Amberwolf

Neither one of those is the case, as I am not telepathic and cannot tell what they did from the insufficient information provided. That was why I asked the questions, and then posted the explanation of the reason for the questions. If you were communicating with them outside the forum to get the missing information, or just managed to correctly guess how they set it up, or something else entirely, well, I wasn't able to do that. In the future I'll just remember to not answer this poster's questions, as I already do for a number of others. Apologies for the interruption.

If you post the details of what you did, it will help others that come along with the same issue later.

You can upload things directly to Archive.org to preserve them, if that's something you have time for. I don't know if they ever changed the policy, but a long long time back before they had that option, I offered some files I had from defunct forums and sites to fill in missing stuff, and they said they could not alter any archived sites, but they didn't explain further, and I didn't get replies to further inquiries.

The bitcrushers I have used appear to be removing assorted frequencies, along with in some cases / settings changing the bit depth. In those cases, you can't directly "undo" the changes the BC made--the data is "gone". There are almost certainly maths that can interpolate the data that *is* there to create new data that "fits" the existing data, as can be done with images...but it isn't the original data, so it may not sound even remotely the same as the original did, depending on what was missing. I expect that some form of "LLM" AI where it's model is composed of bajillions of sounds it can use to compare to the BC'd sound, and where it has maths to try to figure out how the BC was done (which gives it more info on what's missing and why), would be able to do a decent job, if slow. There are probably simpler ways but those are two I can think of that have already been done wiht other "missing data" situations to help restore damaged (accidentally or deliberately) data (especially images).

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I don't know that this will do what you want, but it was suggested in a search for anti-bitcrushing plugins as something that might help Apulsoft's ApShaper https://www.apulsoft.ch/apshaper/ Never heard of it before this, so dunno how it might do that, but it has a demo version....

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Yes, and I acknowledged that before, but you posted a question, so I answered it.

Well, it's much more complicated than that, whcih is why the info is important to know how to help. TTS 1 is a synth. That means it takes input from MIDI tracks, and it has an audio output. (several, actually, per another user's post above) So you can set up a "multitrack" drum part in several ways. You can feed a single instance of TTS1, that has just one audio track output, from a single MIDI track that has lanes for each drum's notes. You can feed a single instance of TTS1, that has just one audio track output, from any number of multiple MIDI tracks; --each of those tracks could be sending on the *same* midi channel, so that all of them are sending ot the same instrument (drums, etc) in TTS1. --or each of them could be sending to *different* midi channels, so that they are sending ot different instruments in TTS1 --or some combination of those two You can feed a single instance of TTS1, that has multiple audio track outputs with separate instruments on different audio outs, from any number of multiple MIDI tracks (see the variations above again for that, multiplied by the mulitple audio outs) You can feed separate instances of TTS1, each of which has just one audio track output, from a single MIDI track. You can feed separate instances of TTS1, each of which has just one audio track output, from any number of multiple MIDI tracks. (again, complicated by all those --ways to set those up, listed above). (there are further variations, but you get the idea) This "complicatedness" makes it possible to do a lot of different things if you don't mind the complexity, but doing it the "simple" way limits the things you can do while making it much easier to setup (and remember how it's "wired"). So some of the advice in the thread assumes you're doing it one of those ways, some of it assumes another, but all of it has to make assumptions because we don't know which way you have it setup.

I'm glad it's solved, but despite saying that you had them on separate tracks, you didn't specify which kind of track (audio or midi), or whether you have separate instances of TTS1 or just a single one, etc. ...something you should keep in mind for future troubleshooting sessions that will help people help you faster and more accurately with less wasted time on all sides.

Separate MIDI track, or separate audio track? Separate instances of TTS1, or just the one? Both of those are crucial bits of info to know how you have it setup, so that correct advice can easily be given without "random" advices that "eventually" hit the right answer. Each way you could have it setup has different answers to how to do what you want to do, that don't apply to the other ways. Knowing your complete setup of how your instruments and tracks are routed is often key to someone being able to help you with a particular problem (especially things like the topic of this thread). If you want completely separate control of every sound, you'll need to use separate instances of your synth(s), each with it's own audio and midi tracks. If you use just a single instance of a single synth for every sound, then there are things you can't control or do individually. Some synths have multiple audio outs that you can assign to different instruments, but most don't. Someone above said TTS1 has four, so you setup separate audio tracks for each of those four, and then setup TTS1 internally so the instruments you want grouped together are all sent to the same one of those four, and all the ones you want separate are on each of the other three. If you need more than four you would have to use a second instance of TTS1 and route your midi tracks for those to that one.

