msmcleod

All it takes is for the levels to be slightly out (i.e. one slightly louder than the other) for it not to null completely.

lol - this x 10 !!! I mainly get guitar loops, as I'm pretty much in a rut with my guitar playing nowadays (I can play, but I don't consider myself a guitarist). I very rarely use loops as is, but use them for inspiration instead. What I've started doing is jamming along to the loops, then using what I've played along instead. Quite often this is a two step process... in other words, I'll solo along to the sample loop, then delete the sample loop and record a new rhythm part to the solo.

Re-save your Workspace after moving the control bar.

Could use several instances of sonitus reverbs (with different pre-delay settings) and automate the send to them - i.e. essentially swapping between them?

I've got the 2i2, 6i6 & 18i20. The 6i6 & 18i20 share the same control software ( Scarlett MixControl for rev.1 units ) The 2i2 doesn't use any control software though. Buffer size & sampling frequency are controlled via the tray icon - all other controls are on the unit itself.

With Step Sequencer clips, the Step Sequencer holds the "master" data (in a completely different format) - it then applies the changes to the clips as you modify things within the Step Sequencer itself. This is why Step Sequencer generated data is read-only in the PRV. Stopping CAL from modifying the generated data was obviously an oversight. But yes, if you converting the Step Sequencer clip back to a normal clip (I think Bounce To Clips should do this) would be the way to go.

I think the bug is in CAL, in allowing you to change events in a step-sequencer clip. They should be read-only.

We fixed an issue a while back for some plugins that were registering multiple changes in parameters either due to automation resetting when going back to zero, or on zero all controllers... but not all plugins were playing ball with this, and still register multiple changes. My recommendation is to set the number of changes to zero, and rely on the timer instead. Could you elaborate on what you're doing when it crashes? We did go through a bunch of operations and postpone auto-save if it tried to do it mid-operation. Maybe one or two have been missed.

This used to be my go-to piano - can't say I've had any issues with it myself in normal use. The only downside is it won't work when running CbB through a debugger (which is a pain for development), so I tend to avoid it nowadays only for that reason. AD Addictive Keys sounds great - it goes on offer for free every now & then too. If you've got a soundfont player, an sfz player or the full version of Kontakt you could try my own sampled piano: SFZ : https://msmcleod.co.uk/sounds/GPianoSFZ.zip SoundFont: https://msmcleod.co.uk/sounds/GPianoSF2.zip Kontakt: https://msmcleod.co.uk/sounds/GPiano.nki For SFZ/SoundFont set the release time to around 0.5 - 0.6 seconds.

The last post was from November 2020, not February (the quote is using dates in US format).

The "out of memory message" normally means the MIDI port is being used by some other application, but I guess it could mean exactly what it says. What version of SONAR are you using?

There're two ways to find out: 1. Hold SHIFT + click on the other envelope - the track filter should change to the parameter this envelope is assigned to. 2. Collapse the automation lanes, then hold SHIFT and click button to expand the automation lanes again. It'll create automation lanes for any envelopes not assigned to lanes.

The link is in the first post at the top of this topic.

You need to have the MMcL Mackie Control DLL installed, and pick this instead: The properties screen should look like this:

Probably WUP'ing my Waves plugins... v11 hardly lasted the year, and I think I only used 2 waves plugins last year.

By default, the synth automation is controlled by the first MIDI track. This can be changed within the Insert Soft Synth dialog, but it still going to be a single track that controls the automation. I guess it's possible in the future to support the automation living on any of the per-output tracks, however there's absolutely no way to enforce that the automation being sent is tied in any way to the synth part that the rest of the track is playing. In other words, there would be nothing to stop track 2 automating track 1's part and vice versa. The automation system in Cakewalk is pretty old now, but it's slowly being brought up to date. Earlier this year (shortly after we introduced per-output instrument tracks) we allowed both MIDI & Audio automation to live on the same combined instrument track - and I know that Noel has done some extensive automation improvements under the hood for the next release. So maybe there's something we can do in the future to improve this... but we're a very small team, and there's a lot of other things in the queue.

Does the single fader version of the faderport have a Cakewalk/SONAR mode? If it does, make sure you're using it. If it doesn't, try disabling the handshake in the Mackie Control surface control panel within SONAR's Utilities menu.

@MaurizioP - when you say it stops, what do you mean exactly? The play feature within the VSTi is there to audition the grooves provided. Dragging a groove to the track inserts exactly one repetition of the groove in the track. So If you press play, it'll play it once then stop. I don't use this much, but when I have I did the following: Drag the groove to the track Slip edit the ends of the newly inserted clip so they align with the measures Select the clip, then press CTRL+D 2, 6 or 14 times to create repetitions of the groove. Drag a fill groove on to the track at the end - so I end up with a 4 , 8, or 16 bar groove.

I've not seen this, however I pretty much always apply my region fx immediately after editing. If you have an "open" Melodyne region fx in your project and save your project, then upgrade Melodyne before you next open it, there's always a risk that Celemony have changed the file format making your region fx invalid. Could this be what's happened here?

I suggest looking over the docs for AAF, in particular: - aafcontainerspec-v1.0.1.pdf - aafobjectspec-v1.1.pdf - aafstoredformatspec-v1.0.1.pdf Maybe you'll get some idea of how ridiculously complex & over-engineered it is. Couple that with no real support for MIDI tracks (the best you'll get is a single SMF file at the end), and the fact that all DAW's implement it slightly differently... it's difficult to claim this as any real improvement over OMF.

As an alternative, you could use a hardware mixer to mix a mic and the output from your scarlett, and feed the output of this into the line input of your onboard sound device. I use something like this: Mine is by Thomann (T-Bone), which AFAIK is discontinued, but it's essentially the same mixer rebadged. It was around £40 / $50. This way I can use the onboard sound-card with OBS, and continue using the Scarlett with ASIO in CbB.

This happened to me a while back with some Waves plugins - I updated some of them, however... it turned out some of them had gone out of WUP. As a result, it removed them. I managed to restore my machine from a backup to get the older versions back, and later bought WUP for the out of date plugins. At that point I could update/rescan and everything was fine.

BTW - check out this video:

It sounds like you're running your mix far too hot. Try aiming for around -12 to -18 db, and turn the volume up on your monitors or headphone amp if it's too quiet for listening. It's quite common to have a mix at around -12db (maybe peaking at -6db). You don't need to worry about getting close to 0db until you've finished mixing and start to master.

It looks like all of your track guitar outputs are going directly to your audio interface rather than the master bus... that might explain things. In fact, their output should probably go directly to the guitars bus (and do away with the sends).