Hi, I want to harmonize ambient recorded soundsource-samples as if they were 'notes from musical instruments'', by assigning samples to pitched zones as on Logic's EXS24. Thus for example, I'd make a minor-type chord from a bird's tweet, or from footsteps, or what-have-you. Trouble is, how to get all the 'stretched' or 'squeezed' samples to have their sonic artifacts lined-up together time-wise, in order to completely harmonize? My Mac advisor thinks 'Reason' might have features to enable this. Can you verify and/or suggest? I have a million ways to go with this type of idea.

Amazingly helpful response to my previous question! I now have pro access and I'm watching the Dvorin tut. I wanted to create loops so I can sustain notes created from these samples, but when I'm selecting loop points and performing the edit>selection to sample loop command, no sample loop appears in my EXS24 editor. One instrument responded to this commands, but several others did not. Not sure why! I tried converting my regions to self-contained audio files before converting the track to a sampler instrument, but that didn't seem to work. Any ideas? Thanks...

Hi, I want to use the pitch-shift to create zones spanning three or more octaves. I tried bouncing the track of a single octave in place and then applying the same pitch-shifter automation, but the result seems to be a 'compounding' into, let's say, whole tones instead of semitones. Is this expected or unexpected, or is there a workaround, or another au plugin that can do more than two octaves at a time? PS, as follow up to previous issue, I discovered that the length of the filename was the culprit for why EXS couldn't set the loop points. Thanks again, you are good.

Hi, I'm exploring the EVOC vocoder for the purpose of creating voice-scapes for villainous computerized characters, etc. In particular for example I'm looking for a way for speech-sibilance ('S' sounds) and hard K-type consonants to trigger crazy, glitchy-sounding audio after-effects. I've watched Steve H's 303 TnT, and I've started-in, but how can I get a sampling of what the range of aural possibilities are out there for vocoding? And once having heard such possibilities, is there some compilation of the techniques involved in achieving such sounds? Thanks.

Hey there, I'm still trying to understand scoring from scratch using Logic. MPV has told me to look at Logic 303: TNT1, but there Steve H. is just entering monophonic notes in realtime, then fixing the results. The step input keyboard doesn't have rests apparently, and the 'step input mode using Key Commands' just has one item, "rest" - what about various durations? (I'm sorry to admit that I'm having trouble setting a key command anyhow.) Or should rests come from the partboxes? How best to position the notehead according to the bar's sub-beat increments? How do you change the rhythmic value of an entered step-input note? If, for example in a guitar 'chord-melody' composition, you don't clearly have distinct voices but yet you have various polyphonic combinations of notes, how do you enter these, especially in combinations with rests? Please make your tech support work for me so that I don't decide to cancel my subscription in frustration. In my opinion, at least one of your Logic tuts should really facilitate a musician's desire to compose in the traditional sense. Thanks, Lorens.