I must have tested 30 guitars in 3 different shops and all of them have frets vibrating on the bass strings (usually on the 2nd or 3rd fret and sometimes on 6 7th 8th etc) there was only one guitar that I found that had the perfect neck and it was "STAGG SCL-60 TCE-BLK " the issue is her body is thin, its an electro classic and I have no desire to deal with cables and amps to make it sound louder. On the Stagg the strings are really close to the frets (and there are absolutely no vibrating sounds ) does anyone know any and I mean any guitar that has this type of neck where its easy to press the strings on any fret and when pressed they arent hitting the metal part on the next fret making that bad vibrating sound but that its a simple classical guitar edit: budget is 450 dollars

So I already have two guitars: an Ibanez RG6003, which I absolutely love to pieces, and an old Yamaha G-231 classical guitar that I received from my mom as a gift when I was 14. The classical was hard for me to play and honestly it made trying to learn guitar difficult, especially with how high the action is it.
I just got back into playing earlier this year, and bought my electric Ibanez. I would accredit a lot of my motivation for playing guitar to that wonderful instrument, and I've made a significant amount of progress in the two months since I got it.
So now I'm at a point where I would really like to buy a decent quality acoustic guitar, maybe with a cutaway. (I’d like to play some music for my mom and dad) I've done a little bit of research but I'd like to spend around $300-$400 on one. I don't think I'm at the point where I could justify spending $1k+ on a nice Taylor or Martin (college student 😢) yet, but we'll get there one day. What would you recommend? I appreciate your advice!

Hi everyone!
I've got this problem where I connect my newly purchased electric acoustic guitar but I get no sound.
So the guitar itself is actually fine, I've sent it to the service center as it indeed had some kind of small problem with the preamp but they fixed it and now when it's plugged into a regular amp it works. However, when I connect it to my audio interface I get no sound at all. The interesting things is, when using my electric guitar with that same cable and same interface, everything works perfectly fine but the moment I plug in the acoustic everything goes flat again.
In the service center they suggested that I may need to get a dbx (I suppose it's some kind of a signal booster), but I really don't want to buy extra equipment without knowing it will actually help and without confirming that there is nothing else that I can do.
Any and all help is appreciated!

I have 5 guitars and two Ukes. And yesterday I was playing along my favourite tunes and noticed that I was just using the Martin and my Guild 12 strings guitars. Then I thought that maybe it was a good idea to write down a log/diary on what I do and which guitars I used, so next time I play I will use other guitars, like:
14/05/2024 -Guitars: Martin, Telecaster -2 hours playing: fingerpicking, arpeggios, scales.
Does anyone do something like this?

Hi I just need to get my thoughts out, I am on season 2 episode 11. I originally watched this show when I was a kid, which explains why I absolutely live for drama and why I was so horny at age 9. I am sure I am not the first person on this sub to have these particular thoughts but I figured another post about why Allison sucks wouldn't hurt? Ok in no particular order:

1. Allison sucks. Her mouth is somehow the most annoying character in these early episodes. I feel like she knows she has this mouth thing and emphasizes it to act like offended at everything.
   
2. There is no way on god's green earth that a woman like Amanda would ever date, let alone be obsessed with, Billy. There is also no way that Amanda would ever think to or need to compete with Allison for a man. There is also no way that a man would choose Allison over Amanda.
   
3. Billy's mouth is on par in annoyingess with Allison's mouth. These two have such distracting mouths and are constantly working them as if they are aware that yes, I have a distracting mouth.
   
4. Which brings me to the next point, which is that Allison and Billy seem like siblings to me. They have the sexual chemistry of a brother and sister. They are also both incredibly annoying. And thus, seem related.
   
5. Sydney and Marcia Cross re-confirm that redheads can be some of the most gorgeous women.
   
6. Poor Jane, they made her out to be such a stick in the mud. She was there just to have bad shit happen to her.
   
7. They just don't make horny shows like this anymore. That electric guitar sound that plays during all the sexy scenes just takes the horniness to 11. This explains a lot of why I "matured early". I watched this shit when i was like 8? So many lingering questions have been answered that explain why I am like this.
   
8. I always thought Amanda was a bitch, but has she literally EVER been wrong? No.
   
9. Allison is somehow the only character who looks 90s in the wrong way. Everyone else is 90s cool, which is what everyone under 30 is trying and failing to do irl today. Allison has the hair and clothing of a middle aged woman and is somehow like 26 when this starts? She looks 40.
   
10. I used to think Jake was so hot. And he is just a fucking asshole. Which explains why I have always been attracted to quiet guys who all end up being just assholes. Much to think about.
    

I am at my wits end with my Gibson SG and don't know what else to do. My D and G strings sound dead, dull, and lifeless, whether fretted or open. It's incredibly important and worth noting that this occurs acoustically. The notes flub, have zero sustain, and sort of plunk around no matter where on the fingerboard I fret on those two strings, whether it's open, the third fret, or the 17th fret. This isn't a situation where it simply "doesn't sound ideal", this is a situation where something is definitely wrong and it makes me put the guitar down. The other strings sound perfect. Here is what I've tried thus far:

1. Bought a brand new ABR bridge and tailpiece(so, new saddles)
   1. Ensured strings are not touching the rear of the bridge as they enter the tailpiece
2. Adjusted the action with the bridge to factory spec
   1. Raised the action at the bridge higher than I'd comfortably do it on any other guitar, but that did not resolve the issue
3. Adjusted the truss rod mostly straight with an acceptable amount of relief
   1. Adjusted the truss rod with more relief than I'd comfortably have on any other guitar, but that did not resolve the issue
4. Measured the nut slot height and found it was within the acceptable range
5. Obviously(this is the first thing I do on all guitars) changed the strings(10s)
6. Increased string gauge to 11s as a last resort; no change
7. Used a fret rocker and found no high frets

I have no idea what to do now. I am generally quite skilled with setting up and maintaining my own guitars. This is the first time I've ever had anything like this happen to one of them. It was like this when I got it(preowned). I own half a dozen Gibsons and 40 other guitars. What should I check next? Does the nut height have anything to do with this? I'd assume that can be ruled out since this occurs with notes fretted. Thanks in advance!

I am at my wits end with my Gibson SG and don't know what else to do. My D and G strings sound dead, dull, and lifeless, whether fretted or open. It's incredibly important and worth noting that this occurs acoustically. The notes flub, have zero sustain, and sort of plunk around no matter where on the fingerboard I fret on those two strings, whether it's open, the third fret, or the 17th fret. This isn't a situation where it simply "doesn't sound ideal", this is a situation where something is definitely wrong and it makes me put the guitar down. The other strings sound perfect. Here is what I've tried thus far:

1. Bought a brand new ABR bridge and tailpiece(so, new saddles)
   1. Ensured strings are not touching the rear of the bridge as they enter the tailpiece
2. Adjusted the action with the bridge to factory spec
   1. Raised the action at the bridge higher than I'd comfortably do it on any other guitar, but that did not resolve the issue
3. Adjusted the truss rod mostly straight with an acceptable amount of relief
   1. Adjusted the truss rod with more relief than I'd comfortably have on any other guitar, but that did not resolve the issue
4. Measured the nut slot height and found it was within the acceptable range
5. Obviously(this is the first thing I do on all guitars) changed the strings(10s)
6. Increased string gauge to 11s as a last resort; no change
7. Used a fret rocker and found no high frets

I have no idea what to do now. I am generally quite skilled with setting up and maintaining my own guitars. This is the first time I've ever had anything like this happen to one of them. It was like this when I got it(preowned). I own half a dozen Gibsons and 40 other guitars. What should I check next? Does the nut height have anything to do with this? I'd assume that can be ruled out since this occurs with notes fretted. Thanks in advance!

I am at my wits end with my Gibson SG and don't know what else to do. My D and G strings sound dead, dull, and lifeless, whether fretted or open. It's incredibly important and worth noting that this occurs acoustically. The notes flub, have zero sustain, and sort of plunk around no matter where on the fingerboard I fret on those two strings, whether it's open, the third fret, or the 17th fret. This isn't a situation where it simply "doesn't sound ideal", this is a situation where something is definitely wrong and it makes me put the guitar down. The other strings sound perfect. Here is what I've tried thus far:

1. Bought a brand new ABR bridge and tailpiece(so, new saddles)
   1. Ensured strings are not touching the rear of the bridge as they enter the tailpiece
2. Adjusted the action with the bridge to factory spec
   1. Raised the action at the bridge higher than I'd comfortably do it on any other guitar, but that did not resolve the issue
3. Adjusted the truss rod mostly straight with an acceptable amount of relief
   1. Adjusted the truss rod with more relief than I'd comfortably have on any other guitar, but that did not resolve the issue
4. Measured the nut slot height and found it was within the acceptable range
5. Obviously(this is the first thing I do on all guitars) changed the strings(10s)
6. Increased string gauge to 11s as a last resort; no change
7. Used a fret rocker and found no high frets

I have no idea what to do now. I am generally quite skilled with setting up and maintaining my own guitars. This is the first time I've ever had anything like this happen to one of them. It was like this when I got it(preowned). I own half a dozen Gibsons and 40 other guitars. What should I check next? Does the nut height have anything to do with this? I'd assume that can be ruled out since this occurs with notes fretted. Thanks in advance!

