msmcleod

You might be able to use both using WASAPI Exclusive mode, but personally I'd advise against it, as you'll get timing issues unless you can synchronise the word-clocks of both units. You can normally do this using one of three methods: - BNC cable from a wordclock out to a wordclock in. - ADAT output to ADAT input - SPDIF output to SPDIF input As neither the Zoom L-12 or SSL 2 / 2+ have any of these ports, you'll not be able to synchronise the wordclocks. What you could do I guess is connect the analog outputs of the SSL to two line inputs of the Zoom L-12. This would give you the ability to use the superior pre-amps of the SSL, and record them via the Zoom L-12. You'll need to ensure that the SSL is set up for zero latency monitoring so it's echoing the inputs to the outputs.

This may be the Windows bug that prompted us to change some of the menus in the track view to the new style menus. Windows menus used to have a limit of around 4000 items, but since Windows 10, this has been reduced to around 1200. The bug was raised with Microsoft around 11 years ago, but they've not done anything about it ( it's actually got worse! ). If you've a lot of templates or subfolders, it could be hitting this limit.

I find trying to play piano parts on a non-weighted keyboard unusually difficult... even the semi-weighted keyboards that have piano style keys just don't do it for me. I used to use an old Yamaha PF80, which was a beast at 34Kg (75lbs), and I'm pretty sure the keys were heavier than a real piano. Although I miss the extra controls it had for transposing & changing MIDI channels, the StudioLogic SL990 at 20Kg ( 44 lbs) has a way better feel and is much better on my back! I'm not brave enough to attempt to use a laptop on stage, as I don't trust computers in a live situation. If I can get away with it, I'll stick to the sounds in my Korg X5D which sits on top of the SL990. For anything more adventurous, I use an SMPro V-Machine with my old hardware synths & some VST's sampled on it. It's about the size of a VHS cassette.

Clip Gain Automation affects the clip volume only (pre clip fx, and pre track fx), whereas volume automation affects the volume of the track post fx. In other words, clip gain automation affects the volume at the start of the chain; volume automation affects it at the end of the chain.

Another thing to bear in mind.... When a clip is frozen, a backup of the original clip is kept at it's original location. In most cases, moving / editing a frozen clip around will not move or affect the original clip. There are some exceptions, like Ripple Edit All and some Arranger operations, but as general rule, when you unfreeze, the original clip will be re-instated in its original position. So basically - if at all possible, avoid edit operations with frozen clips.

Your device could listen out for MIDI Start/Stop/Continue messages, and get Cakewalk to send out those. This is set per project in Preferences->Project->MIDI

Make sure you've set your power scheme to "High Performance".

If you left click on the plugin within the rack, and hold the left mouse button down, you can press the del key to delete the plugin. The quickest way to do this I find is: - Right click the fx rack header, and "Convert to FX chain" - this then becomes one composite plugin - Click and hold the mouse button on the fx chain and press the del key (as described in the previous answer) CTRL + dragging a plugin will copy the plugin plus all it's current settings to the track you drop it on. @Mark MoreThan-Shaw had the right answer here - use the browser. This isn't an error. The FX rack just doesn't support multiple selection. If you need to move all the plugins, either: 1. Clone the track with FX 2. Convert the plugins to an FX Chain first, and move/copy that. You can either leave it as an FX chain, or "Extract FX Chain Plugins" to separate them out again.

This is what the arranger is for. Create an arranger section covering your chorus. You can then record an intro after it, or a verse in whatever order you want - then create an arranger section covering each section. Once you've got your sections recorded, drag the sections within the Arranger Inspector to an arrangement. You can preview it to see if it works - if it does, committing the arrangement will re-arrange the project to match your arrangement. You can also create multiple arrangements to test each one out to see which works best before committing. The example below is just using one track, but it'll work with a complete project with any number of tracks:

Check your "Clip Tail Duration" within Preferences->File->Audio Data. This determines how much extra time of audio is added to account for things like reverb tails etc. When set to 0.00, the bounced clip should be the same length as the original - any other value will result in a longer clip.

Have you updated Melodyne since you saved those projects? When you have un-committed Melodyne Region FX in a project, the Melodyne state is stored within the project folder. The state files are binary files grabbed directly from Melodyne. Sometimes updating Melodyne to a newer version will make those files incompatible - AFAIK, they don't guarantee backwards compatibility with their state files. The best practice is always to render your Melodyne effects. You can always copy and archive your tracks before you apply Melodyne if you want to go back to its previous state.

The only way I can see this technology working is if VST3 developers modify their existing algorithms to take advantage of these new API's. Whether they'll do this or not is anyone's guess. The way VST's work is pretty simple from a high level: The DAW prepares an un-effected audio buffer in memory, and passes it to the VST. The VST then does its processing and passes the effected audio buffer back to the DAW. This buffer then gets passed to the next VST, and so on, until is ready to be mixed with all the other tracks in the DAW. Obviously there's some delay compensation logic in the DAW to ensure the buffers are all processed at the correct time, but apart from that, it's the VST's that are doing all of the heavy calculations. The current functions in GPU's are more generally suited to large matrix transformations rather than pure DSP functions. Perhaps GPU Audio have found a way to leverage the GPU functions in a way that is more suitable to DSP - but as I said, this is more a thing for VST3 developers to deal with rather than DAW developers.

You also need to make sure your track automation is selected when moving your clip data. This can be done either via the select module (in large mode), or the track view menu: If you also want bus automation to be moved along with your tracks, I find the easiest way is to create an arranger section that covers the area you want to move, then move that section making sure "Select Events with Sections" is enabled.

Yes, I think the SY77 is not receiving program changes while in Multi Mode. IIRC, my TG500 ( the rack version of the SY85) is the same. In reality, it shouldn't be a huge issue. All it means is that you need to set up the sounds on the SY77 first. Of course this means: 1. You're limited to 16 sounds - one per channel. 2. All of the sounds will share the one effects block, so you'll need to be clever in the way you set your effects up. In the past, I've done this by using one reverb/chorus effect for most sounds (adjusting the send A/B for reverb & chorus accordingly), and one "speciality" effect for a particular sound that needs it. 3. The SY77 will continue to receive note/CC data on the separate channels, so you can click on a track to change sounds - but it'll be the sound you've pre-chosen for that channel.

This is a long shot, but.... have you checked if MIDI control is enabled in your Keyboard Bindings? It could be a MIDI note triggering the "Open Soft Synth on Current Track" command. Another long shot could be something triggering X-Ray.

Silly Wizard - The Queen of Argyll

On the Mackie Control Surface dialog (you can get to this from the Utilities menu), click the "Configure Layout" button, then: For MCU 1-8, XT 9-16... turn the Channel 1 V-Pot on the XT so it shows channels 9-16 For XT 1-8, MCU 9-16... turn the Channel 1 V-Pot on the MCU so it shows channels 9-16 Then click the "Press again when done" button, and save your setup as a preset within the dialog.

A thing I've done a few times over the years is "virtually" downsize my studio. Basically I switch off my DAW machine, all my outboard gear, and switch to either an old PC or a laptop and start with the most minimum amount of gear. The last time I had serious blocks, I went with a master keyboard, a Yamaha QY20 pocket sequencer and a pair of speakers. I just played around with the styles in the QY20 until I came up with something I liked, then used the internal sequencer to record stuff I played on the keyboard. After a couple of months, I had enough material to take it back into my studio and develop it further. Right now, I'm messing around with Band in a Box. I'm forcing myself not to care about the fact I'm not playing all the instruments myself any more, because the simple fact is that playing everything myself takes too much time that I no longer have. What I want is results quickly, so I can be inspired / motivated to take it the next level... and then I may consider re-recording each part myself. Getting around the feeling that I'm seriously cheating is hard, but then (a) no-one would know apart from me, and (b) it's really just a means to an end - I'll probably re-record the parts anyhow. Another thing about this approach is I can focus more on the song and less on the endless tweaking. A good song is a good song whether it's played by a full band, or strummed on guitar and sung along to. It's something I constantly have to remind myself of. But in the end all I know is, it's WAY less work, and the personal rewards come far quicker.

Oh,... just noticed... you've you Local set to on. I'd recommend turning local off when using Cakewalk. What this does is turn the SY77's keyboard into a silent MIDI controller, and the SY77 will only play sounds as a response to MIDI coming in on the MIDI in port. You will still need to play your project at least once for the program changes to be sent. Afterwards, you should be able to click on each track and hear only the sound for that track's channel, as Cakewalk will echo what it receives from the SY77, back to the SY77 on the appropriate channel. Don't forget to switch local back on when you're not using Cakewalk though, else you'll think you've broken your SY77 !

Yes: In TH3: 1. Create a new bank, 2. Click on that bank, and click on the first empty slot 3. Save your current settings as a new preset in the first slot 4. Right click on the preset, and "Export to File" 5. Remove the TH3 effect. Add the TH-U effect 1. Create a new bank 2. Click on that bank 3. Right click on the first empty slot, and choose "Import from File" - load the preset you saved above 4. Double click on the new preset to load it.

This may be a limitation with the SY77 in multi-mode - not all synths respond to program changes on individual channels in multi-mode. I'll need to check with the synth. This may take some time, as my SY77 is back in storage.

Time signatures are entered in the Meter/Key view. Go to View->Meter/Key and add a time signature / key entries at the bars the meter or key changes. The staff view will automatically add a time signature/key signature change at those points.

I find the easiest way to achieve this is: 1. Expand the take lanes before you start recording. 2. After clicking stop, just solo the take you want to "favourite" Don't forget, there's always the notes area to the right of the MSR you can add to as well.

The Rode NT1 is a great mic, and has a much flatter response than the equally good but brighter sounding NT1A. Other great mics... Aston Sprit / Origin, any of the Lewitt LDC range or the Warm Audio range. If you like the sound of the SM58/57, check out the Shure SM7B - not an LDC, but a great vocal mic nonetheless and a step up in quality from the SM58/57. If this is for your own vocals however, I'd strongly recommend trying a few before you buy as you can't guarantee the mic will necessarily suit your voice. With a budget of $1000 however, you could also consider the Slate VMS system which would give you a huge choice of mic emulations.

Be aware that 16 bit and 24 bit are integer based formats, whereas 32 bit / 64 bit are floating point based formats. The jump to 32 bit is not the same as the jump from 16 to 24 bit, as being different formats they're not really comparable in the same way. Generally speaking, exports should always be 16bit or 24bit unless you're going to be doing additional processing to the exported file.