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Lord Tim

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About Lord Tim

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  1. There you go, schooled by @scook again! HAHA! I didn't know that. And yes - of course, you do need to use some method of getting online to get the Activation Response using Bandlab Assistant, and then it exports the Activation Response which you can take back to your DAW. Obviously if you update CbB on an offline computer, it can't connect to the net to validate the activation, right? But if you've downloaded the update for it on some other internet connected machine, it also means that you're in the position to do the Offline Activation at the same time. It's another step, sure, but for the vast majority of people who are either online, or connect only when they need to update, it's entirely seamless and just happens automatically with no messing about.
  2. What do you mean by that? They might get taken by surprise by Bandlab or something? It was pretty short notice when Gibson pulled the rug out, but you'll see that years later you're still able to get SONAR activations and your purchases from Cakewalk Command Center, so I think that's a pretty good endorsement that they're not going to go running off into the night with your ability to use their software. As far as the "only if online" stuff goes, you can do an offline activation from the Help menu at any time, just like you could do with SONAR. If you're on the forum now, you have a way of getting onto the net to get the activation key to take to your offline DAW, right? And, as I said, sometime over the course of 6 months, it's probably a good idea to do a program update anyway which will automatically refresh your activation anyway. Have a look through the new features and bug fixes we've gotten in the last 6 months alone - it's worth grabbing updates more regularly than 6 months apart. And the thing is too, with such a small team, it makes sense for them to nudge people towards getting the latest version because chasing bugs that have already been fixed months ago is a poor use of their time, as much as it's a bit of an inconvenience for people who are offline usually. That said, I do agree it would be nice to have a "you have 5 days remaining to reactivate Cakewalk" toast or something like that, which will also encourage you to get a new version. It's the best of both worlds in that case.
  3. You're overthinking this a little, it's actually fairly simple if you think of stuff as tasks rather than big chunks. Task 1 is to record: Arm your track, do your performance. If you have effects in the bin already, great, but it's not time to focus on that. Chop up the vocal as needed, choose the best takes, etc. etc. All of the things you'd ordinarily do for a recorded take. Task 2 is to polish it: Right-Mouse Button + Drag around all of the vocal clips you want to tune to select them, then Right-Click on of them and do Region FX > Melodyne > Create Region FX. This will open up Melodyne in the Multidock. Edit as you see fit - you'll likely have a lot more control over the performance this way rather than putting it in the FX Bin. When you're done, you'll see you have one big clip with the Melodyne Region FX on it. Right Click that clip and choose Bounce to Clips to lock off all of your Melodyne edits. Task 3 is to choose the effects for the track: Add any effects you like in the FX Bin, adjust to taste. Task 4 is to freeze the track if you want to save CPU resources, by clicking the little * icon on the track header. If you want to add any more recordings to that track, unfreeze the track first, and then record the new part. And then go through the above steps again for the new recordings: Choose your takes and edit it as you see fit, then select all of the new recorded parts and add Melodyne and polish the performance, then bounce this new part to a clip, and then simply re-freeze the track. Freezing should really be a last step thing though, so you can probably save a few mouse clicks by leaving that until you're ready to sign off on the track entirely (but with the advantage still leaving yourself the option of un-freezing if you want to in the future, of course). Tips: Rather than Right-Clicking your clips and popping up a menu to add Melodyne, it's usually mapped to CTRL+M. I've also set up a custom key binding to make CTRL+B Bounce to Clips, which saves me doing a popup menu for that. On paper this sounds like a bunch of extra steps, but once you get the workflow down, it goes really fast, and you have the added piece of mind that you won't end up with deleted takes or clips doing weird stuff. The tasks are their own checks and balances.
  4. This is based on what your input is set to which, if you're recording a mono source like a microphone, is normally set to mono. You *can* force it to stereo but there's zero point at all when it's a mono source. Once you put effects on a track, however, if they're stereo effects, they typically freeze to a stereo wav. Recording onto a frozen track is a Really Bad Idea. First of all, the idea is that if it's frozen, it means it's taken all of the effects in your FX Bin offline and printed them to the track. Anything new on the track will not have any of those effects added to it at all - they're entirely bypassed. If you do record onto an already frozen track and then decide that you want to change something in the effects and unfreeze to do so, the track will revert to it's original unfrozen state, which means anything done to it after it was originally frozen will go away. And like John said, Melodyne shouldn't be used in the FX Bin. Edit the clip directly first and bounce it down. Get all of it how you like with your other effects live in the bin, then then you're ready, freeze the track. If you want to add anything new to it, unfreeze it first, record, then do any Region Effects, and then freeze it again. EDIT: I should mention that you should copy your new mono recording out of your frozen track right away and put it onto another track, because if/when you unfreeze the track, that new recording will be deleted. Once the track is unfrozen, copy that clip back to where it was, and then freeze the track again - it should all be stereo then.
  5. The thing is with the new Cakewalk, every time you update it automatically refreshes the activation. And the need to activate only happens every 6 or so months anyway. Given the amount of fixes and enhancements we get each other month, I can't imagine your activation would ever lapse if you're even a couple of versions behind the latest. No need to remember to log into Bandlab Assistant or any of that other stuff, plus you can manually activate anytime you like and that's good for another 6 months, even aside from the audio refresh during updates.
  6. It looks like you've recorded after the track was already frozen? In which case, you'll get your mono input, but won't get any of the stereo effects in the FX bin at all. What you need to do is unfreeze the track first, record your new vocal parts, and then freeze the track again - you'll see them processed through the stereo effects at that point.
  7. One thing Noel mentioned years back (around the time we switched over to Bandlab) was that if nothing could be sorted out for SONAR going forward, they would likely release a perpetual activation patch. As we all know now, that wasn't necessary and we've had years of excellent updates and fixes since, but I'd feel pretty confident that if Bandlab ever dropped Cakewalk for whatever reason, the Bakers would be going out of their way to make sure we're all covered.
  8. You generally get your song mastered when you're working at a pro level and intend for your music to be distributed to a lot of people. That gives it a good chance of it sounding good on most well set up systems. But not even that can save it from whatever random enhancements somebody might have set up, unfortunately, and as was mentioned, you have no way of knowing what people may be using. Get it as good as possible first with the view that you're aiming for as many "regular" listeners as possible, and compare it against commercial releases you like without running any enhancements. That'll show you if you're in the same ballpark.
  9. I don't mind the persistent toast myself, but I also wouldn't be opposed to an .ini entry for something like ShowExportToastTime=0 where 0 is persistent and set by default, but you could also specify the number of seconds, so ShowExportToastTime=5 would be 5 seconds to show the toast before it gets dismissed.
  10. Yeah, the colour thing is a known issue apparently - I've definitely reported it myself, hopefully that gets fixed sometime.
  11. Either thing works well, but there's some advantages you get with Aux Tracks / Patch Points that you don't get with Busses, such as being able to record them easily if you want, or with project organisation if you do a lot of submixing (eg: if you do huge choirs or orchestrated music, you might find you want to submix sections to a single output, and repeat that for every other section, and then submix those to a sub-master for further processing, before sending off to your master bus) then using busses exclusively tends to turn into a HUGE lot of busses to manage, all tucked away at the bottom of the screen, and where you can't easily fold them away in sections like you'd be able to do with Aux Tracks. If you don't do anything nutty like this, then yeah - it's really down to personal workflow which way is best for you. I *have* run into Patch Points getting assigned incorrectly, however, but it's much rarer now than it used to be. The thing to remember is that when you close a project, it does housekeeping on any deleted patch points. So it's sometimes best to start with a project that has no patch points in it when you import a template with lots of them in there. And if you decide to delete any, save the project and re-open it before you do any more importing, just to be sure things don't get tangled. This is generally how I do it. I'll either have 2 projects open and import my project-sized track template into one and copy the audio/MIDI tracks from the other into the new project, or I'll have everything as their own "source" tracks in a project, then I'll load up a track template, and then move the audio/MIDI data into the corresponding tracks. It's a huge time-saver when you're doing an album project because you can set up a baseline mix for everything to save all of the repetitive grunt work for getting everything into the same ballpark each time, and then you can get on with doing the actual creative work to make each track it's own thing.
  12. For Bus templates, what I do is create a dummy track that's got links to every Bus I want to bring into a project (assuming they don't exist already - if they do, the new ones won't import over the existing ones). So I'd do this: Add all of your busses (eg: reverb, long delay, short delay, master, etc) Make a new track Add sends to each one of those Busses Save that track as a Track Template On a new project, import that template, and it'll automatically add the Busses with all of the effects intact. Then just delete the dummy track.
  13. I'd select the track and the Aux Tracks that you want to keep (so Ctrl+click the tracks) and then right click on one of them and do Save as Track Template. And as you can see, it brings in the Aux tracks just fine: In this case too, if there's no existing Master track, it'll bring that into the new project also.
  14. Try setting the Bounce Buffer Size to Playback Size - some synths and effects don't play nice with larger buffer sizes.
  15. Depends on the kind of in-built card you have. If it's a Realtek (which is pretty common), you can switch to WASAPI Exclusive mode and even on a fairly modest machine, you can get some excellent latency. I'd still recommend a good audio interface that has solid ASIO drivers, but WASAPI is very usable with in-built cards.
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