Amberwolf

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.

Wierd, it says my post must be approved by a moderator? (but this one doesn't?) No attachments, no links, no brand names other than those already quoted from the OP, so...dunno?

That could mean the MOTU isn't getting enough power from the bus. Does it have it's own wall-ac-outlet connection for power? Or just the USB cable to power it? If you mean connecting those *plus* the USB via MIDI, that's not uncommon--devices with both options often can't have both connected, at least not to the same host, and if both are connected, sometimes both can't be used. You'd have to check it's manual to be sure if tha'ts a problem with this one or not. Sometimes using both means the same data gets sent or received on both, and the buffers in the device or the host can't handle it. AFAICT they are an AI spambot. There are a lot of those; they may or may not actually post spam links, but they fill forums and other sites with AI-generated garbage that sometimes looks relevant but doesn't say anything useful. It's usually at best a summary of things already stated on the page they post on.

The Heist (Drywater, Mars, Part 2) has been updated; quite a lot of changes in mix, added bits, remvoed bits, etc.

There are some devices that simply don't work well on USB hubs, and have to be connected directly to a usb port on the host device to correctly function. Sometimes unplugging everyting else from a hub will make such a device work correctly, but sometimes the hub itself interferes. Can be a timing issue, or a data buffering issue, etc. For bus-powered devices without their own non-usb power source, it can just be insufficinet current available from the hub.

What specifically do you mean by "digital mixer"? An example link would be helpful. I ask because if you're looking at things that don't have analog inputs, they won't be able to take analog synth inputs directly--you'd have to use an A/D converter of whatever type is needed to convert to whatever the DM takes. To add effects, by itself, the DM would have to have those built into it, or you would have to buy (or have) external units to connect to it's sends or fx loops (if it has any), etc. If you mean other things, you'll need to specify what that is.

"Time ruler" should probably be the "ruler" across the top of the whole track pane that shows you what bar/beat/measure/etc you are seeing on screen. (I don't know of any other time ruler in track view where you'd be doing this procedure, if there is one someone else will have to chime in) I haven't done the procedure using audiosnap, so can't help with those steps, but I have seen threads about this around here. You *can* hear both an audio track and the midi-driven synth at the same time if you want to (I do this all the time as virtually every project I make has audio clips and midi-driven-synths in it, each doing different things), simply by routing them both to the same final bus that goes to the same hardware out, assuming your midi-driven synth is inside sonar. If the synth is a physical external hardware synth, you'd have to connect it and the sonar audio output device to speakers (same or different ones) to hear both at the same time. If you want them to both be in the same key, you can transpose one or the other to match, but that doesn't matter for tempo-matching purposes.

I dunno if any of the stuff mentioned in this thread on VI Control is useful https://vi-control.net/community/threads/jazz-drums-brush-what-are-you-using.147857/

I got tired of waiting, so i built one. (sorry for the thread necro but i just ran across my ancient pics of it)

On your LR page, in "my tracks" there's a tab on the right for "sent to contests". clIck the "chain" icon on the right end of the one you want a link for, and that link takes you to your chosen 20 seconds of the track for public viewing. An example is a link to my KSHMR Wild Ride remix: https://www.labelradar.com/artists/Amberwolf/profile?track=394d9ad7-2796-4226-b3ab-690febbcfa0d BTW, on that remix, I was trying for a soundtrack type (because I prefer doing those, even though no one is ever going to use one for anything); my intent was to change it into a "spy action movie" thing (after having *just* seen Atomic Blonde), and i was changing the lyrics to match but my time ran out to work on it. I really wish I could post it up; the few that listened to it thought it was interesting and worth listening to. (I will eventually build my own vocals for it that are the reworked lyrics to tell my spy movie story isntead, so it wont' have any of the original remix contest parts in it and I can post it up, because I don't want it to just be a bunch of wasted time...I decided that I won't be trying any more remix stuff unless they allow reposting them, in advance, as I have lots and lots of music to make and don't want to waste what little time I have making stuff no one is allowed to hear (even if no one *will* listen, i'd like them to be *able* to). The stuff I really like to do is things like Drywater, Mars and Behind You Lie Many Unseen, and The Last Flight etc. that try to tell a story, or to give a soundtrack to an idea, etc.

Found it:

One big reason the Sonitus stuff is in every project I have, instead of one of the many other similar-type fx of each one, is because of what I can do it their UIs (the other is their sound). Personally, I despise knobs on a GUI. It is much easier to precisely use and *see* slider positions, especially relative to each other (even if there are "modifier" keys or motions to use a mouse with a knob to make it closer to using a long-throw slider; it's just not as obvious and easy, etc). I also can't use anything that wont' let me type in a specific value when I need to. (Not that y'all have any reason to care, especially since I'm not yet a paying customer, but I have sometimes severe problems controlling my hands and body, so being able to type in numbers is frequently the only way I can set things the way I need them to be, so anything that doesn't let me do that is something I often won't be able to use at all--doing stuff with the trackball set to really slow tracking helps with a lot of things, but it isn't enough all the time. I can't imagine that I'm the only person with such issues). I'm only going by the posted screenshots so far, and stated or implied things from other posters, not having yet used these new versions, so feel free to ignore anything that is incorrect because of that, and apologies if so: There are things in some of the new GUIs that are kind of a waste of space that could've been used for other things; for instance the "tempo bar" in the delay--in the original that is a small simple button that changes state as it's clicked thru it's options, and a readout for the tempo that is also a box you can type into. Having the "duplicated" space for the two different preset bars wastes space--the old one had a simple button-dropdown for it's internal presets that worked fine if you used those instead of the DAW's preset system. Entirely aside from the knobs vs sliders making it much harder for me to tell at a glance what relative values are in cases where that's desirable, there isn't a box to either see the values or change them direclty to a precise value by typing instead of fiddling with a knob. The two big things that would be real improvements to the Sonitus Suite: fixing the automation parameter names, and adding the missing ones, and adding more feedback in the UI for what is actually happening, soundwise, to the output vs the input. Somewhere around here is a post from the last few months with my thoughts on those things. If I find it I'll link / quote it here, in case it is helpful.

