Lord Tim

@Keni is Display Muted Clips in Parent Track unchecked, perhaps?

For comparison, the very first post and several under it mention Cubase freezing: https://forums.steinberg.net/c/cubase/6 If you don't save for hours in Cubase and it freezes, you're right back to where you are here, except with far more expensive software, and a whole new platform to learn. I think I've had maybe 2 freezes in the last decade, and even then I have a nervous tic in my left hand that hits CTRL+S regularly. It's just a good idea. There's some good advice worth following in this thread ?

Yeah great, thanks a lot, Mark. Now I have to edit all of my Keyboard Shortcut files to include this genuinely useful idea. ? No really, this is super quick and probably a lot less fiddly than a modifier key like I was suggesting. Not exactly what @Mark MoreThan-Shaw was after, but I'd argue it's probably about as fast after trying it out for a bit tonight.

I'm wondering if there was a way to implement a mouse modifier to select envelopes from Clips mode, similar to how we can CTRL+Left Mouse drag down from the top part of a clip to create a clip gain envelope without having to change the Edit Filter. So maybe something like ALT+Right Mouse drag to marquee around which clips we'd like to select for Clip Gain editing, and then we could use CTRL+Drag to adjust them (and if no envelope has been defined, assume it's 0dB, like how a default CTRL+Drag works on a clip). My thinking with the modifier is it takes out the ambiguity from what is actually being selected, like Mark was referring to earlier. If that's *specifically* for quick 'n' easy Clip Gain selection, that takes the guesswork out of stuff.

Yeah, ironically that's what I was doing but I was doing the mouse modifier that you'd usually use for multiple selections. If I just dragged up and down on the clips without the modifier, it would have just worked. Exactly this, I was.

Ah wait, I think I know how Dave is doing it: Rather than using a mouse modifier, like CTRL+drag on the clip as you'd expect it to work (but as Mark said, it only works for nodes rather than the envelope itself), hover over the header of the clip with no modifier until the cursor changes and *that* will adjust any selected envelopes, even if you use right mouse drag lasso selection around them, If this is how it's working for everyone else too, I reckon I'll chalk that up to "I'm off to RTFM again" rather than calling it a shortcoming.

Champion! The confusing thing is it *looks* the same when you right mouse drag around the nodes to select them as it does with the time selection, which is why it felt like a bug. This is the first thing I tried and it failed, which led to the workaround for me. How are you doing it, can you do a Licecap? Maybe I'm missing something and taking the long way for no reason ?

It *can* be done but it's a bit weird and restrictive. What you'd expect to happen is you select a bunch of clips, change the Edit Filter to Clip Gain and then CTRL+Drag each envelope to where you want. As you've discovered, it only works on the one your mouse is over. The trick is to change the Edit Filter to Clip Gain first, select every clip on the track by clicking the track number, then dragging across the time ruler at the top to select the range of the clips you want to affect. Then you'll be able to CTRL+drag the envelope on multiple clips. This feels bug-ish to me, honestly. It's a weird limitation.

I'm running both 1080p on some systems and a 5120x1440 screen on my main DAW and it's as crisp as any other app on all of them. Are you running any custom scaling or anything like that?

That's a reasonable request. I don't use the Start Screen so I never noticed it. Hey @msmcleod does that set off your Scottish OCD? ?

That's a killer song! Nice to see a Frontiers artist with a clip that wasn't terrible for a change. Amazing roster, zero video budget! HAHA! I think there's a few things that come into play with getting a sound like that in a home studio. The first thing is what you *think* you're hearing probably isn't. Those drums are super triggered for a start. Getting that kind of sound out of an acoustic kit just with just mic'ing and processing is near impossible without augmentation. That already will help even the sound of the drums out, but there's also quite a lot of compression on the kit (likely parallel compression too - enough to give it mojo and consistency but still with enough transients to give the drums a nice attack). The next thing that lets down a lot of home recording is bass management. Kicks, bass, low synth... if it's a real bass guitar or a mic'd kick drum, that's going to need to be made consistent before it even hits the master or no matter how good the song is, or the EQ, or the playing... the master will pump trying to rein it all in at the end. Getting everything consistent at the source, then at the group level is key to making it all work at the end. These mixes use LOTS of compression on nearly everything. Like heaps more than you'd ever guess. The arrangement plays a big part in this too, as well as the performance of course. This song has been time-aligned, tuned, etc. for sure. It's certainly possible get stuff sounding fairly natural by doing that much fixing work, but you also definitely miss it in big glossy productions like this if it's not there. I think people would be surprised at exactly how much stuff is tweaked, and how unnatural it sounds in isolation, but in the context of a mix, it just works. The last thing is the mastering. With this kind of thing, you need to mix for the mastering. Know that to get that hyped low end and high end sheen, it's going to need to be pretty slammed and lots of stuff boosted. If you do a mix where the mix itself sounds like it's nearly there and THEN add all of that processing onto the end, your drums disappear, your guitars get sludgy and too loud, your vocals get wimpy and quiet, your overheads turn into a harsh wash... You kind of have to second guess what mastering will be done on the track and compensate for it in the mix. Rooms aside (which is definitely a big factor with getting a great drum sound, or a vocal that's not going to be a nightmare to compress later), just using what we have in CbB can easily get a slick mix like that in a home studio with an affordable interface, even without extra plugins or fancy outboard gear. Decent speakers and a well treated room is the key to getting the mix right more than anything else. If you can't hear stuff accurately, you're not going to be able to make good decisions. I think that's one of the biggest things that separates a home studio from a pro one. Stick with it. I had a very similar path to yours with 4-tracks, tape machines, crappy early digital recording, etc. and I've had some utter disasters when it's come to recording and mixing (sadly some that were globally released, so I get to revisit my crappy old mixing skills fairly often. Yay! Sigh.) The key for me, aside from getting a properly treated studio together, was just being open to trying nutty things and absorbing as much info from the pros as possible (if you haven't done so already, check out Produce Like a Pro - there's some GREAT info on there, even for experienced engineers). I stopped caring if stuff sounded real or not at the track level if it got me the result I wanted, which pretty much everyone is doing for really slick productions like that City of Lights song has. Good luck!

Nothing to add except I'm very apprehensive about doing a Google search for "Knob Man" ?

^^ Good advice here. The "not enough memory" error is a generic Windows error that Cakewalk is just passing on - basically it means something else has taken control of the MIDI device. This could well be the reason you're getting hangs, because something else is grabbing the driver, and Chrome is a common smoking gun.

Yep, Glenn is on the money there - if you want to get rid of the Realtek, disable it, not delete. WASAPI is 10ms if it's in Shared mode, but if your interface allows it, try Exclusive mode. Shared has a hard lower limit of 10ms but Exclusive will let you go lower than that, at the expense of only CbB being able to use the driver when it has focus. I can definitely vouch for using WASAPI Exclusive with a Realtek interface - I was actually getting lower latency and better performance out of that while I was on the road with my laptop than I was at home with my TASCAM 16x08 using ASIO. (Using a Scarlett 18i20 now and it's MUCH better)

If you're actually using the Realtek interface, do NOT use ASIO because that driver is super buggy. If you switch to WASAPI Exclusive, you can get sub 5ms latency easily, or 10ms using WASAPI Shared. You'll want to delete the Realtek ASIO driver entirely. If you have another interface with proper ASIO drivers, leaving the Realtek enabled shouldn't interfere with it - I have various machines here with Win10 and 11 and the onboard sound is all enabled with no issues.

Give Noel's post here a read:

So? You can show or hide what you like in the console view to look as much or as little like other DAWs. Every DAW has something other DAWs don't have.

The reason for that is the Master Bus is a user created bus, and appears alongside any other busses you create (eg: reverb send, delay, etc), and then you have all of the hardware outputs at the very end. Typically you'd have your Master Bus feeding into a hardware out, so that makes sense.

I think everyone is missing the point a little - the OP wants to make each audio clip quantize its start time, not anything inside the clip itself or changing any tempo or anything like that. For example, imagine a scenario where you've dropped 100 snare samples on a track manually and you want them to all line up with the grid, so you'd select them all and do quantize with the audio clip start time check box selected. The problem is that the quantize menu isn't enabled when these clips are selected. OK, if your clip is a Groove Clip then it won't quantize, and bouncing to clip will turn that into a regular audio clip that will enable the quantize menu. I'm not sure if the clips you're editing on are actually Groove Clips or something has gotten tangled somewhere, but that seems to be the culprit and the solution. @msmcleod is there any reason why a Groove Clip couldn't have its start time quantized like a regular audio clip can? I'm guessing this may be because there's stretch markers in the clip and some logic is written in to stop any ambiguity about what you're actually trying to quantize.

You are quantizing the audio clip start times, like it says on the check box. Each audio clip's start is quantized.

@Andrey_rbk I get what you're trying to do here and I just tried it then (ensuring I have a tick in Audio Clip Start Times, and every clip I want to move is selected) and it moved the audio clips to where I expected with the quantize settings. Does your quantize dialogue box look like this? EDIT: Ah, I see you're not even getting the quantize dialogue itself pop up from the menu because it's disabled. I've just tried a few things then to make it break but the only time I have the Quantize menu disabled is when I have nothing selected. What happens if you Select None, then go through and choose each clip by CTRL+Left Clicking it? I'm wondering if there's something else in your project that's being selected that's preventing the quantize menu from becoming active.

I'd say it means Hardware Outs. 30+ years of documentation would definitely have some old terms still sitting around in there!

When Ripple Edit was introduced, I made a custom pop up toast message (you know those things that pop up in the bottom corner when you start CbB) that said "Is Ripple Edit off? No really, check it" because there were a few times I managed to tangle myself into some pretty big knots by forgetting it was on. That indicator was very much appreciated when it was added!

*Cakewalk* is telling you it's a bad idea, hence the warning message posted above. ASIO4ALL is a wrapper for WDM, and was intended for DAWs that don't have good support for native windows driver models. Cakewalk has great support for windows driver models, especially WASAPI. It's best to use that rather than a 3rd party app that wraps WDM in another layer.

You do have Melodyne - you get a trial version built into CbB that integrates into the app itself and is still functional behind the scenes. If you drag an audio track up onto the time ruler and let it go, CbB will use Melodyne's detection engine to extract the tempo. And yeah, as I said, tempo maps in AudioSnap are a bit more complex than just the double marker thing. I'd strongly suggest the time ruler method instead.