Hi!
There is such a situation. The track is connected to the layer via a virtual MIDI channel, and when the solo is enabled on the track, the mute is enabled on the layer, making the solo useless. If it is declared that layers and tracks are different structures, then the solo and muting of tracks should be independent of the solo and muting of layers. Perhaps because of this connection and remain arbitrarily turned on muting on layers.
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In addition. I tried to get around this situation. I turned on the solo on the output channel of the mixer, hoping that only the channel would work. The mute was set on the linked tracks and layers. And then it got even more interesting: after removing the solo from the mixer, the mute fragments remained on all the layers in the parts. This is how uncontrollable mutes appear. I believe that the mixer, tracks, and layers should be separate to avoid such complex situations. If the track is muted, the signal will not go to either the layer or the mixer.
Thus, the simple task of exporting a single midi track to an audio file has turned into a problem that I have been trying to solve for an hour, but all my attempts have resulted in a blockage. The last resort is to break the chain and export the track directly to the output.
I use a virtual channel because there is a strict correspondence between one track and one layer. I need to connect a track with multiple layers in one part or in different parts. But this is not the only reason, and it happens in other cases as well.
Sometimes it turns into a disaster for the user. Today, I wanted to export a file to an audio track, and it seemed like the operation should take no more than five minutes. I put an S on the track, set markers, and exported the file. What did I get? A file with no sound and mutes that remained scattered across all the layers even after removing the S on the track. I had 15 minutes before rehearsal, and I spent the time looking for these mutes in all the song’s layers and manually turning them off.
I am sure that the M and S controls on the tracks should not affect the layers or the mixer.
A VST Live Virtual MIDI or Virtual Audio connection is a “cable” between the Virtual MIDI Device (or Virtual Audio Device) and the receiver (or transmitter). These work exactly like real devices, which means when setting the Track to Solo, the Layer should be muted as much as everything else that is not connected to the Track in the Mixer.
While that is a good point, Layers do have Channels just like Tracks. Connections and Solo handling take place in the mixer. If you’d use the designated Layer/Track connection, the Layer is not muted because of that specific interconnection.
We’ll check if we can trace virtual connections for Solo, but it’s rather complex to connect things that are supposed to be seperated, like when you connect a MIDI track to an external MIDI Instrument which is fed by a Layer; if you mute the Track, the Layer doesn’t know (and shouldn’t know) that it is involved.
You’re contradicting yourself. If a virtual MIDI channel is a wire, then turning off one device shouldn’t turn off the other. Have you ever seen a performer’s microphone or synthesizer turn off all other musicians or equipment on stage, which is exactly what happens?
Track - is the performer
Layer is the instrument
The mixer… it is clear.
We want one performer to sing, so we ask the others to be quiet, but we don’t turn off the console or the speakers, and we don’t turn off the switches on all the guitars and synthesizers.
And this is exactly what happens. All the equipment turns off, and when it’s time to sing, we start looking for the switches that were turned off. This is further complicated by the fact that in real life, we have one guitar or synthesizer per song, but here they are in every part and will turn off ‘M’ in every part.
The second question is, I need one pianist (in our case, a track) to play one instrument with the left hand and another instrument with the right hand, but I can only connect one layer to the track, and not just to a part of the song, but to the entire song. I want this musician to switch presets between parts, but I can’t connect the track to layers in multiple parts. What should I do with dozens of tracks and layers?
I can’t attach the layers directly to the keyboard, because the first note of a part can play a preset from the previous part, and when I play notes before the bar but associated with this bar, they play the layer of the previous part. I have to make tracks, run the keyboard through them, and use the monitoring controls to adjust the midi output, but there are problems as described above, and the only way to resolve them is through virtual MIDI channels.
Sorry, but I see conceptual inconsistencies in the program’s structure that are actually very annoying, and which can be easily fixed in future versions. If you’re interested, I can write about it. Currently, musicians (like me) need to ensure that when they interact with the some of control elements, there are no surprises that can be fixed by either restoring the project for a long time or reloading the project. These situations put the program’s usability on the line. There are about a dozen of them in the program, but they make real-time work extremely challenging, even compared to Cubase, which has almost none of them.
I encountered this problem in a new capacity. Turning on the solo again led to multiple mute switches, but after turning off the solo, the mutes remained scattered throughout the song, and turning off the mutes caused the solo to turn on. Each new switch resulted in a different combination, until I manually turned off all the mutes on the layers and tracks. (During this time, the band patiently waited for me.)
I believe that when connecting tracks, layers, and lanes on the console, there can be so many different combinations that it is difficult to predict their interactions. If this happens at a live concert, the musician will not be thinking about the music, but about what might happen with each next move.
