JnTuneTech

I don't really know the MD plugin, in fact hearing that you found it to be advertised as "multi-out by default" is quite interesting. I do know that they do, as most samplers will, offer or have vendors for different sample sets, -"kits" of course, and sometimes additional percussion & whatnot. In my experience, loading different sample sets is not something you want to do by a program change. Generally, I will load a separate instance of the sampler to "add on" parts like percussion, for instance, and just point the instruments MIDI note(s) to the proper instance (kit) using either the drum map, or just pointing the proper MIDI track output specifically. You haven't mentioned it, but I hope you have found out how each "kit" has its own note map - settings in the plugin itself as well. For instance, if the snare is not mapped to the GM number you want, you can either change the MIDI note(s) in the track, or just change the sampler "Kit piece" to respond on what mapping you want. And yes, you will be looking for other sampler plugins to handle the rest of the melodic MIDI parts. Depending on how the tracks were composed originally, they may also be reliant on GM patch changes, which was very common, and as @Promidi mentioned, you are best off trying to stick with legacy VST2 plugins for the most compatibility with that. -As I mentioned in another thread here, Roland is still selling license keys for the Sound Canvas VA VST2 plugin through the end of September, but it is being discontinued in the cloud & support options going forwards. Otherwise, I would recommend that for a quick playback of older MIDI tracks with GM format & patch changes, etc., - and of course that one is not a free plugin either.

It's great that you got some of the drums instruments to play, sounds like you are well on your way. I will agree that using the multiple outs method may be a bit much, and you can certainly just achieve playback with only one stereo output on a drum sampler. Still, it can be useful later if you decide to convert each kit piece to audio for very granular mixing. -I happen to do that a lot, and am in fact currently using a project that splits the drum MIDI out into 6 separate parts, going to respective mixable outputs, and that comes in handy come mixdown time. But if that's not needed, just run one instance of the drum sampler, and point all drum (Ch. 10 in your case) MIDI outputs to the drum synth, use a standard primary stereo output from that, and it will be simpler, especially for previewing. Some effort may be necessary to "fine tune" and get things to match up better (or at all), and although others may argue, I find that, especially once you know what MIDI input mapping your drum synth - kit is set up with (and that usually has options), it is a quick matter to add a drum map to a project, assign it to the drum MIDI track(s) one by one, and instantly have a view of what notes are there to be assigned to start out with. -There are other methods, to be sure, such as just using an instrument definition from the default GM sets to overlay on the basic PRV keyboard, for instance. But trying any of that is relatively painless, and if you don't find it useful, -just remove the map! In keeping with some folks who like to explain step by step: I will take a project, or often just an older MIDI file opened and then saved as a project, and look at the MIDI track assignments. If there is a Ch. 10 MIDI track, chances are it contains GM drum MIDI, especially if it was formatted years ago, and especially if it has been assigned to a legacy GM multitimbral synth such as Sound Canvas. It is often even labeled "Drums" if you have opened the file directly. So, I will now assign a GM (or usually Roland GS Standard) format drum map to the likely drum MIDI track material's track output. -You don't even have to have a synth plugged in at that point. Once the drum map is assigned to the MIDI track's output (it does involve a few steps at 1st), I close the Drum Map tool. Then, I select the MIDI track in question, and use PRV to see what is on the track visually. If, as older MIDI files often are, the drum kit pieces (note numbers) used in the file are set up to GM standards, you will visually see notes in place that are already matching the GM template (kick, snare, etc.) in the map view. Anything else that is not, will show up as "unassigned". From there, I usually refer to a working playback (audio, or other GM synth playback) version of the MIDI file/track, to figure out what is playing where the "undefined" notes show up. For most pop material, it's usually pretty simple. -The steps after that vary for me, depending on the drum sampler I want to use. -There are other ways, and of course other issues too, as MIDI can have inline data that may change the actual playback parameters, and that won't show in a drum map. -But getting the basic drum kit instrument piece assignments working with this method gets things started for me very quickly, with older GM standard formatted material. And even if it's not GM, you can visually make out the general patterns and label/assign them quickly. Your mileage may vary, of course!

