Logic Pro (X) How to permanently assign a midi controller fader to a Channel strip?

Can anyone explain to me how I could a fader from my hardware midi controller to control volume on a dedicated channel strip or Aux channel strip inside of Logic X?

I am trying to ditch my outboard mixer and I want to have a fader on one of my midi controllers to be permanently assigned to control volume of an audio track (no matter which track I currently have selected in the arrange window).

I write for film and TV and I want to have the audio level of the discrete channels of audio from the movie always controllable by a dedicated fader. I would like the same for the metronome Click also. I am trying to cable via the environment but I'm having trouble!
Thx

Felix
 
Generally you have to decide if you want it in the Environment or via Controller Assignments.

Environment:
The connections go always to the same channelstrip(s) and you need a template because you do not want to cable each project. Volume and Pan can be controlled by CC7 and CC10, Metronome click can be assigned to a MIDI event via the key commands panel.

Controller Assignments:
You can control the selected channelstrip, one or more strips in the current "Fader Bank" (which is always a group of 8 channels) or dedicated channelstrips by setting index numbers.

If you control several faders and want to record your movements as Track Automation I rather recommend Controller Assignments.

In case you still prefer the environment method - how many faders do you want to control, which hardware controller do you use and what kind of problem do you have?
 
Upvote 0
Hi Peter,
Thank you so much.
I will be looking to control two audio channels of mono audio (from split track movies - Dialog on Ch 1, Temp music on Ch 2). I will also want one fader to control the level of the click.

I don't need track automation, but I am using the midi controller for other things all the time, such as controlling virtual instruments and I always use it to control volume of the current track I'm on.

Fortunately, I do have a lot of midi control surfaces so if it would help to just have one entire surface dedicated to this, I could do that.

I just tried learning the volume control of a specific fader, but the problem is that when I go to another channel, that fader, then also controls the level for the fader of the track currently selected, which is not what I want.

I think I have figured out the Environment method for the audio channels, but not for the click. I can't find the software instrument which is why.

How can I assign the volume level of the click via the key commands window?

So at the moment, I only need to control 2 audio faders and the click software instrument fader.

If you have any more info about the controller assignments that would be great. I'm not having much luck finding this kind of specific assignment info on the web.

thx so much!

Felix
 
Upvote 0
Fortunately, I do have a lot of midi control surfaces so if it would help to just have one entire surface dedicated to this, I could do that.
This is not necessary because you do not need feedback from Logic. You can use any controller, even faders, knobs and buttons on different devices.


I just tried learning the volume control of a specific fader, but the problem is that when I go to another channel, that fader, then also controls the level for the fader of the track currently selected, which is not what I want.
This depends on a parameter (drop-down menu) in the Controller Assignments panel. By default Logic learns a controller for "Selected Channelstrip" or "Fader Bank". Both change the controller's target when the selection changes. You'll find a description in the manual, see below at the end of this post.


I think I have figured out the Environment method for the audio channels, but not for the click. I can't find the software instrument which is why.
If this is the only problem, the Environment method may fit perfectly for what you want.

The "Click" is a normal instrument channelstrip with the number 256 and you should find it in the Environment on the Mixer layer. If you have it deleted, just create a new instrument strip and in the Environment Inspector to the left set its number to 256. Then it loads automatically the "Klopfgeist" instrument and works as a click. You can even load another instrument if you do not like the sound of the Klopfgeist.


So at the moment, I only need to control 2 audio faders and the click software instrument fader.
Ok. If you handle your two audio faders already in the Environment, just do the same with the "Click" channelstrip and that's it.


How can I assign the volume level of the click via the key commands window?
Sorry, my fault. With a key command you can turn the click on and off (which you may want also). Controlling the volume works via the volume fader of this special channelstrip.


If you have any more info about the controller assignments that would be great. I'm not having much luck finding this kind of specific assignment info on the web.
Here is your manual for Controller Assignments:
Logic Pro X Control Surface Support

If you want to do your task it with Controller Assignments, you got to set the learned hardware faders to "Index" (not "Selected..." or "Fader Bank") and provide the number of the channelstrip you want to control. Could take a while to find the correct number. I am not sure how Logic 9 handles object numbers and they are not printed on the channelstrips.
 
Upvote 0
This is a huge help. I really appreciate it. I did not know one could change the click software instrument too! (as it happens I'm fine with it though!) I do use the key command to turn the click on/off.

