Amberwolf

What specifically are you trying to achieve? What exactly do you want to be different about the list? What specific work are you trying to speed up? Knowing all of those things would help us to help you find a solution, or for the bakers to implement your request. Not knowing them leaves just a very general request that can't really be done, because no one but you knows what needs to be done....

Yes, I commonly use a 1 on one side and 3/4 on the other, with about 15-30% feeddback, 10% crossfeed, and around 20-30% mix on each, and set it to host tempo sync. This gives me an easy way to keep time with myself when improvising an initial "arp" like synth line or bass line, and sometimes I will keep this delay in the actual project. Sometimes I will turn the delay off afterward, and copy the bounced audio of the track to at least two lanes of another track, and shift each one by the amount of time that each of those channels were set to. Then i can edit out or mute sections of these so that the delayed parts don't interfere with other things going on in those spots, or for a complete halt to the instrument (or everything) as a dramatic pause, etc. having a separate track means I can also use *other* effects on either the original or the delayed tracks without changing the delayed stuff. I can play wiht mixing changes or automation of that. So I could wash out the original track with a reverb, while hte delay continues on without any of that, crisp and clear. Or the other way around. Etc. Soemtimes instead I will switch the Listen button from Mix to Delay and then bounce the audio and move it to a new track, then go back to just hte original uneffected audio in the original track, so that I have the actual fx output exactly as the track sounded before (minus the orignal), so I can automate between the two , etc., including doing the other stuff above. Some of either of those things can be done with direct fx automation, but it is faster and easier to do by direct clip manipulation, and is also much more visually indicative of what is actually going on in the project at a glance than automation shows.

Thanks to CinematicAlpha's simple tool, https://cinematicalpha.com/viz-10-online I've now started posting Youtube versions. They don't have videos appropriate to the story (that will take a lot of time and better tools than are presently available for free ) but they're up there, and so far already have several views each in only the few hours they've been posted. (dunno how far anyone listened yet, have to dig into the analytics when they're available).

So far I've used some of it a bit. I've converted some of certain types of the samples to wave and used them directly in some of the Drywater Mars tracks as accents and transitions and enhancements (as I don't have Kontakt to use it as it's designed to work). The conversion process is a bit tedious as only a certain number of them (around 80 or so) can be converted at once due to windows command line length limitations (I think), so I've just been doing a few at a time in different parts to try them out.

Thats' why the title theme track of Drywater, Mars fades out into echoes, cuz all the stuff I made to go there and after just.....

Stop, Gregy...stop...greeggy... no, it just doesn't have the same ring.

fwiw, on black octopus, there's a few times where i buy one of their $1 sample packs and it'll offer me some ohter sound pack at a discount, and i go look at that pack's current price and it's cheaper than the price being offered as a discount.... like say, the offer is $8 and the current price is actually only $6.49.... :scratches head:

do you have a separate (not used for act) external midi control device with a slider or knob you want to use for this? if so, make sure that device is setup to send midi to sonar, and make sure sonar can receive it. and make sure you don't care if that device's control youre going to use gets recorded on midi tracks when you use it. then you can right click on the master volume control you want to move wiht that, and choose remote control, and then the learn button. once learn is done then that external control can control that mvc.

I dunno why, but many (not all) such documentaries and shows do use incidental music. Some of them only use it in between narration sections, or to highlight dramatic moments in some of the nature ones, like a "chase scene", but there's almost nothing I've ever watched that has no music at all, other than a theme at beginning and end, perhaps--they all have some music somewhere within the show, and often assorted sound effects, added-in foley, etc. Some of the worst offenders are physics and astronomy docs, but some series like Nova and Horizon are guilty of some fairly overpowering noises and music within the show, though at least both of those don't usually put them in the middle of the narration. There was some BBC show (geology / volcanos, I think) I tried to watch not long ago where at least one of the interviewees or narrators must have recorded themselves in their bathroom shower stall based on the rattly echoes completely drowning them out. Some other show where a lot of the interviewees spoke French, and there were voiceover translations, they left the original speakers at almost full volume, so I couldn't understand anything being said regardless of language--it was just a babbling jumble, with too-loud music over the whole thing too (no ducking). Quite a few Mayday videos are awfully mixed, and unwatchable. I an't believe that the audio engineer, mixer, all those involved with production and publishing that watched it during or after mixing, still let these go out this way. They sound as if there's multiple different videos playing simultaneously because of the wildly different audio levels. The narrator is hiding under a bucket with the microphone wrapped in a blanket. Background audio sounds like random volumes. "Interview" sections are done with blasting megaphones set to 11.

