JoseC

Yay!!!!

It seems that your best choice is what you are doing now. Anyway, I found that my suggestion would not work with sysex. Matrix cells will only play midi groove clips, and those will not save sysex, for whatever reason.

The thing with doing it from the Matrix is that if you use to start from a template you can have this set up there hidden out of the way within every project. Now that I think of it it probably can also be done with sysex banks in the Sysex View triggered from a clip in the Matrix. If I am correct, and your synths support this, you would need only a track and a single clip.

Thanks for your reply. Yes, the idea of saving PTN files, and especially arpeggiator files for the CbB is what made me ask. I have much fun jamming with arpeggiators to come up with ideas, but I use to do it with hardware and I had not really paid much attention to the track arpeggiator in CbB until the other day that I played with it for a while and found that you cannot really program your own patterns unless you use P5, and searching a bit I came up with this: http://project5.technetos.com/technique/alesion-arp.shtml So I thought about giving it a try.

In the meantime, you can do this: create a short midi clip, open the Event View and place a single event (cc 122 val 127) in it. Place copies of it in the Matrix view stacked in the same column, make them One Shot, and point each cell to a midi track that goes to a different synth. This way you just need to click the column header to send Local On to all your synths at the same time. It is still a manual solution, but it just takes a second.

Just wondering whether it might be feasible to install it again and remembering old times...or making arpeggiator patterns, that IIRC should work with CbB

I don´t really get this post. What "feature gap"? CbB has its own feature set, that obviously is not the same as programs like Bitwig or Ableton Live, but that is not much different from other programs of its kind, like Logic or Cubase, and both of them are widely used for electronic music. Even though Live has become the de facto standard for that, you see a lot of people using Logic, that has a feature set much like CbB´s. I also do not see that attitude that you mention, "you can't complain about free" from the developing team´s side, who seem very much commited to make this software improve, not only in stability but also in core features. And yes, maybe sometimes you can not complain about free if your complain is that you are not getting enough instruments or plugins of your liking with your free DAW.

That will only split by measure. Unless I have been missing something, it will not split by quarter notes, for example.

Thanks for your reply. Yes, it seems pilot error here. I have managed to make it work here somehow, but somehow I still don't get well the correct way to do it when I import clips from the browser.

Just noticed that moving the contents of a clip while leaving its edges fixed do not work as it did. Pressing ALT-SHIFT with the Smart Tool or the wrench tool selected should change the cursor in the upper third of the clip and allow to grab and move the content, but it shows the Split cursor (scissors) instead. EDIT: For a minute I thought that it was solved. After bouncing the clip, ALT-SHIFT makes the right cursor appear...but of course then there is no audio to slip edit beyond the clip edges. 🤔

This should be a simple task, but I cannot find an easy way to do it. I just want to take an audio clip and split it repeatedly at the grid resolution. The Edit/Split dialogue just will do this with 1 Measure as the lowest resolution. I have tried with Audiosnap, but I I cannot get consistent results, probably because (I guess) it works with transients and will not place a marker at a silent place. I always end up doing this manually. What is the easiest way to do this?

I just noticed that the new green selection markers do not disappear when unselecting pressing the number 5 key. They do when using CTL+SHIFT+A.

All IDF that you install are imported into a file called Master.ins. If you had all your synths IDF in Sonar, the easiest way would be searching for that file in your previous Sonar instalation and just copy it instead of the default CbB Master.ins. The file format is identical, just copy your old file to the right CbB directory and it will work. Master.ins is a text file, so you can open it with any text editor and check whether you found the right file and your synths IDF are there. In older Windows OS, Master.ins used to be in the same directory than Sonar.exe. This is more confusing (to me, at least) in newer OS, so what I use to do when migrating my Master.ins file (something I don't do often) is a drive search until I find the right place to copy it. Maybe somebody can tell us the right path, but if not, a bit of drive searching will do.

Maybe you did not notice, but Cakewalk by Bandlab (there is no Sonar anymore) already HAS a very good line of plugins within Pro Channel. About a full graphic redesign, I think that all users would say that it would be nice to have, but for now, the work of the developing team has already made clear that there are "serious intentions" even without it.

1. You use One Shot, well, when you do not want the clip to loop. If you also want to perform with the Matrix, launching clips from a controller, you´ll probably want to play some clips just once. 2. I am not sure now whether you can assign specific keys directly. You navigate within the Matrix with the arrow keys, and fire them with Enter. I guess that what you want to use is the Virtual midi keyboard, that can be played from your computer keyboard. I guess that you could map it to the Matrix. 3. On how to map controllers: https://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Views.47.html#1366958

I just had time to check that the port numbers persist with your FX Chain, and sure they do! Thanks again!

Thanks again, I will try that as soon as I have a minute.

Thanks, scook. I already explained the state of things to Noel by PM, but it seems that he got interested nonetheless, which tells a lot about his commitment to CbB and its users. Not that we had not noticed, but still. The bridge is unsupported in v 1.0, but is working here fine, with this minor annoyance in CbB, that does not exist in Ableton Live, at least. Differences between v 0.6 and v 1.0 of VCV Rack are important enough to try and make it work. I am using Bridge instances just as audio inputs in CbB, with all midi sent from CbB to VCV Rack using virtual midi cables, and it works fine this way. The only thing is having to set bridge port numbers every time I open the CbB file, that is something I can live with until v 2.0 arrives and VCV Rack becomes a full VSTi as announced.

Thanks a lot, Noel for taking your time to take a look a this. You are the best!!!!

How did you do that? Here, as soon as I insert a note in the Step Sequencer, a midi clip gets created in the track. I have tried to get the results that you show, but I always get a new clip, that can be dragged anywhere. Anyway, what I do is to open the PRV first and choose there just the notes or scale that I am going to use there, inserting a note for each. Then I right click in the new clip to make it a Step Sequencer pattern. This way the Step Sequencer opens with the rows I need.

I am currently using VCV Rack connected to CbB with its Bridge plugin. For some reason, the Port number is not saved, and if I use multiple instances I need to reasign the port every time I load the project in Cakewalk. Since the VCV Rack bridge is actually on its way out until next version, when a VST is announced, I was just waiting for it to fix the problem. Maybe this will fix it. Everything is saved and recalled correctly in Ableton Live, btw.

Just grab it with the mouse and drag it to wherever you want, just like any other clip.

One thing to experiment with is using the Step Sequencer with the Matrix to experiment with polyrythms, like setting up a slightly shorter sequence, like 15/16 and looping it against the main beat until it cycles back. With the Matrix it is easy to make the sequence shorter or longer and then recording the output when you get results that you like, instead of dragging patterns around in Track View. And don't forget that you have Swing per step, too.

The main error with the Matrix is thinking that it is like Live's Session view, trying to use it like it and becoming frustrated. It is not Session View, but it can be a useful tool, even though it still needs some more work to be done, especially to use it with the Step Sequencer. The main setback is that you can not do any editing from a Matrix cell, it is basically just a player. You create your patterns or loops in a track, and then drag them to a cell in the Matrix. Currently you can create and edit a Step Sequencer pattern from a Matrix cell, but you can not listen to changes while the Matrix is running, you need to stop the Matrix and start it again, which makes it a little clunky workflow. Having said that, besides the obvious use as a scratch pad and repository for storing patterns, loops and ideas that you want to try but not want to clutter your Track View, or even as an arranging tool to create sections and recording the output, I also use it to send sysex and CC commands to hardware synths, for example: I have a Waldorf MicroQ rack that only outputs arpeggiated notes to its midi out when set to Local On. Problem is, there is no front panel way to do it, just CC messages, and the synth always initializes itself in Local Off. So I have two short midi patterns with just a CC message, one for Local On and another for Local Off and drag them to a Matrix row pointing to that synth, set like one shots, and I can send them with just a mouse click, or even map an external controller to do it. Anyway, once you get over the current poor integration with the Step Sequencer, for me the best use is what I said before, generate and record pattern variations using the step probability. Since you can do it for all CC parameters, you have a very powerful tool that will generate not only variations in notes and velocities but also in any other parameter automation, in a controllable, not random way.

As I said above, you can automate that using step probabilities and recording the Matrix output. I agree with you that it needs more polishing. If its integration with the Matrix was a bit better it would be a more powerful tool than it looks at first sight.