Amberwolf

Thanks for listening! So could I, which is why I hoped others might. I didn't specifically set out to make this the end titles, orignally, I was just doing what I often do--play wiht sounds, and then see where htey take me. At some point I felt what it was becoming, and then guided it further that direction. I have one other song that felt like an end titles track, called Patterns of Behavior, though it doesnt' have anything else to be a part of, and I don't recall that I ever thought about making anything else for it. (maybe I will now that I'm doing the Drywater, Mars stuff, once I have more of a clue to what I'm doing). PoB was just an exploration of some sounds, and of layering guitar parts together by playing them one string at a time (since I can't actually play a guitar, I lay it on my lap and hold down a string at various frets to make notes I want to hear, then record the next string, then slice that all up and layer them together to get the kinds of things you hear in PoB, so they probably don't sound like a real guitar being played, even though they are). Do you mean the bass at the last secttion? Or the earlier sections? (or all?) I have been working on a "template" and bussing and fx chains to get me a sound I like that gets the least negative feeedback from listeners. 😊 So I have many tracks that feed one of two different bass busses (that feeds a percussion/bass bus that mixes all that stuff together with a single sonitus multiband compressor on it) and there are sends to a subbass track (that goes right to the master) and another send to Basshighs bus that is just the upper two bands of the MBC (others are muted), , for synths that sound terrible if you take all that out, or lose the character of the bassline, etc. Bass1 is just the low-end bass, dry. Bass2 includes a reverb. Some synths get sends to one of these, some only go to one of the other busses, some synths with internal fx that do what I want within the patch are left alone and fed to a "dry" buss that just does MB compression / limiting to mix them all together. I also use this bus for some of the samples / "loops" that I hack up into bits that already have the fx baked into them and don't need more. Percussion is treated similarly, and there is a separate percsub bus that feeds the subbass bus too. In this one, the bass is almost entirely clips (wave "loops"), that are then processed thru the busses above. In this one, it's not any specific kit. It's a bunch of different bits from different one-shot samples and some "loops" hacked up for the pieces and sounds I wanted. Some loops are used nearly whole, or at least sections of them are. I'll use sounds from any source if they give me the result I want, including stuff I record from random environmental encounters (like sometimes accidentally making something percussive sounding in the kitchen, or working in the yard, or building some bike project, etc). I also often just randomly poke thru my terabyte of sound files to seee if antyhing just randomly sounds like it might fit--some small but significant percentage of the time it does, more or less, and then just has to be trimmed / shuffled, etc to fit the thing I'm working on at the time. In this one, there are percussion sounds and sections from Ghosthack, FunctionLoops, BlackOctopus, KV, Cymatics, and stuff I don't even remember. Some of them I've modified extensively (usually with time stretching or compression, or pitch shifting, sometimes with clip FX, etc). Some of them I built for other songs and remembered the sound, so pirated them from that one's audio folder, but don't remember wehther I created them by playing from Session Drummer / etc., or from some other wave file source, etc. I think the snares are mostly from FunctionLoops, but a few are from this year's BlackOctopus Spooky free sound sets. The main kick is from FL, I think from the Neon Waves 90's or 80s pack. At least a couple are from last year's Ghosthack Advent Calendar freebies. At the beginning there are various percussions from a BOS Deep Trance pack. I get bored with snares pretty easily; any percussion that just does the same thing, when I know how I could mix it up to still fit, is unlikely to stick around in stuff I do these days. (I used to just "drum machine" along...plenty of my stuff on Soundclick and Bandcamp needs serious overhaul). But snares really stand out and quckly get on my nerves when they are repetitive in places where they shouldn't be--sometimes that's a timing thing but more often it's a sound thing. I've been told more than once that kick and snare ought to just sit there in the song and keep time, drivng the song along...but for me that's boring and I want them to change with the rest of what's happening, I want each thing to drive the changes in the others, if htat makes any sense. (I didn't really know how to do this before, but I am learning....play with enough toys and you can begin to make your own!). I layer all the different things together to get rhythms I want, cut things up, mute pieces or hits, bounce some of these to new clips, rearrange, repeat the process in different sections, etc. Sometimes a clip has almost what I want, but I have to mute out some of the hits. By themselves you could clearly hear this happening, but in the mix of eveyrhting it's tough or impossible to tell. I used to sit there and fade each little cut in and out but now I only do that for things that click or pop--anything else is hidden in the mix and doesn't matter. Sometimes it has the right sounds, but in the wrong order, or there's some sound I just don't want and hagve to "trim" out of it without channging the rest of it, and have to surgically cut out that sond and replace it with bits from elsewhere in there or from other similar sounds I have that are separate (occasionally a loop set will also come with all the individual sounds but not very often). Then these are all processed thru my percussion sends and busses. This is just hte percussion tracks; it's not as complex as for instance the main Drywater, Mars theme track, or Intercept. This is the whole project, minus the empty tracks that are hidden, and the busses (not room for them on the screen).

That's me....always looking to do impossible things, because they aren't really--just that I never really have the tools or skills to do the stuff myself that I want to do; I know that everything I want to do in any of my bajillion ideas / technologies / projects / arts etc is possible, if I could find the right people to work on them all with me. (to gather a team of people to implement the ideas I get, that I can't do myself...it's that BNL song "If I had a million dollars".....) Oh, I have ideas, and am by necessity very self directed...but just because I like what I make doesn't mean it can't be better (by far, in most cases), and if it is better, maybe I could get more people to listen to it. (doesn't do much good to make art that only I ever see, hear, or touch, although i wouldn't stop even if it was guaranteed that was the case). I don't really have a specific thing I expect...because if I knew what it was I wouldn't need anyone to tell me. 😊 Part of what I hope to gain is insight into how others think (because the way I think is so wierd compared to everyone else that it is hard to communicate; I have to use so many words that almost no one actually reads them all and without reading and comprehending them all, my thoughts are not gotten across to them...if I say less then readers don't know what I'm talking about and give less than useful or even useless feedback, etc). I guess that I prefer to find a community of people with generally higher standards of behavior, information, etc., that I can interact with and learn from, and be the closest thing to friends with that is possible for me...and then get feedback from *them* on what I might be "doing wrong" so I can fix it. I have a couple of places like that that (ES, OHBB) I've been part of for many years...but in neither place are there enough people interested enough to listen, and even less to comment in any way, and almost no one to discuss technically / etc with for this kind of thing, and those that do don't pop in very often. VI-control forums is a place specifically for the kind of thing I'd like to discuss, but after my initial thread, and a few replies, I've gotten almost no interaction there with music feedback stuff, probably because I'm not and never will be a composer for published works (movies, tv, games, etc) like so many of those there are, so what I do just isn't good enough or interesting enough for them. Maybe I'm just that lonely old person that walks into a store to shop, and stops each person and yammers on and on about things no one else cares about, because I have so many thoughts in my head and only myself to discuss them with.....

I mostly mentioned my problem because it means I am not hearing your whole song (even for the parts I could listen to), so the feedback i give might not be "valid" in that the things I have an issue with are unlikely to be those that others would.

Thank you for posting this; it is also what I wish I could get more of. I'm afraid I can't provide much helpful feedback other than that the guitar/drum sets off my tinnitus too much so I couldn't get past the first few seconds, or anywhere else I skipped into it. (there are a bunch of things I want to do in my own music that I can't because of this problem....) Beyond that, it sounds like the vocals are muffled buried in the other sounds, but that could just be how the song is supposed to be. Keep in mind that my tinnitus is severe and so there are numerous vocal range and higher frequencies I literally can't hear anymore, so maybe the vocal sounds that stand out are simply inaudble to me because of that. (some of mine are meant to have things this way, most aren't and there's a bunch of things I should someday go back and remix if I didn't always keep having so many new ideas for new ones I have to work out first).

Thank you for listening! --you're the only one so far. Odd is probably a good description of me, too, though I am poorly put together. Since it is the end titles, I am trying to tie it in to the "whole show", so there are some of the different things in there that are sonic references to other parts in the Drywater, Mars series; I would like to put more in but have not yet figured out how / where. Some of the structure of this one is directly from other parts in the series, as well, trying to make all of these tie together as if they were all pieces from the same "show". Some of it is unique to the end titles themselves, sonically and structurally, so it isn't just a rehash of the others. My only experience with all this is having watched lots of scifi shows, bad and good, and the "feel" of how the really good shows all have music that ties things together like this. I considered trying to read up on what others do for this, but decided to just dive in and try it all out, and see what comes out. More fun, less copying what everyone else already did, and this way its' "all" from my twisted broken mind. Then I figure I can learn from listener feedback and either make new versions or simply whole new tracks. (what little there has been here and on Vi-Control has been helpful, if minimal; I can't seem to get anyone to actually have a discussion with me, vs momentary passing comments that while useful aren't as helpful as ongoing Q&A type discussions would be). This track, and the previous Not Just To Breathe With You (part 5 of DM) have directly come out of some of that feedback. (I also have a couple of other experiements but neither of them have gone anywhere yet, and probably won't, theyre more like sonic scratchpads). The "skyboat" is pretty much a really rough representation of what I was trying to get; there's a better description of it in the main series thread or in my EndlessSphere studio thread, I forget which. I'd like to make individual covers for each track that show the basic idea of each one (as the first does for the main title track), but have not had time to fight with the various tools to get what I want--I've been working on the music of the series almost constantly since making the first one last month, whenever I am home and awake enough to do it, and not serving the needs of the Schmoobean. The hard part is trying ot get the inspirations into the tracks whiel they are still in my brain and haven't leaked out somewhere else yet. Even more I would like to make videos for each one that show at least snippets of what would be going on for each one....but there just isn't enough time. I have visions in my eyes for what I want...and can barely type up waht I am imagining to have a verbal storyboard...

Walk-Away and End Titles (Drywater, Mars Part 6) (initial version) Every show has to have cool end-title music as the heroes walk away at the end, and continue playing under the end titles, right? From the Drywater, Mars series, also collected here in one thread. https://amberwolf.bandcamp.com/track/walk-away-and-end-titles-drywater-mars-part-6

Hmm. Nothing in either thread.... Well, I'll post the newest track for the "show" in this thread and make a new one too, in case it helps, I guess. Walk-Away and End Titles (Drywater, Mars Part 6) (initial version) Every show has to have cool end-title music as the heroes walk away at the end, and continue playing under the end titles, right? https://amberwolf.bandcamp.com/track/walk-away-and-end-titles-drywater-mars-part-6

Can't be completely true, as I am using Windows10 64 bit and my ancient 32-bit Sonitus DX plugins and the old DXi synths like Cyclone, Psyn, etc. all still work perfectly fine (in my ancient pre-gibson SONAR). (I never used TTS1 so I don't have it on here to test but it would probably work too).

If you can tolerate the latency, you can use input monitoring on the track to pass all input of that track while recording thru the fx bin. But it still records it clean onto the track.

DX and DXi are not detected and found by the plugin manager; they must be installed correctly by the installer itself. Some of them can be manually registered with Windows by using regsvr32. If you do a websearch on that phrase you can probably find the instructions to do this. However, if you are using a 64 bit version of Sonar / CbB, it might not be able to use the 32bit plugins. (I don't have either on my machine to test. A while back I had this type of problem with Splat, IIRC, not being able to see 64bit stuff using hte 32 bit version, and not bieng able to see 32bit stuff in the 64 bit version).

That means the plugin is not properly installed, and would need to be reinstalled to fix the problem. If you don't have the installer, and it is the DXi version, you might be able to manually re-register the plugin using regsvr32. I don't recall the procedure, but googling that phrase should find instructions.

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Wierd, the above is "Hidden - This content must be approved before it can be edited." I don't even have any links in it? This forum is so wierd (it doesn't even have a "roll eyes" emoticon)

At the moment, there's no worry about the suno site taking away money; their agreement expressly forbids it's usage for that: they don't say if that's true of the other tiers or not; they are not expressly called out in that agreement in this way. they also repeat this more than once: However, their site does not allow you to create your own independent account there, unless you use your phone number. To create an account without a phone number, you must use one of your existing accounts with some other service, linking these things together. Anyone that doesn't want to do this, or does not have one of these other services, can't use suno.

Something I used to call "programmer syndrome" but is better called "engineer syndrome": almost always, the developer of a product (physical or digital) only ever sees it from the inside, and they don't actually look at the things in the way they are used by their intended userbase. When that userbase responds by telling them how it ought to work to do the required job, the developer typically refuses to change it and sometimes explodes at the user, completely missing the whole point of the product, which is to be used by the user, and thus must do things the way the *user* wants them done, not the way the dev thinks they should be done. Often the problem is only a UI issue--the under-the-hood stuff works fine, but is not user-accessible in a useful way, or in a user-friendly or workflow-friendly way. These issues usually get the hardest pushback from the dev, which is the most ridiculous part of it, since the dev should be making the User Interface for the user, not for themselves...but they make it the way the program internally works, not the way the user needs to access those features. I have almost never been able to get this across to devs. The Bakers here have been the most responsive of all of the devs I've ever worked with, but even they have this syndrome now and then, prioritizing program design and operation over user interface and user-experience like any other dev. Sometimes it is because a dev thinks they know how a feature should be used...but it doesn't matter what they think--what matters is what the *user* wants to do with the program and they way they need to do that, *especially* with art creation, as an artist is not going to do things in some programmatical way, in most cases. Each one has a way that works for their art, and the program must be adapted or adaptable to that, which is one reason presets and other UI customizability is so very important. There are many such improvements in customizability in Sonar / etc., though from the posts I see around here some of them could stand some improvement in user-awareness-functionality, and in control accessibility / state-visibility. It's not easy to make a UI at all, much less one that does all the things a complex program (like Sonar) can, and it's impossible to make a single UI that does everything every user needs it to in the way the user needs it to...so complete customizability is essential for such complex programs. Customizability is even harder to create flawlessly than a fixed UI...so anyone attempting to do it at all gets my congratulations and eternal thanks, even while I goad them on to continuous further improvements. But when a program (or device) foists a UI on user, especially an artist, it is at best unhelpful, and usually actively prevents a user from doing the things they want to do. As much as I dislike most of the current usages of AI, I can't wait until AI is advanced enough to alter existing programs for me tell it to create the UI I need, as I need it. Or even just to create a UI "over the top" of the program, so that when I need to do something, it lets me tell it what controls I need, and what information I need displayed, and then I tell it what to do with those and it makes me the UI I need to see for the stuff I am doing at that time, and refine it as I go.

Guess that's why it's free, doesn't have the most basic of functions. Or conversely, it doesn't save presets because it's a free version of something else? (or is going to be? I don't know this developer or their products)

You could record the metronome sound in a track, trim it, and export the clip, put it in Sonar's metronome folder...

Names are probably the only thing I'm pretty good at. (the songs hardly even get listened to, and almost never more than partway thru, so I imagine they can't be as good as the names). Ditto.

The specific error would be more helpful in resolving your problem, as the description you give is similar to another error that means something is not installed, but not the same and so probably doesn't mean that. It also doesn't say what specifically is missing, making it even more difficult to help you find/fix it.

I've never had the full version of SD, just the Lite that came with some version of SONAR. What is it that doesn't happen as expected when you set it up in the current version of Sonar?

Seems pretty useless to have something you can alter settings in but not save presets for, so I'd guess there must be a way. If not, you might want to ask them why such a basic function would be left out. But they might be like BabyAudio, where they don't think users should be allowed to have fine control over their plugins, and don't let you change most parameters, it's all buried "under the hood" so that some potentially really useful plugins are just left as useless garbage for anyone that wants that control and isn't just a "preset pusher".

I would guess (without having tested this) that you'd probably have to have the CC data (or whatever it is you want to overwrite) on a separate track from the MIDI notes and other data, so that overwrite mode won't destroy any other data in that section.

FWIW, speaking voices generally use a fairly narrow range, around 2khz to 4khz, for their primary information content. Most of the time you can automate a simple EQ with a single band and adjustable Q factor on hte soundtrack track or bus to "duck" the soundtrack in that frequency band during the sections the narrator is speaking, and gradually go back to normal when they're not. There are other frequencies down around 80–200hz and/or 160–260hz depending on the speaker that can conflict, too, but they don't usually cause problems understanding the speech. (the actual frequency range varies based on the speaker, but quite often the "telephone" setting in an EQ will have a useful range already in it, you just have to flip the gains on the bands so that it is ducking that range and leaving the rest alone, instead of ducking the rest and leaving just that). Or even less complex, you can use a simple compressor like the Core compressor in Duck mode on the soundtrack track or bus, with it's sidechain input fed from the vocal bus, to automatically reduce the gain of the sountrack whenever the narrator is speaking. With this, the only parts you usually have to adjust are the attack / decay and the gain. This is much simpler than analysing the tracks to find their conflicts, and generally works perfectly well.

I keep forgetting that exists, since it's design is nothing useful to me....so I didn't even think of it when I replied. My apologies to the OP if Bandlab (vs Cakewalk by Bandlab) is what you are referring to, in which case my instructions would be useless.

I might be misrembering, but I think Next has it's own format, or can open the new shared format that Sonar saves in. To open .CWP files from CbB, I believe you must use Sonar. If this is the case, then once open in Sonar, you could then resave as a new file using the new shared format with Next.