Starship Krupa

Please give some more context. When you do this, have you recorded multiple audio takes, or multiple MIDI takes, or assembled an arrangement from loops, or what? Do you have clips in groups? My understanding of the way the Comping tool is supposed to work in this mode is that whatever you've selected with it becomes unmuted and everything else gets muted. So it should be a matter of deselecting whatever clip(s) you accidentally selected. I just tried it a bit and the selections seem to respond to Ctrl+Z, so give that a try.

The thing is, we can't look at just the two of them in isolation. A computer system is so complex, and a DAW is one of the most demanding uses a personal computer can be put to, especially from a system integration standpoint. You could have installed some software, or Microsoft could have pushed out an update or a new driver for some bit of hardware on your system that broke it. Those of us who run trailing edge hardware (and I do it, my dear FP10's are 15 years old, they date back to the Windows XP days, will have the day come when the drivers for our stuff will just stop working. At least try pulling the Audigy out just as a test. If things start working again, you've narrowed it down and can start working on getting your Audigy to cooperate.

Aw, John, no attitude meant other than "c'mon, man, it's time to dump that stuff so we can get you going." Leavened with a dollop of my usual silliness. I've learned to live with the idea that some people want to stick with an older, unsupported program because they have it all set up and functioning in a working studio and they depend on it and don't want to mess with it. Maybe they use the extra load time to do mic checks. The people who believe that freeware licensing is part of a conspiracy to rob us of our precious bodily fluids are dealt with in other ways.? I was once a professional support technician for a software company, and a good one (so I was told by my supervisors and by the people whose systems I rescued), and my bosses and leads were very good at what they did and taught me some very good lessons and practices that I have been able to apply to other disciplines as my career has continued its zig-zag path. One thing that most software support people will do to ease the way to the user's system becoming functional again is get them on the most recent build possible as soon as possible. Keeping old installations and old revisions of software running is a systems administration no-no. The further away you get from current patch level, the likelier you are to have something go badly wrong, and the harder it will be to set it right when it does. Oh, these Pro Tools studios that are still on Pro Tools 9 and whatever version of MacOS you have to stay on to be able to run it. ?‍♀️ They'll get to the point where Apple won't give them an upgrade path for the OS, and if one component fails, that's it. Sitting on a pile of scrap. This is why I am often one of the first (along with abacab and Chuck E., I notice, good on ya, lads) to pop into these "my Sonar X1 o nooo" threads to remind the participants that there is a supported version of the software available for free. They are attempting to get a piece of software to function that, new features and performance enhancements aside, is like 75 months behind Cakewalk on bug fixes. If that 2013 date is correct, there are people today with college degrees who were in middle school when Sonar X3e was on the shelves. And no lie, I get better results with WASAPI or ASIO4ALL through a Realtek chip than I did with the last SB Live I ran. The drivers have been the Achilles heel for that product line since the beginning, over 20 years ago.

Oh man, heartbreak city on the Soundblaster. I'd rather pull the thing out and use ASIO4ALL with the Realtek chip. At least my audio wouldn't be needlessly resampled to 48K and back no matter what the settings. The one thing I have the Soundblaster Live to thank for is that back around 2002 or so in their heyday I couldn't figure out why the DAT transfers I was doing with mine lacked something, so I scoured Usenet and found out about bit perfect digital audio. I went out and bought a $14 sound card that had the almighty CMedia CMi 8738 chip on it and a header for the S/PDIF The first DAT transfer I did with the resulting kluge, the master tape of my girlfriend's album, literally brought me to tears due to the fact that she was away when I did it and when I played it back it sounded like she was in the room with me. When she came home I played it for her and she started crying because it took her back to the time of recording the album. I felt like we were in a mad scientist movie where the characters invent a device to transfer emotions from person to person. So the messed up design of the SB Live turned me on to my own sensitivity to phase smearing or group delay or whatever it is that suffers when resampling algorithms turn sour. I said it before: you have a nice, capable system. Running the antique version of the DAW through a Soundblaster Live (sorry "Audigy") gaming card, it's like you've got bald tires on your Porsche and are trying to find a way for it not to go out of control in the corners.

KeepFlailing=0 UninstallSonarX3e=1 DownloadBandLabAssistant=1 InstallCakewalk=1 InstallSonarVST64s=1 Compose6851820567124302Overture=1

Dump Sonar 3Xe for heaven's sake! Every minute you spend farting around trying to get it to work now that you can use Cakewalk by Bandlab for free is wasted time unless you're on one of those TV shows where you live in primitive conditions in order to win a prize. "So, user6851820567124302, how is your project to attempt to use the technology of the early '10's to create orchestral music on a computer coming along?" You have Miroslav 2 and a 3.5GH i7 with 24GB of RAM to run your DAW on, why are you insulting them by using a DAW from 6 years ago? If your system were working fine and you didn't want to touch it, I'd get it, or if it cost a lot to upgrade to Cakewalk, I'd get it, but your system is hosed and you're trying to get the obsolete version of the program to work? Don't do that, that's a waste of time and computer resources! Throw Cakewalk on there and you can even get help from Bandlab staff. And it's a better program.

There is the table on this page, if you scroll down to the bottom. It's more descriptive than the names at least. For instance: "MIDI Tracks 1, 11, 21...Background: Background color of all MIDI tracks that end in the number “1” (1, 11, 21, etc.)"

Not that I know of, I only have the three Orchestral Companions. They are all updated to v1.4.

@Tiger The Frog, I'm with you here. I was being conservative and just assumed that these other libraries with their full-featured players could do anything that the Orchestral Companions could do. I'm happy to stand corrected. Anyone who uses orchestral samples should drop the $15. Tiger is correct about the almost total lack of support, but I will say that they did issue an update and after that they became And thanks for all the tips and links to making better use of these.

abacab is right, the decision is whether or not you already have Garritan or some other orchestral library. If you do, pass on them. If you don't, jump on them like a trampoline, because you'd spend $15 at a burger joint and the samples are really good. I think I paid $10 for the strings and $20 each for the other 2 and it was money well spent. The downside is indeed the player, complete with missing mod wheel swell function. Why do they still advertise it after so many of us have pointed out that it's not implemented?

Yes! Although I was just in high school, I remember exactly the moment they went viral, it was a very widely read feature in Rolling Stone, and she talked about how she and Asher put it all over her latest record. Don't remember which one that was. Would have been in the heyday of Yacht Rock. Given the times, those potted modules inside probably contained Peruvian marching powder.? The other vocalist I remember talking them up was, of all people, Wayne County, who mentioned it in Creem, not surprisingly, and s/he actually described the effects in more detail. Said that it created a "sonic hologram" of the lead vocal and that you couldn't own one, you could only rent one. This was all like reading about some wonderful far-off world where wizard people got to work with amazing devices and create magical sound sculptures. Who knew that when I knocked on the door the Mighty Oz would show me the hand, but that 30 years later it would be sitting right in my dining room.?

As a MeldaMoonie, it's hard to admit that track duty has lately shifted from MEqualizer and MModernCompressor to the QuadcurveEQ and the ProChannel compressors, but still, MAutoAlign is in every project on the drum overheads. When I hit that "analyze" button and sit back and hear my drum mix double or triple in depth, it's always a happy moment.

Awful. Good to get more information, though. But it sounds like the problem is perhaps more project-specific. The next things to check out for troubleshooting purposes are: Do other projects open successfully? If you switch the audio driver to WASAPI or WDM does it behave any differently? If you open the project in Safe Mode (hold the Shift key) what happens? It is possible that you are using a plug-in that is not playing nice. By this I mean that it's been fine up to this time, but as you've been fine-tuning your mix, you maybe turned a knob to the point where the plug-in crashes and takes Cakewalk with it. It's just one possibility. There are hundreds more. Try these things are report back.

Have you tried doing the same things the OP did? Checking the motherboard bios and video card and chipset drivers? It may seem weird sometimes, especially when it worked one day and not the next, but this DAW work that we do is just about the most demanding work that you can put computer hardware to, and it will reveal any little issue, so check everything hardware and driver related first. At the worst, you'll wind up with the latest drivers for everything.

I'd say he's in pretty good shape. 10-15 minutes to download, install, and authorize CbB, then he just has to get the system back on again before August to renew the lease. Either that or set the date on his system clock back.

I got Kinetic Treats when it was a holiday giveaway and it is delightfully unsettling, both the UI and the sounds.

Is glad that he grabbed the Sampletank 3 free edition before they pulled it ?

Oh brill. This is a good excuse for me to cozy up to the Matrix View. I like to record my own loops and then jam over them, and hadn't considered the Matrix View as a tool to facilitate that, even though my other DAW, Mixcraft, implements a similar Ableton Livesque triggered cell thing.

Oh good lord this is another one of those topics I knew was going to be embarrassing, because other people's answers only serve to illustrate for me how much I have yet to learn about this very deep program. I use them because as far as I know, that's how you get the names of the drums to show up in the Piano Roll.?‍♂️ I also get that you can use them for some kind of rejiggering in case the note mapping doesn't conform to the usual GM Ch. 10-ish kick-click-snare-etc. At least I hope that they're good for more than just getting the names of the drums to show up because it's sure a lot of trouble to go through just for that. It made me feel as if the software were making me do something that it should have already had ready to go. ? (which it now does, in the form of templates that I put together to save myself the flailing)

This. With me, it's usually "turn off the iZotopes." If I'm using Neutron or Ozone anywhere, they induce hecka delay. There are others as well, but in my plug-in collection, it seems that the iZotope suites are the biggest offenders. If you want to narrow it down, you can go through and disable them one by one until you find the culprit. You can make educated guesses; the heavier the processing, usually the more likely it is that the plug-in is going to induce some extra latency. The iZotope suites are 4 processors in one wrapper, so no surprise there.

Only if a person thinks that when a product is renamed it becomes abandoned. It also depends on what one wishes to connote by the term "abandonware." It's a flexible term. No, it is no longer supported by the company that originally sold licenses for it. Neither is Windows XP. There are newer products with different names that are successors to Windows XP. Is the company that is distributing licenses for its successor devoting resources to pursuing licensing violations of Sonar? Doubtful, especially in light of how licenses for the current product are free. If anyone out there is pirating copies of Sonar when Cakewalk is being distributed for free, they need help, not legal censure. In my opinion, the most accurate term for what Sonar's status is is "discontinued."

From almost the day I downloaded and installed CbB I have had a fierce jones for L-Phase Multiband (and L-Phase Equalizer). Wondering when and if BandLab were going to make them available for sale or as a promo or whatever. I just happened to have an old Gibson/Cakewalk account left over from the CA-2A giveaway. Today is my birthday. You have made me a very happy man. Anyone who has a Gibcake logon and for whatever reason doesn't have these or Rapture, run, don't walk.

Oh, I see, those clip colors will only change to grey if I haven't set my own colors. I presume then that they will also take on whatever default clip colors other themes apply.

Let's see. Similar questions, your a) and 2). In case a) you are saving a scene, and you want to know if you've saved the project. No, you have not. And yes, a good indicator that you haven't is if there is an asterisk next to the project name in Cakewalk's title bar. Now in case 2) you want to know whether when you save a scene you have also saved the project. Nope. And if you see an asterisk next to the project's filename up in the title bar, that means that there has been some change made and the project file not saved since that change. In short, no to both.

Interesting, Larry, mine is still there, but then I was already on 1809 when I enabled it. Perhaps major updates are when the Microsoft Safety Police check to make sure we haven't done anything that might get us into trouble and nudge us back onto the right path. And if you pay extra for the Pro version, they ease up on the nudges, because they know you're a Pro, see? Well, the thing is, I may not be a "Pro" in Microsoft's eyes, but I'm a punk and a hacker. Characteristic of both of those cultures is a love of getting things to do what they're not supposed to do, and a distaste for being kept away from things. Big props and good on ya for running your 8-track studio in Hollywood. I bet you got to work with cooler clients, too, rather than babysitting coked-out has-beens. I never went all-in with punk musically, but I embraced the anti-elitism and DIY ethics part of it (and still do). If the mainstream scene won't let you in, start your own scene. Everybody gets to record, everybody gets to play. All-ages, everybody gets to come to the show. Learn as you go. When I was 21, I was a broke dude in the early '80's working full-time at low-paying jobs and living in tiny apartments, scraping to keep my car running to get to work. I wanted more than anything to work at a recording studio, learn how to be a recording and mix engineer. I had some background installing and repairing audio installations from working summer jobs at a couple of theme parks so I knew how to solder, understood impedance, etc. I went to a couple of studios in the town where I lived, Santa Barbara, which had a few studios that were solidly booked, being near LA. Just to talk to someone about whether they needed anyone to work on their gear or what have you, see if anyone had any advice about entry level jobs in the recording industry. The sheer friggin' arrogance and dismissiveness I encountered from these bearded fscks was amazing. It boiled down to if they liked me I could come in and make coffee and sweep up for no pay, but they already had a kid who was doing that, so maybe check back later. And they didn't say this nicely, either. So you basically had to be someone who was living off daddy's money and could afford to work for free for a year or two on the chance that these hippie dickheads might start paying you. Yeah, no. Even if I could, I wouldn't want to be part of that culture. I said screw all of that and bought Craig's first book and never looked back.? Started recording to my home stereo cassette deck, then a cassette 4-track. Now I can track 16 channels of 96/24 at once in my dining room on hardware and software that cost me, in toto, about $300.