Larry Jones

Is Melodyne Essential now a time-limited trial? When I first got it with SONAR it was a freebie, no timeout.

I didn't know you wanted to work this in to a live performance. In that case Cakewalk automation is probably not the right way to go. Frankly, I don't what would be the right way. I'm not familiar with Ableton, but I hear it's geared more for live performance.

Pursuant to Bob's suggestion, go here (PDF) and search "automation." There are many parameters that can be automated, not just volume/fades.

This doesn't work, although I have a vague recollection that it used to. To be clear: I record a simple piano part. Then, in sound on sound mode, I record another piano part on the same track in the same section of the timeline. This yields two clips, one hidden on the timeline behind the other. I select the track by clicking on the number of the track and bounce to clips. I still have two separate clips, as if I haven't bounced anything. Two suggestions above (scook's and chris.r's) both work for me (the two clips are combined into one), though, so I'm happy.

You don't need to solo it. Just select the track it's in, click on the clip, and export audio.

I can't recall ever needing a wav file from a single MIDI clip, nor have I seen anyone complaining about in this forum or the old forum (until now). It's just never been in my workflow. However, if I needed this, I would just select the clip and export audio. It would take a few seconds.

I'll see your Pauls, and raise you Mick Jagger and Frank Sinatra. Nailing notes is for opera singers. (For my voice, I need pitch correction just to get in the same time zone with the note I'm trying for.)

Reporting back as promised: @msmcleod - Nothing to report, as I've already tried this with take lanes closed, and it didn't work. I'm now wondering if something changed recently, because it seems to me that I used to just select the whole track and bounce to clips, and that made my various SoS clips into one clip. @scook - "Flatten Comp" with take lanes open does what I want. Thanks! @chris.r - Yes, if I lasso the clips I get the intended results just by bouncing to clips. This is marginally quicker for me than scook's solution. No need to open take lanes. Thanks! @Lynn - Nothing to report, as I'm recording all on one track.

I used tape recorders for 20 years before DAWs even existed, so I usually punch guitar parts in overwrite mode. It's the way I learned, and hey -- if I'm punching in, it's because I don't like the way I played it the first time. But you should think about comping -- maybe not for guitar, but for vocals it is a HUGE advantage to do it that way. Take a look at these videos here and here. I try to record a bunch of complete vocal takes, just one after another, and then make a comped vocal track using only the best phrases I can find in the take lanes. If you're making records, this is what your competition is doing, and in the end I think you'll find its not really that hard to do.

So are you wanting to hear both guitars playing together after you do your punch? If so, use separate tracks. Otherwise... ...When you punch in in comp mode with "Mute Previous Takes" checked (that's the way to do it), the existing audio in the punch region is muted and moved down to the next "Take Lane." You can see the take lanes by opening them using the button in the left end of the timeline. See here for details on this. I don't work this way myself, so I'm rusty, but if, after you've done a punch, you then want to hear your earlier take, you can open the take lanes (at first there will be just the top track and one lane), click on your punched-in audio and (as @Base 57 says above) press "K" on your keyboard to unmute it and, I believe, promote it up to the top track. But for me, the point of comp mode and take lanes is to do a number of takes -- either complete or partial -- and when you are done, composite or comp a track using the best sections of your playing. I gather you want to hear the old take as soon as you've done a new take? I hope this makes sense to you. I'm still not entirely sure what your end goal is here, so help me if I've got it wrong.

Yes, this piques my curiosity as well. So you have a MIDI clip but no soft synth assigned to it, and S1 or Tracktion figures out which soft synth to use and renders the wav file for you? Does it also determine what bit depth/resolution you want to render to?

Take lanes closed. Bounce to clips after selecting the whole track. No love. Honestly, I never even looked for take lanes. I didn't think I'd find any in SoS record mode. I'll check that and report back. I think this might do it! The problem might be that the clips I can't see are not selected, thus don't get bounced. Lasso might capture all the clips. Will try this and report. The clips are all on the same track. Sound-on-Sound record mode. 😎 Thanks, guys! I'll try these and report back.

Because I'm not much of a keyboard player I sometimes use sound-on-sound record mode when creating a MIDI track. For example, I'll record the left hand of a piano part, then add the right hand on the same MIDI track in SoS record mode. This yields two MIDI tracks (or more) sitting on the timeline, one in front of the other(s). They play back as expected, but here's my question: How can I blend these MIDI clips into one MIDI clip? Seems to me I used to select the track they are in and "Bounce to Clips," but this no longer works -- if it ever did (I might have been dreaming). Thanks for any advice!

This "feature" is already part of Cakewalk. It has been for decades. It's the default behavior. I tried to help you sort it out in your other thread, but I never was able to understand exactly what you thought wasn't working the way you wanted it to work. Still happy to go through the process with you step by step if you want to get it working.

When you just hit record you will only be able to hear the input. When you are punching in, you will hear the track up to the point where you punch in, then it will switch to input. Is this not what's happening? This is the way it worked in the Cubase video you posted. This is the way it works in CbB. Could you describe exactly how you are setting up autopunch?

The default behavior in CbB is just like what's in the video you posted ("tape machine mode"). You arm the track, turn on input echo, roll the transport. You hear the track until you punch in, then you hear the input. When you stop the transport or punch out, you hear the track again. I feel like I'm missing something here. This is the way it works. If it doesn't do this for you, something's wrong, either with your installation or your settings. Sorry, I don't follow this:

The behavior you describe is normal, and that's the way it works for me in any record mode. In Preferences|Project|Record do you have "Auto Punch" checked and "Mute Previous Takes" checked? Any other tracks routed to the one you're recording? When you do this, you are either erasing parts of your track that you don't want to erase (as in Overwite mode) or moving them down to a different take lane (as in Comp mode). Are you saying you want to punch in early, have the existing track muted, but then be able to unmute that track on playback?

Thanks! That seems to be the consensus. I'll go with your advice. Wait by the phone, just in case.

Question: I haven't had any problems with my Melodyne, but I'm still using one version back because of all the issues with the newest version I've read about here. I also haven't updated CbB to 2019.5. So are we saying that 2019.5 makes it OK to install and use the latest version of Melodyne?

So you want to rerecord, for example, measures eight through twelve, you set the punch points for six through fourteen, and you want Cakewalk to mute the previous audio while you're recording and then play back the new material from 8 - 12 but also the old material from 6 - 8 and 12 - 14? Do I have that right? In comp mode, wherever you set the punch points, that's where the recording -- and the "muting" -- occurs. But the new audio is recorded in a new lane, which will be the new "top" lane and thus the only one you'll hear on playback. If your punch points are wider than the actual section you want to play over, the "muted" audio will be in the next lane down. So you'd have to then open the take lanes, select the takes and sections you want to hear, and move them to the top. This is "comping," and it's probably better done at the end, after you have recorded all the takes you expect to need to create a composite track.

I'd keep the tin foil handy though, just in case.

@Steev I see you haven't lost your touch.🙃

Careful, Bit. You're awfully close to the third rail of internet discussions.

I posted a question like yours on the old forum and got many great answers. Check out the thread. I'm sure you'll find something that helps.

Thanks, Craig. As long as I've been on the internet, this "tribal talk" about software has come and gone. Every so often some guy will get all opinionated and full of himself, and type a bunch of BS that doesn't doesn't really inform, but mainly says "Look how much I think I know, and how smugly I put forth my ideas." It's kind of like the weather, isn't it?🙃