That is really helpful to know how to assign the hardware fader using the Index and then the channelstrip number! that is some valuable info right there!
Thx again,

Felix
 
Upvote 0
I did not know one could change the click software instrument too! (as it happens I'm fine with it though!)
This can be helpful in certain situations. The Klopfgeist is rather soft and needs often to be loud. For precision in a loud mix I prefer a sharper Urei-like click. Basically a very short tone around 1kHz that cuts through the playback with a moderate volume. For other uses you can get a Timpani, Cymbal, Gong or Bass sound for a strong soft pattern that influences the way you play (dramatic pieces for example). Some people are used to make their own click tracks for such purposes. If you just want a different but steady click, changing the instrument is a quick solution.
 
Upvote 0
Hello there,

I am a Logic Pro 10.7.2 user on an Allen & Heath Zed R16 console.

I would like to ask if if is there a way where Logic can keep the learned assignments of the channels faders even though we move them along?. So far I have not been able to do so. For instance, I created some summing tracks that contained various sub tracks. I did manage to assign them via Index. However, Logic counts the channel numbers differently when you have a summing track folded or unfolded and also, if we move one channel along, Logic won't keep the nº linked to that channel, it will reassign that channel according to the new location it has been moved at.
Environment:
The connections go always to the same channelstrip(s) and you need a template because you do not want to cable each project. Volume and Pan can be controlled by CC7 and CC10, Metronome click can be assigned to a MIDI event via the key commands panel.
Could you please guide us how to do that?

Thank you,
Agusti
 
Upvote 0
Could you please guide us how to do that?
Not sure if I understand your wish. Direct cabling in the Environment doesn't work if you create/delete channelstrips/tracks. It works just for fixed layouts. But then you can also use Logic's Controller Assignments.
 
Upvote 0
Hi Peter,

thanks for your reply and sorry for the confusion. Essentially, what I would like is to assign my console faders to the faders of the Logic mixer and being able to move the channels along without the ned to reassign their channel number.
 
Upvote 0
You want to move tracks freely but keep the channel order, positions and ZED assignments in the Logic mixer static, to always match the ZED? This is not possible.

What you want is basically what bidirectional control surfaces do. They control a DAW and in return can adapt their own state to match the DAW's state. This way, if the DAW's tracks/strips are moved around, the controller is told to do the same. But the A&H ZED is not a bidirectional control surface, it cannot adapt to a DAW.
 
Upvote 0
What I meant is that the channels in the Logic mixer stay assigned to the channels I choose on the zed r16 even if I decide to move them along in the Logic mixer they would still be assigned to the zed's channels.

I can do that with other DAWs.
 
Upvote 0
So you want to glue ZED faders to Logic faders. So far I know this is not reliably (!) possible with Controller Assignments. But it can be done with direct cabling in the environment.

In the example below I used data according to the ZED-16R user manual:
Faders 1-16 send CC 1-16 on channel 16.
If you have other settings, you have to adapt the numbers.

I assume that you haven't done much in the Logic Environment before. Please excuse me if my explanations are too boring fo you.

Open an environment window, go to layer "Click & Ports".
You may remove what you do not need, i.e. the default keyboard object.
Usually the Sum port of the Physical Input goes to the Sequencer Input, to lead all MIDI events to the sequencer which are neither filtered by Controller Assignments, nor have their individual port connected.

Cursor_and_Untitled_1_-_Environment.png

  1. Optional but recommended: Connect your patch to the individual input port of your ZED mixer. This way you exclude your mixer from the Sum port and it's events do not reach the sequencer (in the screenshot I used my Faderfox controller).
  2. Insert a monitor to see what is coming in.
  3. Add one transformer that prepares data for distribution to channelstrips. Filter as good as you can and set what is possible at this stage (makes it easier to set the following transfomers).
  4. Add another monitor to see the output of the transformer.
  5. Add the first "distribution-transformer". Set it to "true=>top cable", Condition CC number 1 and Operation CC number 7.
  6. Duplicate the transformer as often as you need it. Set each Condition CC number according to the target channelstrip (2, 3, 4, 5 ...). Do not connect the transformers yet.
  7. Now you connect each transformer output to it's target channelstrip: right click at the little output triangle and select the channelstrip in the context menu. Altenatively you may open a second window and draw cables across windows from transformers to channelstrips.
  8. Finally connect each lower transformer output to the next following transfomer. The order of transformers does not matter, just the correct outputs and the transfomer settings.

Settings of the first transformer, that prepares the stream:

Untitled_1_-_CC_on_channel_16_and_Untitled_1_-_Environment.png


Settings of the first "distribution-transfomer":

Cursor_and_Untitled_1_-_1_and_Untitled_1_-_Environment_and_Untitled_1_-_Environment_and_Logic_...png


  • With this method, your ZED faders are "hardwired" to your channelstrips.
  • As this is an Environment patch, it is not global but belongs to the project. If you want to use it often, save it in a template.
  • If you delete a channelstrip, you lose the cable and the following faders/strips do no longer work. While re-constructing, pay attention to the right upper/lower outputs, they are crucial.
  • You cannot record automation from the ZED mixer with the example above, you would have to add some stuff fo that.
  • The cabling in the example shows how I am used to do it. If you find the patch not clear enough, I can show you a better understandable layout.
If you want to control more channels, use more "distribution-transformers". If you want to process other events like CCs of the ZED's rotary knobs or note events from the ZED's switches, you can connect similar patches to the lower output of the very first filter transformer or to a free output of a monitor. Depends on the filter action you need. For perfomance reasons it is recommended to patch serially and rather avoid parallel paths if possible.
 
Upvote 0
Agusti,

bad news.

I tried many hours because I could not believe that they ruined it again but Logic makes troubles again. Apparently Apple changed something in the automation area, maybe only for the Environment, maybe overall. I can no longer send data to the sequencer for automation. The other method with transformers in "automation splitter" mode first worked and I could write track automation on 8 channels with a simple external controller. At a second test it did not work at all and at the third test it decided to send all my faders to a single selected channelstrip.

I am sorry but I cannot help you with your inquiry.

Because of this latest experience I will stop supporting Environment questions altogether and I will no longer work in the Logic Environment myself, due to it's continued unreliability. Logic itself can stay here for now, but the air is getting thin.
 
Upvote 0
So you want to glue ZED faders to Logic faders. So far I know this is not reliably (!) possible with Controller Assignments. But it can be done with direct cabling in the environment.

In the example below I used data according to the ZED-16R user manual:
Faders 1-16 send CC 1-16 on channel 16.
If you have other settings, you have to adapt the numbers.

I assume that you haven't done much in the Logic Environment before. Please excuse me if my explanations are too boring fo you.

Open an environment window, go to layer "Click & Ports".
You may remove what you do not need, i.e. the default keyboard object.
Usually the Sum port of the Physical Input goes to the Sequencer Input, to lead all MIDI events to the sequencer which are neither filtered by Controller Assignments, nor have their individual port connected.

View attachment 2421
  1. Optional but recommended: Connect your patch to the individual input port of your ZED mixer. This way you exclude your mixer from the Sum port and it's events do not reach the sequencer (in the screenshot I used my Faderfox controller).
  2. Insert a monitor to see what is coming in.
  3. Add one transformer that prepares data for distribution to channelstrips. Filter as good as you can and set what is possible at this stage (makes it easier to set the following transfomers).
  4. Add another monitor to see the output of the transformer.
  5. Add the first "distribution-transformer". Set it to "true=>top cable", Condition CC number 1 and Operation CC number 7.
  6. Duplicate the transformer as often as you need it. Set each Condition CC number according to the target channelstrip (2, 3, 4, 5 ...). Do not connect the transformers yet.
  7. Now you connect each transformer output to it's target channelstrip: right click at the little output triangle and select the channelstrip in the context menu. Altenatively you may open a second window and draw cables across windows from transformers to channelstrips.
  8. Finally connect each lower transformer output to the next following transfomer. The order of transformers does not matter, just the correct outputs and the transfomer settings.

Settings of the first transformer, that prepares the stream:

View attachment 2422

Settings of the first "distribution-transfomer":

View attachment 2423

  • With this method, your ZED faders are "hardwired" to your channelstrips.
  • As this is an Environment patch, it is not global but belongs to the project. If you want to use it often, save it in a template.
  • If you delete a channelstrip, you lose the cable and the following faders/strips do no longer work. While re-constructing, pay attention to the right upper/lower outputs, they are crucial.
  • You cannot record automation from the ZED mixer with the example above, you would have to add some stuff fo that.
  • The cabling in the example shows how I am used to do it. If you find the patch not clear enough, I can show you a better understandable layout.
If you want to control more channels, use more "distribution-transformers". If you want to process other events like CCs of the ZED's rotary knobs or note events from the ZED's switches, you can connect similar patches to the lower output of the very first filter transformer or to a free output of a monitor. Depends on the filter action you need. For perfomance reasons it is recommended to patch serially and rather avoid parallel paths if possible.
Thank you! It worked with my Zed r16 too. I had to do some trouble shooting but now have 18 faders working with this method.I didnt have to plug all the transformers together. I can share my template with anyone but its for logic 9, maybe wont work on new versions.It was a big job! I'm trying to understand what this does,What does the CC number 7 correspond too? Also if anyone else might have this problem; the first batch of 8 faders on my Zed r16 send out chaotic midi info in the last tiny fraction of the faders so you can't turn them up all the way but you dont need too anyways( give or take a quarter of a Decibel).
 
Upvote 0
Back
Top