mettelus

Do you happen to have Z3TA+2? Muz3um had made two patch banks for it years ago, and Minimoog was several of the presets from them. I seem to recall other synths that have Minimoog patches (although the synth itself is not focused on the Minimoog), but Z3TA+2 was the first one that came to mind. NI's Monark is supposedly one of the better ones. I picked that up with Komplete a few years back, but not used it enough to speak to it.

Quick update for you from my downloaded preset "issue" I mentioned above (or for anyone here that may see this issue). This thread from the Line 6 forums has good info and the issue is almost always (probably 90% of the time) that the input is set to something specific (like Variax), so shifting it to "Multi" or "Guitar" will make things good. What I did not think about till I saw that post was that some presets have hardware loop blocks in them (which will interrupt the chain if not connected), but the more obvious one (and my issue with the "Dan Huff, Kinda" preset) is there is a Volume block (straight up volume) that was assigned to zero volume as its default. These are often assigned to an expression pedal, and because the unit has more than one, I didn't think to switch the expression pedal over. The solution for that is to either remove the Volume block entirely (I have gotten used to the volume knob, so don't use a pedal for that) or set the volume default to 100. In either case, once you resolve the issue, re-save the downloaded preset. I hadn't downloaded any presets in a long while, so grabbed 8 that came to mind last weekend but only had issues with that one. Unfortunately, even with that issue resolved, none of the snapshots are very close to what I was seeking, so I am going to have to make one from scratch anyway

Excellent. Thank you for posting the solution. Best of luck with everything!

I think I dodged the bullet on this one. I never set up junctions for Melda, and always had samples go to my F drive since day 1. I didn't realize you cannot change those locations after the fact

Nice testament of what can be done with things when you get creative and keep things organic. Younger people have gotten used to DAWs and sound isolation (nothing but the instrument... we will add the space later); but back in the day the recording space, stuffing mics into pillows, throwing jackets over amps lying on their backs, and being creative with the tone chasing was where the fun was (and still is IMO). [Stupid side note, but this made me laugh so much I had to share it] OMG, I was literally laughing when I read Slash's quote about Rocks from Wikipedia! "I was in seventh grade and just going through the whole 1978 music thing that was happening for kids – which was like Cheap Trick and the Cars. Anyway, there was this chick that I was going after that was considerably older than me ... I'd been trying to be cool enough to take her out and have my way with her ... Finally, I sort of weaseled my way into her apartment. So we're hanging out and she put Rocks by Aerosmith on, and I was mesmerized by it. It was like the be-all-and-end-all, best-attitude, *****in' hard rock record ... I'd grown up with music, but this was like my record. I must have listened to it about half a dozen times, completely ignored her, and then got on my bike and rode. I was totally in there. I was at least gonna get a decent French kiss out of it, and I completely dropped the ball for Aerosmith, and that was that. It's probably one of the records that sums up my taste in hard rock bands to this day. Meanwhile, she's out there somewhere and I missed it. But it was worth it" Totally blew her off to listen to Rocks, then "got on his bike and rode"... he was in 7th grade!!!

Maybe one of the reasons I am confused is the OP picture. Sonar is recording a "stereo" track, so that leads me to believe that is what is coming out of the HELIX and is what SONAR is seeing (2 channels, identical or not). The interleave button as @Base 57 mentioned above is also something to check (especially if a track will not pan). If Sonar is truly seeing only one channel, another quick check is to "Bounce to Track(s)" that track in the OP and choose "Split Mono." This will create two mono tracks with the left and right channels separated. If you then phase invert one of those channels (on the track view) and solo those two tracks, they will sum to nothing when played back if truly identical.... when you said "slight differences" between channels, they should sum to "something." My concern is that some effects convert to "stereo" by simply duplicating a mono track left and right with a very minute delay between them. Again, the same test with a factory preset with obvious left/right differences will immediately point out if there is a handshake issue between the HELIX and Sonar (if that sums to zero, the bakers on both sides of the fence may need to get involved). Lastly, is this a factory preset you are using or one you created or downloaded? I can check it out this weekend on mine if I know which preset/snapshot it is or can load it. If it is one you modified or downloaded, they are small, so you can attach them to a post here. I just need the preset/snapshot from it where you are seeing this problem to test it on my end. I downloaded a Dan Huff preset with >1000 5-star ratings a couple weeks ago and literally cannot get it to output anything unless the input to path 2A is the guitar (bypassing half the FX chain and making it useless)... an obvious bug with porting it forward, so I was planning to dissect/rebuild/tweak that this weekend anyway. Checking out another preset along the way won't be a big deal if you want me to test it on my end.

