msmcleod

A word of caution regarding software that migrate your C drive... make sure you have the option to also copy over the drive partition id, or at least change it once you've copied it over. If the software doesn't do this, then expect to have to re-auth a bunch of your software, as it'll likely see it as a new machine. Personally, I use Clonezilla to clone the whole drive to a new one, then PartitionWizard to resize the partitions as necessary. Both apps are free, but for this to work your new drive will need to be at least as big, or bigger than the original.

It's an option when you Save:

As it stands, you pick "Arranger Sections" from the source category then choose which arranger sections you want to export in the sources area. You can easily do separate tracks / buses by using the selection fly-out, soloing the tracks/buses you want (or muting the ones you don't), and adding separate tasks for each one. With your suggestion, there would be no way to chose which arranger sections you wanted to export.

It may also be that your articulation map isn't set up comprehensively. In more complicated VSTi's it can take more than one keyswitch to properly apply the articulation - e.g. it takes one key enter a particular "mode", then another to apply the correct articulation. In these cases it's important to ensure that each articulation sends all necessary notes to ensure it's entering any such mode before sending the articulation note - regardless of what mode it could be in beforehand, and optionally "ends" with exiting whatever mode it entered. If you play in the middle of an articulation, the current articulation should trigger. There's code to ensure this happens. Articulations are always sent out before the notes in each track, although some VSTi's require a small amount of time to actually do the switch.

When you freeze tracks, the resultant audio file is written to either to the project audio folder, or your global audio folder - depending on your per-project audio setting in each project. If your projects are on already your D drive, then I suspect it's going to the default global audio folder on your C drive. You can specify a different directory in Preferences: However - it's important that you move all of the existing files in C:\Cakewalk Projects\Audio Data to your new audio folder. Otherwise, you'll get missing audio in your projects.

AFAIK, to record external synths in an export, all you need to do is: 1. Ensure both Audible Bounce and Live Input is checked in the audio export dialog: 2. Create an Audio track, with it's input set to whichever inputs your synth is connected to, and have it echo enabled, e.g.: If you find latency is an issue, then record the audio track first, and disable the input echo on export. This is what I did when I used hardware MIDI synths exclusively - I always recorded audio track versions of each synth before doing the export.

If you're also using your main audio interface as your Windows audio device, although it doesn't matter what bit depth Windows has your interface set to, most interfaces don't support different sample rates between Windows and ASIO. So it is important to make sure the Windows sample rate is set to your Cakewalk project sample rate. Also, although Cakewalk will attempt to set the sample rate of the interface to match your project, not all interfaces support this and will require opening the ASIO panel to change the settings. Of course all of this can be avoided by using your on-board sound device for Windows audio, and your audio interface exclusively in Cakewalk. If you need both to go through your speakers, get a Big Knob to easily switch between them...

FWIW - I'm still using a 3rd gen i7 with the integrated graphics, and Cakewalk runs absolutely fine with it. In fact, the only apps that seem to struggle are NLE's, and that's only during export. Of course, most modern games are out the question too.

I had a total nightmare upgrading from 1903 - six months of BSOD during the update, then it rolled back. Eventually, I found the cause: two drivers... 1. An old Korg driver ( I think it was the USB driver for the nanoKONTROL series) 2. An old Native Instruments ISO driver ( I think this was previously used in Windows 7 for mapping ISO files to fake drives for installing). Once I'd uninstalled these drivers, I successfully upgraded Windows 10. So basically, uninstall all unused / old drivers. You can do this from Device Manager - make sure you have "Show Hidden Devices" checked in the View menu. I found DriverView by NirSoft useful for getting a list of all drivers on the system, along with their location/filename. This way, I could rename/delete the underlying files too.

Cakewalk tells Control Surfaces when tracks are armed, or the transport is recording. So, all you need to do is write a simple Control Surface DLL that listens out for that, and sends out the appropriate MIDI message to another device which relay. An Arduino should do it - and you can even set these up to look like a class compliant MIDI interface, but you can use the in-built serial ports, or a MIDI "hat" as well. If you don't want to write your own Control Surface DLL, @azslow3's AZController will do the job - I used it when testing some Arduino based hardware controllers I was building.

Normally when sharing a reverb on audio tracks, the reverb is set to 100% wet and you have sends going from each track to control how wet you want each track. When working with multiple MIDI channels on a multi-timbral synth, reverb works in a similar way. The global reverb level is usually set to a high volume, and you then use the reverb send level of each MIDI channel to determine how much of a "wet" signal you want for that sound. If the the send level is high compared to the channel volume, it'll sound wetter; if the send level is low compared to the channel volume, it'll sound dryer.

Aural Exciters and Enhancers attempt to add back high frequencies.

Dirty CTRL key perhaps? It is a key that is used a lot.

Personally, I'd set up a project template that matches the track setup you have - so basically, 20 tracks named and ordered in the same way you've got it set up on your Ui24R. When it comes time to import, just create a new project based on that template and drag the tracks into it.

