msmcleod

@Bajan Blue - some things to bear in mind: 1. The tempo map has been replaced by a tempo track, which allows you to edit your tempo as an envelope. 2. Although the tempo inspector show a list of tempo changes, it isn't the same thing as the old tempo map. Instead it's a list representation of the tempo nodes, and the envelope shapes connecting them. If you're using jump shapes, then there's pretty much no difference between the two... however, if you have a section where you're speeding up or slowing down, the inspector will just show the start/end tempos and the curve type, rather than every single value in between like the old tempo map used to. Here's a more detailed explanation of the changes and how they work:

@jkoseattle - I stumbled across this post regarding E/W OPUS with Cakewalk. I believe the advice came from EastWest support. It might be worth giving the steps a try:

@Mo Jonez - it's worth pointing a few things out... 1. Everything in Preferences is global, apart from the pages under the "Projects" section, which is the only part that deals with per-project settings. 2. The "Wave Files" setting within File->Folder Locations refers to where the CbB Media Browser will point to when selecting "Audio Library" 3. The "Global Audio Folder" setting within File->Audio Data is where recorded audio data is saved to when you've not yet saved your project, or when you're not using per-project audio folders. 4. When you save a project, you're given the option of saving the project audio data alongside the project file. This is checked by default, and when checked will save your audio in an "Audio" subfolder in the same folder as your project file: 5. For exported audio, the default path is set to be an "Audio Export" subfolder in the same folder as the project (set within File->Folder Locations->Export Audio Files). However this can be changed within the Audio Export dialog, and the last used location for that project is saved along with the project, so it'll pick up your new location the next time the project is loaded. If you've not saved your project yet, exported audio will go to an "Audio Export" subfolder under the Global Audio Folder path.

@Paul Chan - It's possible your ctrlsurface.dat has become corrupted and that is what is preventing Cakewalk from starting. Try renaming ctrlsurface.dat to ctrlsurface.dat.old in the %APPDATA%\Cakewalk\Cakewalk Core folder.

It's not only Cakewalk that may be saving references to paths. Many plugins internally save paths as well. You should use Windows Disk Manager to restore the old drive letters, and use new drive letters for the new drives.

I suspect the events are being shifted to make room for the sysex events. IIRC large amounts of sysex events are spaced out so they don't flood the buffers with too much data at once. Have you tried checking "Always Use Sysx Banks for MIDI Files (Instead of Sysx Data) in preferences before loading the MIDI file?

If you've no audio tracks (or VSTi's), then using Full Chase Lock is what you should use for MIDI only. Alternatively you could simply add a blank audio track and set your Synchronisation to Trigger & Freewheel. That way it'll be using the audio device's clock rather than the Windows internal clock.

It depends on the plugin. Plugins with a lot of automatable parameters and/or use a lot of memory will take longer. There are essentially 2 things that happen when a plugin is removed: 1. Any automated parameters are disconnected 2. Cakewalk asks the plugin to unload itself However.. a copy of all the automated connected that were mapped, along with a copy of the plugin's state (essentially a temporary preset) is put on the undo stack. That way, when you undo the delete, the plugin is restored to how it was. If there are a lot of automation parameters, or the plugin takes up a lot of memory, then it'll be slower. This behaviour isn't new to this release.

The latest version of Cakewalk is 2022.06, which includes the latest Mackie Control surface changes. You can do this directly within Cakewalk by selecting "Check for Updates" from the Help menu. BandLab assistant is no longer required for updates or activation.

@A Boi - what version of Cakewalk does it say you've got in the About screen?

There are 3 ways, depending on exactly what you want: 1. Drag the MIDI clip to the desktop or a folder, and it'll get saved as a .mid file. Quite often you should be able to drag/drop it directly on the other piece of software. 2. Select the clips you want to export, then from the main menu: File -> Export-> Standard Midi File 3. File->Save Copy As, then pick "Standard MIDI File" as the format. This will save all the MIDI data in the project as a single MIDI file.

I did take a look at this one. Windows has slightly different CTRL + TAB behaviour when a Windows browser control is involved,, which is why it's being swallowed up. It'll need further investigation.

After adding the Mackie Control surface in Preferences -> Control Surfaces, and clicking OK on the Preferences dialog, go to the Utilities menu and pick "Mackie Control - 1". The option can be selected on the Mackie Control dialog:

The file you want to delete is AUD.INI within %APPDATA%\Cakewalk\Cakewalk Core

It all comes down to the drivers. The Focusrite Scarlett range will happily work with ASIO in CbB whilst other apps are simultaneously accessing it using WASPI/WDM.

I'm not sure if they do an XLR equivalent, but I'd definitely avoid getting a USB based Mic when running in Windows. The reasons... 1. You can only use one ASIO driver at once, so if you're using the Rode's ASIO interface, you can't use anything else within CbB ( this is a Steinberg/Windows restriction, not a Cakewalk one). 2. Even if you could aggregate the devices to allow both of them, there's no way to sync up the word clocks, so you'd have to fix any timing issues manually. 3. You're stuck with the pre-amp that's inside the mic. I'm not saying that the Rode pre-amp is bad, but you've got no other choice but to use it. 4. You've no idea how long the USB drivers will work with the OS. An XLR mic will last decades and will never just stop working because you've upgraded to a newer OS.

CTRL + TAB will do nothing when it's actually docked. If it's undocked, is the PRV actually visible? It might be that it's minimized and isn't obvious you've CTRL + TAB'd to it.

Obviously having a senior moment here!!

CTRL + TAB is the Windows standard for switching between different application windows. ALT + TAB is the standard for switching between windows within the same application. Edit: ALT + TAB is the Windows standard for switching between different application windows. CTRL + TAB is the standard for switching between windows within the same application.

Pressing F6 twice will toggle between Select and the previous tool you used, whatever that may have been. F5 (smart tool) and F7 ( move tool) do the same. F8 (edit), F9 (draw), F10 (erase) have several different modes, so pressing them will simply rotate through the modes they offer. Nothing has changed here in a long time, SONAR Platinum behaves the same.

Electric guitars are unbalanced - a TRS cable might work, but it won't do anything as the tip and ring will be shorted at the guitar end.

First, set up the Arturia Keylab so that its configured for MCU mode using Cubase - follow the first step under the Cubase section on this page: https://support.arturia.com/hc/en-us/articles/4405748362002-KeyLab-MkII-Tips-Tricks In the Mackie Control surface dialog in Cakewalk set the Protocol to "Mackie Control Universal (Cubase Mode)"

My thoughts on balanced vs unbalanced... An unbalanced signal is basically your signal + ground. A balanced signal also includes the phase inverted signal. The idea is that any interference (i.e. noise) that affects the cable will affect both the balanced and unbalanced signal equally. So when you combine the signals, the real signal will cancel out leaving only the added noise. If you then phase-invert that noise, then combine it with the original signal, it will phase-cancel the noise leaving you with only the clean signal. With a mic level signal going through a long cable this can be extremely useful, as a mic signal is relatively low and the noise level may be relatively significant in comparison... it'll also be amplified when the pre-amp amplifies it to line level. So removing the noise before it amplifies it means you get a clean signal. With a line level signal however, any introduced noise in the cable will be fairly low in comparison (unless you've got some real issues with RF / electrical interference in your room). Also the shorter the cable, the less chance any interference will get the opportunity to interfere with your signal. With an amplified signal (e.g. speaker cables), the noise level is so low in comparison, you'd never notice it. So in general, always use balanced cables for mic level signals. For line level signals, it's not really a big deal, especially if your cables are short (i.e. 6' or less). Personally, I use some balanced line cables in my pre-amp rack simply because the connections were there, there's so much gear close together, and it wasn't much more effort/expense to use them. There are plenty of places where I don't have a balanced input for line signals though, and I've never found this to be an issue.

There are several versions of the standard Pre 73 - Mk I, Mk II & Mk III - I've got the Mk I, and a modded mk II ( I replaced the transformers with genuine Carnhills ) From the looks of it, that's a Mk II. Everything from Mk II and above can be modded easily to be replaced with Carnhill transformers. The Pre 73 DLX already has Carnhill transformers. The bottom of the range is the Pre 73 JR, which is a 1U 1/4 rack module with just the Mic & Line inputs, and a gain pot... you could fit 8 of them in a 2U rack space ( assuming you mounted the power supplies on the rear ). There's also the Pre-73 Premier and Pre-73 DLX Premier, both which have genuine Carnhill transformers. They're also the same colour as the old Neve's, with Neve style knobs. I wouldn't assume the Carnhill transformers are necessarily superior to the stock transformers in the other Pre 73's - using Carnhill's just makes it sound closer to a real Neve 1073. When comparing the Pre 73 to my other preamps, it was by far the best sounding, although my Scarlett 18i20 was VERY close. Where the Pre 73 really shines is when you drive it slightly too hard... then the magic saturation kicks in.