Amberwolf

Does it send CCs for the controls on it you want to use for this? Which volume envelope do you want to record? If it's the CC7 envelope in a midi track, then if it sends CC7 that's easy. If it's something else, like the track volume automation envelope itself on a synth or audio track, then you may have to set it up as a control surface. Azslow probably has something to do this with, but I haven't experimented with his stuff yet (I should, he's brilliant). A few years ago I used some generic thing I found cheap on ebay used, "Worlde Panda Mini 25-Key Portable USB Keyboard Drum Pad MIDI Electric Controller" the older model of this https://www.amazon.com/Worlde-Portable-Keyboard-Controller-Colorful/dp/B079FGP3BH?th=1 and between using it's software to define notes / ccs for the controls and the control surface "learn" stuff in SONAR, I managed to get it to control a few things. Took a few hours to figure out, but was easy enough once I got the idea. I'd still be using it for that cuz it was really handy, but it's electronics are pretty shitty, and all the pots (slider or knob) are really jittery and "gappy', tending to jump around in values or skip whole groups of values. It's worse the faster you move them, and the jumps aren't in the same place everytime, so it's not the pots it's the stuff that reads and processes them. (I could've replaced the pots easy enough, so of course it couldn't be that).

FWIW, instead of exporting, if you just want a MIDI clip "as-is" you can ctrl-drag it out to a Windows Explorer window with the folder of your choice. This copies just that clip. If you have a bunch of clips to do this for, select them all and drag them out, and you'll get one file per clip. Doing this creates filenames with "the project name , track name (clip number).mid". If you need an entire track's worth of clips as a single file, just bounce it to a clip, and then ctrl-drag taht clip out. (you can then undo the BtC if you like). If the clips don't start where you want them to, you can drag the clip out to that point...but...whatever you do, it will still require a midi event of some kind at the start of where you want the clips (and the same for the end of the clips).

That's a PEBKAC issue. That's a hardware problem.

Hmm.....lemme see....I completely missed that big gigantic orange bar at the top of that page, which clearly shows that I've used up all the space. Guess I'll go delete some older stuff. Thanks. :sheepish grin:

Ok, I split the most recent one out to it's own thread here: I guess if it gets replies, I'll split all the others out to their own threads too.

That's what I thought I remembered it being...but it's not that for me. 😕 I must be missing something obvious somehow, whcih isn't all that surprising. (I was just trying to attach the cover art in the latest Drywater Mars (Part 5) thread...)

This one is almost completely different from the others in the Drywater, Mars series; I left a couple of bits of sound here and there, including one ending vocalization, to tie it in to the others. No huge orchestral percussion, a closer more intimate (but not really quiet) sound. Every story has it's intimate scenes; this is one between two of our hero crew, as the ship drifts in zero g on course to the station. POV outside ship, pan from station across the cold emptiness of space, turns back toward ship drifting straight towards camera, rapidly approaching the ship filling the screen until the window onto the interior is all we can see. Music pauses just for an instant as we pass thru the window into the room, where two crew are just floating into the room, one following the other. One reaches the far wall, pushes gently back, meets the other and both motions counteract and they stop, floating in the room, reaching for each other, touching each others faces, almost in wonder. POV closeups on their faces, alternating one to the other as the music swaps back and forth, this continues: Practiced nullgrav motions let them embrace, retreat, caress, clothing drifts away beyond them as you watch their emotions and sensations written across their faces, still alternating, sometimes both in view, as they rotate with the POV, all the way thru the interaction to the usual conclusion.... Not Just To Breathe With You -- Drywater, Mars Part 5 https://amberwolf.bandcamp.com/track/not-just-to-breathe-with-you-drywater-mars-part-5 (posted to a new thread out of the original based on advice from Bajan Blue)

We used to be able to attach a few megabyte of files, maybe something like four? (was at least 2.5megabyte back in 2024; my attachments list shows a couple of that size back then (dmp files to help Varorium fix something). A little while back (months? weeks? it shrank to around a meg and a half. Now it's down to less than 30 kilobyte....

It's probably ripple edit being turned on. However, your post title is not correct for the problem you have. Your title says you can't import the file. That's wrong--you *can* import the file; your post says that you did so. The problem is that when you import hte file, your project from the point the clip is inserted moves later in time (presumably to the end of that file's time). That is what your thread title should be saying. If you ask the wrong question, you may get the wrong help, so asking the right question is important.

Dpeending on the fx, complete cancellation won't happen--if the fx have any kind of randomness to them, for instance, or lfos / etc that are not perfectly in sync with the same pionts in the timeline every time. If the fx always processes everyhting exactly the same on every instant of the track, and any lfos / etc are in synch with the clock, then they'll cancel. Almost all the fx I use auotmagically stay sync'd or have a toggleable control to enable/disable sync, but the Little Green Amp I usually use for simple distortion / amp sounds in the background doesn't, so nothing it processes ever cancels completely--there is always some high end left. If you turn off all hte fx everywhere (there's a global button up top somewhere), and *then* freeze, and then clone / phase flip / compare, does it cancel? If so, it means that somehow there's an fx doing something during the freeze that's different than what happens after the freeze, etc. If the difference left over after the cancellation is the "extra" sound you hear that you don't want, then finding the source of that sound will fix the problem--and it would probably be an fx somewhere. (even one built into the synth rather than something in a track/bux/aux)

BTW, if all you want to do is use the patterns in it to drive your other drum synth, just drag the pattern from the + button to your midi track that outputs to that other synth, after setting the number of bars you want the clip to have. Some patterns have more bars available than others, I usually set it to 16 and just trim off anything that's empty afterward, because I want the complete pattern for anything that's long (haven't had any >16 so far).

IT's those bioengineered 3D printed fries. Seriously, though...my brother bought some apples via amazon "fresh", and sliced one up, found it doesn't smell like an apple, nor does it have any flavor. He set the other half of it down and forgot it was left out on the counter for the day. Didn't turn brown. Curiosity had us put it in the fridge, no container or covering...it's been in there over a month now, and it is still not brown, though the edges of the peel have begun to curl in and the cut surface started to wrinke a little bit as it dries.

So if you clone the frozen track to a new track, to preserve the audio and all track content/settings/etc, then unfreeze the originals, then flip the phase on or the other, they don't cancel? Is it possible that the freeze is including some effect(s) that are then not being disabled after the freeze, so the fx are then doubled? (something on an aux, or a bus, or even the track itself?)

Thanks! That means I can use it in some form, at least, and it is worth buying.

No problem.

new part five: This one is almost completely different from the others; I left a couple of bits of sound here and there, including one ending vocalization, to tie it in to the others. No huge orchestral percussion, a closer more intimate (but not really quiet) sound. Every story has it's intimate scenes; this is one between two of our hero crew, as the ship drifts in zero g on course to the station. POV outside ship, pan from station across the cold emptiness of space, turns back toward ship drifting straight towards camera, rapidly approaching the ship filling the screen until the window onto the interior is all we can see. Music pauses just for an instant as we pass thru the window into the room, where two crew are just floating into the room, one following the other. One reaches the far wall, pushes gently back, meets the other and both motions counteract and they stop, floating in the room, reaching for each other, touching each others faces, almost in wonder. POV closeups on their faces, alternating one to the other as the music swaps back and forth, this continues: Practiced nullgrav motions let them embrace, retreat, caress, clothing drifts away beyond them as you watch their emotions and sensations written across their faces, still alternating, sometimes both in view, as they rotate with the POV, all the way thru the interaction to the usual conclusion.... Not Just To Breathe With You -- Drywater, Mars Part 5

I know what it says on the sales page for it. The question is, when you have it installed, what format are the samples in the folder? Normally these are found in the Samples folder within the instrument (or each individual instrument if there are multiples). many Kontakt instruments actually have their samples as plain wav files. Many others have them as NCW, which I can convert to wav. So both those types I can use.

That's another reason for me not using things that require managers, auths, internet, etc etc.... If it don't just install and be there whenever I wanna use it whether plugged in or not, whether the company still exists or not...i'll pass. But at least the problem was "easy" to find...even if fixing it takes longer since AWS is (again) problematicalz today (lots of people and places I keep in touch with have issues, or are completely down, including artists depending on web-connected tools).

Living in the desert city, where it's not uncommon to have cacti in front yards and whatnot, I have had a few momentary waking nightmares during night bicycle rides past some of the creepier looking damaged or deformed saguaros, in years past, so the visuals on this one are...memorius (not a word, but I don't know a right one; nothing seems to fit). I like it overall; the only changes I would probably make if I were doing it is add a more gradual intro sound (but I do that a lot) and probably add some spooky / wierd noises to match the visuals (probably out of one of the SampleTraxx sets like Rituals, Volta, Old Broken Piano, Torsion, --there are some *great* horror sounds in these!; I used a few within the Aftermath of Sunlight and it's sequel Pre-Cast Shadows neither of whcih is very good but you can get the idea of what some of the sounds in those sets are like. They have some packs even more horror-oriented than those that I have not yet used in anything like Danza Macabre).

Sorry....I did this because if I make separate threads people tell me I should put it all in one, or no one views but one of them, and doesn't listen to any (or maybe just one) of them, and no feedback, etc.... Then I put them all in one, and people tell me ot put them in separate ones (and I still get the same results) so I don't really know what to do. These are all one "series" so I'd put them in the single thread. 😕 If it would help I can make new separate threads for each one...but...would it help, or just annoy people with more of my stuff? Thanks....I'm not sure what "play well" means? Any specific feedback? Best parts? Worst? I intend to. Well, the work, anyway, because for me it is "play", and it might not be "good" but I'll do it anyway, and hopefully feedback from here will help me make it better.

I see that track's Solo button is clicked. Is it possible that the main Solo mode is set to something (dim, exclusive, etc) that is causing (incorrectly or not) no audio out because of a bus or other routing that sends the audio thru something that ends up not within the soloed path (even if it should be)? Or that a plugin that is in this project but not in another, has some problem (disabled within it's UI, broken authorization, etc). If you route a track directly to the hardware out, no plugins, no solos / etc, do you get audio?

For thsoe that have this, could you tell me if the samples themselves are stored as wave files, or ncw? Or one big integrated file? Or ?? If they are wav or ncw I can use the sounds themselves even though I can't use the kontakt instrument itself.

For others that come along with similar issues, what was the solution?

But if you need to haul a bunch of big cargo or get several kids around to various events, the Lamborghini probably isn't going to be all that useful. Each tool in it's place, misused as thoroughly as possible, without breaking it....

I sympathize; I went thru a housefire, cleanup, and rebuild over a decade ago, and it took years to get "back on track", and I am still not really where I was before that (though I did find out who my friends were and weren't, and how very very few of them I actually had). Regarding the song itself, I would like to hear it with the timing tightened up; it's hard for me to focus on anything else technical about it ATM. 😊 I doubt any of my stuff is of a style you'd like, but you're welcome to poke around at my threads and comment; I can always use feedback as I have very very few listeners, and almost none of them has anything to say.