msmcleod

I've just given Melda's MHarmonizerMB a try, and it works really well, using it's "Basic Shifter" module: You can adjust and/or automate the Pitch control as needed. I've found the quality to be best with the formants "Keep" setting to 0.0%, assuming of course you're not shifting too far. For larger pitch changes, you'll probably want to increase this setting.

That's a very nice setup. I always dreamed of either the 238S (or the 688), but they were always out of my price range and by the time I could afford one, I'd already gone digital. I used the Yamaha MT8X for years, even after I'd started using Cakewalk CWPA. I only really retired it once I'd got used to my Yamaha DS2416 cards. I knew I'd be going digital at some point, so I went for the MT8X over the Tascam 488 because it had individual track outputs for later transfer. The MT8X was pretty basic. It did have a couple of location points / loop record points, but apart from that, MTC sync was a "tape must be master" affair. Sound quality was fantastic though. A friend had the 688, and honestly we couldn't tell the difference in quality. One thing I did swear by was Maxell XL-IIS cassettes (although the XL-II's were good too). I recently found a few old tapes in the attic, some TDK SAX and one XL-IIS. The TDK's were garbage, but the Maxell sounded like it was recorded yesterday despite being 30 years old. My mate with the 688 swore by the Maxell tapes too. Very hard to get hold of those tapes nowadays, and pretty pricey when you find them!

Groove clips can do this used in conjunction with pitch markers. Every time the pitch marker changes pitch, the clip is transposed in real-time.

As @Wookiee says, the XV5080 does everything that the JV1080 does plus a LOT more. The XV5080 is a much more powerful synth, but as such, editing patches is more involved. Not saying the JV1080 is a simple synth by any means, but it is less intimidating in some respects. Personally, given the choice I'd choose the XV5080 every time.

This is exactly what would happen in this case. If you stop, then want to start recording again, you'll need to manually mute the last take before recording again.

Just out of interest, how will this work using Sonar as a master? When I did this in the past, I used my used my PPS100 to generate SMPTE code and recorded it on track 8 on my 8-track. I then told the PPS100 that measure 1:01:000 started at exactly 15 seconds in, and set Sonar to slave. At that point, I could record on both Sonar / 8 track. It was always the tape machine that was in charge though, because it was playing back the time-code into the PPS100, which was then sending MTC to Sonar. My tape machine had no feature to locate to a specific location.... maybe your machines do? I get how Sonar can tell your MOTU what the time is... I'm just curious as how the tape machines sync up their time-codes to sync with each other / with the MOTU.

I upgraded all of my Win 10 machines to Windows 11 (four of which weren't "compatible" win Win 11) a couple of weeks ago. All you need is a spare 16GB (or larger) USB stick. 1. Download Windows 11 ISO from Microsoft 2. Download "Rufus" ( a bootable USB stick creation utility) 3. Point Rufus as the Windows 11 ISO, and tell it to put it on your USB stick. 4. Rufus will detect it's a Windows 11 installation disk, and ask whether you want it to remove the TPM / CPU checks from the the install script, among other stuff like removing bitlocker / forcing online MS account etc. Check the various options, then allow it to continue. 5. Once created, don't reboot - simply open up the USB drive and click on setup.exe I had zero issues with all of my machines, and they've done at least one update since then without issue. The vast majority of software didn't need re-authorizing, with Magix / Overloud / XLN Audio being the exceptions... but all of those allow you to remove old computers online, so not an issue.

Assuming you've got a full size keyboard, to the right of the function keys, you'll see the Print Screen, Scroll Lock and Pause buttons. Scroll Lock stops the clips view from scrolling when the now time goes off to the right. Pause causes the screen to update only once a second - I think this is what you're referring to.

In the past, I've always found Cakewalk is better as a slave than a master... mind you it's been a long time since I've done it, and PC's were a lot slower then!

Try this: 1. Select the existing synth track (or if a split instrument, the synth audio and MIDI tracks) 2. Save it as a track template. 3. In the new project, insert the track template. 4. In the old project, copy special making sure it copies track envelopes 5. In the new track, make the first newly inserted track the active track and ensuring the now time is at zero 6. Paste into the new project At that point you should have a copy of the synth and its envelopes in the new project, so you can now copy the envelopes as necessary to other tracks.

Something else will reside where it used to be. It's not fully baked yet though.

Audio export runs at a much higher speed, and unfortunately not all plugins work properly when they're running at top speed (the vast majority do though). It could of course be project corruption, in which case re-creating the problem track will probably fix it. The way to determine this is to do a real-time export. If the real-time export works, then it's a plugin problem; if it's still wrong, then look at recreating possible problem tracks.

^^^ This... well actually, not your master bus, but the master fader for your hardware output. Your hardware output fader should always be at 0.0, then adjust your master fader accordingly. It's fine to also have your master bus fader at 0.0, but you must have your hardware output fader at 0.0 for it to export at the same volume.

@Milton Sica - it's always worth running your English translations back to Portuguese just to check it makes sense. Sometimes it just needs rephrasing for the translator to do a decent job.

Do NOT do this. Running a program as administrator gives a program unrestricted access to all aspects of your machine. Any plugin will also have unrestricted access, and given that these can come from any source (esp the free ones), this is extremely risky. Sometimes it's necessary to do this temporarily for older plugins (i.e. Cakewalk Dimensions), but you should not run as administrator as a matter of course. You can disable the prompt as follows: Disable the UAC dialog box via User Account Control Settings 1. Press the Windows key, type control, and select Control Panel. 2. Select User Accounts from the list. 3. Now, click the User Accounts option. 4. Go to Change User Account Control settings. 5. Now drag the bar slider to Never notify. 6. Press the OK button to apply the selected setting. 7. Click Yes on the UAC window that opens.

If you're only using delay, Pre/Post will be the same thing. Pre/Post only comes into play when you have other processing going on - i.e. Pre delays before any other processing, Post adds delay after other processing. Using Pre and a delay only on one side of a stereo signal could radically affect how MS processing is handled.

@chamlin - not seeing any issues with that workflow here. I set an 8 measure loop, with a 4 measure punch in/out in the middle, and it's correctly recording the 4 measures every time. What might be the issue, is: "Then, without touching any settings, I hit record again, but this time, my recorded tracks are offset 7 measures forward, which results in the recording being misaligned, and 7 measures not recording" Check your "On Stop, Rewind to Now Marker" setting in TV Options. If this is unchecked, and you don't touch anything before pressing record again, then recording will start where you left off (assuming that's between the punch points). I'd recommend either: - Making sure "On Stop, Rewind to Now Marker" is checked, and ensuring the now time is at the beginning of the loop before you start recording (pressing W once or twice will ensure this). Then when you stop, it'll automatically rewind back to the beginning of the loop for you, so you can immediately press R. OR - Get into the habit of pressing W before pressing R again so you start at the beginning of the loop. If neither of these solves your problem, please post a video of what is happening ( Screen2Gif is a free and easy to use utility for grabbing screen videos). Be sure to record the whole screen, as the state of other options in the control bar may give us a clue to your setup and what could be causing the issue.

You could use an articulation map to transform CC#1 to CC#11 or vice-versa. This will transform the CC#1 to CC#11 in real time without you having to modify the underlying MIDI events. If you want to change the MIDI events later, you can right click on the articulation and use one of the Apply options. This will change transform the MIDI data directly, and remove the articulation from the articulation lane: Note that you can have more than one transform per articulation, and a single articulation map can have up to 255 articulations, so you can build up a collection of transforms you use regularly, then simply draw the appropriate articulation in the PRV when required.

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.