This always comes to mind for me when AmpleSound updates are needed... first you have to download the correct installer Mac or PC (which includes 2 variants in the zip), unpack those, install them all manually and separately (and choose the proper VST2 folder), then check to see if new libraries are needed, then clean up all the downloads. Updating typically takes an hour I wish they had an installer! Then you just log in, see what things you own that need updating and it can all just happen while you go grab more coffee and be done with it.

For the ASIO part, here is something else to try. Windows has been terrible with letting the first app that needs audio to take control of a device and this wreaks havoc on audio interfaces. Start with the HELIX on and plugged into the computer with HX Edit open. Then open "Sound Settings" in the Windows search bar, and click "Sound Control Panel" in the upper right. In that popup, set the Realtek as the default device for playback, that way the audio interface can only be used by an app that you choose to let see it (not Windows). Then highlight the HELIX and click on Properties. On the "Enhancements" tab at the top, make sure "Disable all sound effects" is checked, then on the "Advanced" tab be sure the default format matches your project and that both items in the "Exclusive Mode" box are unchecked. Just for good measure, in the "Spatial sound" tab, make sure that is off. Apply those changes and open Sonar and see if you can shift modes to ASIO then. I always start the HELIX, open HX Edit, then start the DAW. HX Edit is far simpler for me when sitting at a computer (no need to bend over to tweak knobs/buttons when you can do it with a mouse), but now I am sort of wondering if that should be open anyway to force the HELIX to be talking to the computer properly. Even in WASAPI mode as long as the drivers are loaded it should work fine. A quick check would be another patch that has an obvious ping pong delay or rotary in it so the channels coming from the HELIX are clearly different. Some patches carried forward from other firmware versions (or downloaded from LINE6's site) do not always port to the newer firmware 100%, so slapping a ping pong delay on a factory patch would be best. As long as you have Firmware and HX Edit versions > 3.0, I think they all talk properly, but the newest version of both is always best. Also, have you tried the LINE 6 forums? Although some of us here have the HELIX, I have never seen your issue before (and it is really confusing me as to why). The LINE 6 community might have insight as well.

How the OP is set up should be correct (online help here for hardware units), the only mono output from the HELIX is the DI out (USB 7). Quick clarification, are you recording a guitar into Cakewalk or re-amping? The image in the OP is confusing me because that track is in stereo, just both sides appear to be identical. The only other quick question is do you have HX Edit installed? The HELIX has its own ASIO drivers (included in HX Edit, and possibly an issue here), so I was wondering why you are using WASAPI Shared mode and not ASIO?

This is also not a situation where you are trying to pull a fast one in any way. It is a one-off situation where you are trying to do someone a favor. I have reached out to vendors for similar in the past and they have accommodated such... it is those simple acts of kindness that define someone more than money ever could, in addition to the significant impact it could have for the recipient. [Stupid side note (and spoiler alert actually)] This theme is the reason Les Miserables is my favorite novel. Early on, the Bishop takes Jean Valjean in and feeds him as a guest (when no one else would), and the next morning Jean Valjean steals his silverware! When the police bring him back and ask the Bishop if he had been robbed, the Bishop goes back inside, brings forth a pair of silver candlesticks, hands them to Jean Valjean and says, "I forgot to give these to you." The brilliance was the Bishop did not lie, he just refused to answer the question and implied one, but that simple act of kindness changed Jean Valjean's life forever.

I am inclined to agree with the above. IIRC, Z3TA+2 just needed the S/N and Registration Code to activate (no online requirement). What bound that to your account specifically was if you did an online registration of it (which was an option during installation or done directly with the Cakewalk registration server). If you never registered that one copy, then it is not tethered to anyone's account. Check your legacy account to be sure it is not listed there.

This is another good point to let your friend know. SONAR versions have always been backwards compatible, so any projects he has will open with the newest version of the free-tier of Sonar. Only caveat with that is that SONAR 7 needs to be installed first, then the new Sonar free-tier (so that shared utilities needed for the new Sonar are updated properly). Different SONAR versions can exist side-by-side without issues, so he can fall back to SONAR 7 while adapting to the new GUI. The easiest way to learn the newer version is to open up an older file, save it with a new name (to keep the SONAR 7 version in tact), then work on things and learn as needed. This is far simpler than trying to learn "everything" that is new. Other benefits of this include all of the new features and bug fixes, with support for VST3 and Melodyne's ARA, so he can upgrade instruments and effects if desired in the future without issues.

