Glenn Stanton

if using the command center to install, just select the FX components rather than the entire DAW (unless of course you want to). it's how i installed all my older stuff into my new laptop without have all the DAW programs.

this one?

i did that a lot of comping disparate vocals as well, then i discovered Synth V and feeding that into AI voice renders (just got the Sound Reference Vocal AI on sale to keep my processes now local to my PC). problem (mostly) solved 🙂

maybe as a starting point? if i added a drum synth and it loaded 12 tracks, i might rename them as "I## DRUM - " and then go edit each as "I01 DRUM - KICK" "I02 DRUM - SNARE" etc so firstly as i'm adding multiple output synths they're somewhat grouped already, and then renaming is tweaking each as i decide what i ultimately what to call it. "I## GUITAR - " and repeat for keys, etc. possibly more useful though it you have a several hundred tracks like orchestral productions might...

if you add exceptions for Sonar (or Next) and any other standalone processes (like Kontakt for example which i use in standalone mode a lot), then you should be good. the processes will pull in DLL (FX, VI) which will also be excluded from live process AV activities. you don't really need to exclude the FX paths. i would recommend that your project and content paths are excluded though, as content and project files will be scanned . i have all my project files (non-executable) and content (also non-executable) on a wholly separate drive and folders, so a single entry for each suffices. my plugins and other possibly executable files are in program files directory and are scanned when installing or updating. executable code is the risk... using W11 defender. i excluded CW project files and WAV, and MP3 files as well. Melodyne temp folder is excluded, and picture cache as well. so beside my CAD and photo/video stuff, my DAW and related process exclusions are probably a few dozen. including ProTools, Audacity and Luna, RX, Izotope, Acon, and standalone audio apps like Kontakt, Synth V, Musescore, EZ series, etc.

Billie Eilish - her brother (& producer) did an interview showing how in one of her hits, they had almost 200 edits, some at the syllable level, to comp the lead track from some 80 takes. that was before applying the usual FX and automation... scarey thing is that this isn't the most fanatical someone has done for vocal edits... LOL

looks like a great tool for a live performance role. parametric feedback killer, auto noise reduction, simplified settings for instruments with option to tweak.

you go into preferences to set up the drum map, make sure the output is set to the Sforzando instrument. the select all the instruments, and shift-ctrl - right-click and select Sforzando. i pick the general midi map then set the input to the drum map (or in my case i didn't need it, i simply drg the MIDI to VI input track and hit play)

was the TTS-1 fed from a MIDI track? if so, fastest way to listen would be the SI-Drums assuming the MIDI is typ GM MIDI. Sforzando IMHO is not a great tool for drums (i actually don't use it much any more as i have a bunch of Kontakt instruments which are much nicer). for old projects (like circa 2003), i use the SI-Drums to replace to old SF player i used (like the Blue Jay SF which was terrific). gets me in the ballpark quickest. later, if i need to re-use that track i'll work on getting it fed into my AD2 or EZD via a drum map. if i absolutely must have the Blue Jay sound, i might use Sforzando or perhaps one of the other drum samplers i have.

i'd post a bug report

perhaps learn the tools? learn about compressors, downwards and upwards "compression", learn the vocal rider - it's a subtle effect. Melodyne is also very nice (but more subtle than the compression approach). it might be several FX to get a solid leveling of the vocals - but be aware of lost dynamics in doing so. another option, use an EQ on the instruments buss which is sidechained to the vocal(s) to trim 1-2db off the frequencies used by the voice (or could be a solo instrument as well) to let it fit better. and definitely learn to use the clip gain envelopes - this is a skill which would be useful in any modern DAW. as nas Base57 noted, won't take long to grasp and do. for me - i mainly start with a) good vocals; b) melodyne and RX cleanup with some leveling applied; c) clip gain adj where needed; d) moderate levels of compression in a couple of stages; e) the EQ carve out in the final submix stage on instruments. keeps the vocals mainly natural sounding while keeping a good level throughout.

just curious - i now if you move the SI UI (say to the center of your screen) initially i've found the drop list stays in the corner (where it opened) until i close the UI and re-open it. you might go ahead and file a bug report in case it is something to do with screen resolution - maybe try 1920x1180 first though.

i use workspaces to define my views, not screen sets etc. however workspaces are universal, so whatever the last setting used will be the one you open with. so you'd want to set your workspace to "none" and then set the screenset.

curious - if you go to your track console view and click on the PC>, does it display the PC strip?

in my paid Sonar, that line shows up if i toggle the PC off, but double clicking on it causes my inspector side bar to minimize. otherwise the toggle is working. according to the Sonar tier differences chart, the PC is enabled for the free tier. so something else is not right . maybe reinstall Sonar? maybe rename your program INI files to .INI.OLD and relaunch Sonar to see if that solves it? you can delete the news ones created and rename back if that isn't it.

did you try the SI drums? also, maybe troubleshoot a bit - turn off the drum map and using the PRV, see if you can trigger any notes on the VI you're using. if the kit you're using requires the ch 10 for the older SF, might be needed. check that as well.

hmmm seems to be ok working for me. Sonar, W11 Home. maybe reinstall your SI instruments and see if that fixes it.

fair enough. and good points on instrument samples being triggered due to volume or velocity. in my case, i don't typically touch the volume or use CC7 etc. and yes, changing velocity (which is my normal approach) can impact the samples selected from the VI. most times i would use a velocity change would be (in my usual work) to get a percussion instrument (like a shaker or tambourine) to use a "softer" set of samples to cut some harshness without having to eq it.

All Impedance Matters® AIM for Greatness®

go to your settings (spoked wheel) and look at the person icon and you'll see your version, and perhaps a note to update if not the latest.

agreed, i would not necessarily wan the velocity overwritten by the volume change, merely scaled (like it does on a single track where i lower the volume but leave the velocity on notes the same as before). on the multiple MIDI into a single VI, things like Kontakt use (or can use) separate channels so effectively a different instrument (per a normal MIDI behaviour), but 2 or more tracks into a single VI on a single channel - it seems like the track with the lowest volume setting wins 🙂 and the reason i set the volume off on the second track was i didn't want it sending the MIDI notes, and i didn't want to mute the clip either. but lo and behold, even when i did mute the clip, and remove the clip (while troubleshooting), it had no effect. just the track volume causing the VI to turn off it's volume. anyways as noted, all good for me now.

and -- you can load other instrument riffer presets and MIDI, however, not all instruments have the same ornamentations, or not in the same place. so some will not be available or making other sounds... esp the fx. as mettelus noted, start from scratch will reinforce your learning. for me, i also break down the songs (my stuff) into smaller chunks so they're focused on those specific performances, rather than trying to get all of them in a single riffer. later i'll drag each onto the DAW instrument track as needed and they'll play together as expected.

more importantly (for me) is how much preplanning the recording had. given the precision of the AR engineering, and setting pitches (via frequency driving the tape motors) and the band performing at multiple tunings and speeds, is pretty amazing. and to consider how many of their songs underwent this kind of process. this is a serious devotion to obtain results like noone else... pretty sure not many bands were even aware of these techniques at the time, or even had bothered to try them... and i think yeah, all this can be done in the box today. and i'd wager if the band had DAW tech back then, they'd have used it... and who know where they would have taken things. lol. maybe if we build a time machine and bring them a proper computer and Sonar, we could have flying cars today...

yeah some use the mod wheel, and on my S49, there is a touch-slider pad below the pitch and mod wheels, which is a volume control in many cases, so one of the first things i check, is did i touch the slide? lol. i'm not sure if the active MIDI track should ignore the inactive tracks or not. this would also provide the option for multiple tracks feeding MIDI to a VI to have different levels being sent, rather than overriding the other tracks levels. e.g. i have a drum track @ 101, and a percussion track using the tambourine and shakers only set @ 75. in this scenario, i'd want all the drums fed @ 101 and all the percussion @ 75 so i could start to set the blends. now it would simply set all of the tracks to 75... probably not possible as the level is sent in the MIDI so the VI is reacting to that, vs having the track volume affecting the MIDI velocity levels uniformly...

i think once you get into the enhancement side of things, you're likely to have to DIY - adding the types and fx to get the "close to live" performance. the Ample v4 instruments have significantly improved the riffer wrt features and easier use. some of it though could still be improved, like putting the type of actions above the track line vs above the image of the instrument! but it has better import of MIDI options than before. if you open the demo project zip file, you see project files for DAWs and also a MID file (which is the MIDI file) and you can import this. if a MIDI file is created by Ample riffer, it will have all the ornamentations, otherwise it will be plain vanilla...