msmcleod

I can't reproduce this - the automation envelope automatically gets focus when I select the notes, so pressing delete only deletes the nodes. I've tried this both by drag selecting on the envelope, and individually clicking on nodes. I also tried using a normal automation lane vs track filter in the main clip.

OMF doesn't contain MIDI, just audio. In any case, you don't need to export anything from Sonar X1 to load it into Cakewalk by BandLab... Cakewalk will load projects from any previous version of SONAR or Cakewalk Pro Audio.

BandLab Assistant cannot be used for authorisation any more as the old activation servers are no longer active. Cakewalk by BandLab will automatically authorise itself when it needs to, assuming you have an internet connection. For authorisation to work, you need to make sure you're running the latest Cakewalk by BandLab (2024.02 at the time of this post): https://www.bandlab.com/products/cakewalk#download Offline authorisation can be done via the Cakewalk Product Center:

Are you using the ASIO driver for an on-board Realtek audio device? This is known to cause Cakewalk to freeze. ASIO4ALL can also cause similar problems. The fix is to switch to WASAPI - either WASAPI Exclusive for low latency, or WASAPI Shared to enable you to continue using your audio device with other applications while Cakewalk is running.

That's because you've not got any CC64 events to adjust. You need to draw them in / record them first.

We're not aware of any bugs in the arranger, and FWIW Next uses literally exactly the same code. The only thing that might give you unexpected results is the event overlap threshold... just turn it off, or set it to a very low note value. It's designed to include notes that start or finish slightly before/after the section boundaries. This can be useful if you've got unquantized piano parts, but really, using the arranger for anything that isn't snapped to the grid (at least on the section boundaries) is asking for trouble. I'll quite often have unquantized parts in a song, but I always make sure the start/end of of a verse or chorus always start/end exactly on grid. This removes the need for the event threshold completely.

Both these solutions are correct. To get around the arranger issue, add a single audio track to your project or a simple instrument track. Also I'd highly recommend turning off the event overlap threshold unless you absolutely know what it does and what to expect. On the rare occasions I use this, I'll set it to 1/64th note or 1/128th note, but certainly no higher unless there's a specific case involving a single section where I need it to pick up a leading note.

Reaper and Ardour are probably your best choices - maybe also look at Harrison Mixbus (which is based on Ardour), and Rosegarden. Your main issues however are going to be audio interface drivers and plugin compatibility. RME do linux drivers for their older interfaces, but AFAIK no-one is doing linux drivers for more modern audio interfaces. Plugin support for linux however is very limited.

Anyone who has had to study Bach chorales will have had the "classical rules of harmony" ingrained into them, e.g. don't double the 3rd, don't move intervals of 4ths or 5ths 'cos it sounds modal (so power chords are out), 7ths have to be prepared and must be resolved... there's a bunch of them. Then there's rules of counterpoint harmony... again a bunch of them. Knowing these rules can actually be advantageous, as applying them, say, to a string quartet sounds way better than not using them - assuming of course you want a "classical" sound, and by that I mean both classical genre and classical period. However like any rules you need to know when and how to break them, and more importantly you've got to let yourself break them too. If you've had strict classical training, this can be difficult as some people really do see them as rules. Certain chord progressions can sound wrong because you've been taught to recognise them as wrong, and this can kill creativity (I'm speaking from personal experience here). The way I got around this was to apply the same analytical techniques to modern pop/rock music (as well as jazz fusion and more modern orchestral music) as I did in my classes when studying classical music. Anything that sounded cool that was "wrong" according to my training, I analysed and worked out what was going on. It then got added to my toolbox. However I suspect the vast majority of people don't get forced into harmonising several chorales a week for years on end, and for those learning more theory can be a huge benefit to creativity. Just knowing scales, keys, how chords are formed, relative major/minor keys, different modes etc can broaden your understanding incredibly. Simple things like changing modes, or chord substitution can make your music way more interesting.

I did try this in the past, but audio was pretty much a non-starter as although I did get it working (with WASAPI), it killed performance. I've tried both VNC and Windows RDP - both worked ok, although performance wasn't stellar (mind you, my network was only 100MB rather than 1GB). Nowadays I just keep my projects sync'd to the cloud so I can access them anywhere - it does mean my laptop needs all the plugins installed though. If your studio is in the same property as your office, you could try a more lo-tech solution like splitting your audio output and either using bluetooth transmitter/receiver, or a long audio cable. You may find VNC / Windows RDP is fine for video / keyboard / mouse control, otherwise there are similar lo-tech solutions for video (both wired & wireless). For keyboard/mouse, any remote software KVM solution will work without any real performance issues.

I suspect the 32 channel / 24 channel interfaces use the same underlying driver, and Cakewalk thinks nothing has changed so doesn't bother querying it for more channels. After closing Cakewalk, try deleting AUD.INI from %APPDATA%\Cakewalk\Cakewalk Core - it will be recreated when you next start Cakewalk.

Although technically possible, it's not really feasible from a performance point of view - it would mean checking the current strips hidden status matches the presets and/or "Show only" options every time the menu is opened, or any time it evaluates whether a command can be processed.

IIRC... MAGIX had a product called Movie Maker... they then rebadged it as Movie Studio. Then they bought Vegas, and released a "lite" version and called it Movie Studio, and renamed the previous Movie Studio back to Movie Maker. Then the Vegas team found maintaining two versions of Vegas was seriously hampering their productivity, so Movie Studio became the next upgrade to Movie Maker, and Vegas stayed as a single product. TLDR: Movie Studio 2022 was Vegas lite, Movie Studio 2023 is essentially Movie Maker Pro. IMO both are good products in their own right. I'm guessing it's no co-incidence that they're going for insolvency - the particular type of insolvency they're doing is the German equivalent of U.S. Chapter 11 - i.e. the bank/investors give them a year to reduce the number of products, streamline the organisation, and hope they're in profit in a year's time. FWIW, I had the opposite experience... I upgraded my old "Movie Maker" version of Movie Studio a few years back, only to find I'd been sold a dumbed down Vegas. I'm actually pretty happy it's back to Movie Maker - it might not be as powerful as Vegas, but for me it's way easier to use.

Apologies... looks like it's only in beta builds at the moment. Anyhow, at least you know it's coming.... 🙂

Looks like holding CTRL allows you to quick group "Hide Track" in the Track View, but not in the Console View. I'm on vacation at the moment, but I've let the team know. We should get this fixed.

There is actually - check out the slider at the bottom of Customization->Display within Preferences.

It's now been implemented in the latest version of Sonar - i.e. you can now edit the External Insert description from within the plugin dialog, and it'll update the name in the FX bin when you close the dialog.

When Live Articulations are active on a track, any MIDI Transform articulations at the current Now Time will be applied to live MIDI input. This is useful for auditioning, and overdubbing on existing MIDI tracks with articulations. MIDI Trigger based articulations (i.e. key-switches) are not affected by this button. When the transport is running, they'll be sent out as usual - when the transport is stopped, they can be applied by clicking on the articulation section itself.

FWIW if I'm moving everything in time by a few bars, I find Project->Insert Time does the job for me. Under the hood, it's a far simpler operation than ripple edit, so there's much less chance of something going wrong. Another option is to use the arranger.

I'd suggest: - Come up with a common list of plugins, and create a custom plugin layout that only uses those plugins. Make sure you're all only using those in your projects. - If you're using Sonar, use the new CWZ format for sharing, otherwise zip your project folder up - store this file in a common cloud location. Depending on your amount of cloud storage, you could consider using a naming convention for each version of the project, e.g.: 2024-03-26_15:40_XYZ ... where XYZ are the initials of the band member. This has a few advantages: 1. When ordered alphabetically, they're also in date order 2. Doing a "Save As" to this new filename will automatically "clean up" the audio files so your project zips will be smaller. 3. You can open several versions in CbB/Sonar at once, then pick & choose which tracks you want to keep.

Pressing F1 in the Mackie Control Dialog ( Utilities Menu -> Mackie Control 1 ) will show CbB's Mackie Control help. It's worth mentioning that the button mapping is different for each DAW, so what is labelled on your x-touch may not match what Cakewalk expects. For the full-size x-touch, and MCU / MCU Pro, you would normally use an overlay that fits over the buttons to relabel them. Several companies do them ( check eBay!) - but here's one example: https://store.birchwoodstudioandevents.com/Sonar-Overlay

Bear in mind that your reference track is likely a fully mastered track. Most mixed tracks are quieter than a mastered track in order to give headroom for the mastering process. Rather than trying to match the levels of your reference track, lower the volume of your reference track to match your song ( say around 3db - 6db ). This will give you plenty of room to play with when you come to master your song.

This can happen if you changed the USB port from the one you plugged the device into originally. Windows associates the driver with the original port, and gives this a new name because it's now in a different port.

The range of the pitch wheel is fixed between -8192 and + 8191. How this is interpreted as far as pitch changes is up to the synth - it could be either a per patch or global setting. Most default to 2 semi-tones. Not all synth plugins allow you to change the pitch wheel range, and not all will allow up to an octave.

Another option is to record with a piezo pickup, then run the audio through an IR to emulate it going through a mic. Something like this will do the job: https://pasttofuturereverbs.gumroad.com/l/ovkEn?layout=profile Any reverb or cabinet plugin that supports IR's will do the job, although I found I had to increase the gain to the plugin significantly (using an FX chain gives you up to +12db pre/post gain).