Sailor55

I just bought a 32 x 10 Asus XG43VQ monitor to replace my dual monitor system (16x10 Dells) That's all. No driver change. I just plugged in the new monitor into the DisplayPort. Cakewalk is now completely unusable. Every other app seems to work. The space bar no longer starts/stops the transport. At least, not reliably. When I do get the transport started it jumps forward erratically and won't run smooth. After that I can't widen a track by dragging on it. (The track does widen but it clobbers the all tracks below it). Sometimes I'm left with a big empty gap between two groups of tracks. I've fiddled with monitor refresh rates from 60 to 120 Hz. I've tried every mode the monitor offers but its always the same. Cakewalk was working flawlessly for me until I got this monitor. Win 10 reports I have the latest driver installed for this monitor. Cost plenty too. It's a total Cakewalk showstopper. Do I need to return it?

I upgraded to Melodyne 5 yesterday (from Melodyne 4 Studio). The upgrade cost $149 AM and went flawlessly. (I don't use iLok). And yes, my Melodyne 4 was completely removed with the upgrade. Celemony says Melodyne 5 is backward-compatible and it does seem to be. I've had a chance to use it a bit. The sibilant handling is great and the dynamic fade capability (which was a long time coming, and one of Melodyne's big shortcomings)) is very welcome. Those were the two main reasons why I upgraded. The leveling macro looks good too and I can see it being useful. It will probably allow less reliance on a vocal follower. What I also like is the new algorithm that no longer relies on the average pitch of a note, but instead operates on the 'sweet spot' or the 'best pitched' section of the note. The theory is that certain parts of a note that are technically 'off pitch' do not need correction and are not perceived as a problem by the listener, but rather an essential part of the performance. So far, I give it a big thumbs up. However don't expect Celemony's slick video on chord manipulation (if you're using Editor or Studio) to go quite as smoothly as they portray. While it's a bit of a miracle what can be done with the polyphonic stuff, it's tricky to use. At least, I've found it to be. But then, I haven't used the polyphonic features all that much, even in Melodyne 4.

On the subject of hiding tracks: On most projects I often have about as many hidden tracks as I do visible ones. I keep original versions of any tracks sent to me by others and typically work only on copies. I move all hidden tracks to the top of the track view. So, if the first visible track is number 12, I know there are 11 hidden tracks. Also, I archive all hidden tracks. That way they can't possibly interfere with my project. (For example, if I were to accidentally un-mute one or more hidden tracks). Also, archived tracks remain unprocessed (i.e. ignored) by Cakewalk. I once had a project with many, many hidden audio tracks. It took a long time for the project to start after clicking 'play'. I was getting an annoying delay of up to two seconds before the project would sound because all the hidden tracks were only muted and still needed to be processed (somehow), even if they didn't sound. After a project is finished I'll usually delete any hidden files that I'm quite sure I'll never need.

Is a Drum Map involved? I've never been able to create an instrument track when the midi track goes to a drum map and then to a Audio track. It seems to me that's only two tracks (one midi & one audio) but Calewalk has always disagreed, giving me the same error message.

Working now. Thanks for the help scook. - Dan

I downloaded the chordz plug in, but I can't figure out how to get it to work. I put the 64-bit version of the DLL in the Cakewalk VST directory as the instructions say. It then appears as a 'soft synth' in Cakewalk. If I load the synth it shows up as expected but I can't figure out how to route its output to any sound producing module (for example, Addictive Keys). Anyway, I thought it was supposed to be a midi effect but I can't get it attached to a midi track. Confused... - D

Can't you can add or subtract various types of time ruler with the plus and minus boxes as shown... ?

Supported software is always better than unsupported software. Cakewalk by BandLab is now exceedingly well supported (even better than SONAR was). I thank my lucky stars the DAW interface I spent so many years learning did not fall into obscurity.

Billy backed down (fortunately). He eventually moved to Texas. I hear he's happier there. I can't say I missed him much. What I really want to know is what happened to Diva after saving my butt. She'd be about 65 by now.

Here's a tune with a story. Some people like a story, I'm told. Some of this actually happened. Some of it didn't. - Dan http://www.taggerband.com/Music/DBH/BillyAndDiva.html

Brilliant man! I just don't know what else to say. It would take serious ambition to take this kind of thing on. You have covered it better than I though it possible for one person. I plan will forward this link to some friends who love Floyd (and have tried to play some of it). They will be impressed. - Dan

I once though this wasn't really my kind of thing but I've changed. Really. And you've done it. The production is so good and the arrangement so tight I simply get pulled into total appreciation mode. When I see a batsbrew posting I know it's going to be impressive. Thanks for sharing your stuff. - Dan

I am one of those who's complained about this. More than 50% of my workflow is editing (either audio or midi). Aim-assist is absolutely essential to my well-being. I've been frustrated ever since those position numbers were added. I keep trying to see beneath them to the ticks on the timeline which is, of course, impossible. It's my fondest wish that they would either become an option or, better still, be moved somewhere that they don't obscure the timeline. Slightly below? slight above?

Yep! Done. The best support too. There should have been a separate category for that too.

I don't think that's a good idea. Any dragging movement has a horizontal and vertical component (even if one or the other is very small) . What the shift key does is ignore any horizontal component while dragging vertically. It would be maddening to have that as default behavior thus requiring the shift key to move freely in any direction. You could argue the horizontal component should be ignored unless it is significant. But who is to say what's significant? I tried to reproduce this problem when this post first appeared but could not. I now realize I always do keep the shift key down until after the mouse click is released. It's not a conscious thing. I guess I've always just done it that way.

My band suggested I try to create something that can be played with two guitars, bass, drums & vocal. In other words, what we have, not what we wished we had. No dulcimers, funky horns, fat strings, female choruses, grand piano or zither. None of that. Okay. Here's what I came up with. The only synth is Addictive Drums 2. I played all the rest. http://www.taggerband.com/Music/DBH/TinySquares.html

I just noticed this today. I'm running the very latest hotfix (2019 07 build 79). It used to be when I was editing audio and wanted to make a cut, I'd hit the F8 key until the editing cursor changed to a "scissors" symbol. Now the symbol does not change, until I move the cursor just slightly. Generally speaking, any changes to the editing mode via the F8 key do not immediately reflect in the cursor style. But they used to. A bug? Or have I set something wrong?

Bass now fixed, or hopefully, better anyway. Thanks for the input. Much appreciated. - Dan

My heartiest thanks to freddy, Joad, Tom and paul for the great responses. To be honest, I was afraid this one might just slip away. Just too odd, maybe. It was pieced together from little bits over several months, although the lyric was a poem of mine written quite while back. For Tom, all the gory details are below. Skip if you find this stuff tedious. (I probably would). And, once again, thanks Tom for your well-considered feedback. It definitely does steer me. Cheers to all... - Dan -------------------------------------- The Electric Piano is from the Cakewalk SI suite. The pre-set is “Classic Rhodes”. There are no effects in the bin other than the EQ setting in ProChannel and the controls on the instrument itself. To reproduce it exactly: SI Piano (Classic Rhodes): Drive = 7.0%, Chorus = 32.5%, Tremolo Depth = 1.9, Tremolo Rate = 39.5%, Tone = 75.5%, Pan = 0%, Volume = 70.5% ProChannel EQ: HP freq = 143 Hz (rolloff 24 dB), LP freq = 2538 Hz (rolloff 24 dB), Hi-mid notch: @ 553 Hz, Q=2.2, Gain = –9.2 dB The Vocal FX is a new ‘Waves’ plug-in I just got on sale (only $29.00). It’s the “Chris Lord-Alge CLA Vocal Processor” using the ‘Body Double’ pre-set with very minor tweaks, mostly to reduce the amount of doubling slightly. There’s a lot of hype about this plug-in, and to be honest, I thought the YouTube video by it’s namesake was a bit cheesy. But, you shouldn't judge a plug-in by it’s author. I very happy with it so far. Works as advertised. There are two different Guitar Rig 5 effects on the guitar (occurring at different times). The opening hook effect is ‘Breath You Hold’ and the rest of the lead is ‘Van 51 Crunch’. They are both tweaked in minor ways but probably no one could tell the difference in an A-B test. Drums are AD2 in a very ordinary mode. Nothing special there. Being a drummer, you’d think I’d have cluttered it up a bit more. Your comment on the bass is interesting. I originally had a midi bass but because a friend lent me one of his basses I decided to give it a try myself. I’m no bass player and I had to build the track up by many pieces. (I’m a much better wave editor than I am a bass player). Horns are ‘Session Horns’ played in Kontakt player. Guitar is by my buddy Lawrie, and harmonica by another friend, Kevin. It’s the three of us who decided we don’t stand a chance against Big Brother.

I had a few friends over a while back. We decided we were powerless against Big Brother. We came up with this... http://www.taggerband.com/Music/DBH/TheNewIlluminati.html

Fabulous production. I agree with others about the vocal. Top notch. Great drum mix and satisfying arrangement. You should be proud of this. (BTW, I only listened to V3). - D

Brilliant. Got Chris Isaac written all over it. Great steel. As country as it get. - D

Set the first beat to 'Ping Low' at -3.0 dB and Other Beats to 'Ping Low' at 0.0 dB. That seems to work for me. If you don't lower the First Beat to -3 dB below the Other Beats it will sound twice as loud.

I support this idea very strongly. The aim assist line is great, but the aim assist info box is very frustrating, the way it obscures the timeline tick marks.

Unusual bit of music. I listened to all three versions, in reverse order. At first I thought it was an odd premise for a lyric, but after a while, I got it. The idea grew on me and it makes good sense now. I'm listening to the latest version for the second time as I type this... ...and I've now decided... I quite like this. It has the potential to become an ear-worm. In fact... too late. Like you, I was making instrumentals in the early nineties with whatever I could get my hands on. I was using a Peavey DPM-3 sequencing keyboard (which I still use to this day, but only as a midi keyboard), It was touted as the keyboard that, thanks to perpetual firmware updates, would never go obsolete. Big surprise! It's now completely and utterly obsolete. I think I may have one of the last three left in the world. Then in 1992 I started using Cakewalk for DOS (because I had some kind of a vendetta against windows then). I drove the sounds in the DPM3 with it for several years eventually moving to newer versions of Cakewalk and then to SONAR, and finally, 'Bandlab Cakewalk'. Although I've saved a lot of stuff from that time there's nothing I'd want the world at large to hear. Your original instrumental is a few steps above anything I had achieved at that time. It throws a lot of light on your development process. I appreciate that. Thanks. - Dan