OutrageProductions

That's interesting and it's funny that I never really noticed. I've commonly run scores of 150 instrument tracks or more and just grab them by the name without even looking at the track number... I agree that the box should be made capable of containing 3 digits.

Are you running Word Clock in the Avid?

You may have IRQ conflicts. Try disabling any unnecessary services and startup TSRs. I haven't experienced any key response issues in any of my four daws or my video edit sled in ten years (since Vista at least).

Ctrl & Shift in combination with any other keystroke clock out on my system on CbB at 107uS max. That's pretty fast.

I own all of the East/West and Spitfire Orch Libs, and was watching this video for the extent of articulations: He does a pretty good run through, but it was too skimpy for my kind of work. Lacks the serious legato and col legno articulations for me. As a caveat though... I do have the ProjectSAM TFO, and use it fairly often because of it's quirkyness. This could be a decent package IMHO if you're not serious about scoring and just want to have fun! You might also want to check out this orch:

If you still have the login credentials AND setup a new transfer account for SONAR between 2014 & 2017 (when Gibson sold the IP to Bandlab), you could contact support@cakewalk.com for your old DL links. There are several other discussions about this subject if you have the patience to search the forum. This is assuming you no longer have access to the original disks or installer packages.

We're all waiting anxiously for some increase in activity on the Early Access section of this forum, which means the beta team is frantically testing for the next release. Rumors are that it's gonna have some exciting new things. Please be patient grasshopper...

Yeah. This is only for incidental insights of ingenuity, like "let's try a modulation next" or "I played that string run really well, let's set it up for a movement into a new section". But I'm with ya on the 'play it right' thang. ?

My preferred workflow is to select, copy (Ctrl-C), transpose (move vertically), relocate (usually drag), go back to original now time, paste (Ctrl-V). I do this so often that it has muscle memory just like Ctrl-S. It a little strange, but...

Trying to reverse engineer something that lacks periodic impulses is a PITA. You just have to continue doing it by trial & error or feel.

Check out the Help system on <Edit><Copy Special> and then <Paste Special> That will allow you to copy Meter/Key signatures as well as a slew of other items and then paste them elsewhere. P.S. The help 'manual' should be available as an update to be downloaded to a local drive and be searchable. Then check the radio box in the Preferences under <File><Advanced><Always use Local Help>.

Yes. When you start bouncing or freezing tracks in a project, it really helps (in my experience) if each song is started/edited/mixed/frozen from its own folder. My root level folders (on a dedicated audio project drive) are for Scoring, Country, Pop, Trailer, and a few others. Inside each of those I will start a new composition and keep all the edited & subedited versions in that same sub-directory. As I mentioned, if you are starting every song as MIDI at the same level in the drive, and relying on the Default "Audio Data" folder for your bounces, you are asking for trouble down the road. JMHO. It might make your nested organization easier if you save each CWP as a CWB (bundle) and then move it to a new directory of the song name then delete the original.

This could be too 'old school' but: When creating your backing tracks in a <my backing tracks> folder, put each song in there as <backtrackname1> to <backtracknamexxx>, the create a new folder in a convenient location <setlist> and then create a windows file shortcut to each original CWP file. You can then rename the shortcuts in order and with any other relevant details. The orig project should then know to always look in its own child folders for resources and not get lost, as all frozen tracks should be stored in a nested architecture (if your storage preferences are set appropriately). This also tends to cut down on fragmentation as an added bonus. Example <set list> <shortcut to song1> <shortcut to song2> <my backing tracks> <song1> <song1projectfile.cwp> <mixes> <audio> (etc) <song2> etc, etc, ad nauseum... You could also read in the help manual (Pg 329) about the "Play List" function, it may be of some service as well, including some features that may be handy, like preloading the next song, and using machine control to pause/start. I'm guessing that some organizational file/folder housekeeping may be in order first, because it looks as though you are possibly storing all of your project resource audio in the default "Audio Data" folder, which can be a recipe for disaster IMHO.

Have you tried using Folders in the track view? I work with 140+ tracks in scoring and have everything grouped in my opening template. Don't forget that you can even nest folders. It is such a convenient workflow that I rarely ever open the track manager.

Every section in the Arranger can be color coded individually and labeled.

Wow. You mean an exact duplicate of the already existing Arranger track?

If you are trying to detect a chord sequence from existing audio; insert Scaler2 as a simple instrument track, then drag-n-drop the audio clip (like 4 bars worth) onto section 1 (main) of Scaler. While I have been able to detect midi chords from anything that is in the instrument track that Scaler is the resident VSTi on, I've never attempted to detect audio from within the same track while playing the transport. But it works flawlessly with the drag/drop method.

You could set up a virtual machine (VM) and switch between them on the fly (as it were). Even run different releases.

@Glenn Stanton If you noticed the Event List captures (or opened the session file), all the key signatures were applied for each dominant major scale. [of course, each track can only have ONE scale constraint applied at a time...] So, yes... there is a quirk that seems to only happen in the note names in the PRV. And I'm not referring to the instrument definition list. Seems there should/could be a solution to this in the algorithm, but it may not be an easy code fix. Not mission critical, but it makes teaching music theory using CbB somewhat confusing for students.

I'd like to fit my Rolls Royce Phantom inside a Yugo (just to disguise it in the getto), but what's the point??

So... there I was... tweaking a script for a Bad Robot trailer that I did in the key of C (relative) minor (Eb Maj Ionian key signature) when I noticed something in the PRV that captured my curiosity. The dominant major scale in the key of Eb (3 flats) shows note names in the PRV as 2 flats and 1 sharp, with G# being the outlier. If you move to the key of Db (5 flats), you will find that the PRV now displays the dominant major scale with 3 flats and 2 sharps, F# & G# being the outliers. Similarly, in the key of D (2 sharps), we find that the display is 1 sharp and 1 flat, with Db being the outlier. Likewise in the key of E (4 sharps), we find that Db & Eb are the outliers. However, when actually printing this session to a Staff script, all of the key signatures are correct, and all the naturals are in the scale with no incidentals. If one was to look at the Event list in this session at each individual scale, the notes in each key signature are called out correctly. Key of Db for example: Key of E for example: So here's my query: would it be possible, since the note names have a data conflict between the GUI display in the PRV and the Event List, but must (probably?) be derived from the same data, to have them displayed in the correct nomenclature for the assigned key signature? Also, possibly revise the display of the Inspector MIDI scale flyout menu to look similar to this (which would just be the display data, since the application call already works): Attaching the project file (CWP) so that anyone else can confirm or deny my findings. Key Signature Test.cwp @msmcleod @Noel Borthwick

I've used the CAL script <Split Notes to Tracks> for 20+ years without any issues. Yeah it requires some work, but nothing that intricate is ever easy. I use it all the time for drums and then recombine the MIDI data to kicks, hats, snares etc. The newest version of Scaler 2.7 can capture the MIDI and then output to multiple output tracks/channels starting with the bottom note to Ch1 (etc) driving multiple instruments.

Create a quick snare track & clip with hits just on the 2 & 4 then groove-loop it as long as you need.

Caveat; none of this is fast or easy, but I'm a stickler for detail. I will either solo the MIDI track (and associated VSTi) to be printed to audio and bounce to a new mono track using the Export dialog, usually IRT. so that I can listen as it bounces. Sometimes I will mute all unrelated tracks for safety too. Stereo toms/OH are printed using the preordained stereo mix in the Kontakt VSTi to a stereo audio track via same procedure. I also pay attention to the panning of the toms & cymbals, as a lot of times they are panned from the drummers POV, not the audience POV, altho that may be prejudiced against left handed drummers, LOL. Whether or not I use the VSTi "room" mics depends on what my final product needs.

If trying to copy a clip and paste it later in the same track, I always just use the playhead NOW time, Ctrl-C, then move the playhead to the insert point and Ctrl-V. If trying to copy a clip to another track using the Ctrl-Drag, I use the Shift key to maintain it's exact placement in time. YMMV