Amberwolf

One unfortunate side effect of having to make filters to catch spammers...higher moderator workload, annoyance to regular users. But often better than immense amounts of bot spam. (I've had to use this method extensively when we had bot floods)

I'd forgotten about that feature; I never got it to work in my ancient SONAR...but i just rechecked it out in my ancient version and found that I had simply missed setting the correct editing options within Global options - Editing (it was set so that edits did not autoselect other clips, and so that splits created new groups instead of leaving them in the old ones). But, even with them set correctly some edits don't affect all the clips (just those that are at the same "time" as the one being manipulated). (split, drag-edge for fades or length changes, etc) Some edits don't affect any clip except the one you actually clicked on, such as adding clip envelopes, etc. Maybe the newer versions are different? Some edits don't affect the clips as just themselves, but act (perhaps as expected, though not as desired in this case) as if you'd just selected all those clips, like bouncing to clip--any clips on the same track that are part of a group are turned into a single clip, though those on a different track are not combined with them, which is good--but it would be nice if they were bounced each to their own clip. (perhaps is different in newer versions but I doubt it; it's probably not desirable for many users as it's different than the usual behavior). (also, the bounced clips are no longer grouped at all, which is also probably expected behavior but not desirable in that now you would have to re-group them after you figure out which ones they are). Still useful and will do a lot of what I want, so thanks for bringing it up!

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I don't know that there's a "good" way to implement undoable input-quantize, because it is altering the data *before* the clips are created, so the clips don't have the unquantized data--that is gone. It would require storing all of that track's original input as well as the IQ'd input. The "easy" way to implement the undo would affect everything on the track--it would unquantize all clips on that whole track, which you probably wouldn't want. It would be possible to store the data per-clip, but is likely a lot more complex to program. Assuming the feature doesn't get implemented (or at least until it does, if it does), you could use one of these (or other) options: The following "solution" doesn't have all the qualities that IQ does, but it would at least let you undo. It doesn't alter the way the data is displayed on the track, so if you need that, this won't help--it only affects the way the data is sent to it's destination: Instead of IQ, use the Quantize MFX per-clip, in the clip FX bin of each clip, so that you can keep altering the quantize properties as needed, or disable it entirely, toggle it on/off, etc., and have the clips that need it using it, and the clips that don't left alone. (or use it in the track FX bin if you want the same settings on the whole thing, but IIRC you can't alter, apply or undo just part of it that way). If you use it per-clip, you can apply the FX to permanently alter it and have it display as quantized for stuff you're sure of. The following alternate "solution" does have the qualities of IQ (except it's not automatic), and lets you undo, and it does alter the way the data is displayed on the track: Record normally without IQ, then copy the results to a muted or archived track. Then quantize the original as needed, and if you need to undo, that is still in the other track. There are probably other ways to do this, too, but those are both ways I've used.

There are also a couple of possible solutions in this thread:

In Device Manager (in the System control panel, I think (they keep changing where things are in Windows control panels in various updates), but can be accessed a number of ways, including rightclicking on My Computer icon and choosing Manage), you can double click on a specific device and look at the drivers tab. There is usually an option to revert to a previous driver. You may need to uninstall the NVidia software suite first to try the Microsoft built-in driver, but you can try it without that first. Keep in mind that this is just a guess as to what's wrong and isn't a high chance of fixing it...but it's worth trying.

I have had a number of recent projects where this would be a handy function (especially where I am messing with a bunch of separate parts of a "kit" of sounds, and want to alter each of the separate parallel clips in the same way (but still have them on separate tracks and/or buses for different fx chains, etc). Some edits can be done the same to multiple parallel clips at once, simply by selecting them all before performing the action: --split --click-drag length from beginning or end --copy or move (probably others I can't recall ATM) Splicing clips (bouncing multiples down into one) couldn't be done this way because it would bounce them all to one clip instead of leaving them as separate tracks.

Are you using the NVidia drivers? If so, can you try reverting to the base Windows drivers instead? Or, if you are using the base Windows drivers (by Microsoft, rather than NVidia), then try the Nvidia drivers. I have had odd display issues with Nvidia-specific drivers now and then over the years ever since they started up (often in 3D-modelling programs doing 3D rendering, but sometimes in the regular parts of various programs. I don't recall an issue like this specific one you have, but it wouldn't surprise me if it turns out to also be an issue).

Though it is possible that a new feature that does this was added after my version, but the only linking I'm aware of is that when you create copies of existing clips, you can choose to create them as linked so that edits to one affect the other. If the edits are all just track envelopes, you can copy those (with or without the other events in the track) and paste them to the new track. (not aware of a way to copy a clip envelope, but as noted my version is old).

