Amberwolf

Since that shows a piano up the side, I'll assume that you're doing that in the piano roll view. That would mean you're using a MIDI CC. If you have not first done the MIDI Learn inside Axon per however it's manual tells you to do that, so that whatever CC you're using for the Volume there (probably 7, that's most common), is then assigned inside Axon to control whatever volume control you want it to. You may also have to setup the correct MIDI routing (channel, port, etc) to ensure it can get to Axon, either inside Axon or your host (Next, in this case). That you'd have to check the manual for the host and Axon to be sure that's done right. Some synths can be inserted as a synth, with a MIDI track feeding them and then the synth outputting to an audio track, or as an effect in an audio track's bin. In the latter mode some of them may not be able to get MIDI input, so you may ahve to be sure it's setup the first way--see it's manual to find out which way it works. Alternately, you can simply use normal volume automation on the audio track the synth outputs to, which doesent' require any of the above complications. I'm assuming Next has track automation for audio if it does for MIDI (I haven't used it, just ancient SONAR / Cakewalk from a couple of decades back and before...but even they have it, so....). If you can't control it's volume that way, then you can insert a limiter, eq, compressor, etc., plugin that supports automation into the fx bin of the audio track Axon feeds, and then automate that fx. (almost any fx has a volume control built in, sometimes defined as gain, sometimes input and output separately, so you can use almost anything to control just volume). If there is no automation available in your host then you can't use automation to control anything...but as long as there is, you just have to use the right kind of automation in the right place to control the right setting for what your'e after. Sometimes it takes a bit of drawing out your routing for audio to find out where to stick a control.

Why, are we too sexy for our words again?

Better than being a leaf in the wind?

Does Axon itself support automation for the specific things you want to do? If not, you can't control it via automation. It does state that it has a full MIDI learn mode, so you *can* control it via MIDI. Since it has an internal mixer, you can automate that via MIDI after doing it's learn function, to do whatever mixing you like to do, even if the host you're using it doesn't have direct automation functions. If you just want to fade it in, you could just use volume automation to fade in, if the host you're using suports that, in it's audio output track. Or render it out to audio and then use the host's methods for fading audio files. (clip fades, etc).

I bet you get the same answer from an AI.

Oh, if only it was that simple and easy. But thank you for posting it for those that it *will* help.

maybe: https://discuss.cakewalk.com/search/?q=color&quick=1&updated_after=any&sortby=relevancy&search_in=titles https://discuss.cakewalk.com/search/?&q=theme&quick=1&search_and_or=and&search_in=titles&sortby=relevancy

In my ancient SONAR from around a couple decades ago, it's done in the track properties dialog; I can put in around 30,000 characters IIRC. (might be 32k to do the binary thing, can't remember...never used that many).

If I use Shred (acmebargig) in my ancient SONAR, even with no automation on the tracks, I have to turn autosave off or I can't even work on the project, as it may autosave every few seconds. It's the only one I can think of that is this bad that I still use.

That sounds potentially useful. My tinnitus is very very LOUD and in multiple bands. I have occasionally sat down to find the frequencies, but have never finished the process (not sure that new ones don't come up all the time, either). But I have not tried "notch therapy"; I ran across a reference under a different term but is probably the same thing, but didn't dig into it. May i assume that the notch you're creating is there to only *allow* that frequency thru? Rather than to block it? FWIW, none of the broadband noises (pink, white, grey, etc) have helped me; if I am running my boxfan (or pink noise on a speaker when its too chilly for the fan) that helps me sleep by blocking out the noises of the world, my tinnitus is still just as loud and present as always (since it started a while back (couple years ago? I don't remember anymore; it's so loud it makes it hard to think, remember, concentrate, or do anything) and keeps me from sleeping even as poorly as I used to before it started. If the Melda plugs are available as individual installers (not going to use any "managers", had my fill of problems with those over the years), I'd be willing to try if the ones you're using are the free ones. If not, I probably already have things that will do the same jobs.

Would be nice. I sometimes hand tune the samples I use for percussion (directly in tracks, not thru a sampler or other synth, so that I can carve the sound exactly the way I want it for each hit where needed) to match waht is going on; sometimes I leave them as they are to contrast, or tune them *away* from everything else to contrast.

To be fair, there are actually quite a few people that can't figure out how to open various products that have been made that way for decades, and if these people watch "TV" or commercials or whatever, they've almost certainly seen someone open them "correctly" multiple times. I have seen people I work with open soda and water bottles by prying at the cap until it breaks, with a key or even a bottle opener, isntead of just unscrewing it. Also seen some open them by twisting *the wrong way* until the cap breaks or the bottle does (in the case of thin water bottles). I've seen people open pulltab cans of various types by using something to rotate the tab around until it can't push on the scored section, then pry the tab up and break it off, and hten use it between two fingers to beat on the scored area of the can top to break that then drink whatever it is thru the tiny sliver of opening they've made. I've seen ships on fire off the shoulder of Orion.... (just seeing if you're still reading.) There *are* a lot of packages that are poorly designed, and many otherwise well-designed ones are so badly made that they can't be opened. One of the most common I run into is the half-ziploc bags, where only half the top is openable, but teh ziploc isn't lined up with this hole, and is sealed into the bag such that it only covers part of the hole. Another is the impenatrable foil-and-cardstock seal with plastic under it. There are tiny <1mm "tabs", often as many as 3, that don't actually stick out beyond the plastic of the jar enough to grab hold of, even with good pliers or wiresnips, much less fingernails or even teeth or a finger pressed along the top of the seal and a knifeedge under the seal edge. If you instead puncture hte seal with a knife, etc., and pull with that, it just tears a line in the seal. You must then proceed to disassemble the seal a fingernail-size-piece at a time. Once you get htis done, you realize there is still a plastic membrane covering most of the opening, and it is fused to the jar edge so well that you must run a sharp knife around the edge to cut it off. There are the "tear to open" packages where the divots to begin the tear are well above the openable area, well within the heatsealed portion, so this only tears off part of the seal. Optionally the plastic is the wrong kind and can't be torn, it just stretches. Or the plastic is a type that always tears in a curve away from the rest of the package toward the top edge, so the tear never reaches the openable section and only takes an inch or two off the completely sealed portion. Etc. The pulltop cans (progresso, lookin' at you) where the metal is insuffiicnetly weakened at the score line around the top, so it requires a leverage-inducing prybar of some type to remove the top. Some quarter of the time, perhaps less, the force required to tear the metal at the score line to open the can exceeds the strenght of the pulltab connection to the lid, sending hte can to the top of your toes and the tab and prybar into your forehead. I could go on, but....I'm worn out just thinking about having to do all those things again.

Is there a way to code Sonar so that it simply doesn't open drivers it "knows" are this type of driver, or others that it "knows" are incompatible for whatever reason? "it knows" meaning y'all having created a list of those, kept updated, preferably something in an ini file that can be hand-updated if necessary, so a user can either add a new one to it if they have a problematic unused driver on their system that must remain for some other program, or remove one from it if they actually need that driver for Sonar and it does work on their system normally. It would save y'all and a lot of users a whole lotta heartache and time.

It's possible that extreme gaming optimizations may apply to an audio system. Back when I had to start using Win10 for one of my systems, I found Black Viper's Windows 10 Service Configuration pages to help quite a lot, without breaking anything. (I used the most extreme configuration that still allowed internet access). I'd guess they have Win11 info by now.

They easily could be, if a program was written to do so, and the source graphics were of sufficient resolution to allow upward scaling, and of the right design to be usable in downward scaling. Not being a programmer, I don't know if it would be any more or less complex than converting a whole GUI to vector.

