msmcleod

Just guessing... but I think it was because it was all in caps. Anyhow, I've approved it.

Select all the tracks you want to set the input for, hold down CTRL and change the input for one of the tracks. It should change it for all selected tracks.

@Bryant Walley - can you let us know which files you moved to the destktop? We can make sure any failures with these files are handled better in the future. If you still have the originals, please PM either me or @Jonathan Sasor

It's working fine here. Are you using an over-restrictive workspace that is "locking" your track order?

The M1 .. M4 modifier buttons give access to another 4 banks of 32.

You can change both the online and offline algorithms for audio stretching in preferences: The Online Render is what is used when you change things on the fly (like adjusting tempo), and by default uses an algorithm which is fast, but is prone to artefacts. The idea is that you use this to get your timing right, and use the Offline Render to commit your results. The Offline Render is used when using Bounce to Clip(s) / Bounce to Tracks / Audio Export. This is slower, but produces far less artefacts. Also some algorithms are more suited to others depending on the type of audio you're stretching (e.g. vocals / bass / drums etc ).

Genesis - The Lamb Lies Down on Broadway

I 100% agree with @DeeringAmps here - a high pass filter could go a long way to sorting out the mud in the low end, and then some ducking compression on the bass side-chained by the kick drum. The bass itself could do with a bit more treble to give it more definition. A small amount of distortion can help it poke through without sounding obvious in the mix. I would suggest looking at your monitoring though. That the bass is so obviously boomy on my system, suggests that your monitoring is presenting the low frequencies to you at a much lower volume, and you're turning them up to compensate. I've had exactly this issue in the past, and I've had the opposite as well! (too much bass in my monitors leading to a really tinny mix). The only way to fix it is to fix your monitoring, which means a combination of: Acoustic treatment in your room Better placement of your speakers Optionally room correction software such as Sonarworks or IK ARC 3. If 1 & 2 are difficult / impossible to do, definitely consider option 3. I use ARC 2.5, and it totally transformed my mixes by giving me a more honest frequency balance. Another option would be to get the headphone-only version of Sonarworks and mix on a half-decent pair of headphones that's on their list. This does work, but you really need to take the time to get to know your headphones well to get decent results - the same goes for your room too really, but even more so for headphones.

The easiest way to slide everything is to create an arranger section covering the things you want to move, and move the section. When you left click the section it toggles events selection on/off, so make sure events are on when you move it. Moving an arranger section moves everything, including both tracks & bus automation.

@Mike Bond - As far as your original issue is concerned, it might be a grounding issue or noise from your laptop PSU. I've had a similar issue with recording guitar through USB based interfaces in the past, and the only way I got around it was to unplug the laptop power adapter and use the laptop on batteries when it was recording. Playback was fine with the adapter plugged in, so it was just a matter of using batteries only for tracking.

I would second this. I've got both Focusrite Scarlett and Behringer interfaces, and the mic pre-amps (and as a result, the guitar input) is much better on the Scarlett. The Behringer pre-amps sound very harsh to my ears in comparison to the Focusrite.

We did see a case where this was happening when there was a zip file in the same directory as the .cwp that couldn't be opened by Windows explorer. Either moving the zip file, or moving the cwp file to a different folder fixed the issue. Unfortunately the media browser within Cakewalk is basically a Windows Explorer shell component (i.e. it's Microsoft's). When it's first constructed, it looks at the current directory - so if there's zip file that it can't deal with, it gets upset.

You have to ensure you've used each plugin at least once within Cakewalk since enabling the MackieControl surface. When a plugin is inserted into an effects bin, its parameters are remembered and written out to genericSurfaceParameters.xml when you shutdown Cakewalk. It's this file that C4Mapper reads to get the list of plugin parameters.

@Patrick Azzarello - can you send the file you're trying to import to @Jonathan Sasor so we can take a look at what is going wrong here? Cakewalk should support this file format.

I use the Studioworks Reference 4 as a plugin, alongside IK ARC 2.5. I put both on my master bus and only one is active at a time, with the other one bypassed (i.e. I use ARC 2.5 for speakers, and SWR4 for headphones). My Windows audio device is set to the onboard device, not my audio interface. I really only use it for YouTube / Groove3 tutorials. Also, I use other audio outputs other than those going to speakers/headphones, so I don't want either ARC 2.5 or SWR4 on anything but my master bus.

Yeah, a breve is 2 whole notes. A semibreve is a whole note, and a minim is a half note. I don't think I've ever seen a breve in any sheet music... maybe it's reserved for orchestral triangle players!

Back in the old days, I used Music-X on the amiga, and I used to manually insert my program changes & CC events ( normally volume, pan, expression, pitch bend & modulation & sustain pedal ) at the start of every "section" (e.g. intro, verse, chorus etc). I'd bounce the whole sequence down to an Alesis DataDisk, and then take it to the studio and plug it into the ADAT BRC. Because the program changes / CC events were specified at each section, I could start the ADAT at any point within a song and it would correctly pick it up and start playing in sync almost immediately using the correct sounds / CC settings. For me this just became a necessary part of my workflow with MIDI. It's not something I worry about as much nowadays with VSTi's, as they tend to have their own track and pan/volume are generally controlled on the audio track. But if I'm using some Kontakt instruments, I still put pitch bend/modulation events at the beginning if necessary, and I'm extra careful about sustain pedal events in piano parts when cutting / pasting.

According to the MIDI Spec: Start Byte Hex Binary Description 1 FA 111 1010 Status This message is transmitted when the Play or Start button of the master sequencer or drum machine is pushed. Once the message is received, the device resets its internal song position to 0 and begins to play at the reception of the next Timing Clock message. There should be a delay of at least one millisecond between the transmission of the Start message and the Timing Clock message to give the receiver time to respond. The receiver, however, should be able to start immediately, even if the delay is less than one millisecond. This is exactly what Cakewalk is doing. The drum machine should not be starting until it receives the Timing Clock message, which isn't sent by Cakewalk until the count-in has finished.

Cakewalk is Windows only.

This should work, but not quite exactly the same as in the PRV due to the Arranger/Articulations using a different UI technology to the rest of CbB. The trick is to stop short of the edge, and it'll scroll:

Eli Krantzberg has a great tutorial on using BIAB for Songwriting on Groove 3. I loved the different methods he showed of generating ideas, and using parts from what might seem disparate styles in your existing session. To be honest, I've never been that into the middle-of-the-road styles that BIAB generally has, but it's amazing what you can do by using just one part out of context. Here's the course overview: Tutorial 1 - Creating a Melody (7:25) In this first video, use the Band-in-a-Box Melodist function to create a melodic idea for a chord progression and arrangement in a DAW. Tutorial 2 - Exploring the Melodist Maker (10:26) Learn to use the Melodist Maker to create a custom Melodist and hear how it interacts with different styles. Three separate melodies are generated and brought into the DAW, where they're edited together to create a single, unified melody that matches the chords and arrangement. Tutorial 3 - Using the Chord Wizard (7:31) Next, discover the Band-in-a-Box Audio Chord Wizard and hear how it's used to generate chords and tracks supporting a melodic vocal idea for a song chorus. Tutorial 4 - Creating Harmonies (7:15) Explore Band-in-a-Box's ability to generate doubling and harmony parts from existing audio. Hear examples on vocals and guitar! Tutorial 5 - Creating a Guitar Part (7:27) Learn how the Band-in-a-Box MultiRiff feature is used to create multiple variations of a guitar part - based on your chord progression and rhythms - with custom shots and pushes. Tutorial 6 - Creating Better Harmonies (7:40) In this video, discover Band-in-a-Box's advanced harmonizing options, including the ability to export MIDI conversions alongside the generated audio. Tutorial 7 - Creating a Piano Part (8:19) Learn how to have Band-in-a-Box create a fully fleshed out piano part based on your original simple chords, in your choice of musical styles, using RealTracks. Tutorial 8 - Creating an Arrangement (10:36) See how the Auto Generate Chord Substitutions and Auto Generate Chord Reharmonization functions can be used to reinvigorate a simple melody, with examples in various styles. Tutorial 9 - Creating a Solo (11:24) Next, explore the Band-in-a-Box Soloist Maker and its ability to custom design solos and fill lines. Tutorial 10 - Creating an Intro (8:50) Hear the Band-in-a-Box's intro generating feature in action as it's used to create inspiring intros to match specific styles and chord progressions. Tutorial 11 - Creating a Chorus (6:31) In this video, see the Band-in-a-Box automatic generation feature in action, creating a chorus that harmonically and stylistically matches the preceding verses. Tutorial 12 - Generating Random Ideas (5:47) Finally, learn how Band-in-a-Box is used to generate random ideas based on your user input. Individual parts from multiple ideas can be used either independently or in combination as the basis for songwriting inspiration!

This isn't a bug - Zero All Controllers is the MIDI standard for dealing with this. The only reason people have started disabling this is due to Native Instruments hijacking CC #1 (modulation) for things like cut-off freq / volume. Why they did this, who knows, but it was a very bad idea. I've just got used to pressing and releasing my sustain pedal when this happens, or hitting the panic button.

FYI... Crotchet = 1/4th note Quaver = 1/8th note Semi-Quaver = 1/16th note Demi-Semi-Quaver = 1/32nd note Hemi-Demi-Semi-Quaver = 1/64th note. I could go on... but it gets silly!

Once or twice, although only when discussing sheet music. Demisemiquavers are far more common.

As a user, my #1 reason for using CbB is its support for the Mackie C4, which is a major part of my workflow. Most other DAW's don't support it, and those that do don't support it properly - i.e. you have to turn the pots several times to go from min to max, whereas within CbB you just turn it quickly for big increments and slowly for small ones. In fact, this bad implementation on other DAW's was the #1 reason for people not buying the C4, leading to Mackie eventually discontinuing it.