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I've been a musician for almost 50 years. I took a few decades off (!) but now I'm getting back into it, and I'm working hard to learn Cakewalk. I'm seeking feedback on my second recording, mainly from a Cakewalk perspective. I feel I'm doing pretty good, but I am not quite getting the professional-sounding results I'd like. Let me know what you think; I'd appreciate any constructive criticism. Background Roar Thanks! Barry

I would SO sincerely appreciate someone's help. I just got a Roland VT-4 voice transformer to add some effects to my vocals. Let me tell you what I already have and what I do, and have done for many years with no problems. First I boot up my M-Audio interface, the Fast Track Pro. It has a simple pre-amp. I then choose it under preferences in Sonar and route my MIDI tracks to the basic Cakewalk soft synth. While listening to the music I lay down the vocals on some audio tracks. Then I shut off the M-Audio and go back to preferences. I choose ASIO. At THIS point I can mix the vocals on the recorded track(s) and the audio that was generated by the MIDI tracks onto a brand new audio track which forms the completed song. I have tried everything I know to do something similar with the Roland VT-4. It also has a pre-amp in it. When I try to lay down a VOCAL track while listening to the MIDI generated audio as illustrated previously, the new track (which I only want the VOCALS on) is a COMPOSITE of the vocals AND the MIDI generated music. If I shut the connection between the Cakewalk soft Synth then I only get the vocals laid down but obviously cannot hear the music! I have tried connecting the VT-4 to the M-Audio via dual 1/4 inch plugs but no dice (they just came today and I thought this would solve the problem) PLEASE tell me HOW I can listen to the MIDI generated music via the Cakewalk soft synth while recording a CLEAN vocal and NOT recording the output from the Cakewalk synth while STILL being able to LISTEN to it while I lay down the vocal. It seems like the ONLY solution is to use TWO computers, one t listen to the MIDI audio and one to record the vocal track! LOL PLEASE help me! Thank you so much! Sincerely, George

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Revoice Pro and VocALign now support ARA 2 and work seamlessly in CbB through our partnership with Synchro Arts. To celebrate their latest update, together with Synchro Arts we’re giving Cakewalk by BandLab users the opportunity to win Revoice Pro and VocALign Project! These powerful industry standard tools for vocal production now work even better in CbB as a result of our ARA 2 integration.

Hi all, I was having some issues activating Melodyne so the company suggested I uninstall it and delete the file named Celemony.license in C://User/USERNAME/Appdata*/Roaming/Celemony Software GmbH/Licenses. The program is now registered and I can use it and make edits as a standalone. However when I try to use it inside Cakewalk by creating Region Fx, Cakewalk just suddenly crashes with no warning. Also I tried setting up as a Re-wire track and as a plugin with same result. Any ideas? Notes: *Before I uninstalled Melodyne I opened up 2 projects in Sonar Professional to see if maybe Melodyne was activated there and not in Cakewalk but it wasn't. However those two projects are corrupt now and crash as soon as you try to open them. Thanks in advance!

Do you want perfect sound from your mic that’s as close to natural as it gets? If you own an SM57, AT4050, or MXL V67G, the following are EQs that will create a perfectly flat response. Note that you will need the LP EQ (a.k.a L-Phase Equalizer) as this equalizer has enough nodes for the task, has a non-linear setting, and has a high quality, transparent sound (esp., compared to the ProChannel EQ). First, place the LP EQ on an audio track FX rack (open the plug-in window for the LP EQ and click the Expert button, select Non Linear under Precision and Slow under Analyser for low latency recording); next, create a new aux track from the output of the first track; set input on the first track to your mic input and turn Input Echo ‘on’ (also 48V phantom power—only if you’re using a condenser mic, otherwise leave it off). Now, arm the aux track for recording. Recording with this input channel setup will produce some input latency, so go to Preferences and view your Input latency under Driver Settings. Write down how many samples are shown. After recording, set your Snap tool to Samples and enter this amount. Set Snap to ‘snap by’ and zoom in to the front of your recorded clip. Drag the clip left until it snaps by that many samples—this fixes your recorded latency entirely. You can use this method for any input channel FX in the future, such as compressors and so forth. Also, you can use these on tracks already recorded with the above mentioned mics by placing the EQ on the track’s FX rack. Here are the EQs both written (for those not using the LP EQ) and uploaded (for those using the LP EQ). Enjoy! Sincerely, Maximus, Rock Mojo Studios. I recommend using these on vocals when the most natural sound is needed or on tambourines, snaps, claps, etc.; try it on your guitar rig and you'll notice that the sound you get is exactly what was playing through the speaker(s) (perfect for when you don't want to change a thing about your settings!) SM57 Flat Input EQ (set each to Peak/Dip) 50 Hz, +10dB, Q 9.16 100 Hz, +5dB, Q 6.76 250 Hz, +2dB, Q 2.49 3,000 Hz, -2dB, Q 10.00 4,000 Hz, -4dB, Q 10.00 6,000 Hz, -7dB, Q 10.00 7,500 Hz, -3dB, Q 10.00 9,500 Hz, -4dB, Q 10.00 13,000 Hz, -1.5dB, Q 10.00 15,000 Hz, -2.5dB, Q 10.00 AT4050 (set each to Peak/Dip) 30 Hz, -1.75dB, Q 3.08 1,375 Hz, -0.8dB, Q 10.00 1,725 Hz, -0.8dB, Q 10.00 2,750 Hz, -0.8dB, Q 10.00 4,000 Hz, -0.8dB, Q 10.00 6,000 Hz, -2.4dB, Q 10.00 9000 Hz, -3.75dB, Q 10.00 10,000 Hz, -4.5dB, Q 10.00 13,000 Hz, -2dB, Q 10.00 15,000 Hz, -2.25dB, Q 10.00 20,000 Hz, +10dB, Q 10.00 MXL V67G (set each to Peak/Dip) 20 Hz, +11dB, Q 10.00 30 Hz, +3dB, Q 10.00 38 Hz, +2.13dB, Q 10.00 50 Hz, +2dB, Q 10.00 60 Hz, +2dB, Q 10.00 70 Hz, +2.13dB, Q 10.00 85 Hz, +2.13dB, Q 10.00 100 Hz, +2.06dB, Q 10.00 150 Hz, +2dB, Q 3.45 375 Hz, +3dB, Q 10.00 400 Hz, +3dB, Q 10.00 500 Hz,+2dB, Q 2.03 1000 Hz, +2dB, Q 10.00 1,500 Hz, +2dB, Q 10.00 2,000 Hz, +0.38dB Q 10.00 3,500 Hz, -1.25dB, Q 10.00 4,250 Hz, +2dB, Q 10.00 20,000 Hz, +1.5dB, Q 5.55 AT4050Flat MXLV67GFlat SM57Flat

Guitar Center Daily Pick https://www.guitarcenter.com/Daily-Pick.gc?source=4TP7FMBF&mscr=2134595_167037 Save $90.00 CAD VocalShield VS1 Foldable Stand-Mounted Acoustic Shield The CAD VocalShield VS1 was designed to help you achieve a pure vocal recordings in any room, professional or at home. VocalShield VS1 is constructed from a high-quality, 16-gauge micro cell acoustic foam, resulting in a dry recording environment, reducing reflections, echos and attenuating unwanted environmental acoustic interference. The VocalShield's Innovative folding design allows for maximum portability and is supplied with mounting hardware that adapts to most microphones for easy, flexible placement. The VocalShield VS1 is an essential tool for enhanced performance and a vital accessory for the professional musician. *Mic stand sold separately