Welcome to the forum, and hopefully this will point you in the right direction. 😅 If I read into your question correctly, you seem to need info on changing an existing project to put Monster Drums in as an output to your existing MIDI - which can be very useful indeed. If that is the case, let us in on what you currently have set to play the drum track (if anything at all), so we can point you to a few ways to do that. I can only assume that you may also need to map older, possibly GM formatted. drum MIDI parts, so that they will play your choice of drum sampler/synth. -If so, there are many options, starting with deciding whether to map the MIDI to the drums, or perhaps just map the drums to the MIDI. That's the 1st step, and your choices can vary depending on items such as whether you know the format of the drum MIDI you want to use, and whether or not your drum sampler/synth has built in mapping options. In most cases, with Cakewalk I would recommend to start with learning to use the Drum Maps tool. It can make the process easier to visualize, and often you can find default maps to get you started. Then, learn how to find and use the instrument mapping available for your drum sampler/synth. Together you can create a clear, but flexible match up. -I used to be worried that the Drum Map tool was too difficult, but now actually, having opened it and actually tried it, starting on some older GM files, I have since found it to be a quick and easy way to visually check, and set up any older existing drum MIDI with a different sampler/synth rather quickly. -Of course, if you don't think you need that, then just change the output of your drum MIDI tracks to a different sampler/synth of your choice, hit play, and go from there. Everyone finds their favorite method, and just playing and/or mapping the MIDI is not going to wreck anything in the track itself. -I would recommend using copies of the original tracking though, just in case. -As a note, in many cases much of the drum MIDI from the days you mention in your post was often GM (or a variant) formatted, and that is fairly easy to sort out. If your drum MIDI track comes set initially to MIDI channel 10. it is usually an indicator of that. Even if it's not, you will be able to use the Drum Map tool to sort and label what you have fairly quickly. Anyway, the goal, again if I read correctly, is to output, and possibly map the drum MIDI in the old files to the drum instrument assignments in a different sampler/synth, or vice-versa, and it will take some time, but in the end if you develop the mapping skills, it will get somewhat easier! Start by putting a Drum Map, and then a preset, on one of your older drum MIDI tracks, then have the track output to an instance of Monster Drums. Reference the Drum Map section in the Cakewalk documentation, and the mapping info for your sampler/synth, and give it a go!

BTW - Roland is also discontinuing support for the Sound Canvas VST. For now, you can still buy a license key for it, but support and development will end after September, according to their news posting. I have used it for many years, and it is the same or better than TTS-1, -of course they are from the same code base. Your mileage will vary, but for as long as Windows and your DAW will handle the final VST2 version, it may be one of the last classic GM multitimbral plugins that basically defined the category, for ease of use and depth of patches, on GM compatible files and projects. But usage of that seems to be fading, and so it goes.

BTW - If you like to track covers in CbB (Sonar, etc.) and also use the Notes/File Stats tab as a view option for info, lyrics, what have you, using Discogs listings pics for your project is a fun way to keep the original content source in mind. And in the past few years, I found most of the graphic icons they use are almost perfect for the optimal view in the notes graphic icon import in CbB. Just use a search for the artist, album, single, and pull the (usually) jpg files right from the results page. You might even find those graphics useful if you collect & organize your audio references, etc. @craigb perhaps you already have a system for that with your collecting? If not, Discogs works great (at least currently) as a quick source for graphics too. Now, I wish I could find some of the concert program handouts I had gotten over the years, or even scanned copies from a reliable source. -But perhaps now I am also really too far in the completionist arena with that idea - doh!

Even for us audio geeks it was frustrating. Never a consistent format. Oh, and "24-bit" on most CDs was simply advertising, because that only meant it was mastered that way, but when tracked "down" to CD standard spec it could only 16-bit. And then again, it depended on the "standard" format they were trying to sell, and for anything beyond CD standard, they wanted you to buy their new multi-format player... I actually got comfortable for a while, with DVD/Blu Ray audio remasters that contain many excellent quad (and other format) renditions in something that most people with a DVD/Blu Ray player and a basic 5.1 home stereo can enjoy, -if you like hearing those mixes, as of course I know some people are still happy with mono. I happen to like some of the Pink Floyd classics in the quad format, and the 5.1 mixes are almost invaluable. I recently got the 5.1 Blu Ray of "Animals", and it really seems well done. But now of course, it's all changing again, Dolby Atmos is getting all the studios hyped to pull more money out of the old mixes, and some Atmos stuff you can't even buy on physical media at all, you have to subscribe online. It never ends. Ah well. -Not really any "secrets" to quad, or anything else, just another set of choices - if you can afford them!

