msmcleod

With all of these tariffs flying around, be careful where you buy stuff. AFAIK Plugin Boutique is based in the South of England (or at least it used to be), so I doubt there'd be any surcharges for EU customers beyond them charging VAT. TC Electronic is owned by Music Tribe (i.e. Behringer) - who are based in Germany, so I doubt there'd be any import/export charges to content with. I guess there could be some new customs charges that have only just kicked in post-brexit. If you're a US customer however, what you don't want to do is buy a US product from a vendor based elsewhere, as you could end up covering the tariff the vendor pays to import the product, then also pay again for it to be imported back into the US. If the vendor has branches / offices in the US, this may not be an issue... but best to check.

I had a slightly dodgy earth in my house for years - it was functional as far as safety was concerned, but caused noise in the studio. I used an online UPS in the studio to cure the issue. They're the most expensive, but have the advantage of always running through the battery and generating their own clean sine wave. Obviously you need one powerful enough to give enough power to all of your equipment. Note there are three types of UPS available: Offline/Standby - is normally off, but kicks in when power is lost Line-Interactive - Similar to offline/standby, but monitors the input, and regulates it/cleans it up/ offers surge protection. Battery power will kick in not only when power is lost, but if the power is deemed to be below or above a certain level. Online - Is always on. Mains is turned into DC, goes through the backup battery, then is converted to AC again from the battery. It's the online one that I got. Since getting the house rewired and earth redone, I've not needed to use it, but it definitely helped at the time.

Not 100% sure about this mixer and how its connected... but it looks like you've got both L&R connected to your stereo out. If you want only your backing track to FOH, only connect the right output to your FOH. If you want both click & backing in the monitor, connect both L&R monitor outputs to your monitor.

I've got a FaderPort 16, and it works seamlessly in both CbB and Sonar using MackieControl. Can you post a screenshot of: 1. Your Control Surfaces tab within Preferences 2. Your Mackie Control panel.

If you don't want the pan to be sent for whatever reason (e.g. maybe you've changed your mind, or you've decided to set it within the synth itself), you can right click on the pan knob and select "Disable Control" from the context menu. This will effectively give a setting of "no value" for the pan and a CC10 won't be sent.

Do you have Spatial Sound or any sound enhancements enabled in Windows? If these are enabled, then they'll be applied when playing through Media Player.

1. Connect the output of the tape track that has SMTPE on it to the input of your SMTPE unit. 2. Connect the MIDI output of your SMPTE unit to the MIDI IN on your MIDI interface. 3. Within Cakewalk/Sonar, go to Preferences->Project/Clock, set Source to SMTPE/MTC - adjust the PPQ/Time Format to match the SMPTE code (if you can't remember, just match it to whatever the SMPTE unit is currently set to). Bear in mind, the SMPTE unit might actually be sending MTC rather than SMPTE - I know my old PPS100 was set to do that - so you might get away with not having to adjust anything. 4. Press Play in Sonar 5. Press Play on the tape machine If you're transferring stuff from tape, then replace step 4 with: 4.1 Connect your tape outputs to audio interface inputs 4.2 Add the required number of audio tracks to match the tape's audio tracks - set the sources to match the audio interface inputs 4.3 Arm the tracks 4.4 Press Rec in Sonar

IIRC - I'm pretty sure CWPA had mono audio to MIDI back in the 90's. I remember being a miffed when it was removed, as sometimes you could "lose" a melody if you hit the wrong key on the keyboard when trying to replicate what was in your head... much easier to just hum it.

All it means is that transient detection information has been stored against your clips. Using AudioSnap is the main reason these would be created, but it isn't the only one. Cakewalk Bundle files do not support saving transients, so it's just warning you that these will not be stored in the bundle. If you've no recollection of editing audio transients, you can ignore this message. Those who have spent hours editing / correcting transients should definitely not ignore this message! Cakewalk Sonar has the new Cakewalk Zip format, which is far smaller and does support transients. If you're concerned about losing them, don't save as a bundle - zip up your project folder instead.

FWIW, I find it useful to have the sync off, and the control surface set to see the console view. Generally I want to see all tracks in the track view, but due to the limit of physical faders, I'll quite often hide tracks in the Console View so I can control only the tracks I'm likely to want to change levels for. This is usually only during tracking, as at mixdown time, I'm pretty much only controlling buses on the control surface.

There are two settings you need to be aware of: 1. "Keep track/console visibility in sync" - if this is unchecked, it allows you to have a different set of hidden tracks / buses in the Track View vs the Console View. The current set of hidden tracks you see depends on where you launched the Track Manager from. If you launched from the Track View (or while the Track View was in focus), you'll see the Track View's list of hidden tracks; if you launched from the Console View, you'll see the Console View's list of hidden tracks. 2. "Console Strips Visible In" - this setting determines what visibility settings are respected when deciding which strips to make available to your control surface. So most likely: 1. You've got "Sync Off" - which is fine, but be aware your hidden tracks won't be hidden in the console view 2. You've got your "Console Strip Visible In" set to a view which still has those tracks visible.

In order for the Arranger to select tracks, you need "Select Events with Sections" enabled. This can be found the Track View Options menu, or you can enable "Select Events with Sections" button in Select module when it is in large mode. When this is checked, clicking a section will have a toggle effect... i.e. clicking it once will select the tracks underneath, clicking it again will behave as if the option is off. When this is unchecked, it never selects tracks underneath - which is what you're seeing. There is a another why things might not be selected (but unless you're aware of it, this probably isn't your issue)... You can exclude a track from arranger operations within the track inspector. When this is enabled, this track won't be selected with an arranger section: I seriously doubt this is your issue though - it would have to have been checked for all tracks, which is difficult to do accidentally.

NOTE: You don't have to use the "|" character if you only ever use stereo devices - in this case, just enter a single name, e.g. "Overheads" or "Guitar VG88".

A chord track does two things essentially: 1. Detects the chords of existing material, showing the chords in a "project track" (as Cakewalk would call it) at the top. 2. Allows you to change those chords, which will automatically change those chords to the new ones in real-time. Some DAW's will even suggest alternative chords for you. So for example your recorded performance could be C, Am, F, G. You could change those chords in the chord track to Am, C, Dm, E and your performance would be played using the new chords. IIRC, Cubase will only alter MIDI tracks; Studio One does both MIDI and Audio. It's something that has been discussed for Sonar, but although some research has been done, nothing definite has been scheduled. Why would you need it? Songs with the same chords repeating can sound somewhat boring. Even using the same theme over a slight difference in chords the second time around can make your song sound more interesting, and can lead to different ideas. Speaking personally, despite playing guitar for over 40 years, I'd still not call myself a guitarist. It takes a good bit of time to learn a part to play it well enough to record (although this process is still much quicker than using a Guitar VST!). With a chord track, I could try out different variations quickly - then spend the time learning the one I like best to perfection.

I've got the nanoPAD2 - not had much success using the Korg USB-MIDI driver though. IIRC, it did work briefly between some major Windows 10 upgrades, but Korg never seemed to catch up with the upgrades moving forward. Luckily, the nanoPAD2 will work fine as a class compliant device, so uninstalling the Korg USB driver should allow you to use it without issue. The only downside is that the mapping software won't work in class-compliant mode. I've got a Windows 7 boot on my machine, and the driver works fine in Windows 7, so I could map my pads accordingly in that, save the config to the nanoPAD2 then continue to use it class-compliant mode in Windows 10. So if you're having issues with the driver, uninstall the Korg USB-MIDI driver and use it as a class-compliant MIDI device. You've then got 2 choices: 1. Use a Windows 7 machine (e.g. old laptop) for configuring the nanoPAD2 if you have to remap the pads, and use compliant mode in Win 10/11; or 2. Just use the default note mapping of the pads as is in compliant mode. FWIW, this also applies to the nanoKONTROL 2 and nanoKONTROL Studio - although at least with those devices you can boot them up into a Sonar compatible Mackie Control mode, without ever having to use the mapping software.

Hmm - I could see that might be an issue if you had a stereo track, going to two separate mono processors. To be fair though, it's not a very common thing to do. If the L & R signals are significantly different, they really should be two separate mono tracks. If it is a true stereo track, that happens to be going to two identical external mono effects, then you're as well keeping it as stereo - the latency for the two sides is likely to be identical (or at least very close). Sonar won't care that you've fed the Left & Right outputs to two different physical effect processors. The only time this may present a problem is if you've got two different digital effects processors for each side of the signal. Whether the difference in latency is large enough to be of concern however, is debatable. By far the biggest latency is the D/A - A/D routing out of and back into the interface - any differences in the latency of FX processors are probably not worth worrying about.

Some variation on this might work:

Just created an articulation map in the latest Sonar with multiple sections - no issues here. Could you post the one you did in CbB ? Perhaps there's something specific in the map that is causing the issue.

Is this on a pure MIDI track, or on an instrument track? Generally the MIDI part of instrument tracks ignore solo/mute, with it only applying to the audio part of an instrument track. The reason for this is that MIDI data needs to be cooked in advance, so un-muting a MIDI track will result in a delay before you start hearing the notes again. The audio track however is almost instant (depending on your ASIO buffer size). Solo works in a similar way, as it's basically muting other tracks behind the scenes. Pure MIDI tracks should be respond as you'd expect - i.e. Solo / Mute apply directly to the track. AFAIK this behaviour is not new.

I came across this issue myself on my DAW machine: - Logging into the BandLab website normally offered me 2FA using a code sent to my email address - Logging into BandLab via Sonar forced me to log in via Facebook. The way I fixed it: 1. Manually log into BandLab in a browser, by going to www.bandlab.com and signing in as normal (i.e. outside of Sonar). 2. Click on your profile picture 3. Next to the "promote" button you'll see a pencil icon - click this to edit your profile. 4. On the left hand side, click "Linked Accounts" 5. You should now see which accounts are linked - click the remove button for Facebook. It looks like if you've got a linked account in there, it will use that account for 2FA. With no accounts linked, it logs in fine with just username/password.

This is expected. CbB only supports a track delay in ticks. Sonar has an additional flag saying whether this delay is in ticks or ms. As the cwp format is both forward and backward compatible, CbB will load the Sonar project but will not recognise the ms flag, so it interprets it as ticks as that's all it knows about.

Not sure if this will help, but I had a ground loop in my live rig at one point that took absolutely ages to track down.... and yes, they were all powered by a single outlet. The issue was I had two rack cases on top of each other, and the rim of the two cases were touching. Because some of the rack's had their own case grounded, it created a ground loop between two or more of the units via the rack ears and the rim of the rack cases. My fix was a bit of tape (well actually a thin self-adhesive foam strip) over the rim of the cases so the rims didn't touch, but equally I could have used insulated rack screws/washers. So TDLR - don't just check connections, check what they're screwed into too! The way to troubleshoot is unscrew everything from the rack (but leave them plugged in/connected) and make sure none of the units are touching - if the noise goes away, that's your issue.

Which stretching algorithm works best is very material dependent. "Radius Mix" is one of the older algorithms, and although it works well on some material, you may find the Elastiqué algorithms work better. There's also the "Groove" algorithm, which works well if you want to stretch both time (to match tempo) and pitch (to match pitch markers). It's worth mentioning however, that any stretch algorithm is going to have limitations and the quality of results will get worse the greater the stretch is. The preferences page sets the default algorithm, however you can set the algorithms used by clip in the clip inspector after selecting the clip: IIRC, the default is Elastiqué Efficient for Online Render (i.e. live playing), and Elastiqué Pro for Offline Render (i.e. bounce). The reason there are two is because high quality stretching is processor intensive, which can make edits annoying as you wait for it to adjust things. So you use the lower-quality-but-quick online method to get timing correct, then bounce using the high-quality-but-slow method when you're finished. If you also want to keep the original clip after bouncing, I suggest duplicating the track and archiving one of them before bouncing. This will allow you to use the higher quality bounced track, but also giving you the option of going back to the original if you need to change anything.

Do you have a dialog open in the background perhaps? Try using CTRL + TAB to see if there are any other windows waiting for input.