grannis

I had tried group editing before, and it didn't work, but on the basis of these responses and the doc section linked by @Amberwolf I have just dug deeper and now I know why.... If I want to move, for example, a bass guitar note just behind the kick (I know I should play it right in the first place but hey!) I would normally select and delete either side of the note, then grab it and move it. THIS DOES NOT WORK... However, if you do it in Take-Lane mode, using the comping split (not sure of the correct term), it works fine. I just need to train myself in a new workflow. thank you.

great answers thank you all. The fact that it normalises to the peak could in itself be quite useful (thank you @msmcleod)... so if you normalise to -6db, and see that a couple of peaky peaks are stopping the whole from getting close, you can then clip-gain those down and repeat. It's not something you could do with a limiter, clipper or compressor on its own. Has anyone experience artifacts from this approach? feels like you shouldn't but I'm not an expert on the comparative cleanliness of clip gain editing vs limiting or clipping. As for the destructive editing (thanks @Sock Monkey) I guess a null test would prove or allay any concerns regarding quality degradation... not sure I can be bothered though - I wonder if anyone has already done it... as an aside, I've always felt that batch processing of clips should be a useful tool to augment the real-time algorithms of limiting etc. I presume that plugins can't do this, it has to be a built-in DAW feature

(Process->Apply Effect->Normalize) Looks like it should be useful for smoothing levels on a clip or track, but I can't quite figure it out and can't find the doc on it.

Is there a relatively slick workflow for editing tracks that have been recorded wet and dry so they stay in sync when it comes to mixing? thank you!

I've done this before... but I did the maths - it means writing out 128 mp3s by hand! That's why I'm looking for a labour-saving workflow - or at least a workflow where the labour is divided between us rather than me doing it all! since they all have Cakewalk, I feel I should just be able to create 32 CW projects, put them on a cloud drive and have them each add their parts. In fact I know I can do this - I'm just trying to think ahead to what happens afterwards, and any bugs we might encounter. and yes, I'm assuming their sound is the one I want - except for the drummer. I'll take his midi too just in case

yes audio - but no, they are going to add their parts to the project

trying to figure out a workflow for collaboration. Here's why it's not super obvious... 1. there are 3 other musicians involved 2. There are 32 songs 3. The songs are already fully mixed using midi instruments. I want them to be able to replace these parts. 4. I've used some sidechaining - nearly always between lead vocal and instrument bus to help the vocal sit nicely Fortunately they all have Cakewalk, but it's unlikely they'll have the plugins I've used. I can bounce tracks, obviously. but is there a way to do this, which you have sidechaining, without changing the mix too radically? And with 32 tracks and 3 musicians, every minute of efficiency I can build into the process will save me a ton of time. Bouncing the tracks in 32 projects will be lengthy, but bouncing each one 3 times will be - well, 3 times worse!! All ideas gratefully received!

I like to use reverb on 3 busses with different predelay and early/late ratios to mimic different room placements. However some parameters, like room size, I want to keep the same across the 3 busses. at the moment, if I adjust the room size (for example), it's hard to tell whether it's better or worse than the previous setting, because it takes too long to do, so my ears forget what it was like before. At the moment, I'm just using the stock Sonitus Reverb (which works surprisingly well for it's age and price!) but I also have the full Melda Production suite at my disposal if there's an answer somewhere in there.

Brilliant thanks... here's hoping that Mr Starship is reading this thread still. btw, I looked at using instrument definitions, but it appears (unless I'm misunderstanding something) that it won't help me if I'm only using soft synths. I have some midi drum tracks created by other people that I want to map over to Addictive Drums. I can create maps in Addictive drums automatically (I use excel!), so I was thinking that if I create one, I could create a corresponding CW instrument track at the same time I wouldn't have to use CW drum maps at all. Hopefully I'm missing something...

I just tried to find ins2map, but the website no longer seems to be there. Anyone know where it might be? Or can someone share the utility? thanks!

yes what you say makes perfect sense.... but it's not super important for what I'm working on to have an overall "sound" for a show, just that each track we pick from it sounds as good as it can. ...but splitting tracks per song is a great tip... so you can keep common stuff on the bus, and have individual stuff on the track...maybe have each track go through its own bus....hmmm...could work...

I'm hoping someone has some good tips for a workflow to mix the stems from a live show. Something I've done several times, but never really landed on a way that isn't a pain in some way or other... The main issues are that a) the stems are huge - 2 hours and 20-30 songs, about 15-20 individual stems typically b) not every song needs exactly the same treatment. Chances are I want the same plugins on each (mostly) but with different settings. I've tried... 1. Getting to a static mix that works pretty well, then deleting all but the one song. Rinse and repeat for 20-30 songs, and it gets painful! 2. Exporting the stems from each track, without fx, then pulling them back one by one into a template. Also time consuming and painful 3. Just using automation - but this means your hands are pretty tied on the kinds of moves you can make, and it's easy to accidentally affect the songs you are not working on. Also, I find that after I've finished one song, let's say the 10th, there are things I wish I'd done on the previous 9! Has anyone landed on a better way, or got some tips to make it more efficient and less-error prone than what I've tried so far?

worked a treat for me too - saved a bunch of time

Since this question has been answered, may I hijack and ask a supplemental? When recording multiple takes on a loop, when you stop recording, CW splits all the takes at the point where you stop. Any elegant way to avoid this? (other than waiting for it to go round again and perfectly timing your stop click!)

