Amberwolf

There is a Track Manager that lets you hide and unhide tracks. It should be available from the menus (probably views, but I don't know), and there is also a shortcut key to it, but it is probably different than the key I use for it (M).

All I ever care about is how it sounds in the mix, since my goal is the end-result as a whole; I'm creating a soundscape and if all the bits fit, well...that's it. I have done some absolutely awful abusive edits to pieces of audio I've created or gotten from other places, in order to fit them into the spot in the track I want them in, because for whatever reason I couldn't just rerecord that bit (sound source unavailable or unmodifiable, etc). Some of them sound quite tragic on their own. 😆 But in the mix, I can't even tell there *was* an edit...or the edit sounds like it was supposed to be that way, and whatever couple of listeners I can scrape up to give me any feedback never say anything seemed wierd or bad in there. So....if it works, it works. But I have like...zero fans that come back to keep listening to my stuff, so I'm probably not the one to take advice from. 😊

Which program? (I have a lot of stuff I'd like to do that to, and my present manual method is rather tedious and very time-consuming).

I sympathize..... I don't really "play" guitar normally, but the only one I ever really felt anything for was the Takamine Jasmine acoustic I lost in my housefire over a decade ago (but the dogs were a much much harder loss). The only thing left was the charred end holding the tuning pegs; even the strings were gone except for the nubs in the pegs. 😭 (I also lost my original Ensoniq ASR88 and the DAW itself, though the ASR wasn't destroyed it was damaged and dind't work anymore...the computer was a total loss but I managed to save some data). Nowadays the Ibanez 6-string electric bass I got used several years after that is what I use most often, and I love it's sound, but other than it I only have a beater yamaha acoustic I was given right after the fire, and a heavily-modified-by-me first-act fender-clone-thing I found at goodwill and have rebuilt more than once, so they don't get used much just because they're not very...interesting, soundwise, and neither one will hold a tune for an hour.... The Ibanez stays tuned hanging there for months at a time, and is always ready for me to play around with, even when I drop it or bang it around trying to get it off the wall to play, or to hang it back up, or when it slides off my lap while I'm playing, etc. 😊 The man reason other than the sound that makes me use the Ibanez is that it has widely spaced strings so I can fit my fingers on them without touching the other strings accidentally, whcih is very important as I don't have great control over my body and have to play things one string at a time, recording each bit and then stacking all the clips for the sound I'm after. But...I do like it's sound, with or without any effects on it (though I usually at least use a reverb, often a delay).

Does the modern version of Sonar / CbB not have hte standard preset dropdown / save button at the top on each plugin? This is what it looks like on my ancient version/ the top Presets: bar with "saved test preset1" is where I type in a name for a new preset, then click the save icon (looks like an ancient floppy disk). This exists on every synth and plugin I use in my ancient SONAR. I couldn't live without this function (not sure how anyone could), so if it's not in the modern version, I'd be very surprised.

go fer it!

Let me help you along a journey through your mind into places you have yet to explore, with soundscapes to fill you with otherworldly scenes, from movies that have never yet been made. (I was making this list for someone else, and thought perhaps posting it here as well would be ok? I left out some parts of the post that aren't relevant here.) It is *all* experimental. There is a spoken-word song "The Beaten Dog" https://amberwolf.bandcamp.com/track/the-beaten-dog though most don't have lyrics they may have vocals or vocalizations. The "hardest" song there with vocals (English) is probably "Back To The World". https://amberwolf.bandcamp.com/track/back-to-the-world A couple have Elven vocals, Behind You Lie Many Unseen https://amberwolf.bandcamp.com/track/behind-you-lie-many-unseen Gareki II (Alternate Version, Cinematic Feel) https://amberwolf.bandcamp.com/track/gareki-ii-alternate-version-cinematic-feel and one has Indian chants: Less Like A Whisper https://amberwolf.bandcamp.com/track/less-like-a-whisper and one has wolves rather than humans doing the "singing" Ookami no Kari no Yume (Wolf's Dream of the Hunt) https://amberwolf.bandcamp.com/track/ookami-no-kari-no-yume-wolfs-dream-of-the-hunt A Peek Over The Wall is "set" in Guri https://amberwolf.bandcamp.com/track/a-peek-over-the-wall And this older one features Lauscho on the lead guitar: Convocation of Lies (feat. Lauscho Remix) https://amberwolf.bandcamp.com/track/convocation-of-lies-feat-lauscho-remix The most recent ones at the top of the https://amberwolf.bandcamp.com page are generally more cinematic, and the older ones at the bottom generally more electronic. There's a variety of styles / types on there, so if you don't like one try another, and more than a few change styles within the track itself over time, so you can just wait for it to change too....

