msmcleod

Uncheck "Select Events with Arranger Sections" within the Track View Options menu.

Either: 1. Export a selection; or 2. Create arranger sections for the parts you want, then use "Arranger Sections" as the source category when exporting.

Each take lane has a notes section. Just expand the take lanes, and you can enter in the notes there: If it absolutely has to be at the track level, Melda's free MNotepad can be added to the FX bin.

I believe Scaler can do this

Sorry, I meant to reply to this sooner. I did try automation out on a real MCU, and things were far more straightforward. I didn't see the behaviour you're seeing with the G2. The MCU faders are touch sensitive, so automation recording starts as soon as I touch the fader. IIRC Cakewalk was correctly punching out as soon as I stopped touching the fader, however if I left my finger on the fader without moving it, it would automatically punch out after 250ms. I spoke with Noel regarding this, and this is expected behaviour. At no point did it switch to latch mode, or behave as if it was in latch mode like you are seeing.

Thankfully, keyboard shortcuts and menus are pretty much centralised by their command handler - i.e. it doesn't matter whether the command is invoked by a menu or a keyboard shortcut. The only tricky part is determining context, which for the most part is determined by focus and/or selection.

Are you leaving the Melodyne region effect active? If that's the case, then that's your issue. When a region FX is active, Melodyne has ownership.

Note that control surfaces are COM DLL's, so simply copying them to the Shared Surfaces directory isn't enough. They'll need to be registered: 1. Right click on the desktop, and select "New->Shortcut" 2. Type in cmd as the location, then click "Next" and then "Finish" 3. Right click on the new shortcut, then select "Run as Administrator" 4. In the command prompt, execute the following: regsvr32 "C:\Program Files\Cakewalk\Shared Surfaces\alphatrack.dll"

Cakewalk uses two different pitch/stretch algorithms used, one for online render (i.e. playing in real time), and one for offline render (bouncing/exporting). The idea is that the online render is quick and dirty so as not to impact your flow at the expense of audio quality. The offline render is higher quality, but much slower due to the computation involved. The intended workflow is to use the online render until you get the timing right, then use Bounce to Clip(s) to apply the pitch/stretch using the higher quality algorithm. However, not all algorithms are suitable for every type of material. So it's likely in your case that the offline algorithm is better suited to your material than the offline render. This can happen if you've chosen a totally different offline render algorithm to the online render - e.g. you're using Elastique for online, and Radius for offline. You'll get much more consistent results if you choose the same type of algorithm. The algorithms are specified in preferences:

From a job security point of view, AI honestly doesn't bother me - I by that I mean not just for me personally, but for programmers in general. Everything I've seen from AI (especially ChatGPT) is either "variations on a theme" - i.e. regurgitated code it's scraped from various online resources and paraphrased accordingly, or it requires an incredible in depth of knowledge of how to build an appropriate AI model and source training material. Also, if you speak to any AI experts, they'll usually try out a few different approaches before settling on the best compromise. From an analytical point of view, AI is incredible at seeing patterns in huge amount of data that humans would be incapable of. But from a creative point of view - either in art or engineering, in my opinion it's not there yet. I've yet to see anything that is really "new", creatively speaking, from AI. Sure it'll get you results quicker by giving you example code, but you still have to understand it in order to maintain it.

I've been weaning myself off Waves plugins for a while now - the biggest reason being the license seat restrictions. At one point, I was buying two licenses for each plugin but of course that pretty much waved goodbye to the WUP cap. The cap is still there, but it's per machine - so the cap is essentially twice the normal amount. For analog emulations, I mostly now use Analog Obsession; for more clinical/creative work, I use MeldaProduction. I'd bought enough Melda plugins over the years to get the complete bundle for a fraction of the price. To be honest though, 99% of the time, the stock ProChannel EQ and compressors work fine for me. I've also started using the Sonitus plugins more - they may not look great, but they're very good at what they do, and the CPU usage is very low. One set of plugins I do find very useful, albeit as a temporary solution, is the CLA Drums/Guitars/Vocals/Bass etc bundle of effects. If you've just done a tracking session, and want a very quick rough mix, slapping appropriate plugins on the appropriate tracks can give a pretty good approximation to a finished mix. Very useful if you've just tracked a local band and want to give them something to take home with them. It's far from perfect, but sounds orders of magnitude better than just a balance of the raw tracks.

To remove the trimmed audio from clips, either use "Apply Trimming" or "Bounce to Clip(s)". Apply Trimming simply removes the trimmed-out audio, whereas "Bounce to Clip(s)" will also combine all selected clips into a single clip , and also apply any clip automation to the new clip. To remove unused audio files, use "Save As" and save the project to a new location.

Check your import bit depth within Preferences->File->Audio Data. If it's set to 64, then it'll be converting everything to 64 bit on import. IIRC, the default setting is "original".

There is definitely a bug here. It looks like it was introduced a few years ago, when we refactored the "Slide Over" to use Ripple Edit Selection under the hood. The way it should work, is it should slide everything over you've checked in the Paste Special box, regardless of whether you've got that type of event in the clipboard or not. The only exception is clips themselves - it won't slide clips in tracks you're not pasting to. If you need this, use Ripple Edit All. As it stands, it's only sliding over if you've copied that type of event with Copy or Cut special. Tempos however, aren't sliding at all. We'll get this fixed.

