Amberwolf

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.

I've been trying to work out something like this to compensate for my severe tinnitus that blocks out a bunch of high frequencies. What is the process / setup that you use?

Artifact (Drywater, Mars Part 7) Something ancient is found in the sands...and it doesn't like that, and our heroes get stuck with fixing the problem. https://amberwolf.bandcamp.com/track/artifact-drywater-mars-part-7 Rest of series thread:

BTW, a useful effect in some circumstances is to use Pre instead of Post for the send from your tracks to the wet-only reverb bus. That way you can send a different level of reverb vs the track level, so you could even have a reverb-only section, where there is zero dry signal, only wet signal, such as for some ethereal washed out sound in a break in the song. Doing it this way means that if you automate the track levels you *also* have to automate the send levels the same way, since they're no longer modulated by the main volume fader itself, but it is worth the extra effort if you do this kind of thing a fair bit. Otherwise it's easier to set the send to Post so that it "follows" your main fader and the wet sound tracks the level of the dry sound automagically.

@husker Depends. Some of them are one, some are the other, and some of the instruments have their samples as wave files so tehy're easy to use either way. For instance, Rituals is all wav files, as is Sonikscape, Shockwave. Old broken piano is Kontakt, with all the samples as wavs both as "design" and "raw". Alert is kontakt, again with wav type samples, as is Raw Cello FX., Trumpet FX, etc. Etc. If you want to know what a specific library is, then if I have it I can look at mine. I have about half their catalog from a big sale like this last year or the year before, I think it was about half the current full-catalog price. If they had an "upgrade" sale that let me get the rest of the stuff for the difference, I might do that. If you need foley, or textural sounds, etc., their stuff is certainly interesting. I can't compare it to others', but I've used them in several tracks so far. I know i used several things from Volta in No Bigger Than The Space Of Time (a "big" sounding multipart "scifi" type piece), and from several libraries including Old broken Piano and Trumpet FX in Aftermath of Sunlight and it's sequel Pre-Cast Shadows (both experimental soundscapes). I've used some stuff (don't recall which libraries) in the Drywater, Mars series (a group of tracks for an imaginary scifi series) as tiny sounds here and there, and in Even If I Could Tell You (an imaginary concert track for a band something like Depeche Mode). (EDIT: apparently I already posted examples previously, and didn't scroll up to see that. 😊 )

Ah, yes, that old "I'm sure my speakers had cones a minute ago" feeling...

Artifact (Drywater, Mars Part 7) Something ancient is found in the sands...and it doesn't like that, and our heroes get stuck with fixing the problem. https://amberwolf.bandcamp.com/track/artifact-drywater-mars-part-7

I just use the mute button on the dry when using it as a send / aux effect in it's own bus (instead of in the track itself). Then I leave the wet set at 0dB, and use the volume of that bus (if it'sthe only effect on it) to set the level of the reverb (or even to automate the amount). If I use the early reflections at all, I'll set that one relative to the wet by experiment to see how it sounds in the"thinnest" part of the mix, where the least stuff is going on. If that screws up things (feels busy) in more active parts I'll automate ER to damp it out for those sections. FWIW, the Sonitus plugs have a number of presets already setup for this use, so if you are using any of the built in presets, just pick the ones that says "aux" and it will already only be 100% wet.

Don't send the reverb back to the orignal track or bus. Send the reverb in parallel (just the wet signal, no dry) to the master bus (or whatever mixdown-busing you use before that). So your structure would have your various tracks going to their various type-buses, and each track or bus would have it's send to this reverb bus. The reverb bus *and* the other buses all then feed your mixdown or master bus, etc. That said, if your mix is exactly the way you want it, it doesn't matter what's "wrong" with the way the buses are setup, etc. If it sounds like you want, it's done.

I'm not sure if it's a bug, but I have wished for a keybinding for NDME to deal with this specific set of issues, because I "never" (almost) want to destructively edit the clips except in the cases like you're describing, where I "always" want to do it *but* only to the portion that is "overlapping" between the original material and the pasted-in material (which there isn't a neat quick easy way to do, it requires some other steps...but being able to momentarily disable NDME during these specific operations without having to dig into options menus twice every time would be helpful).

Does it work correctly in Sonar, either the free tier or subscription? (If you're not using that, I think you might have the wrong website. This one is for Sonar and Cakewalk products... )

Myself, I cannot really play, so I mess with the timing of things I record until they sound like I want them to (or until I give up in frustration). If there is an audio clip of something I already have (or can find) with the timing I want, I'll use the audiosnap to extract it's timing to a midi file, or use an existing midi fiel if I have one, and apply that timing to the clip I want to fix. That sometimes does the job, or gets me close enough to finish it.

Thanks to both of you for listening! Any other feedback, technical or otherwise, on any of the tracks?

In the MIDI options, is "Notes" one of hte checked items? (it is possible to setup global options to not record them, so that one could record just CC data, etc., if desired, though I have never used this option)

In the main track view, is there a clip actually recorded on the track? (asuming not, from the second image in you rfirst pst) Are there any punch in points set? (data recorded outside those may not be saved)

What MIDI interface are you using between it and the computer? How long are the cables?

I might be misunderstanding you, or the OP, but AFAICT the OP wants to put all the takes into the first track in sequence because they werent' making takes on purpose, they were recording a single continuous performance but accidentally had it in a mode where it looped and did takes on that section instead. I still don't know what they meant by the parts I asked about above, though.

AFAIK that "circle" is your windows busy cursor. If you want a different one, you'd change that within windows itself, in the pointers section of the mouse control panel. (the version with the arrow mouse cursor and the blue ring is the wait cursor).

I don't understand what "the old" is, or "this one", or what you mean by "has them all connected"?

They are completely different UIs, and some functionality is either different or doesn't exist anymore. There's a thread around here somewhere about them that shows some of those differences.

AFAICR, the Sonitus plugins were DX, not VST. (at least, the ones on my ancient SONAR, and SPlat, are). If yours are installed but not showing up, you'd probably have to manually re-register them using regsvr32. Or, if you are using a 64 bit version of the program, and the plugs are 32bit, maybe that could cause them to not show up. I dont' know a workaround for that other than using a 32bit version of the program or a 64 bit version of the plugins.

Apparently so--a quick google on your phrase finds the RA manual which says this:

Not here. We don't bother with all that confusing mess.