David Baay

Yes, that's still true; the OP just wants more control over the naming of that file.

My favorite genre for listening is jazz, but I don't have the training or chops to play real jazz. I also love fusion, and a lot of what I do could be classified as such, though typically with less virtuosic performances, and less adventurous changes. I don't really listen to ambient, chill-out, trance, lounge or what used to be called new age, but much of what I create leans in one of those directions. Like most around here, I grew up listening to - and still listen to - a lot of guitar-based pop and rock, both soft and hard, but I'm not a guitarist, and I don't sing or write lyrics, so I'm influenced by that listening, but it's not what I do.

I agree. Since I spent so many years playing solo piano before I got into recording, my stuff tends to have 'built-in' bass and melody lines, making it difficult to add/replace those parts with other instruments. And just removing the 'offending' lines (by the magic of MIDI) doesn't often yield a coherent keyboard part. Playing as a member of a band, even just a duo, requires a totally different approach.

CbB is still highly stable for me, as ever. If the application itself had become less stable due to an update, there would be a rash of reports on the forum from other users. Odds are that any recently encountered instability is due to a particular plugin you've started using or a change in hardware/drivers/OS config.. What action are you typically taking when it crashes, and is it a white-screen freeze, crash to desktop (i.e. CbB disappears), blue-screen, or...?

Bounce to track with automation means to render the automation destructively into the audio file. Obviously, a mono clip/file can't contain stereo panning information. You'll have to change the Channel Format in the bounce dialog to Stereo.

I don't see how you'd end up with anything radically different or simpler that was still workable. You'd still need a suffix system to distinguish different takes and bounces in each track and across tracks. Also, I neglected to mention a few key features of the current scheme that any new scheme would need to preserve: - Tracks and clips do not need to by uniquely named, and you can rename them at any time. - Clips can be copied as many times as needed, and reference the same original audio file until a destructive edit is rendered by bouncing. - Multiple versions of a project can exist in the same folder referencing the same or different audio files, and deleting a clip from one project does not affect the availability of the same audio file for another project. - A project can reference an audio file in another project's audio folder or any location from which audio is imported without having to create a new copy of that audio unless destructive edits are rendered. You think the current system is ugly? You should have seen it in pre-SONAR days when file names were essentially random strings of numbers and letters like WJX4DMIJ2SVD7R.WAV - That was ugly.

Clips are not files, they're just graphical representations of a file or a part of a file, and altering the clip name doesn't affect the name of the referenced file which is what the OP is concerned about. CbB adds suffixes to files to differentiate them from earlier versions or recording takes. Nothing gets deleted unless all references to a file are deleted from the project during the same session in which the file was created without ever saving. And once saved, a file will never be deleted unless you use Clean Audio Folder or CWAF Tool to purge orphaned files, or save a copy of the project to a new folder, which will copy only referenced files. Once you've finished a project and cleaned all orphaned files from the project folder, you could conceivably rename all the clips, and then tell CbB which file is which when missing files are reported when the project is re-opened, but it would be labor-intensive and prone to errors in a big project. It's best just to let CbB do it's thing, and not pay too much attention to how the sausage is made under the hood (I love a good mixed metaphor).

I've uploaded a few short, simple things just to get a feel for it - http://bandlab.com/brundlefly . The first few projects posted using the Export to Bandlab function in CbB had to be explicitly published after the fact, but the last couple have been published automatically, and I have not yet found and 'unpublish' option. I would be interested in a simple collab to get a feel for the process. My forte is improvising chord progressions, rhythmic hooks and 'grooves' on keys. I can write a good melody, but I'm not an accomplished solo/lead player, so I would mostly be looking for collaborators to add solos/harmonies/vocals/bass/percussion/etc. to established instrumental song structures. I don't spend a lot of time on mixing and mastering, either, so anyone who's really into that part of the process would be welcome as well. Regarding what happens when you make things forkable, my first impression is that there's too big a gap in control between collaborating with known, invited people in a 'band' with a fixed endpoint, and just letting anybody do anything forever into the future. I might try it at some point, but it would have to be something that I consider a 'throwaway' piece. One thought I had about the problem of people throwing obnoxious lyrics on things would be for Bandlab to add a 'No Lyrics' option with some analytical capability to recognize when uploaded content includes language elements. My stuff is all instrumental, and I would most often want to keep it that way.

