OutrageProductions

Ah yes, the days in a tape based studio. It only took 30 minutes of prep to load the tape machine, bias it, record align it, splice a leader, then record arm. Set up mics & headphones & chairs, set levels, buss everything through the console, then remember to hit record. It was sooo instantaneous. SMDH.

Have a look at the PRV and examine the length of the notes to make sure they are truly ¼ notes. If not trim & justify if necessary. See what that does.

I have a shortcut to the CbB PDF and my video sled PDF manuals pinned to the top of my Win start menu and use them OFTEN!

And something that has cropped up recently (and is not the fault of the DAW) but Scaler 2.7 placed at bar 1 beat 1 will miss outputing the first chord about 90% of the time. If placed at bar 2 and dropped into record from bar 1... no problem. I usually request my incoming video dubs to have a countdown so that I can set the downbeat at bar 2,3 or 4 etc., but that doesn't always happen. Like everyone else that clamors for 'this or that feature request', I have work-arounds that function... but could be easier and more intuitive. We can all dream, right? That's life. P.S. [Have a look at anyone doing scoring using recent versions of Cubase or Logic on YT... chances are that you'll notice at least 2 negative measures (-2, -1, 0 THEN bar/beat 1]

@Michael Durham I was going to ask if your PC IEEE 1394 I/F had a genuine Texas Instruments chipset on it, but that may be moot if it has worked partially and/or in other situations. This may be a long shot, but beg/borrow/steal another FW interface (like an old MOTU 896) to test and eliminate the AVID as the culprit. In my vast experience with PT hardware, I instill very little faith in AVID anymore, but that's just MHO.

@Starship Krupa Preroll comes from the days of analog tape (both audio & video) where it took a couple of seconds for machines to get to a stable speed and sync lock. In a DAW, it can apply to having a couple of seconds/measures before record/playback is mission critical, like when cutting to a video cue that downbeats exactly at timecode zero (more commonly one hour, but you get my drift). Other than the absolute start of a project timeline, where I wish there were at least a couple of negative measures, I enable preroll by setting a loop start a measure or more before the punch-in point, and occasionally do a post roll the same way. Kind of a habit from the days of having to sync multiple tape transports together. Also gives performers a chance to 'get in the groove' before the important stuff happens. And yeah, I know that I can offset the start of the video playback by the necessary time, but that is a PITA IMO compared to a negative preroll. (Six of one, half dozen of the other...)

For Pre/Post roll I have set my loop length to be longer head & tail than the punch In/Out selection. Helps with sloppy guitar players and many vocalists. And we have been begging for a few negative measures of preroll for a long time (to aid with video sync) like Cubase and Logic. Still holding the occasional breath in case it actually happens.?

The bundled version of GR3 did require a serial number and it was posted in the old Cakewalk Command Center in your account with the download links to all of your purchased products. IIRC, GR-LE was a freebie courtesy of Gregg H. If you no longer have access to that portal, you may be out of luck. I know that I still have all my authorizations back to Pro Audio 2.

I have at times used one Instrument track for the MIDI notes and added another MIDI track for the controllers and automation, and keyswitches (before the Articulation map days) so that I could edit/transpose the notes without messing up any of the controllers, then bundled all into a folder. Now with ArtMaps and Automation lanes, I generally don't do that as much anymore. But I like your idea if it wasn't buried too far in the UI. Like a small popup menu below the Controller lanes in PRV similar to the Transform Tool. <Bypass Active> or <Bypass All>

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?