Amberwolf

My first remix contest submission, for W.A.Productions' Larry Ohh remix contest here: Feel free to vote for me. https://www.waproduction.com/contests/larry-ohh-remix-contest/amberwolf-this-life-w-a-production-larry-ohh-remix-contest I have another one being worked on for this contest https://www.labelradar.com/contests/KSHMRremixchallenge/portal but it can't be posted outside the contest, so until I've finished and submitted it I can't post a link to it here.

Updated Don't Know Why You Stay with some of the backing vocalizations. I have to fix these up the same as I would teh lyrical vocals, so it's time consuming (I first have to find the right ones, then make them fit the rest of the track). 08-30-25: 082525 000001 000063k https://amberwolf.bandcamp.com/track/dont-know-why-you-stay

It only records what is sent. So if the CC your Q49 sends is recorded at a specific value, that's what the Q49 sent over MIDI to be recorded. Why it would send a value it doesn't respond to is unknown, but there is probably a setting within the Q49 to change what it sends or what it responds to, or both. If for any reason you can't, you can use TenCrazy's MIDI Fx to translate what was recorded into what's needed. Sustainfix might do it, but if not maybe CCmap would (can't remmeber if it remaps values within a CC or just which CC goes to which other CC).

Is the sustain actually recorded in the MIDI track? It's usually controller 64 if you look in the event list, or the CC pane in PRV. Also, there is the option to disable recording controllers in the MIDI section of the global / main settings. If this is done, live controllers work but they're not recorded into a track. There may also be a setting in the Alesis itself for how it responds to external controller data. (haven't used the Q49, just the ancient MIDIverb3).

BTW, if your freeze method leaves the track fx bin fx still live, rather htan baked into the audio, then *those* will still cause variations in every pass, but it probably won't be as extreme as the way a synth self-modulates with LFOs and the like. Depends on the specific fx; some are designd to be random, and those will probably have mroe variation than those that are not.

I would always change the way this is said to "SaveAs early, SaveAs Often, and don't forget to SaveAs, and Never Save." (because the Save function overwrites a file that you already "know" saved, and if something goes wrong during this process, you lose both old and new. SaveAs does not overwrite anything (assuming no OS or hardware failures ).

With any synth that does any form of realtime generation of it's waveforms that are self-modulated (LFOs, arps, etc), or has any form of effects internal to it that are self-modulated (LFOs, etc) within the synth, the output will be different every single pass, and so the volume at any instant will be different. The exception to that is if it has a true sync of all of those generative things to the host clock, *and* that all those syncs are all turned on. Many don't have them turned on by default because the sound may be more interesting when they can self-modulate against each other in what might seem a random way...which won't happen if the sync is on. So, if you don't want the volumes / sound to change, you will need to freeze the synth, so that the output is now a wave file and will not change. If you still need to edit parts, then you can do what I usually do--freeze the synth once I have the basic idea down, then clone that entire audio track to a new track (fx, properties, automation, clips, events, routing, sends, etc all get copied). Then unfreeze the synth, and mute all the midi clips that drive it that you have now got in the new track as audio. When you find you need a part to change, mute those portions of the clips created in that audio track (the copy of the frozen audio), and do what you need to in the MIDI track that drives the synth. I sometimes also do this for stuff where I need multiple different sounds with similar or the same MIDI driving it, from the same synth, rather than have multiple instances of it, especially in an already-cpu-heavy project. I'll freeze the synth, clone the audio track, unfreeze, change the patch in the synth, do whatever to the MIDI, freeze that, clone it, unfreeze, rinse and repeat. An in-progress example of that is Don't Know Why You Stay https://amberwolf.bandcamp.com/track/dont-know-why-you-stay where all the rhythm synths are Z3TA+2, four different patches, mostly the same MIDI but the patches respond differently to it in some cases, some of them were edited, some parts muted, trimmed, etc., so different patches play at different times, or at different levels, octaves, etc. The bassline is one Z3TA+2 patch for the "thunk" part and one TAL Bassline patch for the deep smooth part. (The primary "Juno" lead was a rendered waveform from something else, so was the guitar-ish distortion synth).

Do you mean that you get a different output level on different passes of the track at the same point in the track? That would be strange, unless you have a plugin in the bin or on a clip's bin, that does modulation that isn't synced with the host or has some random character to it (which would mean a different output every time, and could be different levels by some amount depending on what the fx does). Or, do you mean that if you do the exact same automation for the exact same prefader audio level at some point in a track, you get a different output level at each of the two points? But each point always remains the same output on each pass of playback? Or do you mean something else? More detail / specifics is better.

My version of that I've used for as long as I can remember is "If it ain't broke, fix it till it is."

I used to dream of getting one of those....far out of my budget (I'd already blown all my credit and savings on the ASR88, the one new synth I ever bought)

What do you see, exactly, when it does not work as expected? More detail is better, to see if we can figure out what's going on.

Thanks! I have to build the vocals out of existing phrases, words, etc. that I have in various sound bundles, so it is going to take quite a while to do. It's likely that I'll end up using some from a couple of Black Octopus bundles, possibly Ghosthack, as these have enough words in them in different phrases and styles that I might be able to find enough pieces to cut up into the stuff I want. A bit like I did the spoken word stuff in The Beaten Dog, but much more complex because I ahve to fit the timing of the vocals to the existing music (instead of building both aroudn each other), and I have to cut up and pitch shift each syllable, etc, too. (and can only do that a couple of semitones and keep it reasonably realistic, so...). (even if i could sing usefully, I can't do it fast enough and just speeding up my voice won't get the right result, so since i will have to do all that work anyway, I might as well do it on vocals that already sound good. :lol: )

I'm not sure I understand exactly what you're doing vs what you're seeing. So I will just explain my understanding of the control I think you're using, and see if this matches your expectations of it: You can set a track volume with automation, but this doesn't change the audio itself *to* that volume, it just moves the volume fader to that position, essentially either subtracting that many dB (-values of automation) or adding that many dB (+values). So just like having a track volume at 0dB doesn't mean your audio will be output at 0dB, setting the volume to say, -3dB doesnt' make it -3dB, it just reduces whatever volume the audio actually is at by -3dB. If your audio is peaking up at +4.3dB at that point, it will now peak at +1.3dB if the volume is set to -3dB, because it reduced it by that much. Does that help, or am I misunderstanding what you're doing and seeing?

Updated, lengthened, improved and filled out Don't Know Why You Stay https://amberwolf.bandcamp.com/track/dont-know-why-you-stay Original version still here https://soundclick.com/share.cfm?id=15091036

Another new one: Don't Know Why You Stay https://amberwolf.bandcamp.com/track/dont-know-why-you-stay just a minute of it so far so it won't take much time. Might have words, still working on those, read them real fast with the beat: I can feeeel youuu waiting for me I can heeear youu asking for me I can seeee you walking away from me. Don't know why you stay when you only want to leave I can feeeel it all can feeel your need i can feel you watching me i can hear you looking down at me Don't know why I care when you're not really there What is it when you call my name what is it when i hear you say what is it called what the hell do i say when i don't know don't care don't feel don't want when i cant see cant hear cant feel oh god I can feeeel youuu waiting for me I can heeear youu asking for me I can seeee you walking away from me. But I don't know don't care don't feel don't want when i cant see cant hear cant feel oh god need to see you touch you smell you feel you but you run away look back callmy name then you come back tell me what i am and i feel you holding me killing me willing me to go away stay there don't leave oh god I can feeeel it all can feeel your need i can feel you watching me i can hear you looking down at me

Since that shows a piano up the side, I'll assume that you're doing that in the piano roll view. That would mean you're using a MIDI CC. If you have not first done the MIDI Learn inside Axon per however it's manual tells you to do that, so that whatever CC you're using for the Volume there (probably 7, that's most common), is then assigned inside Axon to control whatever volume control you want it to. You may also have to setup the correct MIDI routing (channel, port, etc) to ensure it can get to Axon, either inside Axon or your host (Next, in this case). That you'd have to check the manual for the host and Axon to be sure that's done right. Some synths can be inserted as a synth, with a MIDI track feeding them and then the synth outputting to an audio track, or as an effect in an audio track's bin. In the latter mode some of them may not be able to get MIDI input, so you may ahve to be sure it's setup the first way--see it's manual to find out which way it works. Alternately, you can simply use normal volume automation on the audio track the synth outputs to, which doesent' require any of the above complications. I'm assuming Next has track automation for audio if it does for MIDI (I haven't used it, just ancient SONAR / Cakewalk from a couple of decades back and before...but even they have it, so....). If you can't control it's volume that way, then you can insert a limiter, eq, compressor, etc., plugin that supports automation into the fx bin of the audio track Axon feeds, and then automate that fx. (almost any fx has a volume control built in, sometimes defined as gain, sometimes input and output separately, so you can use almost anything to control just volume). If there is no automation available in your host then you can't use automation to control anything...but as long as there is, you just have to use the right kind of automation in the right place to control the right setting for what your'e after. Sometimes it takes a bit of drawing out your routing for audio to find out where to stick a control.

Why, are we too sexy for our words again?

Better than being a leaf in the wind?

Does Axon itself support automation for the specific things you want to do? If not, you can't control it via automation. It does state that it has a full MIDI learn mode, so you *can* control it via MIDI. Since it has an internal mixer, you can automate that via MIDI after doing it's learn function, to do whatever mixing you like to do, even if the host you're using it doesn't have direct automation functions. If you just want to fade it in, you could just use volume automation to fade in, if the host you're using suports that, in it's audio output track. Or render it out to audio and then use the host's methods for fading audio files. (clip fades, etc).

I bet you get the same answer from an AI.

Oh, if only it was that simple and easy. But thank you for posting it for those that it *will* help.

maybe: https://discuss.cakewalk.com/search/?q=color&quick=1&updated_after=any&sortby=relevancy&search_in=titles https://discuss.cakewalk.com/search/?&q=theme&quick=1&search_and_or=and&search_in=titles&sortby=relevancy

In my ancient SONAR from around a couple decades ago, it's done in the track properties dialog; I can put in around 30,000 characters IIRC. (might be 32k to do the binary thing, can't remember...never used that many).

If I use Shred (acmebargig) in my ancient SONAR, even with no automation on the tracks, I have to turn autosave off or I can't even work on the project, as it may autosave every few seconds. It's the only one I can think of that is this bad that I still use.

That sounds potentially useful. My tinnitus is very very LOUD and in multiple bands. I have occasionally sat down to find the frequencies, but have never finished the process (not sure that new ones don't come up all the time, either). But I have not tried "notch therapy"; I ran across a reference under a different term but is probably the same thing, but didn't dig into it. May i assume that the notch you're creating is there to only *allow* that frequency thru? Rather than to block it? FWIW, none of the broadband noises (pink, white, grey, etc) have helped me; if I am running my boxfan (or pink noise on a speaker when its too chilly for the fan) that helps me sleep by blocking out the noises of the world, my tinnitus is still just as loud and present as always (since it started a while back (couple years ago? I don't remember anymore; it's so loud it makes it hard to think, remember, concentrate, or do anything) and keeps me from sleeping even as poorly as I used to before it started. If the Melda plugs are available as individual installers (not going to use any "managers", had my fill of problems with those over the years), I'd be willing to try if the ones you're using are the free ones. If not, I probably already have things that will do the same jobs.