But you could list the films you've scored that have those bits in them...? I thought I'd seen some old jazz drums on Pianobook but cant find them now...but I ran across this funny one while I was looking: https://www.pianobook.co.uk/packs/cat-toy-drums/

That usually means your other MIDI tracks are outputting to that synth, or that there is an MFX on those tracks that has an output set to that synth. If you don't see any that are, I'd recommend using track manager to ensure you can see all tracks and that there isn't a hidden track that is doing this.

Ok, now Drywater, Mars has a "sequel", [b]The Heist[/b] The Heist (Drywater, Mars, Part 2) (bandcamp link (this will get updated with future revisions)) The Heist (Drywater, Mars, Part 2) (soundclick link (this will stay as the original version)) At the moment it is kind of a concept audiosketch, like the first version of DM itself. It is presently based quite a lot on DM, with many of it's elements incorporated, with new ones added. I'm still working on how to integrate at least a section of DM's main theme, to really cross them over. It started out as a way to fix the last section of Drywater, Mars to help it both be more integral to the rest of the track, and also to distinguish it and dramatize it, make it more of a big ending, but that didn't work at all, so I just started screwing around with it and muted out all the primary vocalizations, as well as the primary and secondary lead parts and all of the original bassline and guitar, most of the strings, all of the hard-bowed violin part, and just went with the new bits (mostly bassline), which don't directly work with the original parts. After a couple of hours of shuffling things around I ended up with this, which is it's own thing now, but is also part of DM. Maybe it's like episodes...we'll see, because I have some other things I wanted to try in the original that didn't fit, and maybe I can do this with those, too. Much of the orignal percussion is just like it was, some of it I changed volumes on, some of it I removed entirely, a bit of it is shifted in time relative to the original and each other, and there is significant new percussion added. The vocals I kept I moved in time and pitch, some were shortened or lengthened. I brougth back a part of one of the main synth lines in a softer section (which still needs a transition into that part) as a tie-in; I might bring back the ohter synth lines there too, or somewhere else.

The only other option I know of would be to go back to your prior saved versions of the file, or your backup files of it. If you had autosave turned on, or versioning, then Sonar has created at least one backup of the file at some point, that should be in the same place you save the files. AFAICR versioned files don't have the file extension, so they don't show up when you use file-open, but if you go to Windows Explorer and browse to the folder you can still see them, then copy it to a second file and rename it to add the file extension. If you don't have any of those, I would recommend in the future, regardless of the software being used, to always use SaveAs, never Save, and create yourself a name-versioning system, such as adding a number (and perhaps a descriptive phrase) to each file whenever you save. Autosave and versioning also work, but they depend on the program being able to do so; if something goes wrong before that point, you can end up with the same problem you have now. So *also* using SaveAs rather than Save, and doing so as often as humanly possible, to new files every time, will save you a lot of heartache at some point in the future.

Or when there *is* no batery because it fell out of the rusted out holder....

At least you got the notification in a reasonable time. The KSHMR one didn't send me that till days afterward. Then it immediately sent me the notice on the track itself "wasn't interested". Then a while later "just listened to your track for the first time! You've gotten their attention. If they'd like to take further action, they can either shortlist or pass on your track." Then right after that "Thanks so much for participating in the Contest! Unfortunately your track has been reviewed by the contest curators and wasn't selected as a winner this time around. Not to worry though there are always plenty more exciting and valuable Contests to participate in!" So their notifications are delayed for whatever reason, from the actual things that are happening.

AFAIK in all these contests, the stems are only available during the contest time. I didn't end up making a remix (decided that since I know it won't win, and they aren't going to let me post it anywhere, I shouldn't waste my time making music no one will ever be able to hear), but I did play wiht the stems just to see what they were like, and found it itneresting to see all the punch points / etc in the waveforms; you can easily see where each part starts and stops, even if you don't hear it. Regarding notifications / etc., I'd love it if they were better, but AFAICT none of these places is about the user experience, it's all about what they can get out of you. On LR, I submitted a "review" of their site to them when prompted, and gave detailed feedback on many "broken" or inadequate functions, unclear UI design and statements, misleading UI elements, etc., and while their system "thanked" me for the feedback, I can't imagine they care enough to fix any of it (virtually no company does, I am usually shocked when I submit bug reports to companies that then actually act on them in a helpful way--that happens once every few years).