Amberwolf

Well, you can do that with plugins if you want, there's a number of pitchshifting plugins out there. It's CPU intensive, so it will probably be lower quality done realitme than when you "print" the track to an audio file. And there will be artifacts in some content; the farther from original pitch you shift it the worse this will be. If you're only going up or down one or two semitones it's not so bad for most things, but synths with repetitive sounds (especially pulses, blips, assorted arpeggio patterns) can be really messed up.

Anything to do with Logan's Run? (Since the video's still unavailable, can't check)

If the track in question is a single clip, then open the clip properties for that clip, and enable Stretch to project tempo, and check the box for Follow project pitch. In my version that's in a tab for "audio stretching". Then just change the project pitch at the beginning of hte song to change the track's pitch. If there are several tracks taht must change, such as bass, rhythm, keys, etc, but not the drums, then just enable this on all the tracks that need to change, but don't enable it on those that don't. If the tracks aren't a single clip y ou can bounce them to one clip first. Keep in mind that realtime transpositon takes a lot of CPU, so the algorithms for realitme processing are "lighter" than the offline (full render/bounce) ones and don't do as good a job. usually it sounds alright, but there can be artifacts depending on the specific clip content.

What are the "synth wiggles"? Do you mean the bits in the "rocking elven" part that are in the "bassline"? If so, that's a highly modified / snipped up version of "WAFBF_Kit5_Drop_Bass_Loop_132BPM_Fm" from WhatAboutProductions' Free Anniversary Collection Vol 10 pack, from the Future Bounce Flair demo set. It was 'wierd" but catchy when I was just randomly clicking thru samples with the word "bass" in them out of the stuff collected in the last few months...and while there were parts I didn't like in the sound, those were easy to slipedit out, and then slice it up and transpose notes as needed, and copy some of the clip bits up to a distortion-bass-effects track for punching holes here and there. In this particular one, as an experiment to misuse existing things (because it's a challenge and it's fun when it doesn't end up frustrating ), everything in the song is from various sample sets, mostly from Ghosthack's Shymer and Ultimate Cinematic and Vocal bundles, from when they were on supercheap sales (APD?). Part of the goal was to *not* use anything that was intended to be used together, that if there was any set of sounds, I would pick only one from that set, and any other sound like it had to come from another set--I did not quite hold myself to that, but almost. Was a lot harder that way. The lady singing is mostly pieces from Ghosthack's Shymer, "Main Vocals (DRY) - Cm 60Bpm" from one of the "kits" (don't remember which one). It's passed thru a sonitus EQ to take a bit of the 4500hz region down (smooths it out to my ears with all the reverb) then a big washy Sonitus reverb and then channeltools to "widen" it out. I used pieces from the spoken elvish phrases of Shymer to build the base of the vocals for the last two sections, along with some pieces of a chant phrase "FL_HTV_120BPM_40_G_CHANT" from FunctionLoops Ethnic Female Voices. All that stuff gets some reverb / echo but is a lot drier than the other part so it sounds closer and more in your face. I don't think I'm using their stuff like they intended.... 😆 The other sound she pairs with is mostly modified bits of "Ghosthack-UCV_Kit 03_Ethnic Violin_Fm 70Bpm (WET)" with bits of "Ghosthack-UCV_Kit 06_Cello_F 75Bpm (DRY)" and bits of "Ghosthack-UCV_Kit 03_Ethnic Violin_Fm 70Bpm (DRY)" to fill in places where the wet version didn't do what I wanted when I wanted it, so that's run thru a Sonitus reverb to try to wash it out similarly to the wet version--it's not the same but it doesn't really seem to stick out as different. The intro drone is several things combined, faded into each other. The longer higher part is from the "MIP2_Xtra_D_Atmosphere" from BlackOctopus' Mystical Indian Percussion 2, and the deeper part is from the "MIP2_Xtra_D_DeepBass" from the same set. Near the beginning after the deepbass ends is a modified version of "Ghosthack-UCV_Kit 01_Bassline_Cm 70Bpm (Dry Only)"from the Ghosthack Ultimate Cinematic Vocals. Orignally this was the entire intro, with repeats of it and breaks between, but it just didn't feel right. I worked over it a lot and faded things in, out, etc., but didn't like (for this song) any of that, eventually picking a different drone I could just fade into the song that made it's presence known then let the song come in... (if I were using synths to create the sounds, I'd've easily come upon the "right" sound but it's a lot harder picking from a limited set of sounds, which was my goal to restrain myself to force me to learn new things, since I could've designed a sound easily enough in a synth or two). Tehy are routed to two separate busses in parallel; the output itself goes to the subbass buss that eq's out everything above about 90hz and sends that to the master bus, and a post-fader send 6db up from the fader goes to the basshighs buss that filters out everything below about 1200hz and shoves the rest thru a sonitus reverb There's also a modulated and hard panned bass drone thru most of the first two thirdsish of the song taken from "Ghosthack-UCV_Kit 01_Panned Bassline_Cm 70Bpm (Dry Only)" from the Ghosthack Ultimate Cinematic Vocals. This fades in just as the deepest part of the bass drone ends. It goes mostly to the regular bass2 buss, with a bit fed to the sub and basshighs busses but not nearly as much as the intro drones have.

You're welcome, and thanks for listening! What makes it your favorite? Any bits you don't like? (haven't had more than a handful of listens on this one, and no feedback yet except someone on the Endless Sphere forum that didn't like the "screeching annoying woman" sounds. (or much of anything else, from what I could tell).

I learned the hard way in many programs to SaveAs (NEVER "save") after any important edit, or every series of edits (like if I'm adding any content, SaveAs new filename, then move the content a bit, saveas, trim it, save as, etc). Becomes part of the workflow rapidly, and doesnt' slow down the process (except when I have a lot of slip-edited clips, especially if they are all chopped up bits of a longer clip, especialy with a lot of midi notes in them, which causes my ancient SONAR to take at least several seconds up to half a minute to write the file (same for timed autosaves). Doing this has saved many a project in many programs from system or program crashes, corruption, hardware failures, bad editing choices , etc. over the decades. I bound the Ctrl-S to SaveAs *and* removed the save icon from the toolbar so I can't ever save over the top of anything unless I deliberately choose to do that (which there is no reason to do).

AFAIK, nudge (for timeshifts) should work on nodes, too, unless they've changed that in modern versions. In my ancient version they must be reselected after each nudge, which is really annoying, but it does work. There might be a way to do vertical (value) changes thsi way in modern versions, though there isn't in my ancient one. When I need to fine value adjustments I maximize the track so it has the greatest vertical resolution for my mouse movements.

I guess it's all greek to them.

The only way I know to do this with most synths is to use at least two separate instances of a synth, driven by separate MIDI tracks (for ease of editing, vs a single track with clips for each synth assigned to different channels, or different notes assigned to different channels to feed each synth), I don't know an easy way to automate the process of splitting the track into separate alternating notes and keep the bends with the right notes. I've always just drawn or played the stuff into separate ones to start with, so haven't had to worry about spending time splitting them up...the only way I know to do it is to make two copies, and start deleting alternating notes and bends out of each track. It might make it easier to deal with the bends if you use the convert-midi-to-shapes feature and then just delete specific nodes as required, as long as the conversion accurately reproduces the bends you need. EDIT: there are cal routines around to split alternate notes to separate tracks or clips, but I don't recall that any of htem can move the bends with them.

Which menu, in which program? (you'd have to change any antivirus options in the antivirus program itself)

What if you take the actual audio files that were recorded and compare them directly? Not exporting, which creates new, different files, but the files in the audio folder for each program and project. That would eliminate processing during export. Beyond that, maybe someone that knows both programs, could compare all the specific settings you've chosen in each place there are any audio settings in each program, to tell you if there is any difference between them.

I don't have a specific answer, but some questions, thoughts: What exactly does "same settings" mean (specifics), in each program? Are all the same options chosen for dithering? Same driver mode? Bit depth? Sample rate? latency? If you record a clip in one program, then go to your audio folder, and drag that clip into the other program, or a separate simple wave file player (like windows media player, MplayerC, etc), does it sound the same? If you record a clip in each program, then go to your audio folder, and drag both into something like Audacity that has a spectrum view, do the two clips look the same?

Exactly what export options are you using?

Do they have one for clef palates, too?

Well, I don't know if you'd really call me *ugly*....

If we're going there, I'm gonna have to be dissapointed about Priss and the Replicants. Not that the music was great, but their offstage work was explosive.

05-03-25: 042425 000001 300140F -- timing, mix, sound, vocal, etc changes to funky section. https://amberwolf.bandcamp.com/track/behind-you-lie-many-unseen

Well, I'm safe...I'll never be on the cover of anything. :lol:

If it's not in your account's list of software you've bought, with their serial numbers, etc, over here: https://legacy.cakewalk.com/My-Account/Products you'd need to contact bandlab/cakewalk support directly.