I am at my wits end with my Gibson SG and don't know what else to do. My D and G strings sound dead, dull, and lifeless, whether fretted or open. The notes flub, have zero sustain, and sort of plunk around no matter where on the fingerboard I fret on those two strings, whether it's open, the third fret, or the 17th fret. The other strings sound perfect. Here is what I've tried thus far:
​

1. Bought a brand new ABR bridge and tailpiece(so, new saddles)
   1. Ensured strings are not touching the rear of the bridge as they enter the tailpiece
2. Adjusted the action with the bridge to factory spec
3. Adjusted the truss rod mostly straight with an acceptable amount of relief
   1. Adjusted the truss rod with more relief than I'd comfortably have on any other guitar, but that did not resolve the issue
4. Measured the nut slot height and found it was within the acceptable range
5. Obviously(this is the first thing I do on all guitars) changed the strings(10s)
6. Increased string gauge to 11s as a last resort; no change
7. Used a fret rocker and found no high frets

​
I have no idea what to do now. I am generally quite skilled with setting up and maintaining my own guitars. This is the first time I've ever had anything like this happen to one of them. I own half a dozen Gibsons and 40 other guitars. What should I check next? Does the nut height have anything to do with this? I'd assume that can be ruled out since this occurs with notes fretted. Thanks in advance!

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Better than Martin acoustic guitar at £800 price point. Bought a 000 X2E and looking for something smaller with better tone and playability and with the same nut/fret size as Martin :) thank you
I love how the strings are spaced apart. It is really good for fingerpicking :)

Hi all. I'll be moving from across the globe in a few months and while I have almost everything else figured out, my guitars continue to be a big stress factor. I have an electric and an acoustic. I would have liked to just pay extra to check them in (in flight cases of course) but my flight will have a layover. I'm pretty worried about them getting lost during that.
At this point I'm not too worried about costs, mostly just what is most secure for my two guitars. Do I pack them snugly into hard cases and check them in and hope they don't get lost during the transfer? Or would it be safer for them to be shipped as air freight from Japan?

Hi all, my bf and I moved across the country last year and he left his nice electric guitar at his mom's and bought a cheap pawn shop acoustic guitar here (it does have an amp jack). We're trying to get back his old guitar but we don't know if it will be possible. He goes to open mics fairly often, so it would be nice to have. He also wants to start recording music again, but doesn't have any equipment (he sold it before we moved). I know very little, but would like to start helping him build a setup. I know he might need a mic for his guitar and a different one for vocals, but would like some input on that. I know it's preferable to let musicians pick out their own stuff but I know a giftcard would just make him uncomfy because he doesn't like when I spend money on him (neither of us have much to spend rn). I I'm trying to stay under $200 and am open to other ideas for gifts that are still in the guitar sphere because I know that's not much. I got us tickets to see The Black Keys, but that's not until October so I do definitely want to get him something he can open on his birthday. Thanks in advance!

Buddha: Pretty good. Not outstanding but it's a demo so it kinda gets an excuse of kinda sounding like doo doo. 6.9/10 (🤨)
Cheshire Cat: Great album. The songs that were originally on Buddha are improved on this album imo. Plus, the one and only M+Ms. 8.5/10
Dancing With Myself: Actually kinda like this song 7.5/10
Dude Ranch: So iconic. The riffs on this shit are amazing and catchy and these choruses are great. Dammit still remains as one of the best blink songs ever, along with Josie, and a few of my faves like Pathetic, Voyeur, and of course Dog Lapping. 9/10
I Won't Be Home For Christmas: One of my favorite Christmas songs by an artist/band from the 90s and 2000s. 8/10
Enema Of The State: while listening to this album, I remembered why All The Small Things is such a fucking amazing song. I skip it so many times, but now I realize just how catchy and open that fucking chorus is. Literally every song on this album is a 10. No exceptions. 10/10 MASTERPIECE
The Mark Tom & Travis Show: One of my favorite live albums of all time. They play everything so well and the jokes are really funny! Man Overboard is an amazing pick for the lead single for this album. Also those short songs are great especially because they kinda transition into the next song. Words Of Wisdom is truly the place to go for good advice from Mark & Tom. 9/10
TOYPAJ: Another classic. Pretty obvious why. 10/10 MASTERPIECE
Self-titled: Bro blink was on something when they were cooking up these three albums. I love how different these songs are from one another. First 2 tracks are straight pop-punk. Then I Miss You is an acoustic rock ballad or whatever you wanna call it. Violence and Stockholm Syndrome are kinda Post-hardcore. Down is back to pop-punk. Go, Asthenia, and Always is the best transition trilogy on a blink album imo. Here's Your Letter and I'm Lost Without You is kinda a perfect outro. 10/10 ONCE AGAIN, MASTERPIECE
Neighborhoods: Pretty good. Not my fav, but I like the kinda Box Car Racer sound some of these songs have. Ghost On The Dance Floor is one of the best blink songs to dance to, that riff is so moving. 8.5/10
Dogs Eating Dogs: Great EP. My favorite song off this ep is actually Disaster. Quite underrated. That chorus is amazing. All these songs are great. 8.5/10
California: Good album. Not great but still good. The choruses feel really open, but the guitar work is kinda lame and uninteresting. 7.5/10
California Deluxe: Why was this not the original album?!?! Dude, there are actual riffs, there are cool production choices, interesting drum beats, for example the dance beat in Good Old Days. Like, these bonus tracks are amazing. 10/10 ANOTHER MASTERPIECE
NINE: I really thought I was gonna hate this and get bored. The singles on this album are kinda bad choices to represent the album because the rest of the album is phenomenal besides the singles (except for I Really Wish I Hated You). Heaven is literally heaven. The First Time is an amazing intro song. Remember To Forget Me is an outstanding outro. Hungover You feels kinda underrated. Great album. 8.5/10
The blink collabs (2018-2020): i only liked two blink collab song from this era: Scumbag and the one with Oliver Tree. The others are ass. The one with Lil Wayne is literally a 0. I'm sorry but it's true. The first verse in the one with The Chainsmokers is literally I Miss You and they're not even subtle about it.
Not Another Christmas Song: 🤷/10
Quarantine: COVID-19/10
ONE MORE TIME...: What a fucking comeback. Omg. I don't give a shit about the small production issues, this album is near perfect. Cut Me Off and See You are amazing bonus tracks that should've been on the original album. I can sense their emotion in this album and I love how it's mixed with some of that classic blink goofiness like in Edging, Dance With Me, Anthem Part 3, and most of all, TURPENTINE. 9.5/10
Ok I'm done now :)

