msmcleod

The most common cause for CbB not allowing drag & drop is because it's running as adminstrator. Windows blocks drag & drop for programs running as administrator for security reasons. Check you're running it as administrator - if you are... don't.

I don't think there's a standard location by default. However, Cakewalk does support a default location per plugin behind the scenes... Under each plugin entry in the registry, there's a PresetPath key. You can change this to a specific path, which will cause Cakewalk to open this directory by default when loading/saving presets for this plugin: This was added way before my time as a staff member, so I'm not sure why it's not been exposed in Cakewalk itself... but it does work.

He's right you know... there's a crackle that starts at around 4:55. Not very loud to start of with, but gets more noticeable as it goes on.

Another way of doing this is via the PRV. If you click on the pitch on the keyboard on the left, it will select all notes of that pitch. You can then drag them to a new pitch.

If the whole pane isn't there, from the PRV View menu, select "Show/Hide Controller Pane". Otherwise click the "+" button in the bottom left, select "Velocity" from the type dropdown and click OK.

Either select the tracks before you go into the Bounce to Track(s) dialog, or click the chevron to the right of the sources - this will allow you to select tracks, and mute/solo them while in the dialog. Remember to also select any Aux tracks if your tracks rely on them.

Be really careful not to use the switch/contact stuff on faders or pots - it'll strip the carbon. Either use the fader stuff, or use something like WD-40.

The tempo map is re-calculated after any change in the tempo track / tempo inspector, and while tempo changes in the tempo map have a slight hit on CPU, it's pretty insignificant compared to actually entering the changes - hence the slight delay after making changes in the tempo track. On other words, the hard work is done up front at the tempo editing stage. Once the tempo map is calculated, reading the tempo changes is pretty cheap. And the advantage of using a varied tempo map is a more natural sounding project that is also visually snapped to the grid.

Setting the source to "Tracks" will bounce tracks individually, creating multiple separate bounces for each track. Just set the source category to "Entire Mix" and select only the tracks you want to bounce together in sources.

Some MIDI instruments support "note stacking" - in other words, if you play middle C twice it'll play two middle C's on top of each other. When you let go of the note, one of them will stop playing, and the other will continue playing. Other instruments don't support note stacking. They will either ignore the second middle C, or stop the first middle C to play the second one. As soon as it receives the first note off, it'll stop playing. The easiest way around this is to create a new track with a new instance of the instrument.

This video pretty much says it all. I would add a couple of things, based on my own experience with Sample Robot. 1. You can export as a ready made Kontakt instrument - i.e. a single .nki file, rather than importing the separate files as shown in the video. 2. I normally write down the answers to the wizard questions in a notebook as I'm auditioning all of the sounds within a hardware module. This way, I can build a project with up to 128 different patches and let it do the whole lot in one go. Of course in this case I set Program Change to the appropriate patch number rather than zero as in the video, so it changes patch automatically when moving on to the next sound. Then I just hit the start button and come back 24 hours or so later to export it. It's worth mentioning that it's not just for hardware instruments. I've sampled a bunch of my favourite Omnisphere sounds so I can play them on my V-Machine. The V-Machine does support VSTi's but is way too under powered to host Omnisphere natively. With samples (using SampleLord VSTi) it plays without any issues. No need to take a computer with you for live use - just a small box the size of a VHS cassette. This also opens up the possibility of using sampled versions of your software synths in Cakewalk too, using a fraction of the CPU than the original VSTi.

I'm pretty sure there aren't any hidden options. AFAIK the only controls that are available are what show up in the knobs for each sound. However, each sound originally comes from either Rapture or Dimension. So if you have Rapture Pro or Dimension Pro, you could use that and you'll get full control.

If you know exactly where you want the clip to go and you don't want to zoom out, the quickest way is to type in the new clip start in the clip inspector. This will work for all selected clips, assuming of course you want them all to be moved to the same time location.

In the past, I've always used Camtasia... but it's expensive, and I only used it because it was for work and I didn't need to pay for it! I still think this is the best software for when you've only got voice + screen capture (i.e. no other cameras). For software "how-to" videos, the editing features are so slick and easy, it's hard to beat. Nowadays, if I don't need audio I'll use ScreenToGif, otherwise I'll use OBS. OBS is not only free, it has the flexibility of as many video & audio sources your system can handle. I've got a few NLM's to choose from for editor, pretty much all from Magix! I tend to favour Movie Studio Platinum 2023 as I've used various versions of Movie Creator over the years. What I don't do though, is even try to route audio from Cakewalk or in the box. Instead I use a small 5 channel mixer - it's a T-Bone (Thomann) mixer, almost identical to the Behringer XENYX 502. You should be able to pick one up new for less than $50: I plug a mic into the one XLR input it has, then take an analog output from my audio interface and plug that into channels 2+3. The main L/R output then goes to my onboard soundcard's line input. That way OBS is using my onboard soundcard, and Cakewalk is using my audio interface. If I needed separation between the voice and the audio from cakewalk, I could use an additional audio interface for OBS, but it's very rarely needed. I did have some success using my Focusrite 18i20 with OBS while using my RME DigiFace USB in Cakewalk. In this setup, audio from Cakewalk was routed via ADAT out from the DigiFace to the Focusrite's ADAT input, and the mic plug directly into channel 1 of the Focusrite. This worked fine, but it meant doing everything in my studio, rather than being able to do it in the house... so the 5 channel mixer wins out for now.

