CAKEWALK PRO AUDIO User Manual

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Cakewalk Pro Audio

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User's Guide

Table of Contents

Troubleshooting

Summary of Contents for CAKEWALK PRO AUDIO

Page 2 Copyright © 1999 Twelve Tone Systems, Inc. All rights reserved. Program Copyright © 1999 Twelve Tone Systems, Inc. All rights reserved. Cakewalk is a registered trademark of Twelve Tone Systems, Inc. Cakewalk Pro Audio, Cakewalk Professional, Cakewalk Home Studio, Cakewalk Guitar Studio, Cakewalk...
Page 3: Table Of Contents
Starting Pro Audio ........
Page 4 Changing the Tempo ....... . 2-7 Muting and Soloing Tracks ......2-8 Changing a Track's Instrument .
Page 5 Importing Wave (.wav) Files ......4-30 Importing Material from Another Cakewalk Project ..4-31 Importing MIDI Files .
Page 6 Copying Tracks ........5-4 Erasing Tracks .
Page 7 Using the Controllers Pane ......6-36 The Event List View ........6-42 Event List Overview .
Page 8 Fades and Crossfades ....... 7-35 Audio Effects ......... 7-37 Mixing Audio Effects .
Page 9 Entering Notes from the TAB Staff .....8-33 You can enter notes or chords directly from the TAB staff. . .8-33 Single Note Editing from the TAB Staff .
Page 10 DirectShow Audio Dialog Box ......13-5 Configuring Pro Audio for 18-, 20-, and 24-bit Operation . . 13-12...
Page 11 MIDI Synchronization ........15-4 Pro Audio as the Slave .......15-5 Pro Audio as the Master .
Page 12 I DonÕt See the Clips Pane in the Track View ... . . A-6 Why CanÕt Pro Audio Find My Audio Files? ....A-6 Why Do I Get Errors from the Wave Profiler? .
Page 13 Initialization File Format ....... . E-2 CAKEWALK.INI ........E-2 TTSSEQ.INI .
Page 14 FX Pitch Shifter ........F-4 FX Time/Pitch Stretch .
Page 15 Appendix I: Roland U-8 ......I-1 Connecting Cakewalk to U-8 ......I-2 Controlling Cakewalk with U-8 .
Page 17: Preface
Pro Audio and some exposure to many of its capabilities. Chapters 3 through 9 cover all the basic skills you need to use Pro Audio to play, record, edit, arrange, and mix your projects. By the time you complete these chapters, youÕll know all about the different ways you can...
Page 18: Registering Pro Audio
Pro Audio, be sure to turn to Appendix G to see a summary of the new features in Pro Audio Version 9. Registering Pro Audio Please be sure to complete and return the registration card in your product package or to register your product on our World Wide Web site (www.cakewalk.com).
Page 19: Introduction
Starting Pro Audio ........
Page 20: About Pro Audio
Sound Production and Engineering If you want to produce music CDs or master tapes, Pro Audio has virtually everything you need from recording to mixing and mastering. Multichannel recording lets you capture studio or live performances track by track.
Page 21: Web Authoring
Web Authoring Pro Audio is the ideal tool for developing and producing music and sound for the World Wide Web, because it lets you save your work in the formats that are most commonly used on web sites: MIDI, RealAudio, MP3, and Windows Media Advanced Streaming Format.
Page 22: Views
The project is the center of your work in Pro Audio. If youÕre a musician, a project might contain a song, a jingle, or a movement of a symphony.
Page 23 The Track view is divided into two sections: the Track pane and the Clips pane. You can change the size of the two panes by dragging the vertical splitter bar that separates the two panes. Each row is a track The Track pane The Clips pane Current Track...
Page 24 The Clips pane shows the clips in your project on a horizontal timeline that helps you visualize how your project is organized. Clips contain markings that indicate their contents. The Clips pane lets you select, move, cut and copy clips from place to place to change the arrangement of music and sound in your project.
Page 25 Other Views Pro Audio has a number of other views you can use to display and work on your project. To display these views, select one or more tracks and: ¥...
Page 26 The Piano Roll view shows the notes from a track or track as they would appear on a player-piano roll. You can move the notes around, make them longer or shorter, and change their pitches by just dragging them with the mouse. You can also use the Piano Roll view to display and edit MIDI velocity, controllers, and other types of information.
Page 27 The Audio view displays the sound waves that make up one or more audio tracks of your project and provides tools to edit, arrange, and apply effects to audio events. The Event List view displays the events in a project individually, so that you can make changes at a very detailed level.
Page 28 Pro Audio has several other views that are used for very speciÞc purposes: View… How you use it… Meter/Key To change the meter (time signature) or key signature or to insert changes in the meter or key signature at speciﬁc times in...
Page 29 The zoom tools are used as described in the following table: Tool… How you use it… Zoom out Click to zoom out incrementally, or press Shift and click to zoom all the way out Zoom in Click to zoom in incrementally, or press Shift and click to zoom all the way in Zoom fader Click and drag to zoom continuously...
Page 30: Working On A Project
Working on a Project Much of your time in Pro Audio is spent recording and listening to your project or song as it develops. The Transport toolbar, shown below, contains the most important tools and other pieces of information youÕll need to record and play back your project.
Page 31: Computers, Sound, And Music
MIDI Þles contain all the MIDI messages and timing information that are needed to play a song. MIDI Þles can be read and played by many different programs, including Pro Audio, and can even be played by programs on other types of computers. MIDI Þles have the extension There are several important advantages of the MIDI format: ¥...
Page 32: Digital Audio
On the PC, digital audio is usually stored in wave Þles (extension . There are many programs available that let you create, play, and edit these Þles. Pro Audio reads, writes, and lets you edit wave Þles. More information about digital audio can be found in Chapter 7, Editing Audio.
Page 33: Installation And Setup
Installation and Setup You can install Pro Audio on any computer that runs Windows 95, 98 or NT and has a sound card or built-in sound module. If you want to hook up other devices, like a MIDI keyboard, an electric guitar, or a microphone, you need the right cables, and you need to Þnd the right...
Page 34 Installing Pro Audio… Pro Audio is easy to install. All you need to do is choose the folder where the program and sample project Þles should be stored. Before you start, make sure you have your serial number and CD-KEY handy.
Page 35 Uninstalling Pro Audio… When you installed Pro Audio, the setup program placed an Uninstall icon in the Start menu. To uninstall Pro Audio, click the Start button and choose Programs-Cakewalk-Cakewalk Pro Audio 9-Uninstall Cakewalk Pro Audio 9. You can also uninstall Pro Audio from the Windows Control Panel as follows: To Uninstall Pro Audio...
Page 36: Starting Pro Audio
Starting Pro Audio There are many different ways to start Pro Audio. Here are a few: ¥ Click on the Pro Audio icon on your desktop. ¥ Click on the Start button, and choose Cakewalk-Cakewalk Pro Audio 9 from the Programs menu.
Page 37: Starting To Use Pro Audio
Pro Audio CD and can be launched from the Autorun menu. When youÕre Þnished with the tutorials and videos, move on to Chapter 3 to learn the details of how you can use Pro Audio to create your music and sound projects.
Page 38 1-20...
Page 39: Getting Started
Getting Started Now that youÕve learned some of the basics, itÕs time to put that knowledge to work. The three tutorials in this chapter will give you some hands-on practice in playing, recording, and mixing your projects. If you want to learn more about any topic, youÕll Þnd references to the appropriate part of the UserÕs Guide.
Page 40: Tutorial 1Ñplaying A Song
Pro Audio owner and has created a project Þle containing a portion of the song. So, on your off nights, rather than practice your solo all by yourself, you can load the song into Pro Audio and play with the other instruments.
Page 41: Playing The Song
If you don't hear anything, see Appendix A: Troubleshooting for some troubleshooting tips. Restarting the Song When Pro Audio gets to the end of the song, it stops. To play the song again, do the following: Click the Rewind button , or press W to go back to the ﬁrst...
Page 42 The Now Time The Now time is the current time in the song. In the Clips pane of the Track view, the Now time is indicated by a vertical line. The Now time is also shown in the Transport toolbar, both in MBT (measure/beat/tick) format and in time code format (hour/minute/second/frame).
Page 43: Restarting The Song Automatically
WouldnÕt it be easier to practice your solo if you didn't have to rewind and restart the song each time it ended? Rather than manually rewinding and restarting the song, you can make Pro Audio automatically jump back to the beginning and keep playing.
Page 44 Or, maybe you'd like one section played repeatedly so you can practice an extended solo. In either case, you need to set the start and end times of the loop section. Let's have Pro Audio loop over the section between markers C and D: Click on the Loop From time.
Page 45: Changing The Tempo
In the Markers dialog box, select marker D and click OK. Click the Loop button to enable looping. Click Rewind. The song rewinds to the Loop From time. Click Play. A quicker way of selecting the loop times in the preceding example would be to simply click in the area between the markers at the top of the Clips pane, then click to copy the selection start and end times...
Page 46: Muting And Soloing Tracks
This song is a special case in that it has only one tempo for the entire song. If you need to vary the songÕs tempo, Pro Audio lets you insert tempo changes. Tempo changes can be inserted individually so that different sections can be played at different tempos, or they can be inserted graphically in the Tempo view.
Page 47 Note that the yellow MUTE indicator lights up in the status bar whenever a track is muted. This can be very helpful if there are muted tracks that arenÕt visible. Let's try using a different method to mute two tracks simultaneously: In the Track pane, click the track number (the leftmost column) of the Piano track.
Page 48: Changing A Track's Instrument
LetÕs use a different method to solo all three percussion tracks: In the Track pane, click the track number in the Drums track. The track is selected. While pressing Shift, click the track numbers in the Shaker and Triangle tracks. All three percussion tracks are selected. Choose Track-Solo .
Page 49 Right now, the Piano track uses the patch called Acoustic Grand Piano. To change the patch, select a new patch from the drop-down list. Pro Audio immediately starts playing the piano part with that new instrument. Have fun trying all the different patches! Click OK to keep the patch you have selected currently, or click Cancel to go back to the original patch.
Page 50: Playing Music On A Keyboard
MIDI in and out of your sound card. Checking Your MIDI Device Settings First, letÕs make sure that Pro Audio is set up to send MIDI output to your keyboard. Choose Options-MIDI Devices to open the MIDI Ports dialog box.
Page 51: Transposing
Routing MIDI Data to the Keyboard LetÕs play the Piano track on the MIDI keyboard. First, turn your keyboard on and make sure it is set up to receive MIDI input on channel one. Then, do the following: In the Track view, right-click on any column in the Piano track (track 1) to open the pop-up menu.
Page 52 Click OK. Pro Audio raises all the notes in the selected tracks by seven half- steps (for example, C is raised to G, D is raised to A, and so on). The Transpose dialog box also has an option for transposing by diatonic steps;...
Page 53 Transposing with the Transpose MIDI Effect One Þnal way to transpose a track is to use the Transpose MIDI plug-in effect. Pro AudioÕs MIDI and audio effects let you modify notes and sounds on the ßy, as they are played, without making permanent changes to your music and sound data.
Page 54: Tutorial 2Ñrecording Midi And Digital Audio
Record digital audio tracks Rehearsal Time, Part 2 In Tutorial 1, you used Pro Audio to help you rehearse a solo in one of your bandÕs songs. Pro Audio played the backup parts of the song while you played your solo. Now that youÕve had some time to practice, youÕd like to record your solo with Pro Audio so you can play it and hear how you sound.
Page 55: Recording Midi
ÒVirtual PianoÓ on page 4-15. Setting Up the Metronome Musicians often use a metronome to keep track of the beat. Pro AudioÕs metronome is more versatile than most real metronomes. You can conÞgure to sound on playback or recording; it can count off any number of lead-in measures or beats;...
Page 56 The metronome counts in for recording, not for playback. Checking Your MIDI Device Settings Let's make sure that Pro Audio is set up to receive MIDI data from your instrument. Choose Options-MIDI Devices to open the MIDI Ports dialog box.
Page 57 Recording MIDI Now you'll record a new track in the song. Do the following: Make sure your instrument is turned on and set up to transmit MIDI data. Double-click the Name column in track 8 and type a name for your new track.
