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winkpain

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  1. I am getting no response on this issue from the Help Desk. It's been 10 days so far. Has anyone else had this issue with their Support activities being cleared over there??
  2. Yes, thank you. I sent in a request there as well. I just wondered if anyone else had this issue here. I (we?) used to log in through Zendesk and now I'm automatically logged in through Bandlab, so perhaps that change has something to do with it. Waiting on response from Support....
  3. That's it! It's been a while and the Event Inspector had faded from my use and muscle memory. Thanks! In my opinion, this way is more direct than Find/Change.
  4. ...I do realize that a Find/Change request is a way to do the above. But is there a more direct way?
  5. Over at help.cakewalk.com and I log in as always, and all my previous, some unresolved, requests are gone. In fact, under My Activities, everything is gone. Has there, perhaps, been an update to Support that wiped account histories clean??
  6. I can't recall... How is this done? Say I want to force associate channel 10 to a selection of multiple notes in a clip (or the entire clip itself) that have been recorded or written on channel 1 (or any other channel) in order to then save that clip as a groove clip that will default to playing thru that channel (ch. 10) whenever I bring it in to a track with no MIDI channel chosen ("none") or be previewed from the browser on the preferred channel ? Or, to put it more simplier, how do I batch edit multiple MIDI notes' channel?? I thought that I could do a multiple note selection and then right-click that selection for note properties, then change the channel and have that apply to all selected notes. This is not what happens, tho. Only the note under the cursor is affected with this right-click. Again, this is for "burning in" the MIDI channel to the notes themselves to be saved with the clip.
  7. Ah! So it's not intended. That's good to know. Also, while CTRL+SHIFT dragging the clips directly to a track lane does not technically overlap the previous clip, it does overwrite the last note of the previous clip, placing the first note of the following clip at the very point in time that this overwritten note once was. (I mentioned this with a later edit in my original reply.)
  8. For the new function, Perhaps this is explained somewhere else here? I could not find it: I find that the "back-to-back" import with CTRL+SHIFT actually places the consecutive MIDI clips with their first note, whatever beat it may fall on in the original clip, to be placed not after the last note/beat of the previous clip in what I would call a back-to-back fashion, but instead it overlaps this clip's first note with the last note of the previous clip whatever beat that happens to fall on. This is unexpected behavior to me, but perhaps it is the intended one? And if I force the clips to be imported to only one open track lane, the last note of the previous clip is simply overwritten by the first note of the next clip at the precise beat where that former last note would have fallen. Can someone explain the logic behind this overlapping for consecutive clips? I had expected the following clip to be, at least, placed at the end boundary of the previous clip.
  9. SO... I am still scratching my head on how to really understand the signal flow indicated in the above chart, specifically where it seems to indicate that the Soft Synth and Patch Point signals indeed come before the Input Gain control as marked with my upper red arrow. In my (perhaps just wishful thinking) desire for what is shown in this chart to be true and that using a Patch Point would allow actual input gain control over a live signal (that is otherwise at a fixed level) before being recorded, I have been trying things and have noticed very odd (to my understanding) behavior... As a test, I first tried playing a soft synth live while record enabling its associated audio track only and varying the Input Gain from -18 to +18db throughout the recording process. The audio I heard while recording changed with these gain variations, and the waveform that displayed while recording clearly showed the gain variations as well. Immediately upon stopping recording, however, the waveform reverted to a consistent unity gain display and the playback did likewise. I then tried patching this same Soft Synth's audio track to a Patch Point, record enabling this track only and repeated the procedure varying the Input Gain on the original audio track (of the synth), and this resulted in a gain varied clip being recorded on the Patch Point track. (This, of course, can be achieved with varying the track fader of the original synth audio track as well or a combo of Input Gain and track fader. - Varying the Patch Point's Input Gain during recording made no difference, as in #1) Then, changing nothing but the input source of the original audio track to a hardware input and leaving that track patched to the Patch Point set to record, I recorded audio while varying the Input Gain control of the original audio track exactly as in test #2. Unlike in test #2 however, this had no effect on the recorded clip. (Varying the track fader did vary the recorded level as desired.) What, then is the difference between # 2 and # 3? In my mind they should have had the same result. There is obviously something nuanced in the signal flow going on in the variations between these examples that is not being explained, certainly not in the signal flow chart above. I understand and see that a hardware input is indeed bypassing the Input Gain and this is indicated in the chart where I have the lower red arrow. But the Soft Synth/Patch Point signal line shows then arriving above/before the Input Gain. And why does a Patch Point behave differently to the Input Gain of its source track if it's receiving audio from a synth as opposed to audio from hardware ? In both cases, the Patch Point is just receiving audio from an audio track. How does the Patch Point track "know" that there is a difference between the original sources of the audio??
  10. I am impressed by the level of patience and restraint witnessed in this post (and others of similar nature) in regard to responding to the OP's stated "issue" . Obviously the discussion has evolved into having some valuable points being made, something that, unfortunately, cannot be said of the opening post. Kudos to your wiser, calmer heads!
  11. This is, apparently, not new, but I had wondered about this for a while as well and now am happily utilizing it because of your mention here. Not related to the EA release, but a nice boon nevertheless. Thanks!
  12. So, this is actually possible! I JUST found out by accidentally seeing it mentioned in a random post that by dragging multiple audio files from the browser while holding CTRL+SHIFT and placing into the project they are aligned end-to-end on a single track. This is apparently a long held secret by others who have not chimed in here. 😉
  13. This is actually possible, I JUST found out by accidentally seeing it mentioned in a random post, by dragging multiple audio files from the browser while holding CTRL+SHIFT and placing into the project! Who knew? Well, apparently several folks, but no one mentioned it here. The Arranger naming idea is cool but not available yet as far as I can tell.
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