There are some streaming services that appear to have somehow messed up the soundtrack of various documentaries such that all the backing sounds and music are blasting over the voiceovers, making them unwatchable. In some it is almost as if they used some sort of reverse-ducking, where the voice gets ducked instead of the rest, *and* at the same time also increases the volume of the rest of the stuff. One of the Jim Al Khalili physics documentaries (don't remember which) was the worst, couldn't even hear that anyone was even talking thru the majority of it, I think on Amazon PV. Some of them even seem to be the wrong soundtrack--like they took two channels out of a surround mix and fed them to left and right of a stereo signal instead--but didn't use the main L and R channels, and instead used some other pair that has mostly music and effects in it, and very little center / vocal / etc. I have such problems hearing (well, really it's *understanding*) voices in various circumstances that I use a multiband compressor and limiter to greatly reduce eveyrhting but the main voice bands, and to really smash everything down (and bring up the low levels of quiet passages) for any "show" I watch. But even that doesn't fix the shows they've messed up this way. And even if I bypass it and just listen normaly, it's still very messed up.

a spam post that appears to have since been removed. figured while i was in the thread i might as well post a useful tidbit... (many spammers quote someone's long post, so that most of the quote is not visible unless you click the expander, and then edit an obvious spam link or phrase (or lots of them) into the quote, where it won't be seen 99% of the time as nobody expands the quotes, just reads the responses. so they get their spam in there where a websearch robot will find it for seo purposes, but where moderators and members of a forum almost never will notice, so it stays up at least long enough to do the job of making the linked / keyworded site(s) rank higher in search engines as those rankings are based on how many other sites link to those sites (rather than how many people actually used a search result, or searched for that site, etc). i'm an admin over on endless sphere in charge of spam control more or less, so i've seen practically everything so far there in the last decade and a half or so)

Also, if you are dealing with mono audio (vs stereo), you can turn on snap to grid, turn off Musical Time, switch from Move By to Move To, and turn on just Audio Zero Crossings in the landmarks, and use max Magnetic Strength. I don't know what the snap dialog looks like these days, but in my ancient version these settings make it relatively easy to avoid clicks from non-zero-crossing cuts of audio clips; if for whatever reason I didn't cut at one to start with I can just slip edit until it "gets sticky" and let go and it will be where it needs to be. Unfortunately with stereo clips it's not very often that both channels have a zero crossing in exactly the same place, so this trick doesn't really work very well for those.

wait for the remote control implants

I'm pretty sure it's that you get older. But maybe we already said that?

If the sound is there like normal when you play the recorded tracks, but you just can't see it, then it doens't have anything to do with hte source, as the recording is still happening as normal. That usually means either you are zoomed out vertically on the track itself so that it can't display the waveform, and vertically zooming in on it would show it, or that the wave isn't being drawn because something has caused the "picture cache" files that contain the preview of these waveforms to go missing or be corrupted. You can regenerate those either by opening the properties for the clip (alt-enter, or double-click, or rightclick on it and choose clip properties, etc) and finding hte button to redraw those (in my ancient version that is in the last tab on the right), or by emptying hte picture cache folder (there are a few threads about that including one posted to just yesterday, if you poke around the forums). If the sound is not there either when you play back, then you'd need to be sure that you are getting sound from the source and it's showing that on the record meter inside the recording program.

Introducing Cap'n Maggie Carrington, "leader" of our reluctant heroes, and fixer-upper of their misadveturously acquired owies, from the Drywater, Mars series. https://amberwolf.bandcamp.com/track/capn-maggie-carrington-drywater-mars-part-8 Presently with some placeholder vocals from Artifact until I finish building the new versions.

