Amberwolf

One big reason the Sonitus stuff is in every project I have, instead of one of the many other similar-type fx of each one, is because of what I can do it their UIs (the other is their sound). Personally, I despise knobs on a GUI. It is much easier to precisely use and *see* slider positions, especially relative to each other (even if there are "modifier" keys or motions to use a mouse with a knob to make it closer to using a long-throw slider; it's just not as obvious and easy, etc). I also can't use anything that wont' let me type in a specific value when I need to. (Not that y'all have any reason to care, especially since I'm not yet a paying customer, but I have sometimes severe problems controlling my hands and body, so being able to type in numbers is frequently the only way I can set things the way I need them to be, so anything that doesn't let me do that is something I often won't be able to use at all--doing stuff with the trackball set to really slow tracking helps with a lot of things, but it isn't enough all the time. I can't imagine that I'm the only person with such issues). I'm only going by the posted screenshots so far, and stated or implied things from other posters, not having yet used these new versions, so feel free to ignore anything that is incorrect because of that, and apologies if so: There are things in some of the new GUIs that are kind of a waste of space that could've been used for other things; for instance the "tempo bar" in the delay--in the original that is a small simple button that changes state as it's clicked thru it's options, and a readout for the tempo that is also a box you can type into. Having the "duplicated" space for the two different preset bars wastes space--the old one had a simple button-dropdown for it's internal presets that worked fine if you used those instead of the DAW's preset system. Entirely aside from the knobs vs sliders making it much harder for me to tell at a glance what relative values are in cases where that's desirable, there isn't a box to either see the values or change them direclty to a precise value by typing instead of fiddling with a knob. The two big things that would be real improvements to the Sonitus Suite: fixing the automation parameter names, and adding the missing ones, and adding more feedback in the UI for what is actually happening, soundwise, to the output vs the input. Somewhere around here is a post from the last few months with my thoughts on those things. If I find it I'll link / quote it here, in case it is helpful.

But you could list the films you've scored that have those bits in them...? I thought I'd seen some old jazz drums on Pianobook but cant find them now...but I ran across this funny one while I was looking: https://www.pianobook.co.uk/packs/cat-toy-drums/

That usually means your other MIDI tracks are outputting to that synth, or that there is an MFX on those tracks that has an output set to that synth. If you don't see any that are, I'd recommend using track manager to ensure you can see all tracks and that there isn't a hidden track that is doing this.

Ok, now Drywater, Mars has a "sequel", [b]The Heist[/b] The Heist (Drywater, Mars, Part 2) (bandcamp link (this will get updated with future revisions)) The Heist (Drywater, Mars, Part 2) (soundclick link (this will stay as the original version)) At the moment it is kind of a concept audiosketch, like the first version of DM itself. It is presently based quite a lot on DM, with many of it's elements incorporated, with new ones added. I'm still working on how to integrate at least a section of DM's main theme, to really cross them over. It started out as a way to fix the last section of Drywater, Mars to help it both be more integral to the rest of the track, and also to distinguish it and dramatize it, make it more of a big ending, but that didn't work at all, so I just started screwing around with it and muted out all the primary vocalizations, as well as the primary and secondary lead parts and all of the original bassline and guitar, most of the strings, all of the hard-bowed violin part, and just went with the new bits (mostly bassline), which don't directly work with the original parts. After a couple of hours of shuffling things around I ended up with this, which is it's own thing now, but is also part of DM. Maybe it's like episodes...we'll see, because I have some other things I wanted to try in the original that didn't fit, and maybe I can do this with those, too. Much of the orignal percussion is just like it was, some of it I changed volumes on, some of it I removed entirely, a bit of it is shifted in time relative to the original and each other, and there is significant new percussion added. The vocals I kept I moved in time and pitch, some were shortened or lengthened. I brougth back a part of one of the main synth lines in a softer section (which still needs a transition into that part) as a tie-in; I might bring back the ohter synth lines there too, or somewhere else.

