msmcleod

Mild squeaks/squawks usually come in when you overblow the clarinet, so you may find playing at maximum velocity gives you at least some of those characteristics. If it's a classical player however, you'll normally find it's a different type of squawk - more of a lower register swell than a higher pitched one. A full on squawk though, is unlikely to be in any orchestral library. The only sample library I know can do Klezmer style clarinet is Broadway Big Band https://fablesounds.com/broadway-big-band/ - but at the price they're asking, you're as well using the TTS-1 clarinet for writing, printing the part out from the Staff View, and hiring a session player to re-record it! Other options might be taking existing samples of phrases and doing a cut/paste job. Splice has a section here that might be good for that: https://splice.com/sounds/packs/gio-israel/jewish-essentials-hasidic-woodwind/samples Also this one: https://www.loopmasters.com/genres/145-Orchestral/products/795-World-Woodwind-Series-Clarinet

One of the issues with aggregate ASIO drivers (such as VB-Matrix, ASIO4ALL, and Steinberg's/FLStudio/Reaper's generic ASIO drivers), is that it has to open the underlying audio device it's wrapping - that could be either the native WDM or ASIO device. Depending on what device you have, if something else then tries to open the native WDM or ASIO driver, it can cause issues - including a crash. In ASIO4ALL's case, it opens the device and never closes it (ASIO4ALL just sits in the system tray), essentially blocking or fighting with the real ASIO driver. This is the main reason Cakewalk doesn't support it by default. ASIOLink plays nicely and doesn't have these issues from what I could tell. Pity it's such a pain to set up though. I must have a look at VB-Matrix... sounds like a useful way of linking apps together using ASIO.

I like this idea - in fact, I did this for a while. The only reason I stopped doing it was because it slowed me down keeping track of aux tracks/tracks. So now I only do this if I need to. Most things end up going to a bus in any case, which is where most of my volume automation goes.

Back when I was recording to tape, I used to get the sound right for each instrument and record everything as it sounded. For example, I'd get the guitar sound I liked, then recorded that straight to tape. If corrective EQ was needed to get it to fit in the mix, then that was a mixing task. The key was to get the best sound possible to tape. So nowadays in the DAW world, I use the FX Bin for sound design, and the Pro Channel for mixing (obviously it means making Pro Channel PostFx). For example, if I record the guitar dry, I'll use TH-U or Guitar Rig in the FX bin for my sound. The Pro Channel is then free for mixing duties.

Any plugin that has to do look-ahead analysis (which a lot of mastering plugins do) will add latency. Because of this, using them in a tracking scenario should be avoided.

It's hardwired into the app, but "pretends" to be a plugin so it plays nicely with the fx rack. Although in saying that, the hird-wiring is fairly de-coupled (so it works with all audio driver models) which makes maintenance on it difficult.

If you restrict yourself to just using the BIAB VST plugin, most of the complexity is hidden. You literally pick a style, type in the chords, click Generate and press play within Cakewalk. If you like what you hear, you can drag the audio/MIDI tracks from the plugin on to the track view and work with them as normal clips.

It looks like the audio engine isn't running (it's greyed out). Do you have audio devices set up?

You need at least one Audio track for timing in the arranger to work correctly (it gets its timing from the Audio Engine). Just insert a blank audio track or a soft synth.

This is highly CPU / OS dependent. The i7 6700k is a relatively old processor (though much newer than mine!) - newer processors might actually prefer mode 3. Also Windows 11's thread model is different and may prefer mode 3 too. Really it's down to the user to try it out and see.

No, it can't go there - you've added it to the Markers View section. Sorry, didn't explain myself very well. To avoid confusion, put it directly under the [WinCake] line. There should be nothing around the parameters, as this would indicate a new config section. It should read like this: [WinCake] VSTPlugInNameFormat=1

no - as long as it appears somewhere under [WinCake] it should be fine.

You want to use the one in C:\Users Just put the new line between two other settings.

Ah, in that case, just add the line in the [WinCake] section within Cakewalk.ini.

Probably the easiest place to do it is in File->Advanced within preferences. If that setting isn't in the list box, then it'll not be in Cakewalk.ini and will be using the default of 0. Just add it within that preferences page, and it'll add it to the correct place within Cakewalk.ini.

In Cakewalk.ini, the VSTPlugInNameFormat setting determines how the name is shown. VSTPlugInNameFormat=0 VST Name VSTPlugInNameFormat=1 DLL Name VSTPluginNameFormat=2 VST Name with DLL name in parenthesis VSTPluginNameFormat=3 DLL Name with VST name in parenthesis So you want to make sure it says: VSTPlugInNameFormat=1 I can remember if changing this needs a plugin rescan or not.

It's worth mentioning this isn't the only way to insert measures: Using Arranger Sections 1. Create an arranger section starting at the point you want to insert, and ending at the end of the project. 2. Make sure "Select Events with Sections" is enabled either in the Selection Module, or under the Track View Options menu. 3. Drag the section by the amount you need. Using Ripple Edit 1. Enable Ripple Edit All 2. Select the area you want to move further in time (e.g. CTRL +A to select all, then drag the start of the section to the time you want the time inserted) 3. Drag any part of the selection by the amount you need. 4. Turn Ripple Edit off !

They open behind the track view - so you have to un-maximise the track view to see them (the button next to the close button on the same line as the workspaces dropdown).

indeed it is!

1970's UK... if you asked for a coffee you'd get this... ... or if they really hated you, this:

1. Place the now time where you want to insert the measures 2. Select "Insert Time/Measures" from the Project menu 3. Enter the number of measures in the "Insert" box, make sure the "Measures" radio box is selected and all the checkboxes under "Slide" are checked (they should be by default), then click OK.

Holding down CTRL + SHIFT, then clicking any folder expand/collapse button will expand/collapse all track folders. Doing this forceably sets the state of all folder tracks, so should sort this issue out.

That was the initial plan for my room, except it's 1.5m x 7m, so there's literally no room for them. ARC did the job in any case.

You could have the best monitors in the world, but they're worthless if you put them in the wrong room or even in the wrong position in a room. An extreme example would be to put them in a tiled bathroom - nothing is gonna sound good there. Almost every room has issues with certain frequencies. If the frequencies your having problems with in your vocals also happen to be frequencies that your room either masks or boosts, then you're going to having issues mixing. No speaker is going to change that. The point is if you're not hearing the frequencies properly, regardless of your mixing skills you'll be making the wrong EQ decisions. For example, say your room has a dip at 350Hz or at 800Hz - you think everything sounds thin, so you boost the frequencies around there. However you then play it on another system, and everything sounds muddy or nasal. You've boosted a frequency because you can't hear it properly - not because it's not there, but because your room has EQ'd it out. The main issue in my room was my bass response was overly exaggerated. Moving the speakers away from the wall helped, but my mixes still had almost no bass when I played them elsewhere. I heard too much bass so I turned it down. But the problem wasn't that there was too much bass in my mix, the problem was that my room was boosting the bass, making me think it needed turned it down. ARC corrected the frequencies (as it happens, there were other frequencies that had issues too), and right away I heard my mixes with nearly no bass like I heard them elsewhere. I remixed (essentially turning the bass frequencies back up), and it sounded great wherever I played them. What room treatment software like ARC Studio do is measure your room's response from 20Hz to 20Khz with a swept tone. Measurements are taken in several places around your listening area. The software then attempts to boost or cut the frequencies to give a flatter response. It probably won't solve problems like standing waves or reflections, but it can go a long way. It's definitely worth getting a measurement mic and some measurement software and at least going through the process of measuring your room. You can get measurement mics for around $50 -$100, and there is free software out there. In the old days, commercial studios got people to measure their rooms in this way, then used a stereo 32 band graphic EQ to draw the inverse curve of what was measured - the software (and the ARC Studio hardware) are just doing the same thing.

That's because you're selecting it from the Track filter - so track is implied.