OutrageProductions

Yes. When you start bouncing or freezing tracks in a project, it really helps (in my experience) if each song is started/edited/mixed/frozen from its own folder.
My root level folders (on a dedicated audio project drive) are for Scoring, Country, Pop, Trailer, and a few others. Inside each of those I will start a new composition and keep all the edited & subedited versions in that same sub-directory. As I mentioned, if you are starting every song as MIDI at the same level in the drive, and relying on the Default "Audio Data" folder for your bounces, you are asking for trouble down the road. JMHO.

It might make your nested organization easier if you save each CWP as a CWB (bundle) and then move it to a new directory of the song name then delete the original.

This could be too 'old school' but:

When creating your backing tracks in a <my backing tracks> folder, put each song in there as <backtrackname1> to <backtracknamexxx>, the create a new folder in a convenient location <setlist> and then create a windows file shortcut to each original CWP file. You can then rename the shortcuts in order and with any other relevant details.

The orig project should then know to always look in its own child folders for resources and not get lost, as all frozen tracks should be stored in a nested architecture (if your storage preferences are set appropriately). This also tends to cut down on fragmentation as an added bonus.

Example

<set list>
          <shortcut to song1>
          <shortcut to song2>

<my backing tracks>
           <song1>
                  <song1projectfile.cwp>
                       <mixes>
                       <audio> (etc)
           <song2> etc, etc, ad nauseum...

You could also read in the help manual (Pg 329) about the "Play List" function, it may be of some service as well, including some features that may be handy, like preloading the next song, and using machine control to pause/start.

I'm guessing that some organizational file/folder housekeeping may be in order first, because it looks as though you are possibly storing all of your project resource audio in the default "Audio Data" folder, which can be a recipe for disaster IMHO.

Have you tried using Folders in the track view? I work with 140+ tracks in scoring and have everything grouped in my opening template. Don't forget that you can even nest folders. It is such a convenient workflow that I rarely ever open the track manager.

Every section in the Arranger can be color coded individually and labeled.

Wow. You mean an exact duplicate of the already existing Arranger track?

If you are trying to detect a chord sequence from existing audio; insert Scaler2 as a simple instrument track, then drag-n-drop the audio clip (like 4 bars worth) onto section 1 (main) of Scaler.

While I have been able to detect midi chords from anything that is in the instrument track that Scaler is the resident VSTi on, I've never attempted to detect audio from within the same track while playing the transport. But it works flawlessly with the drag/drop method.

You could set up a virtual machine (VM) and switch between them on the fly (as it were). Even run different releases.

@Glenn Stanton

If you noticed the Event List captures (or opened the session file), all the key signatures were applied for each dominant major scale. [of course, each track can only have ONE scale constraint applied at a time...]

So, yes... there is a quirk that seems to only happen in the note names in the PRV. And I'm not referring to the instrument definition list.

Seems there should/could be a solution to this in the algorithm, but it may not be an easy code fix.

Not mission critical, but it makes teaching music theory using CbB somewhat confusing for students.

I'd like to fit my Rolls Royce Phantom inside a Yugo (just to disguise it in the getto), but what's the point?🤣

So... there I was... tweaking a script for a Bad Robot trailer that I did in the key of C (relative) minor (Eb Maj Ionian key signature) when I noticed something in the PRV that captured my curiosity. The dominant major scale in the key of Eb (3 flats) shows note names in the PRV as 2 flats and 1 sharp, with G# being the outlier.

If you move to the key of Db (5 flats), you will find that the PRV now displays the dominant major scale with 3 flats and 2 sharps, F# & G# being the outliers.

Similarly, in the key of D (2 sharps), we find that the display is 1 sharp and 1 flat, with Db being the outlier.

Likewise in the key of E (4 sharps), we find that Db & Eb are the outliers.

However, when actually printing this session to a Staff script, all of the key signatures are correct, and all the naturals are in the scale with no incidentals.

If one was to look at the Event list in this session at each individual scale, the notes in each key signature are called out correctly.

Key of Db for example:

Key of E for example:

So here's my query: would it be possible, since the note names have a data conflict between the GUI display in the PRV and the Event List, but must (probably?) be derived from the same data, to have them displayed in the correct nomenclature for the assigned key signature?
 

Also, possibly revise the display of the Inspector MIDI scale flyout menu to look similar to this (which would just be the display data, since the application call already works):

Attaching the project file (CWP) so that anyone else can confirm or deny my findings.

Key Signature Test.cwp

@msmcleod

@Noel Borthwick

I've used the CAL script <Split Notes to Tracks> for 20+ years without any issues. Yeah it requires some work, but nothing that intricate is ever easy. I use it all the time for drums and then recombine the MIDI data to kicks, hats, snares etc.

The newest version of Scaler 2.7 can capture the MIDI and then output to multiple output tracks/channels starting with the bottom note to Ch1 (etc) driving multiple instruments.

Create a quick snare track & clip with hits just on the 2 & 4 then groove-loop it as long as you need.

Caveat; none of this is fast or easy, but I'm a stickler for detail.

I will either solo the MIDI track (and associated VSTi) to be printed to audio and bounce to a new mono track using the Export dialog, usually IRT. so that I can listen as it bounces. Sometimes I will mute all unrelated tracks for safety too.
Stereo toms/OH are printed using the preordained stereo mix in the Kontakt VSTi to a stereo audio track via same procedure. I also pay attention to the panning of the toms & cymbals, as a lot of times they are panned from the drummers POV, not the audience POV, altho that may be prejudiced against left handed drummers, LOL. Whether or not I use the VSTi "room" mics depends on what my final product needs.

If trying to copy a clip and paste it later in the same track, I always just use the playhead NOW time, Ctrl-C, then move the playhead to the insert point and Ctrl-V.

If trying to copy a clip to another track using the Ctrl-Drag, I use the Shift key to maintain it's exact placement in time.

YMMV

I too, am waaayyy old school (from the days of 4 track tape being the biggest machine in the building) so here's how I treat all my drum tracks (Kontakt, IRL, or other):

I split the consolidated MIDI drum track into individual MIDI data tracks using a CAL script, then group the MIDI data tracks by instrument: Kick(s), Snare(s), Hat(s), Tom(s), and Overheads.
After carefully examining and editing (if necessary) the note data, I will print each track to audio. Usually [but not always]; Kick (mono), Snare (mono), Hat (mono), Toms (stereo), and OH (stereo). I will always print the audio dry & without effects from the VSTi, as there are far better EFX chains available post facto. This, of course, is only when I'm attempting to create "standard" or "acoustic" or "real" drums. If I'm wandering into a more adventurous genre, then everything is in the blender.

Been doing it this way since 1976, and it hasn't screwed up my sounds yet.

Note, however, that when I'm sketching things out just for reference, I WILL use the monolithic VSTi inboard mix & effects for convenience & speed.

Check that your sample rate is the same as when you started the session and that it is not trying to conflict with your Windows SR setting.

Watch this video example:

Scaler 2.7 has made my scoring & trailer work twice as fast.

Also, in the same vein, check out this short tutorial on time correcting Audio in CbB:

If you are going to be trying to stretch the entire song, be patient, it may take a while.

Search in the online help system for "Stretching and shrinking events"

I have a Native Instruments Komplete Kontrol S61 Mk1 and love it! Mk2 has more features, but is slightly crippled as a straight MIDI controller. 

REMatrix Solo is built in to the CbB ProChannel and is a convolution reverb. You can load any IR response in Wave or AIFF (IIRC) format. I have a ton of IRs collected in person over the years.

Try to increase your latency buffers just a bit.
"Edit > Preferences > Audio - Driver Settings"

Also, try freezing some VSTi's into audio.

"Freeze Synth. Audio from a soft synth is bounced and placed on the synth’s track. Output from the synth is disabled, as is the
FX Rack on the synth track."

You can change the Start Screen to a text file name list, and then scroll down.

Try exporting without latin characters in the file path.

I've had numerous issues with carat, acute, tilde, dieresis and other diacriticals in OMF.