When using a wave editor, the wave file is permanently changed. This is how the whole mechanism works - i.e. when you launch the external tool, you're giving control to the wave editor to edit the file directly. When you save, Cakewalk recognises that the file has changed and updates the clip accordingly. To be honest, I very rarely use this workflow - it's only ever as a last resort when I actually need to edit the waveform in detail. For scenarios like the OP's one, I'd probably re-record, but if this is not possible, then a wave editor is probably the next best thing. Yes, you can split the clip and mess around with clip gain and fades to hide it, but smoothing waveforms out by hand can be quicker for one-off clipping issues. FWIW I've compared editing mistakes to just re-recording over the years, and in most cases I could record another 10 or so takes in the time it took to edit the mistake. And of course I'm improving my playing at the same time.

Although you can't bind a shortcut to previous/next arrangement section, you can bind for previous/next section. So to get around this: 1. Bind "Go to Next Section" / "Go to Previous Section" to a key or MIDI note within Preferences->Keyboard Shortcuts 2. When you load your project, commit the arrangement for the setlist you want (don't save your project tho!) Hit play, then use the shortcuts to navigate. If you need the transport to pause after playing each section, you can insert MCI commands at the end of each section within the event list, e.g. this will pause the performance just before measure 33. It's important to put it just before the end of the section, so it's seen as part of that section and not part of the next one. If you're using the MCI commands, you could skip committing the arrangement and just use the navigation keys/midi notes to go to the next section you want to play. Note: There are two MCI commands you can use: "pause" and "stop". Pause will stop the playhead at the current position, whereas stop will potentially rewind to the last marker / zero, depending on your settings.

Unless it's changed very recently, Audacity is unsuitable for the CbB Utilities menu because it doesn't save to the original filename. I guess you can get around it by doing a "Save As", but the given that there could be many .wav files in the project's audio directory there's a danger you could pick the wrong one. Personally, I use SoundForge for the most part, but I don't have licenses for all the machines I've got CbB installed on, so Acoustica 6 BE is a good alternative for the very rare cases I need it.

Until you bounce to clip(s), each split clip contains a copy of the entire waveform. It's up to the program that is launched to recognise the trim points (as SoundForge does), or not (Acoustica).

Once you've installed Acoustica 6 Basic Edition, run the attached reg file. CbB_Acoustica6_BE.reg

If "Zero controllers on stop" is checked, Pitch Wheel = center, CC#1 (Modulation) = 0 and CC#64 (Sustain Pedal) = 0 are always sent to all MIDI outputs. Hardware MIDI outputs are also sent CC #121 ( Reset all controllers), however software synths aren't. You could try adding the following to the [OPTIONS] section of TTSSeq.ini ( in %APPDATA%\Cakewalk\Cakewalk Core\ ) SendResetsToSoftSynths=1 This will force CC#121 to be sent to soft synths as well - just don't use this option with Roland V-Sampler in your project, 'cos it'll crash.

This is one of the few MIDI "cables" that will probably be fine - cheaper ones are a waste of money due to the buffer issues I mentioned in an earlier post. However, you will still have issues when using more than one of these: neither you, or Cakewalk will be able to tell which is which, and unless you leave them permanently plugged in to the same USB port on power up every time, they're likely to randomly switch around as Windows decides which order they should be in.

Sustain events are just something you have to deal with when using MIDI. Since the mid 80's when recording MIDI I've got it down to a discipline where I ensure any "part" (e.g. verse, chorus, bridge etc) starts/ends with a CC #64 at zero, and if I'm moving any notes around when editing, I'm paying attention to what the sustain pedal is doing. You have to be equally vigilant with Pitch Wheel and Modulation messages. Before I went totally in the box with synths, I had a JL Cooper MIDI merge unit which had a panic button on it. I used it all the time when stopping half way through a section. The panic button in Cakewalk does exactly the same thing - i.e. sends all notes off / reset all controllers.

I've no idea what a MIDI hub is? A network hub or USB hub merges data from several ports into one... so I guess a MIDI hub is a MIDI merge device? This isn't a MIDI merge device. This is an 8 in / 8 out MIDI interface. It's USB powered (USB3), although I've had zero issues using it with USB 2. I don't see why it would need to have a separate power supply. USB power is more than enough to power 16 x serial ports (which is all MIDI is). It's not as if it's powering anything external - unlike say, a Scarlett 2i2 which has audio preamps and has +48V phantom power... all over USB 2. The MIDI spec is 31.25K baud over 5 pin DIN connectors. USB Midi connectors running at USB speeds are part of the problem everyone is having. The computer sends data to it at USB speed, but it has to send it out at 31.25K. For it to do this, it needs to "hold on" to the data it receives in a buffer and send it out at a slower speed. Lower quality interfaces have a very small buffer, which gets full way before it has time to send it out. All I can say is, I've used this interface for a number of years now with heavy MIDI traffic, and it's never let me down.

ALT+SHIFT+5 now toggles the Tempo Inspector and the Tempo Track (just underneath the arranger track), both of which have replaced the old tempo view.

I hate it when manufacturers do this. CC 7 is for volume - and there's a good reason for it: When a synth receives a "Reset all controllers" message, it's meant to reset all of the CC's to their default. For everything apart from CC 7 and CC 10, and CC 11, this is zero.... which means CC 1 gets set to zero. For CC 10 (pan) it's 64 which is centre, for CC 7 (volume) it's 96, and for CC 11 (expression) it's 127. If volume is CC1 and it's reset, it gets set to zero which means no volume. Native Instruments are guilty of this too with some of their instruments. I really wish plugin manufacturers would respect and follow the MIDI spec.