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msmcleod

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Everything posted by msmcleod

  1. I'll need to check out the Triton's implementation, but certainly on the Korg X series, combinations could be multi-timbral - you'd simply set the MIDI channel of the different patches within the combi to different channels. I use this technique on my X5D (live use)/ X5DR (studio), simply because there's 100 combi's that are easily saved and only one Multi... and the multi is a pain to set up. [EDIT] - looks like Korg removed the ability to set different Combi part receive channels in the N series. Pity... it was very useful for live use.
  2. FYI - that particular video was a very early beta (from around the beginning of Sep). We're still unsure as to how it got out. It's really not representative of how Sonar is looking now - and work is still ongoing.
  3. It looks like you've tried to re-install CbB 2022.11 over the top of CbB 2023.09. It's unlikely that having the 2023.09 version of CW130Auto.dll running with CbB 2022.11 will cause any issues, however you will get this warning. If you want to stick with CbB 2022.11 (bearing in mind, it'll no longer re-activate when it expires), the easiest thing to do is to rename CW130Auto.dll in C:\Program Files\Cakewalk\Shared Utilities to CW130Auto.dll.old and re-install CbB 2022.11. The best thing to do however is update to CbB 2023.09.
  4. The 18i8 allows for two headphone mixes (one being identical to the stereo mix), and the other which is separately configurable. What I suggest: 1. In Cakewalk, set the output of the metronome bus to a separate audio output (e.g. DAW 3/4) 2. In the Scarlett MixControl application, set the headphone routing to DAW 3->Headphone Left / DAW 4->Headphone Right. One of the headphone outputs should now only contain the click, and the other headphone output everything else. This tutorial may help:
  5. The Deer Hunter - Cavatina by (the other) John Williams:
  6. In Preferences->MIDI->Playback And Recording, there's a "Always Echo Current MIDI Track". This causes MIDI input echo to be enabled on the active (focussed) track - you'll see an "A" on the echo button to tell you it's enabled because it's the active track. It this is unchecked, you'll have to manually enable input echo. There's nothing stopping you manually enabling MIDI echo for all of the tracks yourself of course, but this will cause all of those tracks to respond to MIDI input. Also be careful that no other tracks are transmitting MIDI data, as this will also cause it to play on those tracks (this can happen when MIDI output is enabled on another VSTi). Enabling MIDI echo on a track will cause them to react to those MIDI messages too. Although you can change the input filter on each track only to respond to a particular device/channel, most users find this inconvenient, as it requires you to change the MIDI channel on your controller keyboard to match the track you want to echo. The default setting is to have the MIDI filter set to "None", with "Always Echo Current MIDI Track" checked. MIDI echo will be enabled and the filter set to "Omni" when the track is the active track.
  7. If you use the Append Instrument Track function, you don't need to force the MIDI channel - it's done for you. In fact, altering the forced MIDI channel will confuse the Per-Output Track functionality, and will likely not allow you add new tracks using that method. To use Per-Output Instrument tracks, you need to configure your VSTi so that the MIDI channels are ascending from 1 to 16, and they match (in the same order), the audio outputs for those channels. In other words, the sound listening on MIDI Channel 1 goes to Stereo Output 1; the sound listening on MIDI Channel 2 goes to Stereo Output 2 etc. The batch functions in Kontakt do that for you. Other VSTi's will require you to map them yourself. Once you understand the concept more thoroughly, you can create more advanced setups - e.g. layering sounds by ensuring the MIDI channel / audio output of more than one library are the same... but if you're just starting out, stick to the basics.
  8. FWIW - I have used the following control surfaces with Cakewalk (and of course the new Sonar), without issue: Mackie Control Universal / XT / C4 Presonus Faderport 16 Yamaha 01X Behringer BCF2000 Korg nanoKONTROL Studio Korg nanoKONTROL 2 The Presonus Faderport 8 is essentially an 8 fader version of the Faderport 16, and works fine with Cakewalk/Sonar. A fair number of users use the Behringer X-Touch (the big one), which is basically a full clone of the Mackie MCU. For surfaces that claim to support the Mackie Protocol, but don't specifically support SONAR/Cakewalk, you can usually get it working by checking "Disable handshake" in Cakewalk's Mackie Control surface dialog. You may also want to check one of the compatibility modes such as Cubase or Universal. The control surfaces that seem to cause the most issues are the single fader type, so unless you know it works with Cakewalk, I'd avoid them.
  9. Everything is converted to either 32 bit float or 64 bit float internally for mixing, so as long as the 16 bit files sound good to start with, you'll not have any quality issues. The only thing you lose with 16 bit is dynamic range - but even with 16 bit, the dynamic range is huge.