The only other option I know of would be to go back to your prior saved versions of the file, or your backup files of it. If you had autosave turned on, or versioning, then Sonar has created at least one backup of the file at some point, that should be in the same place you save the files. AFAICR versioned files don't have the file extension, so they don't show up when you use file-open, but if you go to Windows Explorer and browse to the folder you can still see them, then copy it to a second file and rename it to add the file extension. If you don't have any of those, I would recommend in the future, regardless of the software being used, to always use SaveAs, never Save, and create yourself a name-versioning system, such as adding a number (and perhaps a descriptive phrase) to each file whenever you save. Autosave and versioning also work, but they depend on the program being able to do so; if something goes wrong before that point, you can end up with the same problem you have now. So *also* using SaveAs rather than Save, and doing so as often as humanly possible, to new files every time, will save you a lot of heartache at some point in the future.

Or when there *is* no batery because it fell out of the rusted out holder....

At least you got the notification in a reasonable time. The KSHMR one didn't send me that till days afterward. Then it immediately sent me the notice on the track itself "wasn't interested". Then a while later "just listened to your track for the first time! You've gotten their attention. If they'd like to take further action, they can either shortlist or pass on your track." Then right after that "Thanks so much for participating in the Contest! Unfortunately your track has been reviewed by the contest curators and wasn't selected as a winner this time around. Not to worry though there are always plenty more exciting and valuable Contests to participate in!" So their notifications are delayed for whatever reason, from the actual things that are happening.

AFAIK in all these contests, the stems are only available during the contest time. I didn't end up making a remix (decided that since I know it won't win, and they aren't going to let me post it anywhere, I shouldn't waste my time making music no one will ever be able to hear), but I did play wiht the stems just to see what they were like, and found it itneresting to see all the punch points / etc in the waveforms; you can easily see where each part starts and stops, even if you don't hear it. Regarding notifications / etc., I'd love it if they were better, but AFAICT none of these places is about the user experience, it's all about what they can get out of you. On LR, I submitted a "review" of their site to them when prompted, and gave detailed feedback on many "broken" or inadequate functions, unclear UI design and statements, misleading UI elements, etc., and while their system "thanked" me for the feedback, I can't imagine they care enough to fix any of it (virtually no company does, I am usually shocked when I submit bug reports to companies that then actually act on them in a helpful way--that happens once every few years).

Audio? Or MIDI?

It was funnier in the PS/2 days when the dallas RTC chip would run the clock *backwards* when the battery died. Oh, and when I did computer repair for a living, I was teh only one that ever checked RTC batteries when there were problems...everyone else I ever worked with just replaced motherboards (which also replaces that battery in most cases, and when it didn't come wiht the board they'd swap it over from the old one and hte problem persisted, and they gave up on the machine, and I'd have to take over, and replace the battery to fix it). We were all A+ and in most cases various-manufacturer-certified, but it didn't make any of them any better at troubleshooting.

I don't think LR sends you emails; I think you have to look at your notifications and messages in your account page there. And there wont' be anything until someone manually sends you one., after they actually listen to it, etc. Personaly, I think that only the people paying for LR will get much of a chance, the freebie accounts get listened to last, if at all, from the way things read in the instructions for the site itself.

Danged wobbly giant cigarette pool noodles.

If you want to see what the guy that created this does, try this https://www.pianobook.co.uk/packs/hearth-hollow-plucked-folk-ensemble/ (there are others too).

I do something similar someitmes, dropping bits I want to experiment with into my template's tracks, not in any particular place or time. Listen to it, move things, arrange, trim, cut, add, play/record/draw new stuff, edit, add, edit, etc. Sometimes I get a really good track that way, like Drywater, Mars.

File-Exit (discard all)

BTW, you can usually rent mics and amps and stuff reasonably cheaply, some music-gear stores do this. If you don't know one that does, ask the con itself if they have a place they rent gear from. If all else fails, check with the hotel itself, as they may have sound gear for rent, though it will probably cost more because it's usually last-minute-needs that it fills.

Unfortunately I think she passed away a few years ago. Everytime I was around her it seemed like an adventure. 😆 The local filksings she came to would usually be more entertaining; the cons moreso. Sometimes legendary.... What recording / mic / amp equipment do you have? What do you need to record? (a whole stage, just you, a room, several individuals one at a time in different spots, etc?) Will there be a sound system? (if there is, you could just tap off their mixer, if you can talk to the soundperson in advance to be sure you have the right wires/gear; I've never had one refuse, most have been eager to work with someone else). Knowing what youv'e got, and what you want / need to do with it, we might be able to suggest the best use for it.

If it's useful (probably not): When I used to record stuff into my EPS16+ or ASR88 at events at Leprecons, Coppercons, and GallifreyOne's a couple decades ago, I'd use an old Oktava mic (don't remember which model) generally pointed in the direction of whoever I was capturing, for those that allowed / wanted to be recorded. All I could really do given the spaces it's usually in (sometimes outdoors on a lawn, sometimes in a hallway, sometimes in a small hotel room, etc) was to verify I was getting recordable levels that didn't clip, with no compression hardware, etc. I also didn't really know too much about live recording (as on my own it's all keyboards and virtual synths or a guitar plugged directly into the audio interface (or the ASR88's input, back then). Nowadays if I were to do the same thing, I would use a hardware compressor between the mic and the recording input, to prevent clipping while also getting as much input level as I could for whatever nuance and quieter performance could be captured, without having to sit there and ride the input gain all the time manually. (which i tried doing in some cases, usually to the detriment of the recording). I don't know what mic would be best--if you don't want to move it for each performer, something omni; maybe cardioid if you are moving it for each performer or just doing yourself. Post-production will depend on what you want the result to be. Probably different processes depending on that, such as if you intend to add enhancement tracks (reinforcements of parts, effected portions of some of the main along with dry (or in place of), etc. , or if you want to make them into "complete" songs, with various other instruments doing whatever it is you want them to do, etc. (if you ever heard Leslie Fish's "Robofilker's Ensoniq" filk, that's about me.... 😊 )

That's why it's in this thread....

A more useful question that would help us help you would be to tell us what specific problems you are having, under what specific conditions, with what specific instruments, etc., so that those with experience with those things could suggest changes you can make to corrrect the problems. I can guarantee that the answer to that question is "Yes". It is not a useful answer, but it is the actual answer.

LP MRU is proibably stored in the windows registry; you could hand edit that to remove them if so.

Reminds me of one of my song titles (for a project I haven't yet posted on the web): "Offhanded Chirality"

I may be missing it but I couldn't find a product with that name... The closest stuff I found was on this site in their sale but there are separate products for each half of the name.... https://www.sonarworks.com/autumn-sale Which one(s) did you get?

I can tell you that heavy duty rubber bands strung along the length of a bamboo backscratcher doesn't work very well. (several other DIY methods also either don't work at all or are pretty awful sounding).

Note that the Genealogy stuff is apparently separate from the CinematicAlpha stuff, so isn't in the sale. But for this type of sound, it appears to be a very good deal, especially since two of the three players the stuff is for (Vital, Soundbox) are available as free versions that work for these libraries. (At least some, probably all, of the Kontakt libraries do require the full paid K and not just the free KPlayer). You get 58 libraries, some of which are versions for each different player, but it's still a lot of stuff. (I didn't count how many are "dupes" between the 3 different players; not all libraries are available for all players). I don't know how independent the Vital or Soundbox players are; if they can be used completely offline, or if they have to be logged into / have live internet connections, or forced updates to be able to access your own on-system content (like Sineplayer, making it useless because it breaks frequently), etc. But as long as they can operate completely offline, the libs for them would be pretty useful.