Depending on your setup and physical connections, you may need a virtual cable solution to expose Sonar outputs into Zoom. Some older apps that support this are from VB-Audio (with the Virtual Audio Cable, or V.A.C. being the most basic... other are listed at the top of that page). But OBS Studio is ramping up in popularity quickly because of all of the developers contributing to the project (that one is a good one to learn going forward as its capabilities expand). To your question, with a virtual output app running, Sonar will see that as an output, so what you want needs to be set to output there. On the Zoom side it will also be seen as an available input. Depending on how many outputs/inputs you are seeking (if you want to send Sonar AND a microphone to Zoom), you will need something with a virtual mixer (VB-Audio's VoiceMeeter, or again OBS Studio). Being new I would look at OBS Studio first... that can be a little complex at first since it will also capture video and such, but VoiceMeeter may be simpler for your situation (there are a lot of videos online for both apps with setting things up).

LOL, exactly... hence the dependency on the app being used. Traditionally, lyrics are on musical scores in syllables (we have all seen them), so apps that either cater to Staff View specifically (or have it included) will use the timing of that meta data to sync the tracks properly. The Lyric View is just a parsed file of the lyric meta data (text file basically in most cases), and the OnesWhereTheyJamAllTheSyllablesTogether are not parsing it properly. Few actually use lyrics linked to the Piano Roll View, but there are notable exceptions like Synthesizer V and karaoke apps, where the melody is directly linked to the lyrics on a traditional Piano Roll View (since many find that easier to work with than Staff View).

The bakers would need to confirm for sure, but one check you could do is pop the installation CD into a Win 10 machine and see what it says (you only need to see if the installation gets to the "Install" button, not actually install it). The only lockout that might come up is some installers check the O/S version and will not install to unknown versions (not sure if that is the case with SONAR 7 though, but easy to check). An optional bypass if that happens would be to image his current machine, install that image on the new one, get all registrations in order and then do the Win 10 upgrade to it. I am pretty sure SONAR 7 only had minimum Windows version requirements, but the bakers or installing from the CD on a current Win 10 machine would be the better answer. Also bear in mind any hardware he is using and be sure that Win 10 drivers exists or that the Win 7 drivers still function in 10. This wasn't as big a deal going from Win 7 to Win 10 as it was when installing Win 7. Win 7 required me to replace a few pieces of gear as they would not carry forward, but I did not have that issue going to Win 10.

Lyrics are supported as meta events in the MIDI file structure, so you should be able to pass that data to/from apps that support the spec fully. Finding things on MIDI.org is a little challenging at times, but a guy from Stanford posted the file structure here if interested.

In addition to the above, Sonar only runs in a Windows environment, so the number of members savvy with Mac's is not incredibly high here. Your best bet is to jump into a forum specific to FL Studio 25 since your issue is specific to that on a Mac.

Annabelle still using SONAR 8.5 (so VST3 options are out) and has TTS-1. Her question is regarding specific functionality TTS-1 doesn't have available. Mark's post above has the best focus on that specific question, but options for visually challenged folks seem to only exist for modern formats in Reaper. There is an entire subset of users in that community dedicated to keeping that up to date for folks who need it (plus Alexey is a great resource for information and bridging the gap there). Barring that, her options are limited to what will work for her with visual assistance on a 16 year old DAW.

I had to take a step back to think about that video again and there is a bit more to it depending on your guitar (string length from eyelet to peg, where the string is physically bound and cannot move) and the string gauge chosen. Start with extremes as an example: 200# springs on the claw (a typical 6-string set runs from 100-120# tension) - this will hard stop the tremolo at max tension allowed (cannot physically go any higher), but would allow it to bomb... some Strats are set like this, at least ones I have played... they only go down. No springs at all - this would hard stop the tremolo at least tension allowed (cannot physically go any lower), but would allow the tremolo to raise string tension. So as the video referenced, the "sweet spot" in the claw position and springs used would be best at the center point of the tremolo motion, allowing for equal amounts on tension/release application. As for the claw angle, this is based on a couple factors... the gauge/tension per string and string length from eyelet to peg (assuming the nut has minimal resistance). What was stated in the video is accurate for "typical" string sets and a Strat-style string length (6 on a side, with the high E longest) so variations in those will affect each string differently for the same motion in the tremolo. Definitely research string tension for your strings (most have them right on the string package). In my case, I run balanced tension strings on 3-pegs/side guitars... the high E is the lowest tension unwound string and the low E is the lowest tension wound string, with both being the shortest string length. Because of this, the claw being parallel to the mount is the best case (for mine) - equal tension application across all strings will get the best equality in pitch change. I really can only adjust the "sweet spot" to get the normal tension to the center of the tremolo motion, nothing more. Without delving too deeply more into the physics, the tremolo is going to apply equal changes to string length (eyelet to peg), but the sonic potion of the string (nut/fret to saddle) will be slightly different for each string depending on how it sits "steady state" with the tremolo untouched. As with anything, is more adapting to what those specifically are for a particular setup/guitar configuration. Quick Edit: Forgot to mention locking nuts (or even Steinberger's headless guitar design)... both of those concepts are trying to keep string length the same for all strings which will also make tremolo motion more uniform across them.

Which digital piano model are you running? CASIO's website is a bit convoluted so things can be hard to find, but I would start with the manuals section for your model. One of the manuals that may pop up at the bottom is "MIDI Implementation," which will detail the nuances of your particular model. Some models note that they are "compatible" but not "fully compliant," so keep that in mind while searching.

Nice video. I have to delve into that a bit when I get a chance. I have a guitar with a Floyd knock-off but the guitar itself never thrilled me much so I never looked into tweaking anything on it (yet)... just a wall ornament for now. My main has a Kahler clone in it (no claw) and I rarely even put the bar in it; that one floats but I axle greased the hinge pin decades ago now and never had issues with it. But... the IYV I just got with the Wilkinson seems to be fine but I definitely like him targeting steps with that claw angle so that is something to fiddle with for sure in the near future. Side note: I ran the crap out of the IYV this past weekend and the PUPs are perfectly fine (and different enough that the switch shifts tones). I need to update that thread at some point, but when I do finally do a string change I am going to Brasso the logo off those PUPs and keep them. The first song that came to mind for me to stress test that tremolo was the intro to Giant's I'm A Believer... even though that song has gotten air time, the intro (first 1:15 on it) is rarely included, and is one of my favorite intros.

The "from scratch" aspect might be a huge pill to swallow, very similar to programming a synth, or Meldas Multiparameters, from scratch. It might be easier to work with a preset gesture that is close, then disable all but one FX at a time so you can deep dive into each separately at first (extreme highs/lows on parameters often help here)... then start layering them back up as you wrap your head around them. Be sure to save gestures as you go once you tweak them to your liking, but dissecting existing presets might be a better approach for learning. Also work with a simple sample at first, so you know the base sound well and what is going on is obvious (especially how the buffer is grabbing things it is working with).

Do you happen to have Stutter Edit 1? I need to re-open SE2 to look at it again, but the GUI took a step backward IMO. I just took a look at the SE2 documentation and realized (again) why I do not like it. In SE1 pretty much everything is on one page and has identical controls for each parameter you enable, including the visualization of your buffer position per effect (which is HUGE for me to be able to use it). They added more to SE2, but being able to actually see how each FX is working with that buffer disappeared from it That is one VST where it would be really nice to be able to buy an older copy, but iZotope has been religious with purging the market of older software at release time.

I grew up with piano and I didn't take up guitar till I was 18, but learning guitar taught me more about piano/music theory than doing anything with piano ever did (pretty much like studying a foreign language teaches you more about English than you learn in English class). I had borrowed an acoustic with a pretty bowed neck from my Little Brother's aunt, then a friend sold me his old electric setup pretty cheap. I always liked the acoustic intro to Tesla's Love Song, so started with that, then when I got the electric I sat down to figure out the solo. One weird thing that happened with that is the intro has a Bm in it, but most of it is intervals, so I played that Bm with my pinky across the F# and B and do that about half the time to this day. My left pinky has noticeable hook in it because of that... one of the perils of teaching yourself. I know I have mentioned this before, but the coolest learning experience starting out was the power went out one night. I learned more from playing in the darkness in a few hours than I had in the 6 months prior... at least I got the dependency of playing with my eyes out of the way early on, so I am thankful for that. Quick edit: I had to chuckle... I didn't think this song was ever posted online. My room mate first year had let me borrow a copy of a band called Babylon A.D., so when I got the electric the first lick I taught myself was the lead in on "Bang Go the Bells" (and I just kept playing it for probably 20 minutes). Greg was next door then, poked his head in and said, " I USED to like that song." LOL... funny how when the rest of the song is missing, parts are only interesting to the person playing them!

Stutter Edit is rather complex when you delve into the guts of it. Basically, it is fed a buffer and then can manipulate that at will, but that is where the complexity starts. It can be set to take in no more audio buffers (so holds the sample being processed) if desired, but the slicing and manipulations are all done automatically based on the presets which can get intricate to say the least (some of the complex presets are simpler to start with, depending). One thing that does throw folks at times is that you can shut the "Stutter" off, so the FX can be used in a more traditional music fashion. While the stutter is fun to play with, I have yet to use it myself in anything... maybe if I do a cover of Rock Me Amadeus at some point. Although, to your point, if you want pin-point accuracy on what gets processed, that is sometimes simplest by copying that portion of audio to another track so the input buffer is constrained to only that copy.