msmcleod

As an alternative, you could get another device that sends out sustain messages: https://www.thomann.de/gb/midi_solutions_footswitch_to_midi_controller.htm The advantage of this device is that it merges the MIDI output of your piano with the pedal CC64 messages, so they come out of a single MIDI output. It's pricey though. However, a much cheaper solution (which I used myself for a while) is to get a Miditech i2-mini 32 (£36), and plug any generic sustain pedal into it. You can get sustain pedals for around £10 - £20. Stagg do one for £10 : https://www.amazon.co.uk/Stagg-21203-Keyboard-Piano-Sustain/dp/B00EZPBA0U/ref=sr_1_2

Cakewalk's clip stretching algorithm preserves the pitch, so it's unsuitable for this task... however, if you've got an older version of SONAR installed, you may have the "Time/Pitch Stretch 2" DX plugin, which should do the job. e.g. these settings will play it back at half speed and pitch: However, any audio editor should be able to do this, e.g. SoundForge, Acon Digital Acoustica, Audacity etc. Audacity is free: https://www.audacityteam.org/download/ You can get a free version of Acoustica Basic Edition 6 here: https://acondigital.com/software/AcousticaBasic6_0_19us.exe Drag the clip from Cakewalk to your desktop (or any folder), then open the file in the audio editor, do your processing, and import it back into Cakewalk. There are ways to integrate the tools into Cakewalk's Utility menu so you can run it directly from Cakewalk, but this is a bit more advanced, so probably best to keep it simple for the moment.

Although it may seem that the hierarchy is Tracks->Lanes->Clips, this isn't actually the case under the hood: Clips are directly owned by the tracks. The lane that a clip appears in is purely a UI concept, with the only exception being lane solo/mute, where some special processing is done to exclude those clips from the audio graph. Adding an effects bin to a lane would not be an easy task, and as others have said, it's something that can be easily accomplished by separate tracks.

I've managed to reproduce the issue when the clip is close to zero, and you move 10ms right then attempt to move 10ms left. It's now fixed for the next release. The issue was that because the clip is in musical time, but the nudge is in absolute time, it has to temporarily convert the clip start time to seconds to check it can move to the left. However, the start time is coming back as a clip start of 0.0099999999 seconds rather than 0.010 seconds. As it thinks this would result in moving to a time less than zero, it abandons the operation.

1. What are your "Nudge 1" settings in preferences? 2. What is your audio clip's time base? If you open the clip inspector, and look at the start time, it should move by the same, but opposite amount when using 1 & 3 on the keypad. As long as it's doing this, there's nothing wrong with nudge. Also, bear in mind that if you've got "Nudge 1" set to follow snap settings, then landmarks could also come into play. This might explain why they're different.

It's a recent one - I got the email about 5 hours ago.

@Andres Medina - thanks for the report. It's been fixed for the next release.

Check your timing master settings are set correctly: And check your clock source for MIDI: The clock source for MIDI should always be audio, unless you've only got MIDI tracks and all of them are routed to hardware MIDI devices.

It Bites - Kiss Like Judas:

The screenshot you've posted is a mono clip.

When I was playing guitar/singing with backing tracks, I prepared all of my backing tracks in Cakewalk (well, SONAR at the time), but live I used a MiniDisc player with a portable CD player as a backup. I've been burned too many times in the past with computers on stage, so I avoided them when possible. I tried to keep my live rig as simple as possible, as less gear = less things to go wrong. I also had a backup for everything: spare guitar, mic, guitar fx, vocal fx... even a spare PA Mixer Amp. The only things that never failed me the PA (which I built myself), and the MiniDisc player. Every one of the other bits of gear failed on me at least once, and was glad I had a backup at hand.

It took me a couple of years to save up enough to get Omnisphere... something else always seemed more important... but I don't regret it. It's one of the few software synths that to my ears sounds as good as, or actually better then a hardware rompler/sample-based synth. The only others that come into that category for me are the Korg collection, which are just exact clones of the hardware, and SynthMaster.

The {trackname} tag will use the section name when exporting arranger sections ( or the arrangement name when exporting arrangements )

I was told the issue was that users were accidentally holding down CTRL and inadvertently changing everything when they didn't mean to, which is why it was changed to not quick group unless there was a selection. In any case, if you really do want to change everything, just press CTRL + A before you do your adjustment.

The switches have nothing to do with how suitable it is with the DAW, it's about what combinations are most suitable to the thing you're recording. 99% of the time you want the directivity switch set to Cardioid. The hi-pass (sometimes called low cut ), rolls off lower frequencies. Unless you're recording a kick drum or a bass guitar amp, you may want to switch this on to help get rid of low-end rumble. The only thing is, it's fixed at a particular frequency, so you may find that it sounds better with this switched off, and opt to use EQ inside the DAW to deal with any unwanted low frequencies. Just use your ears on this one. Unless you're recording REALLY loud instruments, I'd advise keeping the -10dB attenuator switched off.

You can change banks in articulations. You need to use: For "normal" bank changes (i.e. MSB/LSB) - use Kind = CC 14b , Note/CC = 0, Vel/CC = your bank For Controller 32, use Kind = CC, Note/CC = 32, Vel/CC = your bank For Controller 0, use Kind = CC, Note/CC = 0, Vel/CC = your bank For "Patch 100", use Kind = Patch, Note/CC = your bank Then add your Patch event immediately afterwards.

Thanks for the report - it's fixed for the next release.

It's most likely the filename you've chosen isn't resulting in a unique filename for each track, so each exported track is overwriting the previous one, leaving only one at the end. Make sure your filename has something that makes it identifiable such as {trackname} or {tracknumber} so that it'll be different for each track. I normally use this filename for track exports: {projectname}-{tracknumber}-{trackname}

@TVR PRODUCTIONS - is it only loading older projects that is the issue, or can you not use the new M1 VSTi at all ? FWIW v2.3.3.0 is working fine for me in new projects, but I can't find any older projects with M1 that have an issue.

If Cakewalk itself is logged into BandLab, and you've got an internet connection, then it'll automatically re-activate when your activation period is close to running out, or when you install a new Cakewalk update. Alternatively, you can force re-activation by selecting "Refresh Activation" from the Help menu, which will give you another 6 months.

Something isn't right here... I've set up the same myself and getting the same result. I think its a bug. I'll need to look into it further. In the meantime, if you can sacrifice input/outputs 6 and 8, just use input/outputs 5 and 7, ditch all the aux tracks, and use a separate external insert on each track. The external insert is restricted to stereo pairs, so you can use the left of 5/6 (i.e. 5) for one external insert,, and the left of 7/8 ( i.e. 7 ) on the other.

Is the aux track's output set to the SILENCE bus?

Ah, yes - you should be using the send pan feature. Set Guitar 1 to 100% L, and Guitar 2 to 100% R. Remember to set the inputs of your return tracks to DBX L / DBX R respectively. This will make them mono. If they're set to DBX S, then that's why it's coming out as hard panned. Also note the SILENCE bus to avoid the pre-compressed guitar coming out of the mains from the source tracks, and also the post-compressed sound coming out of the mains from the DBX aux track.

I'm not sure to be honest... although I do use other DAW's from time to time, I rarely use external inserts. It's very much a limitation rather than a bug. Back when it was implemented, I suspect the primary use case was to allow the use external stereo reverbs, as reverb VST's are so CPU intensive and computers were slower; and the thought was that external inserts were the exception rather than the rule, so having to sacrifice a stereo pair for each external insert wouldn't be a huge deal. Mono inserts are in our backlog of things to do, but it's a tricky thing to implement, and I've no idea when we'll get around to implementing it. The steps I've described will however allow you to use external mono inserts, albeit with the inconvenience of having your tracks split up into two before/after the external effects. If you don't want your tracks split up, and you're not using channels 7/8 on your focusrite, then you could easily use an external insert on both tracks - i.e. your first track would use in/out 5 & 6 ( connect the dbx to in/out 5 with in/out 6 not being used), and your second track would use in/out 7 & 8 ( connect the dbx to in/out 7 with in/out 8 not being used).

No - this is something completely different - it is for combining several separate audio interfaces. It won't change the fact that Cakewalk's external insert is stereo only. To have two separate mono inserts, use the method I described in my earlier post.