Mark Morgon-Shaw

This has been an issue as long as I can recall. If you export your mix at the point where audio/midi starts, it's never clean...there's alway some kind of glitch/crackle/dropped note etc. Many folks just work around it. i.e have the track start later down the timeline , say bar 5 ..and when making the export selection have it start a 16th early thus avoiding any glitchy-ness. I don't use other DAWs but I have had my ProTools and Logic using friends tell me this isn't an issue for them, it just bounces out as expected..no glitches Can this be fixed? So we can start the counce at any point in the track without glitches. Some sort of pre-roll buffer ?

I don't mind the new behaviour, My idea woud be to have the ESC key as a universal deselect shortcut - I don't think it's used for anything else and is easy to find without releasing the mouse for righties.

Thinking about my next build, this i5 2500 has done me proud for 7yrs+ but one of the two motherboard dimm sockets has stopped working so time to start putting my list together for the next machine. I am interested to know especially from anyone on the Dev side of Bandlab which type of type of processor features are best suited to CBB Is it better to go for more cores ? Or less cores with a faster base clock speed ? How important are the number of threads ? I can get a 12 thread hex core Ryzen for about the same price as a 6 core 6 thread Intel..so which is CBB optimised best for ? Do modern intergrated graphics like the Intel 630 do a good job Are CPU turbo speeds important or will I be needing to switch that feature off ? I will be looking for the best bang per buck , I never buy high end processors. I don't record a lot but I do use a lot of VI's to make tracks for TV so my preference is to run at an ASIO buffer size of 256 so everything still feels fairly snappy. A top end i5 or one of the new Ryzen 5 3600x perhaps. CBB is the main use case for my machine, I don't game or video edit. Just normal browsing, and making music. Thanks

Okay I see now. To be honest I've never found myself wanting to drop a new section in once my vocal is comped. I do all the tracking and comping and then essentitally it's' 'locked' really at that stage ( like it would be if you were mixing somebody else's vocals). It depends what you mean by 'doesn't work well with Meldoyne ' ..sometimes it's better just to tell Melodyne to remove any edits on certain words or phrases for sure. I haven't really experienced a situation where Melodyne has made me want to re-sing anything that I was already happy to have comped though. I can understand what's happening , the region FX audio takes precedence over the track audio so you wouldn't hear the new recording. You would either need to render the FX region and then edit out the old part , drop the new one in and then enable the region FX on the newly recorded part. Or what I woud do is work around it by recording it to a new track with a new Melodyne, and put all my vocal FX on their own buss and process them that way. I get the feeling it's not designed to work the way you want it to and it's expected that Melodyne would be the final thing you do.

I always use CTRL + L and drag the loop out

Why would you record with Melodyne it's a post production tool not an effect

mis-post

That's because a lot of folks only had mono back in the day

With a LOT of bouncing

3 yrs ! ..Can we listen to this Magnum opus ?

If you read SOS mag and look at any session screenshots you will often see 100+ tracks But often it's stuff layered , like 5 snares or 4 kicks ..25 b/g vox ..I think a lot of modern pop music is actually quite sparse in terms of parts but densely layered and lots of scatterings of one-shot ear candy type stuff. I also think it depends what sort of music you are making. I just checked the piece I completed yesterday and it's 28 tracks - that's an instrumental that will hopefully get used on a TV show I have had other similar tracks used in. It gets fairly full in the last section as that's the way they like them structured but you often find the less dense Alt mixes get used instead of the full thing. Whilst I would never limit myself I am also running an almost 10yr old PC so I can't go crazy anyway. Which probably helps !

Easier than pressing a physical button ? I don't think so but YMMV What happens when you are 'outside' of Cakewalk ? i.e. playing a reference track via Youtube or media player..hardware solution is far more elegant IMHO

It's nothing to do with making the Waveform easier to see. Detailed editing of clip gain is much more intuitive if you can see how loud or quiet that part is visually to other parts of the take / track. I am talking here about stuff like a single vocal track that has been chopped up into phrases, then words and then down to syllables for production purposes ..timing - tuning and level edits at the micro level.

What ? People really do that ? Jeez..that sounds like a major PITA I just have a switchbox..back in the 90s all the speakers were passive so it was just a box from Tandy ( Radio Shack ) that connected 3 switchable pairs of speakers and then went to the amp. Now everything is powered so I have combo big volume controller with switchable speakers A/B/C..they are all level matched to keep it consistent, one is a mono Avantone but the switchbox has a dedicated mono feed so it's simple to use.

Not all VSTi's behave in the expected way and I think it would be helpful if some of the settings could actually be set per instrument instead of globally For example Some Kontakt instruments need to the Zero Controllers on Stop to be unticked otherwise they won't play some VSTi's don't seem to freeze/bounce unless fast bounce is disabled Some don't react well to midi data like sustain pedals etc ( they just keep playing even after a note off ) If it was possible to have more individual control and also have CBB remember those choices each time it would be useful

I have watched tutorials where they use Logic and it's just built in..draw a line of automation and it's done ..would love this option in CBB,

Organise my main folders but deal with what would be sub folders manually.

Could be a workaround for some folks I guess, unfortunately it wouldn't really work for me that well. There are times that stray guitar or whatever actually sounds better when it's sent to another instrument's buss..like yesterday I rerouted and piano in a section of a pop track to the buss that was actually meant for the brass. Many times I get near the end of a mix in an EDM track and if my kick needs to pop more I'll just route it direct to the hardware out and it sounds perfect. The folder method is just the job if only they can add sub-folders like many other DAWs

Well you just master the album

My favourite Sequencer...not really a DAW in my book !

I have asked elsewhere but the option to make the font bigger in the notes section would be helpful without having to bring it into Focus

I don't quite understand what you mean as there is no Export Stems option in CBB ? Just to be clear I am talking about a Stem being Submix of a particular group of tracks and a Folder being a Track Folder within CBB So the Drum Stem would typically consist of the following tracks : Kick - Snare - HH - Toms - Ride - Crashes - Overheads - Room I make 5 or 6 Track Folders and drop the relevant tracks into them. Typlically: Drums - Bass - Percussion- Keys - Guitars - FX Each Stem must to include any and all processing used in the Full Mix so for example the Drums may have Parallel Compression, FX sends such as snare reverb étc. Exporting the required Stems & Minus Mixes is just a case of muting and un-muting various combos of the 5 or 6 Track Folders and bouncing it as an " Entire Mix " with the correct sample rate etc. for the Library. Often 48/24 but not always. Having sub folders would allow easier management of this process. So all the Guitars cold go into a folder but nested within that folder could be Lead & Rhymthm Guitars for example as those need to be exported together and separately ( see above list ) This is all fairly standard requirements when submitting to certain Film & TV Libraries

Hi Fogle622 Posted below are the delivery instructions from a music library I write for:- ---------- Your sessions need to be 48/24 and all files delivered need to be at this sample/bit rate. Once the cue is approved we will ask you to upload the full quality files to us in the following format: a. CUE-TITLE__FULL-MIX (master file) b. CUE-TITLE_NO-MELODY (minus mix) c. CUE-TITLE_NO-DRUMS (minus mix) d. CUE-TITLE_NO-ORCH (minus mix) e. CUE-TITLE_NO-GUITARS (minus mix) f. CUE-TITLE_NO-VOCALS / NO-CHOIR g. CUE-TITLE_DRUMS-BASS (yes, we would like one stem with these combined and as follows, separated). h. CUE-TITLE_DRUMS (stem) i. CUE-TITLE_BASS j. CUE-TITLE_GUITARS (should be split into rhythm, lead, acoustic, electric etc) k. CUE-TITLE_SYNTHS (Synths need to be separated into different types. If you have pads it should be labeled SYNTH-PADS, if you have pulsing it should be labeled SYNTH-PULSES, if you have an arpeggiated part SYNTH-ARP etc) l. CUE-TITLE_STRINGS m. CUE-TITLE_BRASS n. CUE-TITLE_CHOIR o. CUE-TITLE_MELODY p. CUE-TITLE_FX q. CUE-TITLE_PIANO The point here is that we would like FULL-MIX, Minus Mixes, and Stems that are labeled with appropriate elements per the style of track you are working in. Very Important comment about STEMS. All files need to be exactly the same length. No exceptions. If your Full Mix is 1.49 then all other files need to be exactly the same length even if the part doesn’t come in until the middle of the cue. Also, please always make sure the file ending does not cut off ring out. ------------- So if you organise by busses , and those busses have processing on them you are assuming that every track routed to it will sit nicely in it's 'home' buss ..if this were true then yes it would be fine..but often times at some point during the mix there are some tracks which end up sounding better routed elsewhere than bussed with similar instruments and their subsequent processing. Take guitars as an example there might be 4 rhythm and 2 lead parts, all going to a buss labelled " Guitars " that has a little compression, some low end filtered out and a a send to a Delay buss. This might sound great on 5 of those guitars...but then there's one lead part that doesn't quite sound right ..what do you do..well you might re-route it straight to the Master Buss and add all your FX at track level therefore bypassing the settings on the rest of the guitars on the Guitar Buss. Now the mix sounds better but the Guitar Buss no longer includes all guitars. Far easier then to route every track to where it sounds best and then group them into folders..now you can solo all the guitars and bounce a stem regardless of where the tracks are routed. And if you could have sub-folders, as you can see from the above list it makes life easier

No, to be fair it's been this way for many years and I have just learned to work around it and never really thought very deeply about how it occurs..I used 8.5 for about 9 yrs and that also did it.

Me too, never had an issue..also use Kontakt as a one instrument only plugin..just load more instances if I have more instuments