#0.5: Money frm Sony
#1: More money from Sony
#1.5: Even more money from Sony
#2: Less whiny customers ***
#3: The ReWire issue resolved so that the MIDI ranters get their fill
#4: A huge raise for Peter, Dave, Matt and the bunch
#5: Pitch envelopes
#6: A Export Regions Per Track function / script

*** = Present company excluded, at least you're behaving remotely civil compared to certain other (*cough* Native Instruments *cough*) user forums I've seen.

"mjhig "

"I couldn't disagree more. The *majority* of music is constrained to BPM whether constant or variable. Music IS melody (pitch) + rhythm (tempo). BPM is a value placed on rhythm (tempo) so that groups of musicians can play in time together. "

Much music (even including some western pop) has tempo varions that range from subtle to wild, from separate whole section through to individual phrases or notes.

geoff

One nice feature I realy like is the option to import another vegas project in the current project. Now you have to open vegas two times and use copy and paste.

Regards,
Diederick.

Tempo mapping is an important element to overdubbing when tempo is specific.

Click tracks are not necessary when performers are performing (or recording) together. Anytime you have a section of music that moves in a rubato fashion, it is extremely difficult to overdub in to a musical element that is out of time and play in time with the other players.

This is another reason why correct monitoring techniques (auto input) are at the very top of my list of "needs".

I would suggest that movements which fall into this rubato category be recorded totally live. Then the musical flow will occur on the fly and be defined by the tempotic motion of all of the players who are recording.

On the other hand, if you have specific tempo changes in specific areas, use a tempo map and define it from an external sync source. Then, if overdubs must be had, overdub performers can play to a tempo mapped click track.

I always make tempo changes and define them with a tempo map when using a click track. There is a science to moving music tempotically so it doesn't sound narrow or contrived. I also use an external sync device (JLCooper PPS2) and use an external sequencer to write smart fsk to a track. I keep my click track virtual so if the instrument needs to be changed or if the note values need to be changed, it can be done so after the fact.

Since this has been my prefered method of handling syncronization since I started doing virtual tracking about 15 years ago, I guess I've never felt a need for my multitrack to have the ability to handle this task.

I believe I have the answer that will satisfy all of your concerns.

Original question: "What does Vegas need?"

Ideal solution: To come bundled with a 48 track IZ Technologies Radar system with the S-Nyquist option, master session controller, and your choice of digital I/O.

That's an idiotic response.

My turn !

I have suggested that to SoFo, but I didn't have any answer...

Here we go:
When I make a voice recording, there are many blanks that I cut manually after recording. So, I need a "cutting noise-gate tool". I mean that according to a threshold, the tool would automatically cut your event in real-time when the voice velocity is under the threshold.


Another thing: When I'm recording in multi-tracks, I would like to be able to unchek the "record red point" from a track while the other tracks continue...

Sorry for my poor english, I'm french....

Another thing:
I would like to see my CPU ressources when Vegas is playing or recording without opening the task manager (under XP). Hard drive ressources too....

There is a bug when I want to "remove and delete" many files from the media pool screen... "Yes to all" doesn't work, it only do a "Yes"

A MERGE FONCTION, PLEEEEEEAAAAAASSSSEEEE !!!!

tmrpro,


I think we don't need to know the record environment/isus to understand what everyone wants...

I just think...

1. A Full Public Beta!

2. MIDI/VSTi’s.

3. ACID style loop tracks.

4. BPM and time signature on the main screen. Tempo changes. A swing/shuffle control.

5. Much more comprehensive Import/Export.

6. Ability to insert FX chains on individual events (as in CD Architect!!!)

7. Bus to Bus assignments. Mono busses. Ability to change the order of buses left or right (the same way you can change the order of tracks up or down)

8. Take number to be displayed on multi-take events

9. Ability to set the current project folder as the default location for 'Save as' and 'Render as'

10. A reverse event switch.

11. Ability to drag and drop FX chains from one track/bus to another. I.e. Grab a Track FX button, and drop it onto another track FX button to copy FX chains from one track to the other.

12. Status bar to display names of plug-ins in chain when mouse hovers over the Track FX (or Bus FX) buttons.

13. Internal preference ‘Event Group Selection = True’ behaviour to be a ‘public’ option.

14. Fade handles on grouped events to be group aware.

15. Shift-S to split and automatically overlap events at the split point.

16. Ability to define event loop points in the trimmer. Ability to destructively crop files in the trimmer.

17. The ability to rename/move files used in the project in the explorer window and the media pool.

18. I really like Geoff’s ‘Event selection in track view mirrored in Media Pool (and vice-versa)’

19. Ability to time-stretch and loop envelope points in the same way you can time-stretch and loop events. E.g. Draw a selection range around a series of envelope points, then Ctrl-Drag the edge to the selection range to time-stretch/compress the points. Draw a selection range around a series of envelope points, hold down a designated key, and drag the edge out to loop the points.

I’m way, way, way more of a song, feel, arrangement, vibe producer than a technical engineer type. I record preproduction demos in band practice rooms and small studio environments with my trusty Tascam US-428...All the final recordings are done in a ‘real’ studio with a ‘real’ engineer.

"Weevil 14. Fade handles on grouped events to be group aware. "

There are quite a few timeline things that could be applied across a range of selected tracks, that aren't. Like envelope operations, nodes, etc.

geoff

"That's an idiotic response."

Excuuuuse me. I would have expected that a bit of harmless, well intentioned good humour would not be lost on an engineering/producer wunderkind such as yourself.

Sheeesh...I stupidy assumed that anyone in this particular field of work for any length of time would have developed a healthy sense of humour. Apparently I was mistaken.

Puhleeeze accept my humble apologies. From now on I shall be the model of meekness and reserve.

I shall now retire to my sackcloth and ashes...

Its cool kilroy, you just met a guy who HATES radar and would not use it if the other option was death by being set on fire.

I was the first guy in Nashville who actually bought the original RADAR system ($25K). Primarily because I was convinced that the support was going to be outstanding and I also thought that the machine was stable.

Needless to say, after 6 months of ridiculous events, the machine went back to its original home.

I know the machine has come a long way since its early days, but I can't help but be humoured by people in my community who come to me for help when their radar system is broken and the interesting way that some of the same problems I experienced are still happening today.

I actually like Vegas and I have a lot more faith in Sonic Foundry because of the success that I have had from their products and the results that I have been given by their staff.

Your comment was very insulting to me, my belief in SF, to SF and the rest of the Vegas users here and I appreciate your apology.

tmrpro...

I think you misunderstand my stand here, something I quite probably should have forseen. It is said that "brevity is the essence of wit." I suppose my first post leaves that observation in some question.

You see, I *do* like Vegas, as well as three additional SoFo apps we routinely use in this office everyday. And I am extremely pleased with them all, despite the occasional bugs that crop up from time to time, as they do with any sophisticated piece of software. I rarely complain about them because SoFo has demonstrated well enough that they take this seriously and do what they can to improve their already superb applications. That's good enough for me. It is the same bar by which I measure the integrity and character of people I come in contact with on a daily basis.

The difference is that we do not record directly to Vegas, or any other app for that matter. We always use, and most likely will always favour, recording to a totally separate front end for all tracking purposes and reserve software platforms for editing. Maybe we are prehistoric, but personally I have always felt that tracking sessions (under my hands anyway) always went smoother and more intuatively, with less margin for screw ups, and more undivided attention given to the artist, with this approach.

As for insulting SoFo...notice I didn't suggest bundling a Pro Tools farm system with their sofware. Incidently, the HD system sounds (finally) very good.

Regarding Radar: Early systems, which you know doubt are already aware of, were handled and supported by Otari, and I have zero experience with either their support, or the robustness, or lack thereof, of those early 16 bit systems.

I am aware that the present company is comprised of some *very* technically sharp individuals who seem serious about having an extremely advanced audio recording platform. In the circles in which I am familiar I have not been made aware of any issues that would lead me to believe that either quality or support with respect to Radar has been lacking. With Genex in the field they can scarcely afford to slip up on any front with regard to system integrity or support. It is becoming a very crowded and competative industry.

I can tell you that I do not know of anyone of my aquaintance that has anything but unabashed praise for the sound of Radar, me included, and I do not currently know of any complaints with respect to performance issuses, system stability and so forth, of any significant magnitude. The folks at IZ seem enthusiastic, energetic and companionable, eager to please, and anxious to lay claim to having a professional, technically brilliant recording system.

I guess until I have an experience that convinces me otherwise, I can only conclude that the people behind the developement and marketing of Radar systems are as serious about what they do as what SoFo folks appear to be with the applications they are responsible for creating.

Cheers and long life to both of them, I say.

Wayne,

I appreciate your position.

I also do not use Vegas for tracking. I track with an MX2424.

I may not agree with you about Radar, but we can agree to disagree.

We're cool.

If you ever want to know more about "The Nightmare On Radar Street", you're more than welcome to send me your contact info here:

Contact tmrpro

I'd like to thank everyone for their suggestions. I am currently collecting ideas for future versions of Vegas, and I am sure many of the suggestions here will end up as part of a future product!

============
KEEP 'EM COMING!
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Here's a couple of biggies.

I'm recording eight tracks of drums... The drummer's a bit lousy and I need to group, timestretch, move, cut up, fade.

now at the moment if I group I can move and stretch stuff together.

However, if I want to change the timestretch type, I have to go to the properties of each individual track on each event I've sliced. I have to do event fades and fade types eight times.

If all of these things grouped in addition... my editing time would be reduced MASSIVELY!

please make this happen, I'll be a very very happy person.

while we're at it... event crossing glitches, render glitches, dropouts, problems with putting different bitdepths in a project when the project mixer is set differently...

I've not had a good day as you can tell!

cheers,
Jason

I'd like to see some improvements to 5.1 mixing. I'd like to be able to route an audio track to both LFE and a "normal" bus, where that bus has a high-pass filter so the LFE-sound isn't duplicated. I can do that today (by muting the surround master on the track), but then I won't be able to use the automatic surround panning with keyframes. What is the recommended workflow for this anyway?

I'd also like to have a visual confirmation when a surround panner keyframe is selected (like you get on video keyframes), now you can never be sure if you missed it by a frame or so.

Thanks.

*******I'd like to thank everyone for their suggestions. I am currently collecting ideas for future versions of Vegas, and I am sure many of the suggestions here will end up as part of a future product!

============
KEEP 'EM COMING!
============ *******

This is the main reason why I love you guys! Listening is the most important part of recording! ;-)

Jeez almighty, Ive been screaming for the pro features for years now, and now all the interest...I must be asking wrong...

heres to a bright future!

I really liked all Weevil's ideas !!!

There are many things that would be good for and I didn't think about them !!