msmcleod

For audio clips, you've got 2 options: 1. Nudge the clip by 50ms; or 2. Put a delay effect in your FX bin. Channel Tools has the ability to delay tracks by small amounts, both in ms or samples. For MIDI clips, again 2 options: 1. Nudge the clip by 50ms; or 2. Use the Track Delay in the inspector. CbB only allows this to be specified in ticks, whereas Sonar you can specify the delay in either ticks or ms. For CbB, this means calculating the equivalent ticks value for 50ms. There are 960 ticks per quarter note, and tempo is specified in beats (quarter notes) per minute. So: 1. Multiply your tempo by 960 to give ticks per minute (e.g. 120bpm x 960 = 115,200 ticks per minute) 2. Divide by 360,000 to give ticks per millisecond (e.g. 115,200 / 360,000 = 0.32 ticks per millisecond) 3. Multiply this by the delay time in ms, e.g. 0.32 x 50ms = 16 ticks. So a delay of 16 ticks at 120bpm is 50ms.

In general, cheaper mixers with a USB interface only provide a stereo mix to your computer, so you can't record the individual channels. For multi-track recording, you need a multi-track interface. There are some mixers that are also multi-track interfaces, e.g. Tascam Model Series (Model 12, 16, 24 and 2400 ) - these also work as stand-alone mixers and recorders, so you get the choice of sending multiple tracks to your computer or recording multiple tracks to an SD card which you can then import into your DAW. Soundcraft Signature MTK series - similar to the Tascam Model series, except it only offers multiple track recording over USB to your DAW - i.e. you can't record to an SD card. DO NOT confuse the non-MTK series with the MTK series - e.g. the Signature 24 is stereo only, whereas the Signature 24 MTK is multi-track. This is reflected in the price, so if you think you're getting a bargain, double-check it's the right model. Zoom L8, L12, L20 - These offer both multi-track recording over USB to your DAW and SD card recording. The mixer is typical digital mixer setup rather than an analog mixer setup. AFAIK, all of the above mixers, with the exception of the Tascam Model 12 and Tascam Model 2400 record pre-EQ. In other words, it'll send the signal to your DAW before any EQ is added. This is because they're primarily designed for live use, where you'd record the clean signal to SD card/computer, and use EQ / Faders for the live mix. FWIW, this was the blocker for me with these products (the Model 2400 wasn't available at the time), so I opted for an Allen & Heath Mixwizard WZ3 analog mixer connected via its direct channel outs to 2 x Fostex VC8's which in turn go to an RME Digiface USB. If you don't mind not using a mixer, you any audio interface with ADAT inputs will suffice. For years I used the Focusrite 18i20 with a Behringer ADA8000 connected to it via ADAT - this gave me 8 inputs via the 18i20, and a further 8 inputs via the ADA8000. All the major manufacturers do equivalents, each with their own unique features. What you're looking for is an interface with at least 8 analog inputs as standard, and an ADAT port for additional inputs. As far as ADAT expanders go, the Behringer ADA8200 has now replaced the ADA8000 and has better pre-amps. Focusrite have their own equivalent expander in the Octopre, and there are plenty of others by other manufacturers.

Doesn't the Backup/Restore Settings feature in preferences work with these interfaces? I don't have these exact ones, but the last time I used them to switch between my RME and Focusrite, it worked fine.

I believe you can load VST3 in SONAR 8 by hosting them Patchwork from Blue Cat Audio. You insert patchwork into your track as a VST2 effect, then load the VST3 within Patchwork itself.

SysEx view is there. You're probably using the Basic workspace - set it to Advanced or None.

yeah, it's just not my controller of choice. The physical footprint for 16 faders is amazing (especially compared to the Mackie MCU, and even more so the HUI which is huge). But I can't get over only having one rotary control, and the rubber transport buttons just aren't as nice as proper mechanical transport buttons. My controller of choice in my office is a modded Yamaha 01X - the mLAN card has been removed, and replaced with a dongle that routes the CS I/O to the MIDI ports at the back. It still works as a digital mixer too - just not as an audio interface. Next to it is a Mackie C4, which I'm so used to I really can't live without!

I may have a FaderPort 16 - but it's boxed up in the attic at the moment.

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: