msmcleod

These are artists I'm pretty sure have influenced me (as opposed to ones I just like): Genesis (and solos - mainly Hackett/Collins/Banks) Rush Yes It Bites Camel ELO Pat Metheny Group / Lyle Mays Pink Floyd Bruce Hornsby The Eagles / Don Henley Chet Atkins Marillion Spock's Beard

I highly recommend these ones - the 8x8 has been rock solid for me: https://www.thomann.de/gb/miditech_midiface_8x8.htm https://www.thomann.de/gb/miditech_midiface_4x4.htm The M-Audio MidiSport range are also good, but seem to be discontinued. Personally, I've not had much joy with ESI MIDI interfaces.

There's a couple of important differences between USB and MIDI 5pin DIN: - USB runs at full USB speed, whereas MIDI 5pin DIN runs at 31250 Baud. This isn't normally a problem for using USB as a MIDI In, but when using it as a MIDI out, it can cause a bottle-neck as it is receiving data from your DAW at full speed but pumping data back out at 31250. This requires it to be stored in a buffer while it's waiting in the queue. Cheaper USB interfaces have a very small buffer, which typically leads to loss of MIDI messages. - USB MIDI interfaces require a driver... and yes, even if you're using a DIN socket, it's probably going to be connected to a USB MIDI interface, but the difference is that dedicated MIDI interfaces (e.g. M-Audio MidiSport, MidiTech, MOTU etc - or the MIDI interface on your audio interface) have drivers that tend to work for a long time. Drivers that come with keyboards or keyboard controllers do not tend to get updated when Windows goes to a new version, as those keyboards get replaced by newer models far more often.

Make sure Mackie Control is the first device in you Control Surfaces list - it sounds like it might be the 3rd in the list. Alternatively, go to the Mackie Control panel (Utilities menu->Mackie Control) and click the "Configure Layout" button on the bottom right. Then turn the v-pot on channel 1 to the right until the tracks show 1-9. Then click the button again, and save your preset.

Notion 6, Finale (v25 and above) and Sibelius all support Rewire, which I think are the top 3 scoring packages out there.

SHIFT-clicking the envelope activates it in the track filter so you can right click and delete. If you've more than one ghosted enveloped, you want to make sure you've picked the right one.

I tend to keep sound design & mixing separate. Get your guitar sound sorted first. TH3 is certainly good enough to get a good guitar sound - part of that chain within TH3 may well include a compressor. Concentrate on getting your guitar track down with a sound you're happy with; worry about channel strips etc once all your tracks are down and you're ready for mixing. There's a good reason for this: You may find that at the mixing stage, the EQ'ing / compression / etc you apply to make your guitar fit in the mix, may make it sound completely awful if you solo it. This is perfectly normal - at this stage it only matters how it sounds in the mix. Most of the time you shouldn't need to go back to TH3 (i.e. try to avoid that). Just do what needs done to the track afterwards to get it to fit in the mix.

All the snap values are key bind-able, so you could easily bind a key to switch between them, or add it to the custom module.

I guess you could do a CTRL + A to select all, right click on a clip then Lock Position/Lock Data to lock all the clips. But to be honest, the easiest way would be to just make a backup copy of your project. Another way would be to take a mix snapshot so you could always go back to the original.

@razor7music - I've got this one in my collection and totally forgot about it: https://8dio.com/instrument/songwriting-guitar/ It comes with a bunch of guitar licks you can string together to make solos. Best of all, it's free! The keys in blue each play a different lick (there's 5 nki instruments, so essentially you've got 5 banks of licks). All of the licks conform to a single key signature. Two of the nki instruments are in C, whereas three are in G. The red keys in the lower register pitch shift the key of the riff into whatever key you want. The yellow keys at the top apply various effects presets to the lick.

IMHO, the best value controller out there (if you don't mind not having motorized faders) is the Korg nanoKONTROL Studio. The nanoKONTROL 2 is also very good value, but obviously you get limited control and the faders are very small. I regularly use both: the nanoKONTROL Studio is in my office, and the nanoKONTROL 2 is mounted on my studio wall next to my vocal mic so I have transport/mix control while I'm doing vocal takes. The Presonus FaderPort 8/16 are excellent value and have native CbB/SONAR support. The only downside is the the "shared" v-pot for all channels. The desk footprint of the Faderport 16 is very small - it's almost the same as the original MCU - so you get 16 channels using up the same space the MCU uses for 8. The Behringer X-Touch is also an excellent buy, and is the closest to a real MCU. You can get a CbB/SONAR overlay here: https://store.birchwoodstudioandevents.com/Sonar-Overlay which will ensure the buttons match what CbB is expecting. From what I can see, the X-Touch seems to have all of the MCU buttons so you should get support of all CbB's MCU functionality.

This is over simplified, but basically : Cakewalk is a largely a musical time based DAW. The absolute time (i.e H:M:S:F or samples) for any event is calculated based on the tempo map. When the audio engine is running, it's running in samples... however it relies on the tempo map to convert to/from musical time. So having tempo changes based on a particular absolute time makes no sense in this context, as it's the tempo changes themselves that dictate the absolute time at any point in the time line. It's a complete chicken/egg situation. Technically, there may be some ways around this, such as: Converting the start of your tempo change back to musical time based on the previous tempos, and inserting it there Adjusting the start of any future tempo changes accordingly. However, there's a huge risk that the future tempo changes could actually end up being before or in the middle of the tempos you're actually inserting.... cos, well, you've changed the tempo, so the equivalent absolute start times of all the other tempo changes have now changed too. So currently, the only way to ensure a clip starts at exactly the time you want is: Bounce your clip to audio Set the bounced clip to absolute time This will ensure the clip with all its tempo changes "baked in" will be aligned to absolute time. You could do this as a temporary measure until you're happy everything is where it should be, then adjust your tempo map at the end, and go back to using the original MIDI clips. Adding the bpm at the end of the temporary audio clip name may help in identifying where you need to put your tempo changes. Another solution may be to use Process->Fit to Time to stretch the events to fit the tempo (or indeed the tempo map to fit your events). I appreciate this may take a bit of "getting your head around", but I hope this makes sense!

We'll look into this one.

Cakewalk currently does not support MIDI 2.0 - we'll be working closely with Microsoft when they natively support MIDI 2.0 in Windows. Pitch Bend is a channel event, which means it'll affect all notes on that channel. Polyphonic after touch is the only note specific event available, but very few synths support this (most only support Channel after touch). Using after touch also would limit you to only bending up, or bending down. The way I've done this in the past is to use a CAL script to split each note into separate tracks and channels, then move these tracks in to separate lanes (making sure the MIDI channel of the track is set to "None"). This way I could apply pitch bend on a specific lane/channel/note. This could be done either by recording the pitch bend, or by using an automation curve. As I was using hardware synths at the time, this involved creating a multi-patch with the same sound on each MIDI channel. I think @Promidi 's idea of using a second instance is probably the easiest for VSTi's.

This isn't as straightforward as it seems. Many of the MCU emulations send more than one button press message with the pressing of one of their buttons. So it's not a case of just mapping one button to another. I guess it's possible to write your own control surface DLL to deal with this (feel free - the SDK is here: https://github.com/Cakewalk/Cakewalk-Control-Surface-SDK ), but other than that the only other route is AZController

@natalini - FWIW quite a few of the team have surface books to test touch-screen functionality. Is there anything specific that isn't working for you?

Maybe I'm misunderstanding you, but I think you can do this already:

There are a couple of things that could make this happen: - A "hidden" automation envelope - i.e. you've deleted the lane, but not the envelope itself (this could be the result of an accidental copy/paste of your envelopes) - Using remote control / ACT / generic surface control on your faders, with a VSTi outputting MIDI that is somehow being routed back to the faders. The best thing would be to post your project (either here, or PM me or @Jonathan Sasor ) so we can take a look.

There are a couple of things that could make this happen: - A "hidden" automation envelope - i.e. you've deleted the lane, but not the envelope itself (this could be the result of an accidental copy/paste of your envelopes) - Using remote control / ACT / generic surface control on your faders, with a VSTi outputting MIDI that is somehow being routed back to the faders. The best thing would be to post your project (either here, or PM me or @Jonathan Sasor ) so we can take a look.

The transport, faders, vpots & display will likely work with either the Cubase, Ableton or Studio One profiles. But all the other buttons will do the wrong thing. It might be worth looking at the Presonus FaderPort (8 or 16), the Mackie MCU Pro, the QCon Pro G2, or the Behringer X-Touch.... all of which are cheaper than the SSL and offer more features.

Look at the nudge settings in Preferences->Customization->Nudge. You can configure up to 3 different nudge timings, and use the keypad (with numlock ON ) to move the selected clip(s). https://www.cakewalk.com/Documentation?product=SONAR&language=3&help=Arranging.25.html

Yes - IRRC the first thing it does is apply the region effect, then continues with the bounce.

Bouncing the track has other options, like applying the track fx & automation, whereas Render Region FX only applies the edits you've made in Melodyne.

Interesting... strange, because Cakewalk follows the exact same code path right up until it calls into the Windows API. Only at that point does it decide whether to make a standard MME call or a UWP call. Maybe it's a Windows UWP issue, or perhaps a specific MIDI driver issue when using it under UWP. Personally, because I use older MIDI interfaces (e.g. the original MidiMan MidiSport 8x8), I always use MME.

This is most probably the cause. If you're using ASIO, you can tell Windows not to open a particular device as part of "Windows Sound". It was fairly easy to do this in Windows 7, but it's a bit more hidden away in Windows 10. If you're using any of the other driver modes though, you need to make sure that the Windows sample rate is the same as you want to use in CbB. This isn't strictly required for WASAPI Exclusive, but not all devices support this. So err on the side of caution - just make them the same.