Amberwolf

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.

Thanks to CinematicAlpha's simple tool, https://cinematicalpha.com/viz-10-online I've now started posting Youtube versions. They don't have videos appropriate to the story (that will take a lot of time and better tools than are presently available for free ) but they're up there, and so far already have several views each in only the few hours they've been posted. (dunno how far anyone listened yet, have to dig into the analytics when they're available).

So far I've used some of it a bit. I've converted some of certain types of the samples to wave and used them directly in some of the Drywater Mars tracks as accents and transitions and enhancements (as I don't have Kontakt to use it as it's designed to work). The conversion process is a bit tedious as only a certain number of them (around 80 or so) can be converted at once due to windows command line length limitations (I think), so I've just been doing a few at a time in different parts to try them out.

Thats' why the title theme track of Drywater, Mars fades out into echoes, cuz all the stuff I made to go there and after just.....

Stop, Gregy...stop...greeggy... no, it just doesn't have the same ring.

fwiw, on black octopus, there's a few times where i buy one of their $1 sample packs and it'll offer me some ohter sound pack at a discount, and i go look at that pack's current price and it's cheaper than the price being offered as a discount.... like say, the offer is $8 and the current price is actually only $6.49.... :scratches head:

do you have a separate (not used for act) external midi control device with a slider or knob you want to use for this? if so, make sure that device is setup to send midi to sonar, and make sure sonar can receive it. and make sure you don't care if that device's control youre going to use gets recorded on midi tracks when you use it. then you can right click on the master volume control you want to move wiht that, and choose remote control, and then the learn button. once learn is done then that external control can control that mvc.

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.