msmcleod

IIRC the last time this happened to me was due to a default algorithm not being set within Melodyne. I can't remember if I had to open Melodyne as a standalone and pick it there, or create a region FX on an audio file to pick it. Once the default had been set, everything was fine. I only had to do this in Melodyne 4 however. AFAIK if you're using Melodyne 5, Cakewalk will prompt you as to which algorithm to use.

I had no issues updating / installing / authenticating CbB 2023.09 on Windows 7, although I did get the usual "not supported" warning dialog when installing the update. My Windows 7 install has the all the latest Windows 7 updates. I didn't experience any issues running CbB 2023.09 on Windows 7 either, although to be fair it was a very quick smoke-test. The new Sonar will NOT install on Windows 7 or Windows 8/8.1. The new High Dpi / scalable UI support relies on features only available in Windows 10 and above.

To a certain extent, I'm in the same boat. I have a lot of older software (mainly hardware synth patch editors) that have 16-bit components, so I have to run them on Windows 7 32 bit; I also have some software that only works on Windows 7 64 bit. The way I got around this was to have a dual (actually quad) boot. On the same machine, I've got: SSD #1: Windows 10 64 bit - DAW boot, Windows 7 64 bit, Data partition SSD #2: Windows 10 64 bit - Development boot SSD #3: Windows 7 32 bit SSD #4: Projects When I start my PC, I get a boot menu to choose which operating system to boot with. My Data Partition holds any sample libraries that things VST's like Kontakt use. The drive letter is the same for all of my OS's, so there's only one copy of the samples that is used by all OS's. So the easiest way to solve your issue is to install Windows 10 on a new drive, leave your Windows 7 drive as is, and edit your boot menu so you can choose between them when you boot up. The only downside to this approach is licensing. Some plugins may see your different boots as separate machines, so you'll be using an additional license for them; others are clever enough to realise you're actually using the same machine.

It sounds like you've not got both the MIDI inputs and outputs checked for those. If this isn't the case, also check your Control Surface preferences to verify it's not "stolen" one of them because your MIDI device order has changed.

There are also options within Kontakt to tell it how many of the samples to load - i.e. all of them, or only to load "n" Mb, then the rest on demand. If Kontakt is configured to load all of the samples, it'll not only take an age to load a project, it'll take forever to shut down too as it frees up GB's of memory. What I tend to do is set it to load everything on demand, then play the project through once. This ensures it's only loaded the samples for the notes / velocities it's actually using.

If you've got "Non-destructive MIDI Editing" checked (which is the default), when a MIDI clip is split, a copy of the entire clip is made. All you need to do is drag the end of the clips out (i.e. a reverse trim) to reveal the copy of those events. If however, you're going to use cut or delete, the best thing to do is: 1. Select the event range as normal 2. Go to "Select by Filter", then uncheck the CC events you want to keep 3. Do your cut or delete If you've already done the cut, just copy one of the split clips you've left untouched to another track and drag the ends of the clip out - your original events should all be there.

You can have multiple articulations playing at the same time if you've set the articulation maps up properly. Articulations that are mutually exclusive (i.e. they cancel each other out) should be in the same group. If you have an articulation that can be played at the same time as another, it should be in a separate group. Different groups appear on separate articulation lanes.

Why not use Articulation Maps? They'll do the key switching for you, and are far easier to use in the PRV. Once your articulation maps are defined, you can even extract your existing key switches from your MIDI track it'll create the articulations for you. CreativeSauce does a great tutorial here:

It's also worth mentioning that Track Templates are in the drop down on the Media tab in the browser. You can simply drag/drop from there into your project - a massive time saver.

MF = Media Foundation

Take a look at shielded CAT 6 network cable - it's way cheaper than audio cable, and performs just as well if not better ( it has to cope with far higher frequencies with zero interference). If you share a ground, you can pass 4 balanced signals through a CAT 6 cable at a fraction of the price of audio cable. Sooner or later the industry will catch on to this and hike up the price accordingly!

Just to give some perspective here. The highest frequency a human can hear is around 20Khz if you're 21 or younger. As you get older, this continues to drop. I suspect the majority of users on this forum will struggle to hear anything over 15Khz. 44.1Hkz can reproduce frequencies up to 22Khz (so beyond human hearing). 16bit audio has a dynamic range of 96db across all of its frequencies. Compare this to tape: a maximum dynamic range 55db - with it's optimal frequency reproduction between 120Hz and 800Khz (it starts to drop off either end of these frequencies). Vinyl has a maximum dynamic range of 60db; frequency range is around 7hz to 50Khz (so better than a 96Khz sample rate). However as far as dynamic range is concerned, vinyl and tape aren't even a match for 12 bit audio (72db), which a bunch of budget synths/samplers used in the 80's/90's. Given that most tracks are of a single instrument, it's likely that the required dynamic range recorded on a single track is way less than 96db. Where things start to go wrong is when you mix in 16 bit - then you're dynamic range is significantly reduced. However NO modern DAW mixes in 16 bit. They all use at least 32 bit float or 64 bit float for mixing; only going back to 16bit at the stereo master bus. The advantage of recording in 24bit is you can record really quiet signals with no loss of dynamic range, and no perceived increase in noise. However, as long as you're recording signals at a decent level, there should be no issues using 44.1Khz/16bit for recording.... I mean, it's absolutely fine on CD. Comparing 32 bit to 24 bit is problematic - 24 bit is an integer format; 32 bit / 64 bit are floating point formats. Although you can store higher numbers in floating point (which is why it's great for mixing), you do lose precision at the extremes. For a mixed down song, a 24 bit integer file and a 32 bit floating point file are equivalent in quality.

I can repro this issue, but unfortunately the ship has sailed for CbB, so it'll have to be fixed in Sonar. In the meantime, make sure both the track and bus are solo'd.

I tried installing / activating CbB 2023.09 on my Windows 7 boot, and had no issues. I'm using Firefox as my main browser (it's the only one that still receives updates). There should be no problems with Windows 7 activation as long as it's got all the latest Windows updates.

There are two things I can think of that could cause this: 1. Select Sections with Time Ruler is checked 2. Ripple Edit All is on.

They do need to be registered as COM objects in the registry though. The CbB installer does this automatically. Manual registration has to be done with regsvr32.

There are several ways to do this: Method 1 - I find this is the easiest and gives consistently good audio quality: 1. Ensure the Time Format for each audio clip is M:B:T - this will ensure the start times move automatically with tempo. 2. Take a note of the end times (in M:B:T) of each audio track before you change tempo. 3. Change the project tempo 4. Hold down CTRL + SHIFT and stretch the audio track end times to the same M:B:T's you wrote down in step 2. 5. Bounce to clip(s) on each clip to render in higher quality. Method 2 - very quick & easy, although audio quality may vary depending on material*: 1. Select all of your audio clips, then go to the Groove Clip tab in the clip properties and check "Stretch to Tempo" while holding down CTRL. 2. Ensure "Original Tempo" matches the current project tempo 3. Change the project tempo - the audio clips will automatically stretch. 4. Bounce to clip(s) on each clip to render in higher quality. *I can't be 100% sure, but if you've correctly identified the transients beforehand, the quality may improve Method 3 - Audio Snap There are plenty of YouTube videos on how to use this. This is arguably the best quality, but depending on transient/tempo detection can either be very quick or a painfully manual process. If you have many audio tracks however, it may be favourable to Method 1.

By default, Cakewalk will assign the outputs as you've described to better support extenders without further configuration. If you want to override this: 1. Open the Mackie Control surface dialog from the Utilities menu. 2. Click the "Configure Layout" button 3. Within TouchDAW, turn the v-pot on the first channel so that the display shows channels 1-8. 4. Click the "Press Again When Done" button on the Mackie Control surface dialog 5. Save your configuration as a preset within the Mackie Control surface dialog, and close the dialog. However, the MackieControl wasn't really designed to work this way - you may get the two surfaces fighting each other. If you do have issues, consider downloading/installing my version of the Mackie Control software: https://msmcleod.co.uk/cakewalk/MMcLMackieControlSetup.zip Once installed, restart Cakewalk and use "MMcL Mackie Control #1" for TouchDAW, leaving the SSL on Cakewalk's Mackie Control. Currently, my version of the Mackie Control is identical to Cakewalk's but is registered using its own unique id, so it's seen as separate from the Cakewalk one. This allows the two surfaces to operate independently, but still follow the same channels.

Saving the project as a Standard MIDI File will export the tempo map inside it. This is the standard way of transferring tempo maps between DAW's. Just for clarification, within CbB: File -> Save As .mid will include the tempo map, File -> Export MIDI will not. File -> Open a .mid as a project will import the tempo map, File -> Import MIDI will not.

It's called Sticky-shed syndrome: https://en.wikipedia.org/wiki/Sticky-shed_syndrome Actually, it doesn't even need to get damp - just natural moisture from the air even in relatively dry climates can cause this over time. I recently found a bunch of cassettes in my attic with my old 4-track / 8-track recordings from the early 90's. The TDK SA-X 60 tapes were total garbage, but the Maxell XL-IIS tapes played as if they were new.

The activation service running on the BandLab activation servers had to be changed significantly to support the up and coming paid products (e.g. Sonar / Next). This new activation service is incompatible with the old one, so any version of CbB prior to 2023.09 will fail activation when it tries to renew. CbB 2022.11 (and any earlier version) won't attempt to renew until around 6 months after it was last activated, but when it does try to re-activate it will fail. So in answer to your question, you can use the old version for 6 months since your last activation. CbB 2023.09 does work with the new activation service, and will refresh activation in the same way as earlier versions of CbB did - it's just talking to a different server. The activation will automatically refresh when your current CbB 2023.09 activation period expires (obviously you'll have to be connected to the internet for this to work). There is no paid version of CbB. CbB is being replaced by Sonar, which will be a paid for product. However, there are no immediate plans to stop re-activation of CbB, even after Sonar is released.

Just re-read my original reply, and yes, I did make this claim, as the issue with my keyboard was that the dust inside it was confusing the device into thinking it was constantly changing, causing it to send messages continually. This isn't the case in normal operation - you should only get a MIDI CC message sent if its CC value is different from the last one sent. Of course, this is all down to the firmware implementation inside the device. There would be nothing to stop the developer of the device getting it to send out messages continually. It should be clever enough not to if it's not changed since the last message tho.

Try this: https://youtu.be/I7D3wZldUJw?si=jQFIi2OErLzB7NCw This will create a tempo map based on the recorded audio, accounting for all the changes in tempo. At this point, the audio is "aligned to the grid" - however the "grid" is following the audio. You can then set the audio to follow the tempo (in the clip properties part of the inspector), remove all the tempo entries, then set the project tempo to the tempo you want. This will cause the audio to follow a single tempo. You could of course opt not to delete all of the tempo entries, instead adjusting a few of them to give a more natural feel. Once you've finished, "bounce to clip(s)" to render the audio using the higher quality stretch algorithm.

As mentioned above, a tremolo effect would be best. However, a quick and dirty way would be to add clip gain or track volume automation, and use the "Sine" draw tool. The snap resolution will dictate the frequency of the sine wave. Personally, I'd go for clip gain automation as this leaves track volume for normal mixing duties.

The right button has never invoked the split command (it shows the context menu), only the left button will invoke the command... unless you've swapped mouse buttons within your Windows settings?