yikes - in that case I would probably go for masking my cuts with cymbals or soomething ;) definitely gets nightmarish if you have to start making endless duplicate segments and try to keep track of so many elements... on the volume adjustment thing - wouldn't it be great if you could do that directly in script per pChannel like you can for the audiopath! eg: SetChannelVolume 0 , 1000 , 1 where 0 is target Volume, 1000 is ms, 1 is the pChannel number. Would save so much messing about with custom secondary segments... aaah, we can but dream ;) -----Original Message----- From: directmusic-bounce@xxxxxxxxxxxxx [mailto:directmusic-bounce@xxxxxxxxxxxxx]On Behalf Of Scott Morgan Sent: 09 January 2003 13:46 To: directmusic@xxxxxxxxxxxxx Subject: [directmusic] Re: wav tracks, a pain... solutions? This is what I am doing for my flute track that comes in and out. That was complex enough combined with the fact that it is dynamically loaded (another huge problem area that I am too comitted to) The thing is whith an elaborate wave project it could get immensely complex. My scripts are bad enough as they are.....I think my head would explode if I added this kind of thing to the mix. For instance my original wave project was a heavy metal piece. I had a wave for the rhythm guitars, a wave for the leads, and a wave for various synth parts. There were three segments like this. To make it work I would need 9 different wave p-channels. I prefer to use 3 to keep things consistent, but if you are fading one out, you can't start a new wave on the same p-channel. What's worse is if you want to restart a segment.....you can't fade the waves in and out at the same time. So if you wanted to support that (which I did) you would have to make alternates of each segment. Now I need 18 p-channels! What if I wanted to adjust the volume of all rhythm parts? I have to remeber which p-channels are rhythm and which are not and adjust each one by one....in their pattern track equivalent since wave tracks don't support CC tracks.That was just for a demo project. What if I was doing a whole game? I can't bring myself to jump into that kind of scripting and p-channel management. The other option is the seperate audiopath route, which is even worse performance and complexity wise. -Scott Morgan http://Morganstudios.com ----- Original Message ----- From: "Ciaran Walsh" <ciaran@xxxxxxxxxxxxxx> To: <directmusic@xxxxxxxxxxxxx> Sent: Thursday, January 09, 2003 9:02 AM Subject: [directmusic] Re: wav tracks, a pain... solutions? > > >>Maybe it isn't something that I should be overly concerned about in > game....even so i come back to the old problem of how to stop one wav one > and go into the next at a any given time. It's such a pain to get it to not > cut off instantly. > << > > >>I'm using secondary segments containing CC Track volume fades for all my > track switching. Wouldn't that do what you need? > << > > Just to clarify what I meant here - if you want to stop SegA at the next > measure and start SegB but you want an overlap between the two, you can > trigger SegAFadeOut AtMeasure which contains a CC Track on the relevant > pChannel to do a short fade out and a script track with a stopper for SegA > after however long your fade is. If you play SegB AtMeasure as well you > should get your overlap. The track in SegB needs to be on a different > pChannel of course and I suppose that they would need to be Secondary > Segments for this to work, but that shouldn't be a problem. All my streaming > wav Segments are Secondary Segments running on top of a Primary Segment that > just has the Chord track and a few other bits and pieces. >