Amberwolf

Parenthetical post from the **** point in the previous one:

 

The reason I was using the Acoustic Research Powered Partner speakers was because I finally got the music workstation re-set-up, after a long long time (couple years? more?) of doing all my music stuff from the bed.     

The ASR88 (my main keyboard) is ancient, boots from a floppy disk (unless I power on the equally-ancient SCSI harddisk ), and like most of it's line is a bit picky about which disks work in it...so now I have a Gotek USB-drive floppy-replacment unit in place of the FDD, with a normal boot image on the usb stick in the drive.  (you can't do anything at all wiht the ASR unless you first boot it from an OS disk....). 

 

 It's not really faster than the FDD, but it is not going to mechanically wear out, so much less risk of it becoming unusable due to drive failure.   And more likelihood of me using it because i don't have to deal with making a new disk image from the computer when one of the floppies bites the dust again. (and hoping that the few disks I have left, and the USB FDD on the computer, and the drive in the ASR, still work at that point).    Also, leaving the disk in the drive is bad for the disk and the heads, as humidity changes can cause damage to both, and so can vibration (such as from the ******* in the area with their earthquake-level sound systems that shake everything frequently, for hours at a time).  So I had to remember to push the disk into the drive each time I boot it up....now I don't. 

 

Anyway, so it's setup now and one switch will just turn it on and boot it up.

 

At present there are still a few hitches:

-i have to still use the (unmovable for reasons) laptop that's over by the bed, so taht also means I have to run a monitor cable over to it from the one that's on the workstation.  I can leave that connected and enabled in the cmputer, even when not using hte station, and the monitor is just turned off with the station power. 

-I have to run audio cables from the external USB audio interface to the PP speakers. 

--I have to run MIDI from the ASR out to the in of hte USB MIDI interface on the laptop. 

--I have to run a USB cable from the computer keyboard on the station to the laptop.   (the trackball is wireless so I just carry it over there to use it, but there are no dependable wireless keyboards with replaceable keyswitches and keycaps (I wear them out in a year or two or so), programmable backlighting, etc). 

 

All of those cables have to be 12-15 feet long or so, because they ahve to run under a carpet to keep JellyBeanThePerfectlyNormalSchmoo from tangling her giant self up in them and dragging everything with her out of the room in a panic. 😆  

 

I don't have the budget for really good cables new, so I carefully choose what I can get from thrift stores, etc., and have everything except a good HDMI cable that is longer than a few feet...they never get those.  So I'm using  DVI to VGA adapter, and one good VGA cable that's thick and well shielded for half the lenght I need, and a crappy VGA cable that sthin and unshielded for the other half... the two good extensions that could be used both have something wrong with one of the color wires so I am missing a color on each one.  But all these VGA cables are up to 30+ years old, saved from olden days when I ran the noizy computer in the bathroom adjacent to the bedroom, with both doors closed, and long cables for everything to get user input and feedback to/from the computer.       So it's understandable that they are a bit on the worn side and don't all work as they should anymore.   

Unfortunatley, thrift stores pretty much never have useful VGA cables anymore, other than occasional 3-foot ones with unshielded wiring.   

2 hours ago, treesha said:

Yes the low end is good. Its still booming nice but not overpowering to me. I think it sounds good overall. Still reminds me of Gaudi 

Had to do some searching for that one; I can see where it would.

 

In the version you heard (if it was since late last night) I did some editing using the powered partners instead of the soundbar; i'd forgotten how much more clarity there is in the PP's low end!   ****

One thing the PPs showed me that cant be heard in the soundbar is the distinct gap between bass note and delay fx modified repeat of that note in the beginning of the piece.  They blur together on the SB, and that sounds like I wanted it to.  

But on the PP's it's quite clear there's a gap between them, which is fine in the majority of the song where there's a beat and other things that take advantage of that gap, or fill it, but in the beginning it's just weird.  

So i've automated the sub-bass's delay feedback / mix so it's much less at the beginning then increases as it heads into the more populated parts of the piece, because if i cut it back everywhere, some of the "beat" is missing.  

I also automated some of the eq on that track to leave in the lows at the beginning and reduce them as the delay increases, so the overall lows are around the same.   

Then I lengthened a few bass notes in the beginning to slur over the delay gap for the ones that weren't fixed by the above, so now it sounds more like I intended. 

Oddly it still sounds "the same" on the soundbar.... :? 

 

Fancied up the snare in some parts to match and/or complement the bass and ohter bits.

 

I was also going to try playing in some more piano bits, but the LP64EQ I had to replace the SonitusEQ with to take out the low end of things appears to be causing several to many times the latency I had without it, making it impossible to play live to it.    Didn't want to burn the fx into the tracks yet, so didn't get the added bits.

 

This sheriff (or deputy) is probably more appropriate

 or the first version 

As I understand the term, slip edit refers to moving either start or end edge of a clip to expose more or less of the clip contents, and does not move the contents or change them.  By itself, this isn't directly useful to line up multiple transients in a clip to other things in the project.  But you can use it along with Split Clip (or scissors tool) by cutting a clip up into the sections you want, then slip editing them down to just the bits you want to hear, then dragging them along the timeline utnil they line up where you want them to. 

I use this to line up percussive or vocalization / etc sounds that are in clips when I don't want to change the length of any parts of the sound itself, just line up specific parts of it with other things.

 

What you refer to as slip edit in the example:

6 hours ago, sadicus said:

If the Audio time was recorded on the beat correct but latency make the visual waveform look out of sync, so Slip edit would fix this.

would just be a drag move of the clip (or you could use nudge), you wouldn't be editing the clip contents or length, just moving it to line it up.

 

 

Slip stretch isn't a term I recall but it sounds like it refers to the function that in my ancient version is done by holding the CTRL key and then click-dragging either start or end edge of a clip, which then stretches or contracts the clip contents timewise without changing the pitch of the sound.   This can be used to directly line up multiple (but not all) transients in a clip with other things in the project.  So if you have something with say, two large transients that need to line up with two beats, and you don't care about the rest of the transients lining up, then you can just stretch it until they're the right distance, then drag the clip until they both line up where you want them to.     Or for single transients, and then simply making the sound longer or shorter to fit a specific time amount.

I use this for some vocalizations or other sounds that may have been recorded for different tempo, but I don't want to sit there and figure out what that was vs what I have now and some ratio math, I just move the clip till the start  (or end) edge of the clip is where I want it, then ctrl-click-drag the other edge until it fills the space I want, shortening or lengthening it as needed till it sounds the way I want. 

Then after saving a version of the project I'll bounce that to a clip, since the realtime math it does doesn't sound as good as the offline bounce math  and I need to hear things in the way they'll sound for the final result in order to compose.   If I change my mind later I can just go back to the saved version and copy/paste the original clip over to the current one. (or reimport the audio, etc). 

 

You can also just go into the clip properties dialog and directly change the clip time, pitch, length, etc., numerically in one or another of the fields.  I think that most of them are exclusive; if you're using one method you can't simultaneously use another, though it would be nice if it was possible for experimenting before bouncing--instead you have to change one then bounce the clip, then another if you need to do two or more  of them to alter a clip to your liking. 

 

 

If there are multiple transients you need to line up, and you want the clip to remain intact in length, etc., then Audiosnap is the "easiest" way to do this.  You can use the AS quantize, or you can manually line them up, or first the one then the other; whatever fits your workflow better or makes the sound / effect you are after.     

I use this for almost anything I have to record in as audio, as I don't have physical control good enough to get the timing I want.  So I slice it up into the clips I'm keeping vs the ones too crappy to be worth fixing, then enable AS on the clip, turn on the transients markers I want to move around and the ones I want to remain exactly where they are, and disable the others.  Then move the transients I want till it sounds right (which is usually not exactly on any beat, depending on the rhythm I'm after), and save the project as a new version, then bounce the clip (for the reasons previously noted). 

 

 

There are also ways to combine each of these things in various orders to achieve other results, including deliberate distortions of sound or timing, so which one you use depends on how you want the final result to sound, and the specific work you're trying to do. 

 

Depending on your source material, result desired, and how far you have to push timing, you may need to use one technique on some parts, and another technique on others.  

 

 

 

On 3/12/2025 at 3:20 PM, treesha said:

Looked today but I'm not sure where this revision is ? 

The current one should be up on the bandcamp page

https://amberwolf.bandcamp.com/track/im-sure-its-nothing-but

 

Can you send each set of tracks to it's own bus, then group the busses instead?  

13 hours ago, aidan o driscoll said:

This happened to me and my BOSS GT at a wedding we were playing in Carrigaline Hotel, Carrigaline, Co. Cork IRELAND. This drunk guy bounded up on the stage to talk to the singer to the left of me. Held his pint glass away from himself and poured it right into my GT-8. For such eventuality I did have another older pedal board. Yer man fcks off .. not a bother on him, and no I did not get paid for a new board 

Long ago when I used to "play" live at scifi conventions, I was in a hotel lobby with my Ensoniq on a standup rack and my heavy Powered Partner speakers on top of it, and some drunk guy from a wedding party at the same hotel knocked into me and one of them hit the floor.  From then on it had a buzz with almost anything with low end...  I assumed it was the speaker itself, the coil rubbing on the magnet, but one day a couple decades later I had to open it up for something else (i forget what) and whiel it was open it did not have the buzz.  :?   So for a while after that I just left the screws loose and a piece of foam shoved between the cse halves in one place.  Eventaully I found the buzz cause, IIRC it was one of hte screw standoffs or something in the plastic front bezel, and fixed it and now no buzz. 

Two things came from that for me, both of which I already "knew"--the first was not to assume what a problem is (wish I'd thought to check for the obvious cracked plastics right after it happened; wouldn't have had to live with that buzz for so many years), and the second was to put velcro all over the bottom of the speakers and on the top of hte keybaord so they couldn't slide off. :laugh:   (that part I did right away after that convention).  

 

I think once beer got splashed on stuff too, but it didn't damage anything, just left an awful smell, so I don't recall the details of that one.

7 minutes ago, Technostica said:

This is a Kontakt library and you are referring to issues with libraries that utilise their own player.

Sorry, the OP doesnt' mention that.    I'd still avoid the company entirely. 

Before you get anything from that company, be aware that spitfire's garbage is going to autoupdate and break your ability to create things, over and over, and you'll waste hours having to relearn the interface, redownload all your content because it can't find it or thinks it's broken when it's not, etc.

Avoid this company for your sanity. 

59 minutes ago, Starship Krupa said:

There's a strong impulse in musicians to want to use similar gear to what our musical heroes used. The suspicion that it shortens the path to sounding like them.

Magic Box Syndrome?

1 hour ago, Starship Krupa said:

You get a "pop" sound at the end of exported tracks when you use effects, and you don't hear it when you don't use effects?

At the *start* of the tracks, from what the post title says. 

 

I've heard this myself occasionally in just live playback when I stopped playback when there was (presumably) some large difference in where the waveform ended when i stopped and (before the fx could decay out) I immediately hit rewind and play to start from the beginning where it was silent.  But I haven't had it in an export.  (keeping mind that i am not using a recent version of CW or S). 

 

Does it help to toggle the "Play effects tails after stopping" off, then back on again, just before the export?  

 

 

I think that's related to or the same as this

 

On 3/6/2025 at 8:13 AM, treesha said:

Good luck with the next Eq-ing.

Thanks!   I swapped out the sonitus eq for lp64 eq to calm down the 35hz and lower by 24db.  (is only 6db at 35hz, rolloff starts at 50hz AFAICT on the scale (hard to tell on it's gui), presumably is down by 24db by the time it hits 0hz.    It definitely makes a huge difference in the VSPAN display down there, and I can tell there is some difference in the feel, even though my system can't reproduce all that stuf down there.

 

I tried a bunch of things with the sonitus eq after this to match it up to the LP64, but nothing I can do with it makes it cut out the low end unless I start way up in the 100hz+ range, which negatively affects everything.      

 

So....how does it sound now?   Too much low end cut out? Not enough?  

 

 

On 3/6/2025 at 8:13 AM, treesha said:

My problem is corel video studio. Ive read its crashy. I just downloaded davinci free and watching videos to learn it.

I haven't used CVS...but a quick google on versions looks like it's another of their acquire-and-rename products (like the ex-JASC Paintshoppro v5 that I use that was bought out by corel and transformed into whatever it might be nowadays).  Used to be Ulead Videostudio, which I did use back in the 90s or maybe early 00s?  But I don't recall much about it.   

 

On 3/6/2025 at 8:13 AM, treesha said:

I used the Microsoft one in photos to do the single image with a song thing you mention. 

Thanks for the idea.  Must be a feature of newer versions than I have on my old Win10 system.   I'll have to look at the newer version taht's on one of the HP server racks I have awaiting conversion to a new DAW and see if they can do it.  

Maybe they just want that good ol' wire rattle and transformer hum to give it character.....

13 minutes ago, Will. said:

insert another compressor who can do UPWARDS compression

Do you mean an expander (or compander)?   (sorry I don't know all the terminology)

20 hours ago, Bristol_Jonesey said:

According to his post history, this is the only post he's made, yet it says "2" under his name above.

Strange

Because there *was* another copy of this post in his own separate thread.  I'd replied to it in that thread, but it's now gone, both his post and my reply.  

 

I don't know this specific forum software, but others like PHPBB and Xenforo will keep count of all the posts made by someone even if they're deleted later.  (PHPBB has had issues in some versions where the counter "sticks" and doesn't count some posts taht are still around, or "jumps" and counts posts that never existed; I don't know if XF has had such issues yet; we've only been using it a couple years so far). 

13 hours ago, Notes_Norton said:

“Ghost-Buskers”

I think it's a great name...but apparently so do others:

There's a movie....not quite the same intent though:  https://www.imdb.com/title/tt5997970/

Apparently there's a few other groups using the name....

https://www.google.com/search?q=“Ghost-Buskers”

4 hours ago, treesha said:

Yeah using the eq should have done something.

I got frustrated with it enough that I haven't yet gone back with other EQs to see if they fix it where Sonitus doesn't. If that works, then I'll be left wondering *why* because it doesn't make sense....

But if it doesn't work, it still won't make sense, so... be on the lookout for brainsplatter from the 'splosion.  

 

4 hours ago, treesha said:

And problems with vsts, no fun. Im working on a video project that wont let me add anything new, these things can be amazing or amazingly frustrating !

Which program? 

 

Worth a shot though I can't say for sure I'll be able to help, as I haven't used anything that actually works since...Adobe Premiere back on Windows NT4 or 2000 (don't recall which) on a friend's computer trying to composite some of my Lightwave3D animations into a live video.  (ended up putting the video into LW3D on a "plate" and doing the animation around it, worked way better).  

 

Most recent one I tried was OpenShot, but I couldn't even get it to use the right audio output (seemed to choose one at random, didn't use the system default or the first one in the list, and never got a useful reply from the developers).  All I wanted to do with it was take a single image and a single audio file, and make a video of that so I could upload my music to Youtube.  But it would end up with no sound or garbled sound most of the time when rendering it, even though I know the audio was perfectly fine, and nothing would be changed in any setting or project between the renders that worked and the ones that didn't...but since it almost never picked an audio output I was actually using for the "preview" / playback bus, I could not hear what it "thought" it was doing.  Eventually gave up on it and removed it, and haven't had the heart to try any others so gave up on the whole YT project. 

I don't recall the names of any of the others (all either free or open source) I tried--most of them I couldn't even install either becuase they didn't have offline installers and wanted to install everything "live" off the web (not allowed on my machine) or they had other installer issues (trying to install unrelated stuff, or altering other things on my machine it doesn't need to, etc).  One installed but it wouldn't take wav files for sound (only had lossy compressed format options), and wouldn't take an image to make the video from, only video files, which since that's what I needed it to do (make video from image) it was totally pointless. 

 

9 hours ago, T Boog said:

Im even searching for an auto-strummer that attaches to my guitar so I can rest my right hand.

(Yeah, that one's a joke 😊)

But they do exist

https://hackaday.com/2021/05/07/auto-strummer-can-plectrum-the-whole-flat-strumming-spectrum/

They did post a separate thread (which I'd replied to asking the usual questions about their settings) but the thread is no longer there?

Sorry the below got a lot longer than i meant it to, i tried trimming it back down but.... 

 

27 minutes ago, treesha said:

Yeah I think the bass works better now.  Taking it down 9db was a lot !

Down 9dB is supposed to be "audibly half" of what it sounds like at 0dB, from what I have read (6dB is what I learned a long time ago but that only shows up in some searches when I checked while trying this), and since you'd said it was overpowering, I figured cutting it by half should be better. 

I can hear a difference myself, actually liked it better the way it was, but if it's overpowering for listeners then they probably won't want to listen, so I changed it.   If I could hear the problem I would just fix just the problem.   

I tried just using an EQ (actually a stack of the Sonitus EQ) to shelve the lows at various cutoff frequencies up to about 200hz, at -18db for each of the six units inside each EQ, which should have been enough to cut those frequencies totally out and make a hole in the earth deep enough to hold a billion more, but couldn't see or hear any difference in the output, using Voxengo SPAN (the only spectrum analyzer I can use inside SONAR) on either the bass tracks or on the master bus. 

It's pretty frustrating since I inow this should work, but it doesn't appear to do anything.  I know hte eq's work because they do everyting I need them to othe rhtan this.  😕 

 

27 minutes ago, treesha said:

It still sounds rich. Something like Izotope tonal balance control

Looks like that's a purchase-only item, so out of my zero dollar budget.   also...see****** at tje end of this post

This is all a (necessary for sanity) hobby for me, so any money spent on it has to come out of things like my household / food budget.  I'll never make money off the music so it won't pay for anything i buy for it, so those purchases are few and very far between.  (most stuff I've bought has been thrift store hardware purchases as I run across things I could never afford to buy new but could use for things I can't do easily or at all with thigns I lready have; some of these have been mistakes but at least they were very cheap ones 😆  

 

27 minutes ago, treesha said:

can show you the balance of the song in sections, like low, high, I think 4 sections set to what you are going for like rock or jazz or whatever.

It wouldn't help if it just has presets like that, since most of my music doesn't fit in categories like that.  It would need a preset for every different piece I make that adapts itself to that piece.  

I can see stuff fine in spectral analyzers, and can use EQs to fix things, but there are some of them that I can't seem to fix like bass problems, and i can't understand how it doesn't work since it should just be a matter of setting the eq to enough db down in the right frequency band to take out or reduce those frequencies as I'm telling it to...but it doesn't seem to work in cases like this one, or Less Like A Whisper, etc.   and I can't see why not. 

Doesn';t seem like I should need a special tool to see and take out stuff, it should jsut work with these two tools. 

 

27 minutes ago, treesha said:

I dont trust my untreated environment very much, so check on that.

I don't understand what you mean?  I can't check your environment without coming there to you, and I wouldn't know what to look for?

 

If you mean *my* environment, it doesn't really matter since my sound system has no (usable) sub (I have some thing from an old computer-speaker system but it's pretty crappy) and can't reproduce those really low lows. 

 

What I use most of the time is an old Vizio soundbar because it's "average' and so when I compose and mix on it then what I make should play back on "most" people's sound systems; it's the "best" compromise I could make.   I'd rather use my even older Acoustic Research Powered Partners but whenever I make stuff using htose (which are crisper and clearer than the vizio by quite a bit) it sounds all wrong when I play it back on other people's average systems, (like this vizio sb).   So I don't use them much anymore, as my big compromise  to help people hear more of what I make by limiting myself to what comes out of the vizio instead.  I'd rather use the ARs and hear what I really want to....but then people like it even less.

I have a sub for *a* vizio soundbar but it's not for *this* one and doesn't have any input jacks, just the wireless connection that only pairs with the sb it was designed for, which I don't have.   I have looked up the little info available on the chips inside but haven't found anything that would let me wire up an input jack to it.   

If I did have a working sub I'd be making "music" that includes even more musical bits that only exist down there.....

 

27 minutes ago, treesha said:

It is true as you say that most people listen on devices that leave a lot to be desired. In my experience my bass is the first to be missing if I listen on my phone. So I try to add some higher frequencies in the bass part so something of the bassline can be heard, definitely not felt. 

Yeah i know a lot of people compromise what they make to deal with people's inadequate playback devices   but since i work by sound, and it's the actual sound that is what my music is, not the notes or whatever, then I can't add in stuff that shouldn't be there just to let them hear it...then they aren't hearing my music, they're hearing...whatever it is that was stuck in there.

To me, it's like having a painting that happens to have a color pallette that is dark, intending to convey a certain look, and then having people with dim lights not being able to see the detail in it...i can't repaint it brighter to help them, it would ruin what it is. 

I relaly don't make "music" as most peple think of it; I make sound sculptures that resemble music in some ways. 😆  

 

 

 

27 minutes ago, treesha said:

Hasnt arizona been crazy, its like there was no winter but for a day here or there, like today. 

Yeah, I miss winter....seems like it's been a few years since we've really had one.  But I guess that's expected the waythings are going. 

 

****** Also, I can't install new things for my old SONAR due to some problem with the VST adapter resetting and losing existing plugins / settings, and causing my existing projects to not work because they no longer see stuff that is still there just like it's always been.   Long story short it's not fixable by any means I have available, as I can't spend more months to manually fix each thing that breaks, so I leave it alone and just use what I have.    

If I could figure out the system which teh VST adapter uses to create a VST ID for a plugin, then I could just manually create registry entries for each new plugin in the right sections, but I have never been able to find any information about this anywhere, in all my years of looking.  

 

Someday I may have time to finish setting up a "new" system and get everything all working in that so I can add new things there, but it isn't going to be soon. 

 

For full mixes I can take them into Audacity which can use some VSTs (most of them crash it or are silent) but this doesn't help me compose, just fix things afterward, and it's difficult to use since most of it's tools work totally different than they should, are very unintuitive, etc. It's even pickier than SONAR for where to click on things and I often have such trouble doing that it's very slow and frustrating work, and no fun.  I still use it for audio editing for samples and such to use within SONAR for things that I can't directly do in SONAR (really just fixing sample-level glitches and the like).     I also use it soemtiems for jsut dropping a bunch of new audio loops or whatever into to hear how they sound togehter or separately when I either already have something going in SONAR or when I don't want to fire that up and make a project and all that stuff, just listen to the raw audio and pick and choose bits for something I will then use in SONAR  (this is how I started out the A Peek Over The Wall project, for instance). 

 

7 minutes ago, Variorum said:

You probably know this, but never plug or unplug the firewire cable with the unit powered up. I (and a lot of others) have fried the FW-1884 firewire chip by doing that. Not a fun repair 🤪

Wierd.  FW should be hotpluggable.....

What is "Cinnamon Girl"?

There's a new version up at the Bandcamp link in the first post, and now it has a title, "I'm Sure It's Nothing, But....".   

The old version is still at the Soundclick link there.

 

I udpated the snares to vary them more and better fit the accent spots, removed some of the clips here and there to let it breathe more, fixed some of the mix, turned the bassline down.  

 

On 2/17/2025 at 1:02 PM, treesha said:

Interesting. I agree that a change of some kind would add to it. I am a definite lover of bass and deep low end, but the low end in this seems overpowering.

I don't have a system that can reproduce really low lows, so I guess I can't hear that. 

I turned down the bassline by 9db; how does it sound now?

 

On 2/17/2025 at 1:02 PM, treesha said:

I also wonder how it would sound on playback devices that don’t handle those low low lows, if they are missing it could sound a bit empty.

That, I don't really worry about--I create stuff based on the sound that I hear.  If someone doesn't have a system to play it back, I can't really help that.  😊    If I had to create based on the lowest common denominator for people to hear everything that was in my music, I'd have to create it for a range of less than the old rotary dial telephone systems, since the speakers on many celphones today reproduce less than those, and that's the kind of device many people play stuff back on.    

 

So i just work with what I hear in the sounds, vaguely like a sculptor chiseling away the marble to find the shape within.

 

 

On 2/17/2025 at 1:02 PM, treesha said:

I like how you use vocals in your music. It does sound mysterious indeed ha

Thanks....I have wanted to use vocalizations and such for a very long time, but until this past half-year had no access to a way to include them, as I can never get anyone capable of making such sounds to work with me (well, I can't actually get *anyone* to work with me on anything, but that's another long set of stories).  I can't make them myself, I have completely the wrong voice for it even if I had sufficient control over it. 

But now there are a number of useful vocal sample libraries out there for free, or really really cheap, and I can use, adapt, or hack them to make some of the sounds I want.  Sometimes they virtually create the music (such as Less Like A Whisper), sometimes they just fit where I want a sound (such as in this one), sometimes they guide some of my choices, etc....and this is what all sounds do for me. 

I hear music in everything--I was taking apart an ancient Schwinn trike to build a different kind from, and the wrench hit the spokes, so I played the spokes for a while with a couple of wrenches just for fun.  Then I recorded each spoke into the celphone, and some other sounds like scraping the spokes and rim, hanging it from a skinny tree branch and whanging it like a gong, etc.   I'll use those in a future project I'm still collecting the sounds for.    

This is part of the bit I played the wheel, after a moment of listening to which spokes sounded more like "normal" notes relative to each other. 

 

On 2/17/2025 at 4:19 AM, Keith Wilby said:

Yes I think that's spot on now 👍