jonathan

In the Piano Roll I like to work with my CCs on the main window—the same window as the MIDI events—instead of in the separate window at the bottom of the main window. In Sonar 6 and Platinum I used to be able to edit both the MIDI events and the CCs together in the same window. Now (since the Sonar X versions?) if I have a CC active on the main PRV screen I can’t edit the MIDI events anymore. Strangely, I can delete a MIDI event in this mode, but I can’t move it, I can’t resize it, I can’t alter its velocity, and when I click on it to hear it, it is mute. I have to keep on clicking on the tab at the top left corner to open the drop down menu and choose Notes/Velocity to do this. It becomes an extra step in the editing workflow, going to and fro from Notes/Velocity mode to CC mode on the main screen. In a heavy editing session this clunky procedure becomes an issue. Is there a setting in Cakewalk by Bandlab that can bring back the old way of working, where the MIDI events and the CCs can be edited together in the same window?

I found the file where the problem occurred. Kev, you were absolutely right, the wet-dry was at 50%. When set to 100% the direct signal is unaffected by the reverb send on the delay bus. The reason I had not suspected this is because I normally have the delay plugin defaulting to 100% wet, but in this file I was using a relatively new acquisition: the Soundtoys Echoboy Jr., which defaults to a wet/dry setting of 50%. So, all is good with the routing now. Thanks everyone.

Thanks for your input guys. Kev, you said ‘that shouldn’t happen if you set it up correctly’. I think you’re right. I set it up again in a demo file, and with the reverb send on the delay bus the delays were wet and the original signal was left dry. Now I have to find out the variable, because the last time I set this up the reverb send on the delay bus definitely affected the original signal, which is why I posted. I keep a personal manual of Sonar that I write in my own words so that whenever I discover something new or work something out I have a reference that I can look up. Some time ago I had written in there that a reverb send on the delay bus won’t affect the original signal—that it will only affect the delay repeats. I thought I had been wrong, but after setting up the routing again I realize I was right. So, what I did differently to make the reverb affect the original signal the other day I don’t know, as I forget which file I was working on when this happened.

I have a routing question regarding putting reverb on the delay repeats without affecting the original audio. My typical set up is to insert a reverb plugin on a bus, and a delay plugin on another bus; then I set up sends on my instrument track – one send to the reverb bus and another to the delay bus (in that order). But what I find is that the delay echoes can sound unnatural because they are dry – there is no reverb on them. They sound unnatural because the audio in the track is wet with reverb, and so you get a wet vocal with dry echoes/repeats. I tried using the send on the delay bus to go to the reverb bus and this worked – my echoes were wet with reverb, but it actually affects the instrument track original signal as well, so you get twice as much reverb – you get reverb from the reverb send, and more reverb on the delay send. So I am wondering, how do you route the audio so that you can get reverb only on the delay repeats without re-applying reverb to the original audio signal?

Thank you for taking the time to answer my question, Base 57. So simple - thank heavens.

I am wondering how to go about routing instrument tracks to a bus without having the bus volume fader affect the wet/ dry mix of my reverb sends on the instrument tracks. Example: I have a sampled drum kit divided into 5 instrument tracks—Kick, Snare, Toms, Overheads, Room. I have reverb sends on each drum track set to different levels. I route these tracks to a drum bus. I turn down the volume fader on the drum bus and the reverb sounds wetter as the dry signal is attenuated; I bring up the bus fader and it dries up the signal as the reverb gets buried in the source audio. Of course one solution is to put the reverb send on the bus instead of the individual drum tracks, but then the reverb level will be the same for all kit pieces. As stated, I have different reverb send levels for each part of the drum kit—perhaps less reverb on the kick, more on the snare etc. I’m guessing the answer is simple, but somehow it is one of the mixing rudiments that I have overlooked.