I'm a beginner guitar player, but have had a lifelong passion for playing music and guitar is the next instrument I am diving into. I have an acoustic guitar, seems to be good quality to me as a beginner and has allowed me to make a lot of progress and is very enjoyable to play. Looking to purchase another guitar, electric or acoustic that will last a long time and be a good partner over next years as l progress from beginner to intermediate levels. Price range of 300-600, don't mind used. Any suggestions?

New resident here. I can sing and play acoustic guitar and electric bass. My favorite genre is rockabilly, but I also enjoy classic rock and country. Looking for anyone who can play electric guitar, upright bass, or drums. Other instruments could also be good, just have to find a starting point. Thanks!

SPONGEBOB SQUAREPANTS NUMEROLOGY DECODE

Since we all know exactly who and what Spongebob is, I am going to do a Numerology decode.
When it comes to Numerology, there are many different things you can look into. I am going to look into the letters, patterns, and Numerology personality numbers.
SPONGEBOB has a personality #6. 6 is the number of compassion, work ethic, criticism, cleanliness, and productivity. In the funny show, we see that Spongebob is a workaholic. He has a 5 destiny number which shapes who you are overall. 5 is connected to youthfulness which explains the silliness of the Spongebob character. He is always laughing and doing things funny. The 5 energy indicates this. 5 also points to people, places, and things that are unique. He has an 8 soul urge which explains his undying ambition and creativity.
We can see that SPONGEBOB has 2 O's which has the numeric energy of 15 and numeric value of 6. 15 is the creative use of energy for productivity. Again, 6 is the number of routine, work ethic and productivity goes with this. This energy is not only his personality number, but also it is within his name. It's really in him.
SPONGEBOB HAS DOUBLE NUMERIC VALUES IN HIS NAME WHICH ARE, 7,6,5, AND 2. This explains why he is able to show his emotions and have moments of sensitivity(2). Very compassionate(2) but also childish and silly(5) and able to come up with plans that work(7). Since these #s has double influence, we must considered what they equal. 7 twice equals 14/5 which shows how he is responsible and can make work fun even though it is a duty(6). 6 twice equals 12/3 which shows his social skills, life, and creativity. Another youthful energy as well. 5 twice equals 10/1 which points to his bravery and capability to take action. 2 twice equals 4 which is home,family,responsibility, and structure on the home front and he would make everyone feel comfortable for the most part.
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​
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So I'd been playing acoustic for about a year, and about a month ago, I decide to switch to electric. I bought an Epiphone Les Paul Special II LE (dont hate me for the guitar i have please) and the first thing I did was put new strings on it. That's the backstory to this question. The strings are a month old, averaging around 45 min of playtime a day, 5 days a week. My D (4th) string broke at the bridge, and I was wondering if I should replace all the strings, or just the one. If the strings were only, say, a week old, I'd just replace the one, but a month, I'm really not sure. If it helps or changes anything, I'm using Ernie Ball Super Slinky Skinny Top Heavy Bottoms (10 gauges). Any assistance is greatly appreciated!!

I've been playing electric guitar just for a few months, and I don't know what to learn. I'm very into rock but I don't know how to start playing with my pinky finger. I've been a guitarist for 6 years, but I was a acoustic guitarist and focused on chords and chord progressions for sing a long songs popular in my country. But after those 6 years I've slowly grown more fond of electric and bought one. Now I don't know where to go from here. I've been playing some of my childhood classics such as Green day, The Offspring and Linkin' Park but I don't have a direction on what to learn.
To give you a grasp of what I know, I can play barre chords and I'm currently trying to learn more guitar solos.
Help a musician out!🤘🤘