I won't pretend to understand cal / etc enough to know if this site would be helpful in learning more about the various functions, but it's one I've had archived for reference for a future day when I might have time (and desperate need enough) to learn how to write or fix cals (other than some basic hacks). (the author also knows a fair bit about bicycle stuff, and I learned lots about that from him and Sheldon Brown as well). https://www.bikexprt.com/calfiles/index.htm

Not everyone always does. I certainly don't. Some people never work things out in their head before starting to get it down. I usually compose my music on the fly, section by section, move sections around, etc. That's why using a DAW is so awesome. To me, it can be like playing in a sandbox. Exactly. Everything I do is improvisation, playing around, letting what I hear influence what I do next, etc. I love the complete freedom it gives me to be able to do this. I can also keep every version of everything I do, by saving as a new file everytime I save. So I can experiment with anything, and always go back if a line of creativity I pursue doesn't work out. (which *never* happens, of course )

This doesn't fix the problem, but to see if your data is recoverable: Did you see the files in the folder as you saved new versions of them? If so, they should still be on the drive somewhere. If the project was always saved over the top of the old one, and the crash happened during a save process (even if this happens in the background like autosave, etc), then it might be trashed because parts of the file may not match up with others even if it's recovered. I'd guess you've already checked to be sure the files were not saved in an incorrect location by the program? If not, a search for the project file extension(s) and any audio files generated is at least worth a shot (using the advanced options to search within system folders as well, in case something really messed up where they went). There are programs out there that can locate "lost" files, and might be able to find yours, if they were indeed written to the drive at all. Doesn't always work, but it's worth a shot if there's any chance they're there. FWIW, doing these things (other than the picture cache) may ensure inability to recover "lost" files, as the defrag will move file segments around the drive, and overwrite things that might still be there but were not in the visible files (no FAT references to them). With modern harddisks (even the decade-plus-old ones I use) it's almost always unnecessary to defrag for performance reasons; even a fairly fragmented drive accesses data fast enough to keep up with most usages (maybe if there are enough audio tracks continuously streaming to/from the drive it might start choking). I'm sure it has nothing to do with the problem you're having but it might make it impossible to locate / recover lost files (or accidentally deleted ones) in the future if you ever need to do so.

Sure. Were they simply recorded at twice the normal rate? If so, then they will play back at half the normal rate if you are using a normal cassette to play them back (instead of the original device). Once recorded in, then change the clip properties to "looping" and then change the number of beats in the clip to half the number it shows. That will cause it to playback at twice the rate it was recorded at. Alternately, if it isn't a simple 0.5x or 2x rate change, you can instead hold the CTRL key and click-drag on the end of the clip to stretch/compress it in time; it should show the percentage as it is changed. There are other methods as well, such as clicking on the clip and pressing CTRL-L (if this is bound to Loop toggle in your Sonar) or otherwise turning looping on for that clip, and then change the tempo for the project until the clip plays at the speed you want. All the methods above are undoable; if you want to make them permanent you simply select the clip and bounce it to a new clip.

Using your title as a google search finds some potential solutions. https://www.google.com/search?q=AI+chord+analysis+in+songs

The screen shot shows a track and it's clip(s) selected, AFAICT. Since the EL shows "note" in the type field, it implies that there are note events in each of those, but that for whatever reason the actual note data is not visible. If it is not a resolution issue, perhaps it is a color issue--such as the data color and the background color are identical or so similar they can't be distinguished by eye. The screenshot itself doesn't appear to have any difference in color in any of the pixels in the data fields, when I adjust contrast/hue/etc in a viewer, so it's most likely that the color for text and background are identical, or that something is preventing the display of the data but not the data type. BTW, the OP appears to have been having this problem for at least a year and a half, given this post from april 2023

I don't know if they ever made them VST3, but Acmebargig has a fairly versatile free set of guitar fx, that probably has components to create the effect you're after. https://plugins4free.com/dev/529/ I use the regular VST version of Shred with some of the basic heads/etc for most of my guitar fx (which I also use on non-guitar instruments). The other one I commonly use is LittleGreenAmp but I don't know if it would be able to make the sound you're after. I don't use that kind of sound, so can't help with the specific chain/settings you'd need, but there are apparently youtubes and other pages that can help with that https://www.google.com/search?q=youtube+on+which+effect+chain+for+a+metal+guitar+sound

User-created presets in the header are saved in the registry here for SonitusFX Multiband Compressor (for example): HKEY_CURRENT_USER\SOFTWARE\Cakewalk Music Software\ActiveMovie\Presets\{C54E2D70-F9CA-11D2-8C30-00805FE9FC03} Other presets for other plugins are stored in the other keys in that same subsection HKEY_CURRENT_USER\SOFTWARE\Cakewalk Music Software\ActiveMovie\Presets\ There might be other locations they are saved in as well, but that's where I find them when I do a search (Ctrl-F) in the registry for any of my user-created-preset names. I haven't tried to use the "presets" dropdown in the Sonitus plugins themselves since first using them way way back when, until seeing this thread, because nothing I saved in the presets up top where every other plugin and synth I use saves user-presets ever showed up in the presets button/dropdown inside the Sonitus UIs, and since I only cared whether I could save my user-created presets I didn't have a use for it's Preset Manager / export / import functions, as they apparently only worked for built-in presets, which I could get back just by reinstalling it. (I never save over any existing preset in a plugin/synth, because I might want to re-use that starting point again sometime ). I know that sometime ago I had a "preset manager" (written by a SONAR user? can't remember, but it wasn't an official Cakewalk product; it's not the one in the Cakewalk Plugin Manager, etc)) that would backup the registry entries for plugins and synths, and I think it also handled other custom settings within SONAR (maybe keybindings, INI files, etc?), but for whatever reason I started backing all those up manually at some point and have just continued that over time.

If you bounce the clip it creates a new file for the new clip. Open the clip properties dialog and it should have info there on which specific file this one is, so you can be sure not to delete it when you clean out files you don't want.

Preferably not inside each other.

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Just for the sake of trying it, I rearranged some of the clips and tracks of A Peek Over The Wall so I could just mute out all the bassline and most of the percussion, leaving just the slow stuff and accents, to make a "closer to ambient" version, over here: To really become ambient it would need quite a bit of changes, and an underlying unifying bed-sound I haven't decided on. It would need to not only fit what's there, but also fit the idea behind the song. In that show, the opening is full of rushing air / wind as someone falls and falls and falls in their cocoon dream, so, probably that kind of thing, so there's a temporary bed of wind sound. I'm still working on the original "ambient beats" 😆 version but the above will probably be the basis of an extended full-on ambient version of it.

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I don't have access to Next, so can't test this, but in the other Cakewalks (CbB and Sonar and older stuff) you can transpose inside the clip properties dialog (audio stretching tab IIRC) for either audio or midi clips. I would expect Next to have *some* way to do this, even if it's destructively processing it (via a menu transpose function or whatever) rather than that way. EDIT: google https://www.google.com/search?q=tranpose+clip+in+"cakewalk+next" says there's a manual here https://bandlab.github.io/cakewalk/docs/Cakewalk_Next_User_Manual.pdf but searching on "transpose" only shows a way to do what seem like individual midi notes. So you may not have the functions that the other Cakewalks have?

Yes, for those who don't have multi-output drum synths, this would be useful to auto-split their drumtrack to separate instances of that same drum synth to effect different parts of the kit differently.

Thanks! It's meant to be mysterious so it's good that came across; the idea is that one of the Haibane (kind of a ghost but not exactly; they dont' know who they were) in Guri (kind of a purgatory but not exactly) climb to the top of the wall surrounding the area, and see whatever is outside that (which is never shown or described, though a few things are implied by things that happen in the show).... Yeah, it's not really ambient (I started out trying to do that, but "couldn't help myself" after hearing some of the other clips available in the sets... 😊 After playing around with it I think I'm going to "branch" it into two "forks" (like software) and have this one and then one that's really ambient using the same main sounds and themes...but I haven't started that one yet. I took the whole bass track down by about 9db, and the bus down by 6db and the mix into the percussion/bass subbus down another 3db. Does that help? I have severe tinnitus (which only gets worse over time) so it's hard for me to hear a bunch of things in the higher frequency bands, and it can cause me to make some poor mixing choices even outside those bands (since it's not just the specific frequencies I can't hear, it's the overall whining/buzzing in my head that distracts me 24/7 from all the rest of it too). FWIW, I don't really like that kind (well, amount) of bass either, that shakes the ground for blocks around. (the actual sound, I don't mind, it's the earthquake-level power they use in those sound systems that makes it a physical assault upon everyone around them for blocks. I don't have a system that can do that, and I doubt that any of my speakers or headphones can even reproduce those frequencies, so I don't really know which things cause them. I've got EQs on every track and the master bus taking multiple passes of -18db on everything below 20hz, as someone on the untitled WIP said that every song I'm making has huge amounts of those frequencies that are taking up energy in the track but are things you can't hear anyway, But it doesn't change the Voxengo SPAN results at all, no matter how many of those I stack or where...so I have no way of telling what is going on down there. If I can find a different free spectrum analyzer that does work at the low end, I can put it in Audacity (which now loads VSTs) and export the SONAR results as individual tracks, then look at them in Audacity to see which ones have the problem, then play with filters until I find a fix, then apply that fix within SONAR.... (long story, can't see any new vsts in SONAR, can't fix that without breaking existing ones, there's a discussion in another thread here somewhere about it already, no need to worry about that here). Interestingly there is no flute or any other wind instrument (other than processed human voices in the clips from the Cymatics sets; I'm guessing one of those must be what you're hearing). It *is* supposed to be "high up" in that it's on top of a high "city wall" looking down on the unknown landscape / etc below. I reduced the percussion by about 6db overall, and some things more than that. Does it help?