And Callisto was (understandably) mad, herself, as in mentally unstable....

Seeing your centaur, I immediately thought of Xena, and asked an ai image generator for "Xena (the warrior princess) and Gabriel (her sidekick) singing karaoke next to a centaur playing guitar out in the Elysian Fields" and got some very different results in the same generate, none of which were what I asked for:

What happens if you record the guitar on the same track that the vocals record on? if it works, then it means you have some setting different in the guitar track than you do in the vocal track.

Does surge xt work as an audio effect only? Some synths can't be used as just fx, only as synths, becuase they don't process audio from an input, only generate it.

I usually use "Jiiiii" (pronounced like "gee" in gee whiz, but loooong). It's usually used to represent "staring" at someone in a manga panel, so it gets cat's attention and they stare back at me then we can begin our conversation. When they don't just whack at me and run away....

There's one here https://www.airwindows.com/airwindows-impulses/ EDIT: direct link to the zip file as it was hard for me to find on the page https://www.airwindows.com/wp-content/uploads/2014/08/AirwindowsImpulses.zip And you might be able to process these to extract an impulse https://www.airbornesound.com/downloads/airport-ambience-sound-effects/

Thanks for listening!

The only things I have used are FFT types like the ancient CoolEdit program used (I think Audacity and other programs also have this available, but Audacity's usage of it is harder to do the way I need to). If your sound file has a portion that does not have any signal in it, just the noise, and this is the same noise that is in the signal portion, you can select the noise to teach the FFT what to remove, then apply that to whatever portion of the file you need to. It's not perfect, but it's good, as long as it is the *same* noise (like a droning fan, etc). If it is a bunch of random sounds that need to be removed, then it doesn't work very well. A while back I checked for "AI" sound filter webpages, and found some, but I don't think I got around to trying them out for whatever reason.

Updated and added cover art, which like The Beaten Dog was initially generated in Perchance, though I had to blend multiple versions together and edit it to get closer to what I was going for.: https://amberwolf.bandcamp.com/track/no-bigger-than-the-space-of-time wiht some new tiny timing tweaks here and there, especially in the second movement's "pauses" of percussion to fit what the vocal is doing, slowing down or speeding up, etc. (ritardo, acclerando?) To do that I have to slice it up into pieces and squish or stretch individual ones and move them closr together or farther apart. I actually have a bunch of the cover arts I would like to use, but I can only pick one....and decided to go for a non-realistic style for this one, instead of the cinematic space version or one of the others. I might change my mind on that later. EDIT: Here's a couple of them; the "paper and ink" one took a lot of time in paintshoppro to get the titling and outline right so it looks more like it goes with the rest of it than something pasted on top (which is what I normally just do with the titles after I get the image generated and tweaked). Could use more work though. It was the original idea I was going for, and I still really like it, and may end up using it. The wolf-in-space one I have a bunch of other versions of that are quite different, each of which I like. (there are dozens of variations of eahc of the versions I have of all of these, but

Copied from another thread where I was talking about this piece's construction methods: In the fourth "movement" it has some Planet Samples stuff from The Sound of Tomorrowland Electro Edition (a free "14-kit" bundle) for kick and snare and bassline, that I turned off snap in SONAR then dropped these in, not aligned. I also have them stretched out to I think half ish their original speed, because this is a slowish piece. Hit play, then began nudging them around utnil they sounded the way they do now (whihc isn't how they're supposed to sound). Stuck in some of the other noises and percussion from earlier movements in the trakc to reprise them and unify this movement with them, and give the feel it now has, to underlie the rest of the piece. The ohter movements' percussion is also mostly made up of either pieces of loops (almost all from Ghosthack) or individual sounds cut from loops, or individual wave samples (mostly I don't recall the sources, had some for many years, edited and tweaked and resaved over and over) placed around the tracks. here's a screenshot of the piece showing all the clips:

Thumbs up to Imogen Heap for all her innovations and support of artistic creativity. Regarding beatmaking.... I use a number of methods. For MIDI controlled samplers (hardware or software) I have used the ancient MFX Musiclab SlicyDrummer Lite, set the track it's in up to drive SessionDrummer (or whatever) with a kit of the sound type that I'm generally after, and hit the random button, playing the loop it gives and shifting each pattern in SDL up or down to drive different drums, until it sounds something like what I want. If it doesn't work on all the patterns, I'll turn the random-lock on for the ones that do, and then use random again for the ones that don't until something emerges that I like. Sometimes I'll just turn one or more of those off entirely, so no drums are driven from them. If SD is still available from ML, I'm sure the full version is more powerful and versatile. Sometimes I'll use MIDI loops, either stuff I've made before that turned out well, or ones from various companies (especially the ones that give some away for free now and then, as I don't have any budget for this stuff, and probably haven't made a dollar a year on average from music sales). Then I'll put those into tracks driving Sessiondrummer or another synth (not always a true drum synth; depends on what I'm doing). Then I poke around at the "tracks" and may use the kick notes to drive some other thing, and the snare to drive the kick, and a hat or whatever to drive a snare, etc, just to see how the patterns work out. Sometimes there's an instant winner when doing this, sometimes a long while of working gets me nothing I like. I'll save it anyway in case I decide it fits something else later.... Then other times I'll use audio loops--there are a LOT of free wave files out there, many of them very good quality. Ghosthack has an annual "advent calendar" full of wave bundles, some of which also have midi files. (many of their purchasable bundles have midi files for the wave files in them, making it easy to use your own sounds to add to or replace theirs, and many of their bundles have everything tracked out to separate stem files...and all of them are "pre-mastered" and generally mix well together without messing around (though I pretty much always mess around with things; it's part of the fun). Other times I'll just draw everything into a MIDI track to play SD or some other synth. I also have a yamaha tabletop drumpad thing (m55? ) but I'm terrible at actually playing anything, not enough control over my body in realtime, so I don't do a lot of that anymore. As one example of the audio loop / sample method, the most recent WIP No Bigger Than The Space of Time over here: https://amberwolf.bandcamp.com/track/no-bigger-than-the-space-of-time In the fourth "movement" it has some Planet Samples stuff from The Sound of Tomorrowland Electro Edition (a free "14-kit" bundle) for kick and snare and bassline, that I turned off snap in SONAR then dropped these in, not aligned. I also have them stretched out to I think half ish their original speed, because this is a slowish piece. Hit play, then began nudging them around utnil they sounded the way they do now (whihc isn't how they're supposed to sound). Stuck in some of the other noises and percussion from earlier movements in the trakc to reprise them and unify this movement with them, and give the feel it now has, to underlie the rest of the piece. The ohter movements' percussion is also mostly made up of either pieces of loops (almost all from Ghosthack) or individual sounds cut from loops, or individual wave samples (mostly I don't recall the sources, had some for many years, edited and tweaked and resaved over and over) placed around the tracks. (there's a screenshot of the piece in the thread linked above).

Tesserachsund?

Added another new section to the end, it's now about 3x longer than it started out, and evolves throughout the song. If you don't like it, wait a few seconds. 06-17-25: 061325 000001 000097U https://amberwolf.bandcamp.com/track/no-bigger-than-the-space-of-time

Added a new dramatic section to the end 06-16-25: 061325 000001 000071p https://amberwolf.bandcamp.com/track/no-bigger-than-the-space-of-time

No, not really. The "picture" I get tells me that this would be a way to do it, but I probably still don't know what you want, so it's probalby still wrong: If you're just trying to make a template of the gate pattern, you'd probably have to use an automation envelope (gain, volume, etc) that zeroes out the parts you don't want to hear, that simulate the gating. If you have a gate plugin that can output MIDI or automation in response to the gate trigger, you coudl record that to create the automation. Then you can slide that around timewise on the waveform you're processing with the filter, so that it isn't actually gating the way a gate would trigger (because that doesn't work the way you describe), but instead is gating the way you want it to.

I'm not using modern Sonar, but the only times I've seen it fail to indicate things is when there is an issue with the MIDI hardware (or drivers) preventing communications. Usually it's that one of the St Bernards has been helpful and pulled the MIDI IF off the shelf with their tail or nose or whatever and unplugged the USB cable.... If all of the MIDI devices are working, and no issues exist with lost data in the MIDI stream, etc., then it shouldn't be that....

You'll need to describe exactly what you are doing, step by step, when whatever it is that happens, happens, for us to help figure out what you need to do differently to make it not happen.

Same here.