  10. The only consideration is that Sonar 8.5 doesn't support VST3, only VST2. So if RipX is VST3 only, then it's not going to work with Sonar 8.5.
  11. sorry I meant ports... I'll edit my original post.
  12. This is the easiest way to do it: If you add additional libraries in Kontakt later on, just re-run the batch function in Kontakt, then use "Append Instrument Track" to add the new tracks. You can do this for up to 16 libraries - after that, you'll need to add a new Kontakt instance.
  13. It depends on what you mean by performance. It will take longer to open 3 input ports than 1 input port. If you have "Always open all devices" checked, this is done once, otherwise it's done on demand when you arm a track. Once the ports are open however, there is no difference in performance.
  14. Yes - this is to get them set up for writing to when recording. A reasonably sized file / buffer for each audio input port is needed to ensure glitch-free recording. The earlier this is done, the better really - waiting until you actually hit record would be problematic if you wanted to manually punch in for example.
  15. I wonder if the blank areas are simply notes that haven't got a corresponding entry in the drum map? Might be worth sliding open the PRV, and seeing if there's any extra notes unaccounted for.
  16. I'm not aware of any limit as such. I use 32 ins / 34 outs without issue (RME Digiface USB using USB 2.0), however the more input ports you have open, the slower some operations will be such as arming tracks on the fly. You can mitigate this to an extent by enabling "Always open all devices", which will open them all on project start up, but that's doing is moving the wait to the start. This is the best option however (IMO) if you always use a lot of inputs. Really, the best thing to do is only have the inputs checked in preferences that you actually need. Quite often I leave mine at around 8 inputs, and only enable the rest if I'm actually using them. TLDR : Opening each audio port for recording takes a up to a second or so (depending on the interface/driver), so think about which time is least of an issue for you, and set the options accordingly. I've never found the number of outputs to be an issue or cause any additional delays. FYI - I've recorded 32 simultaneous tracks on a 2GHz "silent" PC (it's around the size of an old audio cassette case), through USB using the RME without any dropouts or glitches. It was a USB 3.0 port, but the AFAIK device is only using USB 2.0 speed.
  17. FYI - Markers are always added to the active arranger track, and will overwrite anything that is there already. If you've already got arranger sections marked out, create a new arranger track first.
  18. Just be aware guys, this is a holiday weekend in the US, so there will likely be a delay in getting through all the applications / NDA's.
  19. I hated comping when it came out, but if I'm honest, it was because I really didn't understand it - I'd been using Sonar/CbB like it was CWPA 9 for years. Once I watched a few tutorials it became much clearer what was going on, and now I use it all the time for guitar solos, drums, and sometimes vocals - I stick it on loop and record several takes. For anything else, undo, rewind, re-record just like I did in the tape days. I find for most things this is far quicker than painstakingly editing stuff.
  20. If you bypass the effects rack, then all of the effects will be bypassed - no getting around that. Two other options, if you want to keep the effects in the same track/bus: 1. Move some of the effects into an FX Chain, that way you can bypass the whole chain while leaving fx outside the chain as they are. The downside is you'll need to open the FX chain, then double click on each effect to access it. 2. Use assignable controls/groups: make the first assignable control the bypass of each effect, and add them to the same group. Bypassing one effect will bypass them all. The downside here is: (1) it's laborious to set up; (2) you need a separate group for each track.
  21. The PRV has it's own filter button. AFAIK this is essentially a separate feature to the Track Manager, although it should respect the existing hidden status. It's not really about keeping the PRV in sync - it's a different beast to the Track View / Console View, as it's already filtering out audio tracks / aux tracks / buses - what it should be doing is applying its filter on top of the currently visible tracks. What isn't clear is what takes precedence... it seems to be taking it's cue from the Tracks View, which makes sense. But if the track is hidden in the Console View, but not hidden in the Tracks View should the track still be visible in the PRV? You may of course be just seeing a bug in the PRV filter in CbB. The Track Manager button required a bunch of reworking of the code behind the scenes - some of it got backported to CbB as it did fix some bugs, but it didn't get everything because the feature itself isn't there.
  22. Only with heavy compression, as an "after the fact" parallel compression technique - worked pretty well to be honest.
  23. FYI - the new Sonar has a new Track Manager button on both the Track View and Console View, which: 1. Allows quick access to your per-project Track Manager presets - i.e. they're listed in a drop-down menu 2. Can toggle the hidden state of all tracks 3. Gives a clear indicator as to whether any tracks are hidden 4. Allows you to quickly toggle the TV/CV sync state without having to open the track manager We can take a look at the PRV anomalies - it sounds like there's some weird conflict going on between PRV filters and the track hidden state. A more enhanced version of the Track Manager is likely on the cards at some point in the future - we started initial discussions, but has not been fully designed or scheduled yet.
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