delay pedal with the feedback turned all the way up.

[@EverythingMusicRecording]

Hey Paul, sorry. I somehow missed your comment. I've never had that happen so I am not sure why that would be happening. Without knowing anything about your setup, off the top of my head I would think that there an issue with send/return levels that are causing an overload somewhere in the signal chain. I'd need to know more about what your setup is before I could even take a guess at a possible solution.

[@paulmolive1821]

@@EverythingMusicRecording I think it’s a UAD thing… the Apollo Console has a mind of its own. Do you use a non-UA interface?

[@EverythingMusicRecording]

Oh, I didn’t know that about console. Correct, I have a Focusrite 18i20. I like the idea of the Apollo system but it just seemed to me that unless I also shelled out for UA plugins as well, or needing to have to add satellite units if I needed more DSP that it would be hard to get much out of the system. Just seemed like a money pit I didn’t want to get locked into.

[@paulmolive1821]

@@EverythingMusicRecording Yep. Kinda feeling that now.

[@EverythingMusicRecording]

Sorry to hear that Paul. How old is the Apollo? If you’re not totally happy with it maybe you could sell or trade it towards something else.