tonemangler

It doesn't seem like this is currently possible,  you would think that with ripple edit engaged the automation envelopes would move with the clips but they do not.  I guess a tempo change is not considered an edit.  Maybe you should submit this as a feature suggestion?

This does sound very strange indeed, almost like the Dim Solo mode is engaged.  If it is only the midi track that is losing volume a temporary workaround, until you can find the proper solution, is to freeze the midi drum track before you start comping and then unfreeze it when you finish.  If the problem happens only when comping a particular track, for example the guitar track as you mention,  maybe try inserting a new audio track (not Duplicate) and Shift dragging all the take lanes to it.  I have found in the past that a track can get corrupted for some reason and this sometimes gets me back up and running.  The final thing I can think to try is a fresh install of CbB.  Good luck.

I'm not on Win 7 or have the latest version of CbB but you can try going to Preferences and under Global Key Bindings manually create bindings for Nudge.  Also, I seem to remember back in the Win 7 years I would have to press the Number Lock button to Unlock and Lock again before Nudge would work.  There are two ways to toggle between the last two edit filters viewed.  With the track you want to toggle in focus simply hit the (+/=) key or Shift+Right click on the clips pane.  So if you are in the clips view and execute either toggle keystroke you will toggle between clips view and volume view.  If you then manually change to the clip gain view and then execute either toggle keystroke you will toggle between the clip gain view and the volume view, and so on and so forth.  HTH

On 12/20/2020 at 9:37 AM, LarsF said:

- Select the tracks
- Rightclick menu on one - Show Selected Tracks
And just these two are fitted vertically

Just to add to your good tip, here are some keystrokes I use to achieve the same;

1 Ctrl+Shift+H = Hides all unselected tracks.

2 Ctrl+H = Hides selected tracks.

3 Shift+H = Shows all tracks.

4 Alt+Z = Undo View

5 Alt+Shift+Z = Redo view.  

So after selecting the tracks I would do #1 and to return to original view either #3 or #4.   Cheers

7 hours ago, Bill Phillips said:

When selecting multiple nodes or all nodes on an envelope, Ctrl + Click-Dragging with the Smart Tool seems to move all selected nodes reliably, but, I didn't find that option in the documentation. Did I miss it? Is that expected behavior or a bug? Should it be documented?

When you press Ctrl and hover the pointer anywhere over the envelope it changes to the move tool, it's a shortcut rather than actually switching to the move tool. With the move tool you can click anywhere on a selected envelope to move it.  It may be in the documentation under 'Move Tool' I don't know.  Another way is after selecting the nodes simply hover over any node and the move icon will appear, then click and drag, no need to press Ctrl.

7 hours ago, Bill Phillips said:

OTOH, the documented method (as described by text in the red box in screenshot below), Click-Dragging Up/Dn in the top center, does not always move all selected nodes Up/Dn. Sometimes it will create a node below the mouse pointer or highlight the envelope segment between the nodes on either side of the mouse pointer.

Lets say you have a track with multiple clips and a volume envelope with many nodes.  None of the nodes are selected.  You want to move the whole envelope.   Hover the pointer near the top of the track where there are no clips,  the 'move envelope icon' (a line with an up/down arrow) will appear, click and drag.  Lets say you want to move all nodes in only one particular clip, first make sure the clip is not selected, hover the pointer near the top for the 'move envelope icon', click and hold (this adds nodes at the beginning and end of the clip) while holding drag.  Basically this method of moving the pointer to the top of the clip/track to see the 'move envelope icon' is a shortcut for the older way of, after selecting a region, right clicking the envelope and selecting 'Add Nodes at Selection'.   If you hover the pointer between two nodes at the top of the clip and click and release, it will highlight the region between the nodes.  If you then click and drag it will add nodes at selection and move.  HTH

Right clicking a step sequencer clip and selecting 'Bounce to Clip(s)' will turn it into a regular midi clip.  By the same token right clicking a regular midi clip and selecting 'Convert MIDI Clip(s) to Step Sequencer'  will do the opposite conversion.  Right clicking either a regular clip or step sequencer clip will give access to some process options as well.  Cheers.

@Nigel Mackay I think we are talking about two different methods of adding nodes, what you describe in your last post is what Lord Tim suggested which is adding the nodes manually and then moving the line with Ctrl click and drag, which I am aware of.  What I was originally referring to was the method that reginaldStjohn suggested which is an automatic way of doing a similar move.  The automatic way requires two click and drag moves while the manual requires four clicks (adding nodes) and one Ctrl drag move.  Therefore the automatic is more efficient, however the automatic results in a jump in the envelope while the manual results in fades.  Anyways this is another example of different ways to skin a cat!  Cheers 🙂

16 hours ago, Nigel Mackay said:

@tonemanglerJust add the nodes where you want the fades to start and end.

When swipe selecting a region and then moving the cursor to the top of the clip and clicking you automatically create nodes at selection, two at the start of the selection and two at the end.  As you hold the click and move the mouse up or down you create a 'jump' automation, which consists of four nodes.  Therefore if you add nodes where you want the fades to start and end you will be left with six nodes in total having to delete two nodes to obtain fades which is the exact scenario as described by the OP.  I have always used swipe select and click at top of the clip to automatically create nodes at selection, and then if I feel I need to create fades I will Shift move the outer nodes.  I just find it faster because most times I don't need the fades, however if you require fades with all your automation moves then the method described by Lord Tim would be the best.  Cheers.

7 hours ago, reginaldStjohn said:

You can also just swipe select the area you are interested in and then go to the top of the clip, click and drag and it will create the notes for you.

With this method you would then have to Shift click move the outer nodes to get the proper slopes.  Personally I wish that when nodes are added at selection they weren't directly on top of each other causing a jump, rather next to each other so that when you make the move you describe automatic fades are created.  Better still and option in Preferences to set the this.  For example; "Set Node at Selection to--Jump or Fade".  Or even better have it as an option going from 0 (jump) 1 (small fade) 2 (med fade) to 3 (large fade), and then you can assign it to key strokes, kind of like Nudge.  Maybe that's the geek in me going overboard, realistically an automatic small fade or slope between nodes would do the job in 99% of cases, I don't think jumps in automation envelopes are really necessary even when automating an on/off button. 

2 hours ago, Johnbee58 said:

OK.  What is the easiest and best way to create a sub-range?  These markers are new to me.

To create a selection range between markers place cursor between two markers  near the top of the timeline ( you will see a magnifying glass with a downward arrow underneath) and click.  This will select a range highlighting all tracks.  In your case, since the markers are at the start and end, simply click in the timeline anywhere within the song.   

1 hour ago, Apeirofobia said:

Thank you so much for your time and effort. Im trying this method, and it's working when I mute the rest of the band in the "pre-mix" bus. It's a strange behaviour but it's working.

Thanks again!

I agree about the strange behaviour!! I imagine every DAW has it's quirks.  I'm glad I could help.  Cheers.

Yes, to audition the whole drum kit, bass and effect return you would have to customize your project.  Firstly, as mentioned previously, you would group all bass tracks.  Next group all drum tracks.  It is easier to use track folders for this but I see you work in the console view which I believe you does not support folders.  The next step depends on if you have a lot of busses.  Create a new buss, call it something like 'Pre Mix'.  Send all busses except for bass, drums and effects to this buss and set it's output to the Mix buss.  Now, if you want to audition the kick and bass you press Ctrl and click the kick track (this solos only the kick) and then click any bass track.  Next to hear all drums and bass, first you Ctrl click the kick track (to un-solo it) and then click on any drum track.  Next you want to hear drums, bass and effects, leave the bass and drum tracks soloed and simply mute the 'Pre Mix' buss.   If you don't have a lot of busses you don't need to create the 'Pre Mix' buss just mute all busses except for drum, bass and effects. I hope this works for you.

I have a Clarett 4Pre which has loopback.  I have it set to loopback any audio that appears at outputs 1&2 which are the main stereo outs.  In Windows I have set the Clarett as my main audio o/p so I can loopback record audio from YouTube or Spotify.  My monitors are connected to the main stereo outs 1&2 of the Clarett so anything I hear on my monitors can be looped back into Cakewalk.  I don't use standalone synths but am pretty sure that a loopback interface would do what you need.  If you could buy one from a store with a return policy that would be the best way to test.  Cheers.

6 minutes ago, bitflipper said:

Let's not forget that so many of our favorite records from decades past were EQ'd solely on a console channel strip with just bass, mid and treble knobs. So yeh, knowing what you're doing is way more important than what tools you use to do it.

Absolutely true, however back in those days the majority of those records were made in professional studios with great sounding rooms, expensive mics and analogue gear, not to mention the analogue consoles that imparted the colouration that we love.  Of course nothing trumps knowledge, especially with mic placement so as to limit frequency issues in the first place.  However the majority of us are recording digitally in home studios so I believe tools are also important, assuming you have reached a certain level of knowledge.  I could probably get by with basic bass, mid and treble knobs, but it wouldn't sound as good.  I record live instruments including drums in a small bedroom so notch equing is sometimes needed.  Because I don't have a high ceiling my drum overheads are probably too close to the cymbals and sometimes I use dynamic eq to tame the bell of the ride.  I find that harmonic distortion really helps me achieve that "analogue" sound.  So although I agree 100% with your statement, I think modern tools are necessary to deal with problems associated with home recordings in the digital realm.  I also believe that if the engineers back in the day had the tools we have today those records would have sounded better.  Just my opinion of course.

17 hours ago, iZiKKO said:

How do you guys find the built in EQ compared to other (free) EQ plugins? Is it worth learning it, or would I be better off installing something else? I do like the fact that it comes readily available on Pro Channels! Also, does anyone know of a good Cakewalk EQ tutorial video?

A few years back I went to a seminar featuring a pro mixer from my city, Toronto.  I have been to several of these types of seminars and Pro Tools is always the DAW that is used, except for this particular one where the mixer (sorry can't remember his name) used Sonar Platinum (it was just before the Gibson abandonment).  I was really excited because I was a long time user.  On every track he used the Pro Channel EQ and needless to say the mix sounded great! Personally I use the PCEQ for general shaping and the Sonitus EQ for notching.  The one thing the PCEQ lacks is dynamics.  For Dynamic EQ I have the Waves version.  For flavour and additude I use SoundToys Sie-Q and more recently Arturia's excellent Pre TriA.  With both these you can drive the plugin for saturation and they sound great. Cheers.

It is rather quirky the way CbB handles soloing for busses and aux tracks.  Sidechaining works best when using regular tracks, if you want to hear the effect when soloing  make sure you set the send feeding the compressor to pre-fader.  Soloing on busses acts differently to tracks.  For example if you have a bass buss and solo it you will hear all the bass tracks feeding that buss, but as soon as you solo a track not feeding the bass buss, for example the kick track, you will no longer hear the bass buss, even though it remains soloed.  This is because as soon as you solo the kick all the bass tracks are muted.  Furthermore, you won't hear the kick either because the Bass Buss remaining soloed mutes the Drum Buss!  If you put a compressor on a buss and feed it's sidechain from a track you need to solo the tracks not the busses to engage the effect.

In your example, simply group the solo buttons of the DI Bass and Mic Bass tracks. Set the send of the Kick to Pre Fader.  Now you can solo the grouped Bass tracks (not the buss) and the compressor will work. In my case I only work in track view so it is easy to make a Folder for all the bass elements and use the folder solo button.  I agree that sending a pre-fader sidechain signal from a Track to a compressor on a Buss should result in the expected behaviour,  but this is either a bug  or a quirk.

Another way is to create an Aux track for the bass elements and put the compressor on there.  However you would need to set the kick send to pre-fader, solo it, and then turn it's volume all the way down in order to hear the effect when soloing the Bass Aux Track.  So definitely not the best solution.  Cheers

56 minutes ago, micv said:

Still un-resolved.   I spent sometime with CW yesterday and remember now why I use the project timeline, because you cannot do 'add notes at selection' or create nodes automatically by moving up/down the region in Take Lane.  This method only works in Track's envelop but not for envelope in Take Lane.

I believe you are right when it comes to Take Lanes.  For me, before doing any comping you can automatically add nodes (clip gain or pan) in Take Lanes just the same as in Tracks.  However after starting the comping process the automatic node insertion no longer works on Take Lanes,  usually I have to add the nodes manually.  I guess the reasoning is that normally you would comp a track, then bounce to clips and then edit the gain/pan envelope.  I think this is a Cakewalk quirk...or maybe bug?

1 hour ago, 57Gregy said:

Isn't there a Windows keyboard shortcut to toggle between windows?

l believe it's 'Alt+Tab'.

59 minutes ago, Brian Johnston said:

I hope it's not a plug-in... I got a few new soft synths that are friggin' cool and I want to use them.

I recently purchased the Arturia V7 Collection of synths, which is excellent, and I was using the B3  and found a prominent hum, which was authentic but annoying, thankfully there was a control to turn it down.  Maybe something similar is happening with you?

3 hours ago, sadicus said:

After Comping, "Bounce to clip" is used then drag the file to the first take lane, then delete the empty take lanes.

This is how I do it, with the take lanes hidden I drag select,  right click and 'Bounce to Clip(s)' and then open the take lane view and right click the parent track and choose 'Delete Empty Take Lanes'.  Usually when I finish a comp I don't need all those rejected takes.  However, I always duplicate with events and archive the track before I 'Bounce to Clip(s)' just in case,  this has saved me in the past.  I make a folder called 'Archived' which is at the bottom of my project and I keep all duplicated tracks there.  I don't know why but I prefer this method over 'Flatten Comp'.  Cheers.

45 minutes ago, sadicus said:

What is the shortcut to snap playhead to a selected clip (not the start/end of the project.

Shift+G

47 minutes ago, sadicus said:

also if a track is Zoom out to display entire track so all the clips are showing
is there a shortcut  to select a single clip, focus and maximize it?

I am not aware of any one key combination that will do this, however under options you can configure Mouse Wheel Zoom Options. Personally I do not like simultaneous horizontal and vertical zooming but prefer only horizontal.  Therefore I set vertical zoom to 1.000 and horizontal zoom to 1.500.  You can set it to zoom at the Now Time or at the Cursor, but for what you want to do I would suggest Now Time, however you can experiment to see what suits you best.  So with these settings you simply place the Now Time in the middle of the clip you want to zoom, press Alt+Mouse Scroll Wheel to horizontally zoom and then double click on an empty space in the track header for a full vertical zoom.  This will fill the screen with the clip.  Double clicking again in the track header will restore the vertical height to it's previous state.  HTH

Cheers.

6 minutes ago, noynekker said:

turns out there is a separate function to do this . . . Project - Insert Time/Measures

That works too, I've never used it before.  More than one way to skin this cat!

I believe the Slide function is only for moving audio and midi events and markers.  The easiest way  to do what you want is to select all tracks (Ctrl A), set Snap to full measure, engage Ripple Editing to All, and then simply drag the whole project by 2 measures.  Afterwards make sure you disengage Ripple Editing.

An alternative way is to select all tracks, click on Edit at the top, choose Cut Special, make your selections on what to cut (events and automation in this case), place cursor on the measure you want to paste, choose Paste Special and choose what to paste.  Cheers.

On 10/13/2020 at 2:29 PM, micv said:

use the project timeline to select a region and then on a clip or a track's envelope do a insert nodes at select region

Maybe I'm stating the obvious here, but to select a region on a clip or an envelope you just click and drag on the clip or envelope, selecting on the timeline selects all tracks.  I don't think this is a bug.  It is very easy to make a selection and add nodes,  simply click and drag on the envelope to make the selection and then move the cursor to the top of the clip until the icon changes to the envelope edit tool and then click and drag your mouse up or down.  Nodes will be created automatically.

3 hours ago, Max Arwood said:

Sometime I select from the timeline between markers, then I click the track to de-select all other tracks to add nodes only on that track.

This is a good tip that I also do sometimes,  but TBH it's so easy to select a region and drag with nodes automatically created that I almost always do that.  🙂

On 10/12/2020 at 8:34 PM, LarsF said:

So you have to go through possible effect busses and solo them, as well as any other track you want soloed - every time you want to solo a single track.

When I solo a track that has a send to a bus I don't have to solo the bus as well to hear it's signal.  For example if I solo  a vocal track with a send to a reverb bus I can hear the vocal and the reverb, I don't have to solo the reverb bus to hear the reverb.

On 10/12/2020 at 8:34 PM, LarsF said:

I see no difference between Solo and SoloOverride as it is now - since SoloOverride is soloing that bus immediately.

Solo Override seems to work correctly for regular tracks, but not for busses or aux tracks.  Solo Override should not solo a track/aux track/ bus, that makes no sense.  It should only prevent the muting of a track/aux track/bus when something else is soloed.  However it seems busses do not mute when tracks/aux tracks are soloed so there is no need to engage Solo Override on them. That being said there are definitely issues with Solo Override when pertaining to busses and aux tracks.