Glenn Stanton

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...

if you check on the amplesound.net site, they have a bunch of demo projects you can load. https://www.amplesound.net/en/download.asp

first you need the ISRC code. then you need to export the WAV as a Broadcast WAV (which has header space allocated for information), and then as Wayne suggested (and i was also about to) use an editor like WaveLab or a free product like https://www.sonorissoftware.com/product/isrc-editor/ to add t he IRSC (and likely other IDv3 metadata) into the Broadcast WAV file. easy peasy. it's the way the professionals do it as well.

no option to duplicate a buss. 😞 the idea of adding this feature is a good one. one thing i do to circumvent this limit, i create buss-level Pro Channel presets which use the FX chain as well as PC FX to create all the goodies for a particular buss type as well as typical settings (like EQ, reverbs, delays, compressors depending on the buss - like drums, guitars, keys, vocals, etc). so creating a new buss is really only a couple of clicks to add the buss, and add the preset. it would also be nice to have routing etc also preserved, but for that i have my own custom templates with all of those things as well as default tracks and busses. so typically going from blank to a recording template or mix template is 30 seconds or less. recording template has enough tracks pre configured for about 40 musicians if needed. i'll delete tracks and busses later. same for the mix. then i can spend time on recording things right, or getting in to the creative part of the mix faster.

i'm thinking you want sufficient audio for their audio system - otherwise how to mix effectively? basically try things out and see. i used to do some remote recording with friends (high speed internet is essential) and with some effort to ignore the latecy effects, and then re-position tracks to align, it's possible...

it opens fine for me (minus a bunch of plugins i don't have) Reverb.it (Bus: 'SSpike') Illusion (Bus: 'Illusion') Seventh Heaven Professional (Bus: '7Th Hall') ValhallaShimmer (Bus: 'Valhalla - Shimmer') LexConcertHall (Bus: 'Lexicon-Halls') Pro-L 2 (Bus: 'Final') WLM Plus Stereo (Bus: 'Final') SonoBus (Bus: 'Final') UADx Pure Plate Reverb (Bus: 'UAD Pure Plate') Reverberate (Bus: 'Reverberate 224') Seventh Heaven Professional (Bus: '7th Sunset Plate') LEMONSTEREO (Bus: 'Lemon') LexDualDelay (Bus: 'LexDual') UADx Capitol Chambers (Bus: 'Capitol Chambers') however, saving it i get an error same as you. but if i open it in safe mode with no plugins, it allows me to save it, so i'd go through the process to see which plugin is causing the issue.

the main issue will continue to exist until we can harness the "spooky quantum connection" because latency is the real killer for remote work. so even if the video and control movements seem "fast enough", you're still likely to have at a minimum 200-250ms of latency on audio when using network communications and computers. your phone seems nearly instanteneous because the human to human communications has natural pauses etc. but when you try coupling that with screen video and intermediate computer processing, you'll definitely see and hear it.

no hair, so no problem for me... lol

@Bass Guitar try opening in "safe mode" by holding down the shift key when opening the file via the file open dialog. you will be asked if you want to load all, yes (meaning that one), or no (not that one), or no to all (none) initally select no to all. then repeat, one at a time, the process until you have eliminated the plugin causing the issue. example:

so, i'm in the process of working out the instrumentation on a new song, i have my VI guitars (Ample SJ and SC) and their basic MIDI. then decide, i'll make a copy of those tracks and tweak the MIDI. turns out i'm not sure i like the newer tracks, so i turn the MIDI level on those all the way down (leaving the original tracks on their normal level - 101 in this case). i export a rough mix. my guitars are missing!!!! arrrrgggh! i go back and now everytime i hit play, the volume on the SJ and SC drop to 0! check - cc7? ok i'm not injecting any change there, automation? nope not at that stage. mute the MIDI clip? nope nothing mysterious there still getting the volume turned down to 0. a few more minutes (and coffee), i realize: if one of the MIDI tracks which is using the same VI as another MIDI track is set to 0, then the VI master volume gets set to 0 and the other track with the volume set correctly is essentially ignored. note to self - mute the MIDI clip and/or turn off AUDIO track volume NOT the MIDI volume... when playing with options for different MIDI played by the same VI - LEAVE THE MIDI VOLUME ALONE! ok, all good now.

@Abrunet -- did you install platinum with the Cakewalk Command Center? (https://legacy.cakewalk.com/Command-Center) and did you use your license and activation codes? i installed SPLAT on my machine last year (W11 Home on HP laptop) without issues and all the goodies that came with it (plus purchased ones as well) are running fine in my Sonar and Next (and even the Komplete Control DAW for some reason - most of them work as well). i think the key is to use the CCC to install it versus individual download (the multi-part zip nonsense).

if it were true (about professionals not tolerating interruptions), then protools would not be on the list of most professionals... lol. spend about 30 min on the avid forum to understand (i am constantly reviewing what minor changes are being made in order to keep my PT install running, but sometimes, Avid even makes major changes in small updates which cannot be resolved until some months later when it's time for a new build). as far as my experience with Sonar (since March), i've have had no interruption due to the software, licensing, or signing in. not to negate other people who have issues, but my first thing to check if something feels off - see what updates to the OS or other apps have occurred. i can reasonably say that 99.9% of the time some OS (or Edge), or another app either overwrote my runtimes or did some asinine change to improve "security" (or more often than not, some new monitoring tracking and/or related AI "feature" i didn't need). also important to note, you never "own" the software, you "own a license to use the software". and in most cases of a "purchase", it feels like you own it, but in reality it can be revoked by the software company. the revocation can the "soft" like "we're no longer supporting that version, but you can buy the next version" (a popular DAW, that a number of previous CbB or Sonar owners fled to, and certain fruit logo OS company, use this tactic to keep the money rolling in about every 13-14 months). or hard like "you must destroy all copies of the software in your possession as your license is no longer valid" (not often but when i do get notices like this i do delete everything, i mean who wants to get caught with their pants down and have some criminal charges filed and possibly spend 10 years in jail and $250K fine? right?). or "subscription" like "you're renting the license to use the software for as long as you continue to pay monthly or annual fees, and in exchange you'll keep getting the the latest updates and versions of the products" (this latter one is similar to your internet access, tv / content channels, box, amazon prime, google storage, o365, etc etc).

i had one of the creative keys keyboard which i used a lot when i just needed to tap out something quickly - velocity sensitve keys, and a cover to keep your wrists off it. unfortunately, by W10, it was no longer operable because the drivers could not be made to work, and they had long since ended support. now i just keep my inexpensive keystation 49 in my keyboard drawer (below my typing keyboard) so when i don't want to switch positions and use my better keyboards, i can slide it out a few inches, tap in what i need and then back to work 🙂

i ran into this type of issue a couple of years back. i removed the pro channel version and reinstalled CbB and then the CA-2A, and it's been fine since. i also ran into issues with the Softube FET compressor and Saturator, but they seemed to have fixed in in the past year, so if you haven't updated those (assuming you have those) i recommend the updates. the Saturator (not the PC one) has some nice features to balancing the gain (single click to set) etc.

check the numerous other threads but basically you bought DAW software from Gibson. Gibson terminated the product line. Bandlab purchased a bunch of the rights for the software. Bandlab then released a free version, and now under the Cakewalk moniker, two new products Sonar and Next. i purchased the lifetime updates from Gibson as well. yes, you can use Gibson Sonar Platinum for as long as your OS will support it. fwiw -- after using CbB for 5 years, i opted to drop 2 Starbucks coffees per month to fund a premium version of Sonar and Next. There is a free version of Sonar and Next via a free Bandlab membership. There is also a Bandlab paid membership (annual fee) which provides you access to the "premium" versions of Sonar and Next (and bunch of other stuff which may or may not be interesting to you).

it's the 21st century look - vector graphics. whilst the bitmaps can look more realistic, they're not scalable. modern interfaces need scalable graphics... could there be improvements to the UI - always.

i think TTS-1 was removed from Sonar as it is a Roland product and they were no longer licensed to use it.

agreed. after trying a number of different combinations, i think i can safely navigate the process.. 🙂 Ctrl+S is your friend though 🙂

i meant to reply per @Tim Elmore you can use "Redo" - Ctrl+Y (or Ctrl+Shift+Z) once the Melodyne window is closed. and if you save the file, later, you can re-open the region with the editor. once you go back far enough into the undo stack though, you will lose the region created. use your fingers and make that Ctrl+S automatic 🙂

if you have a Melodyne region created, do some edits, then click on another track, then click back on the track you have Melodyne active, hit Ctrl+Z, it's simply closes Melodyne and and you lose any work you've done. Presumably this is because Sonar only has the "Create region FX" as the last step in the history list. not sure if there is anyway for Sonar to to cache the change list memory in Melodyne when you switch to another track and return, so you can use the undo on those Melodyne changes. (e.g. ala "marked dirty" when changes made so don't undo region fx unless ok'd by user) this is the same regardless if Melodyne is docked or undocked. and there doesn't seem to be anyway to force Melodyne to consume the keystrokes or undo command (like you can with other FX). a workaround - you must save your file to clear the undo history... so Ctrl+S is still your best friend...

@Xel Ohh - perpetual as in "you have x version and it's yours to keep and use forever" (no updates to next version included, and limted supported once the new version is live), or "x version = $", and then "y version = $" then "z version = more $" (as most other DAW do 🙂 ). the latter model seems suspiciously like "subscription" without saying it. and of course the old sneaky "maintenance plan"... the former model seems like my SPLAT software. i can run it forever (or until the OS no longer supports it) -- but then again i'd likely never want to go back either... rock, hard place.

that would be an interesting choice as it's not settled on a 8-bit boundary like 384. although my system, on WASAPI shared, is something like 441 samples, and some older synths i have crash until i force it to an 8-bit compatible buffer size.