Amberwolf

Neither does my present dog (who isn't really a dog, just a schmoo-alien in a dog costume, who occasionally goes on vacation back to her home planet and leaves the costume behind, which gets lonely and thus acts like an actual dog). One of the things I like about this song is the parts you've got in your song, but also the vocals, which are a type I like (along with some of Yazoo / Alison Moyet, Eurythmics / Annie Lennox, etc). I don't have a useful voice for this kind of thing, but it would be how I would sing if I could.

I added some other stuff I found to my first reply, but this one may be the "easiest" solution so I'll post it separately as well, to make it easier to find: This page http://recordinghacks.com/microphones/Blue-Microphones/Yeti-Pro says there is already a 1/8-inch stereo headphone jack, which the "fact sheet" says is "Zero-latency headphone output with volume control for direct monitoring". This has to be post-preamp (and so have the sound quality you're after), so you could use this signal directly into your regular audio recording interface, and thus have only the IF's latency to worry about.

That is a pretty long latency. I wonder what they have the driver doing that it takes that long to process--it seems pretty unusable for a mic presumably intended to be a live audio source. EDIT2: This page https://sharklatan.com/fix-microphone-blue-yeti-usb-advanced-audio-device/ has info on fixing certain issues; I don't know if any of them would fix a latency problem. EDIT3: YOu didn't say which driver or driver mode you're using, but if you're using ASIO4all to get this mic working with ASIO, it would probably work better to uninstall that and use the native WDM/KS or WASAPI driver it has instead (since that's what the ASIO4all is actually using anyway, and just adding ASIO4all's own latency on top of that. EDIT4: Also, it may make a difference whetehr you have it plugged directly into the computer's USB port (and which port it's plugged into), vs thru a USB hub or some other device's USB plug that then feeds into the computer (like some computer keyboards have, for mice and other things to be used without using up your computer's ports). Do you mean something that automatically shifts the clip position after recording is stopped to put them where they should have been? Other thoughts: Depending on the version of software (CbB, Sonar) you have, there is a "time+" to adjust the playback time of tracks. It doesn't affect the recording of new material, so you would basically just be syncing the existing stuff in the project to whatever is coming in on the new one. With a delay of a whole second, that would be pretty hard to work with. There isn't a way to add a negative value to the incoming stuff to match the unaltered playback time of the existing project (it would have to play before the signal was actually coming into the program ). FWIW, if there is no other solution, you could open the mic up and trace out the circuits, then find the output from the preamp (if it's a separate piece from the USB conversion; it might not be), then install a jack for that to run to your regular interface. Not necessarily an easy task, and there is risk of damage that could leave it inoperative or even unrepairable. EDIT5: this page http://recordinghacks.com/microphones/Blue-Microphones/Yeti-Pro says there is already a 1/8-inch stereo headphone jack, which the "fact sheet" says is "Zero-latency headphone output with volume control for direct monitoring". This has to be post-preamp (and so have the sound quality you're after), so you could use this signal directly into your regular audio recording interface, and thus have only the IF's latency to worry about. EDIT1: This video (for a different purpose) shows the disassembly of one of the Yetis (dunno if it's the same model) to give you an idea of what is involved in disassembly. ... https://youtu.be/1yxUSUbJkwk

What specific synth is "GW synth"? Is it a separate piece of software you're running outside CbB? Or is it a synth within CbB? What MIDI driver do you have installed on the computer? And what software outside of CbB are you trying to route it to?

What synth are you using to play the midi with, and how is it routed to your speakers? Meaning: Are you routing the midi to a hardware synth or keyboard outside your computer? Or are you routing the midi to an internal softsynth inside CbB? Details on how your midi is routed to the synth, and how your synth is then routed to your speakers, will help us help you figure out where the problem is and how to fix it.

A quck google found this on reddit (yeah, a bastion of truth and reality :lol: ) for an instance where someone tagged a vehicle: https://www.reddit.com/r/AirTags/comments/17vjfac/just_found_an_airtag_hidden_in_my_truck_how_can_i/

FWIW, it's much much safer to let it save as a copy, not over the original. If something bad happens during the save, and it's saving over the original, you lose *ALL* of your work (unless you are constantly backing it up to another file somewhere else). Unless you have a really tiny harddisk, it is not going to be using much space for the project file itself (since the save doesn't resave the audio files that take up all the real space--those are already saved in your audio folder(s) and are just streamed off the drive as needed).

I'd also like an ability to constrain drawing values of (assorted things); for me something like holding a modifier key while dragging would do the job 99% of the time, as long as doing that doesn't alter my selection (so I can perform the action on just selected notes when necessary). FWIW, there are certain sounds in certain synths that respond using different samples or different sound variations when the velocity is at specific value transitions; in these cases I have to set the specific velocity that triggers that if I didn't manage it while attempting to play in some notes where I miraculously got the timing I wanted (that I'd never be able to repeat). For these cases, I'd generally do something like what the OP is doing, except that I'd probably select by a filter like a velocity range and cut and paste those notes to separate track or clips in another lane, etc., and then alter just the velocity of those notes by just setting them to the specific velocity, or by adding or subtracting enough velocity to trigger the sound I want. Mostly this is done for percussion sounds, but sometimes it's a synth track (most often Z3TA2+) used for some mostly-repetitive pattern (that usually used to be an arp pattern that was then edited in the track as individual notes).

A bit OT....a repair shop I once worked at did contract service on some heavy duty large and fast diablo dot-matrix (or maybe teletype?) printers for various places. To make sure us new employees paid proper respect and caution to the equipment, the lead tech / supervisor showed and told us what happens when an idiot wearing a tie leaned over into an operating printer.... At some point in the past, someone had done that, and had their neck broken. The demonstration given was convincing enough I think it could actually have happened.

If it's the actual fader motor, there are replacement parts out there for some types. This is a link for behringer part, not peavey but maybe they also carry those: https://www.sweetwater.com/store/detail/MOTORFADER--behringer-mf60t-motorized-faders-set-of-5-for-motor-controllers Remember also that the motors are driven by electronics on the board itself, and those can also fail, though it's almost always the mechanical parts that fail first. Most of the motors in things like this are simple brushed motors, so the brushes can wear out, leaving the motor working poorly or not at all. Brushes are actually replaceable in a lot of motors if you are willing to take one apart to do that, but they aren't usually available as parts, so you have to make one yourself (the easiest way is to use a brush that *is* available that's close in size and shape but bigger, and whittle it down; some RC hobby forums have threads on how to do this).

There are a number of different virtual audio cables out there, some very easy to use, and some very complex. https://www.google.com/search?q=virtual+audio+cable If your other DAW is a separate computer that you can't just run audio cables to, some support offboard (networked) computer audio routing, most don't. As long as everything is on the same computer, then if you are using the regular Windows type drivers (WDM-KS or WASAPI) there are several possible setups you can use, so that SONAR can have your speakers' hardware out as it's main out, and a separate send or bus with the virtual audio cable as the output, so you don't have to keep switching back and forth in your configurations. But--if you are using ASIO (where you can only have one audio driver enabled at a time), then AFAIK there is only one that can be used in a way that lets you hear SONAR while piping the audio around (it would also let you hear the other program, and you can also route audio over networks), and it's the most complex: https://give.academy/ODeusASIOLinkProPatcher/ You'd want to read it's documentation completely before setting it up; it's not super comfusing but it has a "style" to the way it's UI is laid out that takes some getting used to.

Neither one of those is the case, as I am not telepathic and cannot tell what they did from the insufficient information provided. That was why I asked the questions, and then posted the explanation of the reason for the questions. If you were communicating with them outside the forum to get the missing information, or just managed to correctly guess how they set it up, or something else entirely, well, I wasn't able to do that. In the future I'll just remember to not answer this poster's questions, as I already do for a number of others. Apologies for the interruption.

If you post the details of what you did, it will help others that come along with the same issue later.

You can upload things directly to Archive.org to preserve them, if that's something you have time for. I don't know if they ever changed the policy, but a long long time back before they had that option, I offered some files I had from defunct forums and sites to fill in missing stuff, and they said they could not alter any archived sites, but they didn't explain further, and I didn't get replies to further inquiries.

The bitcrushers I have used appear to be removing assorted frequencies, along with in some cases / settings changing the bit depth. In those cases, you can't directly "undo" the changes the BC made--the data is "gone". There are almost certainly maths that can interpolate the data that *is* there to create new data that "fits" the existing data, as can be done with images...but it isn't the original data, so it may not sound even remotely the same as the original did, depending on what was missing. I expect that some form of "LLM" AI where it's model is composed of bajillions of sounds it can use to compare to the BC'd sound, and where it has maths to try to figure out how the BC was done (which gives it more info on what's missing and why), would be able to do a decent job, if slow. There are probably simpler ways but those are two I can think of that have already been done wiht other "missing data" situations to help restore damaged (accidentally or deliberately) data (especially images).

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I don't know that this will do what you want, but it was suggested in a search for anti-bitcrushing plugins as something that might help Apulsoft's ApShaper https://www.apulsoft.ch/apshaper/ Never heard of it before this, so dunno how it might do that, but it has a demo version....

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Yes, and I acknowledged that before, but you posted a question, so I answered it.

Well, it's much more complicated than that, whcih is why the info is important to know how to help. TTS 1 is a synth. That means it takes input from MIDI tracks, and it has an audio output. (several, actually, per another user's post above) So you can set up a "multitrack" drum part in several ways. You can feed a single instance of TTS1, that has just one audio track output, from a single MIDI track that has lanes for each drum's notes. You can feed a single instance of TTS1, that has just one audio track output, from any number of multiple MIDI tracks; --each of those tracks could be sending on the *same* midi channel, so that all of them are sending ot the same instrument (drums, etc) in TTS1. --or each of them could be sending to *different* midi channels, so that they are sending ot different instruments in TTS1 --or some combination of those two You can feed a single instance of TTS1, that has multiple audio track outputs with separate instruments on different audio outs, from any number of multiple MIDI tracks (see the variations above again for that, multiplied by the mulitple audio outs) You can feed separate instances of TTS1, each of which has just one audio track output, from a single MIDI track. You can feed separate instances of TTS1, each of which has just one audio track output, from any number of multiple MIDI tracks. (again, complicated by all those --ways to set those up, listed above). (there are further variations, but you get the idea) This "complicatedness" makes it possible to do a lot of different things if you don't mind the complexity, but doing it the "simple" way limits the things you can do while making it much easier to setup (and remember how it's "wired"). So some of the advice in the thread assumes you're doing it one of those ways, some of it assumes another, but all of it has to make assumptions because we don't know which way you have it setup.

I'm glad it's solved, but despite saying that you had them on separate tracks, you didn't specify which kind of track (audio or midi), or whether you have separate instances of TTS1 or just a single one, etc. ...something you should keep in mind for future troubleshooting sessions that will help people help you faster and more accurately with less wasted time on all sides.

Separate MIDI track, or separate audio track? Separate instances of TTS1, or just the one? Both of those are crucial bits of info to know how you have it setup, so that correct advice can easily be given without "random" advices that "eventually" hit the right answer. Each way you could have it setup has different answers to how to do what you want to do, that don't apply to the other ways. Knowing your complete setup of how your instruments and tracks are routed is often key to someone being able to help you with a particular problem (especially things like the topic of this thread). If you want completely separate control of every sound, you'll need to use separate instances of your synth(s), each with it's own audio and midi tracks. If you use just a single instance of a single synth for every sound, then there are things you can't control or do individually. Some synths have multiple audio outs that you can assign to different instruments, but most don't. Someone above said TTS1 has four, so you setup separate audio tracks for each of those four, and then setup TTS1 internally so the instruments you want grouped together are all sent to the same one of those four, and all the ones you want separate are on each of the other three. If you need more than four you would have to use a second instance of TTS1 and route your midi tracks for those to that one.

If the Korg has a "multitimbral mode", so that each midi channel can have a different instrument on it, you set it up for that. Then set each instrument you will use on the Korg to get it's notes from a different midi channel from each of the others. Then in Sonar you create a midi track for each instrument on the Korg, and set each of those tracks' output channels to the one the Korg instrument for it is set to receive on. If each Korg instrumetn also *sends* on a different channel, you set each Sonar track's input channel to the corresponding one as the Korg instrument it's for. If you need to actually record on those tracks all at once, then you'll arm all the tracks for record, and then use the record function in Sonars' transport to begin actual recording. If you only need to record one at a time, you just arm the one you want to record on, then use the transport record fucntion. If you actually need to record the audio from the korg as well as the midi, then if the korg only has a single stereo audio out, you have a choice: --have a single stereo track on Sonar that has *all* the sounds at once (just like the final audio file you'd export to make an MP3 or wave file or whatever for listening to outside of Sonar), and you'll play back all hte midi tracks at once to record the audio from all of them at the same time or --have a separate stereo track on Sonar for each instrument, and you play back only that midi track while recording the audio (mute all the others not being recorded). The instructions for these depend on which way you want to do this.

As Promidi notes, that feature doesn't move the data visually, it only compensates for the timing during playback. You'd need to actually move the data itself by that many ticks to visually change where it is on screen. If you select that data, then choose Process - Slide, you can enter the number of ticks and choose Ticks, to actually physically move the data to it's "real" position.

Thanks, I appreciate the info! Would be nice if their website didn't outright lie about that and tell me straight up that it requires the control center to install any of their plugins.