Hi Folks, I recorded a live band (about 15 tracks) into CW. I recorded it in two sets, in two separate CW projects. I've now finished a static mix of Set 1, and would like to apply the same work to Set 2. I guess I could empty the Set1 project and figure out which wavs make up the equivalent tracks in set 2 and manually paste each one in, but I wondered if the community knows a less manual solution to this? thanks

Similar problem... I assumed CW would give me a chance to edit my preferences rather than just hanging, but I guess not! I thought I'd fire up CW before installing the ASIO drivers for my interface, but no.. simply solved by installing the ASIO drivers thanks to the clue from this post

Good new and bad, for anyone with the same question... I found them in the Registry - so theoretically I could export the registry entry and re-import... Bad news is the registry entry is one of hundreds with GUIDs for names, so figuring out which one CWbBL is going to take any notice of might be tricky. So (workaround) I just created a project and created a track for each preset I have and applied them to the track so I can open the project and re-save he presets on my new machine - theoretically

Folks, I've exhausted every option I can think of - help! I've created some EQ presets in Prochannel in CWbBL. Note that these are not Prochannel presets, just the EQ settings. I can recall them without any issue, regardless of what template I have used (so I know they are not stored in the template). Now I need to copy them to another computer, but I can't find them.. They are not in the Prochannel Presets folder. I fact I performed a search across my whole C drive, and they were not found - which may only mean that they are not stored with a filename that I can figure out - it doesn't mean they are not saved any ideas?

thanks - audiosnap didn't seem to work, but just hitting Ctrl-L did. I didn't realise that CW would automatically detect tempo when creating groove clips - I had wrongly assumed that it would set the tempo of the groove clip to be the same as the project it was created in. I've learnt 2 things today!

When I preview WAV files of loops in the media browser, it matches the tempo nicely, but when I drag them in to my project, they revert to their own tempo. What am I missing? thanks!

SI Strings is actually rather good. I have some Spitfire stuff, but always start with SI Strings for simplicity, and it frequently ends up in my final mix, especially if the strings are not intended to poke out too much

That could be scripted too. Is there any info on what the entries need to be? Ah interesting. I’m just discovering the power of workspaces and wondered about that

I work in several places with my laptop, with different interfaces that need different configs. Is it possible to to store the driver options, buffer sizes etc in an init file, and to start cakewalk with a different init file using Windows shortcuts? I can see from the doc that there are init files, but I can't see anywhere that answers the rest of my question. I find it a pain to have to start cakewalk, wait for the error "No devices... " then have to go an manually set the preferences each time.

If you use sidechaining, it pays to have a plan before you start bouncing (or even better, a template), or else the results can be unexpected. Personally, I use an aux track for every group I want to sub-mix, but only use sidechaining to buses from the aux tracks, so I when I want to bounce my submixes, I can arm all the aux tracks I want bounced, and hit record, knowing that I don't have to pay attention to sidechain interactions - they will not effect the bounce, and will stay intact after the bounce. My approach of course has the disadvantage that it is slower than bouncing, but it is 100% reliable and predictable, and the results stay in the project, routed the same way as they were, and I don't have to re-import any WAV files. Also a good idea to keep the aux track in a folder with the tracks that feed it, so you can easily mute or delete the original tracks after a bounce - else you get the same signal doubled up. You could get the same end result with buses instead of aux tracks. The important thing is to have a set of buses with no sidechain interactions as your first layer in the signal flow - so you might have buses called "Guitar In" that only feed "Guitar Out", and the same for all your submixes. If you want to duck guitars under vocals, create a send between "Guitar In" and a compressor on "Vox Out". So you can bounce the "ins" and then send the resulting mix to the "outs". Of course you may want to create stems which capture the sidechain interactions, so then you bounce from outs rather than the ins. The important thing is to have your own system that is easy to follow. Obvs this is a pain to set up, so do it in a template! As I say, I prefer using aux tracks for my "In's" and buses for my "out's", but YMMV. This approach is also helpful if you collaborate with people that use something other than cakewalk - but that's a much longer story... btw I set my default bus to be silent, so that I never forget (or get too lazy) to route new tracks or buses to the right place.

Linked clips are ok sometimes - a bit of a pain when editing, but a real pain when writing/recording - you have to duplicate everything before you can hear what you intended it to sound like. I'll take a look at those plugins - thanks again EDIT: about 30 minutes later... it worked like a charm!!