Amberwolf

AFAIK, in ASIO, all the buffer controls are within the ASIO driver's own control panel, outside of the DAW. The last time I had an issue (in my ancient SONAR) similar to what you're seeing, it was a misbehaving plugin that I wasn't even actively using--it was in a hidden but not archived empty track. I don't remember which one, but it was some pitch-bending plugin that stopped working correctly sometime after SONAR6, that I still had buried in my template and forgotten about until this happened. Why it happened...I dunno--it wasnt' being used, and similar projects had not had this issue, despite starting from the same template, and even another project that was built from the broken project itself after deleting all the clips out of it. I also once had a problme with a corrupt clip gain envelope that prevented the audio engine from starting, after playback reached it. The whole program would have to be closed and reopened once that happened, but since it always happenda at the same point it was relatively easy, if very tedious, to find and fix.

To help distinguish the tracks, I rebuilt the percussion for The Heist, it's still got a fair bit of elements from the first one, but I replaced much of the big orchestral drums both sonically and stylistically there with something hopefully more appropriate to the "scenes" and mood it's supposed to give, for more than the first half of it. https://amberwolf.bandcamp.com/track/the-heist-drywater-mars-part-2

IT coudl also be related to whatever the problem you had in this thread was which you never did come back to resolve.

Whenever I have an automatable control that I want set to a certain value, I create an envelope for it, even if I never auctually use it to automate that control, and then I hide the envelope so I can't accidentally move it. If I need to tweak that value later I can unhide the envelope and either change it for just that part of the track (most common) or the entire thing. I used to use offset mode for this but not all controls have an offset version, *and* then if I need to change this for part of the track but not all I still have ot create an envelope, so I changed to using offset only later on, for those times that I have automation but need to change the whole overall amount of something later.

On my six string Ibanez bass, the two low strings are the hardest to get tuned in the first place, and lose their tune first. At least they don't drag the rest of the thing out of tune, but it's annoying. I don't really worry about it and havent' done much to try to fix it because I don't use the guitar much (any of the non-virtual stuff these days), and when I do it's just one string at a time (cuz I can't actually play; I build chords where I use them by combining different recordings at different times.) but this thread has good ideas for trying out next time I get annoyed enough by it.

What fx are you using? What instrument is being used? Are you using any EQ to filter out any frequency ranges that conflict with other instruments? Are you using a separate bus for the bass tracks to feed, or does everything just go straight to the master out from your tracks?

Based on feedback from a VI Control thread, in Intercept, I dropped the whole sub range down by half, cut sub by about 75% in most places for The Heist, and in half for Drywater, Mars. Does that help?

You can try the wayback machine; sometimes pages get archived there along with the media itself. Sometimes things people locally stored get added to the media collection separately.

There's a feature I didn't know about, even using SPAN for ages! I will have to try that out, because I often have troulbe with things in mixes and don't know where they're coming from, and my actual hearing is messed up by severe tinnitus, etc., so sometimes I can't even tell where something is amiss, and visually it looks ok.

Has your environment changed? If humidity / temperature changes are more extreme or more frequent than before the problem began, it could cause issues if they happen long enough or extreme enough, if the wood isn't sealed against them well enough. A long time ago I had a crappy old acoustic nylon string that used to be my younger sister's, and it held a tune ok, when we were kids in north texas farm country in a little pink house with a swamp cooler. After we moved to the desert here, it started to change and had problems, and after a few years it was impossible to tune, you'd start on one string and by the time you got the last one done it had lost the tune on the first one, and no amount of working with it would tune it. Not like we knew anything about guitars, or how ot store or use htem, etc., so it could probably have been prevented, but....

Found on ViControl:

I suppose another bright band would be ELOLED?

The third piece, for "Intercept". https://amberwolf.bandcamp.com/track/intercept-drywater-mars-part-3 Open space full of unwinking stars; a familiar blocky ship coasting past the POV, cut to crew inside doing daily things. Alert sounds, cut to stars and an unfamiliar more modern sleekly predatory ship sneaking into view, the other ship in the distance but rapidly growing clearer as the predator decelerates toward intercept. stuff ensues, one ship coasts away, not doing so well, the other is a cloud of debris continuing the path the ship it used to be had been on..... Note: This piece is probably twice as long as it should be; I haven't been able to bring myself to cut the middle out yet.

The second piece, for "The Heist". https://amberwolf.bandcamp.com/track/the-heist-drywater-mars-part-2

EDIT: There are now seven parts to this Drywater, Mars (opening titles, main theme, etc, track 1) The Heist (track 2) Intercept (tracks 3 and 4; alternate versions of the same piece) Not Just To Breathe With You (track 5) Walk-Away and End Titles (track 6) Artifact (track 7) This is part of a series of "cinematic" pieces built upon a few themes and sounds; some of them will use multiple themes/sounds in them to call up different "characters" or groups of a "TV series" that doesn't yet (probably ever) exist, called Drywater, Mars. I suppose the closest things I could point to that do exist that might be like it would be a cross between Firefly and The Expanse. Feedback appreciated. The first piece, the opening titles and first scenes: https://amberwolf.bandcamp.com/track/drywater-mars Open space with stars dimming as the view pans over to a sky-filling view of a Mars that's a fair way towards terraformed, but still desert, and the pan continues to a freighter decelerating past the POV toward the planet. The ship is covered with cargo contianers poorly strapped down all over it's wide boxy "top", itself looking like it has long ago passed it's retirement party. Suited-up crew scramble over the cargo trying to re-secure straps, as the ship continues down thru the thin atmosphere, occasional bits of railing and stuff deciding they would like to land separately, toward the dusty rocky desert next to the ramshackle container town of Drywater, whose inhabitants have come out to the streets to watch the...landing... of the "traders", wondering if any of the goods will still be on the ship by the time the dust settles, or if the ship will be "landing" on the town instead. Cutscenes within all that for showing the faces of the various characters and their names/actors, etc.

I don't know if Next has the functions, but in Sonar you can just Apply Trimming (which I have bound to the 4 key) or Bounce To Clip (which I have boudn to the 3 key). If your sustain CC doesn't work right after bouncing, it probably means another event is being added to the clip (by next, presumably) to turn it off at the end of the clip, or there is some other built in or pre-set behavior in next to do that at the end of a clip with a sustain cc. Again, don't know if Next has the option, but Sonar can also turn off NDE for MIDI entirely if you like; I think the details are here:

I have almost never had just a single computer since moving from the Amiga to Winteletc....partly because there are always failures lurking, and I can't be without at least one to do the musical (and other artistic) stuff I require them for.

Might be time to talk to HR.

Since the top is higher, I'd call it a niwo. But, I'm wierd that way.

Intercept (Drywater, Mars, Part 3) First concept sketch, includes vocal and synth tie-ins to the original Drywater, Mars; doens't have much to The Heist yet other than percussive. Still working on details of buildup, tension, drama, release. feedback always wanted. Trying to make it two ships, one unknowingly being intercepted by another, realizing, then chase, evasion, intercept

There is a demo version you can try out; I think it just uses periodic silences? I can't play normally (i have to lay the guitar on my lap and hold the strings down from above, etc), so I can only tell you that for my limited uses it works better than the Yamaha G10** I lost in the housefire back in 2013*** JO's MG program would probably work even better if I had separate pickups for each string on separate audio channels. You can acutally run multiple instances of MG, as long as your interface supports multiple programs accessing it. You can also use it to just drive a midi port instead of making nay sound itself; i use it to drive loopmidi virtual midi cable to send the data into sonar, unfortunately i can't send the audio anywhere withotu a physical cable because it only has one audio choice that does both in and out. i would like to use a virtual audio cable as the output to send into sonar. (yes, you can use it as a vst inside your daw, but i prefer to keep it outside). BTW, you could make it standalone and portqable by using a tiny box pc and audio interface and midi interface, then just use that as a hardware box already presetup to run the instances and use some default preset you've created (or use something like autohotkey to open each instance then open the preset or whatever that tells eadch one to do one string's worth of stuff if you want them different from each ohter. Otherwise just use six instances to have it comletely independent and have it output the midi to whatever you want it on. i'd stick each strin ong a separate channel to keep it easier to process all the midi data as separate entities. (i'd try this myself just to see what it does, but i don't have a hex ickup and haven't had the time / etc to rewire my regulr pickup into separte ones). I've used JOMG to play all sorts of instrumens and sounds, including percussion. ***(I actually still have the main box, but the guitar part was melted beyond recognition in it's case--the main box has damaged knobs, but it still turns on and it probably still works fine if I only had the guitar part). **(the worst part about the G10 was that every string was the same, so the guitar could not be used by me without headphones--otherwise I would hear the strings twang out of tune with whatever it was I was trying to do, and screw it up. I don't like using headphones all the time, and prefer to be able to hear the "whole thing" in the space I'm in, wherever that's possible, as everything affects what I end up creating, and I usually want that to happen).

There is also a software solution to that by Jam Origin. It works pretty well for my beater yamaha acoustic with a magnetic pickup wedged in the soundhole, and my crappy firstact electric. The bass version works ok with my Ibanez 6-string bass. (keep in mind I don't really play guitar, so theres' probably things it odesn't do that I don't know about).

Some loopback drivers do support ASIO, such as O Deus ASIO Link Pro and VBcable's Hifi / asio bridge version. O deus ALP is complicated to setup but it works once you do--it basically sees everyting on the system and provides a routing GUI to connect anything to anything.

The Heist (Drywater, Mars, Part 2) further updates to mix, more additions and removals. Added some fancy violin and middle-eastern flute parts, a couple of other small synth backing bits, etc. It's now an adventure of it's own, like it's progenitor, Drywater, Mars.

If you have plugins that keep updating their settings, etc., like one of the old free guitar amp plugins I use, it can cause this. Might also happen if you have an external remote control device that is sending automation data to a plugin or synth that then tells Sonar it's state has changed. if a control is "twitchy" and keeps sending an up and then a down over and over, it could "dirty" the project this way and trigger constant autosaves. If you turn off the "save every X number of changes" and only use the timed autosave, does it correct the problem? If so, it's probably one of these things, or something similar, causing it.