msmcleod

1. Place the now time where you want to insert the measures 2. Select "Insert Time/Measures" from the Project menu 3. Enter the number of measures in the "Insert" box, make sure the "Measures" radio box is selected and all the checkboxes under "Slide" are checked (they should be by default), then click OK.

Holding down CTRL + SHIFT, then clicking any folder expand/collapse button will expand/collapse all track folders. Doing this forceably sets the state of all folder tracks, so should sort this issue out.

That was the initial plan for my room, except it's 1.5m x 7m, so there's literally no room for them. ARC did the job in any case.

You could have the best monitors in the world, but they're worthless if you put them in the wrong room or even in the wrong position in a room. An extreme example would be to put them in a tiled bathroom - nothing is gonna sound good there. Almost every room has issues with certain frequencies. If the frequencies your having problems with in your vocals also happen to be frequencies that your room either masks or boosts, then you're going to having issues mixing. No speaker is going to change that. The point is if you're not hearing the frequencies properly, regardless of your mixing skills you'll be making the wrong EQ decisions. For example, say your room has a dip at 350Hz or at 800Hz - you think everything sounds thin, so you boost the frequencies around there. However you then play it on another system, and everything sounds muddy or nasal. You've boosted a frequency because you can't hear it properly - not because it's not there, but because your room has EQ'd it out. The main issue in my room was my bass response was overly exaggerated. Moving the speakers away from the wall helped, but my mixes still had almost no bass when I played them elsewhere. I heard too much bass so I turned it down. But the problem wasn't that there was too much bass in my mix, the problem was that my room was boosting the bass, making me think it needed turned it down. ARC corrected the frequencies (as it happens, there were other frequencies that had issues too), and right away I heard my mixes with nearly no bass like I heard them elsewhere. I remixed (essentially turning the bass frequencies back up), and it sounded great wherever I played them. What room treatment software like ARC Studio do is measure your room's response from 20Hz to 20Khz with a swept tone. Measurements are taken in several places around your listening area. The software then attempts to boost or cut the frequencies to give a flatter response. It probably won't solve problems like standing waves or reflections, but it can go a long way. It's definitely worth getting a measurement mic and some measurement software and at least going through the process of measuring your room. You can get measurement mics for around $50 -$100, and there is free software out there. In the old days, commercial studios got people to measure their rooms in this way, then used a stereo 32 band graphic EQ to draw the inverse curve of what was measured - the software (and the ARC Studio hardware) are just doing the same thing.

That's because you're selecting it from the Track filter - so track is implied.

Hovering the mouse over the marker and pressing delete won't delete it - because as you said, hovering doesn't select it. You need to left click on the marker and press the delete key while the mouse button is down. Either that, or delete them from the markers view. I agree it's not intuitive, but it's been that way for a while, and will likely stay that way until the current marker view is replaced. It's been discussed, but nothing has been planned yet.

The Pitch knob can be turned down to -24 (2 octaves), which will bring that down to 5Hz.

Linux is by far (IMO) the best choice for a server, and it's great for complex embedded solutions. It can get by pretty well as a simple desktop solution if you're happy using Open Office/Libre Office or doing some web browsing - but good luck getting your printer to work, unless you're happy to compile/install some home-grown printer drivers. As a DAW platform, just don't bother - it's really not worth the hassle, and there are zero benefits.

I'm in the process of looking at this one... it's a tricky one. No workaround that I know of, apart from removing the tempo entries.

The most important rule is to know your monitors. This takes hundreds of hours of listening to good mixes (from other people) on those monitors, in your mixing room, sitting in your mixing position. Try to listen as big a range of songs you know really well as much as possible. While this won't remove any deficiencies with your room/monitors (and FWIW every room has them), you'll at least be at a point where you know what sounds good or bad in your room. Pick a reference track from that list of songs that closely resembles your song and put it in your project - level match it to your project, then mute it, then every so often compare it to your song. Listen carefully to things like the balance between vocals / instruments, and how boomy or loud the bass is. If you're getting big discrepancies between different speakers/rooms though, I'd recommend some room correction. I bought ARC 2 years ago, and the difference was night & day. I'd take a look at IK's ARC Studio, which is a hardware unit - it sits between your audio interface and your monitors. If I didn't already have ARC 2, I'd have bought it by now. Oh... and if you are going to invest in any room correction, do this before you start listening to stuff for hundreds of hours... else you'll need to start listening from scratch!

From the Cakewalk Sonar website FAQ's: "Is Cakewalk Sonar replacing Cakewalk by BandLab? Cakewalk Sonar builds and improves on Cakewalk by BandLab, offering advanced technology, effortless workflow, and an interface that amplifies inspiration. You can still access Cakewalk by BandLab here, but it will soon be phased out. We will continue providing community support and maintenance for Cakewalk by BandLab until both Cakewalk Next and Sonar become publicly available. Existing Cakewalk by BandLab users will be able to continue using the software after the release of Cakewalk Sonar. In the meantime, Cakewalk by BandLab continues to be available here." "Will Cakewalk by BandLab be discontinued? Yes, eventually. We will continue providing community support and maintenance for Cakewalk by BandLab until Cakewalk Sonar becomes publicly available. At some point after the release of Sonar, Cakewalk by BandLab will no longer be supported. Note that existing Cakewalk by BandLab users will be able to continue using the software after the release of Cakewalk Sonar. In the meantime, Cakewalk by BandLab continues to be available here." TDLR: Existing users of CbB will continue to be able to re-activate and use CbB even after the release of Sonar. It will eventually be phased out, but we've no immediate plans to do so. There may be a point in between however, where new users will be unable to download and/or activate CbB.

