Larry Jones

Don't hold your breath. Cakewalk never owned the code, and the person who does (the developer) is in prison for some very bad crimes.

In my early days of playing covers I had no way of looking up lyrics. I just had to get the words off the radio, like everyone else. I'm sure I "misheard" a lot of words and phrases, so I sang whatever sounded right to me, and in decades of doing that I was never called out for it, leading me to believe that very few of us actually know what we're hearing.🙃

Yes, no point debating in a case like that. It's like trying to convince folks with certain completely unsupportable political beliefs by citing facts. I am a virtual million miles from everything, but one never knows: Where is your area?

Haha! I enjoyed watching your relentless politeness to the snotty gearhead who felt that you didn't know what you were doing and ANY difference one could hear MUST be measurable. Apparently, he is unaware of the fact that the entire audio industry is based on the belief that some people can hear things that are not measurable and that other people cannot hear. The whole thread is over my head, but I sensed some geeky passive/aggressiveness there. UPDATE: In his latest post he describes the horrible inconvenience of not knowing exactly when the mail carrier drops the newspaper in his mailbox. He has rigged an alarm system that buzzes in the house when the mailbox door is opened. Who wants to bet he also has a home weather station, and periodically challenges the forecasts he sees on the nightly news?

It took the OP three posts to actually ask a question about how to accomplish something in CbB. The next day, @David Baay gave an explanation of why CbB acts the way it does, and three ways to "fix" the issue. I suspect the OP has gone off now to make music with Cakewalk to add to his videos (made with super-complex video software), and doesn't need this forum any more.

Or you could describe your setup and how it's all connected and what you are doing when the difficulty appears, and someone can probably tell you how to get up and running.

You should contact support if you haven't already. Or @Noel Borthwickmight be interested in your techno odyssey.

Clearly you should get another Apple computer. But if you must stay with Windows, ASIO4ALL is never a good idea. Get the MOTU-approved ASIO driver from their website. It should work better, and it may solve all your problems.

Great tip. Thanx!

I use impulse responses to change the sound of my acoustic guitar into a MUCH better-sounding acoustic guitar. It will probably work with an electric as well: https://discuss.cakewalk.com/index.php?/topic/5064-favorite-freeware-fx-thread/&do=findComment&comment=247156

This is the workaround I use: Switch to sound on sound mode, and don't bother "punching in" at all. Just roll back a few bars and hit Record. Your existing content won't be erased and the new recording will be in a new clip on the same track. Once you get a good take you can select it along with the existing stuff on that track and bounce to clips. As @Billy86 notes, you may have to do a little PRV editing, but that's normal for me, due to my clumsy keyboard playing.

@msmcleod - I hope this link works. It goes to a comment I added to the Favorite Freeware Thread, and it's my totally free method of souping up my bad-sounding acoustic guitar. It's light on step-by-step instructions, because I was just learning about using IRs. But smart people will figure it out, and it includes links to a huge free library of acoustic guitar IRs, as well as a useful (and free!) IR loader. By the way, I think I like your "before" guitar sound better than the "after." https://discuss.cakewalk.com/index.php?/topic/5064-favorite-freeware-fx-thread/&do=findComment&comment=247156

Impulse Responses: Who Knew? tl;dr: NadIR and The Acoustic IR Database I've learned a lot -- and saved a lot of money -- from @Starship Krupa's Favorite Freeware FX Thread, and from the many contributors to it. I feel a little guilty at taking and never giving here, but I just don't seem to find anything out there that you guys haven't already found and reported (or in some cases, discarded). But here's my story: I have a Gibson J-160E that I bought at a Third Street pawn shop (San Francisco) in 1968. If you saw the movie "A Hard Days Night" you'll know the instrument. It's the acoustic/electric that John Lennon plays in the movie. When reporters later asked him to comment on the Hard Days Night tour he replied (paraphrasing) "It was good, but I lost me jumbo." The J-160E is not a jumbo (sorry John), but it is in fact the guitar that was stolen on that tour. Because of when and where I acquired mine, it's even money that it is, in fact, John's lost guitar. Yes, I know, some guy in San Diego claims he has the actual guitar, and a perfectly legible sales receipt from the Liverpool music store where John and George bought their 2 guitars 60 years ago. But there are enough twists and turns to the story that I will choose to believe that mine is the real one. I really don't think there's any way to know. But the main thing about this guitar is, it sucks. It has a very heavy top, to keep it from resonating too much and feeding back when you plug it in. This makes it a terrible acoustic guitar, because it doesn't resonate much. And as an electric guitar, it plays like an acoustic guitar. Which would be fine if it were a great acoustic, but (see above) it's not. It does have a real pickup on it, which may or may not be a P-90 or a P-100, which would be fine if it were a good electric guitar, but it's not. Still, it's the only acoustic I have, since I have had my own problems over the years with thieves and numbskulls. So whenever I need some acoustic strumming on a track, I dust off the old girl, mess around for a half hour with mic placement, and end up fiddling with chorus and EQ and finally burying it in the track, hoping no one will notice how bad it sounds. Until I discovered impulse responses. I vaguely understand that when I use an amp sim with a virtual speaker cabinet, someone has modeled that speaker cabinet. Turns out, the modeling is in the form of an impulse response. In Guitar Rig, TH3 and many other sims, you don't have to know this. You click on pictures of speaker cabinets until you find one that sounds right, and badabing. IRs are also the driving force behind convolution reverbs, but that's a different story. Anyway, I got curious about IRs one day, and started googling around, and here's the thing I'd like to contribute to the Favorite Freeware FX Thread: acoustic guitar IRs. OK, these are not, strictly speaking, effects, but the effect they have had on my old Gibson is amazing to me. People have been recording impulse responses from great-sounding guitars, and with a little free software, I can add an IR to my recorded guitar in Cakewalk, and it comes out sounding like a vintage, perfectly set up Martin D-28! Or any of hundreds of other beautiful and great-sounding guitars. How long has this been going on? It's like I've been transported back to 1969 and given the chance not to buy this stupid J-160E. You need an IR loader, and that would be NadIR, linked at the very beginning. It's free from Ignite amps, but it comes attached to their Emissary amp sim, so you have to also get that, which is OK, especially if you're into metal. Both are free, so you can't lose. (Personally I prefer Ignite's Anvil amp -- you have to scroll down to find The Anvil.) I've never used anything like NadIR before, and it felt a little like being at the controls of an alien spaceship, but if you try a few things, you'll figure it out, or you'll crash on a moon of Jupiter. It comes with a few speaker cabinet IRs that you can use if you want to hitch 'em up to the Emissary amp, but you really need to try some acoustic guitar IRs, and you can search from among hundreds of them using the handy Acoustic Guitar IR Database (also linked at the top). I think all the IRs are free, but I didn't look at every one of them. A little googling will reveal lots more places to get IRs. I've only used them in a very conservative way, to make one acoustic guitar sound a lot like a different acoustic guitar. I have a feeling IRs can also be used in extreme ways, and everything in between. The only drawback will be that you'll never get anything done, as you check out what your voice sounds like in the train station, or your snare drum at the bottom of the Grand Canyon.

Haha. I thought it said Studio One was $99,399 and I thought "Why not just make it an even hundred grand?" Regarding Ableton and FL Studio, I haven't used them but I'd bet you can't do what you want in the entry-level versions, so at $749 and $899 those would actually be more expensive than SONAR was at its peak.

No, actually I don't care if "young blood" uses CbB. If they do I'll welcome them, but it's not important to me how many kids jump in -- unless Bandlab finds they don't like the older demographic and decides to pull a Gibson. I was responding to @jackson white and @Starship Krupa, who were talking about "authenticity" and "artist vs. entertainer." Hope that clears things up.😎

Haha. Bob Dylan in 1965: Do you think of yourself primarily as a singer or a poet? Oh, I think of myself more as a song and dance man, y’know. I'm with Bob: If you're not entertaining, no one will know (or care) if you're authentic or an artist.

You can probably go back to NOT selecting a time range before you export. Obviously a stray node (or something) got inserted way the heck out to the right on your timeline on this particular project. If it happens again, you'll know what to do.

I saw an episode of the Netflix series "Song Exploder" (a show where they pick a recording and document its evolution from first concept to finished production). The artist in this episode was Dua Lipa (25-year-old multiple Grammy winner), and in the first ten minutes literally everyone they introduced was identified as "co-writer." Later we meet her choreographer and her "vocal producer," who coaches her through the recording of the final vocal track. There were at least five co-writers and an even larger ensemble of producers, helpers, advisers and so on. Maybe the kids don't need forums, because they have a floating in-person forum surrounding them through the entire process, with everyone making suggestions and sharing ideas more or less continuously. When I was starting to learn my craft, such as it is, there were some songwriting teams consisting of two people (Gamble and Huff, Lennon and McCartney), and of course I knew about the Tin Pan Alley writing teams of the 1930s. But pop songwriting seemed to me to be primarily a solitary occupation, one person alone in a room with a guitar or a piano. So I found this level of group participation a bit odd. I guess the younger generations are more generous with their songwriting credits, or maybe they see the craft as a more collaborative thing. Good for them. Their productions are amazing, although the songs themselves seem a little, shall we say, unfocused. Oh -- the computer screens in the background seemed to show they were using Pro Tools, a traditional DAW.

Watch your back, man. Those Microsoft death squads are everywhere.

First, try selecting the correct time range for your export. This will quickly eliminate the possibility of something way down the timeline adding a crazy duration to your export. If you want to bounce instead of export... To mix down (bounce) audio tracks 1. Set all volume, pan, effects, and automation settings just as you want them. 2. Select the tracks or clips you want to mix down. 3. If you are using effects on the tracks and want to mix the effects down at this time, select the whole length of the longest clip plus an extra measure for the reverb or effects “tail.” 4. Click the Track view Tracks menu and choose Bounce to Track(s) to open the Bounce to Track(s) dialog box. Your mixdown will end up on whatever track(s) you select. But if there is a phantom event way out on the timeline, the bounce will take just as long as an export, which is why I suggest you select the correct time range and do an export before trying anything else.

You can turn on Snap by clicking on the grid icon in the control bar. If you don't see the control bar, press C on your keyboard. If you still don't see the grid icon, right click in a blank place of the control bar and select modules. Then activate the Snap module.

The loops can be found in the Bandlab Assistant. Sounds|Loops|Packs|Steve Jackson Drums. You'll find it. You have to do some precision editing to make them work as loops. Good luck!

Two things: I replied to your question above, and you seem to have replied to me, but my own reply doesn't appear to be there, so WTF? [EDIT: My post seems to have returned. It wasn't there when I first looked. 🙃] The other thing is recommendations. I have only used Session Drummer (which I don't think you can buy these days) and Addictive Drums. I like 'em, especially AD, but there are so many options out there you should probably look on a more drum-oriented forum, or else post a separate request on this forum. And of course you can always edit the Bandlab drum loops so they work. They sound pretty good and they're free, so why not? Good luck!

Of course this will work, but when something is presented as a "loop," I expect it to be ready to, you know, loop.

Are you using this thing? Try deleting it from wherever you've got it inserted. See if that stops the crashing. I can't say how to fix it, but there are other compressors you could use.