A few years ago, I went through all my old projects and converted them to CbB projects. For years, I only used hardware synths/modules, so I used SampleRobot to create samples of all of my hardware instruments, and saved them in SoundFont format (I could have used Kontakt, but my SF2 player is much lighter on CPU). I've got a lot of modules, so it took a while to sample them all. On average, it took 24 hours per bank of 128 patches, preceded by an hour's prep choosing the options for each sound (i.e. length of the sample / is it looped or a one-shot / number of keys & velocity layers). Once the prep work was done, I just clicked go and let it do it's thing. I then went through all of the projects converting the MIDI tracks so Simple Instrument tracks using my SF2 player loaded with the appropriate sample. So not only have I got all of my projects in the latest Cakewalk format, I can play them on any of my PC's without needing the hardware modules - and of course I now have access to all of my hardware sounds on all of my PC's. The only downside is editing a patch, which means editing it on the hardware module and re-sampling (although the re-sampling for one patch only takes 10-15 mins).

There's no need to "write" rests in the PRV. A rest is simply an absence of a note. Take the following phrase: This is how it looks like in the PRV: The PRV works in exactly the same way as an old Piano Roll Player piano does... ... i.e. it only has holes for where it has to play a note, and the length of the hole is how long the note is held down. It doesn't need to be told not to play one. Drawing a note in the PRV is the exact equivalent of the holes in a piano roll.

^^^^ This

I find Melda's MLoudnessAnalyzer more useful than MAnalyzer for LUFS, as it shows a summary of all the levels as well as the usual analyser window. AFAIK this is also in their free bundle.

Although you can set the metronome to play during playback, the count-in only works for recording. If you need a count-in during playback, the only way to do this is to shift your project along by a measure or two. You can do this by: Set the Now Time to the beginning of the project From the main menu, select Project->Insert Time/Measures Enter the number of measures you want to shift by, make sure all the check-boxes are checked, then press OK.

You should be able to have effects on and hear them while recording (just enable input echo on the track), but obviously latency is the thing to watch out for. There are quite a few auto-tune type effects around now, so you could try some of them out to see which is the least heavy on CPU. Another approach that might work, would be to bounce the backing into stereo mix, and temporarily archive all of the other tracks / bypass all effects on your master bus. This would mean the only effect being used in the project is your auto-tune on the vocal track, and should allow you to reduce your buffer size.

I think @Lord Tim's post with the baker's analogy and @azslow3's post sum the situation up quite nicely. Cakewalk by BandLab/SONAR are heavily reliant on the Windows operating system, and are extremely "Windows Compliant" in that regard. That's why much older versions of SONAR will work on more modern versions of Windows, largely without issue. This is mostly due to historical reasons. Cakewalk/SONAR has always been based on Microsoft technologies - first on DOS, and then on Windows. It leverages as much as it can from the operating system to make it perform well, which was very much needed on the slow hardware of the past. The SONAR for Mac project (which was before my time as a staff member) looked into ways at getting it to run on a Mac with help from the guys at Codeweavers. It did pretty well to be honest, but there were a bunch of performance issues and plugin support was a nightmare. To cut a long story short, to make it work well would have taken too long to develop, and cost far too much - something Gibson at the time was not prepared to fund. As @azslow3 has mentioned, various versions of SONAR have run on Linux in the past under Wine (in fact our CTO, Noel was on the Wine team for a number of years), and again this was due to the tight integration with Windows, enabling Wine to handle the various calls correctly. Plugin support and performance were yet again the main issues though, and the same time/cost issues apply to making it a Linux native app. I developed on / managed developers working soley on Linux for 11 years prior to joining the Cakewalk team, and for many years prior to that had to work with both Windows and Linux. I personally think it's an awesome operating system, but not for running a DAW on (in fact, I've pretty much Linux for everything apart from running a DAW). It's not that it's not capable - it certainly is - but lack of professional driver support and lack of commercial plugin support make it a non-starter for the majority of users.

If it sounds different under WASAPI, then it could be that you've got some of the Windows "sound enhancements" switched on, such as: Low Frequency Protection Room Correction Loudness Equalization Spatial Sound Go into the "Sound" part of settings, then look at the device preferences. You definitely want these switched off when using any DAW.

I used the older TC-Helicon VoicePrism Plus live for years - not for auto-tune, but for the voice modelling & feedback destroyer. There was a setting that would make normal singing sound as if you were belting it out... fantastic for a 3 hour gig and being able to still speak afterwards! It could also add rasp to your vocals, and the weird thing was by practicing with the rasp on, I actually managed to develop a natural rasp myself... I wonder if that'd work for tuning too? I later upgraded to the VoiceWorks Plus, which has improved voice modelling... but both the standard "Voice Prism" and "VoiceWorks" will do autotune... as will other boxes like the DigiTech vocalist series. They're all probably discontinued now, but you should be able to get used ones on eBay/reverb.

I was recording 16 simultaneous tracks to an IDE HDD 20 years ago without any issues at all. A lot of effort was put into Cakewalk to make audio streaming from disk as efficient as possible - it had to be on those slower machines. From what I've found, using an SSD has generally improved the speed of the OS, and drastically improved sample loading time (e.g. an Omnisphere patch has gone from 45 secs to 2 -3 secs). If you're not noticing much difference, it just means your bottlenecks are elsewhere... plugin processing I suspect, which is mainly CPU bound.

I started out on a 1K ZX81 - I got a good year and a half's joy out of it before I got a 48K ZX Spectrum (which also, BTW was my first 8 track MIDI sequencer using the Cheetah MIDI interface). If you want to see a feat of 1K engineering, take a look at ZX 1K Chess - almost a full chess implementation in 1K (you can't castle or promote to queen): https://users.ox.ac.uk/~uzdm0006/scans/1kchess/