New Features and enhancements
New AI-enhanced tools join Smart Tempo and the Pitch Correction plug-in to augment your artistry.
Bass Player and Keyboard Player join Drummer to complete a set of Session Players — all built with AI making it easy to create performances that respond to your direction.
Session Players can follow the same chord progression using Global chord track.
Add warmth to any track with ChromaGlow, an advanced plug-in with five saturation models designed to simulate the sound of vintage analog hardware.*
Separate a stereo audio file into stems for vocals, drums, bass and other parts with Stem Splitter.*
Session Players, ChromaGlow, and Stem Splitter also come to Logic Pro for iPad 2 — making it simple to move between projects created in Logic Pro for Mac.
Play any of six deeply-sampled acoustic and electric basses with Studio Bass.
Perform any of three meticulously-sampled pianos with Studio Piano.
Loops that contain chord tags will automatically populate the chord track when added to a project.
Three new Producer Packs are available: Hardwell, The Kount, and Cory Wong.
Original multi-track project of Swing! by Ellie Dixon available as in-app demo song.
Downmix and trim options allow custom mixing for non-Atmos channel configurations.
Exported ADM BWF files have been expanded beyond Dolby Atmos and can contain settings for stereo and other multi-channel formats.
Bounce in place adds automatic real-time recording for External Instrument regions or tracks that utilize external hardware using the Logic Pro I/O plug-in.
Route MIDI signals generated by supported software instruments and effects to the input of other tracks for creative layering during playback or recording.
Edit more efficiently using key commands for moving, extending, or resizing marquee selections.
The Nudge Region/Event Position key commands now also nudge Marquee selections.
The Transpose Region/Event key commands now also move or expand the Marquee selection up/down.
Pattern regions can now be created on Drummer tracks, and Drummer regions can be converted to Pattern regions.
New key commands include Trim Note End to Following Notes (Force Legato) With Overlap and Trim Note End to Selected (Force Legato) With Overlap.
Bounce in Place and Track Freeze can now be performed in real time, allowing for use of external instruments, I/O plug-ins, and external inserts.
Mastering Assistant analysis now can be performed in real time, allowing for use in projects that incorporate external I/O or instruments.
The Dolby Atmos plug-in now offers Downmix and Surround/Height Trim controls.
The Recent Projects list can now be configured to show up to 50 projects.
* Requires a Mac with Apple silicon.
Stability and reliability
Scripts with 1071 characters or more in Scripter no longer cause Logic Pro to quit unexpectedly.
Fixes an issue where creating a an event in a lane assigned to Note off in Step Sequencer could cause Logic Pro to quit unexpectedly.
Fixes an issue where Logic Pro could fail to launch with an Error Initializing Core MIDI message when the system is under heavy load performing other tasks.
Resolves an issue where Logic Pro could quit unexpectedly when a 64-bit floating point IR file is loaded into Space Designer.
Fixes an issue where Logic Pro could hang when opening a project while the Project Settings > MIDI window is displayed.
Logic Pro no longer quits unexpectedly when creating multiple Aux tracks with multiple existing Aux tracks selected.
Improves stability when bypassing control surfaces with Musical Typing open when EuControl software is installed.
Fixes an issue where Logic Pro could hang when quitting a project containing a large number of instances of Sampler.
Fixes an issue where Logic Pro could quit unexpectedly when replacing a playing Live Loops cell with another loop.
Performance
The UI is now more responsive when adjusting Flex Pitches directly on regions in Deviation mode.
Performance is improved when editing Transient Markers in Take regions with Flex enabled.
Performance is improved when making Flex Pitch edits in the Tracks area with a large number of selected regions.
Alchemy's Performance is improved.
Performance is improved when moving regions in projects with a large number of tracks and regions.
Projects containing a large number of flex-pitched regions now open more quickly.
Resolves an issue where loading a project saved with a Summing stack selected that contains Software Instruments that have no regions and/or with the tracks turned off could load the Software Instruments into memory.
Accessibility
VoiceOver now announces the state of Automation mode buttons on channel strips.
VoiceOver now announces the status of the Pause button in the LCD.
VoiceOver no longer announces hidden controls in the Smart Controls view.
VoiceOver no longer reads the values of pan knobs that are currently hidden in Sends on Faders mode.
VoiceOver now announces the state of the Details button and the Follow button in the Drummer Editor.
VoiceOver now announces left-click and Command-click Tool selections in the Control Bar.
VoiceOver now announces the name of the Time Quantize button in the Piano Roll.
VoiceOver now announces changes in value when the Next/Previous key commands are used to change Quantize values.
VoiceOver now announces state of key commands for Cycle, Mute, Track Solo, Input Monitoring, Track On/Off, and Lock/Unlock Track.
VoiceOver now announces the selection state of focused tracks.
Spatial Audio
Fixes an issue where adding a new 3D Object track for the first time to a Spatial Audio project could cause the Renderer to switch from the current model to the Apple renderer.
The Dolby Atmos plug-in now offers a 5.1.2 monitoring option.
Fixes an issue where setting a project to Dolby Atmos could output to 7.1.4 even when the mode defaults to Apple Renderer.
