Amberwolf

A midi file is not a project file and contains no information at all about the way you have setup or used the program that created it. To do that you have to save in the file format specific to that software; in the case of Sonar, that's CWP or CXP. A MID file only contains MIDI information, such as notes, controllers, bank/patch name info, lyrics (depending on the file version) (but it is openable or importable by pretty much anything that can edit or compose MIDI data). If you don't need to open these files in some other program, use CWP or CXP. If you do, then still use CWP or CXP while you're editing, then save a final version that way. Then do a separate SaveAs and choose the MID file format you need the other program or device to read.

It should stop it from being routed out of the track, but shouldn't stop it from it being recorded, AFAICR I have used this on purpose before (though I am using ancient version, not the modern one which may behave differently)

Yes, and WAP does a pretty good job creating their sounds. Typically htey are not only already setup as loops, they even include marker data, etc., so when yhou drop them into a big busy project you can easily find where it fell. And they are usually clean, and if intended as loops, cleanly looped. Usually interesting sounds, although most of them are not stuff I would use, I have often been able to chop them up and use pieces of a sound anyway, discarding the bits I don't like the sound of--examples are the "elven rock" section of Behind You Lie Many Unseen, and the bass synth of Even if I Could Tell You.

Are these the presets that came with it during it's installation, or presets you created within projects? If the latter, then unless you save that preset from within the project, exporting it to an FXP or FXB, it doesn't exist outside that project or at best inside your currently installed Windows version's registry. Also, if you poke around there are other preset bundles like the Muz3um ones, though I don't rmemeber if they also work on the original z3ta+ (I think I used some of them with z3ta+2).

More bits to chop up and accent my tracks with.

Ah, ok.

Not to confuse any issues here, but it is technically possible to do, for advanced users willing to create their own sound libraries, using sampler systems such as Samplerobot, or other autosampler to grab all the basic sounds and then use the sampler VST of your choice to build all those into a new "virtual synth". But it is not for the faint of heart to try, and it takes a fair bit of time to do even for an experienced sound builder (can take weeks or months or more to finalize). That said, the method you describe to record the tracks being played from the hardware synth would at least get that into the DAW to then be further processed as needed. But neither of these things really has anything to do with the title of the OP's thread, which seems to be asking for an .INS file for Roland hardware synths in general, but which will not get their sounds into the DAW. I guess we need more info on exactly what @John Christian Garrido Gomez is really trying to do.

You might be surprised at the "value" of old software; there are people that have "gone retro" and are actually designing and building new ISA type computeres so they can still run ancient software and hardware with DOS and Windows 3.1, etc. Quite a few are doing this for music or other artistic endeavours.

A quick google finds they use some sort of compression to make the files smaller (which is pretty ridiculous to worry about in this day and age), so it's probably caused by dataloss from that compression, or a flaw in the compression/decompression algorithm if it is something that is happening realtime.

It might if the ASIO panel for the interface had it's sample rate changed. (haven't ever done that, so not sure)

Maybe you need a verbal alert: BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT......BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT...BLACK......ALERT...RIPPLE EDIT ON...PROJECT DESTRUCTION IMMINENT... 😆

Well, can't say it would make my top hundred list but I've seen much worse movies, but this one could've been made better with music that better matched the mood and timing of the scenes. (could've done with much better editing for scene timing, too; that's an issue with most horror movies; stuff often runs too long by *just* enough to ruin the mood or scene). Not that I'd want to do it for this one, but it'd be interesting if there was some tool (AI probably) that could strip out all of the musical score and effects sounds and leave all the dialog intact...then I could re-score (and effect) some movie that I liked that had unsatisfactory score/fx. Can't think of the specific ones ATM but there have been a few where I thought while watching...I could do better than *that*. :lol:

While this isn't my typical cup of tea I always love the sounds of these instruments, and I like this piece. Some of this sounds like parts of what I wanted to create for some of the Drywater, Mars series--something kinda like the bits in Firefly's music. I wonder what would happen if you were to make that kind of sound over the top of what I've already got? (I'd probably have to make room for the "excursions" into the style wherever it wasnt' just an accent to the existing music. (I have a library of Country Fiddle phrases from Image Sounds specifically to experiment with this, but haven't gotten that far yet).

Not sure what you mean? 😕 Thanks! If you liked this one you'll probably also like the rest of the Drywater, Mars series of tracks.

Well, at least at the moment, there really isn't much else going on under the vocals there...I could come up with something. I can experiment with the compander in PX64 percussion strip to see if it can help with the insufficient transients. Is this overall or just in some parts? Ok...my own ears are not young either. If anyone else responds regarding this part, we'll see. Well, honestly if I were to get the chance, I'd take having my music used in even a crappy movie people didn't like than not having it used at all. 😆 At least a lot more people would hear it than are likely to otherwise. But I'll see what I can find, when I have some time I'm to wiped out to focus on doing things but can't sleep (which happens a lot).

Thanks! I haven't seen that; I'll have to look up the music they used. Can I put your comment in the notes of the track on bandcamp?

Thanks! Interesting; it was almost overpowering here (but I can't hear high frequencies as well, so....) so I turned it down, specifically teh sub. There isnt' really too much of a bassline, it's mostly sustained notes or chords, though the itneractions with other sounds and percussion make it sound at this mix level like there is more going on than there actually is. I'll play with the mix level and see what that does; and post the experimental version over at soundclick and put the link in a post here in this thread. Any particular places/times? General note: I pushed the percussion back because listeners have said the other Drywater, Mars tracks are percussively-heavy. I "decided" that the "sound of the series" was going to be very percussive and rhythmic, but didn't want it to take over to the point people didn't want to listen, so have been toning it down just a little in this one and probably future ones that aren't "exciting action pieces".

The vocals are the same either way, but if you want ot hear the most current mix to see if the problem persists it's the bandcamp link. If you want to hear the one you listened to before, it's at the soundclick link. The primary changes are adding the deep sounds at beginning and end, and turning sub and percussion down in several places to get them out of the way of the rest of the sounds (some of them just specific individual hits, some of them several measures). Ah, ok. I appreciate the listening and the feedback!

Ask the company that made Omnisphere itself. If they can't verify your purchase, key, etc., then it's not "real" since they would be the ones providing any keys, serials, or authorizations to any resellers.

I like that-- it sounds almost orchestral, like a harp pluck leading into a choral sound.

That's good--it's hard for me to do right every time. I did make a few minor mix changes to a new version that's up there now (previous one still at https://www.soundclick.com/music/songinfo_standalone/?songID=15142673 ), including some deep sounds at beginning and end to mix with the high-only sounds already there. (they seemed lonely) I'm not sure; it's hard for me to hear / distiguish some things, so I might have done that unintentionally. Could you point out specific times it happens? Thanks! What does it evoke? (helps me figure out if I'm doing this right 😊 )

While true, I just remember all the things that they gave away originally as sounds, that kept disappearing as they took them away, but I was using them in projects and then the projects became garbage because without those specific sounds they were useless (I create based on the actual sound, not necessarily the notes/etc; the exact sound of something is essential to what I make). Same thing for changing how other then-still-extant sounds worked, so that they didn't play the same way anymore and required a complete rework of the entire project to fix, for those that *could* be fixed, where the sound could still be made to sound the same way (some couldn't). And that happened multiple times during the couple of years I tried to live with their stuff. So I just imagine them coming up with some way of making forced updates to this new discover version that does this kind of thing, and just can't risk wasting my time on it. (and would like to be sure others that don't want this sort of risk are aware of the company's history so they don't get "painted into a corner").

That company already lost my trust screwing around with their "player" and content breaking things, I don't want to risk wasting yet more time making unfinishable songs with anything else they come up with.

FWIW, most programs I use don't update MRU (most recently used) until program close, so any changes are lost during program or OS failures. I'm so used to this that I didn't consider it was something that might be done differently...it would be nice if the MRU was updated at every change instead. (I typically SaveAs so often that the entire list will be full of just the last hour's work, no matter how many slots a particular program has...so when it doesn't update the MRU at all until close it means that it only has the version I *opened* when I started working, however many hours ago I started....)

I was interrupted in createing the post above by the schmoo needing attenshunals, so this is to complete the thought: I use a variation of the technique for dramatic breaks in something where I want a sound (or all of them) to continue into the break in a way that isn't just holding hte notes. So, say the whole song stops for a moment, but rather than a complete cessation of sound, a reverb, or delay, or combination, takes all the sound and lets it wash and fade into the silence, and then *just* before it becomes inaudible, the song resumes. This usually requires a level of effect much higher than can be used during the song without washing out the song itself, so the effect bus itself gets turned way up uisng the slow fade in curve over a very short time just at the end of the sounds section, peaking as the silence begins. It usually has to be done on the bus, rather than at the sends, partly to save work making all those envelopes, and partly because I don't want to alter how much is sent to the effect input, just how much of the effect is mixed into the main output. Then just as the sounds resume, the bus level is turned back down to where it was before. This can be used fora washed out reverb fade, or if using a delay it can be used for a kind of stutter echo depending on the delay used. Sometimes that echo is used to fade out, and sometimes it is used to grow from low intensity to max and then a total silence for a beat before resuming the sound. The resumption itself can be a fade-in of a maxed out reverb from zero to full sound level, or a sample of taht, etc. Sometiems it isn't total silence, and one of the tracks continue thru it, usually either a very low pitch sound or a very high one., often starting at a low level volume and rising hgiher until the track resumes, and again a tiny silence just before resuming can be dramatic.