The Cakewalk free version *is* SONAR. The only difference is whether or not you pay for the extra features, and use that login on it. The program is the same either way, AFAIK. So you might need to give more details on what exactly you're using as the free version of cakewalk.... Generally, if something works in one program and doesn't in another, it means that there is a different setting from one to the other. If the same thing happens with multiple audio interfaces, it's more likely to be a routing issue within the project. If you start with a completely blank project and just import your working wave file, what are your results? (after verifying that your routing does still go from the track output to the audio interface, with no plugins in the way)

I use Sonitus MBC, Reverb, Delay, EQ, and Compressor in everything. Modulator in some. Gate in a few, Wahwah in a couple, and Phase somewhere. I think the only ones I have never used were the two Surrounds. If I were to ask for just one thing to be updated on them, it would be to have full automation of every item and control in every plugin. There are a number of things in various ones that don't ahve automation available. It'd be nice if the names on all of them also completely matched the UI control names (most are close enough, but not all). The UI is fine for my purposes, being much more usable and readable than most, though if I could update those, I'd add a display showing the output results, as a vertically-scaleable spectrograph in the case of EQs, and as a waveform in the case of the others (ideally with input WF on top and output WF on the bottom, with a horizontally-scaleable time and vertically-scaleable level. In the EQ, I'd stick that as the background for the EQ curve itself. The others would require adding a spot for this.

I had to retry creating an account so many times that I had to give up and do other things, then on a whim tried again, and a few times later it worked. Then it took me a bunch of tries to even get it to stay in my cart. I'd add it, and it would be gone. Then checkout failed in a bunch of different ways, most having to do with the humanity check. Then it kept asking for a zip code that it already had, but it wouldn't let me enter anything--it just highlight4ed the box red, and wouldn't do anything else. Eventually i tried the link/button that expands the popup window it to give a whole new address/name field set, and then it sent me multiple emails telling me that I had sent myself a gift and that I had purchased something, etc etc., The links in the emails intended to take me to managing my account, or the order itself, don't work--they appear to be correctly constructed but the site asks for the email associated with the account, but it won't accept it. No error messages, just keeps going back to the same page. :roll: Finally eventually getting past all that, the instructions linked in the email (this link actually does work) say that I have to use the Native Access to download it and install it, but NA won't install on my system (NTK Daemon installer always hangs and eventually rolls its installer progress bar back and goes away, and then nothing else happens). There's no apparent option to just download the synth (as there is for some other Kontakt instruments I've gotten), so that I can simply extract the samples and use them directly in my music, as I have done with those others (since I can't afford to buy and probably can't install the full Kontakt anyway, which almost all of the instruments require). So....I gave up too.

I ditched all the tracks except the vocals, and built my own percussion track (still have some of their snare/clap but am working on replacing that) in my usual eclectic style (not everything in it was originally "percussion", etc). Rest of the bits built around the vocal (which is largely intact other than altering the fx on various sections and deleting out some of the inter-section bits, and adding a copy of a few sections after the "end" to go along with a distinctly different version as a changeup) are very different from the original. I didn't even listen to the backing tracks first, just removed them and started working on something that might be more at home in Atomic Blonde.... Curious enough to want to hear it yet?

FWIW, if you don't want to change your whole screen zoom, etc., all the CHM help windows I've ever run across accept the CTRL+ and CTRL- to zoom in and out, though it still enlarges all the images too, at least it's only for that window.

I know there have been some discussions of TTS1 replacements for GM soundsets; I don't have any thread links though. They may mention the CCs tehy respond to but I didn't really pay attention to that. This is a list of threads with TTS1 in the title, if it's helpful; it's proably not all of the discussions about it and it includes irrelevant ones too https://discuss.cakewalk.com/search/?q=TTS1&quick=1&type=forums_topic&updated_after=any&sortby=relevancy&search_in=titles If you know which parameter it assigns it to, you can reassign your CCs or automation to that one. Or if you can't reassign those, there's at least one MIDI plugin by TenCrazy that lets you reassign anything to anything.

In my SD3, if I press F1 while on the SD3 window, it pulls up the SD3 help. (I haven't perused it to see how helpful it actually is, but it is specific to SD rather than SONAR).

Hmm....would probably be great for some of the stuff I do.

Since we aren't allowed by contest rules to post remixes on any site other than the contest site, is there anyone here that would be willing to listen and critique by a private method? The critique can be public...just not the remix, until I have it finalized to post it on the contest site (LabelRadar).

They fixed that now: