Amberwolf

Found on ViControl:

I suppose another bright band would be ELOLED?

The third piece, for "Intercept". https://amberwolf.bandcamp.com/track/intercept-drywater-mars-part-3 Open space full of unwinking stars; a familiar blocky ship coasting past the POV, cut to crew inside doing daily things. Alert sounds, cut to stars and an unfamiliar more modern sleekly predatory ship sneaking into view, the other ship in the distance but rapidly growing clearer as the predator decelerates toward intercept. stuff ensues, one ship coasts away, not doing so well, the other is a cloud of debris continuing the path the ship it used to be had been on..... Note: This piece is probably twice as long as it should be; I haven't been able to bring myself to cut the middle out yet.

The second piece, for "The Heist". https://amberwolf.bandcamp.com/track/the-heist-drywater-mars-part-2

This is part of a series of "cinematic" pieces built upon a few themes and sounds; some of them will use multiple themes/sounds in them to call up different "characters" or groups of a "TV series" that doesn't yet (probably ever) exist, called Drywater, Mars. I suppose the closest things I could point to that do exist that might be like it would be a cross between Firefly and The Expanse. Feedback appreciated. The first piece, the opening titles and first scenes: https://amberwolf.bandcamp.com/track/drywater-mars Open space with stars dimming as the view pans over to a sky-filling view of a Mars that's a fair way towards terraformed, but still desert, and the pan continues to a freighter decelerating past the POV toward the planet. The ship is covered with cargo contianers poorly strapped down all over it's wide boxy "top", itself looking like it has long ago passed it's retirement party. Suited-up crew scramble over the cargo trying to re-secure straps, as the ship continues down thru the thin atmosphere, occasional bits of railing and stuff deciding they would like to land separately, toward the dusty rocky desert next to the ramshackle container town of Drywater, whose inhabitants have come out to the streets to watch the...landing... of the "traders", wondering if any of the goods will still be on the ship by the time the dust settles, or if the ship will be "landing" on the town instead. Cutscenes within all that for showing the faces of the various characters and their names/actors, etc.

I don't know if Next has the functions, but in Sonar you can just Apply Trimming (which I have bound to the 4 key) or Bounce To Clip (which I have boudn to the 3 key). If your sustain CC doesn't work right after bouncing, it probably means another event is being added to the clip (by next, presumably) to turn it off at the end of the clip, or there is some other built in or pre-set behavior in next to do that at the end of a clip with a sustain cc. Again, don't know if Next has the option, but Sonar can also turn off NDE for MIDI entirely if you like; I think the details are here:

I have almost never had just a single computer since moving from the Amiga to Winteletc....partly because there are always failures lurking, and I can't be without at least one to do the musical (and other artistic) stuff I require them for.

Might be time to talk to HR.

Since the top is higher, I'd call it a niwo. But, I'm wierd that way.

Intercept (Drywater, Mars, Part 3) First concept sketch, includes vocal and synth tie-ins to the original Drywater, Mars; doens't have much to The Heist yet other than percussive. Still working on details of buildup, tension, drama, release. feedback always wanted. Trying to make it two ships, one unknowingly being intercepted by another, realizing, then chase, evasion, intercept

There is a demo version you can try out; I think it just uses periodic silences? I can't play normally (i have to lay the guitar on my lap and hold the strings down from above, etc), so I can only tell you that for my limited uses it works better than the Yamaha G10** I lost in the housefire back in 2013*** JO's MG program would probably work even better if I had separate pickups for each string on separate audio channels. You can acutally run multiple instances of MG, as long as your interface supports multiple programs accessing it. You can also use it to just drive a midi port instead of making nay sound itself; i use it to drive loopmidi virtual midi cable to send the data into sonar, unfortunately i can't send the audio anywhere withotu a physical cable because it only has one audio choice that does both in and out. i would like to use a virtual audio cable as the output to send into sonar. (yes, you can use it as a vst inside your daw, but i prefer to keep it outside). BTW, you could make it standalone and portqable by using a tiny box pc and audio interface and midi interface, then just use that as a hardware box already presetup to run the instances and use some default preset you've created (or use something like autohotkey to open each instance then open the preset or whatever that tells eadch one to do one string's worth of stuff if you want them different from each ohter. Otherwise just use six instances to have it comletely independent and have it output the midi to whatever you want it on. i'd stick each strin ong a separate channel to keep it easier to process all the midi data as separate entities. (i'd try this myself just to see what it does, but i don't have a hex ickup and haven't had the time / etc to rewire my regulr pickup into separte ones). I've used JOMG to play all sorts of instrumens and sounds, including percussion. ***(I actually still have the main box, but the guitar part was melted beyond recognition in it's case--the main box has damaged knobs, but it still turns on and it probably still works fine if I only had the guitar part). **(the worst part about the G10 was that every string was the same, so the guitar could not be used by me without headphones--otherwise I would hear the strings twang out of tune with whatever it was I was trying to do, and screw it up. I don't like using headphones all the time, and prefer to be able to hear the "whole thing" in the space I'm in, wherever that's possible, as everything affects what I end up creating, and I usually want that to happen).

There is also a software solution to that by Jam Origin. It works pretty well for my beater yamaha acoustic with a magnetic pickup wedged in the soundhole, and my crappy firstact electric. The bass version works ok with my Ibanez 6-string bass. (keep in mind I don't really play guitar, so theres' probably things it odesn't do that I don't know about).

Some loopback drivers do support ASIO, such as O Deus ASIO Link Pro and VBcable's Hifi / asio bridge version. O deus ALP is complicated to setup but it works once you do--it basically sees everyting on the system and provides a routing GUI to connect anything to anything.

The Heist (Drywater, Mars, Part 2) further updates to mix, more additions and removals. Added some fancy violin and middle-eastern flute parts, a couple of other small synth backing bits, etc. It's now an adventure of it's own, like it's progenitor, Drywater, Mars.

If you have plugins that keep updating their settings, etc., like one of the old free guitar amp plugins I use, it can cause this. Might also happen if you have an external remote control device that is sending automation data to a plugin or synth that then tells Sonar it's state has changed. if a control is "twitchy" and keeps sending an up and then a down over and over, it could "dirty" the project this way and trigger constant autosaves. If you turn off the "save every X number of changes" and only use the timed autosave, does it correct the problem? If so, it's probably one of these things, or something similar, causing it.

Wierd, it says my post must be approved by a moderator? (but this one doesn't?) No attachments, no links, no brand names other than those already quoted from the OP, so...dunno?

That could mean the MOTU isn't getting enough power from the bus. Does it have it's own wall-ac-outlet connection for power? Or just the USB cable to power it? If you mean connecting those *plus* the USB via MIDI, that's not uncommon--devices with both options often can't have both connected, at least not to the same host, and if both are connected, sometimes both can't be used. You'd have to check it's manual to be sure if tha'ts a problem with this one or not. Sometimes using both means the same data gets sent or received on both, and the buffers in the device or the host can't handle it. AFAICT they are an AI spambot. There are a lot of those; they may or may not actually post spam links, but they fill forums and other sites with AI-generated garbage that sometimes looks relevant but doesn't say anything useful. It's usually at best a summary of things already stated on the page they post on.

The Heist (Drywater, Mars, Part 2) has been updated; quite a lot of changes in mix, added bits, remvoed bits, etc.

There are some devices that simply don't work well on USB hubs, and have to be connected directly to a usb port on the host device to correctly function. Sometimes unplugging everyting else from a hub will make such a device work correctly, but sometimes the hub itself interferes. Can be a timing issue, or a data buffering issue, etc. For bus-powered devices without their own non-usb power source, it can just be insufficinet current available from the hub.

What specifically do you mean by "digital mixer"? An example link would be helpful. I ask because if you're looking at things that don't have analog inputs, they won't be able to take analog synth inputs directly--you'd have to use an A/D converter of whatever type is needed to convert to whatever the DM takes. To add effects, by itself, the DM would have to have those built into it, or you would have to buy (or have) external units to connect to it's sends or fx loops (if it has any), etc. If you mean other things, you'll need to specify what that is.

"Time ruler" should probably be the "ruler" across the top of the whole track pane that shows you what bar/beat/measure/etc you are seeing on screen. (I don't know of any other time ruler in track view where you'd be doing this procedure, if there is one someone else will have to chime in) I haven't done the procedure using audiosnap, so can't help with those steps, but I have seen threads about this around here. You *can* hear both an audio track and the midi-driven synth at the same time if you want to (I do this all the time as virtually every project I make has audio clips and midi-driven-synths in it, each doing different things), simply by routing them both to the same final bus that goes to the same hardware out, assuming your midi-driven synth is inside sonar. If the synth is a physical external hardware synth, you'd have to connect it and the sonar audio output device to speakers (same or different ones) to hear both at the same time. If you want them to both be in the same key, you can transpose one or the other to match, but that doesn't matter for tempo-matching purposes.

I dunno if any of the stuff mentioned in this thread on VI Control is useful https://vi-control.net/community/threads/jazz-drums-brush-what-are-you-using.147857/

I got tired of waiting, so i built one. (sorry for the thread necro but i just ran across my ancient pics of it)

On your LR page, in "my tracks" there's a tab on the right for "sent to contests". clIck the "chain" icon on the right end of the one you want a link for, and that link takes you to your chosen 20 seconds of the track for public viewing. An example is a link to my KSHMR Wild Ride remix: https://www.labelradar.com/artists/Amberwolf/profile?track=394d9ad7-2796-4226-b3ab-690febbcfa0d BTW, on that remix, I was trying for a soundtrack type (because I prefer doing those, even though no one is ever going to use one for anything); my intent was to change it into a "spy action movie" thing (after having *just* seen Atomic Blonde), and i was changing the lyrics to match but my time ran out to work on it. I really wish I could post it up; the few that listened to it thought it was interesting and worth listening to. (I will eventually build my own vocals for it that are the reworked lyrics to tell my spy movie story isntead, so it wont' have any of the original remix contest parts in it and I can post it up, because I don't want it to just be a bunch of wasted time...I decided that I won't be trying any more remix stuff unless they allow reposting them, in advance, as I have lots and lots of music to make and don't want to waste what little time I have making stuff no one is allowed to hear (even if no one *will* listen, i'd like them to be *able* to). The stuff I really like to do is things like Drywater, Mars and Behind You Lie Many Unseen, and The Last Flight etc. that try to tell a story, or to give a soundtrack to an idea, etc.

Found it: