Amberwolf

Are you drawing the notes in and having them end up in the wrong place? Or do you have a clip that you are editing? If you are editing a clip, are the notes in it different than what you see in PRV? Are you using the song key map to tell it to change from the key that it was already in? Or something else? More specific details are necessary to find out if what you are seeing is normal or not, and if not, how you might correct it.

I wonder if they're using (like many companies) a poorly-trained AI for support tasks? Or maybe it is just a poorly-trained human.

What happens with any loop when dropped into a project depends on what the loop creator actually set within the file. There are some loopmakers that set the flags for all the proper things, and even include marker data so when you drop it in there are markers automagically placed in the timeline. Most don't seem to set all the flags, and some don't even set the loop flag nor include the tempo data, forcing the user to do this for each file. Some of them don't seem to have the beats info even though looping is enabled, and Sonar sometimes guesses wrong on how many so it plays twice or half as fast as it should. And it seems to be hit or miss with some loopmakers where some of their stuff has some things, and some has others, and none of it has everything. So I long ago got used to just checking the looping properties of everything as I drop them one at a time into a project, by pressing Alt-Enter on each clip as I go, and no longer pay attention to what was already set right, so I don't know which makers do it right or not.

Apparently, Drywater, Mars has infected my brain thoroughly; it's gone beyond just a few music tracks and now I'm buildng the universe and want to write the stories, then make webisodes for them. A thread for the development of the ideas, if anyone is willing to help out: https://cff.ssw.net/forum/viewtopic.php?p=106959#p106959

They have a free loops pack fo choreographs that might give some idea of the sounds it can make, if that helps.

This version is much more useful; I'd suggested a few things after making these with it, and all of it was implemented and more. I suggested a few more things so we'll see if there's a 3.0 tomorrow. 😆 (the biggest thing was to remove or allow moving the square where the cover art would go, because it looks *so* good with just the background art....) Drywater, Mars: A Sci-Fi series (Opening Titles) Drywater, Mars: A Sci-Fi series (The Heist) Drywater, Mars: A Sci-Fi series (Intercept)

FWIW, earlier today when I was poking around for more info on the company, nine volt audio to see what else they made, etc, it looks like they closed down (to do other things instead) perhaps a decade ago? I hope htey still get *something* out of each of these sales, for all the work they did. https://vi-control.net/community/threads/why-is-nine-volt-audio-shutting-down.34729/ Still a good deal if you need any fo these kinds of sounds--there's a bunch I could use.

If the synth exposes a standard MIDI port as if it were a hardware device, or as if it were a midi loopback, then it should "get around" whatever it is in Sonar that disallows using windows' midi mapper. Or, if the synth can internally be set to connect to the output end of a midi loopback (like LoopMIDI, Hubi's, etc), then you can use the other end of the loopback to show up in Sonar as a normal "hardware" MIDI port, and then Sonar wouldn't know the difference and would just send midi data to it like any other midi port.

AFAICR, the autosave only does anything if you have saved at least once for that project, or else it doens't know what or where to save. So if you intend to use it, make sure you *always* save the project once you set it up before you do any actual work in it. Even if you just save it once you open your template or start a blank project, you have at least given Sonar a starting point to begin autosaves. If you are going to use the x number of minutes autosave, it seems to work normally regardless of conditions / plugins / etc., But if you are using the x number of *changes* autosave (in addition to minutes or instead of), there have been plugins that constantly dirty the project for whatever reason and cause the autosave to happen very frequently or even continously (essentially locking up the program). It's not a problem with Sonar itself (and wouldn't matter what version you're using, even my ancient one)--it's doing what it is supposed to...it's the plugin... For me, the one I have this issue with is Shred by AcmeBarGig...but I still use it because it is a "good enough" amp sim for my purpsoes and has a bunch of preset racks that already do the sounds I'm after. I just have ot turn off the x-number-of-minutes autosave in projects I'm using it in. If the plugin is not in the project, there's no problem.

