Amberwolf

Whenever you put it up I'll see if it will register and operate here (occasionally in testing things like this I've found something that works on a dev system has a dependency that didnt' get packaged with it during compile), then I can play with it and let you know of any issues (or feature requests if you accept those).

Given the age, a faulty power supply to the system MCU or other logic is most likely. Extra noise in the low-voltage logic supply (usually 5v, sometimes 3.3v) from failing capacitors in the power supply PSU not filtering properly. That is usually a simple fix, replacing any of the electrolytic capacitors in the PSU itself, a few bucks' worth typically. Sometimes they show obvious signs of swelling or leaking, sometmes they look perfectly normal but have simply aged out as electrolytics have a limited lifespan--typically guaranteed for a certain number of hours at a given voltage / temperature depending on ripple current they experience (whcih is a lot in many PSUs, at elevated temperatures, decreasing the potential lifespan). Less likely, it could the ground issue, but probably not the same way. In this type of failure, it would be more likely that they use a serial data from that panel's own MCu to the MCU that does all the major systems control. The serial data in these situations is usually I2C (IIC) and if it is not all on the same PCB then a faulty ground or signal could cause this type of problem.

If you want to troubleshoot it, the most likely problem is one of hte buttons is stuck down internally (inside the switch itself, or a plastic bit from the panel has jammed between the button and the top of the electrical switch), or the ground (or other common wire) to the panel is broken or has a poor solder joint. Have had both of those cause this type of issue on various front panels of assorted "dead" thriftstore and yardsale finds over the years.

It sounds sort of like an automatable version of Variorum's "compressor" (if that one isn't already automatable). If it's available as a 32-bit MFX, I'd be interested in playing with it on my ancient SONAR . If it obeys normal automation data within a MIDI track (not just CCs within clips) then you could copy automation cuves you have created in other tracks to the track it's on and then reassign those to it's parameter(s).

BTW, for all the readers of the thread, there are, AFAICT, two separate MIDI routing systems within Sonar. If this is incorrect, please specify where I've misunderstood or gone wrong. The first is at the MIDI tracks themselves, and obeys all the track controls, etc. The second is the Remote Control system, which AFAICT without being able to test ATM, does not have any control over which ports or channels are received by or sent from a widget (on a track or inside a synth, etc), it globally recieves or sends this data on all ports. (possilby restricted to hardware ports vs synth's virtual ports internal to Sonar), restricted only by the channel selection when assigning a remote control. (which cannot be set to send or receive on more than one channel, AFAIK, no Omni option for instance; not sure if there is any reason to be able to have that ability). This system is used even if there are NO MIDI tracks at all, as you can use this system to assign RC to audio track controls, for instance, and that is almost certainly why this second system even exists. This second system is the one Astraios is having issues with, in trying to do external control of assorted things within his projects.

If you set a specific input port and channel on a track, only data from that should end up recorded on that track. If something else is happening, I'd call that a bug. If you require more than one device input to a track, the only way I am aware of is to set it to All-Inputs (either picking a specific channel or leaving it at Omni) If doing that, then without using some form of external filtering before it reaches Sonar), everyting on all the ports (and channel (s) chosen) would be recorded on that track. External hardware-input filtering could be accomplished by using MIDI Loopback type drivers, and passing all MIDI ports via those into a separate program that either does this filtering as a primary function built in, or hosts VST / MFX that can then do the desired filtering. I don't have any list of such hosts, but there should be some out there. (even other DAWs could be used for that purpose alone if they support the necessary functions and routing). All Echo does is Echo the input directly from the input selection to the output selection, for that track, regardless of playback or record states. It changes nothing about what is or isn't recorded to the track, or played back from the track. For instance, if you don't have the track armed for recording, everything will still be echoed from the input port/channel to the output port/channel, and will pass thru any track FX on the way. Even if you don't have the transport running, so that no track data is being output, Echo should still do it's job. (I think it will stop if the audio engine is not running, however). When echo is not on, the data cannot reach the output until it first is recorded onto the track, and then subsequent playback of those regions will output that data to the output port/channel. This is true of audio or MIDI. I have a feeling that is a separate issue from the track input selections and filtering. I don't have a way to test this here ATM, but you've already likely done enough testing to determine: If a synth (whcih is using MIDI Learn / remote control on it's fucntions) has been inserted on a track that is itself set to only receive from a single port still receives data from multiple ports, then that means the remote control is not using the track input selections at all, and a completely separate port setup and filtering system would have to be coded and built into Sonar to correct this issue--there would be no external way to deal with this without also blocking data from reaching the actual tracks themselves as well, becuase all ports are combined into the Remote control / Learned control system. If that synth does only receive data from that track's selected input port then all of the filtering options previously specified would work--but I expect from your issues that this is not the case. Same for track controls using Remote Control. If the former is the case, the only way I know of to fix this issue is for the bakers to recode Sonar itself to have a tool within it to allow the user to choose which ports and channels are used for each thing that is receiving or sending remote control information (the most versatile method), or for it to obey it's host track's port configuration (which would be problematic for some remote control usages), or some global configuration that all RC things use (extremely limiting and problematic, I suspect).

Those are even more important qualities for me than many others...anything that slows me down or makes it harder is much less likely to get used. I'm not interested in the Musio/etc stuff, but your statemetn still applies to any artistic tool.

Things like this are why these threads exist:

I don't have access to this feature to test it and see it's behavior (I dont' have the modern Sonar), but: Personally I would expect that there should always be a way to turn something back off, once turned on, without destroying the information there, for anything that hasn't actually created new information by doing so. (other than by an immediate Undo, since some things wont' be noticed until it's too late to do this). Even if it has, turning it off should only remove the new information, and should also ask you if you would like to keep taht information if there is a way to do so, or warning that this informaiton would be lost. But...that's just me.

A midi file is not a project file and contains no information at all about the way you have setup or used the program that created it. To do that you have to save in the file format specific to that software; in the case of Sonar, that's CWP or CXP. A MID file only contains MIDI information, such as notes, controllers, bank/patch name info, lyrics (depending on the file version) (but it is openable or importable by pretty much anything that can edit or compose MIDI data). If you don't need to open these files in some other program, use CWP or CXP. If you do, then still use CWP or CXP while you're editing, then save a final version that way. Then do a separate SaveAs and choose the MID file format you need the other program or device to read.

It should stop it from being routed out of the track, but shouldn't stop it from it being recorded, AFAICR I have used this on purpose before (though I am using ancient version, not the modern one which may behave differently)

Yes, and WAP does a pretty good job creating their sounds. Typically htey are not only already setup as loops, they even include marker data, etc., so when yhou drop them into a big busy project you can easily find where it fell. And they are usually clean, and if intended as loops, cleanly looped. Usually interesting sounds, although most of them are not stuff I would use, I have often been able to chop them up and use pieces of a sound anyway, discarding the bits I don't like the sound of--examples are the "elven rock" section of Behind You Lie Many Unseen, and the bass synth of Even if I Could Tell You.

Are these the presets that came with it during it's installation, or presets you created within projects? If the latter, then unless you save that preset from within the project, exporting it to an FXP or FXB, it doesn't exist outside that project or at best inside your currently installed Windows version's registry. Also, if you poke around there are other preset bundles like the Muz3um ones, though I don't rmemeber if they also work on the original z3ta+ (I think I used some of them with z3ta+2).

More bits to chop up and accent my tracks with.

Ah, ok.

Not to confuse any issues here, but it is technically possible to do, for advanced users willing to create their own sound libraries, using sampler systems such as Samplerobot, or other autosampler to grab all the basic sounds and then use the sampler VST of your choice to build all those into a new "virtual synth". But it is not for the faint of heart to try, and it takes a fair bit of time to do even for an experienced sound builder (can take weeks or months or more to finalize). That said, the method you describe to record the tracks being played from the hardware synth would at least get that into the DAW to then be further processed as needed. But neither of these things really has anything to do with the title of the OP's thread, which seems to be asking for an .INS file for Roland hardware synths in general, but which will not get their sounds into the DAW. I guess we need more info on exactly what @John Christian Garrido Gomez is really trying to do.

You might be surprised at the "value" of old software; there are people that have "gone retro" and are actually designing and building new ISA type computeres so they can still run ancient software and hardware with DOS and Windows 3.1, etc. Quite a few are doing this for music or other artistic endeavours.

A quick google finds they use some sort of compression to make the files smaller (which is pretty ridiculous to worry about in this day and age), so it's probably caused by dataloss from that compression, or a flaw in the compression/decompression algorithm if it is something that is happening realtime.

It might if the ASIO panel for the interface had it's sample rate changed. (haven't ever done that, so not sure)

Maybe you need a verbal alert: BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT......BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT...BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT... 😆

Well, can't say it would make my top hundred list but I've seen much worse movies, but this one could've been made better with music that better matched the mood and timing of the scenes. (could've done with much better editing for scene timing, too; that's an issue with most horror movies; stuff often runs too long by *just* enough to ruin the mood or scene). Not that I'd want to do it for this one, but it'd be interesting if there was some tool (AI probably) that could strip out all of the musical score and effects sounds and leave all the dialog intact...then I could re-score (and effect) some movie that I liked that had unsatisfactory score/fx. Can't think of the specific ones ATM but there have been a few where I thought while watching...I could do better than *that*. :lol:

While this isn't my typical cup of tea I always love the sounds of these instruments, and I like this piece. Some of this sounds like parts of what I wanted to create for some of the Drywater, Mars series--something kinda like the bits in Firefly's music. I wonder what would happen if you were to make that kind of sound over the top of what I've already got? (I'd probably have to make room for the "excursions" into the style wherever it wasnt' just an accent to the existing music. (I have a library of Country Fiddle phrases from Image Sounds specifically to experiment with this, but haven't gotten that far yet).

Not sure what you mean? 😕 Thanks! If you liked this one you'll probably also like the rest of the Drywater, Mars series of tracks.

Well, at least at the moment, there really isn't much else going on under the vocals there...I could come up with something. I can experiment with the compander in PX64 percussion strip to see if it can help with the insufficient transients. Is this overall or just in some parts? Ok...my own ears are not young either. If anyone else responds regarding this part, we'll see. Well, honestly if I were to get the chance, I'd take having my music used in even a crappy movie people didn't like than not having it used at all. 😆 At least a lot more people would hear it than are likely to otherwise. But I'll see what I can find, when I have some time I'm to wiped out to focus on doing things but can't sleep (which happens a lot).

Thanks! I haven't seen that; I'll have to look up the music they used. Can I put your comment in the notes of the track on bandcamp?