Glenn Stanton

you need to run it as admin first time you register it

when i see it, i re-run my redistributables installer ?

welcome Francois! if you have a Google Drive, you could host it there (there is a default "Public" folder) and share a public link to it. that is how many folks here share their wares.

one thought is check and see what processes are running - like Defender etc which can be a problem anyways, so exclude cakewalk etc from the live scanner.

Process Lasso ?

the reason someone includes the date in the file name is to avoid issues where downloading the file changes the file date stamp to whenever you copied/downloaded etc. and some files, if you open in an app with auto save can modify the date modified (DoRD ? ) so if the date of: mix complete, mix approval, master, master approved is important to preserve across people and systems, insert YYYMMDD (and even HHMM) is light enough to add. "My Song MIX 20230102 APPRV 20230201 blah blah etc" or better - share metadata in a related text file ? )

Delivery Recommendations 070711 https://naras.a.bigcontent.io/v1/static/delivery_recommendations_for_recorded_music_projects_final_09_27_18_0 some ideas on naming conventions (a bit dated perhaps) PT Guidelines v22b1.doc (grammy.com) http://www2.grammy.com/PDFs/Recording_Academy/Producers_And_Engineers/PTGuidelines.pdf Grammy Naming Conventions – Meyer Audio Tech, LLC https://meyeraudiotech.com/index.php/grammy-naming-conventions/ The Recording Academy is the leading society of music professionals | RecordingAcademy.com https://www.recordingacademy.com/producers-engineers-wing/technical-guidelines

yeah, some projects i want to put the version into the name - lately using "Two" "Three" etc appended after the song name. when producing and the client wants version by day (or even hours a few days few times) i use "YYYYMMDD" (or add "-HHMM" for time) so "V20230313" so it's sortable more easily. so, it may be something like "Song Name Two V20230217-1800.cwp" "Song Name Two V20230217-2030.cwp" etc

did you turn on the key signature / scale setting in the MIDI track? then you can either turn off (or toggle) the key signature / scale or switch the scale to allow "off notes"

one of the problems with the redistributables - there are variations in the top-level version in some of them depending on a patch level and any API choices the developer made... so, yes mostly 3rd parties but MS lately has been doing a lot of updates on Edge and Defender, and some OS stuff (both W10 and W11 - which i'm on now) and so i find spending the extra 10 minutes to re-run them just ensure that the ones i need are there... i'm much less concerned about some VR in Edge support for occulus products than i am my CW and Sketchup program... ?

yeah, the first thing i do after a new update in CW or any major OS related bits - re-run the redistributables ? i've found this means i'm skipping all the troubleshooting to solve weird agonizing mysterious issues, but i just don't have time for it ?

yeah, it would seem nice if we could have everything in the Program Data\Cakewalk folder - no permission issues, all in one place, easy to backup.

so the top level folder would be: My Song Project then under that i may have: My Song Project - RECORD My Song Project - VOCALS My Song Project - MIX so if i'm doing the recording phase (or i'm importing client files) - i use my recording template. get the "performance" materials done. then export those tracks. i also export a raw 2-track (perhaps with fewer instruments etc) to use as a backing track to record vocals (or solos etc). i export the vocals etc tracks. then i open my mix template and import the recorded tracks. finally i export a MIX 2-track for the mastering stage (which now that Ozone 10 doesn't have its own EXE, i'll likely setup a CW template for mastering with the O10 plugins etc). for me this keeps things fairly neat - but - if i need to do something quick and dirty, i'll just open a blank template and do all the bits there - but anything i'm really going to product goes through the template process.

Ripple Edit plus insert measures from the selected (or entered) time. ?

i give it a song name as the main project folder, then create individual projects as needed - record, vocals, solos, mix, master, etc. if you're creating parts of a song with your naming convention, that can work although i would tend to think of those more as tracks in my record / mix projects. for my record and mix templates i use a numbering track name scheme "I01 KICK" "I02 SNARE" "I20 BASS" etc so a) i can easily sort to my "normal" ordering of things, and b) space to insert additional tracks in similar order - "I21 BASS2" etc. then when i export to tracks, then import into my mix template, the tracks are all pre-named and ready to go. in your case, i might label the tracks (in my system) "I30 GUITAR C DRP CLS" "I34 GUITAR D DRP ES PCK" etc etc so if i use the track sort command all my tracks get orderd as i would expect + additionally by Key and then type. a number could be inserted into the mix tro further refine ordering.

it's something i bought a while back in the SONAR days - but many "trial" versions of things often do noises, beeps, or blanking to remind you to buy the license ? of course with the proper attitude and some work, you might combine a bunch of those into modern music ?

i updated my laptop and forgot to re-apply my CA-2 license and was getting blanks and clicks. until i opened the settings and got the message about the license and that the audio would be disrupted periodically.

if the app isn't saving the last used folder - maybe create a directory junction in your documents folder (e.g. 0-PSpresets - the 0- forces it to the top when sorting in name order) so it's the first folder when you are in the documents folder. e.g. mklink /J "C:\Users\USERNAME\Documents\0-PSPresets" "C:\Cakewalk Content\Common\Perfect Space Presets". doing this allows you to alias the target folder -- shortcuts don't support aliasing per se although you can rename them, the sort ordering doesn't always work as expected...

maybe copy all the step sequencer into a MIDI track and then edit directly as MIDI the parts you want to change, or a separate MIDI track (feeding the same drums) with the additional bits. then if you want to make changes in the overall pattern you edit the step sequencer and your other parts are still intact... either way i think a second MIDI track would be beneficial. for me i just create MIDI & generate the track for each individual instrument so i can alter them however i like ?

are the clip automation set on the take lanes or the primary track? it may be one reason why it works consistently wih "flatten comp" applied versus the take lanes. even so, i would expect the take lanes clip automation to work correctly ?

yes, the VoS plugins are primarily designed to add character all the "leveling amps" "compressors" etc i like density on certain mixes as it does add a bit of high freq harmonics. doesn't work for all materials. there is a web site (can't remember off the top) that did a bunch of detailed technical assessments on VST / AAX compressors vs their actual hardware version - one of the things i remember is that the CW CA-2 got really good ratings as it's harmonics (levels, types, range) were more consistent with the HW products than many others. in general the Waves and Slate did really well on their models as well (all of them) but not surprising as they do model their stuff pretty closely when its mimicking HW... but if you're looking for clean w/o character (ala transparent) those are harder to find in free versions.

any thoughts on the variety of sound plugins? Density mkIII Thrillseeker etc?

i use tracks grouped into a buss - drums, acoustic guitars, electric guitars, pianos, synths, vocals, etc. these busses become my main mix, and then if something in the group needs to be tweaked at a track level, easy enough to adjust the balance within the buss grouping. for soloing then i just solo the buss, or the stem (low, drum, vox, instruments, solo), or worst case back to the individual track(s) - but usually i don't solo both a track and a buss since it can create weird routing situations. e.g. drums buss + pdrums + kick feed into the drums stem. so if i'm going to tweak the drums parts (kick, snare, hh, toms etc) i'll solo the drums stem (a stereo buss feeding the master). all the vibes, reverbs, etc associated to the drums are there now. and i can solo the tracks or mute some to tweak the track levels. but i wouldn't try to solo the bass track or buss unless i soloed the low stem as well. edit: one quick note -- you could do all this with aux tracks in lieu of busses. this is handy when you want to keep the group track next to the associated tracks. for example: you might create a "drums" aux track which has a mix of the drum parts, and perhaps more than one which has various tracks so you can set the levels via automation, and then these feed the drums "stem" buss (where you might do other processing)

this is similar to this question on separating the monitoring volume from the master. @Lord Tim has it correct. also: