msmcleod

It's worth mentioning, there's a few conditions that will allow this to work: You need Melodyne installed, as Cakewalk uses Melodyne's audio-to-MIDI to perform this operation. Polyphonic audio to MIDI will only work during the Melodyne trial period or if you have purchased Melodyne Editor or Studio edition. Celemony removed free access to audio to MIDI conversion in Melodyne 5, so if you have Melodyne 5 installed, then audio to MIDI will cease to work after the end of the trial period. After the trial period has ended, you'll need Melodyne Essentials or Assistant for monophonic audio to MIDI; polyphonic audio to MIDI will require Melodyne Editor or Studio edition. Melodyne 4 doesn't have this restriction, but will revert to monophonic audio to MIDI after the trial period has expired.

You should first check the motherboard actually supports more than 4GB. A lot of older boards were specifically designed for 32bit Windows, and won't support more than 4GB.

The drag-to-timeline method is the recommended one, but requires Melodyne to be installed. There is also the (very) old method of using "Fit to Improvisation", which works pretty well. To do this: 1. Insert a MIDI track and arm it. 2. Start recording and tap a single note on your MIDI keyboard for each beat. 3. Stop at the end of your song. 4. Select the clip you recorded, then from the main menu: Process->Fit to Improvisation This will alter the tempo map to match the "beats" you played. It'll follow all of your beats as you speed up and slow down, and match that in the tempo map accordingly.

The main issue is that Windows doesn't give MIDI devices a unique identifier - all you get is an index number and a name. If your MIDI interfaces/devices are plugged in to the same ports every time at the time you boot up your PC, they almost always get given the same index number. If you arbitrarily plug them in, there's no guarantee the index number will be the same. Cakewalk uses a the index number give by Windows, then falls back on matching on the name if the index number/name is different from what it was previously. The problem with a lot of class compliant interfaces, is they come back with exactly the same name. There's nothing we can do in this scenario. What Cakewalk doesn't do now (which it used to do), is just re-assign Control Surface ports if it's previously assigned port is missing - it now just disables that control surface. We've discussed having different configuration presets within Cakewalk - not just for control surfaces, but also for MIDI / audio interfaces etc. There's nothing scheduled as yet, but I hope this is something we'll see sometime next year.

If the track hierarchy is basically the same (i.e. they were based on the same template), you might be able to use this method:

Another solution might be to use Articulations, but you'd end up having to make a LOT of them, catering from every source to destination chord.

You could take a look at Groove clips combined with pitch markers. Pitch markers will transpose any groove clip by the pitch specified in the marker. This will work with both audio and MIDI groove clips. The only things to you need to be aware of: 1. You need to tell it the reference pitch, so if your source chords are constantly changing, you'll need to split the clips up for each chord and tell each clip what chord it's actually playing. 2. Groove clips can only transpose - they can't change major->minor or vice versa. 3. For MIDI notes, make sure the markers appear BEFORE the notes you want transposed are actually playing (which I didn't do in the example below!). MIDI notes cannot be transposed after they've been triggered. Audio clips can be transposed at any point however.

Only this to internal if you're using pure MIDI tracks, and there are no audio tracks or softsynths in your project. In all other cases, this should be set to Audio.

The gain control on a track within Cakewalk has no effect when recording. It only affects the output level of already recorded clips, prior to sending them to any effects. Refer to the signal flow diagram - note that the live/recording signal appears AFTER the track's input gain: http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Mixing.07.html

You could use a CAL script I guess: (do (do (int startTrack 0) (int endTrack 0) (getInt startTrack "Start Track: " 1 255) (getInt endTrack "End Track: " 1 255) (int currentTrack startTrack) (int chan 0) (while (<= currentTrack endTrack) (do ( TrackChannel chan currentTrack ) ( ++ chan ) ( if ( > chan 15 ) (do ( = chan 0 ) ) ) ( ++ currentTrack ) ) ) ) ) The above will prompt you for a start track and end track, then will set the track MIDI channels starting at channel 1. If there are more than 16 channels, it'll go back to channel 1 again. Attached is the CAL file. Save it to C:\Cakewalk Content\Cakewalk Core\CAL Scripts You can then run it by selecting Process->Run CAL from the main menu. You could also assign a keyboard shortcut to run it if required. ReChannel.CAL

Unfortunately not. Cakewalk uses Note On velocity 0 for note off's, rather than actual note-off messages, so you lose the note off velocity.

That's a 2nd gen i7 - you need at least a 7th gen i7 to run Windows 11, and also a hardware TPM module on your motherboard. I've got a 3rd gen i7 (3770 @ 3.4Ghz), which has been running Windows 10 for years now. Windows 10's end of life isn't until October 2025, so there's a good few years left.

I've had timing trouble with pure MIDI projects in the past. The issue I had is that normally timing is tied to the audio clock, but as there were no audio tracks in my project, the timing was drifting. There's two solutions: 1. Just add a blank audio track. 2. Set the timing in Project->Clock->Source to "Internal" However, depending on how your hi-resolution timer is set up both in your BIOS & in Windows itself, option 2 might not be accurate enough. I find keeping the clock source as "Audio" and inserting a blank audio track the most reliable. Also make sure that your Playback Timing Master is set to the correct audio device.

Probably the most common use case is when using CTRL+D. As this places the duplicate clip immediately after the current one, this is invariably in the wrong place unless the clip ends on a measure boundary. Personally, I'd like the default behaviour to never shrink MIDI clips to the the events extent - I'd rather it left the clip alone, or at least make it an option. Unfortunately the code that automatically shrinks MIDI clips to the the events extent is buried deep within the code. My first attempt at the "Automatically extend final take when loop recording in Comping mode" change for the 2022-06 release tried to circumvent this behaviour, but ended up causing a raft of bugs as side-effects. So I had to take a different approach: rather than preventing it from shrinking, it just re-adjusts the clip end times before it does it's any of the splits. For the use case I've described, this feels a bit like a workaround rather than a solution... however if you've never manually adjusted the clip in the first place, maybe this is the command to do it to avoid having to do it manually.

On the main menu, go to Window->Tile In Columns. This will put the projects side by side. You should then be able to drag/drop the effects between the projects.

@CTL 21 - One thing you should be aware of... You can only use one ASIO driver at a time per application ( this is a Steinberg restriction on Windows), and quite often this also means that only one application can use this ASIO driver, closing it off for all other applications when in use. So this means: 1. You can't have one ASIO device for input, and a different ASIO device for output 2. If VoiceMeeter is using ASIO for a device, Cakewalk can't use it. If you need to use more than one device, you can either use WASAPI shared or WDM in Cakewalk. There are small complications, such as lack of word-clock sync, so the timing may need to be tweaked after recording, but it will work. My main advice would be to anyone using Windows is, don't use USB microphones for anything other than voice-over recordings or Zoom meetings. You are far better off using the XLR equivalent. In addition to the above reason: 1. The XLR equivalent can plug straight into any decent audio interface, everything will work using the same ASIO device. 2. An XLR mic will work with anything - stand-alone pre-amps, studio & PA mixers, audio interfaces etc. 3. In years to come when the USB drivers no longer work on some future version of Windows, an XLR mic will continue to work regardless. 4. With a USB mic, you're stuck with the mic pre-amp built into the mic, which in most cases will be far inferior to any decent audio interface.

There is a registry setting you can use to get those back... I did that, as I rely on a bunch of shell extensions for TortoiseSVN / TortoiseGit. https://pureinfotech.com/bring-back-classic-context-menu-windows-11/#:~:text=Enable classic right-click context menu on Windows 11&text=Right-click the CLSID key,and select the Key option.

CC #123 is All Notes Off - I guess you could use that. The value field for CC#123 is ignored, so you can set it to anything. This may not affect sustained notes when CC#64 is in play though, so you might also want to add a CC#64, 0 immediately before that.

You can convert your MIDI CC data (and also Pitch Wheel data) in the PRV to MIDI automation lanes, and back again if need be:

Check the release notes regarding MMCSS settings. For optimal performance, it's important that BOTH your driver and Cakewalk are running in MMCSS mode. It should be down to your ASIO driver to set MMCSS mode, but some don't. Cakewalk can set it on the driver's behalf you have the option checked in preferences, however be aware that some drivers may crash if they've already set it to MMCSS mode and Cakewalk then tries to set it again. If neither the driver or Cakewalk are running in MMCSS, you'll experience less than optimal performance; if only one is set to MMCSS, then this could explain your crashes.

Yeah, this is a major issue for me. I use 5/4 and 7/8 all the time, and just can't use BIAB in these scenarios. Apparently you can use RealBand for this, but I've not taken the time to learn that yet!

Where it is makes it consistent with the current Delete effect position. It prompts you in any case, so you'll know if you select it by accident.

FYI - Kontakt 7 appears as "Kontakt 7.vst3" within my VST3 directory.

The fact that it does it when playback is stopped / clicking around the screen leads me to think it's more likely to be a hardware/electrical interference / audio ground issue. I get this when using my onboard audio interface (I've always used the onboard graphics on an intel board). I solved it by using an audio isolating transformer between the audio output and my monitors: However, I've never heard of this issue using an external audio interface (I'm assuming your interface is an external and not a PCI based one?) ... so maybe it's something else. BTW - the isolation transformers do a great job, but I find they only last 3 - 5 years or so... not a huge issue as they're only around $10, but something to bear in mind.

Articulations are pretty low level, so if you send an aftertouch on message it doesn't automatically send an aftertouch off message unless you tell it to. You need two events in your articulation - one that sends the "on" message at the start, and another that sends the "off" message at the end.