Which specific driver are you using for it, and which OS are you using? Which other drivers, especially anything labelled ASIO, are you using? Which other programs are running (including background programs that just sit as an icon in the clock tray)? If yours is a "modern" version of the M-audio devices (instead of the original manufacturer that has been gone more than a decade ago), you might find modern drivers for it here https://www.m-audio.com/support/downloads I use an ancient Avid version of the M-audio Fast Track Duo, and it works fine on Win10 with driver version 1.0.4. The page on Avid's site for it appears to be missing ATM, so I can't link the driver I'm using. https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/download/fast-track-duo-drivers I used to use an even older M-Audio version of it (that still had the MIDI port the Avid doesn't), and used this driver for it https://avidtech.my.salesforce-sites.com/pkb/articles/en_US/Knowledge/Fast-Track-Pro-Drivers http://cdn.avid.com/AudioDrivers/Win/Fast_Track_Pro_Drivers/Install_M-Audio_Fast_Track_Pro_6.1.11.zip

I guess it's different when people like me are using bits**** other people played and sold to be used in other people's music (though I find it weird that most of the stuff says in it's license specifically to *not* credit them, that it is not allowed...so the best I can do is to name the company providing the bundle and the name of the bundle (unless that's also prohibited)). I'm sure there are those that don't even do that much to give credit elsewhere. ****I may significantly alter what's provided, and I certainly don't use it the way they probably intended, or with any of the other bits meant to go with it....but I didn't "play' it in, even if I did so much to it that it isn't the same bit of musical playing or singing anymore. Most of my recent months' tracks are done with a lot of that; the most recent two are just about exclusively that.

Which specific ASIO driver are you using? What other ASIO drivers are installed on the system, even if not in use or disabled?

Back to the creation and story.... It's wierd how some things work out, timing-wise. When i added the funky bassline (the MalcomX clip out of the BasementFreaks Funk stuff), then to experiment with it I reprised the previous section by selecting eveyrhting in that section except it's bassline, and then ctrl-dragging it over to start with this bassline. I hit play, and it almost sounded right, but the strings were "wierd" so I turned them up to hear them and then they were "right" and are the way you hear them now. (too bad they dont' sound at all that way in the other section I built them for; it's kinda neat how they work with this one). Then I started deleting notes out of the bassline (cutting and muting sections of the clip), to make room for the strings and other stuff to come thru, and then pitchshifting some of the bassline notes to match or contrast what I heard in the rest of it (just using the Alt+/Alt- keys till it sounded right, mostly one or two up or down), and a couple places copied one of the bass notes over to accent a now empty space, etc. Muted almost all the chant vocals as they didn't fit this bassline, and some of the spoken Elvish. Still tweaking things and fixing the interface between the previous section and this one; will upload a new version once that's worked out.

Something wierd broken in this project file: Went to continue editing the funky section and despite being perfectly normal when last saved, it opened like this (bassline track instead of drums this time). I selected (black) the clips with the problem to highlight them; it's obviously impossible to have a clip fade in extend beyond the *end* of the clip, but every one of them does. You can see that the unselected clips don't have the problem. None of them had any fades when last saved. I zoomed out to show the problem better, so there's two screenshots to show two of the problem sections. There *are* fades, in or out, still visibly correct, on other clips, that are supposed to be there...but none of the broken ones had fades. The fades all "work", including the broken ones--so any clip taht's got one extended as far as the short ones do doesn't even make sound. To fix them, I have to select all the broken ones, then select an unbroken one that's earlier in time than any of them, grab it's fade, and move it--even a teensy amount, even starting a fade and then moving it back to the start edge of the clip so it's not active, undoes alll the broken fades. But it is a PITA to have to look for this problem and fix it all the time. I have yet to find a pattern to why it might happen--there's nothing in common with the times it happens that I've found so far, other than that when it does happen it is usually a bunch of clips in the same track, and that bouncing the clips to new ones is the only way to fix it so it doesn't happen every time I open the file (even fixing it and resaving as a new file does not fix those clips; they come up broken again the same way every time I reopen it).

05-03-25: 042425 000001 300113A -- Extended: The elven get funky after they rock out. Added a new section that reprises the former last section, but funky bassline and some trumpet accents.