Amberwolf

I dunno why, but many (not all) such documentaries and shows do use incidental music. Some of them only use it in between narration sections, or to highlight dramatic moments in some of the nature ones, like a "chase scene", but there's almost nothing I've ever watched that has no music at all, other than a theme at beginning and end, perhaps--they all have some music somewhere within the show, and often assorted sound effects, added-in foley, etc. Some of the worst offenders are physics and astronomy docs, but some series like Nova and Horizon are guilty of some fairly overpowering noises and music within the show, though at least both of those don't usually put them in the middle of the narration. There was some BBC show (geology / volcanos, I think) I tried to watch not long ago where at least one of the interviewees or narrators must have recorded themselves in their bathroom shower stall based on the rattly echoes completely drowning them out. Some other show where a lot of the interviewees spoke French, and there were voiceover translations, they left the original speakers at almost full volume, so I couldn't understand anything being said regardless of language--it was just a babbling jumble, with too-loud music over the whole thing too (no ducking). Quite a few Mayday videos are awfully mixed, and unwatchable. I an't believe that the audio engineer, mixer, all those involved with production and publishing that watched it during or after mixing, still let these go out this way. They sound as if there's multiple different videos playing simultaneously because of the wildly different audio levels. The narrator is hiding under a bucket with the microphone wrapped in a blanket. Background audio sounds like random volumes. "Interview" sections are done with blasting megaphones set to 11.

There are some streaming services that appear to have somehow messed up the soundtrack of various documentaries such that all the backing sounds and music are blasting over the voiceovers, making them unwatchable. In some it is almost as if they used some sort of reverse-ducking, where the voice gets ducked instead of the rest, *and* at the same time also increases the volume of the rest of the stuff. One of the Jim Al Khalili physics documentaries (don't remember which) was the worst, couldn't even hear that anyone was even talking thru the majority of it, I think on Amazon PV. Some of them even seem to be the wrong soundtrack--like they took two channels out of a surround mix and fed them to left and right of a stereo signal instead--but didn't use the main L and R channels, and instead used some other pair that has mostly music and effects in it, and very little center / vocal / etc. I have such problems hearing (well, really it's *understanding*) voices in various circumstances that I use a multiband compressor and limiter to greatly reduce eveyrhting but the main voice bands, and to really smash everything down (and bring up the low levels of quiet passages) for any "show" I watch. But even that doesn't fix the shows they've messed up this way. And even if I bypass it and just listen normaly, it's still very messed up.

a spam post that appears to have since been removed. figured while i was in the thread i might as well post a useful tidbit... (many spammers quote someone's long post, so that most of the quote is not visible unless you click the expander, and then edit an obvious spam link or phrase (or lots of them) into the quote, where it won't be seen 99% of the time as nobody expands the quotes, just reads the responses. so they get their spam in there where a websearch robot will find it for seo purposes, but where moderators and members of a forum almost never will notice, so it stays up at least long enough to do the job of making the linked / keyworded site(s) rank higher in search engines as those rankings are based on how many other sites link to those sites (rather than how many people actually used a search result, or searched for that site, etc). i'm an admin over on endless sphere in charge of spam control more or less, so i've seen practically everything so far there in the last decade and a half or so)

Also, if you are dealing with mono audio (vs stereo), you can turn on snap to grid, turn off Musical Time, switch from Move By to Move To, and turn on just Audio Zero Crossings in the landmarks, and use max Magnetic Strength. I don't know what the snap dialog looks like these days, but in my ancient version these settings make it relatively easy to avoid clicks from non-zero-crossing cuts of audio clips; if for whatever reason I didn't cut at one to start with I can just slip edit until it "gets sticky" and let go and it will be where it needs to be. Unfortunately with stereo clips it's not very often that both channels have a zero crossing in exactly the same place, so this trick doesn't really work very well for those.

wait for the remote control implants

I'm pretty sure it's that you get older. But maybe we already said that?

If the sound is there like normal when you play the recorded tracks, but you just can't see it, then it doens't have anything to do with hte source, as the recording is still happening as normal. That usually means either you are zoomed out vertically on the track itself so that it can't display the waveform, and vertically zooming in on it would show it, or that the wave isn't being drawn because something has caused the "picture cache" files that contain the preview of these waveforms to go missing or be corrupted. You can regenerate those either by opening the properties for the clip (alt-enter, or double-click, or rightclick on it and choose clip properties, etc) and finding hte button to redraw those (in my ancient version that is in the last tab on the right), or by emptying hte picture cache folder (there are a few threads about that including one posted to just yesterday, if you poke around the forums). If the sound is not there either when you play back, then you'd need to be sure that you are getting sound from the source and it's showing that on the record meter inside the recording program.

Introducing Cap'n Maggie Carrington, "leader" of our reluctant heroes, and fixer-upper of their misadveturously acquired owies, from the Drywater, Mars series. https://amberwolf.bandcamp.com/track/capn-maggie-carrington-drywater-mars-part-8 Presently with some placeholder vocals from Artifact until I finish building the new versions.

Introducing Cap'n Maggie Carrington, "leader" of our reluctant heroes, and fixer-upper of their misadveturously acquired owies, from the Drywater, Mars series. https://amberwolf.bandcamp.com/track/capn-maggie-carrington-drywater-mars-part-8 Presently with some placeholder vocals from Artifact until I finish building the new versions.

Not sure what the picture showing BlueCat's Gain Suite for free in your Plugin Boutique account back in 2020 has to do with the described issues with Scaler...?

Thanks! I'll poke around with it and see what I can mangle with it.

If you didn't use bank/patch changes, and didn't save the preset separately from the project as an FXB or FXB file to manually load into the plugin, then the preset data is simply part of the project data that would be fed into the plugin itself directly and isn't user accessible. If the plugin isn't installed, and you just get the "missing plugin" dialog for it, the preset info is not sent anywhere becuse there's nowhere to send it. If the new version of the plugin is so badly designed that it doesn't understand or accept data intended for it's previous versions, then that data is "lost", in that there is nowhere for you to retrieve it from. To get that data back you'd have to install the old version of the plugin that the data was intended for/came from, and load the version of the project that still asked for it (hasn't yet been replaced by the new one). Then you could try saving the state as an FXP (preset) or FXB (bank) and then see if that data will still load into the new version of the plugin. My guess is it will not, because that's the same data Sonar would be sending it anyway so if it is not accepting it now it probably won't then either. At that point, you would have to manually recreate your preset by taking screenshots of all the controls in all the various parts of the plugin with the old version, and then try to figure out what those correspond to in the new version, and set those controls the same way. It will probably still not sound the same if they've really changed it that much to not accept the old data, though.

Perhaps I'm misunderstanding people's use cases for remote control and midi learn and even ACT, but: If you could't record the incoming control data onto the tracks, how would it be useful for automating things? If all you could do with it was do a realtime control, you could not use it to do anyting more than you could just do within the program or synth interface itself as a one-time change, and would not be very useful beyond avoiding opening the UI sections with the controls you're changing. Being able to automate the changes over time within a project, which is the most useful (to me and probably many or most others) application of external control of a parameter, requires being able to record them into the tracks so that they get played back to the controlled parameter during the project. Otherwise you have to remember all of your sequences of control manipulations and then manually do these over and over eveyr time you play back the project. You must also do them again while you realtime record the project out from the tracks to an audio recording, because you won't be able to ever fast bounce anything without that control data being automated inside the tracks themselves.

If I could just tell the computer what I want and have it do that....

That's about the same reaction I get from JellyBeanThePerfectlyNormalSchmoo when my brother says "the dog" in some phrase referring to her.... :lol: