RexRed

I am considering changing internet providers and my legacy Cakewalk, Cakewalk by Bandlab and the forums are all associated with an email address that I may no longer have access to. How/where do I change my email address across all of the Cakewalk/Bandlab platforms?

I don't have the expertise to do this but you have given me a road map to possibly pursue this. I would think this forum would have ready answers to this question but it seems there is silence in regard to Melodyne and what it actually is doing to our files. I wonder if asking this question in another DAW forum might give a result. I am sure Melodyne is not converting the waves to 32 bit and it is not touching the khs of the wave because Cakewalk is fussy about using the same khz across the project. When Melodyne converts an entire track it is slow enough that it appears to be converting the wave simply to its preferred bitrate. It would be interesting to open a 16 bit project and see if there is much conversion or if it is instant that might indicate which bitrate it uses natively. I just did a test and when I added Melodye to a 5 minute audio wave it took the same amount of time converting the file to Melodyne as it did when I right clicked the file and bounced the Melodyne track to wave. So Melodyne is indeed converting the file and not just piecing it together. It is outright resampling the wave file. I would think the answer to this would be of interest. And when you ask Melodyne to remove itself from your wave file, you do not get the same wave file back, you get the converted wave file. If you save previous project versions then that should keep your original wave files for retrieval if needed. I might also add that a complete almost 4 minute song project with back up vocals, harmonies, ooos and ahhs, adlibs and tons of takes with 32 bit recording the project was around 421mb when looking at the properties of the audio folder. Even 1 GB per song would not break the bank of my one of my 18TB drives.

I have replaced the song with a newer version. Lots of changes hopefully getting closer to a finished song. 😊 I wrote this song for what I term as, "impetuous youth". Young people who think that love should come the instant they begin to desire it. For the "hook up" generation. This can often lead to disastrous consequences. Love takes time. ❤️ Hopefully my song will help someone who is feeling unloved and "impetuous". Give love some time...

I am not sure about this song. It is a jump from my usual stuff and it may take me a few more days work to get this song right. Critiques and comments welcome awesome Cakewalk peeps. ❤️

I Just noticed that when you add Melodyne to a clip up in the play transport Cakewalk displays a progress bar and says "Mixing Down Audio".

This 32-Bit recording is EVERYTHING! Today, (a few minutes ago) I turned off the padding switch on my mic and sang/recorded a vocal. This particular vocal I am singing Journey style vocals, very high pitched and very loud or "dynamic". You all recall having a song that you wanted to change your recording gain so the verse had a higher gain than the chorus... I am sure you do. But when you do that then the verse sounds somewhat different in proximity/tone than the chorus. A huge dynamic range is necessary for recording a vocalist in their true epic form... So, in Cakewalk it clipped, WAY above the track envelope. I thought this vocal take is surely ruined! But, I just switched to clip gain, lowered the gain envelope on the clip and there was my vocal performance with no distortion whatsoever. I will NEVER go back to 24 bit recording. I might also add, when you record in 24bit when you get close to the clipping range you reach what I might "theoretically" call the saturation point. Where the file wants to clip and the 24 bit struggles with hearing the high end of the recording. This vocal I just sang was a mammoth of a vocal, and the 32 bit handled a tiger like it was a kitten. When I think of other "mammoth vocals" I think of Mister Mister and the song, "Kyrie" a full-throated, belted out vocal. Bits do matter. 😊 Yes, you can turn your gain down for 24 bit recording, but who wants to amplify dirt?

This is a great review of this device.

Natural Vocal Pitch Editing Plug-in https://www.synchroarts.com/products/repitch-standard/overview Anyone heard of or tried this?

I guess what bothers me the most is that ARA2 and Melodyne are COMPLETELY silent as to what is really going on under the hood. Google is silent about Melodyne if you search Google for Melodyne answers you will encounter my own Cakewalk forum thread inquiries which have gone mostly unanswered. And let's not forget that Celemony refuses to have a Melodyne public forum, you have to email them to ask questions and make requests. Thus, the answers are not public. This vexes me because I have a LOT of questions and requests. And getting an email back telling me I don't need 32bit recording or 96khz recording also concerns me. How low is Melodyne resampling my waves to? I am actually afraid to ask. It is like Bill Gates saying, no one will ever need more than 56k of RAM. Melodyne works with my 32 bit files but I am told by Ulf it does not work with 32 bit files. I am told that ARA2 and Melodyne are not resampling my files, so how is Melodyne working with my 32bit files if it is not resampling them down to a bitrate that it can recognize? And, what is that bitrate? Why am I even recording in 24 bit if Melodyne is down sampling my voice to even 16bit? I can hear a difference when Melodyne is placed on my tracks even if nothing is edited. There is an information vacuum online and Melodyne is the only real game in town. I adore Melodyne, while I am also concerned about how it is being developed. It does tons of stuff I don't need at all and the stuff I need seems unimportant to them, like colored blobs... I have been waiting for years for different colored track blobs. As for "quality", when I analyze a line that is sung consecutively, it flows into other lines. When I punch in "like the old performers used to do". the line can sound disconnected from the previous and following lines. This is why fixing a simple bit of pitch deviation is better than re-singing the line . It is a "quality" issue where preserving the quality of the line is greater than re-singing it for a perfect pitch aspect and in turn losing the quality or, "one take" aspect. But in order to fix that tiny bit of pitch deviation I need to place something on my file that is degrading the sample rate and "quality" of it. As I indicated, "quality" is one of the pillars of good music. Pitch, loudness, duration and quality... (You will find those four in any fundamentals of music text book. Yes, I read and studied them.) I like to know how things work. Just like I have my prepositions memorized, so I know how grammar works. I used to have all of my Euclidian assumptions, postulates, axioms, corollaries and theorems memorized for the same reason. And this is why I can excel at 3D vector art. I don't like things that come in and "resample" my work without me knowing it. Because someone says I don't need higher depth or frequency files. Or, I don't need colored blobs. Well it is hard to tell which blobs are from which tracks when they are all piled on top of each other. Melodyne does pitch, loudness, duration and even formant but it is the "quality" aspect that seems unimportant to its developers. That quality issue is very evident to my ears. I feel like I am at a standstill with Melodyne. I am recognizing quality issues with the way it is working and I am told to "work around" those issues rather than Celemony addressing them and fixing them. I mentioned variable bitrates. If Melodyne threw more bits at the transients when it resampled the waves this problem could be solved. If a dialogue box popped up and asked us how we wanted our waves converted (like every other program in the industry does). Melodyne could take these wave files and apply variable bitrates to the conversion process so the transients and sibilants would get more bits. This is how video is done, when you have an explosion or detailed action sequence, you either raise the bitrates to an ungodly amount or you apply variable 2 pass bitrates. The computer searches through a scene and detects a part is complex and will throw more bits at that section. While I am thinking that due to latency that Melodyne and maybe even Cakewalk are actually throwing less bits at the beginnings of sounds. I am constantly pointing fingers at what the cause of these quality issues are from. Thus the 32 bit interface, but the quality issues still persist in Melodyne. The proof is in the pudding and the transients, and sibilants and pitch bends are lacking terribly and completely un-editable in Melodyne. Some blobs you cannot touch in any way or they implode in quality. And the answer to this problem should not be, "work around it". If there is something I am missing here please enlighten me. I don't mind being wrong, that is how I learn. Let's get this out in the open please.

Your answer is very close and this goes not only for singing but other instruments as well. I was attending college for music before I left high school. And I was reading college level textbooks for music as a youngster. Though my knowledge of harmony is spotty, I took harmony and theory classes in college as well. ...and I had some GREAT teachers. As well as singing in 500 voice choirs, I was also chosen to sing in the elite 50 voice choir that toured several states, and the prestigious 14 voice madrigal choir. That was at the university of Maine at Orono and I also attended the University of Maine at Machias. At Orono I was a performing major and all I had to do to achieve that status was sing for the professors. Many years on the road singing in front of audiences in little towns and big cities getting home at 3am and I performed in these place live, just me and my guitar. A lady once threw a diamond ring in my hat. She said, "I have to do it, it's from Switzerland". And one club wrote on the marquee, "The man who knows a thousand songs". Now I have written and recorded near to a thousand songs as well. I still own 2000 vinyl records, my collection used to be 4000 but I had to get rid of some. But, I can still learn new things, occasionally. That is why I am here. On a break at a gig I once told three women that I had a love affair with a blank piece of paper and a pen. They all reached into their purses and gave me their fountain pens. And they were very nice ones. My stories of the road are as long and winding as the road itself. The answer is, "quality". And no, Melodyne cannot give you that. So a line can be sung perfectly in pitch, duration and loudness but as you sing that line over and over, quality can diminish with time. You have a small window to obtain all 4. Do you go with the quality line and fix the pitch or go with the pitch line? And, how much time do you have to devote to a single vocal track, or a line? When you need to, write the lyrics, compose the music, make the video, record yourself, fly the drone, play all of the other tracks, mix, master, publish, make the album art in 3d programs, Photoshop, build you own PC... and respond to hundreds of comments on your YouTube videos each month and make your own webpages etc... Well, that is why were are called "artists" in this era of music democratization, because we alone make that call. One of the greatest things I have learned is that people just want to have a good time...

I turned 60 in February of 2023, I started out singing in church at about 7 years old and started my first rock band at age 12. I would have thrown in the towel long ago if I could not sing in tune. Leonardo da Vinci was not a REAL artist because he used a straight edge to draw a line... lol Singing a line properly not only requires timing, proper loudness and pitch but also one other element. Anyone know what that other element is? And yes, I am classically trained as a vocalist.

A tropical place sounds nice, a beach with some sunny surf! I struggled with the reverb in this song, consequently, I may have under used it. Your observations are very welcome Bjorn, suggestions like this are how I improve on these songs. Best always! 😘👍

I think you are right about the bass, it could be distorting, maybe in the channel or the brick wall overall limiter. It is a Rickenbacker bass so it does have rather gritty attack. The guitar is forward as well, I tried adding a bit of reverb to it but it got muddy. Maybe I should have left a little bit of it. Thanks for the critiques they are very helpful! Very best to you Andy! 😘👍

The guitar arpeggio is another clip that I bought from splice.com It seems like a simple plucking pattern but it is actually full of a lot of hammer-ons and slight variations that I am quite amazed by the guitar player's skill. And it is played on a nylon string guitar that I have been favoring a lot lately over the steel guitar. That guitar part inspired the whole song. Splice is a great resource indeed. Thanks for the compliment Andy! 👍🎸😉

Yes, it is kind of complicated especially setting up the Rodecaster but once you get it set, then everything in your system is always connected and only one slider away. Before the RME and Rodecaster I would reroute inputs and outputs for the multiple scenarios I would stream with gaming, my 3d channel, my Cakewalk channel, OBS studio etc... Sometimes with Windows and the multiple sound cards, latency issues and none of the sound cards had multiple ins and outs, It could take me hours just to figure out why a signal would not come through. Now it is wired for every scenario. I just have a few thing to set up and it is always ready. Saves me tons of time and a huge amount of complexity. Even the RME Totalmix console is pretty much a set it and leave it kind of thing now. Every once in a while a Windows update will shuffle my devices and I simply go back in and put the right device/channel as default and everything is a go again. It is the physical ins and outs of the RME that simplify things mightily. The two outs of the Zoom go into the RME and get routed to speakers and wherever by that. Overall, it is very complicated but that complexity, once set stays set faithfully. I got rid of all virtual ins and outs and no longer need Voicemeeter Potato as well.

Zoom UAC-232 USB 2.0 Audio Interface https://www.sweetwater.com/store/detail/UAC232--zoom-uac-232-usb-3.0-audio-interface This device comes highly recommended by me. For recording I prefer this Zoom interface over my RME but my RME is necessary for my Windows part of the equation, so I have 8 fully dedicated physical ins and outs for routing to my other PC through my Rodecaster Pro II I normally only use 4 physical in (from the RME) and then I have 2 USB ins as well. One USB in has multiple in and out channels. It is also not too much to simply switch which device I use in Cakewalk. I think my Cakewalk will be using 32 bit recording exclusively for a long time though. Never again worry about clipping. And this in turn gives you higher quality recordings. I just wish Melodyne would get onboard with this 32 bit recording. Melodyne does work with 32 bit files it simply converts them to a lower bitrate. I think my 32 bit files sound better in Melodyne than my 24 bit files did. Here is a link to the Rodecaster Pro II if you are interested in broadcasting and streaming live to another PC and online. Rode Rodecaster Pro II Podcast Production Console https://www.sweetwater.com/store/detail/Rodecaster2--rode-rodecaster-pro-ii-podcast-production-console It is pricy but wow is it handy attenuating the audio from both PCs and my RME UCX II. The Rodecaster has two interfaces built into it, 24-bit / 48 kHz I thought I saw a 4 channel version of the 32-bit Zoom, 4 fully dedicated physical outs and this produce would rule the audio interface space totally! I wish I had gotten that but I can get by with what I have for now. There probably isn't a 4 channel version that is 32-bit yet. So I am really happy I bought this for now. The Zoom is mostly plastic, but actually really nice that it is not heavy/bulky and it does not produce any heat at all, none. The knobs are not cheap feeling and the plugins are solid. I kinda wish it had input volume knobs but really, where would I set it? Line is probably best. Cakewalk can handle the volumes of things and I can use busses as well in Cakewalk to isolate track signals if needed. There is a direct mix control panel software that comes for the Zoom I have left that alone for now and beside that there is the Zoom driver dialogue box. The zoom, is a rather simple interface and does have direct monitoring and loop back. It is easy to use and the audio quality is REALLY nice!

This is the one I did first and it seems to have fixed it. I just this moment also raised the dropout to 300 as well just to supply a bit of time for things to catch up. I assume these are remembered from project to project. I will check on my next new project.

It is very odd that it only happens when I stop the song. Like manually stopping the song is being perceived as a dropout. It could be that the events are so thick that the stop command is being lost in the crowd. Maybe giving it a little more time helps it to realize it was not really a dropout.

I am using the Zoom driver, and setting the 250 value to 300 seems to have corrected this problem, for now. I am loving this Zoom device. I was unaware at how dynamic my voice can be. I can go from a hush to a very loud spike in my vocal style/transient and no amount of gain riding can seem to correct this and not having to pay any concern to gain is incredibly useful. This Zoom box does not even have a gain knob. I have always suspected small amounts of distortion from peaking within a device, this no longer is even the slightest concern. This alone is WELL worth the investment. The Zoom is a definite buy in my book. I still have my RME hooked to my PC and the zoom output goes into that and Windows uses my REM interface. The outputs of my RME interface go into a Rodecaster Pro II and then out to Monitor speakers/or headphones and a second streaming PC which doubles back into the Rodecaster.

Lost of warm thanks for the compliment Jack! 😘👍🎶

New tune awesome Cakewalk peeps! Enjoy dear friends! ❤️

Thanks for this! I'll let you known if it helps. 👍

Dropout #12 [Internal] Internal audio buffer memory limit overflow. Contact support with recipe/project file. I am recording with 32-bit floating point. This only happens when I stop playing my project then I get this error message, it goes away. This is not really a problem but Is there a way to fix this?

Jesse, Jack and Lee I really appreciate the comments, It is nice to have people like what I am doing and see the vision of my work. I like for people to think there is a lot of depth and feeling in my songs. Many thanks for taking the time to respond. Best to you guys! 👍

Thanks for the info Glen, Melodyne supports those files in that it will recognize them and then it "through the ARA2 specification" resamples these various file bitrates to its own bitrate. If it supported 32 bit float then Ulf from Celemony would not have said it does not support them. I am using 32 bit float files and Melodyne has no problem applying itself to the files but underneath the hood Melodyne has down sampled the file. Where exactly does Melodyne store its files in a Cakewalk project? The Melodyne folder in my current project folder is empty even though I have in on my vocal.