And not all USB3 ports are compliant with USB3 power standards, either (just as USB and USB2 ports may not be). So...sometimes you have to use a separate power source regardless of the port something is connected to. Similarly, the power from such a port isn't always as clean as the adapter that came with a device (though often enough the converse is true).

Iv'e used Sanitycheck, Whocrashed, and Whysoslow from resplendence to track down issues before. I've also used ProcessLasso from Bitsum to temporarily restrict specific things that I can't prevent from running entirely, but that sometimes get in the way and cause glitches in playback or recording,

That usually means that you need to turn down the levels of all the input tracks that feed the combined output to compensate for the total combined track levels being higher than the output can tolerate. You can either turn down the input gain of the combined track, or you can gang (permanently or temporarily) all the output volume controls of the audio tracks feeding that combined track and reduce them all by the same amount. Teh amount you need to reduce by depends on the total number of tracks (and their actual output levels). I tried a quick search for a rule of thumb on how many dB to turn a certain number of tracks down by get that combined output to be below what a combined track input should have, but didn't get any useful answers. (there may be no good rule). So I'd just gang all the faders of the tracks feeding the combined track, and turn them down until it sounds "as clean as the live" output of the keyboard. A compressor / limiter can also do this job but the result will sound significantly different from the way it does when you simply turn them all down by the same amount. The compressor will only change hte volume at the points where it gets louder than the "knee" point you've set in the compressor (or whatever other settings it has; some of them are complex). If you want it to just sound exactly like it would all coming out of hte keyboard at the same time, then unless the keyboard itself has a compressor effect on the master out that is used in combining all the sounds it's playing at the same time (not likely), you're probably giong to get a closer result by turning all the tracks down. BTW, you say the "live midi out of keyboard" but I presume you actually mean the *audio* output of the keyboard, since the midi is just a data stream to tell some other synth what sounds to make and when. If you actually mean something else you'll want to specifiy that, as it changes what you need to do to accomplish your goal.

Assuming you have not updated Sonar itself at all and it's still running the exact same version as then, then without knowing how Sonar is determining what to show, my best guess is that (if you haven't disabled these) a Windows update or driver update has changed something in what's reported to Sonar for the capabilities of the system, and Sonar is then adapting the keyboard to these. But that's a whole bunch of suppositions, so....

What specifically are you trying to achieve? What exactly do you want to be different about the list? What specific work are you trying to speed up? Knowing all of those things would help us to help you find a solution, or for the bakers to implement your request. Not knowing them leaves just a very general request that can't really be done, because no one but you knows what needs to be done....

Yes, I commonly use a 1 on one side and 3/4 on the other, with about 15-30% feeddback, 10% crossfeed, and around 20-30% mix on each, and set it to host tempo sync. This gives me an easy way to keep time with myself when improvising an initial "arp" like synth line or bass line, and sometimes I will keep this delay in the actual project. Sometimes I will turn the delay off afterward, and copy the bounced audio of the track to at least two lanes of another track, and shift each one by the amount of time that each of those channels were set to. Then i can edit out or mute sections of these so that the delayed parts don't interfere with other things going on in those spots, or for a complete halt to the instrument (or everything) as a dramatic pause, etc. having a separate track means I can also use *other* effects on either the original or the delayed tracks without changing the delayed stuff. I can play wiht mixing changes or automation of that. So I could wash out the original track with a reverb, while hte delay continues on without any of that, crisp and clear. Or the other way around. Etc. Soemtimes instead I will switch the Listen button from Mix to Delay and then bounce the audio and move it to a new track, then go back to just hte original uneffected audio in the original track, so that I have the actual fx output exactly as the track sounded before (minus the orignal), so I can automate between the two , etc., including doing the other stuff above. Some of either of those things can be done with direct fx automation, but it is faster and easier to do by direct clip manipulation, and is also much more visually indicative of what is actually going on in the project at a glance than automation shows.