The QCON should be sending a Touch On message, either when you move the fader or when you touch the fader (if it's touch sensitive). This should be followed by a Touch Off message, either when you remove your finger from the fader (if it's touch sensitive), or after a pre-determined timeout. If it's not sending the touch on/off messages, then Cakewalk will auto punch-out if you've not moved the fader after 250ms. However if it's sending the touch on message and no touch off message and/or the QCON is continuously sending fader levels, then you'll get the behaviour you're seeing. I have similar issues on the Yamaha 01X, except in my case it's not automatically engaging automation recording when I move the fader. If automation read is off, touch automation always works. If it's on, then either its hit & miss, or I have to use the 01X's auto-edit mode - basically I have to hit the select button while 01X "auto edit" is on to punch in/out automation. I hooked up MIDI-OX to monitor what the 01X was receiving/sending, and it looks like it's not sending fader movements shortly after receiving fader automation, and by this I mean there's literally no MIDI activity coming from the surface (so it's not the MackieControl.dll or Cakewalk). I suspect this is some internal protection mechanism to avoid the user fighting against the motor and breaking the fader. Surfaces that have real touch-sensitive faders shouldn't have this issue, because as soon as you touch the fader it knows you're in control and it'll stop reacting to volume changes from the DAW. When I get the chance, I'll try a real Mackie MCU and see if it shows similar results.

If you've got Melodyne installed, you can just drag the audio clip on to the time ruler.

Install X2 first, then install Cakewalk by Bandlab afterwards. I've got both running ( as well as X1 and SONAR Platinum) with no issues. I've never needed to revert to X2 to load projects though, as they all load fine in CbB. The only two reasons I've got X2 installed is (a) RMix and (b) to compare the behaviour of features when tracking down bugs.

A really good job here @Bristol_Jonesey - I've listened to most of the tracks and enjoyed them all. The vocals in particular are killer, and I also love how you make 6/4 sound like it's in an odd time signature in Leremwald. The only thing that I would comment on would be some of the synth pad sounds. The whole production has an early 70's sound to it, which works really well. However when the more modern synth sounds come in, although musically the parts definitely work (and they are good synth sounds), some of them struck me as sounding a bit out of place. It'd be interesting to hear if substituting a hammond organ or mellotron would maybe fit the overall sound better?

I wouldn't go quite that far, but it's very old and complicated code, and of course the original developer is not available. I did have a stab at getting it to show articulations on the staff view at one point, but it did not go well. Showing tempos would basically be the same task. Of course printing would have to be supported too, which is a complete unknown. It's certainly not impossible, but it'd probably take a few weeks just to fully understand the code that is there before being able to extend it, and well... priorities.

I was actually going to suggest this. So you'd need two sets of 128 articulations ( one for each note converting Chan Aft to Poly Aft, and one for each note to convert Poly Aft to Chan Aft). For drawing in Poly Aftertouch, you'd : 1. Add the Chan Aft->Poly Aft articulation for the note you want to edit. 2. Add the Chan Aft controller lane and do your edits 3. Apply the articulation to convert it to Poly Aftertouch (which removes the Chan Aft->Poly Aft articulation) For editing Poly Aftertouch: 1. Add the Poly Aft->Chan Aft articulation for the note you want to edit. 2. Apply the articulation to convert it to Chan Aftertouch, which removes the articulation 3. Add the Chan Aft->Poly Aft articulation for the note you want to edit (so it'll play as poly aftertouch to the synth) 4. Add the Chan Aft controller lane and do your edits 5. Apply the articulation to convert it to Poly Aftertouch, which removes the articulation I'd be interested to hear people's experience using this method, as not only does it have all the overhead of converting to/from PAT/CAT, you're still stuck with only being able to edit one note at a time. The reason I say I'd be interested, is if only being able to edit one note at a time isn't a big deal, maybe a note dropdown in a Poly Aft lane is a feasible solution. Personally though, I feel if we're going to go to the effort of providing a solution, it should be one that is as elegant and usable as possible... which this isn't.

+1 to SampleRobot. I used this to sample all of my hardware instruments. There is a bit of a learning curve, but once you get around that you can set it up and let it do its thing. Don't underestimate the time it takes to sample though... it takes around 24 hours to sample a whole instrument (128 patches, 6 velocity layers, 2 keys per octave). For this reason, I have SampleRobot installed on an old laptop so I can leave it overnight. For each patch you'll need to decide whether they're a one-shot (e.g. piano) or looped (e.g. pad), the length of the sample you'll need, and if you need to sample the release time, how long that should be. SampleRobot will take care of finding the loop points, but you'll still need to set up all of the patches up front ready for sampling. For 128 patches, I find this takes around an hour to audition all of the patches, write down the looping/lengths, and then enter all of this into SampleRobot. SampleRobot can also remove the silence from one-shot samples that are recorded with a length that is too long, however bear in mind that setting too long a length can increase the time to sample significantly (10 octaves at 2 keys per octave * 6 layers = 120 samples). Adding an extra second to the sample length will increase the time to sample a patch by 2 minutes. Once everything is sampled, you can export the samples in pretty much any format you require. Normally I use SoundFont 2.0 as this suits my workflow with SampleLord ( a 32 bit SF2 player which works really well with my hardware SMPro V-Machine VSTi player). Exporting as Kontakt is just as easy though... and as long as you leave the SampleRobot project/samples where they are, you can re-export at any time.

No, they're based on an internal counter that just increments. In any case Section 1 - 4 aren't really gone... they're in your undo history.

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.