Another data point: I have a MOTU MIDI Express XT interface that's so old (early '90s) I had to physically swap out a chip to convert it from Apple to Windows USB standard (1.0 at that time). It still runs fine on a USB 2.0 port on a relatively new PC that was delivered with Win10 installed. So any issues are probably due to interoperability with the particular USB hardware and port drivers on a given PC.

To heal splits, you can swipe through an entire take lane, starting outside the longest running clip with the Comp tool in the lower half of the lane; usually that means swiping from right to left, and swiping past 1:01:000 to avoid creating a new split where you start or end the swipe. Or you can select the track or any lane in it and Ctrl+click any selected segment with the Comp tool. Both methods will heal all splits in all takes. To heal a single split just select any two adjacent clips, and Ctrl-click one of them with the Comp tool.

Yes. Just open both projects at the same time, Ctrl-A to select the entire timeline in the 'home' project, Edit > Copy Special, check only Tempo Changes, and paste into the church project.

After changing the mode, Save As or Save Copy As, change the type from Normal to Template, and navigate to the Project Templates folder in the Content location to save it.

Right-clicking the record button in the transport module will open Preferences > Project > Record.

Yes templates save the record mode. If you're just doing Ctrl+N to start a new project, and you haven't set a different template as the default, then CbB will be using the Normal.cwt template. You can either change the record mode and immediately re-save the new project as Normal.cwt, or save it as a another template name and set that as the default for new projects (click the star icon in upper left corner of the template under the New Project section of the Start Screen).

That's unusual. If 'Create New Lanes on Overlap' is enabled, CbB should put the whole new take in a new lane. I played around, and was unable to make it do otherwise, regardless of where a 'stub' from a previously aborted take started and ended. But if you don't intend to keep partial takes, you can just Ctrl-Z to undo the aborted recording, which will delete the partially recorded lane and heal the splits in previous takes.

Do you have 'Create New Lanes on Overlap' enabled? Even though you're manually creating your own new lane, you need to have this enabled to get CbB to use it.

So what’s the difference between your process and scook’s? Just that you’re creating lanes manually? Either way, it should be working so long as the lane isn’t armed individually.

It's arming the individual take lane that causes previous takes not to be heard. Arm the parent track.

Sounds like maybe you cloned a Simple Instrument track at some point. This does not create a new instance of Dim Pro, and can cause problems with unintended linkage of track controls. To cure it, I would split any Instrument tracks to separate MIDI and Audio, verify that every pair is behaving as independently, re-create any that are not, and re-Make Instrument track from related pairs.

Is disk write caching enabled (default is no caching)? Maybe rename Aud.INI, and try using the default INI file for a while. Or try setting a suitable non-zero Record Pre-allocate value.

+1

Yes I can repro this. Looks like a bug. Not seeing a workaround other than routing 'nome through the aux track as you mentioned.

Two options: 1. The comp splits can be easily "healed" in all clips after the fact by swiping across any take lane with the Comp tool, starting outside the clip. 2. Record in Sound on Sound mode with Auto Punch and Mute Previous Takes enabled.

Hmmm... then I did not understand. You said "then try to change the 2nd node's volume, CWB turns the envelope between 1 and 2 into a linear. " That did not happen in my case; the segment between nodes 1 and 2 is still a jump. I think we'll need a screenshot and detailed steps.

If I understood correctly, you're trying to get something like the screenshot below. I didn't encounter the problem described.