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Everything posted by LarsF

  1. I would just keep them mono and pan far left and right. Then just group faders on them to treat levels the same. See no need to make a stereo track.
  2. Look if any pro channels plugins have been activated that you are not aware of. I did a whole bunch of recordings where both saturator and something else was activated, no action from me. Other plugins - it's possible to have overs in one plugin but level lowered in another following - so not seeing peaks to overs.
  3. For multitrack live recording I would consider this also "Record Pre-allocate File (seconds). When this option is set to a value greater than zero, Cakewalk will pre allocate the file to be recorded to the size specified (in seconds). This means that the file will not be resized while recording until it reaches the allocated size. The setting has the potential to reduce disk activity while recording and allows for more possible tracks. The valid range is 0–14400 seconds and the default value is 0. A reasonable setting would be 10 minutes (600 seconds) to 30 minutes (1800 seconds)." Also bigger chance each file has consecutive file allocation and would also defragment drive before starting. So would set to an hour if that capture length of live set, or 2 hours or whatever.
  4. Video on 2020.01 has always been good to me. Are you running arranger stuff, or just normal project?
  5. 2) I've seen this too - I think there is a bug regarding initializing this dialog with populated bindings. After doing some stuff, don't remember what, you suddenly have it populated. If searching for a key and assigning something, not sure what it was.
  6. What I ended up doing was just loading film into PowerDirector and offset in my case 8s in timeline. Do Produce and it creates a new film with 8s black frames in front, it does not even render film again. Done in 2 minutes. So film gets its offset this way. It played back so nicely with Media Foundation Classes that I did not want to jeapardize anything.
  7. If one instrument has midi out, and forward input to that output - you can cascade a bunch of those. midi clip to 1st, second take output from that as input and so forth. My favorite, daw independent, is bluecat audio Patchwork - where I load any number of instruments, and vst midi plugins between them etc. Filter midi, transpose and whatnot. But in Cakewalk only run VST2 version, since a bug for VST3 not showing all outputs. https://www.bluecataudio.com/Products/Product_PatchWork/
  8. I think it would be good if Cakewalk had a project properties where sample rate is - as most daws do. And if you change it - you get a dialog to confirm sample rate conversion etc. Best might be as Samplitude to tell which algo to use in conversion as well so you don't end up using stretch algos for that which are much worse. Doing drag-n-drop in Samp give you stretch algos conversion. It's silly the amount of work you have to do changing old projects recorded in 44k to 48k. It's basically start a blank project and transfer track by track. with 48k setting in place.
  9. I got something similar in Addictive Drums 2 - which has mixed set of mono and stereo outs. So made all outs mono first, then fixed up the interleave on those that are to be stereo, and removed leftovers. Routed to a bus. Saved it all as track template and never have to redo again. You can load other kit presets, and maybe rename the Flex1-3 - and save that again. Amazing timesaver Tracktemplates.
  10. I had Sonar 8.5 on this computer and sample rate fixed at 48k, so didn't go further to solve it completely since a conversion was made. Interesting that David said it was faded in file, as it make level adjustment also on clicks - I missed that. If OP can use unprocessed recording instead it would make it easier for him. I thought it was just natural fade of notes OP was talking about. Also if clicks are not 100% persistent from metronome makes it more difficult, I underestimated total of this. I think I saw that, but thought it was to do with sample rate conversion that was done in my case. It also means you need to identify each click disregarding sound of guitar which takes longer. Some spots you easily see each halfwave of click some spots not.
  11. It's fairly easy - there are plenty clicks without guitar in the tail, two bars or so. Then it seems he took off phones and you hear more ambience, leave out that part. I duplicated track, isolated a couple of those, and reversed phase - dead silent. Then dragged this into parts with guitar sounding. Fed these two track into a bus to sum. Just identify accent, so they are paired and they should cancel out. Increase visual level so half periods are easily spotted. But it need to be really well aligned, not just about.
  12. I did this kind of removal with an electric fence pulses where I live, came into electric guitar fading out. Best if you can isolate a single click, or even better a couple, with silent enough guitar, and duplicate that and invert phase on it. It need to be same level, and that part is there in the actual recording. Picking a separate series, level must be precise as adjusted. So feeding separate track with pulses in opposite phase to a bus to sum it. It will probably take an hour 1st time doing this, but doable. It must be exactly in time, and recognizing what is click part in signal may be tricky at first, but you learn how to spot it. Good part about click track is that click is persistent in time, everyone, this electric fence varied enough to not pick a series.
  13. If I follow - 16 instances of the same plugin on different tracks? I'm thinking the quick grouping the tracks, and hold control when you do anything like that - and it duplicates to all selected. But the same thing with multiple chains, have not tried that. Or you talk about something all different....
  14. How lovely, thank you. Since the commit does what exactly what I hoped, it's not a biggy to cut paste fills or similar like that after a commit - and then mix, do automation and finalize it all. It usually takes a good while for me to feel something is missing and want a bridge/break in there and can for starters just add to the end somewhere and even make versions of that. Other longer intros are common too. I'll probably save as copy before doing commit either way. Incredibly good job, this is major contribution to CbB.
  15. Arranger track seems really nice. #1. Can you generate a new project from arranger setup - I think Cubase call it flatten project? So you get a new project with all the tracks, some clips duplicated and in order as arranged etc. That you can use as an intermediate tool and finalize without arranger. #2. Can a section be jagged, and bit different from a certain track. Thinking about that drums often has a small fill crash+tom before going in full - but want that kept with full drum track. So define clips to be part of section could be one way of looking at it. You can always split yourself like this.
  16. Yes, we posted on top of each other. And really weird if you get midi activity on midi track meters in Cakewalk for notes, but moving pedal not.
  17. The most useful tool to troubleshoot this kind of thing is a midi monitor http://www.tencrazy.com/gadgets/mfx/ PortDiag will tell the live input when monitor is on. TrackDiag will tell what is played back from recorded material. Very useful stuff. If you notes when playing keys on A800 come through, it could be a midi channel thing. Some controllers send controller on a global channel which can differ from keys in some cases. Others are if omni or all channels are input on midi track in Cakewalk. Not getting activity on meters suggest you might have sustain on a different channel as it is coming.
  18. There are various restrictions of staff view and triplets over all. All notes must be present - and no pauses allowed. Pretty much useless as far as notation goes, I would say. It's been of highly requested for more than 10 years to give some attention to staff view - but so far no luck.....I moved to Cubase for notation because of it.
  19. You can always see if this setting for UTF-8 for worldwide langauages is set to on - turn it off and reboot. https://www.dell.com/community/Windows-10/Default-setting-for-quot-Beta-Use-Unicode-UTF-8-for-worldwide/td-p/7356751
  20. Yes, live movement of those works grouped in Cakewalk. What you don't have is parent/child relation to just write automation on one channel and apply to the rest in group. And you don't have nested groups to have one track control other groups - like vca usually work(unless Reaper and Samplitude which are fake and don't do nested). In Cakewalk now you can only do live write of automation to those and they will follow - not just draw automation in one lane and all will follow. Not record write automation on one track and then apply to others either. As I see it, calling it vca or something else, what is missing is parent/child relation between tracks automation. And in arbitrary levels, that one become master of the others. But if to, in Cakewalk, just do relative movement on arbitrary number of tracks automation - all over the track as they are - the quick grouping thingy I explained above work well. And doing it live with write automation works too - but all is applied that instant and undo will work if to redo again right then . If to draw and nice fade in or out as a ramp is what I do a lot - and to apply that to a number of tracks with vca is nice. So you can work your way to have 6-7 vca's that control like a stem how you want it. You adjust the ramp over and over and when you feel it all is set - burn/freeze/merge that into automation on all tracks as you please. During this process you have double automation lines everywhere - one with final result and one with relative applied by vca.
  21. Most have fake VCA in the sense it only handle faders - and in that case post fader insert effects, like a compressor would be affected by VCA. This is the case for Cubase, StudioOne, Reaper and Samplitude. In Cakewalk you can freely group any individual control, like gain on each track that hits the compressor if first in chain on tracks. It is only ProTools, I believe, that has true VCA that you can group for VCA on any controls. But VCA means parent/child or master/slave relationship between VCA control and anything else - that does not exist in Cakewalk, but highly wished for. In this case you can apply automation to a vca and also apply in a relative way to all the controls that are part of that group. With Cakewalk grouping you can move one control part of a group - and in write automation mode you can have to applied to all controls in that group. Both as absolute or relative(offset mode in Cakewalk). Through extensive testing I managed to move a bunch of tracks automation the same amount, full length over track, by this procedure: - have all tracks in Track View visible with automation lane visible - select them, this will quick group them - then on one of automation lanes hover mouse in upper part of lane, press and move automation up/down. This worked really well, and if having post fader sends on those, those will also be correct in level - so dry/wet relationship does not change by this operation. So would be the same effect as moving a vca the same amount of dB and have that relative movement be applied all over. But true VCA would really be nice, to have parent/child relation from one vca track to all part of that group. Also ability to nesting vca into controlling other vca groups - really nice. But Cakewalk control grouping in general is better than most daws I tried for extensive time, which ProTools was just a short while trialing. Most daws work strictly between the same control being grouped - like pan - and moving pan all pans in group move. In Cakewalk you can use a fader to control pan in a group if you like - you set min max stuff, and can even have reverse on one. Like button maintain the state they are in when put in a group - so some buttons can be on and some off, and flipping one will flip all of them to other state. This is really useful.
  22. Maybe a clue what to look for that can be different - not sure if relevant, just an idea... While I was in transition between StudioOne and Cakewalk, I noticed difference that Cakewalk always handle NRPN as if it is 14-bit values, meaning both MSB+LSB - which StudioOne did not. In StudioOne it was not put together but as separate recorded CCs 0-127. It's possible to send just LSB or MSB, I mean if that matters in how config is done from REV2. You can look in event list view how it looks as recorded. There are some useful midi monitor MFX plugins here for looking at what is sent from your gear here: http://www.tencrazy.com/gadgets/mfx/ PortDiag och TrackDiag both show midi, but PortDiag from live input and TrackDiag what is played back from recorded.
  23. Just a hunch from manual p1475 pdf about a setting "Create Default Drum Map for Non-Cakewalk Files. This option ensures that when you load a Standard MIDI File, you won’t have to create a drum map from scratch—Cakewalk creates a basic one for you." Not tried it - but it could outmap some toms for you.
  24. p317 manual "To use a secondary Snap to Grid resolution By default, Cakewalk uses the global Snap to Grid settings when snap is enabled. However, you can also specify a secondary Snap to Grid resolution that is in effect when holding down the N key. To assign the secondary Snap to Grid settings, hold down the N key while selecting the desired snap settings in the Control Bar’s Snap module. To momentarily apply the secondary Snap to Grid resolution, hold down the N key while dragging or editing data that is snapping to the grid. When the N key is released, the main global snap settings are restored. To swap the primary and secondary Snap to Grid settings, press CTRL+SHIFT+N." Is this what you were looking for?
  25. Interesting how you do Dorico, I'm done with Steinberg though. Keep Cubase installed for notation alone. That Steinberg released Dorico in itself says that there is a damand for good notation, this despite pretty good in Cubase/Nuendo. So really stumped that Cakewalk always rejected the idea to update it. It were among 3 top feature request on old Forum. As long as I did 4/4 only in Sonar 4, and got by quite well for my needs with notation. But as soon as I started playing drums and took lessons and stuff I wanted to start using more interesting beats and it just fails. 4/4 with triplets like shuffle fails already - you must do all 3 triplets, no pauses or anything. Some things I noticed are really simple to do in Staff View is switch a midi track into a double bass+treble clef - which I do a lot mapping strings all over keyboard, cello on left and violins midle and up. So practical to do, as double for readability. Not useful for an orchestra with conductor, just good readability with double staves if doing two handed anything. I do the same with horn section and do baryton saxophone on left hand and trombone+trumpet on right. Easy to read as bass+treble clef. Musically f-ked, but just for own reference. I evaluated Finale full version 2 years ago - and it was a mess with some buggy plugin and result were not good. Only on import could I do split/fusion like that. I had on old Finale Guitar from 2003 that I used before as well, so upgrade would be only $200 or so. But no, did not work. Staff view in Cakewalk is a breeze doing this, just have the midi track and decide split note, and bass+treble and done. If you go a bit wrong, you just redo it again. So some things are a good base to build from. How complicated is this - and so few get it? I ran Notion 6.5 with StudioOne, and it was only on import to Notion if midi track happend to be named Piano you could get double clef/staves whatever you call it in english. And also doing recording could you do into Grand Piano staff as they called it. But not once in Notion you could do this, if you change your mind which is the split note???? A lot of good thinking put into Staff view, and it's a mistake not building further on that, I think.
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