It is now possible to monitor Dolby Atmos projects directly via HDMI to a surround capable receiveamplifier.
The metering for Height channels now shows as post-fader on the Master channel as expected.
Loading a Master Bus channel strip setting in the 7.1.4 channel format now preserves the 7.1.4 channel layout as expected.
Session Players
Resolves an issue where loading a user-created Drum Machine Designer patch could set the input to a bus and fail to load the Drum Machine Designer instrument.
Using the Create Drummer Region command in a Marquee selection now creates a region that corresponds to the Marquee.
Smart Tempo
In cases where there is not an existing Smart Tempo Multitrack Set, selecting an audio file in the Smart Tempo Multitrack Set window and disabling the “Contribute to analysis” check box now causes the Update button to change to Analyze as expected.
Pressing the Space bar now immediately stops a Free Tempo recording.
Fixes an issue where projects previously open in the same Logic Pro session could unexpectedly affect “Contribute to Analysis” in the Smart Tempo editor.
Recording
Audio regions recorded to unnamed tracks now include the project name and track number in their name.
Mixer
The channel strip Stereo Pan control and the Pan menu now can be adjusted when Caps Lock is enabled.
Creating a single Multi-timbral Software Instrument in the New Track Sheet no longer creates two Software Instrument instances in the All view of the Mixer.
Resolves an issue where remaining tracks in a Multitimbral Software Instrument Track Stack could unexpectedly rename the channel strip.
Adjusting the activity status of a speaker in the Surround panner no longer causes the signal to unexpectedly mute.
Groups now immediately show as inactive when switched off for a selected set of channels in the Mixer.
Metering now correctly works on individual channel strips with plug-ins that send to more than two channels and are routed to a surround bus.
Option-clicking on a send in a selected group of channel strips now sets all corresponding sends to 0 dB as expected.
Fixes an issue where performing Undo after adjusting the fader values of grouped channels with Group Clutch enabled and then disabled could cause the faders to jump up to +6 dB when one member of the group is touched.
Setting multiple selected channels to No VCA now works as expected
Alchemy
The oscillator section in Alchemy offers a new Wide Unison mode.
All controls for Additive Effects now accept typed-in values as expected.
Values typed into parameters related to milliseconds (MS) in Acoustic Reverb are no longer interpreted as full seconds.
Resolves an issue where performance control destinations for modulation could show as duplicated.
Sampler, Quick Sampler, and Quick Alchemy
The Playback direction button in Quick Sampler now immediately updates when clicked.
The view now scrolls correctly when dragging the Trim marker in Sample Alchemy.
It is now possible to adjust the level of a group in Sampler up to +24 dB.
The Up/Down buttons for navigating zones in Sampler now remain available after adjusting the start or end positions of samples.
The general Zoom/Scroll key commands now can be used to trim the current view in Sample Alchemy.
Handles and Trim Handles in Sample Alchemy behave correctly when click-dragged, even when the plug-in window does not have focus.
The Ancient Vocal Chop and Baily Glide plug-in settings for Quick Sampler now open in Classic mode, as expected.
Plug-ins
The MIDI Scripter plug-in now shows in Logic Pro when running in dark mode.
Fixes an issue where clicking on Sampled IR in Space Designer could activate Synthesized IR mode unexpectedly.
Resolves an issue where repositioning the playhead could cause audio to cut out on channel strips that use Step FX.
The preset Note Repeater in Scripter now works as expected.
The wet/dry setting on Ringshifter is now always set to 100% wet when inserted on an Aux.
There's now a DI Delay Compensation switch in Bass Amp Designer to improve phase correlation when blending between Amp and Direct Box in the plug-in.
StepFX now includes presets using Sidechain.
The Beat Breaker preset called “Basic / 2 Slices, Speed 66%” no longer plays the slices at 50% speed instead of 66%.
Resolves an issue where ES2 could produce glitching sounds when using Sine Level or Poly Voice mode on Apple Silicon computers.
Mono > Stereo instances of Console EQ no longer can cause unexpected feedback.
Using the Delete all Automation key command while an Audio Unit window has key focus no longer causes the Audio Unit window to go blank.
The menu for the compression section of Phat FX can now be opened by clicking on the Up/Down arrows.
Beat Breaker now offers new default patterns divided evenly into 2, 4, 8, 16, and 32 slices.
Mastering Assistant
There is no longer unexpected latency with bounces from projects that use the Clean or Clean + Excite mode in Mastering Assistant.
Mastering Assistant analysis is no longer incorrectly triggered in projects that contain no regions, but are previewing audio from Ultrabeat, etc.
Mastering Assistant no longer allows the -1 dBFS peak limit to be exceeded in certain cases.
Automation
The Consolidate Relative and Absolute for Visible / Automation menu item now only displays when automation types that support relative automation are active in the lane.
Region-based Automation is now pasted as Track-based Automation when pasted to an area of a track that does not contain regions.
Pitchbend now works as expected with zones in Sampler that do not have Flex Pitch enabled.
Selecting Region-based automation points on a region now deselects previously selected automation points on other regions
Disabling Region-Based Automation no longer dims the Power button for MIDI CC data lanes in the Piano Roll.
