Logic Pro 9 CPU activity with Logic not playing

As soon as I put Logic to sync in IAC mode with ProTools as master, I get an error message of "System Overload. The audio engine was not able to process all required date in time."

I had this problem last week when I was running 10.5.8. I have since upgraded to SL 10.6.4. The problem persists. When I stop sending MTC to Logic from PT, the CPU calms down. I can't sync Logic and PT and have stem transfers to do each week.

I'm stumped. Any ideas anyone?


You have a midi loop going on somewhere. Have you looked at your midi I/O in your clicks and ports page? You will need to make a dummy path for the returning time code to go to... I don;t have the time to tell you how to do it, so take a look at the LUG, it has been covered before.
Hi George,
Eli Krantzberg was just about to suggest the same clicks and ports solution. Eli works with me sometimes. He walked me through setting up a dummy path. The overload messages usually don't start appearing until I'm about a third of the way through my stem bounces which translates to about 4 hours of non-stop work.

Once the messages begin appearing, even a restart doesn't help. I did the clicks and ports tweak at the beginning of my last 2 hours of bouncing. I didn't have any error messages but the real test will be next week when I bounce another episode.


Hi Juan,

All of my frame rate and sync settings are correct. Have you solved this problem in your studio? It's a known problem with Logic. I read some of Apple's responses to Logic users complaining about this.


So let me ask you what your goal is: Are you trying to supply stems for mixing?

If so, why not do everything in Logic? Trying to use Logic and Protools on the same computer is so kludgy. And now that Logic has the ability to use a bus as a source while recording, it is almost foolish to work this way.

I can't think of any reason to do it, and neither can some of the very successful composers who I work with that in the end have to do the exact same thing?

The way that it can be done is to set up your Logic template so you have all the sounds you require, use bus outputs from your tracks into the groupings you require, and set up recordable tracks per group, name them (so your stems are named when recording) and put your tracks in input monitoring mode.

orks perfect, not garbage with trying to use internal sync between Logic and Protools.

When done, import into your protools session. As long as you set the session smpte time up, your golden, and you can even use the move to original record position function to guarantee proper sync.

Just a suggestion. I know it saves my guy hours of time (maybe days actually) on a major feature film.
Hi George,
I've already done about 10 half hour episodes with Logic slaved to PT for my stem record into PT. I'm supplying 7 stereo stems, one being a full mix. It seemed more straightforward to me to simply record directly into PT rather than having to do the added step of placing them in PT afterwards.

To be honest, this is the first time I've had to provide stems in that when I've worked in film, the engineer at the recording studio would mix to stems. For the TV work that I've done up until now, if I mixed the music in my studi,o I was only asked to supply stereo mixes.

This is my first TV series and certainly the first time that I'm producing so much music out of my studio. I'll certainly check out your suggestion. Eli had suggested something similar to me when I first started preparing for this job but I insisted on recording into PT. I'd also spoken with 2 TV composers who both worked this way though both had HD systems. I'm using a 003.

And that is the reason for so many issues. internal audio and sync between Logic and Protools has always be nothing but cr@p. Not sure who the bad guy is, but I have spent hours trying and unsuccessful to do this. The only way to do it without much trouble is 2 computers, 1 running Logic, the other running PT.

The Stem in Logic thing has been a lifesaver for every client I work for who has done it. Also, using Logic and HD video, and bounced to QT has also saved days of work for composers per movie.

I would take a serious look asap. You might end up saving days depending on: 1) the time you loose, as well as anger and frustration, and 2) the speed you can do this with working exclusively in Logic Pro.

Good luck... learning this stuff can be frustrating, but in the end, when you get your system working the way you want and need to make a better living, you're going to LOVE it ;-)
Hi George,

I use two 8 core MacPros. You're suggesting that I hook up the 003 to my slave machine and sync the two with MTC? I have word clock running from a master clock to my sound cards. My slave computer has 2 Vienna ensemble pro servers hosting Omnispheres and other soft instruments and the 2 machines are connected via ethernet.

HD video bounced to quicktime? Most of the shows and films that I score are shot or created in HD. I'm usually given quicktimes in h.264 codec. Is this what you're talking about?

You're right of course in that my stem bouncing is driving me nuts because of how unstable the process has become... and the wonkiness happens just when I have to be uploading my mixes to L.A., which is the absolute worst time to be having these stupid issues.

I'll check out the Logic solution. I'm not sure it would make sense for me to hook up my 003 to my slave computer. I'll check it out though. I think I'd rejected recording into Logic because I thought it would be quicker to simply record directly into PT. Oh well...:)

And thanks for all the advice! I really appreciate it.

cheers from rainy Montreal,

You could slave using MTP from Logic to PT. I would use your slave computer though if it is also your VI computers as well...

The stuff is recorded Video HD, and I can't remember the codec used. He has 2 huge monitors, Logic on both with a QT movie of the cue in the corner to score to, then bounces to QT for final approval, prints stems, in Logic, imports in to PT to verify all is well, and sends the PT sessions to the mixing stage. Works like a charm, is completely easy once set up, and only uses 1 computer for DAW and small VI's and the second DAW (A PC with 48 gig ram, Cubase as a shell (not sure why that is the case today) and Kontakt/Play libs loaded. Things work pretty good, but had to be tweaked to play nice (no pun intended ;-)).
Your guy's setup is very similar to mine though my slave shell is Vienna. I have 2 versions of Logic and had tried using Logic on the slave computer but it was a pain. I'm quite happy with Vienna hosting all of the heavy synths on the slave computer. Vienna's automation is finicky but all in all it works well. I try to keep all of soft synths outside of Logic. I run a Vienna server on my main computer as well. I've switched to Snow Leopard on all of my computers. I actually have 4 MacPros but the other 2 are a clone of my setup and are used by others working with me.

Your composer bounces his audio to quicktime within Logic? It's been so buggy in the past I gave up on it long ago and I just do it in ProTools. I mix the quicktime dialog as I score in Logic, because I sometimes receive a badly balanced dialog track. It's just for a quicktime for approval, in any case.

Can you mute the original embedded quicktime audio and only bounce what's coming from Logic when doing the audio to movie bounce?


Sounds pretty close, I agree. He uses the 32 bit version of Logic, because of possible issues with drivers, the 32 bit bridge for AU's etc. Plus the 64 bit version of Logic doesn't do the QT bounce.

To answer your QT question: when you bounce in Logic, it gives you the option to bounce into a second track (QT can have a number of audio/text/video tracks in a single movie), or replace the current track (the one he uses). Works flawless. He has saved at least a full 8 hours day (verified, most likely more) when scoring a movie with 22 clues so far.

Sometimes finding the best solution for how to do this stuff is to ask, and sometimes using the given answer seems like a challenge for people who work one way (old habits), but sometimes in the end, a new method can make the job quicker, and you make more $$ in the end (not to mention the lack of drama it can introduce).