Amberwolf

Not everyone does that (I don't). If something already has the features required for a user, they don't need to upgrade (which always has risks that something they use gets deprecated or broken), and they may choose not to upgrade regularly, or even ever, unless some feature they really want (or need) finally gets implemented the way they want/need it to be (which may never happen). Upgrade-itis is a problem with many people, but not everyone. That said--I agree with the rest of your post.

There's a place (in MIDI options?) to choose to record Sysex data or not. But if the sysex data is causing a problem, it should cause that same problem every time it is sent from the source device, not just when it's played back in a track. If you don't see that happening, I'd guess the sysex isn't causing the problem, but some other data that is not exported in a MIDI clip (i don't know what is and isn't).

And if that software / subscription is suddenly unavailable because of some factor (business decisions, corporate economic or technical disaster, etc), and your work is now trapped in it so that you cannot change anything anymore, export to other formats, etc? If your livelihood revolves around this work, you may be stuck wasting money and time recreating everything in some other software or hardware solution, or even lose clients / opportunities, etc. If it's just a hobby, well, it depends on how important that hobby is to you (for me this hobby is so important for my sanity (such as it is )that I can't risk such a loss; for most that's probably not the case). I expect that for most people it doesn't matter--they'd just move on to the next thing, and it's more important to them that they have the latest whatever than that they keep being able to use it. If the software continued to operate fully but simply didn't get updates or support, that'd be different, and acceptable (for me), but not if it changes functionality. This is why I won't use the current software (even though it has things I would love to use that would probably greatly help my workflow)--I see too many "activation problems"; once activated the software shouldn't require any further action or reactivation--they solved this issue with the original SONAR; once you have your codes they just always work. You're not stuck because of some server problem, network/internet issue, etc. Same thing for 3rd party plugins, etc.

None, if the software functions exactly the same either way. But if the subscription running out means the software no longer does exactly what it did before it ran out, then it's a very different thing, and they cannot be directly compared.

Which instruments? Some plugin coders did/do things in ways that don't respond to the normal method of turning off notes. by sending a note-off, or an all-notes-off command. There are some that ignore those, and instead only respond to a note-on with a velocity of zero, so to turn them off you (or the host software) has to send one of those for every possible note. My ancient version of SONAR can't do that, but CbB should be able to; there is probably a setting in there for the Panic Button to do this. There are also some plugins that "break" (all the RGC plugins I've got, like Z3TA / 2, etc) and get stuck notes all the time; in the ones with an arp I can toggle the arp off (or on) momentarily to stop it until the next time). I suspect but can't test that the second method above would also turn them off--but it is annoying that they don't just respond normally to note-off messages like they should. Since the problem only happens with the new version of Ozone, you should contact Izotope to let them know about it, since something they changed is causing it, and it might be a bug they can fix.

Do you mean: --something that alters the way other plugins work (I doubt this is possible) so they accept and process as mid/side instead of L/R? or --something that changes the signal from L/R into mid/side before it goes into the plugin (but still as a L/R signal since that's all the plugin is "wired" to accept)? or something else?

JellyBeanThePerfectlyNormalSchmoo doesn't care...

Thanks---but since she's actually an alien in a dog costume I don't really want to risk sending her back home to report.... Well, the trike is called the SB Cruiser because it was built to carry them...they're too big for any of the OTS bicycle trailers, so I built trailers first to carry them (one at a time) behind a regular bike, then later the bike version of that trike (CrazyBike2), then eventually built the trike to carry Tiny (the smallest of the ones I've had) so I wouldn't have to pull a trailer (which is inconvenient and can be dangerous on some of the roads around here that there aren't any alternate paths for). It's evolved a lot over the years, from something even more primitive than the one in the piano pic to what you see in the first pics. Some bad 70's scifi vehicles I *still* like better than the siburtruk: There were some concept cars I like the look of and i still want one of these if it comes with all the options and this one was still better than siburtruk OTOH, maybe it's better than the Citicar And I'd vote that it's better than this Thanks! Most everything I have is customized in some way, and what I make completely from scratch myself (like the trike) is unique because it's usually made out of some random junk I ended up with, using whatever I had laying around that happened to do the job I needed it to.

I'll poke around at it with VoxengoSPAN to see what's in there, and an EQ to roll stuff off and see what happens.

Do other sound files play correctly in VLC? Such as WAV sample files from any of your instruments, if you have any, or any of the built-in windows WAV sounds, etc. If they don't, then it's more likely the volume is simply turned down in the Windows volume control, or muted, or the default audio device is set to something not connected to speakers, etc.

If it pops in the same place on every audio track, then there is something happening at that spot *or* after that amount of time. What happens if you add a marker at that spot, then rewind to the beginning and insert some measures, selecting all tempos, events, automation, etc in the checkboxes, letting it shift everthing over, so that the spot *should* move if it's any data that's in the track(s) or buses? If the pop is still at the marker (which moves with the rest of the stuff), then it's caused by something in the data itself somewhere in a track or bus. If the pop is still at the original time, then it's external to the data and is happenign after a specific amount of time and is probably external to the program itself, a driver, hardware, OS, etc thing.

The computer can be frustrating; one thing I do to minimize that is never add anything new to it or mess with it's settings, so it always works the same. But still I sometimes just sit and play at this old '70s Kimball (shown here just after I hauled it home after picking it up free from TrashNothing some years back). It wasn't tuned well even before I got it, and the trip didn't help, so I've done a basic tuning (which took months, including learning how), and so now it just has "character".

Here's another ebay find that should work even in modern OS's (driver built into OS). https://www.ebay.com/itm/296789205454 BTW, a USB type MIDI box will be easiest, but if you still have a real serial port on your computer, you can also find older serial MIDI interfaces that work very well (if their software will still work on your OS, since they will all be fairly ancient). I have in my rack a MOTU Studio128X 8x8 serial MIDI interface that has it's own internal brain for routing each physical port and channel on each port, but has been unused for I guess almost a decade now because my present computer (laptop) doesn't have a serial port, and it's drivers don't work with any USB-serial port that I can find, and there's no other way to get a serial port onto this laptop. It's driver software still runs even on Windows10 (despite being a couple decades older, I think), and it was very stable, no data issues even with giant sysex dumps back when I used only hardware. I also still have a similar-era GadgetLabs Wave8*24 which has a "fanbase" that has kept updating the drivers to work with new OS's, but it has an internal PCI card with all the electronics so it can't be used on a (typical) laptop, or even most modern desktops (they usually only have PCI-E slots, no PCI). It has a very good MIDI port as well as 8 in and out audio channels, and I miss it's stability and sound quality, etc. (Even further OT 😊 : I just received some old HP server rack computers that actually have a serial port, and can run desktop-type Windows10, and are about a dozen times better / faster / etc than my laptop, so once I get one of those going I'll use the Studio128x on that for the MIDI interface, but it still doesn't have a PCI slot so I will still have to use my old Avid FasttrackUSB-audio interface...whcih is derived from the old M-Audio version that did have a MIDI port, and the place is still there on the case for it, but it doesn't have the hardware or drivers for the MIDI in it. Unfortunate since the M-audio version was nearly as good as the GL8*24).

I used the ancient MIDIMan USB from the win95 days for years just fine (windows always had the drivers built in for it), until one day some months back it just blew up (some chip in it actually smoked; I think JellyBeanThePerfectlyNormalSchmoo drowned it in water dripping off her head while I wasn't home, and it had already dried out by the time I opened it up but not before it blew it up). Some of them are still around: https://www.ebay.com/itm/274549855853 Now I use this one Midiplus 2x2 USB MIDI interface https://www.amazon.com/gp/product/B01CHRS1RC I also have one similar to this that I found at goodwill for a couple bucks but it wasn't worth even that. It detects MIDI being sent, and *sometimes* passes those thru to the USB and the software on the computer, and *sometimes* passes MIDI from the computer to the output cable, but most of the time it either doesn't do either one at all, or it corrupts the data. I already tested the actual wiring, connectors, solder joints, etc., so it's just crappy electronics. This thread has links to other threads about the same "only get one note" problem, caused by the crappy electronics https://music.stackexchange.com/questions/122795/my-usb-midi-cable-is-properly-connected-but-only-one-note-plays-at-a-time-for-ab

There's a thread here somewhere, recently posted to, with a pdf file.

No, they're not. When all four were still around (it's just JellyBeanThePerfectlyNormalSchmoo now, the one sitting down in that first pic), one of the bags below would be about a week's worth (much older version of the trike, from before JellyBean and PeanutButter even existed; the trailer was later modified with another pair of outer wheels to haul a piano home)

Here's another smile: (but they didn't respond to "mush" very well) (no, they weren't really going to be pulling the trike, it was just for the cuteness of the idea)

Yeah, I think my homebuilt EV looks better:

Thanks for listening and commenting! What specifically do you hear that needs "clean up"? (so I can target it, as I probably can't hear it myself). I am presently using VX64 Vocalstrip on them, with the vocals split between "lead" and "backing", wiht lead going thru Lead Vocal Over Easy Please preset and and backing thru "backing vox silky sligh" preset. These have an EQ I can change, or I can stick a separate EQ in there, if necessary.

I recall the function in CPA6 and 8, but I haven't had a machine that could use my SB's in so long that I don't know if newer versions of CW / Sonar support the SoundFont Manager or not--CPA9 probably does, but I think I went from 8 to SONARXL. I don't know if SFM will even run in modern OS's (WinXP was the last one I think I ran it in). (When I lost the last of my computers that could host a SBLive (or AWE64!) card, I also missed being able to use the KxProject, I think it was, that let me use the DSP on the cards for effects and whatnot).

Without specific knowledge about that plugin, but based on my experiences with testing various plugins / software / etc., my best guess is there is a bug in the plugin itself, or an "idiosyncracy" in how they implemented something, that causes Sonar to blow up whenever that particular thing is accessed. Sometimes the host (Sonar in this case) could be made to more gracefully handle the unusual situation, sometimes it's a situation where the plugin trashes things like memory space that the host itself (or another plugin) is using. What do the plugin developers say about the crashes?

7th new version; 110124 000001 100092G https://www.soundclick.com/amberwolf/?more=14885769 I experimented and built a bass-companion track out of tiny slices of a deep female voice from the samples out of the free Marie-Pneuma instrument from PianoBook, to complement the synthbass (Z3TA2+) bassline in some places. It was going to replace that track, but didn't do what I wanted everywhere, so it's just addon in places and replacement in a very few spots. Rather than use the clip's pitch dialog, I used Kerovee (automatable tuner/pitchshifter)as a track FX and automation to control the transpose to match the synthbass notes, after first building "clips" of the arp pattern in the voice by using the clip pitch dialog then bouncing the resulting many tiny clips into 2-measure-long sections to use and slice up as needed. Also further edited the vocal tracks to try to cure the repeititititiveness; that's still a WIP though it's much better. More mix changes, etc.

Does F5 key on the keyboard refresh it like it would windows or a browser page? (don't know if that is part of it's functionality, but it's common enough in apps/etc)

Thanks--unfortunately I don't really know what most of those mean regarding the way this track sounds 😊 (while I know some of the technical stuff, I don't know the specific equipment, etc). My own hearing is failing in a way that I probably simply can't tell the problems exist--I'm sure they're there if you hear them. There's lots of things I cant' hear at all because they're right in the spots where my various tinnitus whines lie, or where the frequency bands of my ears are that simply don't work anymore. Is the newer version (71C) better, or worse?

New sixth version: rebussed, remixed, levels, fx, etc. 110124 000001 100071C https://www.soundclick.com/amberwolf/?more=14885278 Strange; the levels in the mix are much lower at the beginning and end, on all the tracks. and the master bus out. My hearing is nowhere near as good as it used to be, and my tinnitus keeps me from hearing a lot of things, so I don't hear any issues there. (which is why I ask for the feedback, so I can fix things I can't tell are there anymore ). I hadn't yet done anything mix-wise; was just using the "template" I already had from The Skaergaard Intrusion project, with it's bussing, levels, etc., and this left the final multiband compressor with a +5.1dB final gain, which in this project's mix meant that the waveform between the beginning and end was the "trimmed hedge" look, while the B&E were a normal waveform nowhere near clipping (or triggering the compression). Now I've gone thru and reduced general levels in tracks and buses, and reset the gain on the MBC, so it doesn't have the hedgetrimming, and is a normal waveform throughout. I also rechained some of the FX, and rebussed certain things, splig the vocals to multiple tracks to allow different submixes, which brought up the vocals some, and then readjusted the automation to compensate for some issues caused by that. Thank you for listening and responding! Which drums? there are some "tiny / thin" drums intended to just fade into the song, then there are some kettle drums. The latter include their own FX in the clip so until I can find some kettledrum samples in my stuff that are close enough to replace them with (with my own FX chain) there's not much I can do about any muddiness there. yeah, the problem I have had is that some of the people that have listened to my stuff tell me that they aren't going to listen to stuff they have to turn up because then when they play their regular stuff they have to remember to turn it back down first (because it's probably all stuff tha'ts been overcompressed to death). So I started doing it this way so I could get them to keep listening (since I have so very few people willing to even try, I have to keep as many as I can). But I went ahead and turned this one down a lot more than usual.