mettelus

I do like the "2 years later..." tag above the exhumation! The semi-hidden, necro-thread alert. Cakewalk remains in a very unique position in that people who have onboarded with CbB (i.e., no access to a prior product) will "eventually" be put into a position where their work can be held hostage based on current pathing. These threads have become interesting to me more from there psychological perspective; specifically who is chiming in, what they are saying, and what is their motivations.

The human voice has a lot of harmonics in it, so it is often best to treat a single voice as "monophonic" to keep those overtones linked to each other. Melodyne's editing capabilities are powerful, but not always obvious, and some of them have nuances you need to see/work out to understand. When I want surgical control of the harmonics themselves, I default to using MCharacter for that task specifically. Some voices have an incredibly pronounce octave (which is why Melodyne can "jump" like that, the octave suddenly triggers "more prominent"). There was an old thread years ago on the old forums about composing with "only stock samples" and I found an old project late last year where I went in with that focus, but of course it drifted to samples only being a portion. I used vocal samples and added melisma to them with Melodyne. Those came out perfect, but I realized that level of editing/manipulation goes a tad beyond "just using them" (why I jacked the brakes on that project), so I tracked the artist down and she was cool with it. She made me chuckle when she had said, "Wow, what a nice gesture. No one has ever followed up with me like that before."

To add to the above... when collaborating, YOU are responsible for your portion, so they only need to hear your work as if it were a monitor feed (all one track). You can simply bounce all of your drum work to a single track (or export just the drums into a stereo wave file). On their ends, they can simply import that single track to work to it, and make suggestions back to you; on your end, you are doing the surgery so need that all accessible to make the adjustments. If you go the "bounce to track" route, be sure to mute that track when you are working (or delete it between export cycles). When you get to the final mixing phase, then is when to consider who is doing that, and that person will then need ALL of the stem files separately (for the whole piece). It is not until that point that it is required, so the single stem similar to a monitor mix is all they will need.

If you have MIDI in a project, there have been issues in the past with MIDI notes not firing properly at the very start of a project (there can be a lot of information jammed into the project start in the timeline). The "workflow fix" to this is to actually have a project start on bar 2 or 3. Even though this has "been fixed" over the years, I still do projects with the first 1-2 bars empty out of habit. That delay lets all of the information be processed from the project start well before any notes are triggered.

Can you expound on this a bit? Are you saying that sometimes the song plays immediately when hitting the spacebar, but other times there is a delay first? Depending on FX plugins used, there can be a latency jump due to some FX (especially mastering FX that have a "look ahead" to them). For tracking (recording), it is common to have FX disabled (hotkey E to toggle), and audio buffers in preferences set lower, but when you get into post-production (mixing/mastering) adjust those buffers higher so that playback is smooth (but not always prompt).

The Gridlines should adjust based on your zoom level. If you hold Z and drag an area, they will redraw to a pretty precise level (although there is a limit). There is also an Aim Assist (hotkey X) that shows the the timebar location of the cursor that might be helpful for you.

Another option is to use "Set Measure/Beat at Now." As long as the stems align, you can TAB to transient (a drum track is best for this) and using SM/BAN "anchors" the timeline to what you specify. Depending on drift, you may need to do it more often (to get a steady curve), but if pretty close every couple of bars is most common. Be sure to anchor the start of the clip as well or it can go weird if you backtrack to make changes. This doesn't modify the audio in any way, it just pins beats to where you choose. Set the tempo to something close before starting, then when you use SM/BAN (hotkey is Shift-M) it will auto-fill the value more precisely. Just realized TAB to transient is no longer default, but in the help file there is a quick blurb on how to re-enable that.

Check the clip properties in the Inspector (hotkey "I" toggles the inspector off/on... and then the "clip" tab at the top in your picture in the upper left). Do you have a "snap offset" value showing in that? IIRC, if that value is anything other than zero it will show a vertical line in the track view to reference where the offset lands.

Another FYI with NA... it will hang on load if you are using a VPN. The last two versions I have had to kill the app, disconnect the VPN, then restart NA. Edit: The newest version (3.5.2) resolved this issues as well.

Another thing you may want to look up is "tempo map." When replacing real-time audio with another track, you will want to align the original audio to the beat markers so that working with MIDI is timed correctly.

If you hadn't reported it I would have never known or cared. Now I know but still don't care.

LOL, hence the "Captcha hell" I was in earlier this week.

When a Region FX is active (clip not bounced nor Region FX removed), the FX has control of the clip you are working with. It's job is to modify that data and send it back to the DAW. If you are recording new takes, either remove/bounce those Region FX or work in Melodyne standalone. Modifying a clip in Cakewalk doesn't change the wav file in the audio folder, which is what Melodyne has control of with a Region FX active. Same holds true for external editors added to the Utilities menu.

My bigger concern is folks who onboarded during CbB are "eventually" going to be put in a position where their work gets held hostage. Not going to comment further, but anyone who was here a decade ago will remember those discussions on the old forums, participants, and what was said. Not everyone uses software at such frequency that they are always in the loop to what is going on in the background.

I had to go search for this one, but not really a Stones fan myself either. First reaction to the "Official Video" was, "OMG, could you use any more de-aging CGI in this?" Anyone going to see them in concert are going to wonder who the people on stage are!

Not sure on that one, but I have had it unregister a few times on me and haven't quite pinned down the exact mechanics as to "why." Here is the post on that error and how to re-register it via command prompt (second post).

I have had Registry cleaners remove the TTS-1 registration. I am on my cell, but @bitflipper just posted how to correct that a month or so ago. If you right click a MIDI file and try to open with Cakewalk, is that throwing you an error message?

There is also a newer version of Native Access that may be contributing to installation issues if that is not already updated.

Good point. I only read the deals thread on MPS 6! ?

GR 7 was surreptitiously embedded into iZotope's MPS 6 upgrade. Most of us had no clue it existed until folks started installing that.

No option to unselect AAX in the new installers, sorry. Those two installers for iZotope are light in the britches on options.

Well crap... the "repair" is because I obliterated all the aaxplugins... had to "repair" a few to see what this was from. Side note: All three of these applications install the aaxplugins as well without asking (NI taking over iZotope changed the installers iZotope uses now). I was a bit shocked to see aaxplugins for every module from Nectar 4 and Ozone 11. Ugh.

No problem. It is really more paying attention to sends and where they are going (and what they are doing). Most sends you will want to leave post-fader (default), but you can play with those too... the reason being is "usually" you do not want to have an effect not proportional to the actual signal (post-fader), but this case is a little different.

GR4 was really nice, but seemed NI didn't really keep on it, so everyone else overtook them and now they are more in catch-up mode.

After I walked away I realized what he is doing, so you do want the compressors after the reverb/delay on the associated busses (can just drag/drop to reposition them). The reason is that he is saturating the bus with either reverb/delay and using the compressor to choke off that signal while the vocal is actually going. If the compressor is first, it will choke off what the reverb or delay sees, so there won't be that saturated FX tail he is talking about in that video.