Amberwolf

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.

FWIW, it is often helpful to experimentation to use automation to play with various ideas, as being much faster to shape and reshape curves and nodes than to do any of the direct methods of editing velocities, individually or en-masse. This is how I use automation for most of my purposes (sometimes later baking it into a rendered version, sometimes leaving it as is, depending on further edits needed or the end-usage of the results).

Shame that it can't--would be interesting to hear it's results vs the other solutions (I use the Jam Origin MIDI Guitar software for this kind of thing).

I dug out the cd set, it's from 2001 (did not realize I'd had it that long!). Looks like I was mistaken; the cover art style is so similar between what I have and what the ones in the Ancient Bundle look like, I made an assumptive connection in my miswired brain. (EDIT: at the end of the booklet it actually does say QL was part of East West, so I guess that's why it looks so similar). It was Quantum Leap Products Rare Instruments for Gigastudio, and appears to be the actual library rather than a demo, though it's still just partial ranges, perhaps that's just all the viable sample range of each particular instrument. It includes Far East, Middle East & India, and Europe. I think the biggest instrument on it is a whopping 148mb....but even so, theyre very nice. I can only imagine their libraries have gotten better over the years as space has become less of a consideration.

You could use a velocity-scaling plugin, and reassign the copied volume (CC7, etc) to it's appropriate parameter. Unfortunatley the cakewalk velocity MFX isn't automatable. I cant remember if Variorum's MFX are automatable (the "compressor" modifies velocity, so it should be able to do what you're after if it is). I think there's one by NiallMoody for velocity scaling, but don't recall if it's automatable. Might be others.

Not many big guys like that named Annabelle....

Does melodyne do it in realtime?

I have an ancient CD demo set of the stuff in the Ancient bundle, I think it was for gigasampler; partial ranges of various instruments. I converted them to wave files so I could test them out, not having GS, and used a few bits in The Skaergaard Intrusion (newer, better mix) and The Tomorrow Option (older, needs serious mix work) as various backing sounds. Probably in other stuff too, over the years, but those are the only ones I know for sure as I set out specifically to use some of those kinds of instruments, and they were the only good samples I had.

I've never learned to really play anything, including my own stuff, because my brain doesn't work like that, but I think the first thing I "learned" while poking around at a cheap "toy" keyboard way back when (1980s) was an accidental recreation of the main part of the "conversation" between the humans and aliens in Close Encounters of the 3rd Kind. The next one I think was the basic end theme notes of Buckaroo Banzai, again, an accident that I recognized the initial note pattern and kept poking until I figured out the next and the next. At some point I figured out the first few notes of the main Star Wars theme, but that's all. Beyond that I don't think there's much I could just intentionally sit there and play, beyond the variations of this one "theme" I've played mostly on piano for a couple of decades; it's never the same twice, just variating / improvising on a chord pattern and some notes. Oddly, it's the one piece I've never really turned into a recorded "finished" song.... (I'm the only one in my family taht was not given music lessons, but I'm the only one that actually "plays" any instrument (if you can call it that) or creates any form of music, and am the one with the widest artistic interests / implementations by far (my younger brother is the only other artistic one, but he doens't ever play his guitars even though he actually knows how, and won't help me with the stuff I make (or listen to it, most of the time))).

I haven't done that specific effect with it yet, but the way I have done something similar (for just one track's sound) was to slice up the audio clip into very short lengths (shorter and shorter slices closer to the "stop"), and use the clip properties pitch change in the notes and cents sections to adjust by ear each slice downward in pitch. I don't have plugins that can do this sort of thing, except in multiple steps with different ones, so it was actually easier to do it that way.

You'd need to post a higher resolution image of that symbol to be able to translate it. Most likely it is what the driver name reported to sonar is, even if it isn't the name you see in windows (but that should be the same).

If you mean right at the beginning, the "booms", and the deep vocalizations under the other ones, those are modified mostly from Ghosthack sounds out of their Ultimate Cinematic Bundles and their Origin bundle. The booms I split into two or three "notes" and pithced themn up or down relative to each other to get that effect. A couple of them are layered for "chords" but most are single. I just used the ALT+/- function to change the pitches, nothing fancy then crossfaded the parts. Well, I hardly ever get the chance to discuss things technically; and things like "likes" or other emoticon/reactions vs technical discussion doesn't tell me what I did right (just that there must be some part of it that is), when I can get feedback about what I did wrong I can at least modify to eliminate those problems, so given the little discussion I manage to generate about any of this stuff (and the very few listens it gets), it's "easier" to modify things to eliminate reported problems and then just go from there. If there's something I happen to really like or want or need that nobody likes about it, well, I just keep those bits anyway. Well, I am still learning which sounds I have, I have honestly probably not even heard half of them yet. :lol: I tend to experiment a lot, and try differnet sounds just to see (hear) what they're like, and sometimes I'll even change the direction I was going with something because it's "better" with the new sound. Previously I mostly used SessionDrummer with various kits, some modified from the ones it comes with, and some "built" by replacing those sounds with other wavefiles cut out of various orchestral percussion samples. Sometiems I'd play notes on a yamaha tabletop drumpad thing, soemtiems just draw them in, someitimes use modified midi patterns from various places. At some point I'll probably integrate these approaches, but I'm still learning how to do it with the wave files, and it honestly takes much less time than with the midi, to get the final sound I am after. I'm sure the DAW could handle it....unless it's *really* ancient. My Win10 DAW laptop is more than a decade old, uses some old i5 CPU I think, and internally still uses a spinny harddisk and it can easily handle these projects--it's only at about 25% CPU most of the time, and the disk loading doesn't seem to be noticeable. At most I might be using a quarter of the 16GB ram for stuff like these. (and there are a bunch of hidden empty tracks that still have active fx in the bins, part of the template but not used in this project). When I use stuff with a dozen synths (mostly z3ta2, sessiondrummer, truepiano, dimension, rapture, a few sfz's, etc) then it's a lot more heavily loaded for CPU, and Ram, but it'll still do those too. I probably have at least two fx in every track bin, some several, and each bus probably has two or three. Lots of Multband Compressors and EQs (both sonitus), delays, reverbs, etc. The brain part of it, well, it's kinda like a jigsaw puzzle, or tetris, or something, maybe. Not sure (I dont really play games, no time), but it isn't too tough going clip by clip, often just starting with a simple rollout of a loop to get something to work with, then cutting out all the bits that don't fit as I go along. Eventually it looks like what you see (or even more chopped up, if I don't end up with any looped bits left, just the sounds from them). Sane thing for non-percussion parts if I start with loops for those, but can be more complex as I have to chop up to indiviidual notes and pitch shift them to the notes I want if they're not already, and with vocalizations and stuff I may have to slice up many teensy bits to create pitch bends, blurred together with reverb and delay. (same for electric guitar parts, but blurred by the amp/signal chain). Sure...I hope that someday doing so will generate a discussion of techniques, and i'll learn stuff too. OHBB is the Old Home Bulletin Board, dedicated to discussing all the facets of a show called Haibane Renmei, and ES is Endless Sphere, generally an Electric Vehicle forum, mostly discussing electric bicycles, scooters, and motorcycles, with a few watercraft, aircraft, and cars / other large-EVs. I've been part of those forums for a long time (since back when Cakewalk discussions were via newsgroups (NNTP) rather than forums. )

Crows...always remind me of Haibane Renmei, which has a different subject, but is a very good little short show. In that, someitmes the crows are annoying, sometimes they appear to be trying to save someone, sometimes they appear they might be doing the opposite. (open to interpretation). There's an entire forum dedicated to discussing all the facets of the show....