Amberwolf

That way you can sonify it like they do with some astronomical data?

I've used the trackview PRV for so long that I dont' recall if you can do this in the actual PRV, (EDIT: yes, you can) but if you are in track view and choose to view the midi track as PRV instead of clips, then you can hover over each note at the top edge toward the middle/right-ish end of it, and get a cursor that looks a little like a batery level icon. Click and drag there and it changes the velocity and shows you the vertical bar while it's happening. If youw ant to also see all velocities at the same time youc an also turn that on in the same area where all the track controls are, on mine it is a button that looks a little like a series of velocity or controller vertical bars in a curve. That control is also in the top left corner of PRV in my version.

i liked son of blob better....but that was at a drivein and the weather was nice, so i might be remembering more of the feelin of that than the movie

No, no we didn't.

At least you get "chicken" in your results. That doesn't always happen.

Yeah, the SW is by MS. There are several ways that game controllers can work, for the original 15-pin dsub type. Some of the SW's had both digital and analog signals, so that the force-feedback could know what to do and when--the analog stuff has no way to get data from the PC to the GC, those analog pins are input only on the PC side. So it uses the serial data line that was in those connectors for MIDI port use. Cheap gameports on the PCs may not even have the serial lines implemented, just the analog ins, so FF GCs don't work on them as they should. But the midi-joystick programs should. USB stuff...well, that's all USB, so it just does whatever they chose to do over the USB cable and spec. Some use the standard "game controller" driver (kinda like the "class midi driver" or the "class usb driver" or whatever, so ther'es no specific driver from the GC maker. Some use a separate driver for advanced functions or programming the buttons, triggers, etc., calibrating it, and so on. But for the purposes of using a GC to modulate MIDI fucntions, it doesn't really matter. The analog functions are all that matter to most of the conversion drivers/software, they dont' (none I've seen so far) provide any data out to the GC, so they dont' use FF or whatever on them to tell the user anything. So they don't use the MIDI / serial lines on the port. In fact most of the time you could use both an old 15-pin midi port adapter *and* a GC, by using a Y-splitter. And these days, it's all USB anwyay. As long as it's USB and uses the class driver it'll probably work fine with midi stuff. if it uses it's own dedicated river it depends on how they wrote it and what it presents to the program side. yeah, that's a problem with various versions of the serial data lines hacked onto the gampeort 15pin type. i have several different "cable" type midid cables that plug into those, some by reveal, some by no-name, one by creative, etc. All of them appear to direclty ground the shield *and pin 2* of the din to the shell of the db15 and to the ground pins of the db15, which makes for excellent ground loop proglmes. fwiw, the cheap usb midi cables do the same thing sometimes. But some fo them, like the advanced gravis box-cable i have for the db15 does correctly optoisolate and wire and ground all the right bits, so it actualy works where it's supposed to without causing grief. Thankfully we don't have to deal with that anymore, what with ssds and better cooling solutions, more efficient cpus, etc. in the 90s I remember spending weeks designing building and implementing the quietest computer system i could, taking out all fans, repalcint g with just one much much larger diamter much mcuh slower fan that moved the same air as all those others, but pulled it thru the cmputer from an external duct, with baffles and guides from the case air intakes to all the hot stuff. wWorked great for years; the next one that replaced it didn't need nearly as much of that, but i did the same thing there. nowaday i use an old laptop that is nearly silent even with the spnny type of hdd in it, evne when the fan ramps up cuz im' knockign the cpu with ltos of synths and plugs. but i have a stakc of old hp server racks that sound like concorde on afterburners just truning on, and get louder from there...so i'll have to do the quieting on those to use them for much of anything (one for cad stuff / 3d printing / modelling, one for a daw, one for coding / behavioral ai on a robot project someday, etc). i redesign stuff all the time to use it the way i need it to work, and have to work around shitty design decisions all the time. wish i could do that for software, but at least electrical and mecahncilal i can do, at least hwne my body and mind work well enough to manage it.

I don't have a link to a specific one; I am not certain which one I used back when I tried it out...might've been "joy to midi", was probably this one based on the UI appearance https://www.fergonez.net/softwares/fjoymidi I think I was using an old sidewinder that had analog 15pin on the actual cable, and came with an adatper from that to usb that iw as using on the system itself? This google search finds several, some of which are hardware and some of which are software, and some are both. https://www.google.com/search?q=joystick+for+MIDI I think this one is probably more specific to using an exsting USB joystick as a MDII source https://www.google.com/search?q=USB+Joystick+MIDI+Driver but there appear to be less useful results in it. Google used to be a lot better at finding the thing you actually asked, but for a while now it tries to "understand" what you ask and find things it thinks are a match...which doesn't work nearly as well as just literally ashowing the results you asked for. It doesn't even honor boolean or inclusive exclusive requests much of the time. This one should be better https://www.google.com/search?q=USB+Joystick-to-MIDI+Driver

This one

The only difference that might make a difference is that a really good USB3 cable is probably better shielded than old USB...but a really cheap USB3 is probalby not as good as a good old plain USB cable. USB3 is meant for higher bandwidth, so it's probably better shielded internally, perhaps like firewire cables which had not only twisted pair for each data set, but shielding around each pair separating all the pair and the power all from each other.

Whether it's currently available or not, there *was* apparently a VST version at some point http://forum.cakewalk.com/FindPost/1962543

Where is he trying to create the account?

You might be in luck; I found this in a quick google: https://elektrotanya.com/yamaha_mg8-2fx.pdf/download.html#dl it is actually the service manual, schematics and all, though it has no troubleshooting tips that help. too big to attach to the post though. Power supply appears to be a split rail type like mine, so if you have a voltmeter, try measuring it to see if it's output is the same on both "sides" of the center rail. It's just transformer in the box, no dc stuff, so you'd set your meter on 20VAC and connect the black lead to the center pin, then measure to each of the side pins. they should both measure the same, around 18.5vac. If they're not, you can probably fix it with a new adapter (PA-10). *** If they both measure the same, and correct, then hte problem is inside the mixer itself. *** (my mixer came from goodwill without an adapter, and a new one would've cost more than the mixer did, and a really cheap aliexpress-type "direct replacement" was not what it claimed :lol: and was so small that it ran so hot I thought it would catch fire...so I am actually using a split-rail *DC* supply from a Bose speaker system that I also got at goodwill for very cheap...but I don't recommend this type of workaround unless like me you are a hack that's willing to deal with possibly blowing up the mixer )

Yeah, unfortunately automation editing has felt pretty primitive since it's original implementation, up to the old version I use (don't know what it's like nowadays, but apparently still missing "required" stuff for my purposes, based on threads like this one). Pardon the probable OTness below; I'll remove it if it's not wanted in this thread. It's possible that some of the things below are different in newer versions. I use a lot of it, and would use more if I could change a number of things about it's workflow and editing tools, as well as adding things like you're talking about. Some things I want to do are easier to use MIDI CCs, then convert them to shapes. I wish I could then also copy or move them to audio tracks I want them on directly, but at least in my old version that's not an operation that works. I'd love the option to copy/paste envelopes regardless of the source or destination type, and to have a "library" I could save shapes to, rather than having to constantly waste huge amounts of time redrawing the same things. It would be available to any project, as well as within that project in anywhere that automation can exist, regardless of original source or new destination. Some things are not easily possible to even draw, much less edit, especially with some types of tempo-synced effect control "waveforms". For instance, if you want to have an automation waveform with a period greater than 1 measure, without manually drawing every part of a curve, etc., point by point, then copy/pasting that repeatedly. Being unable to constrain values is also problematic (as it is when drawing MIDI CC data). Even some of the tools that do work on automation are...difficult to work with. For instance, youc an select and nudge them around, but you must reselect the automation over and over again, as it is deselected upon every nudge. (semi-OT: I used to do 3D modeling and animation in an ancient Lightwave3D version, and that used automation envelopes for a lot of things. It's tools were no better, and just as tedious to use...so I did as little of it as I could. It's been so long I don't recall for sure but I think it had some selection methods that were easier/better. I'm sure they've improved it since then, based on the images I get in a websearch just now, but without using it from then and a newer version I couldn't say for sure. )

If it works, it works. I guess the version youre using either deletes the unused synth automatically in those cases, or else they're still in the project (visible only in the synthrack)? What I'm using is so old that's not a feature; it's not surprising that they would have eventually added it though. (in mine, the only thing that would remove them outside the synthrack is to undo the insertion, which would also undo all the things I did between the insertion and that moment, which would not usually be wanted). Either way...based on other posts google finds about modern CbB, then unless I am completely confused (always possible) the synthrack does still exist, and could still be able to be used to remove synths (whether you're using them or not ).

And unfortunately while there is an option to convert MIDI to shapes (automation) there isn't a direct function to do the reverse (although I can think of a convoluted way to manage it, i don't know how well it would work).

Hopefully nothing actually got damaged. If your mixer is like mine (MG16?) , it has a dual-voltage-rail wall adapter, and if the negative rail goes down or is wrong, it could cause audio path problems while not keeping the whole thing from appearing to "work". Like this one? https://hackaday.com/2019/06/19/reverse-engineering-the-sound-blaster/

If nothing else, some of the GUI images are adorable:

Where do you see this list? Synth rack has a list of loaded instruments, so, if that's where you see them, you could also remove them from there.

The audio files don't have any links with what created them. They're just audio files. All the "links" to things are inside the project file. To remove those, you have to remove the things themselves from the project. For fx bin plugins, that means removing them from the fx bins in tracks and busses. for synths, that means removing them from the synth rack. (unless they were inserted as fx in bins, in which case they should be completely removed by removing them from the fx bins, even though they *also* show up in the synth rack they don't have to be removed from there).

SaveAs doesn't leave anything out. All it does is let you not save over the top of your existing project file (which is what Save does). You can still do the exact same thing in SaveAs if you don't change the filename; it'll overwrite the existing file. If you want SaveAs to leave stuff out of your actual project, you would need to remove that stuff from the project first, right there in CbB / Sonar / etc. You can use SaveAs to "move" the project to a different folder and copy all the *relevant* audio files to it, leaving the original project and folder(s) intact, but that's a separate thing, and it still doesn't remove anything from the actual project. To solve the issue of this specific thread's topic, the synth rack view is used to remove synths entirely from the project. If there's anywhere else to do that, I don't know what it is. If you don't have an icon or button in your toolbars to open Synth Rack then it should still be available via the Views menu. Or perhaps you have a workspace setup that excludes that view (if workspaces can do that sort of thing; I don't know).

It's ok. we just thought you might be posting about the new RADAR program instead.

No, Synth Rack, as originally stated.

Something else that can either make percussion more interesting or fit better in certain parts is to render out the hits as audio clips, (or if you're using audio clips for building them in the first place), and use a tiny clip fade-in on the initial peak of the hit on just certain ones. I use this to let some other instrument or vocal "take the beat" for something that has driving percussion for much of a project and needs to not actually change timing for whatever reason, but has parts where the other instrument / vocal needs to take over, and is a slightly different timing than the percussion. Also for sections where I just want that other sound to dominate the beat even when they are identical timing, and I don't want to turn down the percussion, just soften it's attack on *just* the hit that intersects with the other instrument's attack.

If you ever have a program that doesn't directly export to MP3, I can recommend just exporting to wave, then you can use the drag-n-drop LamedropXP. I'v used this forever, and it still works fine in Windows10, dunno about 11 but probably. https://www.rarewares.org/mp3-lamedrop.php I use that to make any MP3's I need. ..but everywhere I need to upload does a conversion itself for the streaming/download files from my wave upload (bandcamp, soundclick).

I'm pretty sure you can do what you are after with no automation using Breather, which is still archived here: https://web.archive.org/web/20230926161557/http://tinygod.com/products.html https://web.archive.org/web/20220929165707fw_/http://www.tinygod.com/files/TinyGod_Breather.zip (See end of post for quoted "help file") There are other interesting fx and synths there, too, but that's the one I used most often. It's been a long while since I've done this, so don't recall the exact steps, but: Do you have Z3TA? If so, you can insert it's FX on a track, and it has LFOs that can drive the different FX. You can even automate the LFOs themselves if you like, but once set they'll just do it automatically, and can be set to run free or match tempos and sync with the project. IIRC you can even set it up as a synth in an audio track fx bin and feed it controls from a midi track, so youc an feed the audio thru the *synth* filters, but there's something special you have to remember to do to make that work and I don't recall what it is. I think there's a thread here about it a year or two ago, with the missing step.