msmcleod

Here's what I did when I upgraded: 1. Make sure your existing installation is up to date with Windows updates 2. When upgrading, on the first screen choose NOT to do updates right away 3. Do the upgrade 4. Once the upgrade has finished, run Windows update.

OK, had my first glitch with Windows 25H2... my Korg microKEY 2 wasn't showing up in Sonar, despite being plugged in. The way I fixed it: 1. Go to Windows Device Manager ( WinKey + X, then press M ) 2. Expand "Sound, video and game controllers" 3. Right click on microKEY2, and select "Uninstall device" 4. Unplug the microKEY 2 5. Plug it back in again

This is the best guide to CAL I've seen... the original site has gone, so you can get it here: Cakewalk Application Language Programming Guide.pdf

Click it to give it focus, then press F2.

Sound on Sound merges the new take with the existing one - whether you choose to record to a separate lane or not, it'll still end up with both the old and new take on the same track. Choose Overwrite mode if you want to overwrite the old data with new.

I was pretty shocked to see that despite doing regular updates, my dev boot was on Win11 24H2, yet my DAW boot was still stuck on Win11 23H2 - and they're on the same machine! But anyhow, I upgraded my machines to 25H2 yesterday. I've not done extensive testing, but my Mackie MCU & C4 are working fine, so no MIDI issues so far with the latest Windows 11. The Mackie's are connected via a MidiTech MidiFace 8, which uses the standard Windows class compliant driver. Also no issues with audio performance/latency, and none of my plugins needed re-authorising after the upgrade. MIDI devices that use a 3rd party driver may require the driver to be re-installed - I can't confirm this, but it's worth doing if you're seeing MIDI issues. FWIW, I'm using MME for MIDI (which will almost certainly not have any MIDI 2.0 support if it exists) - YMMV if you're using MIDI via UWP.

Personally, I'd put it in the vocal track's FX bin, as the first effect - however that does depend on (a) what I'm using in the Pro Channel, and (b) whether I'm using the Pro Channel pre or post FX bin. Typically I set my Pro Channel to be post (default is pre), as I tend to use the FX Bin for sound design and the Pro Channel for mixing. But basically, you want the pitch correction to come first in the chain, as you don't want it pitch-correcting any effects on top. It sounds like you want to use this as a real-time effect while recording though... real-time pitch based effects can be really off-putting for the singer, and may actually turn out worse. By all means try it, but I suspect you'll get a better vocal take from an emotional/expression point of view than recording through pitch correction - i.e. disable the plugin during recording, then enable it for playback. You may be able to tweak it using automation to bring it in/out at various points.

A few things to try: Is there a difference in ASIO buffer size between Sonar and Tracktion? A larger buffer size might explain the drift. If you disable PDC in Sonar does it make a difference? You can either disable PDC completely in the control bar using the PDC button, or disable it for the plugin only using plugin properties (you can get to plugin properties using the cog icon on the plugin UI's toolbar). Be careful with this though - as other plugins are added to your project, the main project audio will sound "later" than time-code. Another thing you could try would be to set it as a tempo-based effect in the plugin properties page. With this set, it stops being a synth and will need to be inserted as an effect on an audio track. If you're just using the SMPTE output, maybe try using an audio track with a WAV file of the SMPTE code on it. FWIW, using the trial version, I tried recording via an aux track at an ASIO buffer size of 1024, then at 64... the output was definitely different, as playing both together with one phase inverted didn't null completely.

Have you made certain there are zero effects (e.g. Pro Channel etc) or other processing (e.g. in the hardware path) on the output of the track hosting the TXLTimecode plugin? It could even be something as simple as the signal being too quiet or too loud.

I jumped on this deal... be aware though, that the current AWS outage is causing issues with Pulse (their download manager) registering the serial number. It'll no doubt be sorted in a few hours.

Yes, they are... but from what I gather it's several months away. Also, their priority is releasing a native driver for ARM64 - the reason being, that they want people to adopt the platform, and they realise that hardware manufacturers will need time to develop/test/release their own native drivers. So I wouldn't hold my breath waiting for Windows ASIO drivers on x64. Also bear in mind that good manufacturers will tweak their drivers to their specific hardware, whereas Microsoft will be focusing on something that will work reasonably well on all hardware.

I'll plus one @Amberwolf's suggestion - use the free version of Sonar rather than CbB. If you've literally done nothing to the waveforms, you can select all of the clips, then drag them to a folder in Windows Explorer. Be sure to extend the left hand of the clip to 1:01:000 before doing so however. If you've only got 4 inputs, for the 8 track I'd recommend doing it in 3 passes: Pass 1: Tracks 1-4 Pass 2: Tracks 4-7 Pass 3: Tracks 7 & 8 With two copies of track 4, you can select all of the clips in pass 2 and nudge them together so that the waveforms in both track 4's line up exactly. Same with the clips in pass 3 (using the two copies of track 7). You can then delete the duplicate track 4 / track 7.

If the native resolution is 3840 x 2160, you'll get better results keeping that resolution but decreasing the scaling - either 150% or 200% scaling will give you much better results.

The meter options are likely different. The "missing" bits you're seeing are the peak holds. There are a BUNCH of different metering options, and it looks like you've got the inspector / console view set to different settings (which is a perfectly normal thing to do). For example, here's the options for the playback meters within the Inspector: There are equivalent options in the Console View and Track View, for Record, Track, Bus and Hardware Output metering.

What screen resolution / display scaling are you using? Looks like you've gone beyond the minimum required resolution.

All the warning is saying, is that Transient information will be lost. If you've bounced all your clips, then any stretched audio will be fine. Audio Groove clips however, need their transient information to work properly, and this information is lost in the CWB file format. My recommendation is not to use CWB, and instead either: 1. Use the new CWZ format that Sonar uses; or 2. Simply Zip up the project's folder and send that. This is in effect what CWZ is doing. FWIW, both the above will result in a far smaller file than a CWB file.

Click on the MIDI icon in the Transport Module:

This is the method I use on more complex projects. Note: Do this BEFORE you change tempo. Also, check you've not got any existing stretched clips - if you have, do step 9 followed by step 11, so any existing stretches are committed before proceeding. 1. Ensure your the Time Base for all your audio clips is set to "Musical". CTRL + A and check the Time Base in the Clip Properties Inspector. This ensures that the start times of your clips are aligned to their original measures after changing tempo. If it says "(Multi)" that means some are different, so select Musical so its the same for all. 2. BEFORE you change tempo, pick ONE clip, select it, and extend the end of the clip by dragging it to the nearest measure, taking note of the measure you chose (e.g. 94). 3. Change your tempo 4. On the clip you chose in step 2, hold down CTRL+SHIFT and drag the end to stretch it so that its end is at the measure in step 2. 5. Within the clip selected, expand the AudioSnap section in the clip properties, and take note of the Stretch Amount(%) - e.g. 77.88% 6. Press CTRL + A to select all. 7. CTRL + click the clip you chose in step 2 to de-select it. 8. Use CTRL + SHIFT to stretch the selection by a small amount - e.g. 99% 9. Edit -> Select -> All AudioSnapped / Slipstretched 10. With the selection intact, edit the Stretch Amount in the Clip Inspector and set it to the value in step 5 (e.g. 77.88%). 11. Right click on any clip, then choose "Bounce to Clip(s)" - this ensures the clips are rendered using the Offline Render method (e.g. Elastique Pro).

@Gerry 1943 - try adding a reference track (i.e. any commercial song in a similar genre to your song), and play that. If the buzzing/vibration is also apparent on that, then it's something wrong with your monitor system - speakers, any EQ that's on them etc. If it goes away, then look at your mix. Try to match your bass to the reference track. Bass is notoriously difficult to get right, especially if your room/monitors aren't up to the job. I'm sure it's got more difficult now that everything is digital, and I guess it makes sense - back in my 4-track/8-track cassette days, the bass would start to roll off at 40Hz, so it kind of corrected itself. Smaller speakers will struggle to reproduce 40Hz (a low E on a bass guitar is 41.2Hz), and what you're actually hearing is harmonics and your brain is making up the rest. This is how earbuds / small headphones / iPhone speakers give the illusion of bass. Typically a small amount of saturation/distortion on the bass is enough to let those harmonics poke out. However, it might not actually be the bass track that is the issue. Your other tracks may have a bunch of bass information that is interfering with the bass in the mix, and you're having to boost the bass track way too much to hear it. Try using a high pass (low cut) filter on any non-bass tracks. What I tend to do is, for each track: 1. Solo the track 2. Using the ProChannel EQ, engage the High Pass Filter and slowly raise the frequency until I can hear a difference 3. Back off the frequency back slightly so that difference is gone 4. Repeat for all the other tracks. Note that this is just a starting point. You may want to high pass further, (or even low pass in some instances) or use the EQ to carve out frequencies to thin out some tracks / boost certain frequencies to make them more prominent - but only do these further refinements with all the rest of the tracks playing.