The movie window now updates to show the correct frame when moving Region-based automation points.
The Autoselect automation parameter now works as expected when clicking any plug-in control.
Automation of the Gain plug-in no longer exhibits unexpected latency.
Region-based automation is now drawn correctly when recorded into projects that start earlier than 1 1 1 1.
Automation lane views for all tracks are now maintained when switching into Flex view and then back to Automation view.
Flex Time and Flex Pitch
Flex Pitched notes now play as expected when clicked while Record or Input Monitoring is active on the track.
Flexed audio tracks using Monophonic or Slicing mode no longer produce clicks at tempo changes.
Takes and comping
Fade-ins are now applied when flatten and merge is performed on Comps.
Renaming a take that encompasses the entire length of an audio file no longer unexpectedly changes the file name.
Comps in Take Folders are now preserved when performing Cut Section Between Locators on a section that includes the end of one Take folder and the beginning of another, with a gap in-between.
Track Stacks
Record-arming a Track Stack now arms grouped audio tracks in a Track Stack it contains.
Dragging a subtrack out of a Track Stack that is assigned to a VCA now removes the assignment for the subtrack.
Fixes an issue where Track Stacks could sometimes be dimmed when some, but not all, subtracks are muted or off.
It's now possible to replace stacked instrument patches that are inside a Summing Stack with single track patches.
Track Alternatives
Loading a patch on a Summing Stack containing sub-tracks with Track Alternatives no longer causes inactive alternatives to be deleted.
Track Alternatives can now be created for the Stereo Output track.
Selection-Based Processing
Using Selection-Based Processing on a Marquee selected section within a Take Folder no longer creates an unexpected comp.
Selection-Based Processing on a comp now retains the comp.
Score
The spacing of notes is improved in cases where there is a dotted note on a line with the stem is pointing upward.
Command + Z to undo now works after deleting a Score Set.
Upward bends in TAB staves now display correctly.
Importing an instrument track no longer can cause Score Sets in the current project to disappear.
Imported Score Sets can now be deleted from a project.
Live Loops
“Join Region and Fill Cell” now works as expected.
Recording a performance in Live Loops now temporarily puts all tracks into Automation: Latch mode.
Fixes an issue where changing patches for a Live Loop track could cause the length of cells to change unexpectedly.
It's now possible to paste MIDI notes into a Live Loops cell.
Step Sequencer
It's now easier to use the disclosure triangle to open sub-rows in Step Sequencer.
Pattern regions now play back correctly immediately after being nudged.
Pattern Regions now immediately play as expected after using the Slip/Rotate tool to drag their contents to the left.
The “Separate pattern region by kit piece” command on Drum Machine Designer tracks is now applied to the correct area of the Pattern Region, in cases where the left border of the region has been moved to the right.
The length and number of steps of a newly created Pattern Region accounts for Time Signature changes correctly.
The maximum possible pattern length of a Pattern region is now 4 bars of the current time signature.
Step Sequencer now allows pattern lengths to be added based on 5/4 and 7/8 time signatures.
The Step Sequencer Inc/Dec controls now work in Loop Edit mode.
Fixes an issue where Pattern Regions on frozen tracks be edited unexpectedly.
Region-based automation now displays properly on Pattern regions in tracks that have been partially frozen, and on regions that have been frozen and then unfrozen.
It's now possible to assign MIDI channels per step in a Pattern Region.
MIDI
Reset messages for Software Instruments now work correctly.
Sustain messages are now sent correctly when playing back regions with Clip Length enabled in cycle mode.
There is now an “Internal MIDI in” setting in the Track Inspector to allow for recording MIDI from any other software instrument or External MIDI Instrument track.
The “Send all MIDI settings” key command now sends program changes to external devices assigned to empty tracks.
Resolves an issue where 3 bytes of random MIDI data would be sent when playing back regions containing SysEx data with MIDI 2.0 disabled
New 'internal MIDI in' feature allows recording of MIDI from other tracks, including MIDI FX plug-in output and 3rd party MIDI generators.
The “Delete MIDI events outside region boundaries" key command now correctly creates a starting CC event in the region to match the last matching CC of the same type in the track.
Fixes an issue where Chase could cut off notes that are preceded by notes of the same pitch on tracks with third-party instrument plug-ins.
Editing
The Humanize transform set now works as expected when the Randomize functions for Position, Length, or Velocity are set to very small values.
The menu item Delete and Move in the Event List is now only displayed if regions are displayed in the window.
When MIDI 2.0 is selected in the Settings, clicking on an Event in the Event List no longer plays events back with MIDI 1.0 resolution.
Fixes an issue where using the Cut command in the Audio Track Editor could switch the view to another editor.
When a region in the Project Audio window is double-clicked, the Audio Track editor now opens as expected.
The content link buttons for the Piano Roll and Score show the correct color as expected when toggled using the mouse.
The Event List correctly updates to reflect changes made by using key commands to select notes in other editors.
Resolves an issue where the Velocity tool in the Piano roll could affect the values of non-note events.
Fixes an issue where applying the Transform set Double Speed could cause the notes to disappear from the Piano Roll.
Step Input
Extending the length of note entered using Step Input now works correctly.
Global Tracks
Adding multiple audio Apple Loops of the same key to different tracks of a new project now changes the project key as expected.
Clicked in Tempo points are now placed at their correct positions in projects that start earlier than 1 1 1 1.
Share and export
When No Overlap is enabled, regions bounced onto existing regions no longer overlap them.
Audio files bounced from Logic Pro now include the proper Encoded Date in the metadata.
Fixes an issue where MIDI regions could be truncated when bounced in place.
Fixes an issue where audio files including Volume/Pan automation exported from mono tracks that use plug-ins could export as stereo files.
It is now possible to bounce sub-channels of multitimbral instrument tracks as individual files.
Import
Resolves an issue when dragging multiple audio files into a project, choosing the “Place all files on one track” option could create a second track and places the first file on one track, and the rest on the second.
Output channels in the Mixer can now be imported from other Logic Pro projects.
Apple Loops
The Loops browser now correctly shows the same enharmonic key an Apple Loop was tagged with.
Apple Loops now preview using the Key Signature active at the current position of the playhead.
It's now possible to add Aliases to bookmarks and untagged loops.
Dragging an Apple Loop from the loop browser to an existing track no longer changes the input for the track.
Fixes an issue where MIDI Apple Loops could jump to the start of the nearest bar position when dragged from the Loop Browser to the middle of a bar.
Video Support
A secondary screen that is running a full screen video with Show Animations off will no longer remain black after closing the project.
Key Commands
The “Increase (or Decrease) last clicked parameter” key commands now work for controls in the LCD.
The “Record off for all” key command now works on Software Instrument tracks in cases where one or more audio tracks are also record-enabled.
There is now a key command to add to the current selection of regions or cells that are assigned to a toggle solo group.
The Zoom Toggle key command now works in the Step Editor.
Compatibility
GarageBand projects that use Pitch Correction now sound the same when opened in Logic Pro.
Undo
If Undo is used immediately after creating a project, the New Track Sheet is displayed as expected rather than leaving a project with no tracks.
Undo/Redo now works as expected with Audio Unit v3 plug-ins.
Changing the Automation Mode, or changing a Track On/Off state now creates an Undo step.
Performing Undo after adding a surround track no longer corrects Drummer tracks in the project.
Logic Remote
Logic Remote immediately updates to show time and signature changes made in Logic Pro.
Control Surfaces and MIDI controllers
Controls on Control Surface devices that use Lua scripts now provide feedback when learning assignments for them in Logic Pro.
Illuminated buttons on control surfaces now show the correct state for Show/Hide Track Editor.
General
The LCD now displays the Cycle start and end times in both SMPTE time and Bars/Beats when the secondary ruler is displayed.
Search in the All Files browser now finds matching items in bookmarked folders.
Fixes an issue where the visible editor in the Main window could unexpectedly switch when rubber-band selecting regions.
Audio Take folders created in Cycle mode now loop as expected after recording when Loop is enabled in the Region Inspector.
It's now possible to create external MIDI tracks when Core Audio is disabled in Logic Pro.
Resolves an issue where deleting a Flex marker from an audio region while a Marker List is visible could switch the key focus to the Marker List.
Track information pasted into a text editor now includes the TIME position when the Use Musical Grid setting for the project is not enabled.
Input monitoring buttons are now displayed on audio tracks when Logic Pro has fallen back to an alternate audio device because the selected device is not available.
Previewing an audio region in the Project Audio window no longer causes it to jump to the top of the window.
Command+Option clicking on the On/Off button of a track now toggles the button for all tracks, as expected.
Copy/paste of regions now works when Automation view is enabled.
Right-clicking on a looped segment of a region now opens the contextual menu as expected.
It's now easier to see when black keys are depressed in the Musical Typing window.
The right arrow key now reliably moves the text cursor in the Bounce > Save As file name panel.
Groove Templates created from audio regions now work in Smart Quantize mode.
Dragging multiple regions from the same audio file from the Project Audio browser to the Tracks area now works correctly.
Audio regions are no longer moved to unexpected positions when trimming, if absolute Snap mode is on, and the region anchor is moved away from the start of the region
Fixes an issue where pasting a Marquee selection with No Overlap and Snap Edits to Zero Crossings mode enabled could delete a non-overlapping part of an existing region.
Autozoom now triggers when a region's upper right corner is dragged in the Main window, or the Audio Track Editor.
The Playhead no longer may briefly appear to be in the wrong position when zooming horizontally.
The Time Ruler now immediately updates to reflect changes made to the “Bar Position [bar position] plays at SMPTE” setting.
The File browser correctly shows the full path when using Save As.