Introducing Cap'n Maggie Carrington, "leader" of our reluctant heroes, and fixer-upper of their misadveturously acquired owies, from the Drywater, Mars series. https://amberwolf.bandcamp.com/track/capn-maggie-carrington-drywater-mars-part-8 Presently with some placeholder vocals from Artifact until I finish building the new versions.

Not sure what the picture showing BlueCat's Gain Suite for free in your Plugin Boutique account back in 2020 has to do with the described issues with Scaler...?

Thanks! I'll poke around with it and see what I can mangle with it.

If you didn't use bank/patch changes, and didn't save the preset separately from the project as an FXB or FXB file to manually load into the plugin, then the preset data is simply part of the project data that would be fed into the plugin itself directly and isn't user accessible. If the plugin isn't installed, and you just get the "missing plugin" dialog for it, the preset info is not sent anywhere becuse there's nowhere to send it. If the new version of the plugin is so badly designed that it doesn't understand or accept data intended for it's previous versions, then that data is "lost", in that there is nowhere for you to retrieve it from. To get that data back you'd have to install the old version of the plugin that the data was intended for/came from, and load the version of the project that still asked for it (hasn't yet been replaced by the new one). Then you could try saving the state as an FXP (preset) or FXB (bank) and then see if that data will still load into the new version of the plugin. My guess is it will not, because that's the same data Sonar would be sending it anyway so if it is not accepting it now it probably won't then either. At that point, you would have to manually recreate your preset by taking screenshots of all the controls in all the various parts of the plugin with the old version, and then try to figure out what those correspond to in the new version, and set those controls the same way. It will probably still not sound the same if they've really changed it that much to not accept the old data, though.

Perhaps I'm misunderstanding people's use cases for remote control and midi learn and even ACT, but: If you could't record the incoming control data onto the tracks, how would it be useful for automating things? If all you could do with it was do a realtime control, you could not use it to do anyting more than you could just do within the program or synth interface itself as a one-time change, and would not be very useful beyond avoiding opening the UI sections with the controls you're changing. Being able to automate the changes over time within a project, which is the most useful (to me and probably many or most others) application of external control of a parameter, requires being able to record them into the tracks so that they get played back to the controlled parameter during the project. Otherwise you have to remember all of your sequences of control manipulations and then manually do these over and over eveyr time you play back the project. You must also do them again while you realtime record the project out from the tracks to an audio recording, because you won't be able to ever fast bounce anything without that control data being automated inside the tracks themselves.

If I could just tell the computer what I want and have it do that....

That's about the same reaction I get from JellyBeanThePerfectlyNormalSchmoo when my brother says "the dog" in some phrase referring to her.... :lol:

ok, i think i understand now. (my brain doens't work like normal people's)

A friend in Utah has to ride a bicycle in traffic on roads with holes that he describes as worse than those of old bombed out runways.... I don't ahve a picture of what he actually rides thru, but apparently som of htem are pretty bad based on a google image search I gather that some time ago, Texas tried out converting poorly maintained paved roads to gravel instead of fixing them.... I used to live in farm country in Texas between DFW and Red River, not far off the interstate, and almost all our roads were gravel, even in (the very very small) town. Some of the holes and other road conditions were enough to break vehicles unless they just crawled along or sped really really fast (enough so that they could lose control), and once the schoolbus was broken (axle or driveshaft, I dont' remember as that was a loooong time ago but it was very loud and the adults were very angry) not far from where it picked me up. We used to have "suicide hill" a ways down the road from my house, where the white (limestone?) rock shelf the road crossed was too hard for the occasional road grading to do anything to, so the sharp drop off there just got steeper and steeper as the top of the shelf was graded down onto but the part past it would get graded away and washed / pushed away by traffic and weather, down into a "gulley", making a very short but very steep hill. The bus broke going over that shelf. At some other point I was going down that hill belwo the shelf on a bicycle and skidded out in the gravel trying to avoid a hole or something, and tore myseful up pretty good before sliding to a stop at the bottom. One also had to sometimes avoid large bigger-than-head-sized fossils (and other rocks) eroded out of the limestone, usually ammonites, that could end up in the roadbed (sometimes having been in the roadbed and then pulled out by traffic or the grader, leaving a giant hole), or be sticking up out in the middle of a plowed field.