It already does this (unless you exclude the Tempo Track from the arranger). But the OP wanted the same section to be played at different tempos... so you'd need to "roll out" the arrangement first.

Having fall back backing tracks should you lose your voice half way through a show, or even a tour seems a sensible thing to do. No need to cancel the gigs, and 99% of the audience wouldn't notice in any case. I suspect they'd prefer this to having the show cancelled. Far better than what they used to do in the 50's, which was to stick some guy who "looked the part" up front miming, while a completely different singer was hiding behind a curtain.

When creating an arrangement, all you're doing is marking sections of your existing project. You can then "Preview" the arrangement, which essentially moves the Now Time around, or you can commit the arrangement. Committing an arrangement is essentially big cut & paste operation on steroids, either replacing your existing project with the arranged song, or inserting your arranged song at a different point in the timeline. For what you want to do, I'd advise the following: 1. Commit your arrangement to a point after the end of your song. 2. Set your Project Start Marker to where your arranged song starts 3. Use the Tempo Track to alter the tempo as required for the part of your project now containing the arranged song Once you're happy with your arrangement you can then use Ripple Edit to delete everything before the Project Start Marker.

Just FYI - the Mackie Control is not compatible with ACT, and instead uses a different method for controlling plugins - if you look at the Control Surface page in preferences, you'll see that the ACT checkbox is greyed out for Mackie Control: Plugin parameter mapping on the Mackie is defined in MackieControl.ini ( usually in C:\Program Files\Cakewalk\Shared Surfaces ). If no mapping is defined for a plugin, the parameters are just presented in parameter order. You can edit MackieControl.ini to define your mapping, but it's time consuming, so I wrote the C4 Mapper utility to edit MackieControl.ini for you: Although it's called C4 Mapper, it works with the main Mackie Control too - you just need to set "Number of VPots" to 8, and restrict your mapping to the top row of pots. Note: C4 Mapper uses the %APPDATA%\Cakewalk\ACT Data\genericpluginparams.xml file to determine what plugins/parameters are available. This file is only populated AFTER you've added a control surface in preferences, and is updated when you exit Sonar/CbB. So if you're not seeing a plugin in the list: Open Sonar, add that plugin to an audio track, then quit Sonar. If you want C4 Mapper to be added to Sonar/CbB's Utilities menu, just run this .reg file: c4mapper.reg Windows Registry Editor Version 5.00 [HKEY_LOCAL_MACHINE\SOFTWARE\Cakewalk Music Software\Tools Menu\C4 Mapper] "Type"="Generic" "ExePath"="C:\\Program Files\\Cakewalk\\Shared Surfaces\\C4Mapper.exe" "MenuText"="C4 Mapper"

You're correct. My bad. I haven't recorded drums in years, so I'd forgotten about the change they made, and I wouldn't be surprised if my kvetching had something to do with their taking it up. My memory ain't what it used to be.... Actually, it was something that had been bugging me for ages, but I think your input gave me the motivation to do something about it. I'm not hugely into comping, but I do stick things on loop record when recording guitar solos and drum parts (I get by on them both, but I'm no guitarist or drummer). Typically I'd just keep loop recording 10 - 20 takes until I get it right. It's impossible to stop recording dead-on the start or end of the loop, so you end up stopping half a measure or so into the loop after the final take. With the previous behaviour this always ended up causing an unwanted split, which was a pain to get rid of. It's even more of a pain when multi-tracking drums with grouped clips. Having identical splits across all takes is essential for comping to work correctly, so the sensible thing to my mind was to simply extend the last take to avoid the unwanted split.