Amberwolf

My biggest problem is that I have lots and lots of detailed ideas for all sorts of projects, much but not all of it art in one form or another (music, still and moving visual art, sketches, painting, physical models and sculptures, stories, etc), the rest of it stuff I want or need to build / create for mostly everyday needs, or just stuff I want to design and build and document so that anyone could then duplicate it and use it. I have time beyond the dayjob and resting up to keep doing that to *note down* maybe one percent of what I come up with, and maybe begin one percent of *that*, and maybe finish one percent of *that*. Money is another issue--most of these things require stuff I don't have, and while I'm *very* good at making do and macguyvering, only so much is possible this way.

Thanks! I wish I had FV. I would have bought their bundles at one time, but they never have htem for Soundpaint, only the kontakt/etc stuff. I asked them about that, and they said that since their soundpaint store and dev team is separate, any sales would be separate...but sp never *has* any sales (none they tell me about in their mailing list or that I've ever seen on the site), which makes zero sense. :roll: The primary vocals throughout were modified from bits of Black Octopus Sound - VocalKitchen - A Taste Of Heaven. The secondary stuff for the intro was modified from bits of Ghosthack - Origin - Arctic - Aurora Borealis and Archive - Security Risk and Shymer 2 - Vocal FX. The "pulsing" breathiness underlying one of the middle sections were modifed from bits of Security Breach. If I could get any of the video-creation thingies out there to actually do anything even remotely like what I tell it****, I'd make some nifty videos for a few of these tracks that have "ideas" behind them, like this one, and The Last Flight, etc. (I don't have nearly the time to create all the stufff that would go into making even a very short video--in my previous ventures into CGI with Lightwave3D v6 it would take several months of work to build the stuff that would then have to be animated, which takes a few more months to do, though at least that usually includes all the lighting setup, rendering, etc. as well as the kinematics and such. The version of LW I have is so old that pretty much everything in it is a manual function; there's none of the computer-assisted stuff that does so much work-saving for the animators these days. ****It's just as hard to "convince" the still-image tools too, but at least with those it is relatively easy to get it to do each individual thing, separately, and then I can quickly composite them together (also editing out all the wierdness that gets generated).

One of the disadvantages of not drinking...I can't accidentally end up with things I want. Drywater, Mars has been extended at both ends a bit, and there are extensive small edits throughout. What do you think of it now? https://amberwolf.bandcamp.com/track/drywater-mars

Thanks! That does sound pretty human, it is MUCH better than the vocaloid-type things (i guess they have their place for types of music that need that, but not for what I'm doing.) At least this one appears to have a completely offline usage, is a purchase not a subscription, etc., but it is out of my (nonexistent) budget. The cheapest one that comes with any voices is a hundred bucks, and that's limited to a male voice (liam) if I want english. (the only female voices you can choose with it are chinese and japanese, and neither one of them sounds anything like what I am after even when used for english). The "felicia" voice, for instance, would be another eighty bucks. So...it's not going to be a "soon" thing. FWIW, if I could find someone willing to do the directed experiments of vocalizations and whatnot as I create the music, for something I could afford (not very damn much 😆 as my actual income is from working in retail, which pretty well sucks for pay), I'd rather have people doing this. But I have yet to meet someone that would help me out for any price. (I'd also like to have other real musicians playing the parts, but same problem there...both me and my music are too weird for anyone to want to work with (most won't even listen to it)).

It sounds like y'all might actually be closing the program, as if you were going to walk away and stop making music for some period of time...if you don't do that and stay slaved at the computer like me, and don't close the program, you don't have to wait for it to open again.

Getting many DX or DXi installed can be as "easy" as opening a command prompt in the folder the dll file is in, then entering "regsvr32 dxeffectfilenamehere.dll". It doens't work on everything, and it doesn't actually perform all the install functions, it only adds it to the registry in the appropriate places to be seen as a DX plugin. If there are files, presets, etc., that aren't installed or not in the expected places, it probably still won't work. But this has saved me much heartache for certain no-longer-made plugins I have used over the years, and makes swapping out test versions of some of them possible.

I'll have to listen to some demos; if it is "robotic" like all the other types of voice synths I've run across over the years, I'll pass. Back in the beginning of Vocaloid, for instance, I was impressed by it doing vocals at all, but it never got human enough for me to use. So I've been collecting the "dollar" (or two or three) packs of samples from various places on their "really big sales" the last couple of years or so since discovering them, and just the little bit I have used so far has changed some of the things I was making from "ok" to "amazing", as far as my own ears are concerned. I doubt anyone else of the very very few that ever listen thinks so, but that's ok. When they volunteer to find me a set of vocalists to do what I want and record for me just for the feel-goods of doing it, they can have a say. 😆 There are examples of what I'm doing these days with those in the last several songs above, if you're interested.

In my experience, VSTs that get stuck simply don't respond to note off messages correctly, and/or Sonar isn't sending the right version of note-off message to it (different than the one it expects). If there is an option in your version of Sonar to send *all* the possible versions of note-off messages to all MIDI ports, virtual, hardware, and VST/DX/VI, I'd try that first. Might be in Panic Button options. I don't have that option in my ancient version, so to fix it in the synth I use all the time that does this I have to toggle the arp state (doesn't matter if it's used or not, but doing this stops any stuck notes in Z3TA+2).

"Finished" it, now called Drywater, Mars: https://amberwolf.bandcamp.com/track/drywater-mars What do you see when listening? I kind of visualize the opening of a Firefly-like TV show or movie where a cargo ship is coming in to land at Drywater while the townspeople look up at it; starting from the POV near the ship itself, watching the pilot struggle to keep the overloaded ship shiny side up and get it down safely while the crew tries to keep containers and cargo from going over the sides. :lol:

Is that the fender asstocaster?

FWIW, if you did want to scale the actual velocity, MIDI tracks each have the Vel+ control that is center-zero-offset, that you can use to do this, if your instruments work the right way to do this. If your trackview is setup not to display this control, you can manually show it (don't know how in the newer Sonar, but I can't imagine they took that away). Lowering the volume on the track via MIDI *or* audio shouldn't scale or otherwise alter the velocity in any way., Just to expand, for future readers of this thread that don't know the details of MIDI and instrument functions: As long as the instrument you use doesn't create any difference at all in the sound produced by one velocity vs another, then that technique works fine. But anything that uses velocity to control the actual sound (whcih is common) won't give the result of just changing the volume if you scale or alter the velocity--it may change the volume, but it also changes which sound is played. A simple example is piano, where touching a note lightly makes a significantly different sound than striking it harder does, in a well-made piano synth. Most of the multitibral rompler synths I've used over the years don't have multiple samples to use the velocity this way, so they respond fine to using velocity as a volume control, but stuff like even just TruePianos that came with some SONAR versions uses velocity like the real instrument would, with different samples being used for different velocity levels (at least for different ranges of velocity), so this technique does not work on those in the expected/desired manner--they do get quieter or louder, but they sound different as well. There are also some instruments that don't respond to velocity at all, though that's rare and I can't remember the couple I had that were like this as I haven't used them in a very long time. (one was hardware, and it didn't have a velocity-sensitive keyboard either, the other was a VI; there might've been two or three of those). For these rare instances, then like those VIs that don't respond to MIDI CC7 (or other CCs) for volume control, you have to use their audio track's volume instead.

Another new WIP: https://soundclick.com/share.cfm?id=15104048

If the old comptuer still works, then you can "simply" copy the projects folders and all subfolders to an external storage device, then connect that to the new computer and recopy them to your new projects folder. Make sure you copy the audio files as well as the projects. If you had authorizations and serials on the old system you may be able to find them (possibly with the help of the ocmpanies that made the software if they're still around) and transfer those to the new one. If you made presets for plugins, you can transfer those over by opening each plugin, even if it's in an otherwise empty project, loading your preset, then saving it as fxp / fxb / etc, onto that external drive, then opening eahc plugin in the new computer and opening each of those and resaving as a new preset in the new computer. (there are other methods, but this one is "guaranteed" to work as long as the plugin is the same version; at least, it has in the few instances I have had to require doing this).

There are a number of things that can keep user files from being transferred from one drive to another, and I have not worked with many techs (back when i was lead tech at a computer repair shop) that had much of a clue that it was even a thing, much less able to deal with them in order to get user data from one drive to another, etc. There are various softwares that can help with this, some automaticaly and some with various user-choices, but again, not many techs either know they exist, or the shops don't have licenses to use them commercially so only the techs that know about them and are willing to (in most cases) illegally use them in a commercial enviroment will be able to use them. So not all data ends up transferred, and some techs will even do stupid things like *move* the data or erase the source drive, without notifying the user. (I stopped working in computer-related jobs because I got tired of being yelled at for other people's stupid choices and actions, both those of the users and of the techs).

A quick search finds this page https://filehelper.com/view that shows these properties. I don't know how accurate it's interpretation is. It shows "adder" is an acidized file, but that "amped" is not. There are probably better waveheader viewers or analyzers. Name:HTHT_125_Hat_Loop_Adder.wav MIME type:audio/wav Size:1 MB Modified:Sep 6, 2023, 2:41 AM Encoding:Microsoft PCM Num Channels:2 Sample Rate:44100 Avg Bytes Per Sec:264600 Bits Per Sample:24 Acidizer Flags:Stretch, Disk-based, High octave Root Note:Unknown (0) Beats:999977 Meter:4/4 Tempo:125 Duration:3.85 s Name:HTHT_125_Hat_Loop_Amped.wav MIME type:audio/wav Size:2 MB Modified:Sep 6, 2023, 2:41 AM

Do you have Jbridge or Bitbridge / etc installed / available, so that 32bit stuff still shows and works in 64bit apps?

(You may already know this, but for other readers that don't): Wave files can be "acidized", so that Sonar knows they are intended to be looped, and what their looping properties are, including their root key (so if you have key changes these will be followed during loop playback in various portions of the song). By default wave files do not have this information in them, and virtually none of the sound libraries I've run across (about 1TB of them in the last couple of years, I think, mostly from Ghosthack, Resonance, BlackOctopus, WAProductions, SampleTraxx, ImageSounds, HollywoodAudioDesign, Cymatics) have acidized their files, so when dropped into any audio editor or DAW, you have to manually turn on the looping function for each clip (wave file) and set it's properties. Without acidization, the only info the DAW has is sample rate and bit depth and file length, AFAICR. However, this shouldn't be the OP's problem, because the said that in CbB they did not have the problem, only in Sonar. My guess is that, assuming the identical files behave differently in the same project in CbB vs Sonar, that there is an issue in Sonar itself for consistently reading the acidization properties of the file. Without an actual cut-down-to-just-the-problem project file from the OP, including the files themselves, can't say for sure. If @Skelm can post such a project, then those here with CbB and Sonar can verify if this is the case, and perhaps work out what the specific difference is?

Random thought: "we can't fire the drummer, he's the only one with our name showing on stage!"

This would not generally be a good thing, if by "inactive" you mean the tracks that are not 'in focus", such as for live-input control, playing new notes in, etc. That would mean that none of your tracks anywhere in the project would feed their controls (volume at minimum) to their VIs, unless you have that track active, so none of your projects would playback correctly. If by "inactive" you mean tracks you are no longer using anything from, or have no MIDI clips in them, then you can either disable their volume / etc controls (rightclick-disable control), or more appropriately, mute them or archive them. Then there are no MIDI controls feeding VIs from these tracks, and there's nothing to worry about. I personally never set the volume controls on any MIDI track at all, or use any MIDI CC volume data in clips or tracks, so the VI will be at it's normal default (often max) volume, and then I will simply control the audio output track's volume instead, almost always via automation in that audio track, or even in individual audio clips once rendered (wherever such clips stack over each other in the same track and must have different gain controls). For any multitimbral VI that has multiple audio outs, I'll assign the MIDI tracks and outputs such that I get each sound I need individual volume control over in a separate audio track. For those MT VIs with only a single audio out, I'll use multiple instances of the VI so I get multiple audio outs, each instance fed by just the MIDI track(s) that all need the same volume control. Using MIDI volume to control VIs requires mapping out your project, tracks, and VIs so that no VI will be getting more than one volume control per controllable instrument within it. Also, at least some VIs don't even respond to MIDI volume controls, or require "user intervention" in their settings to various degrees to cause this to happen. So it is "easier" to not use MIDI volume at all, in many cases, which is why I do things the way I do. Back in the days of only hardware synths, they typically didn't have automatable hardware audio outputs, only the MIDI volume controls, and so it made sense to do it with those; it was really the only option. Initially, VIs were done this same way, but nowadays implementations vary signficantly, and it is easier to just use audio-side controls and ignore the existence of the MIDI ones entirely, for many VIs. Velocity is a completely different thing than volume. You normally don't want any control to override your velocity wholesale, because velocity controls (or should) the performance of the instrument; which sample is being used, how oscillators or ADSRs react, etc., so the actual sound being created is (should be) different based on the velocity, for many instruments. If you set the velocity to be the same on all notes from all tracks feeding a VI, this will "deaden" a performance, making it "lifeless" and uninteresting in many (most?) cases. (there are certain cases where doing this is actually useful but it's not common, and I would be using the Velocity MFX to narrow to a range instead of setting them all the same).

Is it in the excluded list of things? If so you can unexclude it and test to see if there was a good reason for excluding it.

Well, they might, but they're not going to say anything out loud.

My first St Bernard, Nana, did that to the bedroom door when she had to stay in there for a short time while the other dog she had started a fight with was in a different room.... I fixed the door and put a metal plate as it's lower half, so she dug thru the wall next to it instead.

My brother not infrequently drops bottles of soda, and they don't even go ffft when opening them, much less explode like the coke-mentos volcano you'd expect. I would bet that the mentos trick doesn't even work anymore. :roll:

That particular kind of machine is a bit older than me; I've only seen them in some anime shows in country roadside shops....

Test: Close Sonar. Unplug their midi cables, or turn their power completely off. Open Sonar and your project. Playback as many times as desired to verify problem occurs or not. If the problem persists it is not caused by anything on those controllers. If the problem no longer occurs, one of them is possibly sending spurious data causing the event.