msmcleod

My recommendations: 1. Try to identify chapters etc with Arranger Sections. You can have more than one arranger track, so you could have one track for broader sections, then another arranger track with more granular sections. You can use the Arranger Inspector for navigation to jump directly to the section within the timeline. 2. Use the scrub tool to audition at a more granular level. To do this, hold down the "J" key, then click on the waveform. While holding down both the left mouse button and the J key, moving the mouse to the left will play forwards through the clip; moving to the right will play backwards.

@RexRed, @Noel Borthwick may be able to correct me here, but I'm not sure a complete fix is possible with Melodyne's current ARA interface. As I see it there are two things we could do here: Automatically bypass the Region FX for that clip when it's muted - you'll still see the blobs, but they'll be shown as muted within Melodyne (they'll have a gray fill); or Remove the Region FX for that clip when it's muted. The blobs will not be shown, but you'll also lose any edits. My gut feel tells me option 1 is the correct solution, however I can't find any way in Melodyne to get it to hide bypassed regions within the editor. Without that, you'll still get blobs overlaid on top of each other when you add the new take - although at least you'll kind of be able to see which ones are muted. So whilst we could go some way to solving the issue, Celemony would need to implement a "hide bypassed notes/regions" option within Melodyne for it to work how you want.

First of all, BandLab assistant will not work with the new authentication servers. The only thing you can do is try to work out why Cakewalk can't see the internet. Something must be blocking it. Ensure there are no 3rd party firewalls or virus checkers, anti-malware etc blocking Cakewalk. Double check your firewall rules (even if the firewall is switched off).

This is what activation should look like in Windows 7. I've got Firefox set as my default browser. Cakewalk was upgraded to 2023.09 from 2022.11:

Being logged into BandLab in a browser is completely separate from Cakewalk being logged in to BandLab. Cakewalk uses a browser to perform the login, then the browser calls back to cakewalk to tell it whether it was successful or not. In order for Cakewalk to use a browser to sign in, you must have a default browser set up ( here's how you do it in Windows 7: https://youtu.be/fpT6e3CmdAI?si=0R-UE4ixKK0SH9Jl ) Cakewalk tests for internet by pinging the BandLab website. It doesn't use a browser for this, just standard Windows sockets. If it doesn't get a reply, you'll get the "No Internet Connection" error message. Firewalls, Anti-virus software etc can interfere with this, so it might be worth switching these off temporarily if you're having issues. You might also want to ensure that TLS 1.2 is enabled. This is not enabled in Windows 7 by default. You can enable it yourself by following these instructions: https://manage.accuwebhosting.com/knowledgebase/3008/How-do-you-enable-TLS-1-2-on-Windows-7.html

@Kevin Roberts - I'm not sure if this will help or not, but I've got Firefox set as my default browser on Windows 7. This is one of the few browsers which is still receiving security updates. When I went to re-activate, it fired up Firefox for me to login to my BandLab account, and once logged in, CbB re-authorised.

I've not looked into this in any detail, but in theory, you should be able to use this to use Atmos in CbB: https://fiedler-audio.com/ You may even be able to use CbB's surround panner (assuming the software presents itself as a hardware audio device), but I suspect you'll be limited to using WASAPI Shared or WDM to facilitate this.

It did occur to me that this might be the underlying cause of the issue, especially seeing as it's an older project with (most likely) and older version of Omnisphere. The symptoms of the issue would be that anything after Omnisphere in the synth rack would have it's outputs knocked off by one. Has anyone seeing this issue happen with a newer project?

Append Instrument Track only works if: 1. The synth has multiple audio outputs; and 2. The existing tracks are set to unique MIDI channel outputs/ Synth Audio inputs. If you've inserted the instrument as a "Per-Output Instrument Track", this is done automatically for you. If you've not, you need to go through all tracks using that synth making sure they have a unique MIDI output channel, and an audio input from unique audio synth output. Ideally, these should be in order, e.g.: Midi Channel 1 / Synth Audio Output 1 Midi Channel 2 / Synth Audio Output 2 etc.. Don't forget you also have to set up the routing within the VSTi itself, ensuring MIDI Channel 1 goes to Audio 1, MIDI Channel 2 goes to Audio 2 etc. Simple Instrument Tracks have a MIDI output channel of "none" (meaning all), so at the very least you'll need to change this to Channel 1.

While workspaces / screensets can work to a certain extent, they're a bit of a heavy handed approach. The Track Manager ( "H" is the keyboard shortcut ) can store/recall presets, so you can have as many sets of hidden / shown tracks or buses as you want. The new Sonar actually has a new button in the top left corner of both the tracks and console views, so you can quickly apply any preset you want without opening any dialogs.

When the name is highlighted, it means it's the Active Track or Bus. When the track number or bus is highlighted, it means the track or bus is selected. Any commands you run act on the track and/or bus selection - in other words, the selection is the source for commands. The Active Track can be seen as a target for certain commands - for example, if you've copied some tracks or clips, pasting will start on the Active Track. While the focused track is almost always the Active Track, being active doesn't mean it's actually focussed in the true sense ( i.e. a control on a different view or even a separate program could have focus).

The new setup file is a "bootstrap" installer - i.e. it automatically detects the latest version available, downloads it, and installs it. You should be able to safely run the 2023.09 update from any previous version of CbB, although if you're installing on Windows 7, it is technically not supported. None of your existing settings will be altered.

IIRC the last time this happened to me was due to a default algorithm not being set within Melodyne. I can't remember if I had to open Melodyne as a standalone and pick it there, or create a region FX on an audio file to pick it. Once the default had been set, everything was fine. I only had to do this in Melodyne 4 however. AFAIK if you're using Melodyne 5, Cakewalk will prompt you as to which algorithm to use.

I had no issues updating / installing / authenticating CbB 2023.09 on Windows 7, although I did get the usual "not supported" warning dialog when installing the update. My Windows 7 install has the all the latest Windows 7 updates. I didn't experience any issues running CbB 2023.09 on Windows 7 either, although to be fair it was a very quick smoke-test. The new Sonar will NOT install on Windows 7 or Windows 8/8.1. The new High Dpi / scalable UI support relies on features only available in Windows 10 and above.

To a certain extent, I'm in the same boat. I have a lot of older software (mainly hardware synth patch editors) that have 16-bit components, so I have to run them on Windows 7 32 bit; I also have some software that only works on Windows 7 64 bit. The way I got around this was to have a dual (actually quad) boot. On the same machine, I've got: SSD #1: Windows 10 64 bit - DAW boot, Windows 7 64 bit, Data partition SSD #2: Windows 10 64 bit - Development boot SSD #3: Windows 7 32 bit SSD #4: Projects When I start my PC, I get a boot menu to choose which operating system to boot with. My Data Partition holds any sample libraries that things VST's like Kontakt use. The drive letter is the same for all of my OS's, so there's only one copy of the samples that is used by all OS's. So the easiest way to solve your issue is to install Windows 10 on a new drive, leave your Windows 7 drive as is, and edit your boot menu so you can choose between them when you boot up. The only downside to this approach is licensing. Some plugins may see your different boots as separate machines, so you'll be using an additional license for them; others are clever enough to realise you're actually using the same machine.

It sounds like you've not got both the MIDI inputs and outputs checked for those. If this isn't the case, also check your Control Surface preferences to verify it's not "stolen" one of them because your MIDI device order has changed.

There are also options within Kontakt to tell it how many of the samples to load - i.e. all of them, or only to load "n" Mb, then the rest on demand. If Kontakt is configured to load all of the samples, it'll not only take an age to load a project, it'll take forever to shut down too as it frees up GB's of memory. What I tend to do is set it to load everything on demand, then play the project through once. This ensures it's only loaded the samples for the notes / velocities it's actually using.

If you've got "Non-destructive MIDI Editing" checked (which is the default), when a MIDI clip is split, a copy of the entire clip is made. All you need to do is drag the end of the clips out (i.e. a reverse trim) to reveal the copy of those events. If however, you're going to use cut or delete, the best thing to do is: 1. Select the event range as normal 2. Go to "Select by Filter", then uncheck the CC events you want to keep 3. Do your cut or delete If you've already done the cut, just copy one of the split clips you've left untouched to another track and drag the ends of the clip out - your original events should all be there.

You can have multiple articulations playing at the same time if you've set the articulation maps up properly. Articulations that are mutually exclusive (i.e. they cancel each other out) should be in the same group. If you have an articulation that can be played at the same time as another, it should be in a separate group. Different groups appear on separate articulation lanes.

Why not use Articulation Maps? They'll do the key switching for you, and are far easier to use in the PRV. Once your articulation maps are defined, you can even extract your existing key switches from your MIDI track it'll create the articulations for you. CreativeSauce does a great tutorial here:

It's also worth mentioning that Track Templates are in the drop down on the Media tab in the browser. You can simply drag/drop from there into your project - a massive time saver.

MF = Media Foundation

Take a look at shielded CAT 6 network cable - it's way cheaper than audio cable, and performs just as well if not better ( it has to cope with far higher frequencies with zero interference). If you share a ground, you can pass 4 balanced signals through a CAT 6 cable at a fraction of the price of audio cable. Sooner or later the industry will catch on to this and hike up the price accordingly!

Just to give some perspective here. The highest frequency a human can hear is around 20Khz if you're 21 or younger. As you get older, this continues to drop. I suspect the majority of users on this forum will struggle to hear anything over 15Khz. 44.1Hkz can reproduce frequencies up to 22Khz (so beyond human hearing). 16bit audio has a dynamic range of 96db across all of its frequencies. Compare this to tape: a maximum dynamic range 55db - with it's optimal frequency reproduction between 120Hz and 800Khz (it starts to drop off either end of these frequencies). Vinyl has a maximum dynamic range of 60db; frequency range is around 7hz to 50Khz (so better than a 96Khz sample rate). However as far as dynamic range is concerned, vinyl and tape aren't even a match for 12 bit audio (72db), which a bunch of budget synths/samplers used in the 80's/90's. Given that most tracks are of a single instrument, it's likely that the required dynamic range recorded on a single track is way less than 96db. Where things start to go wrong is when you mix in 16 bit - then you're dynamic range is significantly reduced. However NO modern DAW mixes in 16 bit. They all use at least 32 bit float or 64 bit float for mixing; only going back to 16bit at the stereo master bus. The advantage of recording in 24bit is you can record really quiet signals with no loss of dynamic range, and no perceived increase in noise. However, as long as you're recording signals at a decent level, there should be no issues using 44.1Khz/16bit for recording.... I mean, it's absolutely fine on CD. Comparing 32 bit to 24 bit is problematic - 24 bit is an integer format; 32 bit / 64 bit are floating point formats. Although you can store higher numbers in floating point (which is why it's great for mixing), you do lose precision at the extremes. For a mixed down song, a 24 bit integer file and a 32 bit floating point file are equivalent in quality.

I can repro this issue, but unfortunately the ship has sailed for CbB, so it'll have to be fixed in Sonar. In the meantime, make sure both the track and bus are solo'd.