As far as OneDrive troubleshooting goes, the 1st simplest method is to disable OneDrive in the Apps - Startup list in Windows, then reboot. -This would for instance let you see if that app is causing the crashes, but without "dismantling" it entirely. -Now, I personally do not run OneDrive on my DAW PC, but in theory if it was set up properly, other than the hit from system resource usage you can't avoid, there may be a way to allow it to run without conflicts, and perhaps you may need that if you are backing up other important data to your cloud storage. But following someone like @msmcleod 's advice (and search these forums for his backup scripts) may get you better results. As often repeated in these forums, optimizing your computer for running a DAW is highly recommended if you really expect reliable performance. Otherwise, I find that most modern off-the-shelf PCs are so full of (unnecessary) junk from the OEM to begin with, that cleanup is almost mandatory, -especially if you begin having DAW performance problems like you have described here in your original post. At the very least, temporarily turn off any unnecessary apps and services while you troubleshoot. That does take some work, however!

-Basically, the project files can be located almost anywhere, and as long as the location has no access issues in general, it should work according to how well the particular computer access works for that location. -In other words, a reliable, fast drive should work fine, if not better than using the system drive. Personally, I recommend saving projects to drives that have been set up specifically for the purpose. Things like assigned drive letters, and fully supported files systems for the type of files you want to use, are also as important as having a good performing device. -And as always, organizing the files into project folders is highly recommended, even just using the defaults for creating and saving new projects should get you that, but I wanted to make sure that is clear, just in case. Everybody has their own preferences for saving and archiving projects, and related materials in an organized fashion, but again, in general, saving to a location other than the default is fully acceptable, even best in many cases, than the basic default. For instance, all of my primary project files are located and run from a secondary storage drive, and I have done that for many years, it works fine. -Also, I highly recommend not saving the primary - running projects to any folder that is also synced to OneDrive. -If you want the backup benefit that app offers, set up a system to copy backups from the "offline" primary location periodically as an alternative. -That would be my suggestion.

It is a given that "most memorable" impressions will change with time, and of course that some of us haven't really had all that much of a history with concerts. But it's really fun to hear everyone's story here, and it helps me imagine what I certainly have missed over the years! So - The most constantly repeated live concert experience I can relate, is always: Being at one of the initial LA performances of Pink Floyd presenting The Wall. And from the seats my friend and I had, I was able to look down through the stands to watch as the 4 main members queued up (after coming from the central massive command & control pit in the middle of the floor of the arena, which we could also see fairly well). and then marched back to stage in front of the then "torn down" wall blocks to play the end coda (which on the album cycles around to become the intro). And Dave's solos from atop the wall, with backlighting beams were spellbinding in retrospect. Most of it all just flew by at the time. Probably the other concert memory I hold most valuable was in LA as well, and was simply an early-80s Halloween concert headlined by Pat Benatar & her band (and hubby lead guitarist). The whole experience was actually what makes it work - driving some female college friends and myself there, trying to dress & act "punk" (as if) and walking along some of Hollywood Blvd. before the show... the mix tapes in the "SuperTuner" in my beat-up old GTO junker on the way & back, the Police tunes I had never heard, etc. -The actual concert was good, to be sure, and I thought that the Halloween mood and decorations really fit some of the showy pop rock of the time. The drummer really surprised me with how much he could get away with practically dancing off his throne, whilst still keeping time! And for some reason, I always think back to the way getting tickets always seemed to be such a scam, I was really nervous about whether the Floyd tickets would actually show up in the mail. -Some things still haven't changed, I hear!

For me anyway - the heart of any licensing model issue (or for the idea of "owning" anything), is first and foremost the concept of having the ability to continue using the tool (device, software, what have you), in realizing the personal functionality, creation(s) - etc., that you originally obtained or started with said property. The idea of "perpetual" ownership is less important to me than simply being able to at least continue to use what I originally bought. -I realize that with software, and modern capitalism in general, that is often difficult to guarantee. In this instance (CbB and Sonar) - as of the information and track history at the time I am writing this - there may be no such promise of "perpetual" use - yet, but, from what I have seen so far, prospects are good that I will still have access to my old existing projects & materials in them going forwards. And it is all still moving forwards. Almost 6 years of a free subscription to CbB, with continuing development and new full products in the ongoing stages of development speaks for a lot. -Yes, that may or may not develop into something that can be licensed "perpetually". Only time will tell. That works for me right now, and we will see how the rest continues to develop. -Not a perfect world, for sure, but change is inevitable, and working with it as positively as possible may be a lot more enjoyable, in my experience.

Nice. When I happened upon a demo disk on an Amiga 1000 in '87, and played some drum samples via a key press - it really fired me up. -As for piano roll mechanics, I was already familiar with that, -as well as the workings of music box (chimes) & such, so when I opened up a few drum editors in the 90's it already made sense to me then. As for track & mixer layouts - I had been using multitrack tape & mixers for a while, and tracks are just like stripes on a linear tape, and mixer channel strips, are well, mixer strips. Most of it seemed like physical emulation right away, for me. Wish I could find that Amiga demo disk (or virtual one now) I originally used. Just for nostalgia. ? Amiga emulation is so easy now.

I will check out some of those sources @Glenn Stanton - thanks! I did already go through Toontrack - since they have a MIDI store connection right in the apps, which once synced up (I hadn't used it before) is a fairly extensive library that lets you preview in fact, it was interesting. My recent search focus is a bit off the popular track though, I've found very few patterns based on brush kits - probably also since there are so very few kits with brushes included. I have found that utilizing MIDI grooves is always best within each vendor, although technically I can often use a drum map to re-route most of the simple 1, 2, or 4-bar offerings. But again, in my case, even finding a pattern mapped for brushes at all is where I am getting no results. I will keep looking though!

Indeed! That video clip - nice that it is fairly straight forward performance snippet. I have a few "Long Distance Voyager" cover tracks on hand, but I have skipped "Night In White Satin" and songs of that era so far. That clip sort of makes me want to add it now (the song itself has a place in my dusty HS dance memory), after seeing them do it live, just using the mellotron & regular rock band kit. And Justin's stuff always works with my vocal range. Hmm. RIP Mike Pinder. Days Of Future Passed. Sigh.

As it happens, I was looking at some of my drum samplers, in search of sounds & patterns for pop/country style brush material lately, and I just created a few drum maps for AD2 using the AD2 Default layout. -Not much help for my search, since as it turns out, I have no AD kits with brush samples, but at least I refreshed my memory of some of the basic articulations available in Addictive. I have also attached an .ins file, for at least importing note name mapping for optional use in the PRV should one choose to do so. FYI: Some of the note naming may be odd, and though I have made a basic check with a simple AD2 kit loaded, I can only apologize for any errors or renaming choices (drum map character limit made me change some naming). -Anyway - maybe this can help getting things going, as of course making your own maps will usually wind up being the best. Mileage & wear may vary! If the attachment feature here does not work, just DM me some info to get you copies. -Also - ? Any good suggestions on finding MIDI patterns (grooves) for pop-country (like basic shuffles in 2/4, 4/4, etc.) style covers - that I can quickly adapt? ? AD2 Defaults BasicPopKit 2017 .map AD2 Defaults Brush+PopKit1 2017 .map AD2 Defaults Std Full 2017 .map AD2-Default-NoteNames2017.ins

If the audio track is not active, Input Echo is not on, etc. (the post explicitly states that the track "is off/muted") - then the most likely explanation is that the "live" pass-thru audio from your sound input device is also being added to whatever output you are monitoring with. For example - can you hear your mic without any DAW tracking set up - or running at all? If that is the case, you may want to find information on the method(s) available to you in changing the sound interface pass-thru monitoring options. It can be especially important with the way that effects will mix in your monitoring. The extra delay from latency alone will likely mess up your autotune performance until you find the right mix setup.