If the Korg has a "multitimbral mode", so that each midi channel can have a different instrument on it, you set it up for that. Then set each instrument you will use on the Korg to get it's notes from a different midi channel from each of the others. Then in Sonar you create a midi track for each instrument on the Korg, and set each of those tracks' output channels to the one the Korg instrument for it is set to receive on. If each Korg instrumetn also *sends* on a different channel, you set each Sonar track's input channel to the corresponding one as the Korg instrument it's for. If you need to actually record on those tracks all at once, then you'll arm all the tracks for record, and then use the record function in Sonars' transport to begin actual recording. If you only need to record one at a time, you just arm the one you want to record on, then use the transport record fucntion. If you actually need to record the audio from the korg as well as the midi, then if the korg only has a single stereo audio out, you have a choice: --have a single stereo track on Sonar that has *all* the sounds at once (just like the final audio file you'd export to make an MP3 or wave file or whatever for listening to outside of Sonar), and you'll play back all hte midi tracks at once to record the audio from all of them at the same time or --have a separate stereo track on Sonar for each instrument, and you play back only that midi track while recording the audio (mute all the others not being recorded). The instructions for these depend on which way you want to do this.

As Promidi notes, that feature doesn't move the data visually, it only compensates for the timing during playback. You'd need to actually move the data itself by that many ticks to visually change where it is on screen. If you select that data, then choose Process - Slide, you can enter the number of ticks and choose Ticks, to actually physically move the data to it's "real" position.

Thanks, I appreciate the info! Would be nice if their website didn't outright lie about that and tell me straight up that it requires the control center to install any of their plugins.

I have what would probably be called language problems (maybe associated with my autism? who knows), that apply to math, music, coding, anything of that nature. I can't really read and comprehend any of them in a useful way (other than English, which according to my family I was starting to read before I could crawl, though I doubt that's true). I can see the notes, words, etc, and transliterate them onto other forms information bit by information bit (letter, note, etc) like taking sheet music and inputting it into SONAR's staff view, but I don't think in any of it, and they don't "mean" anything to me. I "understand" what they mean, in a technical way, but nothing is conveyed to me by any of them, and I cannot convey meaning to anyone by using them. I have to hear the sounds themselves--not just the notes, but the specific sounds made with them, to give them any meaning. And for me, a "cover" of a song that doesn't use the same sounds, etc. as the original, in basically the same way, is not the same song--I cannot connect them in my head, even if you put the same name on both of them it doesn't mean anything to me. I also cannot repeat what I hear; it just passes thru me. So I can hear things (even what I myself am playing) but they are not "recorded" in my head like they should be, so I can't play them back. I can recognize them when I hear them again, though, so they're in there somewhere, just not connected to the right systems to use like normal people do. I'm the only one in the family that was never given the chance as a kid to learn an instrument or music or all that stuff (the rest of them got music lessons in one instrument or another--guitar, piano, clarinet, violin, etc., and I was not allowed to be in the house while they were at their lessons or practice, and never figured out why; nobody ever told me either), but I am the only one that actually has any interest in making or playing music, and I'm the only one that ever created any, performed any, etc. Makes me wonder if I'd be any better if I had been included, or just different?

Some don't compose anything; I'm not sure if they just can't, don't have the imagination to do it, or just don't want to. Long time ago there was a local band that was pretty good (probably woulda gone somewhere, but they had "artistic differences"), and there was a guitarist they brought in but he couldnt invent anything just play perfectly what they did.

Sounds good to me (If I had a midi file for the song I'd probably be doing all sorts of wierd stuff to it). For me, it's just whenever I experiment with a sound I haven't poked at before, though getting something entirely new (rare) does it too. I'm still going thru that process with Z3TA2+ even after years of exploring it, sometimes with it's presets, sometimes modifying a sound or even starting from "scratch" on it (or random!). When I am stuck on some other project, I also do things like clearing it's events / clips, saving as a totally new folder/file, and randomly dropping audio (or midi) clips from my vast "sounds" folder , then rearranging, deleting, altering, etc., until something vaguely musical begins to take shape. Sometimes it even turns into an actual song, like some of the recent ones on my bandcamp (in my signature or the threads over in the Songs forum).

And doing this can affect how the drums sound, or even which drum sound is actually used, with some synths. I have not used TTS-1 in a very long time so don't recall if it uses different samples for different velocities, but if it does, stuff can sound very different using the midi gain or vel+ offsets to mix with.

Generally, if all your drums (or other sounds) come from the same instance of the same synth, then your volume control *is* the synth's volume control, or the track that it is on. If your drums (or other sounds) come from separate instances of the same synth, then you can do what we suggested. For synths like TTS-1, DR-008, etc., with multiple audio outs, then you can set up multiple audio tracks that have the synth's separate audio outputs on them. Then set the outputs of those tracks to a single bus. But TTS-1 (IIRC) only lets you output the drum sounds on one single audio output, so you *already* have them all on a single volume control, for a single instance. If you have TTS-1, you probably also have Session Drummer of one version or another. This one supports an audio output for every separate drum (at least 8, IIRC), so you can effect / mix each separately in separate tracks, then bus those all down to one as suggested. The track the TTS-1 is in has an output selection. That is where you choose where it's output goes (not in the TTS-1).

As long as you don't mind installing yet another "control center" app on your computer just to install a simple plugin...and who knows what other invasive background stuff to go along with it, or autoupdates, or online-always-licensing, etc. (their site won't answer those questions, just that there is no standalone installer for anything and you have to use their control center). Pass.

I sometimes use ChannelTools' widening/narrowing controls for effect within a song, moving things within the mix via automation, for certain things. Sometimes I use the stereo to mono for basslines or subbass, then use it to widen the result out to a full "outside the speakers" pan, so it isn't "stereo" but it's not in the center, but rather separately in each speaker, if that makes sense, to get it out of the way of something else I want to sound in the center. (sometimes for a full song, sometimes just for parts of it). I have also used GPan, which was a free dx plugin from gsonic, for similar things, but it doesn't do all the things channeltools does (I think the full gsonic main plugin did but that's not registerable anymore as it was a paid thing and they haven't been around in nearly two decades). But you can still get Gpan full for free here (the installer was archived): https://web.archive.org/web/20061101230854/http://www.gsonic.com/gse/gse.html

What specifically is a "Beer Driver"? If that is an app that comes with the device (or is from the manufacturer of the device, made for that device), and it doesn't see the hardware, it means the hardware doesn't have the drivers for it installed, or there is a problem with the drivers being unable to detect the device (usually because of a hardware problem, but sometimes because of drivers for a different device that may not even be connected to the system anymore, but are still installed).

I'll vote for this; it's one of the various functions that are so basic that I don't understand why they weren't already included in Cakewalk way back in the DOS days.

Not sure what you mean by that. If you mean only have the bus volume control anything, you'd simply leave all the individual track volumes at the default, and not automate them either. If you mean just have a volume control by itself, no--the bus has the controls it has; you just don't use any of the ones you don't want to, and just use it's volume. If you mean something else you'll have to be specific.

The "best" way to do this is to create a bus just for all of those to output to. That bus then goes to your master bus, that then goes to your hardware output. That allows you to not only have a single final volume, trim, etc for them, but also to have any global effects you may want on the whole thing (like a final multiband compressor, limiter, room-shaping-reverb, etc). (I usually end up using the controls in the multiband itself as the overall contrrol for that group of percussion, but I also usualy have more than one percussion bus, one for each kind--like a regular kit, a bunch of hand percussion, effects percussion, and then a bus to merge all those together, and then a further bus that merges bass and percussion and sends it all onto the master bus. You can hear how that all sounds in my projects at http://amberwolf.bandcamp.com; I started using that full process somewhere around The Tomorrow Option, IIRC, before that it was just the one drum buss and the bass buss feeding the perc-bass feeding the master). If you really don't want that, then you can group all the volume controls so they all move at the same time, either as a quick group or a named permanent one. But if you have automated them, that may not work as expected. In that case you can switch to Offset Mode which gives you access to the static non-automated volume controls, and group those and move them together.