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Some Guy

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  1. Question has basically been answered for the OP, anyways. 1. Use AATranslator and go OMF -> RPP. 2. Vordio can generate a Reaper Session from FCPML. Vordio is cheaper, but it's a Reaper-Specific Solution. Export OMF, and then use an NLE to generate the FCPXML from the OMF. 3. Bounce out the audio tracks as Stems. … then export the MIDI and import directly into the Reaper Session. OMF is becoming increasingly less viable as a reliable means of interchanging between DAWs, which hurts collaboration for those using CbB. A lot of the "popular DAWs" don't support it at all (Reaper, Studio One, FL Studio - to name a few), and even less NLEs support it. Many went straight to AAF (i.e. Studio One). The only DAWs that support OMF are those that implemented it like a decade or more ago. I think SONAR implemented OMF support at version 2.0 (released ca. 2002). NLEs have actually been dropping OMF support, increasingly, as AAF and FCPXML are much better supported - and generally better implemented in client software. due to the ubiquity of Pro Tools, and competitors aiming for little more than compatibility with it... is not the same as saying the support for one DAW is "out of spec" because it doesn't default to generating Pro Tools-compatible OMFs; while Pro Tools itself is incompatible with perfectly spec-perfect OMF files - including those it can, itself, generate. Neither Media Composer nor Pro Tools have any issue generating AAFs with interleave tracks (they've been removing OMF support from their products, aforementioned). Courage has little to do with it 😛 It is a Pro Tools "limitation," and lots of software defaulted to it because the expected workflow was "to Pro Tools."
  2. Cubase/Nuendo, Cakewalk, Samplitude/Sequoia, Old versions of Logic Pro had the same option... and a few others. OMF support is not huge, as it has been usurped by AAF, and many DAWs that took too long to implement it have skipped it for AAF. OMF is considered a legacy/dead interchange format (obsoleted by AAF). Cakewalk doesn't, so OMF is the next best thing. As a result of this, more DAWs these days support AAF than OMF... In any case, this had nothing to do with the OMF spec (or AAF, for that matter, where this worked identically in Pro Tools), but a limitation of the Pro Tools DAW itself. OMF support across DAWs was always inconsistent, and many basically implemented as little as they could, to remain compatible with Pro Tools. … Umm... Correct. This is like saying you can't run a Windows executable on a Mac (without emulation, of course). This is not expected to work in Pro Tools. Try the Cakewalk generated OMF in a DAW that does not have this artificial limitation. https://www.proaudiogirl.com/pro-tools-does-not-support-import-of-aaf-omf-references-to-multi-channel-audio-files/ This reasons are likely historical.
  3. Wave files are even more basic than OMF v2, so that's non-factor. MIDI transfer is easy. Waves are good If you're sending the project off for mastering, and very little editing is needed. Honestly, it's easier to just buy Reaper for $60 and use it from the beginning on collaborative projects, if that is what the others are using. Or, have them use CbB. @SuiteSpot Most (all?) DAWs allow stereo to be referenced (or embedded) in OMF v2, and this has always been the case. Not sure what you're talking about, since OMF was designed initially for Video Post Production, which uses stereo files (sound effects, etc) quite a lot. Pro Tools had a limitation where it only supported Mono Tracks, so the convention of Splitting stereo into mono pairs became commonplace. Pro Tools is industry standard for Video Post Production, and in recording studios, so its limitation influenced workflows. Most other DAWs did not have this limitation. Nothing in the OMF spec forbids referencing Stereo Clips. Cakewalk has a checkbox in the OMF export dialog for splitting stereo into dual mono. Other DAWs and NLEs have this, and may call it a "Pro Tools Compatible" setting. AAF files (and support) are similar. Stems are the LCD and will work everywhere.
  4. When you clone, the new drive has the same drive ID as the old one, so this causes boot issues. Since each boot volume looks identical, the system will often boot the first one detected, or even a random one (so rebooting a lot can eventually get it to boot from the correct drive). Easiest way to fix this is to remove the old drive and put it in a usb drive enclosure. After you boot off the new drive, plug in and format the old drive. Then, put it back in the machine - all is well. Since these cloning solutions are online, they cannot prevent This issue by doing an offline integrity check on the new drive and reformatting the bike drive if all is well (since you're running the OS off of it still). Most people cloning with a Linux Live Distro will just do This themselves before rebooting the system, so they don't run i to the issue 😉 This is a common issue with people upgrading laptops with NVMe slots that ship with a HDD or SSHD OOTB. I ran into this in an ASUS machine. It also makes upgrading the NVMe to a higher capacity later a PITA, if you have to use the other (SATA) SSD as an intermediate when you replace the NVMe Since NVMe to USB enclosures do not pass through vendor ID, they cannot be used with OEM cloning software - like Samsung Magician. You will run into the same issue regardless of what software you use, if you do a full system clone operation and leave both drives in the system. The boot volume IDs will match and you will end up with boot issues. The system will not know which instance the boot manager is referring to.
  5. Create Cakewalk Archives, and put those on Google Drive instead. And I generally recommend OneDrive, since Office 365 is dirt cheap and it basically has Time Machine built in - making the Archives really safe to use for cloud backup. Use two backup locations in the cloud, plus a large external HDD.
  6. Export an OMF (v2) from Cakewalk and use AATranslator ($199 version requires).
  7. All of that is fine. Everyone is grateful. Myself included. Even if I had never used the software, I'd be grateful. A competitive market only benefits consumers, and Cakewalk forces other competitors to deliver by virtue of existing at its price point. It means that any product that wants to sell for anything has to "approach at least as good" as CbB to be worth it (value proposition) - assuming they've heard of it. That is a good thing for all of us. However, in order to get people to switch over - particularly those who already OWN other DAWs, and can easily secure Upgrade or Crossgrade pricing to competing products - or rope in and keep serious users; the product needs to grow its user base and it needs to give the impression that it isn't just being kept around in maintenance mode. Stagnation is a deterrent. Artists are innovative, and they want to feel like their tools will enable that [by developing and innovating] as well. Much as we detest it, this is an industry of FADs. Waves come and go, and products that don't allow people to surf them tend to get left by the wayside. Cakewalk is already an all-arounder. The issue isn't what "type" the DAW fits in (90% of DAWs are all-arounders, even when marketed with historical strengths). It's whether [or not] it delivers what users are looking for; and whether what it does deliver is worth using it over paying for a competing product. In principle, I don't disagree with anything you're saying. Patience is easier to have when you don't depend on these tools for your quality of life. The grass is always greener on the other side. Sometimes it's a mirage. Other times, it's just the fact of life.
  8. 1. The feature gap that is obvious when you use other DAWs and then use Cakewalk. It exists, it doesn't mean CbB is "bad." Yes, CbB is fine; maybe even AMAZING for the people who have sat on SONAR for many years and are used to just working with what they are handed. However, there is a pretty sizeable disparity in feature set in core areas vs. many other DAWs due to their superior development momentum and investment from the parent companies. This leads to a product that is less dependent on plugins and/or external applications to work productively (if we can say that). People have been doing Orchestral Composition in DAWs like FL Studio and Ableton for a decade or more. Typecasting DAWs is for the 1990s. Most of them are pretty well-rounded and "generalist" these days - even if they still retain clear historical strong suits - because there is only so much you can do within one niche, and sitting within a niche is not good business. And if you aren't delivering the goods, then users see no point in paying for upgrades (or subscribing/moving up from perpetual to subscription). They will just use their old version, and keep on trucking. There is a decent amount of disparity between CbB and LPX. Just look at the Staff/Score editor that [paying] users had been begging for the developers to fix for probably a decade. Logic is in a completely different league, there. Logic also has much better audio editing than CbB. Cakewalk feels the base of an amazing package, but the developers shifted away from shoring up the DAW itself to bundling Plugins, Instruments, etc. instead 2. Read the forums? Instruments and Plug-Ins aren't worth complaining much about, except for the fact that it is not great for getting newbies onto the platform . Those users tend to prefer to get a decent "package" out of the box so that they can at least have fun making music without having to worry about what they need to add onto it. Stability fixes and small things here and there are nice... if CbB - as it stands today - were a $200-250 upgrade from SONAR Platinum... how would you feel about that? That isn't to say the changes they've made aren't good (and bug fixes are always good). I just think they're overrated, and the development rate is such that the product is still seen as stagnant by most people. There's a reason why the mad rush of cross grade offers after the Gibson announcement was so successful, and most of those people did not come back after the BandLab announcement.
  9. That post (that you're replying g to) was so patronizing, dismissive, and passive aggressive... I applaud you for your measured response. "Community" definitely isn't a selling point for this product.
  10. Most people here aren't concerned with growing marketshare by closing the feature gap and making the DAW more applicable to more workflows. They just expect people to use the DAW and help them increase it's market penetration, while "dealing with it" because "you can't complain about free." That's why there is an overemphasis on bug fixes. They're okay with the product, so they're only concerned about making it better for themselves... not you or any other "potential users." Meanwhile they complain that it isn't getting enough reviews or press at music websites/magazines.
  11. I think not focusing on adding features that other DAWs have added (and are using to leach customers off of Cakewalk - Gibson shutting it down was not the only reason those aggressive crossgrade offers were so successful) is a mistake, but the Cakewalk community is dominated by "old timers" who are coming over from SONAR - and those forums 😉 The "package" that is CbB looks very different for someone who installs it on a machine with SONAR Platinum, than someone who doesn't have anything else on their machine... At least, compared to a fresh installation of most other DAWs (barring Reaper, which still has a lot more Effects for Mixing and Mastering than CbB out of the box). For many of those other people, the CbB package (and feature set) doesn't seem all that competitive - or attractive - because the major investment for music production is not the DAW itself. The price of a DAW is a drop in the bucket. Trying to argue for feature additions just results in people piling on, so it just is not worth it. The developers regard much of it as "advocating for bloating up the DAW," anyways. A few people cannot change those sentiments, so most people are more likely to walk away and pay $60 for Reaper than use "Free CbB," because they don't feel like they have a voice in this community. Most old timers are used to what SONAR has to offer, and have built their workflows around its [comparative] limitations. They have the content from the commercial SONAR packages as a "default," so they don't have to pay for the price of a DAW with more development/support just to get it up to par with what those offer out of the box. Most free VSTi, Sample Libraries are mediocre. I've tried tons of them, and scoured the internet. These days, I'd rather pay $400-500 then waste another 20 hours trialing out things. The time is worth far more than the cost of a piece of software. The best option you have is going to Plug-In Boutique and buying everything from AIR that is on discount (Effects, Sampler, VSTi, Synths) and perhaps a few things from iZotope, as well. It will cost you a couple/few hundred dollars, but you will have a decent base set of stuff to produce music in CbB. As far as DAW features are concerned... Good Luck if any of the disparities hurt you in Cakewalk. Either you deal with them, and/or use supplementary applications (incl. other DAWs, Notation Editors, etc.) to pick up the slack, or simply use a different product.
  12. Most people producing music in 2019 are not using a 10 year old CPU with 12GB's of RAM. We have better. You can get 6+ Core Ryzen 2/3 CPUs for < $300, these days. You can build a practical super computer (for the purposes of Audio Production) for < $1,000. The future is now. You just haven't bothered to step into it, technologically speaking.
  13. Yes, it looked for the executable in a known [default] installation location. However, MAGIX changed the default installation path for Sound Forge Pro 11, and then again for SOUND FORGE Pro 12, so this won't work unless the applications using this are updated when new version release, or ownership changes. MAGIX tends to install apps in versioned directory entries, to enable simultaneous installation of multiple versions. Some other applications don't do this, so you don't have to deal with v10 being forge100.exe, v11 being forge110.exe, and v12 being forge120.exe. This is broken in MAGIX products like VEGAS Pro 15, Samplitude Pro X4, etc. when you install versions of Sound Forge Pro > 11, for the same reason (ACID Pro will detect v12, but likely because they were in the same general release cycle).
  14. Unless they turn BandLab into a collaboration platform similar to VST Transit (instead of a really poor man's Avid Link), I'd prefer they decouple it from Cakewalk by BandLab. Just allow us to log into our BandLab accounts in Preferences, instead. I don't understand why this bloatware is forced anyone. It doesn't even allow you to set an installation location, or where it puts its data/folders. All of the paths are literally hard-coded into the application. Terrible. I tried changing them in the registry, and it didn't seem to do anything at all... (Yes, I know how to use Directory Junctions, but I should not have to. If you're going to bundle this junk, then at least don't disrespect users with it.) Additionally, some UI elements are not well done, or intuitive at all. The plug-in strip for clips come to mind. Application needs a Preference Category where you can set up external editing applications (i.e. Sound Forge Pro as Wave Editor), with accompanying entry in context menu when right clicking on audio clips (i.e. "Edit in Sound Forge Pro"). Should not have to edit registry to add this, and this has been an issue since ever. Even if you add it via the Registry, the user experience is still terrible due to the lack of a context menu entry. Installer doesn't respect Content Directory settings. It still dumps tons of Samples for Studio Instruments, among other things, on the system drive (or where you installed Cakewalk by BandLab). 1.5GB of wasted storage on system SSD. Need more granular install options, like skipping Sonitus:FX. They are bad and show up in other applications that support DX Plug-Ins, but may not give options to blacklist, littering the Plug-In List and Plug-In Search Results there. Support for decoding ProRes would be nice, for film scoring. MusicXML Import would be nice.
  15. You can add an audio editor to the Utilities/Tools menu by editing the registry... But the developers need to add something in Preferences to configure this, and an entry in the Context Menu for Audio Clips to match (i.e. Edit in Sound Forge Pro/WaveLab/etc.). Every other DAW that I've used does this, except this one. Perhaps you can set a keyboard shortcut in CbB, after editing the registry, to make it more "convenient." I just find it odd that this has been ignored so long, since you basically depend on external wave editors for any decent audio editing in Cakewalk/SONAR. Plus, it's such a huge QoL improvement on top of being such a simple thing to remedy.
  16. Cakewalk does nothing but keep Plug-In paths in the registry. DirectX plug-ins (like Sonitus), are registered in the registry, but if that was a problem theaffected plugins simply wouldn't show up in the DAW . If System Mechanic had removed the plugin paths from the Registry, then they simply wouldn't be showing up in the DAW 😛 @ OP: What Audio Interface, Sound Card, and/or Drivers for that stuff are you using, and what Audio API do you have selected in CbB settings? What type of drive is your project audio on? PC Specs (CPU, RAM, Disks)?
  17. Uh huh... I can get a 128GB USB Thumb Drive and it will outperform any Mechanical HDD on large projects with Sample Libraries loaded on to it. That's literally where I have my Logic Pro X sample libraries. On large templates a 5400 RPM FireCuda Drive (almost guaranteed to have better R/W Speeds and lower latency than your aging 7200 RPM, and far more Head Cache (128MB)) was overloaded trying to read files off of that drive for Orchestra Arrangements. The thumb drive, which cost $20, is flawless. Slightly lower R/W speeds, but vastly lower latency. Before moving it, I would get Audio Artifacting, Drop outs, and even complete crashes of the DAW using the HDD. They are bad for sample storage, which was the main focus on my post. But I'd still like to see you record 32 audio tracks to that HDD , because I've tried similar and it never worked out so well... That being said, I moved to SSDs as soon as I could, anyways.
  18. I wouldn't even put my Projects on a HDD. I mean... you have to have some relatively small projects to not feel the drastic seek/latency difference with a HDD - particularly if you're recording audio... Plus, they get louder as they age, and draw more power than an SSD. Higher Spindle Speeds also generate a lot more heat than a SATA3 SSD. Using a HDD severely limits the number of Audio Streams you can record simultaneously, so you can't really record i.e. a band with a HDD unless it's multiple HDDs in Performance RAID configuration... and that's 100x more risky than using even the cheapest SSD. Doing so will completely bottleneck the drive, especially if you are recording at higher bit depths and/or sample rates. I guess, if you're only doing MIDI/VSTi stuff, it can be fine... Really depends on the type of work you do. Personally, I use SSDs for everything, because they are economical now - particularly SATA3. HDDs are only for backup. I hook it up to my router and just move projects to the HDD over the network when I'm done with them (after using the DAW cleanup options to create a project archive and/or remove unused files, etc. etc.). ----- I don't recommend anyone move their User directories off of the system drive. Just create Documents, Music, Videos, etc. on the secondary drives and put your personal files there - and then Right Click on a Library and go to the Location Tab to change where it points to. You can also do this in the Windows Settings app. Your AppData folder is a subdirectory of your User folder, and you almost certainly don't want that on a secondary drive, since if anything happens to that drive, it will break a ton of stuff on your PC. The folder is hidden by default, so many people are simply ignorant about it. Putting it on a secondary drive is not recommended. Additionally, applications that install for the current user also install into that directory (i.e. BandLab Assistant, Amazon Kindle Reader), among other things. A lot of binaries and support files for Windows, as pertains to your User Account, are also there. A safer thing to do is leave the User Directory where it is (as you gain practically nothing by moving it, you just increase risk), and then change the directory your Libraries point to as stated above.
  19. AIR Mini Grand is like $30 as PIB, right now. Structure 2 is the same price, and has Piano sounds. If you need a starter instrument set, go buy all their stuff while it's on sale. iLok account (not dongle) required.
  20. I have a 7 year old SSD that still has 92% endurance, and was used heavily and still is used as the main drive in a laptop. TLC drives are safe. QLC are less reliable, but they're cheap and I'd use them for sample storage at large capacities. Unless you have over 2TB of samples, I'd only use HDD for backups.
  21. Yes. Right click then select a category after clicking the down arrow, or type in category box to create a new one.
  22. I'm a big advocate of adding features that people are looking for out of the box, but in the absence of them you really have to use what alternatives are available. For EDM and beat making, there are cheap DAWs that are optimized for that workflow. ACID Pro is on Humble Bundle for dirt cheap now. It can be a ReWire slave, and gives you 7.4GB of ACIDized Loops. Think outside the box. Nothing wrong with integrating other tools into your workflow. Sound Forge Pro 12 can be used for sound design and creative samples and loops, as well as wave editing from within Cakewalk. All of AIR's stuff is on deep discount on Plugin Boutique, including their Structure 2 Sampler (~40GB Library) and Strike 2 Drummer. The two Instrument/Synth bundles are ~$30 each. AIR Creative FX Plus is $30. The Synth Expansion Packs are dirt cheap, as well. Then, RX 7 Elements on sale for $29, and includes Iris 2 Synth. If you have Ozone Elements, you can upgrade to Standard for $59. That brings Cakewalk up to par with what a lot of commercial DAWs offer out of the box. Install CbB and Drum Replacer. Skip Studio Instruments as they aren't really useful (sound awful). For $150-200 + CbB, you can have a DAW + Content package on par with or better than Studio One Professional.
  23. Replace HDD with a cheap 1-2TB Samsung QLC SATA3 SSD. Really no point using the HDD, especially at that capacity. The performance tradeoff isn't worth it. Use it for project backup (even then, it's probably too small) - or to image your drive after you set things up for a nice contingency plan in case of emergency. Can be used for Loops and Audio if you copy things I to your project directory. Wouldn't want to stream files off of it, and I'd avoid putting Sample Libraries on it, if possible - though it can be fine if you have 64-128GB RAM and use RAM caching in the sampler. OS and application on NVMe. Data, Projects, and Samples on the SATA3. Back up to a USB HDD. Image System drive to HDD after you get everything set up and updated 😉
  24. Also going to cakewalk.bandlab.com loads and then instantly redirects to bandlab.com The product page is surprisingly sparse, as well. Honestly doesn't tell you anything about the actual product. Why didn't they just migrate the old site to BandLab domain and edit out the references to Gibson/Sonar? I still think changing the product name was a massive blunder for discoverability.
  25. ACID is definitely not slow. I've used it a lot. It's fast - Loads fast, Operates fast. Everything is just fast - and that's a big reason why a lot of people used it. It isn't as bloated with functionality as Cakewalk, and there aren't really any unfinished buzzword features. It's very streamlined. Not as "feature rich" as a "generalist DAW," but what is there is pretty much finished - if not quite polished. MAGIX has bought the price down for the base DAW, so I can't really complain about that (Sony used to sell ACID Pro for ~$350). It's just designed for a different, and rather specific, niche. I wouldn't even call it quirky, TBH. ALL DAWs are quite different from each other. Going from Cakewalk to any other DAW will have them all seeming quirky - to varying degrees. Stability is probably the biggest issue, but that's definitely a YMMV situation, judging by what I've seem on various forums. If you work primarily with loops, then ACID Pro is going to be far more productive than Cakewalk by BandLab. It isn't even really a competition. The documentation is decent. It has context sensitive help. ACID Pro has better stock plug-ins and instruments (that only work in MAGIX software, mind you) than Cakewalk by BandLab, as well. Those domains don't depend on Cubase-level MIDI or Samplitude-level Audio capabilities. The included Loop Packs may not be world-class, but they're better than nothing. Meant as a starter. In addition to that, its ability to function as both ReWire Host and Slave allows it to be used almost like an instrument from other DAWs, so its utility extends far beyond "using it as your main DAW." It doesn't really need to be your "main DAW" to be useful. Generally, if I'm producing a beat or theme for a video, I'll use ACID Pro. It's very fast at doing that, and working with loops. Almost nothing on the market is as productive. I also use it, sometimes, when cutting program music, due to the ease at which you can work with Tempo Curves, etc. Not a great generalist DAW. It's a great domain-specific DAW, or a Utility that can be used in innovative ways from within other DAWs. Only a small niche of people live in ACID Pro, for this reason... but a larger community of people use it in less exclusive ways 😛
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