Delete Aud.ini from %APPDATA%\Cakewalk\Cakewalk Core

It'll be there for the next update.

For CC control, you're much better off using the ACT Control Surface rather than the Generic Control Surface. IIRC the Generic Control Surface was there more as an example for control surface manufacturers to reference if they wanted to use the Cakewalk Control Surface API to create their own custom surface DLL. AZController can do just about anything, but unless you're technically minded, it can be a challenge to set up. That being said, there may be an existing preset for your device that you can download on @azslow3's website, or some of the users there may be able to make one for you. In any case, here's how you set up ACT: Here's another with a bit more detail on changing the defaults: And here's how you map plugin parameters:

Melda's MOscillator will generate waves of any frequency - e.g. a sine wave at 5Hz or something. That could easily drive a side-chain. It's an effects plugin (rather than an instrument), and it's free. For separate left / right signals you may need to put them on separate tracks, output to an aux, then use the aux output for your side chain input.

Steve Rothery (Marillion), Easter...

I can't reproduce this - the automation envelope automatically gets focus when I select the notes, so pressing delete only deletes the nodes. I've tried this both by drag selecting on the envelope, and individually clicking on nodes. I also tried using a normal automation lane vs track filter in the main clip.

OMF doesn't contain MIDI, just audio. In any case, you don't need to export anything from Sonar X1 to load it into Cakewalk by BandLab... Cakewalk will load projects from any previous version of SONAR or Cakewalk Pro Audio.

BandLab Assistant cannot be used for authorisation any more as the old activation servers are no longer active. Cakewalk by BandLab will automatically authorise itself when it needs to, assuming you have an internet connection. For authorisation to work, you need to make sure you're running the latest Cakewalk by BandLab (2024.02 at the time of this post): https://www.bandlab.com/products/cakewalk#download Offline authorisation can be done via the Cakewalk Product Center:

Are you using the ASIO driver for an on-board Realtek audio device? This is known to cause Cakewalk to freeze. ASIO4ALL can also cause similar problems. The fix is to switch to WASAPI - either WASAPI Exclusive for low latency, or WASAPI Shared to enable you to continue using your audio device with other applications while Cakewalk is running.

That's because you've not got any CC64 events to adjust. You need to draw them in / record them first.

We're not aware of any bugs in the arranger, and FWIW Next uses literally exactly the same code. The only thing that might give you unexpected results is the event overlap threshold... just turn it off, or set it to a very low note value. It's designed to include notes that start or finish slightly before/after the section boundaries. This can be useful if you've got unquantized piano parts, but really, using the arranger for anything that isn't snapped to the grid (at least on the section boundaries) is asking for trouble. I'll quite often have unquantized parts in a song, but I always make sure the start/end of of a verse or chorus always start/end exactly on grid. This removes the need for the event threshold completely.

Both these solutions are correct. To get around the arranger issue, add a single audio track to your project or a simple instrument track. Also I'd highly recommend turning off the event overlap threshold unless you absolutely know what it does and what to expect. On the rare occasions I use this, I'll set it to 1/64th note or 1/128th note, but certainly no higher unless there's a specific case involving a single section where I need it to pick up a leading note.

Reaper and Ardour are probably your best choices - maybe also look at Harrison Mixbus (which is based on Ardour), and Rosegarden. Your main issues however are going to be audio interface drivers and plugin compatibility. RME do linux drivers for their older interfaces, but AFAIK no-one is doing linux drivers for more modern audio interfaces. Plugin support for linux however is very limited.

Anyone who has had to study Bach chorales will have had the "classical rules of harmony" ingrained into them, e.g. don't double the 3rd, don't move intervals of 4ths or 5ths 'cos it sounds modal (so power chords are out), 7ths have to be prepared and must be resolved... there's a bunch of them. Then there's rules of counterpoint harmony... again a bunch of them. Knowing these rules can actually be advantageous, as applying them, say, to a string quartet sounds way better than not using them - assuming of course you want a "classical" sound, and by that I mean both classical genre and classical period. However like any rules you need to know when and how to break them, and more importantly you've got to let yourself break them too. If you've had strict classical training, this can be difficult as some people really do see them as rules. Certain chord progressions can sound wrong because you've been taught to recognise them as wrong, and this can kill creativity (I'm speaking from personal experience here). The way I got around this was to apply the same analytical techniques to modern pop/rock music (as well as jazz fusion and more modern orchestral music) as I did in my classes when studying classical music. Anything that sounded cool that was "wrong" according to my training, I analysed and worked out what was going on. It then got added to my toolbox. However I suspect the vast majority of people don't get forced into harmonising several chorales a week for years on end, and for those learning more theory can be a huge benefit to creativity. Just knowing scales, keys, how chords are formed, relative major/minor keys, different modes etc can broaden your understanding incredibly. Simple things like changing modes, or chord substitution can make your music way more interesting.