msmcleod

I have to confess I've not done a lot of scoring to video, but when I have this is the workflow I used: 1. Import the video into Cakewalk and write the music. 2. Bounce the entire mix to a new track* 3. Drag that track into a video editor (I think I used Magix Movie Maker at the time) 4. Do all video exports from the video editor. *If you need separate tracks (e.g. FX / music / dialog), then do separate bounces accordingly. To be honest, I didn't find the workflow too restrictive. The video support in Cakewalk (SONAR at the time) was good enough during the writing process - I only needed to bounce/drag to the video editor when the video needed to be sent to someone.

@JnTuneTech is correct. Set the MIDI Input of one synth track to your first keyboard, and the MIDI Input of the other synth to your second keyboard. If you want to play both keyboards at once, you'll also need to enable echo on the non-active track. Here I've got Cobalt set to input from Korg microKey 61, and SI Strings to input from my Keystation Mini 32:

For MIDI clips, select the clip then Process->Length from the main menu. You can type an exact amount into the dialog.

1. Check your clock settings, and ensure it's set to "Audio" and the playback/record timing masters are set to your Behringer: This shows my Focusrite, but yours should be set to your Behringer output/input: 2. If you're using WASAPI Shared, there is a fixed latency of 10ms which could explain your issues. Try either using WASAPI Exclusive, or if the Behringer has a dedicated ASIO driver that isn't ASIO4ALL, install that and change your driver mode to ASIO.

It's likely you've got MIDI output enabled on the the other track's synth, which is causing it to echo everything to the other MIDI tracks. You could do one or both of the following: 1. Open the synths, and on the VST2 or VST3 menu, uncheck "Enable MIDI Output". 2. Set the MIDI input of the Surge XT track to "All External Inputs".

It's not as simple as making it a controller lane. With CC's, ignoring the MIDI channel, once you've picked the CC number (which is the lane), a controller message has only one parameter which is the controller value. Add the time of the event, and you have the 2 dimensional controller lane. Again ignoring the MIDI channel, Poly Aftertouch messages have a note and a value. Once you've added the time of the event you have 3 dimensions to cater for, so the the controller lane isn't really suitable. A more sensible way would be to show it on the PRV itself, as the first part of the message is the note number. However, showing the value in a sensible way is then the issue - you can't use "length" as this would be confused with duration, and you can't use "height" as this is already used to denote the note value. Poly Aftertouch messages are almost identical to Note On messages, except instead of velocity you have the pressure value. However, whereas with notes it's usually the note value / duration that are the most commonly edited parameters, with Poly Aftertouch it's the value (i.e. the equivalent of velocity). So yes, there have been discussions in the past, but they've been dismissed so far for two reasons: 1. We've yet to come up with a sensible way to display/edit Poly Aftertouch - and looking at other DAWs for inspiration doesn't help, because most don't support it in the PRV either... and the ones that do (that I've seen), IIRC are basically showing a cut-down event view. 2. The work involved to overhaul the PRV to support this outweighs the number of users that would benefit from having it. As far as point 1 is concerned, the only options so far were: Option 1: To show poly aftertouch in a lane, but have a note dropdown in the header. This might suit editing to an extent, but really doesn't help with visualizing what poly aftertouch messages are present... you'd have to create 128 aftertouch lanes (one for each note) to see what is there, which again isn't really that helpful. Option 2: To show poly aftertouch in a lane, but filter the messages shown based on the note selection in the PRV. This is slightly better, but if you had messages for a note that isn't in the PRV (say you deleted the note, but not the PAT messages), you'd have no way of showing them, and therefore editing them. Neither of these options are very good. If you've got an example of a DAW with a good method of showing/editing Poly Aftertouch in the PRV, please let us know.

Cakewalk does support poly aftertouch. As said in an earlier post, it's in the event view.

Cakewalk does support MPE - for MPE support all you need is to be able to record/transmit on all channels. MPE and poly aftertouch are different things. Poly aftertouch is a specific 3-byte MIDI message containing the Poly Aftertouch command/channel, the key, and the aftertouch amount. In this respect it is similar to a note on message - i.e. it is tied to the MIDI channel it receives/sends on. MPE is a method of splitting up the expression over several MIDI channels, where each MIDI channel is responsible for a key range.

Per-Output instrument tracks are essentially the same as Simple Instrument tracks with the exception that they have a MIDI channel assigned. So for a new per-output instrument track to be appended, it needs: 1. A spare audio output on the VSTi that isn't being used by any other instrument track 2. A midi channel on the VSTi that isn't being used by any other instrument track There's an important step though - you need to make sure that within Kontakt (or whatever VSTi you're using), you assign each instrument to its own unique audio output, and make sure it has a different channel for the input. Each VSTi does this differently, so you'll have to consult the documentation for each VSTi. Here's some examples: Kontakt: Omnisphere: TTS-1:

Looking at the code, it looks like it's always a sticky toast - there's no ini setting to change this for audio export.

What I tend to do is put the IR loader in an FX Chain and use the FX Chain input/output volume sliders to boost the signal.

Left click on the tempo scale and drag up (zoom in) or drag down (zoom out) in the same way as you would a clip. Double clicking on the tempo scale will force it to fit to the current extremes.

Yes - the synth properties dialog options are remembered for next time, so just uncheck "Enable MIDI Output" the next time you insert a synth. If you normally use the HUD add track dialog, you can still get to this dialog via the Synth Rack:

IIRC Sonar 8 came with Guitar Rig 3 LE, and Sonar X1 came with Guitar Rig 4 LE. Sonar 8.5 was an upgrade to Sonar 8 which came with the Project 5 FX suite and Session Drummer 3. I don't think there were any changes to Guitar Rig 3. So if you've got a non LE version of Guitar Rig 3, you've likely clicked on an upgrade button at some point, something else has installed or upgraded it for you, or it is actually the LE version, but it just doesn't say "LE" in the title. FWIW my version of Sonar 8 was boxed, but Sonar 8.5 was a download. This is reflected on the Cakewalk.com website - i.e. I can download Sonar 8.5, but not Sonar 8 (all I see is my serial number & activation code for it). I'll need to look it out, but I think the serial number for Guitar Rig 3 LE came in the Sonar 8 box. EDIT - just looked at my Sonar 8 box, and there isn't any serial number for GR3. Maybe it automatically registers after installing Sonar 8? Being so old, it probably needs to be run as admin to register properly. It may also be tied to Sonar 8, which means you may need Sonar 8 installed.

FWIW - that's the way I'd do it.

You don't need to choose between one instance or 16 instances. TTS 1 supports four separate stereo audio outputs, you can also use 4 instances of per-output instrument tracks giving you a separate audio out for each. But in answer to your question: One instance pros: less memory used, less likely to crash if inserted as 1st synth (this is a TTS-1 specific problem) One instance cons: the synth will be using one CPU core only (not a huge issue with TTS-1), any VST effects will be on everything 16 instances pros: separate audio outs, so each instrument can have it's own effect; better balancing over CPU cores, easy to replace a part with a new synth 16 instances cons: more memory used, may be more prone to crashing. A compromise would be to use 4 instances using per-output instrument tracks:

Unfortunately not, because the tracks are also selected... so hitting the delete key will delete the tracks. To delete notes, you need to range select them so the nodes have focus then hit delete. Alternatively you can right click on the envelope, and select "Delete Envelope". Neither of these methods are quick groupable though.

It is quick-groupable by holding down CTRL....

A damaged USB cable or dirty USB port can cause that. My USB hub has the sockets pointing upwards (so they collect dust over time), and I occasionally get this when my USB headset gets moved - it's just a sign the HUB sockets need a clean again.

When you open a project that was targeted for outputs that don't exist, you'll get a dialog asking you to remap the outputs. Just pick the new outputs and you should be able to continue. Sample rates are a different story. Most devices will automatically change their sample rate to that of the project, but if it does complain you can manually change the sample rate before re-opening the project.

A number of things could be causing this, such as: - "Use one file per clip" setting - The size of the audio file - The speed / fragmentation status of the disk. Creating separate file handles is a relatively expensive operation, which is why whenever possible Cakewalk packs multiple audio segments into a single file. This has it's downsides though, such as speed of editing. Even so, seeking through a large file can be relatively slow especially when it's fragmented. The fact that the project in question grows to 33Gb, but then ends up as 16GB would lead me to believe the size of the clip is huge - and the OP has said, they're 20 minutes long. That is a big audio file. I don't think I've ever gone above 12GB, and most of that was sample libraries, not internal audio. So I think in this case, trimming the clips down to size is the right call.

Earlier versions of SONAR rely on older versions of the Visual C++ Redistributable libraries. These older versions were bundled with the older Windows operating systems at the time, but newer versions of Windows have newer versions of the VC++ redists. The runtime bundled with CbB is an "all in one" VC++ redist, which includes all VC++ redists from 2015 onwards. However VC++ redists prior to 2015 will have to be installed manually. IIRC Sonar X1 was released in 2010, so it'll be using earlier redists. The ones you may need to install manually: 2013, 2012, 2010 and maybe 2008. I doubt if you'll need 2005, but you could install it as well if you have issues.

There is - the corners are "cut" at the bottom if there is audio that has been trimmed out:

Yes - Changes

Right click on the track, and choose "Replace Synth..." from the context menu.