Page 58 RecordingÓ on page 2-21 for more information. Fine Tuning After you've recorded a MIDI track, you can use Pro Audio to make automatic adjustments to the timing of notes. For example, the Quantize command rounds off the start times and durations of notes to evenly spaced note boundaries (quarter notes, eighth notes, sixteenth notes, and so on).
Page 59: Loop Recording
Audio to loop over the entire song, or just some section of it. Pro Audio will record a new take during each loop, storing that take in a new clip. You can set Pro Audio to place each clip in a new track or to pile all clips in one track.
Page 60 Click OK. Click Rewind Click Record Pro Audio loops over the designated section and records your takes to successive tracks. If you want to erase the most recent take during loop recording, choose Realtime-Reject Loop Take . To stop recording, click Stop , or press the space bar.
Page 61: Punch-In Recording
Punch-In Recording Imagine that one of your takes was close to ideal, except for one or two notes in one measure. Rather than recording another full take, you'd prefer to keep the take but replace that measure. Punch-in recording lets you replace a section of a track. The way it works is this: First, you set the start and end times of the punch to the section you want to replace and turn on punch recording.
Page 62: Recording Digital Audio
If nothing else, try playing or singing into a microphone! Setting the Sampling Rate Each Pro Audio project has a parameter that speciÞes the sampling resolution for all digital audio data in the project. You should set this rate before recording any digital audio.
Page 63 Setting Up an Audio Track LetÕs set up a track for digital audio. In the Track pane, in the ﬁrst available empty track, double-click the Name column and enter a name for your new track. Double-click in the Source column and set the Source in the Track Properties dialog box to your sound card’s audio input.
Page 64 Recording Digital Audio It's time to record! If you haven’t already set up the metronome, follow the directions in the “Setting Up the Metronome” section earlier in this tutorial to set the metronome for a two-measure count-in. Mute any tracks you don't want to hear while recording, or solo the tracks you do want to hear.
Page 65: Recording Multiple Channels
Loop and Punch-In Recording Loop and Punch-in work the same for digital audio recording as they did for MIDI recording. For more information, refer to the relevant sections preceding, or to ÒLoop RecordingÓ on page 4-20 or ÒPunch RecordingÓ on page 4-22.
Page 66: Tutorial 3Ñaudio Editing And Mixing
Apply real-time effects in the Console view ¥ Control the mix during playback ¥ Save a project as a Pro Audio Bundle Þle ¥ Export a project as a RealMedia Þle Audio Engineering YouÕre an audio engineer. One of your clients has an idea for a 20-second radio spot and has sent you a script and a project containing some raw material from which to start.
Page 67 Windows 95, 98 and NT. (Pause) With Pro Audio, you can produce complete music and audio projects in one integrated system. (Pause) Pro Audio is available at ﬁner music and computer stores worldwide or by calling 1-888-CAKEWALK. 2-29...
Page 68: Stretching The Music
Stretching the Music First, letÕs speed the music to Þt within 20 seconds. There are two ways the music can be made to Þt: by increasing the tempo or by keeping the tempo and changing the note start times and durations.
Page 69: Adding The Announcer
Saving Your Work Because we are going to do some serious editing later in the tutorial, you may want to save your work as you go along: Choose File-Save As . In the File Name box, type an unused ﬁle name, such as My RadioSpot.
Page 70: Trimming The Announcer
Checking the Input Levels Before trying to record, you need to check and adjust the audio input levels. If your audio input is too low, it will be lost in the background noise. If it is too high, it will overload the input channel and be distorted/ clipped.
Page 71 Choose View-Audio to open the Audio view. The audio data in track 1 is displayed. If selected, deselect the snap grid Select the Snap to Zero Crossing option . With this option, any selections we make will snap to the nearest zero crossing in the audio waveform.
Page 72 Right-click on the ﬁrst portion of the audio event (the one that is only silence) and choose Delete from the pop-up menu. In the dialog box that appears, make sure that only Events in Tracks is selected. This means that other items, such as tempo changes and markers, will not be deleted.
Page 73: Editing The Announcer
Click OK. Now our audio event bears the name Edited V/O, which is more descriptive. Next, we will remove the pauses between sections of the script. You may want to save your work before continuing. Editing the Announcer Now that the announcerÕs voice begins at the correct time, we will remove any pauses or breaths.
Page 74: Making It Fit
00:00:20:00 and make sure that the box next to Stretch Audio is checked. Click OK. Pro Audio processes the audio so that it runs faster while keeping the same pitch (also known as time compression). Click Play and listen to the spot. The announcer should now ﬁt in the 20 seconds of the music.
Page 75: Mixing The Radio Spot
In the announcer track’s effects patch point (the area just under the track name), right-click and choose Cakewalk-FX EQ (Stereo) . The effect is added to the track. Double-click the effect to display the settings.
Page 76: Automating Your Mix
Real-Time Mixing Control The Console view is a live mixer. During playback, you can control the main volume and the volume and panning of each track. You can mute and solo tracks. You can turn routing to aux busses on and off and change the send levels.
Page 77: Saving The Project
If you work with large samples, this can be quite signiÞcant. If you would like to send your Pro Audio project to other people, though, you need to create a Þle containing all the projectÕs data, including the digital audio data.
Page 78 Enter a ﬁle name in the File Name box. Click Save. ThatÕs it! YouÕve Þnished all three tutorials and learned quite a bit about how to use Pro Audio in the process. Now youÕre ready to move on. Here are some ways to proceed: ¥...
Page 79: Controlling Playback
Controlling Playback Controlling playback is simple with Pro Audio. When you play your song, you have full control over the tempo or speed of playback, which tracks are played, which sound cards or other devices are used to produce the sound, and what the tracks sound like.
Page 80: The "Now Time" And How To Use It
The “Now Time” and How to Use It Every project has a current time, known as the Now time, which keeps track of where you are in a project. The Now time is displayed in both the large Transport toolbar and the Position toolbar, in two formats: The current measure, beat, and tick The current time...
Page 81 00:00:00:05 Five frames into the project Pro Audio provides many ways to set the Now time. Here are just a few: To Change the Now Time… • Click the desired time on the time ruler in the Track, Piano Roll, Staff, or Audio view •...
Page 82: Displaying The Now Time In Large Print
Displaying the Now Time in Large Print Pro Audio can display the Now time in large print so that itÕs easier to see when you are far from your monitor (for example, when youÕre at your keyboard or another MIDI instrument) or when several people need to read the Now time from a distance.
Page 83: Other Ways To Set The Now Time
Other Ways to Set the Now Time There are a variety of commands and keyboard shortcuts you can use to set the Now time: Command... Shortcut... What it does... Go-Time Lets you enter the Now time in the Position toolbar or in a dialog Go-From Sets the Now time to the From time (the start time of the current...
Page 84: Controlling Playback
If the Now time is advancing but you donÕt hear any sound, see Appendix A: Troubleshooting. If you are using MIDI sync or MIDI time code sync, Pro Audio waits to receive external timing data before it begins playing. For more information, see Chapter 15, Synchronizing Your Gear.
Page 85: Loops
¥ Enable looping ThatÕs all there is to it. From then on, Pro Audio will automatically jump back to the start of the loop when it reaches the end. When looping is enabled, the loop times are indicated by special markers in the time ruler.
Page 86 You can stop and resume playback at any point during the loop. If you start playback before the loop start time, Pro Audio will play until the loop end time is reached, then jump back to the loop start time. If you start playback after the loop end time, the loop is ignored.
Page 87 To Set Up a Playback Loop… Set the loop start and end times in one of the following ways: • Drag the mouse between two points in the time ruler of the Track, Piano Roll, Staff, or Audio view to select a range of times, then click in the Loop/Auto Shuttle toolbar to copy the selection time to the loop time...
Page 88: Track-By-Track Playback
Track-by-Track Playback Pro Audio lets you play back any combination of tracks at one time by changing each trackÕs status. There are four different status settings for each track: Status... What it means... Normal The track is played as usual...
Page 89: Silencing Tracks
Archived track Solo track The track status is saved with the Pro Audio project Þle. If you save a Pro Audio project as a standard MIDI Þle, however, all tracks are saved without mute, solo, or archive indicators. Silencing Tracks When a track is muted, Pro Audio processes the track while playback is in progress so that you can unmute the track without stopping playback.
Page 90: Soloing Tracks
You can do this by soloing the tracks you want to hear. As soon as any track is marked as a solo track, Pro Audio ignores all mute settings and plays only the track or tracks that are set to solo. Any number of tracks at one time can be marked as solo.
Page 91: Changing Track Settings
To Solo or Unsolo Tracks… • To solo or unsolo a track, click the Solo button in the Track or Console view • To solo or unsolo several tracks at once, select the tracks and choose Track-Solo , or select the tracks, right-click, and choose Solo or use the Solo toolbar or Status bar.
Page 92 The stereo distribution of the output, 3-23 ranging from 0 (hard left) to 127 (hard right); a value of 64 indicates sound that is centered left-to-right. On stereo tracks, pan acts as balance. Vel+ The change in velocity (volume) that will 3-27 be applied to notes in this track on playback;...
Page 93 You can rearrange and resize the columns of the Track pane as shown in the following: To do this... Do this... Change the size of the Track pane Drag to the left or right the divider that separates the Track and Clips panes Resize a column Move the mouse to the top of the column, and drag the column divider to...
Page 94 There are a few special shortcuts for setting certain parameters: Parameter… Shortcut… Source Hold the Shift key, and click in the cell to cycle through the available audio sources Key+ Right-click the Spin buttons, or press the [ (open bracket) and ] (close bracket) keys to change the value by 12 (a full octave) instead of 10 You can also edit Track properties in the Track Properties dialog box.
Page 95: Setting Up Output Devices
All track parameters are saved with a Pro Audio project. However, if you export a project to a standard MIDI Þle, several of the parameters (Key+, Vel+, Time+, and Chn) are applied to the MIDI data as the Þle is being exported.
Page 96 You do not need to conÞgure them the way you do MIDI devices. If you have a voice modem or speakerphone in your computer, however, you might want to set up Pro Audio so that it wonÕt use those devices. Also, note that some dedicated audio equipment has speciÞc setup requirements.
Page 97: Assigning Tracks To Ports
To Choose MIDI Devices... Choose Options-MIDI Devices to display the MIDI Ports dialog box. Click on any MIDI device in the Output Ports list. Click Move to Top to move the selected devices to the top of the list. When all devices are selected in the order you want, click OK. The ﬁrst selected MIDI output device will be assigned to Port 1, the second to Port 2, and so on.
Page 98: Choosing The Instrument Sound (Bank And Patch)
16,384 banks of 128 patches each (thatÕs over 2 million patches). The bank and patch settings in the Track view control the initial bank and patch of a track during playback. Every time Pro Audio starts 3-20...
Page 99 You can accomplish this using the Insert-Bank/ Patch Change command. When you start playback in the middle of a song, Pro Audio searches back through the track to Þnd the correct patch to use Ð either the initial bank and patch or the most recent bank/patch change.
Page 100 Event List view. For more information, see ÒThe Event List ViewÓ on page 6-42. When a track contains audio, Pro Audio interprets the patch as an indicator of the type of audio information contained in the track, such as vocals, drums, or woodwinds.
Page 101: Adding Effects
Click OK. Pro Audio inserts a change in bank and patch. When you play back the song, the initial bank and patch shown in the Track view will be used to the point at which the bank/patch change takes place. You can remove a bank/patch change in the Event List view.
Page 102: Assigning A Midi Channel (Chn)
Controllers, and Chapter 11, Working with StudioWare. Note to Experts: Pro Audio processes the volume and pan settings by transmitting MIDI volume and pan events (controllers 7 and 10, respectively) when playback starts. If two or more MIDI tracks are set to the same port and channel but have different volume or pan settings, the settings for the highest-numbered track will prevail.
Page 103 The Chn parameter in the Track view redirects all events in the track to the speciÞed channel, ignoring the channel number stored with each event. If this parameter is left blank, all events in the track are sent to their original channels. This parameter does not affect the channel information that is stored with each MIDI event.
Page 104: Adjusting The Key/Transposing A Track (Key+)
Adjusting the Key/Transposing a Track (Key+) Each MIDI note event has a key number, or pitch. On playback, the key offset (Key+) sparameter transposes all notes in the track by the designated number of half-steps. The value can range from -127 to +127. A value of 12 indicates that notes will be played back one octave higher than they are written.
Page 105: Adjusting The Note Velocity (Vel+)
Adjusting the Note Velocity (Vel+) Each MIDI note event has a velocity, which represents how fast (or how hard) the key was struck when the track was recorded. On playback, the velocity offset parameter adjusts the velocity data for all notes in the track by the designated amount.
Page 106: Adjusting The Time Alignment Of A Midi Track (Time+)
To Set the Velocity Offset for a Track… Move the highlight to the Vel+ column of the track you want to change. Press the + or – key until you reach the value you want. Use the [ or ] key to increase or decrease the value by 10. You can also change the velocity offset in a variety of other ways, as described on page 3-15.
Page 107: Other Midi Playback Settings
Option… How it works… Zero Controllers When Play If this option is enabled, Pro Audio zeroes (resets) Stops the pitch wheel, the pedal Controller, and the modulation wheel Controller on all 16 MIDI channels whenever playback is stopped.
Page 108: Video Playback
ﬁle’s audio data. Click Open. Pro Audio loads the video ﬁle and displays it in the Video view. If you choose to import audio data, Pro Audio inserts a new track above the currently selected track, and puts the data in a clip or clips on the new track.
Page 109 To Enable or Disable Video Playback… Open the Video view by choosing View-Video. Right-click in the Video view and choose Animate . If your computer is not fast enough to play back video efﬁciently, you can get better performance by temporarily disabling video animation during playback.
Page 110 Display the video in full Choose Full Screen screen mode Pro Audio adjusts the video display according to the selected option. The stretch option is used to recalculate the video display size whenever you resize the Video view. To Set the Background Color…...
Page 111: Recording A Performance
Recording a Performance You can add sound or music to a Pro Audio project in many different ways. You can record your own material using a MIDI-equipped instrument, use a microphone or another audio input to record digital audio information, or import sound or music data from an existing digital data Þle.
Page 112: Creating A New Project
MIDI timing resolution Creating a New Project File Pro Audio includes a set of templates you can use to create a new project. These templates include common types of ensembles, such as rock quartets, jazz trios, and classical full orchestra. When you create a new project using one of these templates, Pro Audio creates a project that has MIDI settings predeÞned so that one track is set up for each of the...
Page 113: Setting The Time And Key Signatures
Pro Audio creates the new project and displays it in the Track view. Setting the Time and Key Signatures By default, a new Pro Audio project is in 4/4 time and the key of C major. You can change these settings to any desired time signature or key.
Page 114 ¥ 3/4 (three beats per measure, each quarter note gets a beat) ¥ 6/8 (six beats per measure, each eighth note gets a beat) The top number of a meter, the number of beats per measure, can be from 1 through 99. The bottom number of a meter is the value of each beat.
Page 115: Setting The Metronome And Tempo Settings
You can customize the metronome sound to use your PC speaker or any note on a MIDI instrument. By default, Pro Audio uses a hi-hat cymbal sound from a general MIDI drum kit for the metronome, but you can change this setting to anything you like by changing the MIDI port, MIDI channel, and duration.
Page 116 To Set the Tempo and Metronome for a New Project… In the Metronome toolbar, select the Metronome during Recording and Metronome during Playback options. If you want to hear a count-in before recording begins, set the count-in to 1 or more. Select Count-in Measures or Count-in Beats Select Use PC Speaker...
Page 117: Setting The Audio Sampling Rate And Bit Depth
Your metronome settings will be saved with the project ﬁle. Setting the Audio Sampling Rate and Bit Depth Each Pro Audio project has an audio sampling rate and a bit depth that indicates the level of accuracy with which audio data are stored. The same parameters are used for all the digital audio in a project.
Page 118: Setting The Midi Timing Resolution
The sampling rate will be saved with the project ﬁle. Setting the MIDI Timing Resolution Each Pro Audio project has a setting for the timing resolution, or timebase, that indicates the resolution of MIDI data. This resolution is measured in ticks or pulses per quarter note and is often abbreviated as PPQ.
Page 119: Preparing To Record
In some projects you may need a different or an even more detailed timebase. For example, if you wanted to use eighth-note septuplets (7 eighth notes per quarter note) and represent them accurately, you would need to have a timebase that is divisible by 7, such as 168PPQ. Pro Audio uses the timebase you choose for a project to determine the range of tick values in the Now time.
Page 120 modes to determine what happens to those clips. When you save your project, you also save whatever recording mode you choose together with that project: Recording mode… How it works… Sound on Sound The new material is merged with any existing material.
Page 121: Choosing A Source
Choose Realtime-Record Options or click to display the Record Options dialog box, then select the desired mode. Cakewalk saves your recording options with each project, so you can save a different recording mode with each of your projects. Choosing a Source To record into a track, you must choose a source for the music or sound to be recorded.
Page 122 Source Source When you choose MIDI Omni as the input source for a track, Pro Audio merges material from all MIDI sources (ports) and instruments. This means you donÕt have to worry about port, channel, or other MIDI settings. Sometimes, you may want to record different MIDI channels into different tracks.
Page 123 If you want to assign all your audio sources to a series of tracks, hereÕs a quick shortcut. Hold the Shift key and click in the Source cell for each track. Pro Audio will assign the audio sources to these tracks in increasing order. The names of the sources depend on your audio hardware.
Page 124: Arming Tracks For Recording
Arming Tracks for Recording Pro Audio lets you record any number of tracks at one time. You indicate the tracks you want to record by arming the tracks. You can arm a single track or several tracks at one time. Each track records material received though its own input source.
Page 125: Recording Music From A Midi Instrument
, press the space bar, or choose Realtime-Stop to stop recording. Pro Audio displays a clip containing the new material in the Track window. To listen to the new material, set the Now time to the start of the clip and press the space bar or click .
Page 126: Recording Audio
When you click the keys with the mouse or play notes using your computer keyboard, the Virtual Piano converts the information to MIDI data and sends it to Pro Audio. For complete information about the Virtual Piano, use the on-line help system.
Page 127 0dB. Note to Experts: Because Pro Audio is a digital recorder, a level of 0dB indicates digital zero. Digital distortion will occur at 0dB. You will not get analog compression or warmth from pushing the input levels. If you are...
Page 128 Pro Audio automatically manages these audio Þles for you, making it easier for you to manage your projects. If you want to work with these Þles directly, or to learn more about how Pro Audio stores audio data, see ÒDigital Audio Data ManagementÓ on page 13-13.
Page 129: Tuning An Instrument
Tuning an Instrument Pro Audio has a built in Chromatic Tuner which analyzes any input signal from the sound card and displays the intonation (in cents) on the meter. The tuner automatically determines which string/pitch you are trying to tune, so that you can keep both hands on the instrument while tuning.
Page 130: Loop Recording
Pro Audio then loops between the start and end time, allowing you to record one take on each pass. Pro Audio creates a clip for each take. You have three choices for where these clips are stored: ¥...
Page 131 Play or perform the material you want to record. At the end of the loop, Pro Audio will return to the start of the loop and you can record the next take. If you want to erase the most recent take while loop recording is underway, choose Realtime-Reject Loop Take or press Ctrl-space bar.
Page 132: Punch Recording
However, only the bars you want to correct are actually recorded. That way, you donÕt have to worry about introducing new mistakes elsewhere in the recording. When you use punch recording, Pro Audio deletes any material between the start and end times of the punch.
Page 133 After you punch record, choosing Undo both discards any new material you recorded and restores the original material that had been deleted. You can also combine loop and punch recording to record several takes of a punch. Say you are working on that perfect take of a guitar solo and you need to hear a couple of bars of the song as Òpre-rollÓ...
Page 134: Step Recording
Play or perform the material you want to record. At the end of the loop, Pro Audio will return to the start of the loop and you can record the next take. If you want to erase the most recent take while loop recording is underway, choose Realtime-Reject Loop Take or press Ctrl-space bar.
Page 135 MIDI data is recorded using Step Record even if the track is not armed, loop markers are ignored, and Step Record always uses the Sound on Sound (blend) record mode, regardless of the current record mode. You use the Step Record dialog box to perform step recording: The step size and the duration can each be set to one of three things: Setting…...
Page 136 provides you with more ßexibility. For example, with Auto Advance disabled, you do not even need to play the notes at a single step at the same time! You can play any number of notes one at a time, and they will all be recorded at the same step until you click the Advance button.
Page 137: Step Pattern Recording
With pattern recording, you deÞne a pattern that indicates where the rests appear in the pattern. Pro Audio will then skip over the rests automatically, so you donÕt need to click the Advance button at all. Pro Audio displays patterns as a combination of digits (which represent beats that contain notes) and dots (which represent beats that contain rests).
Page 138: Recording Channel By Channel
Most MIDI instruments are capable of sending information on several different channels at once. When you choose MIDI Omni as the input source for a track, Pro Audio records into that one track MIDI data from all the different MIDI devices and channels that are hooked up to your computer.
Page 139 Use one or more MIDI Check the MIDI Channels box, and channels as the source check off the channels you want to include Click OK. Pro Audio shows new track sources in the Source column. 4-29...
Page 140: Importing Music And Sound
If the ﬁle is stereo and the Stereo Split box option is not checked, a stereo event is inserted in a single track. Click Open. Pro Audio loads the audio data from the wave ﬁle and places it in the selected track at the Now time. 4-30...
Page 141: Importing Material From Another Cakewalk Project
Pro Audio imports the material and displays it in the Track view. Importing MIDI Files You can create a new Pro Audio project from a MIDI Þle simply by opening the Þle. Pro Audio takes material from the Þle and places it into one or more tracks in the Track view.
Page 142: Saving Your Work
Þle, as described in ÒDigital Audio Data ManagementÓ on page 13-13. Pro Audio also lets you save Þles in two other formats, as described in the table: File type...
Page 143 (*) after the project name in the Pro Audio title bar. Pro Audio has an Auto Save feature that periodically saves your work into a special backup Þle. You can request automatic backups at Þxed time intervals or every time a certain number of changes have been made to the Þle.
Page 144: Labeling Your Projects
From now on, your projects are saved automatically according to the settings you entered. Labeling Your Projects Pro Audio lets you attach subtitles, composer credits, copyright, and other information to your projects, as shown in the following table: Title The title for your song; prints automatically at the top of a Staff view printout.
Page 145 This information is shown in the File Info window, which is displayed using the File-Info command. If the File Info window is open when you save a Þle, then this window is displayed automatically the next time the Þle is opened. This is useful if you: ¥...
Page 146: File Statistics
The Cakewalk version number. MIDI Input and Echo Controls Pro Audio gives you Þne control over a variety of MIDI settings. You can Þlter out MIDI input information to eliminate information you donÕt want to record, and you can control the way Pro Audio echoes MIDI input to any connected output devices.
Page 147: Midi Echo
MIDI Echo Pro Audio lets you control the echo of MIDI data from your MIDI inputs to your MIDI outputsÑthat is, from your master keyboard to one or more of your sound modules. This function is known as MIDI thru and is conÞgured using the Project Options dialog box.
Page 148: Local Control
Local On Port setting in the Project Options dialog box to indicate the number of the output port connected to your synthesizer. Pro Audio will then refrain from sending MIDI echo data to that port. In this conÞguration, you may need to turn your synthesizerÕs volume control up and down from time to time to avoid hearing it play along with your other modules.
Page 149: Arranging Tracks And Clips
Pro Audio also has a variety of tools and commands for changing the tempo of your song.
Page 150: Arranging Tracks
Arranging Tracks Pro Audio provides a variety of commands that let you work with the tracks in your project. Here are some of the things you can do: You can… Here’s why… Rearrange the tracks in the Track This makes it easier to see and work with...
Page 151: Changing The Order Of Tracks
Press and hold down the mouse button. The cursor changes to an up/down arrow. Drag the track to its new location, and release the mouse button. Pro Audio rearranges and renumbers the tracks. You can sort the tracks in a project based on several parameters, in either ascending or descending order: Sort by…...
Page 152: Copying Tracks
Move the highlight to any track. Press the Insert key. Pro Audio shifts the current track and all tracks below it down by one, and inserts a blank, new track at the location of the highlight. You can also insert tracks by right-clicking in the Track pane to access the pop- up menu and selecting the Insert-Track command.
Page 153: Erasing Tracks
To Wipe Tracks… Select the tracks you want to wipe. Choose Track-Wipe . Pro Audio deletes all clips and events from the selected tracks, but leaves the track properties intact. Arranging Clips The Track view provides many ways for you to rearrange, copy, and paste clips to arrange your music the way you want.
Page 154: Displaying Clips
Displaying Clips Clips are displayed as rectangles in the Clips pane. Their position and length show you at a glance their starting times and lengths. You can control four aspects of their appearance: ¥ Color: By default, clips containing MIDI and audio information are drawn in different colors, so that you can easily distinguish them.
Page 155 Check the Display Clip Contents option to show clip contents, or leave it unchecked to hide them. Click OK. Pro Audio modiﬁes the clips pane to show the information you want. To Change Clip Names… Select the clips you want to rename.
Page 156: Selecting Clips
Click the Choose Color button and pick a color from the Color dialog box Click OK. Pro Audio changes the color of the selected clips. Selecting Clips Before you move, copy, edit, or delete clips you need to select them. There are several ways to select whole clips, as shown in the table: To do this…...
Page 157: Moving And Copying Clips
You can copy or move clips using drag-and-drop editing or the Cut, Copy, and Paste commands. If you copy or move clips into tracks that contain existing material, you need to let Pro Audio know how to combine the two. You have three options: Option…...
Page 158 If you change your mind while dragging clips, press the Escape key to cancel the operation. Pro Audio also lets you move and copy clips between projects. To Move Clips Using Drag and Drop… Select the clips you want to move.
Page 159 To Move Clips Using Cut and Paste… Select the clips you want to move. Choose Edit-Cut to display the Cut dialog box. Choose the options you want and click OK. Pro Audio cuts the clips from the project and places them on the Windows clipboard.
Page 160 Select the clips you want to copy. Choose Edit-Copy to display the Copy dialog box. Choose the options you want and click OK. Pro Audio copies the clips to the Windows clipboard. Click in the Track pane to set the current track to be the one where clips should be pasted.
Page 161: Working With Partial Clips
You can then copy, move, or delete the material the same way you do with whole clips. When you select portions of a clip, Pro Audio may round off the start and end times of your selection based on the snap grid. For more information, see ÒDeÞning and Using the Snap GridÓ...
Page 162 Press and hold the Alt key. Drag the mouse across part of several clips in adjacent tracks. Pro Audio highlights the selected portions of all the clips. You can edit these portions of clips using all the normal editing commands.
Page 163: Markers And The Snap Grid
Markers and the Snap Grid Pro Audio has a collection of features you can use to simplify and speed the work you do arranging your projects. Here are a few of the most important things you can do: ¥ Show gridlines on measure boundaries in the Track view.
Page 164 You can also use the grid to move clips by a certain interval, rather than snap them to the interval. Moving by an interval can be useful during drag-and-drop operations, if your events are not exactly aligned with measure or note boundaries. In addition to choosing a standard note duration for the snap interval, you can also enter a number of clock ticks.
Page 165: Creating And Using Markers
Þlm scores or multimedia presentations. See ÒTo Add a MarkerÓ below. Pro Audio takes the current snap grid settings into account when you move or copy markers. For example, if the snap grid is set to even measure boundaries, any time you move or copy a marker, the marker will be snapped to the beginning of the nearest measure.
Page 166 Markers view. • Ctrl-click in the marker section of the time ruler. • Right-click in the Time ruler and select Insert Marker Pro Audio displays the Marker dialog box. Enter a name for the marker in the Name box. 5-18...
Page 167 To Add a Marker on the Fly… Click in the Markers toolbar, or Press F11. Pro Audio adds a marker at the Now time and displays it in the time ruler, the Markers view, and the Markers toolbar. To Edit a Marker…...
Page 168 To Move a Marker… Drag the marker in the time ruler. Pro Audio updates the marker time and shows it at the new location. To Delete a Marker… Press and hold the left mouse button while pointing to a marker in the time ruler.
Page 169: Working With Linked Clips
Working with Linked Clips Pro Audio makes it easy to repeat a pattern over and over using a feature called linked clips. Linked clips always have the same contents, name, and display color. Any change you make to one of the clips will automatically apply to all of them.
Page 170 If necessary, conﬁrm the options in the Drag and Drop Options dialog box, and click OK. Pro Audio creates copies of the selected clips that are linked to the originals. Any change you make to one of the clips is applied to all linked clips.
Page 171: Splitting And Combining Clips
Choose Edit-Paste to display the Paste dialog box. Choose the options you want and click OK. Pro Audio creates copies of the selected clips that are linked to the originals. Any change you make to one of the clips is applied to all linked clips.
Page 172 The following table summarizes the commands you can use: To do this… Use this command… Notes… Split clips into parts Split Works on all selected clips Create a new clip Edit-Create Clips Erases the selected portion from part of an of the existing clip, and existing clip moves the material into a...
Page 173 Right-click on any selected clip, and choose Combine from the menu. Pro Audio combines the selected clips into a single, new clip. If the selected clips were on different tracks, the resulting clip is placed in the ﬁrst of these tracks.
Page 174: Adding Effects In The Track View
Right-click in the FX bin to display the effects popup menu. Move the cursor over the menu name to display a submenu of effects. Cakewalk displays MIDI effects if you are editing a MIDI track, and audio effects for an audio track.
Page 175: Using The Tempo Toolbar
ÒStretching and Shrinking EventsÓ on page 6-12 and ÒFit ImprovisationÓ on page 6-26. When you change the tempo of a project that contains audio, Pro Audio will, at your option, stretch or shrink the audio wave to Þt the new tempo.
Page 176 Click the current tempo in the Tempo toolbar. Type a new value or use the spinners to change the tempo value. Pro Audio changes the current tempo to the desired value. If Stretch Audio is enabled, after a -second delay, Pro Audio shrinks or stretches the song’s audio events to conform to the new tempo.
Page 177: Using The Tempo Commands
Tap a new tempo in the space indicated in the dialog box. Enter a starting time for the new tempo. Check the Stretch Audio option if you want audio to be modiﬁed. Click OK. Pro Audio inserts a tempo change at the designated time. 5-29...
Page 178 Click the arrows to change the value. • Tap a new tempo in the space indicated in the dialog box. Check the Stretch Audio option if you want audio to be modiﬁed. Click OK. Pro Audio changes the most recent tempo to the new value. 5-30...
Page 179: Using The Tempo View
Using the Tempo View The Tempo view provides both a graphic display of the tempo and a list of all tempo changes in your project. In the graphical display you can use your mouse to draw tempo changes directly onto the graph. In the tempo list, you can insert, edit, and delete individual tempo changes.
Page 180 Select the tool or the tool. Click in the graph at any desired time point and tempo level. Pro Audio introduces a tempo change at the indicated point. To Steadily Increase or Decrease the Tempo… Select the tool. Drag a line in the graph from the starting time and tempo to the ending time and tempo.
Page 181 Release the mouse button. Pro Audio deletes all tempo changes in the area you marked. The last tempo setting prior to the erased region is now in effect in that region. To Insert a Tempo Change in the List…...
Page 182 5-34...
Page 183: Editing Events And Controllers
Editing Events and Controllers Pro Audio lets you edit the events in your songs in dozens of different ways. The Piano Roll view lets you add and edit notes, controllers, and automation data interactively, using a graphic display. Pro AudioÕs many editing commands can improve the quality of recorded performances, Þlter out certain types of events, and modify the tempos and dynamics of...
Page 184: The Piano Roll View
The Piano Roll View The Piano Roll view displays all notes and other events from one or more tracks in a grid format that looks much like a player piano roll. Notes are displayed as horizontal bars, and drum notes as diamonds. Pitch runs from bottom to top, with the left vertical margin indicating the pitches as piano keys or note names.
Page 185: Opening The View
(or press T) and choose the track you want. If you pick a blank track, Pro Audio creates a new track automatically. The Piano Roll view lets you edit notes and controllers during playback or recording, in real time.
Page 186 beyond the boundary of the clip in which they are located. When you move the notes, the clip will be extended as needed. The Piano Roll view also lets you scrub the tracks that are currently displayed. The Scrub command lets you drag a vertical bar over the view so that you can hear the notes in the track(s).
Page 187 Edit the desired start time, pitch, duration, velocity, or channel. Click OK when you are done. Pro Audio updates the note event accordingly. Note that you can also edit note velocity in the Controllers pane. For more information, see “Velocity, Pitch Wheel, and Aftertouch” on page 6-36.
Page 188 Drag the selected notes to a new location. If necessary, choose the Drag and Drop options from the Drag and Drop dialog box. Pro Audio copies the selected notes. To Add a Note... Click or press D to select the Draw tool and select a note duration Press and hold the left mouse button in the Piano Roll view.
Page 189: Working With Multiple Tracks In The Piano Roll View
To Scrub the Song... Click or press B to select the Scrub tool. Press and hold the left mouse button in the Piano Roll view. Pro Audio displays a vertical line and plays any notes that are underneath the line. Drag the line to the left or right, at any desired speed.
Page 190: Note Names
The Piano Roll view is updated with the settings you request. Selecting and Editing Events Pro Audio has many other editing commands that you can use to modify the events that make up your project. Here are some of the things you can do: ¥...
Page 191: Transposing
Þt with the original key signature. As an option, you can choose to transpose selected audio clips along with any selected MIDI clips. Pro Audio uses pitch-shifting (a plug in for changing audio pitch) to perform the transposition. You can transpose audio only a single octave in either direction (-12 to +12), and you cannot transpose audio when you are using diatonic transposition.
Page 192: Shifting Events In Time
You can also use the Edit-Slide command to move markers located within the selection. If you have selected any locked markers, Pro Audio will ask whether they should slide, too. To Shift Events in Time...
Page 193 Choose the types of events that should be shifted automatically from the Slide list. Click OK when you are done. Pro Audio inserts the desired amount of blank time into the project. 6-11...
Page 194: Stretching And Shrinking Events
Choose the types of events that should be shifted automatically from the Slide list. Click OK when you are done. Pro Audio inserts the desired amount of blank time into the project. Stretching and Shrinking Events The Edit-Length and Edit-Fit to Time commands can be used to stretch or shrink a portion of a project.
Page 195 If you want to stretch selected audio events, check the Stretch Audio box. Use the spinners or type in the desired percent change in length. Click OK when you are done. Pro Audio modiﬁes the length of selected events. 6-13...
Page 196: Reversing Notes In A Clip
If you want to stretch selected audio events, check the Stretch Audio box. Click OK when you are done. Pro Audio modiﬁes the length of selected events or changes the tempo map, as you requested. Reversing Notes in a Clip The Edit-Retrograde command reverses the order of events in a selection.
Page 197: Adding Crescendos And Decrescendos
This command lets you set a starting and ending velocity for the entire time range of the selection. Pro Audio scales the velocity of each event to create a smooth linear change in velocity. As an option, you can enter a starting and ending percentage;...
Page 198: Quantizing
Pro Audio has two types of commands that you can use to modify the timing of a clip. The Quantize commands alter the timing of the notes in your recording so that they Þt a time grid. The grid can have Þxed time intervals or intervals that are based on some existing note pattern.
Page 199 Duration As an option, Pro Audio can adjust the duration of note events so that each note ends one clock tick before the start of the nearest resolution- sized note. This ensures that the notes do not overlap, which can cause problems on some synthesizers.
Page 200 percent indicates that all notes are moved so that they are in perfect time, while a strength of 50 percent means that all notes are moved half- way towards the desired position. This lets you Òtighten upÓ the timing as much as you want, without going too far. The Groove Quantize command also lets you control the strength of duration and velocity adjustments.
Page 201 MIDI notes. If you want, you can also restrict the types of events that are affected by the Quantize commands to only notes, lyrics, and audio events. If you choose this option, Pro Audio will not modify other events, like controllers.
Page 202 Stop to stop auditioning the change. Make adjustments as necessary. Click OK when you are done. Pro Audio quantizes the selected MIDI information and audio events. You can use Undo to restore the material to its original state. 6-20...
Page 203 To Use the Groove Quantize Command… Select the track or clip you want to quantize, using any of the selection tools and commands. Choose Edit-Groove Quantize to display the Groove Quantize dialog box. Choose a groove ﬁle from the Groove File ﬁeld. Choose a groove pattern from the Groove Pattern ﬁeld.
Page 204 Delete button. Deﬁning a Groove To use the groove quantize feature, you must create or choose a small snippet of musicÑthe groove patternÑfor Pro Audio to use as the timing and accent reference. You can use either of the following: ¥...
Page 205 as many times as necessary. You can also create a groove template based on an audio clip using the Edit-Audio-Extract Timing command. To Deﬁne a New Groove... Select the music that deﬁnes the groove using any of the selection tools and commands. Choose Edit-Copy to place the music onto the Windows clipboard.
Page 206 Click Close when you are done to return to the Groove Quantize dialog box. Pro Audio stores the groove in the ﬁle and chooses the new groove as the current groove source. To Copy an Existing Groove... Choose Edit-Groove Quantize to display the Groove Quantize dialog box.
Page 207 Clipboard; from the Groove Quantize dialog box, select the Clipboard as the groove source; choose a resolution value roughly on the order of the duration of the bass notes and a window of 100 percent. Pro Audio aligns the melody note events with the nearest bass notes.
Page 208: Fit Improvisation
ÒexplodedÓ drum loop. Fit Improvisation Pro Audio lets you record music from a MIDI controller without requiring that you use a Þxed tempo. In fact, if you record without using a metronome, you are very likely to end up with a recording that does not Þt onto a Þxed tempo grid.
Page 209: Searching For Events
If necessary, combine all clips in the reference track into a single clip. Choose Edit-Fit Improvisation . Pro Audio adds tempo changes as necessary to ﬁt the tempo grid to the reference track. When you’re done, you should mute the reference track, since the reference track events are not rescaled.
Page 210: Event Filters
Edit-Select by Filter Modify an existing selection to keep only those events that have the speciﬁed attributes Edit-Interpolate Replace all events that meet speciﬁed attributes with modiﬁed versions of the events These capabilities can help you Þnd problem spots or errors in a project or make systematic changes to events that have particular attributes.
Page 211 The Event Filter dialog box looks like this: Check to include this type of event Enter the range of values for the events you want Different types of events have different parameters, as shown in the table: This event type... Has these parameters...
Page 212 The event Þlter only accepts events that meet all the speciÞed ranges. This means that a note event must fall within the pitch range, the velocity range, and the duration range in order to be included. The event Þlter can also be used to accept events that occur in a range of channel numbers, beats, and clock ticks.
Page 213 Set up the event ﬁlter to ﬁnd the events you want. Click OK. Pro Audio ﬁnds the next event that meets the criteria and sets the Now time to the start time of that event. To ﬁnd the next occurrence, press F3 or choose Go-Search Again.
Page 214 Set up the event ﬁlter to ﬁnd the events you want. Click OK. Pro Audio searches the currently selected events and weeds out those that do not meet the requirements of the event ﬁlter. Example: Splitting Left-Hand and Right-Hand Parts...
Page 215 In the second Event Filter dialog box, the checkboxes and value ranges for beats and ticks are ignored. Only the replacement value ranges for the selected event types are used. The Edit-Interpolate command understands a wild card octave number in the second event Þlter to mean, Òreplace the original note with a different note in the original octave.Ó...
Page 216: Controllers, Rpns, Nrpns, And Automation Data
Automation data are used to adjust volume, pan, and other parameters of MIDI and audio tracks on the ßy while playback is in progress. Pro Audio lets you enter or edit controller, xRPN, and automation data in several ways: ¥...
Page 217 Suppose you start playback halfway through a song. Pro Audio searches back from that point to Þnd any earlier controller values that should still apply.
Page 218: Using The Controllers Pane
Velocity, Pitch Wheel, and Aftertouch Pro Audio lets you display and edit several other types of data the same way you do controller data. These data include: ¥...
Page 219 aftertouch data. The Controllers pane is the lower half of the Piano Roll view. Choose the MIDI channel, Pick the controller Tools for editing Choose the type if any or xRPN to change of data to edit controllers Splitter bar Controllers pane The Controllers pane looks like a graph;...
Page 220 This will usually cause hiccups or poor timing during playback. Note: Pro Audio includes a CAL program ( ) you THIN CONTROLLER DATA can use to reduce the density of controller events in a track.
Page 221 Pro Audio displays the data in the controllers pane. To Display Automation Data... In the Console view, right-click a control to display the pop-up menu. Choose Edit Automation Data . Pro Audio opens a new Controllers pane and conﬁgures it to display automation data for the control. 6-39...
Page 222 Drag a line in the Controllers pane from the starting time and value to the ending time and value. Pro Audio adds a series of controllers and erases any existing controller values in the same time interval. To Draw a Series of Controller Value Changes...
Page 223 Enter a starting and ending time in the From and Thru boxes. Click OK when you are done. Pro Audio inserts a series of controller events with values that change smoothly over time from the starting to the ending value indicated in the dialog box.
Page 224: The Event List View
Release the mouse button when you have highlighted the desired region. Pro Audio deletes all controllers of the selected type. (Note that you cannot delete velocity events in the Controllers pane. You must delete the notes that have those velocities.) The Event List View The Event List view shows events in a list format.
Page 225: Event List Overview
the event list is updated and the highlight is moved to the event that will be played next. When the Event List view includes more than one track, events are mixed together in chronological order. For example, if you select tracks 1 and 3 when you open the Event List view, you see a single list of intermingled events from tracks 1 and 3.
Page 226 Consult the UserÕs Guide for your keyboard for more information. ¥ When you double-click the value of a patch event, Pro Audio displays the Bank/Patch Change dialog box. For more information about bank and patch changes, ÒTo Insert a Bank/Patch ChangeÉÓ...
Page 227: Event List Display Filter
¥ See Chapter 14, Using System Exclusive Data, for more information about System Exclusive banks. ¥ See Chapter 7, Editing Audio, for more information about audio events. Additional information about note events and MCIcmd events appears later in this chapter. Event List Display Filter You can conÞgure the Event List view to display different event types, as described in the following table:...
Page 228 If you try to change the event type (kind of event), Pro Audio lets you choose the kind of event you want from a dialog box. When you change one kind of MIDI event into another kind of MIDI event, Pro Audio preserves the parameters as fully as possible.
Page 229: Additional Event Information
To Print the Event List... Choose File-Print Preview to display a preview of the printed event listing. Click the Zoom button (or just click the page) to zoom in and out, and use the Page Up and Page Down keys to review the pages. Click Print to print the event list, or click Close to close the Preview window without printing.
Page 230 Event List view rather than a note and an octave from the piano keyboard. Pro Audio uses the following notation to display ßats and sharps in this and other views: Character... Meaning... ﬂat sharp " double ﬂat...
Page 231: Midi Effects
MIDI Effects Pro Audio provides the ability to use plug-in MIDI effects. Using plug-in effects is similar to using the MIDI processing commands described earlier in the chapter. The overall procedure is as follows: ¥ Select the MIDI data to be affected.
Page 232: Quantizing
processing or effect again in the future. The following table tells you how to use presets: To do this... Do this... Save the current settings as a preset Enter a preset name and click the Save button Use a preset Select the preset from the dropdown list Delete a preset Select the preset, then click the Delete...
Page 233: Adding Echo/Delay
Quantize dialog box. Set the quantization parameters, as described in the table above. Click OK. Pro Audio applies the speciﬁed quantization to the selected data. Adding Echo/Delay The Echo Delay command creates a series of repeating echoes of each note.
Page 234: Filtering Events
Echo Delay dialog box. Set the echo/delay parameters, as described in the table above. Click OK. Pro Audio applies the speciﬁed echo effect to the selected data. Filtering Events The Event Filter command lets you remove events from the MIDI data, keeping or passing through only those events that you specify.
Page 235 The parameters used to specify the arpeggiator effect are as follows: Parameter/Option... Meaning... Swing (%) The distortion of timing used to produce a swing feel. A value of 0% indicates a straight rendition; negative and positive values produce distortion of the timing grid. For more information on swing, see “Swing”...
Page 236: Analyzing Chords
Set the arpeggiator parameters, as described in the table above. Click OK. Pro Audio applies the speciﬁed arpeggio effect to the selected data. Analyzing Chords The Chord Analyzer command analyzes chords. You select the notes to be analyzed in one of CakewalkÕs windows, then open the Chord analyzer and press the Audition button.
Page 237: Changing Velocities
Select the data to be affected. Choose MIDI Effects-Velocity from the Edit menu or from the pop-up menu to open the Velocity dialog box. Select options as described in the table above. Click OK. Pro Audio changes note velocities according to the speciﬁed options. 6-55...
Page 238: Transposing Midi Notes
Transposing MIDI Notes The Edit-MIDI Effects-Cakewalk FX-Transpose command is a ßexible transposition feature. You can perform simple chromatic or diatonic transpositions, transpose from one key to another, or deÞne your own custom transposition. The transpose options are as follows: Parameter/Option...
Page 239 Choose MIDI Effects-Cakewalk FX-Transpose from the Edit menu or from the pop-up menu to open the Transpose dialog box. Set the transposition options as described in the table above. Click OK. Pro Audio transposes the selected data according to the options you speciﬁed. 6-57...
Page 240 6-58...
Page 241: Editing Audio
Editing Audio The Audio view lets you edit and arrange audio events. You can perform basic tasks such as cut, copy, paste, and move; apply simple audio processing such as volume change, fades, and equalization; and use sophisticated audio effects such as stereo chorus and reverb. The Audio view lets you see your audio events on a timeline, arranged by track, to help you visualize the organization of your projectÕs audio data.
Page 242: Digital Audio Fundamentals
Digital Audio Fundamentals Digital audio is a numeric representation of sound; it is sound stored as numbers. In order to understand what the numbers mean, you need to start with the basic principles of acoustics, the science of sound. Basic Acoustics Sound is produced when molecules in the air are disturbed by some type of motion produced by a vibrating object.
Page 243 The displacement of the string changes as the string vibrates, as shown here: The segment marked ÒAÓ represents the string as it is pulled back by the pick; ÒBÓ shows it moving back towards its resting point, ÒCÓ represents the string moving through the resting point and onward to its outer limit;...
Page 244: Waveforms
played. Rather, all these vibrations are added together to form a complex or composite sound that our ear perceives as a single tone. Fundamental frequency (1f) 100% amplitude 2x fundamental (2f) 50% amplitude 3x fundamental (3f) 33% amplitude 4x fundamental (4f) 25% amplitude 5x fundamental (5f) 20% amplitude...
Page 245 vibration as a function of time. For example, the waveform of the sound of the plucked guitar string might look like this: The waveform of a trumpet blast might look like this: And the waveform of a spoken word might look like this: The three waveforms shown above are quite different from one another, both in appearance and sound.
Page 246: Recording A Sound
envelope, and each has its own complex combination of frequency components, which can change across the duration of the sound. The center line of a waveform is the zero line; it corresponds to the rest position (displacement of 0) of the original vibrating object. (A waveform for perfect silence would be a horizontal line at zero.) Back and forth motions of the vibrating object translate to upward (positive) and downward (negative) excursions of waveform amplitude.
Page 247: The Decibel Scale
measure the electrical signal from the microphone at least 4,400 times per second. Since humans can hear frequencies well above 10 kHz, most sound cards and digital recording systems are capable of sampling at much higher rates than that. Typical sampling rates used by modern musicians and audio engineers are 22 kHz, 44.1 kHz, and 48 kHz.
Page 248: Audio Events
Audio Events If you have read from the beginning of the chapter, you should have a good idea of what is contained in a Pro Audio audio event. An audio event contains a long series of numbers, or samples, representing the ßuctuating amplitude of a waveform.
Page 249: Managing Audio Data
Console view. Managing Audio Data Because of the great size of audio events, Pro Audio uses an intelligent scheme for storing audio events on disk to conserve disk space and minimize the time it takes to load and save data.
Page 250: The Audio View
The Audio View The Audio view displays audio events on a timeline, arranged by track. Snap to Grid Snap to Zero Crossing Time ruler units Pick Tracks Show Volume Envelopes Editing tools Show Pan Envelopes There are Þve ways to open the Audio view: ¥...
Page 251: Basic Audio Editing
Like many other views, the Audio view includes zoom tools that let you change the vertical and horizontal scale of the view. When multiple tracks are displayed, a white arrow in the track number column indicates which track is centered when zooming vertically. You can use the Page Up and Page Down keys to move this arrow between tracks.
Page 252: Editing Event Properties
The term velocity is borrowed from MIDI, where it indicates the speed with which a key was struck, and thus its loudness. Pro Audio assigns a velocity to each audio event as a means of letting you control and adjust...
Page 253 = 103(Velocity) Changing the event velocity does not change the audio waveform data. Rather, Pro Audio uses the velocity as a scaling factor during playback. To Change an Audio Event’s Name... Position the pointer over the left portion of the name (the pointer changes to an I-beam), then click.
Page 254: Setting Volume And Pan Envelopes
To Change an Event’s Time... Right-click an audio event and choose Event Properties . Enter a new starting time in either the Time box (MBT) or the Sample box (samples since the start of the project). Click OK. The Audio view displays the event at the new starting time. To Move the Anchor...
Page 255 To make alignment of envelopes with audio data easier, the envelope is superimposed on the audio event in the Audio view, as shown here: To set up a volume or pan envelope, you must: ¥ Create an envelope ¥ Create intermediate points ¥...
Page 256: Moving, Copying, And Deleting Audio Events
Move an envelope node Click the point and drag it to a new location. Shift-dragging constrains the move horizontally. Control-dragging constrains it vertically Move an envelope segment Click the segment and drag it to a new location Delete all envelope nodes Right-click the envelope and choose Clear Moving, Copying, and Deleting Audio Events Events can be cut, copied, pasted, and deleted with Edit menu...
Page 257: Combining Audio Events
Click the event at the ﬁrst time, then once drag a rectangle to the second time When you use the Scissors, Pro Audio adjusts split times to the nearest snap-to unit. Tip: To minimize pops and clicks, use the Snap to Zero Crossing feature.
Page 258: Applying Fades With The Draw Tool
Choose Edit-Audio-Combine , or right-click one of the events and choose Combine from the menu. If any of the events overlap, Pro Audio displays the Combine Audio Events dialog box. Select an option and click OK. The events are combined into a single event. Overlapping events are combined in the manner you speciﬁed.
Page 259 The following pictures show fade and swell envelopes in the midst of being drawn: The height of the envelope at each point determines the multiplicative factor that will be applied to the waveform at that point. The zero- crossing line of the waveform corresponds to an envelope height of 0 percent, the maximum amplitude line corresponds to 100 percent.
Page 260: Scrubbing
Release the mouse button to apply the envelope. Press Shift when making your initial click, or while dragging, to snap to the nearest 25% increment. Press Esc while dragging to cancel the operation. You can click on the track number and drag the mouse up or down to change the volume of the entire track.
Page 261 Presets. The Audition button is used to audition the processed audio data. When you click Audition, Pro Audio processes the Þrst few seconds of your data, then plays it repeatedly until you click Stop. This helps you to get an idea of whether the settings in the dialog box are producing the desired effect.
Page 262: Increasing Or Decreasing Volume
Increasing or Decreasing Volume Pro Audio provides three commands to boost or cut the volume of audio data. The 3dB Louder and 3dB Quieter commands are used to increase or decrease the volume by three decibels, respectively. For more information on the decibel scale, see ÒThe Decibel ScaleÓ on page 7-7. You can apply these commands several times in succession to get a larger boost or decrease.
Page 263: Reversing Audio Data
Select the audio data to be affected. Choose Edit-Audio-3dB Louder , or right-click and choose 3dB Louder from the menu. Pro Audio increases the volume of the selected audio by 3 dB. To Decrease Audio Volume by Three Decibels... Select the audio data to be affected.
Page 264: Equalizing Audio Data
For example, you can boost the bass, cut high-frequency hiss, or brighten mid-range vocals. Pro Audio provides a graphic equalizer that lets you boost or decrease the volume of audio events in ten frequency bands. The width of each band doubles as you go from low to high frequencies;...
Page 265: Advanced Audio Processing
Pro Audio treats passages of absolute silence intelligently. It doesnÕt store stretches of silence on disk, and thereby conserves disk space. During a passage of absolute silence, Pro Audio sends no signal to the digital output port; this results in cleaner audio playback. Remove Silence is great for cleaning up your Þnal audio mix, because it can...
Page 266 The digital noise gate parameters are described in the following table. Parameter... Meaning... Open Level (dB) The loudness threshold for opening the noise gate. The gate ofﬁcially opens when loudness rises above this level, although it can open earlier because of the Attack Time. Close Level (dB) The loudness threshold for closing the noise gate.
Page 267: Extracting Timing
Check the Split Events box to delete the silent sections of audio. Click OK to remove silence from the selected data. Pro Audio processes the audio as directed. Extracting Timing The Extract Timing command creates MIDI notes and (optionally) tempo changes based on rhythmic peaks in audio.
Page 268 Find a Steady Rhythm Tells Pro Audio to look for a steady rhythm among all the pulses it ﬁnds. For example, if you’re analyzing a drum track that consists of a...
Page 269 Eighth for the correct tempo changes to be inserted. Convert Pulses to MIDI Tells Pro Audio to create a MIDI note event for Note each pulse that was found. The Note Velocities parameter lets you choose which velocity will...
Page 270 To Extract Timing from Audio Data... Select the audio data to be analyzed. Choose Edit-Audio-Extract Timing , or right-click in the Audio view and choose Extract Timing from the menu, to open the Extract Timing dialog box. Set the Pulse Analysis parameters as described in the table above. Click Audition to get visual feedback in the Audio view, so you can be sure the pulses are aligned to your liking.
Page 271 Here are some examples of ways to use the Extract Timing command. To Generate MIDI Notes that Play Along with an Audio Rhythm Track... Select the audio events containing the rhythm track. Choose Edit-Audio-Extract Timing and adjust the pulse analysis parameters. Once you’re satisﬁed with the result, check the Convert Pulses to MIDI box, uncheck the Insert Tempo Changes box, and click OK.
Page 272: Detecting Pitch
You must set a few parameters to assist Pro Audio in detecting pitch and creating appropriate MIDI events. You may need to experiment with these parameters in order to achieve the best possible conversion. The parameters for pitch detection are as follows: Parameter...
Page 273: Parametric Equalization
To Generate MIDI Notes from Audio Data... Select the audio data to be analyzed. Choose Edit-Audio-Pitch Detection , or right-click and choose Pitch Detection from the menu, to open the Pitch Detection dialog box. Set the Pitch Detection parameters as described in the table above.
Page 274 Choose Edit-Audio-Parametric EQ , or right-click and choose Parametric EQ from the menu, to open the Parametric EQ dialog box. Set the ﬁlter type and parameters as described in the table above. Click OK. Pro Audio applies the speciﬁed ﬁlter to the selected data. 7-34...
Page 275: Fades And Crossfades
Fades and Crossfades provides several commands for applying gradual volume Pro Audio changes to audio data. The Þrst command, Fade/Envelope, lets you fade in or fade out, and lets you choose an envelope, a curve that governs the rate of the fade. The starting envelope can be linear (straight line), exponential, or inverse exponential.
Page 276 Select an envelope from the dropdown list. If desired, manipulate the curve as described in the table above. Click OK. Pro Audio applies the fade to the selected audio data. To Crossfade Two Overlapping Events... Select two overlapping audio events. They need not be on the same track, but they must overlap in time for the command to have any effect.
Page 277: Audio Effects
If youÕre not happy with the result, choose the Edit-Undo command before doing any additional audio processing. Note that the Bypass button is available in all Cakewalk Audio FX effects, but may not be available in third-party effects. Audio effects can be applied to whole or partial events. For example, you can apply reverb to a single word in a vocal event, or apply a delay to one guitar note.
Page 278: Mixing Audio Effects
Pro Audio automatically converts it to stereo.) If you check Keep Original Data, Pro Audio won't delete the original audio data. This lets you create stereo wet only tracks for ﬁner mixing control. If...
Page 279: Adding Parametric Equalization
The center or cutoff frequency for the ﬁlter The quality, or sharpness, of the ﬁlter While you are setting up the Þlters in the Cakewalk FX Parametric EQ dialog box, you will see a graphic representation of the composite Þlter, like this: The horizontal axis shows increasing frequency;...
Page 280: Adding Chorus
Select the audio data to be affected. Choose Audio Effects-Cakewalk FX-Parametric EQ from the Edit menu or from the pop-up menu to open the Cakewalk FX Parametric EQ dialog box. Set options for the ﬁrst ﬁlter, as described in the table above.
Page 281: Applying Delay And Echo
Select the audio data to be affected. Select a stereo pair for stereo chorusing. Choose Audio Effects-Cakewalk FX-Chorus from the Edit menu or from the pop-up menu to open the Cakewalk FX Chorus dialog box. Set the chorus parameters, as described in the table above.
Page 282: Adding Flanging
Select the audio data to be affected. Select a stereo pair for stereo delay. Choose Audio Effects-Cakewalk FX-Delay from the Edit menu or from the pop-up menu to open the Cakewalk FX Delay dialog box. Set the parameters in the dialog, as described in the table in the “Adding Chorus”...
Page 283: Applying Reverb
Select the audio data to be affected. Select a stereo pair for stereo reverb. Choose Audio Effects-Cakewalk FX-Reverb from the Edit menu or from the pop-up menu to open the Cakewalk FX Reverb dialog box. Set the reverb parameters, as described in the table above.
Page 284: Shifting Pitch
Shifting Pitch The Cakewalk FX Pitch Shifter raises or lowers the pitch of an audio signal, while leaving the duration of the audio event unchanged. The pitch shift parameters are as follows: Parameter/Option... Meaning... Pitch The amount by which the pitch is changed, in...
Page 285: Stretching Time And Pitch
Stretching Time and Pitch The Cakewalk FX Time/Pitch Stretch command lengthens or shortens audio data, and raises or lowers pitch. Time and pitch can be stretched independently. You can use this effect to stretch or compress audio while preserving pitch, or to change pitch while preserving duration, or both.
Page 286 Edit menu or from the pop-up menu to open the Cakewalk FX Time/Pitch Stretch dialog box. Set the time/pitch stretch parameters, as described in the table above. Click OK. Pro Audio applies the time/pitch stretch to the selected data. 7-46...
Page 287: Working With Notation And Lyrics
Working with Notation and Lyrics This chapter describes three Pro Audio views that are used to edit the musical aspects of your project. ¥ Pro AudioÕs Staff view lets you work with your composition in a standard musical staff, guitar tablature and a virtual guitar fretboard.
Page 288: The Staff View
Working with Lyrics ........44 The Staff View The Staff view is composed of a Staff pane and a Fretboard.
Page 289: Opening The Staff View
Notes and chords shown in the Fretboard can be easily edited by drag- ging them up and down the guitar strings. Editing tools Zoom Grid Time and pitch locator Fretboard display button Notehead tools Dynamics and markings Opening the Staff View There are three ways to open the Staff view: ¥...
Page 290: Staff Pane Layout
Pane The Staff pane can display up to 24 staves of standard and percussion notation. When you open the Staff pane, Pro Audio automatically picks a clef for each trackÑbass or trebleÑby looking at the range of pitches in the track. If a track has notes that fall into both clefs, or no notes at all, Pro Audio automatically splits the track into two staves, treble and bass.
Page 291 If you select one of the Percussion options, click Percussion Set- tings to set up the appearance of percussion notes. Repeat steps 2-5 for other tracks. Click Close when you are done. Pro Audio displays tracks using the new staff settings.
Page 292: The Fretboard
Tip: If a piano partÕs left-hand and right-hand parts overlap, a split point will not correctly separate the two parts into treble and bass staves. You may prefer to put the two parts into two separate tracks. The Fretboard The Fretboard shows you the notes located at the Now time in the Staff pane, laid out on a virtual guitar fretboard.
Page 293: Basic Musical Editing
Inserting Notes on the Staff You can add notes to your composition with simple point-and-click techniques. To help with your composing, Pro Audio gives you audio feedback as you place each note. You can insert notes anywhere in the Staff pane, but inserting them at the Now time gives you control over the exact time you want to insert to.
Page 294: Inserting Notes With The Fretboard
Now time in the Staff pane. Click the cursor on the vertical line at the pitch that you want. Pro Audio places the new note in the staff. If desired, drag the note horizontally or vertically to a new time or pitch.
Page 295: Selecting Notes
Advance the Now Time by the current note duration using the right arrow key while holding down the shift key. This allows you to quickly enter a series of notes. Selecting Notes Use the Selection tool to make selections. Selection methods in the Staff view are similar to those in other views.
Page 296 Select the notes to be copied. Press and hold the Ctrl key. Drag the notes to a new time, pitch, or staff. Pro Audio inserts copies of the notes at the new location. To Erase Notes with the Eraser... Click the Erase tool Click any notehead to erase the note.
Page 297: Auditioning
While pressing Shift, click each of the notes you would like to change. While continuing to press Shift, drag the notes along the strings. Pro Audio moves the notes you selected to the new pitches. Tip: You can also move the Now time pointer to the exact note by using the Step Play buttons.
Page 298: Changing Note Properties
Click in the staff to display the vertical scrub line. Drag the mouse horizontally to move the scrub line. Pro Audio plays any notes the scrub line passes over. To Play Notes with Step Play… Set the Now time by clicking in the time ruler.
Page 299: Deglitch Dialog
Right-click the note to open the Note Properties dialog box. Edit the note’s properties, as described in the table. Click OK. Pro Audio changes the note’s parameters and redraws the note if necessary. Deglitch Dialog When recording MIDI guitar, even the best players occasionally play unintended notes.
Page 300: Working With Triplets
Select the Triplet option Enter the ﬁrst note at the desired location in the staff. Pro Audio inserts all three triplet notes at the same pitch. You can then drag the second and third notes to their correct pitch locations.
Page 301: Beaming Of Rests
Thereafter, the Staff view beams rests as though they were notes. Changing the Way Notes Are Displayed Unlike musical notation programs, Pro Audio uses the MIDI events themselves as the permanent representation of the music; thus, the Staff view is only an interpretation of a MIDI performance.
Page 302 Fill and Trim off Fill and Trim on On the other hand, if you are entering notes into the Staff view with the mouse, Fill and Trim Durations may produce confusing results. For example, with Fill Durations, an inserted eighth note in 4/4 time would look like a quarter note until you insert another eighth note immediately 8-16...
Page 303: Using Enharmonic Spellings
Pro Audio uses a set of rules to automatically add accidentals (sharps or ßats) to notes based on the current key signature. These rules cover the most common musical situations and usually lead to pleasing results.
Page 304: Midi Channels And Voices
In the Pitch textbox, type a new spelling for the note. Click OK. Pro Audio displays the note with the new enharmonic spelling. You can change enharmonic spellings in other views, such as the Event List view, by similarly typing a new spelling wherever the note pitch is displayed as a text string.
Page 305: You Can Disable The Forced Mapping Of Midi Channels. For More Information, See Appendix D: Midi Files
is conceptually linked to the use of different instruments. Therefore, setting notes to different channels gives you a useful way to show separate voices, whether the track has a forced channel or not. You can disable the forced mapping of MIDI channels. For more informa- tion, see Appendix D: MIDI Files.
Page 306 Click Deﬁne. In the Method ﬁeld, click MIDI Channel. In the 1st Channel ﬁeld, set Pro Audio to transmit on the same series of MIDI channels that you chose in step 1. Select 1 for 1-6, 2 for 2-7, etc.
Page 307: Chords And Marks
If a track is split into treble/bass staves, chords are allowed only above the upper (treble) staff. Pro Audio stores its library of chords in the Þle chords.liw. The chords in the library are sorted into groups. You can add and remove chords from the library, create new groups (i.e., for alternative guitar tunings), and...
Page 308 Click to place a chord symbol. Pro Audio inserts a copy of the most recently added chord (by default, C). You can then edit the symbol to display the chord you want.
Page 309 To Edit a Chord Symbol… Right-click the symbol to open the Chord Properties dialog box. Edit information about the chord according to the table: To do this… Do this… Move a chord in time Change the Time property. Give the chord a new name Select a chord from the dropdown list, or type a new name.
Page 310 To Add a Guitar Chord Grid… Right-click the chord symbol to open the Chord Properties dialog box. Follow the instructions in the table: To do this… Do this… Display a blank chord grid Click New Grid Place a dot on the grid Select the ﬁnger number (1-4, or T for Thumb), then click the grid at the appropriate string and fret location...
Page 311: Adding Expression Marks
ﬁle Click OK. Pro Audio saves the chord library with the changes you made. Adding Expression Marks Expression marks tell a performer how to interpret the notes and durations on the page. They provide a necessary supplement to simple notation, in which notes have only pitch and duration, but no hint of how loudly, softly, or smoothly, they are to be played.
Page 312 Press Enter, or press Tab or Shift-Tab to move to the next or previous mark, respectively. Pro Audio inserts the new expression mark below the staff. To Edit an Expression Mark... Right-click the expression mark to open the Expression Text Properties dialog box.
Page 313: Adding Hairpin Symbols
Position the pointer below the staff (the pointer changes to a pencil when you are in a legal position). Click to place a hairpin symbol. Pro Audio inserts a copy of the most recently added hairpin symbol, which you can edit as desired. 8-27...
Page 314: Adding Pedal Marks
Adding Pedal Marks Pedal marks traditionally indicate where the sustain pedal of a piano is to be pressed and for how long. With Pro Audio, you can achieve the same effect by inserting a pair of symbols indicating when the sustain pedal controller is to be turned on (down) and when it is to be turned off (up).
Page 315: Tablature
Click to place a pedal mark. Pro Audio inserts a pair of pedal symbols (a pedal down and a pedal up). You can click and drag either symbol to a new time.
Page 316 For example, if Finger span is set to 4, then Pro Audio will attempt to place all the notes within those 4 frets. The Lowest Fret then determines where on the fretboard the notes will be dis- played within the Finger span.
Page 317: Changing Fretboard Texture And Orientation
Type a number into the Number of Frets ﬁeld. This determines how many frets the guitar has that the tab is based on. In the String Tuning ﬁelds, choose the instrument from the drop- down list and number of strings from the Number of Strings ﬁeld. The open string pitches for the instrument you choose automati- cally appear in the string number ﬁelds below the dropdown list.
Page 318: Quick Tab
Quick TAB Pro Audio quickly creates a tablature based on standard Þngering pat- terns. After you try the quick version, you can customize the tablature to your liking. To Create a Quick TAB... Open a ﬁle that contains a MIDI guitar track.
Page 319: Entering Notes From The Tab Staff
Span (usually 4), Lowest Fret, and Number of Frets (usually 21). Click OK. Pro Audio regenerates a TAB based on your speciﬁcations. If notes are out of the range you speciﬁed, Pro Audio displays them as close to that range as possible. Entering Notes from the TAB Staff You can enter notes or chords directly from the TAB staff.
Page 320: Single Note Editing From The Tab Staff
Shift-Left Arrow. The Now Time moves by the amount of the note duration you choose in the Staff toolbar. Single Note Editing from the TAB Staff Pro Audio enables you to edit single notes from the TAB staff in several ways: ¥...
Page 321: Editing Notes And Chords From The Fretboard
(although it need not be so). Pro Audio lets you control the appearance of percussion staffs in considerable detail. You can display percussion notes using several...
Page 322: Setting Up A Percussion Track
Using Instrument Deﬁnitions . Setting Up a Percussion Staff or Line The Þrst time you display a percussion track in the Staff view, Pro Audio picks a default percussion clef for the track. Tracks with only one note value are assigned the Percussion Line clef. Tracks with multiple note values are assigned the Percussion Staff clef.
Page 323 The lowest and highest lines on the Percussion clef are E5 and F6, respectively. The Percussion Line represents E5. By default, percussion staffs are given Pro AudioÕs default note bindings and notehead assignments. If you want to use your own notation, or if you want to set up the appearance of a percussion line, you need to use the Percussion Notation Key dialog box.
Page 324: Ghost Strokes
Ghost Strokes In percussion notation, parentheses around a note mean that it is a ghost stroke, played very lightly and barely heard. Pro Audio supports ghost strokes by displaying parentheses around any percussion note event with velocity less than 32 (a Þxed, arbitrary threshold). If...
Page 325: Printing
Pro Audio identiÞes the tracks by number and name, and numbers each measure and each page. Pro Audio lets you select a size for your printed score. Engravers have nine standardized sizes of the Þve-line staff. The vertical distance between the lines of each staff is called its rastral size, or measurement.
Page 326: The Meter/Key View
¥ How the Staff view is drawn While Pro Audio in general allows meters to have up to 99 beats per measure, the Staff view cannot display such measures. You will receive an error message if you try to use the Staff view with meters exceeding its limit.
Page 327: What Is Key
Internally, Pro Audio stores times as ÒrawÓ ticks or clock pulses. The timebaseÑthe number of pulses per quarter note (PPQ)Ñis adjustable, from 48 to 480 PPQ. If you are using a timebase of 120 PPQ and the song Þle is in 4/4 time, then a whole measure equals 480 ticks. See ÒSetting the MIDI Timing ResolutionÓ...
Page 328: Opening The Meter/Key View
Opening the Meter/Key View To open the Meter/Key view, click or choose View-Meter/Key. The Meter/Key view displays a list of meter/key changes in the project. There is always an entry for measure 1, because there must always be a meter and key signature for the song. The default meter is 4/4 and the default key is C.
Page 329 Meter/Key Signature dialog box. Enter information about the new meter/key change. Click OK. Pro Audio inserts the meter/key change into the project. The meter/ key change will appear in the Staff view at the appropriate measure. To Delete a Meter/Key Change...
Page 330: Working With Lyrics
Pro Audio changes the properties of the meter/key change. Working with Lyrics Pro Audio lets you create, edit, and display lyrics, the words and syllables associated with notes in a track. Lyrics can be the words to a song, the text of a vocal passage, a narration to be read along with the music, cues of some type, or text totally unrelated to the music.
Page 331: Adding And Editing Lyrics In The Staff View
Pro Audio displays the new lyrics below the staff. To Edit Lyrics... Click the Draw tool Click the word you want to change. Edit the word as desired. Press Enter. Pro Audio replaces the old word with the new one. 8-45...
Page 332: Opening The Lyrics View
Opening the Lyrics View There are three ways to open the Lyrics view: ¥ In the Track view, select the track whose lyrics you want to see, then click ¥ In the Track view, select the track whose lyrics you want to see, then choose View-Lyrics ¥...
Page 333 (one for each note in the track). If you enter more syllables than there are notes in the track, Pro Audio assigns the extra lyrics times at quarter note intervals. To Enter Lyrics in the Lyrics View…...
Page 334 8-48...
Page 335: Mixing And Effects Patching
Mixing and Effects Patching This chapter describes the Console view, a live digital mixer that gives you full track-by-track control over recording and playback of your project. Using the Console view, you can: ¥ Set track parameters such as port, channel, bank, patch, and source ¥...
Page 336: The Console View
The Console View The Console view contains all the controls you need to mix your project. To open the Console view click the Console view button or choose View-Console. Toolbar MIDI module Audio module Mute/Solo/Arm buttons Sound controls in the Console view are grouped in modules. There are four types of modules: Module type...
Page 337 Aux bus Receive input from one or more audio tracks, apply real-time effects, and send the results to an output port Main Apply real-time stereo master effects; monitor output levels using meters; control the stereo volume of audio output to an audio port One module is always outlined with a broken line.
Page 338: Configuring The Console
Console view. First, Pro Audio lets you control the number of aux busses that appear in the Console view. If you are not planning to make use of any aux busses, you can reduce this number to zero to save space and make the Console view more compact.
Page 339 Second, Pro Audio lets you choose two modes of operation for the stereo pan/balance controls: Mode... What it means... Balance Constant audio is not maintained as the signal is swept across the stereo ﬁeld. As the balance control is moved...
Page 340 To Choose the Modules that are Displayed… Click the Module Manager button to open the Module Manager dialog box. In the module list, check those modules you would like displayed in the Console view, and uncheck the rest. You can use Shift- click, Control-click, or the quick select buttons to select multiple modules;...
Page 341 Enter the desired number of aux busses in the Number of Aux Busses box. Click OK. The next time you start Pro Audio, the Console view contains the designated number of aux busses. To Choose Balance or Pan Controls... Choose Options-Audio and click the General tab.
Page 342: Mixing Midi
Choose Add Track-Audio or Add Track-MIDI . Pro Audio adds a new track to the project.. To Rename a Track or Aux Bus… Click on the module name. Type a new name. Press Enter. If you rename a track, the new name is copied to the Track view. If no name has been assigned to a track, the Console view displays the track’s number.
Page 343 output port (note that not all MIDI devices support chorus and reverb controller messages). Tip: You can control the level of all MIDI tracks at once by grouping the MIDI faders. For more information, see ÒUsing Control GroupsÓ later in this chapter. You can control the mixing and playback of a MIDI track as follows: To do this...
Page 344: Routing And Mixing Digital Audio
When moving the Volume fader, the Value box in the toolbar displays the level from a scale of 0 (minimum) to 127 (maximum). When you move the Pan slider, the Value box displays the pan value on a scale that ranges from 0 (hard left) to 64 (center) to 127 (hard right).
Page 345 This is shown in the picture below: Real-time effects (if any) Aux Send level sliders Aux Send on/off button Pan control Volume fader Destination (main output) Source (audio input) Any audio track can be tapped, before or after the track volume control, and sent to one or more aux busses.
Page 346 The audio in each aux bus passes through the send level and pan controls, is processed by any real-time effects you have patched, sent through the return level and pan controls, and then sent to the designated main output, in stereo. This is shown in the picture below: Real-time effects Return level Send level...
Page 347: Audio Track Modules
Audio Track Modules You control the mixing and playback of an audio track as follows: To do this... Do this... Add a real-time audio Right-click in the Effects patch point and select an effect to the track effect from the list (for more information, see “Using Real-Time Effects”...
Page 348 You control the aux bus as follows: To do this... Do this... Send audio data from an In the audio track’s strip, press the Aux Send audio track to the aux bus Enable button corresponding to the aux bus Set the level of the audio In the audio track’s strip, set the Aux Send Level data sent to the aux bus corresponding to the aux bus...
Page 349: Audio Main Output Modules
In Aux 1, turn up the Send and Return knobs to the approximate level you want. In Aux 1, drag the Send and Return Pan sliders to the approximate positions you want. In a track module that you want to patch through Aux 1, do the following: •...
Page 350: Using Real-Time Effects
Using Real-Time Effects In Chapter 6, you learned how to use Pro AudioÕs plug-in MIDI effects to modify MIDI data, and in Chapter 7, you learned how to use Pro AudioÕs plug-in audio effects to modify digital audio data. In the Console view, you can use plug-in effects nondestructively, in real time.
Page 351 The Tools-Mixdown Audio-Export to File(s), allows you to apply real- time effects when you export, so you do not need to apply your effects destructively or use the Mixdown Audio-Bounce to Track(s) command to prepare the tracks beforehand. For information about Mixdown Audio, see ÒPreparing Audio for DistributionÓ...
Page 352 Applying Audio Effects From the Console view you can destructively apply audio effects for one or more tracks. When you are pleased with the audio effects you have patched into a track, you can apply the effects to the track. Applying effects to a track saves resources, allowing you to include additional tracks and/or effects.
Page 353: Using Control Groups
(such as using equalization within the Stereo Reverb) increases CPU usage for those effects. Using Control Groups Pro Audio lets you link faders, knobs, or buttons in the Console view into groups. Groups are collections of controls whose movements are linked together. For example: ¥...
Page 354 Absolute The range of motion in all controls in the group is identical. When you move one control in the group, all other controls in the group move the same amount in the same direction. The controls do not necessarily need to start at the same level.
Page 355 Relative The range of motion for controls in the group is not the same. All controls in the group have the same value at one pointÑthe lowest level for send, return, and volume levels, and zero for pan controls. Here are two examples: The volume controls are The ﬁrst control is raised...
Page 356 Right-click on any control in the group and choose Group Properties to display the Group Properties dialog box. Choose Absolute or Relative as the group type and click OK. Pro Audio uses the type to determine the range of motion for the group’s controls. 9-22...
Page 357: Using Remote Control
To swap the starting and ending value, click the Swap button. Click Close when you are done. Pro Audio uses the type to determine the range of motion for the group’s controls. To Adjust the Start Value of a Control...
Page 358 The type of MIDI message used to work a control is selected in the Remote Control dialog box. The options are as follows: Message Message effect on Message effect on sliders and option... buttons... knobs... None No remote control No remote control Note On The button state is The slider/knob is alternately...
Page 359: Recording Automation Data
Once you record these changes, they will play back along with your project automatically. Pro Audio is smart about recording data in real time. Automation data is recorded only for the controls you actually manipulate and only for the period of time in which you adjust the control. This lets you record automation data in multiple passesÑthe Þrst time through you record...
Page 360 Adjust the knobs and faders to the desired settings. Click Pro Audio records a snapshot of the current control settings. If the Now time is the very beginning of the project, then the snapshot will change the track parameters to match the controls in the panel, instead of recording automation events.
Page 361: Mixing Down And Distributing Audio
Console view toolbar to turn off automation recording. Pro Audio saves controller messages for any knob or slider you moved during playback. The data replace any previous data in that time period, for that controller, on that track.
Page 362 The Mixdown Audio-Bounce to Track(s) command lets you combine one or more audio tracks into a submix. A submix can be a mono track, a stereo track or two mono tracks (one for the right stereo channel and one for the left) that contain the mixture of the original tracks, preserving the volume, pan, and effects for each track.
Page 363: Preparing Audio For Distribution
Mixdown Audio/Bounce to Track(s) dialog box. Select the destination track for the mixdown. Click OK. Pro Audio mixes the audio data and a new track(s) appear(s) on the destination track. Preparing Audio for Distribution You can use Pro Audio to prepare audio Þles, or audio/video Þles for distribution via the World Wide Web or other electronic means.
Page 364 If your audio hardware is conÞgured for stereo playback, Wave Þles are created in stereo; if your audio hardware is conÞgured for monophonic playback, the Wave Þle is created in mono. To Export Audio to RealAudio Format Make sure all the tracks you want to export are unmuted and unarchived.
Page 365 If your project contains audio data, the RealAudio Settings dialog box lets you deÞne the settings for the RealAudio data, as follows: Option… Meaning… Title Title of the ﬁle Author Author of the ﬁle Copyright Copyright statement Enable Perfect Play Lets people with low-bandwidth connections download a higher resolution version of the audio, at the expense of download time...
Page 366 To Export Audio to Wave File Format Make sure all the tracks you want to export are unmuted and unarchived. Make a time selection, if necessary. If any tracks use real-time effects such as reverb or delay, select your whole project plus an extra measure or two at the end so you won’t cut off the reverb “tail.”...
Page 367 To Export a Project in Windows Media Format Make sure all the tracks you want to export are unmuted and unarchived. Make a time selection, if necessary. If any tracks use real-time effects such as reverb or delay, select your whole project plus an extra measure or two at the end so you won’t cut off the reverb “tail.”...
Page 368 Source Bus(ses) ﬁeld. In the Mix Enables ﬁeld, select the effects you want to include in your new ﬁle. Click Export. The Cakewalk MP3 Encoder dialog appears. The audio is compacted and exported to a ﬁle with the extension .mp3. 9-34...
Page 369 Instrument deÞnitions for many popular MIDI instruments are included with Pro Audio or available on the Cakewalk web site (www.cakewalk.com). If an instrument deÞnition is not available for your instrument, and you are familiar with MIDI and how it works, you can use Pro Audio to create your own instrument deÞnition.
Page 370: Assigning Instruments
MIDI port 1. By assigning all 16 channels of MIDI port 1 to the Roland GS instrument deÞnition, you ensure that the bank, patch, note, and controller name lists you see displayed in Pro Audio are the ones that match your synthesizer.
Page 371 Next Session box. Click OK when you are done. From now on, the bank, patch, controller, and note names from the assigned instrument are used throughout Pro Audio. To Clear Instrument Assignments… Choose Options-Instruments to display the Assign Instruments dialog box.
Page 372: Importing Instrument Definitions
Importing Instrument Deﬁnitions When you install Pro Audio, a few common instrument deÞnitions are already set up for you and ready to use. Pro Audio also includes several hundred additional instrument deÞnitions that you can import. These instrument deÞnitions are stored in Þles, organized largely by manufacturer.
Page 373: Creating Instrument Definitions
Creating Instrument Deﬁnitions Pro Audio lets you create and edit instrument deÞnitions. To create an instrument deÞnition, you must answer these types of questions: ¥ What are the names of the patches in each bank? ¥ Which note names should be used for each patch? ¥...
Page 374 You expand or collapse the folders and lists in each tree by clicking on the + or Ð key shown to the left of each item. You can also right-click on an item and choose Expand or Collapse from the menu, or double-click on an item to expand or collapse it.
Page 375 Click Close to close the Deﬁne Instruments and Names dialog box. Click OK. Pro Audio will save the instrument deﬁnition in the master.ins ﬁle. To Export an Instrument Deﬁnition… Right-click on the instrument name and choose Export from the menu to display the Export Instrument Deﬁnition dialog box.
Page 376: Creating Lists
Creating Lists You can create and edit the various lists that make up each instrument deÞnition. Patch name, note name, and controller name lists can contain up to 128 entries, numbered 0 through 127. RPN and NRPN name lists can contain up to 16,384 entries, numbered 0 through 16,383. To Manage Name Lists…...
Page 377: Copying Name Lists
Copying Name Lists You can easily create new lists that are similar to other lists. For example, suppose you want to create a new patch name list called NewList that is almost identical to the General MIDI patch list, but with one or two small changes.
Page 378: Assigning Patch Names
The bank select method you choose affects the bank numbers that you assign to each patch list, as described in the following section. HereÕs how you compute the bank numbers: Bank select method… To compute the bank number… Normal Take the value of Controller 0, multiply it by 128, and add the value of Controller 32 to derive the bank number.
Page 379 Enter a bank number, or enter –1 to indicate that this list of patch names should be used as the default. Pro Audio displays the updated banks and patch name lists. If necessary, Pro Audio adds a new bank to the instrument deﬁnition.
Page 380: Assigning Note Names
For example, the pitch C3 may really be ÒKick Drum,Ó and D3 may be ÒSnare.Ó Because a drum machine may provide different drum kits for each patch, Pro Audio lets you specify a different list of note names for each patch. The Piano Roll and Event List views show you these note names.
Page 381 Enter a patch number, or enter –1 to indicate that this list of note names should be used as the default. Pro Audio displays the updated patch and note name lists. If necessary, Pro Audio adds a new patch to the instrument deﬁnition.
Page 382: Assigning Controller, Rpn, And Nrpn Names
Assigning Controller, RPN, and NRPN Names Pro Audio lets each instrument have its own lists of controller names, RPN names, and NRPN names. There is always exactly one list of each type per instrument. To See the Controller, RPN, and NRPN Name Lists…...
Page 383: Working With Studioware
Cakewalk web site (www.cakewalk.com) from time to time for new and updated StudioWare panels. With Pro Audio, you have the ability to design and create your own StudioWare panels or to customize existing ones for your own use. This means you can create your own customized software studio that integrates the power of Pro Audio with all your studio gear.
Page 384: Studioware Panels
StudioWare Panels Pro Audio comes with a variety of StudioWare panels. Some are designed to control a speciÞc external MIDI device, while others are useful with a variety of devices. Here is a listing of some of the panels that are included with Pro Audio: Panel name...
Page 385 Choose StudioWare Panel from the list. Click OK. Pro Audio displays a StudioWare panel with a set of standard controls for each selected track. You can also create a new panel by right- clicking on the selected tracks and selecting StudioWare from the menu.
Page 386: Using Panels
Some StudioWare panels contain controls that perform other functions within Pro Audio, such as changing track parameters or running CAL programs. Because StudioWare panels can be used to control many different types of devices, and because each and every panel can be tailored for a speciÞc...
Page 387 General MIDI There are a variety of ways to adjust the values of buttons, sliders, and knobs: To change this… Do this… The status of a button Click on the button The value of a slider Click on the desired slider position to move the slider to that position, or drag the slider to the desired position The value of a knob Click along the outer edge of the knob to move the...
Page 388: Grouping Controls
Grouping Controls Pro Audio lets you create groups of StudioWare controls. When several controls are in a single group, you can move a single control and have the remaining controls in the group adjust automatically. This is useful for many different mixing and crossfade applications.
Page 389 Hold down the Ctrl key and click on one or more additional controls. Pro Audio creates a group from the selected controls. To Remove Controls from a Group... Hold down the Ctrl key and click on any control in the group.
Page 390: Recording Control Movements
To set faders that are always the same distance apart, set the ranges something like this: Fader... Starting value... Ending value... To set faders to move over different ranges of values, set them something like this: Fader... Starting value... Ending value... Recording Control Movements You can move the controls in a StudioWare panel while playing back a song to adjust the levels or other MIDI activity that the panel is...
Page 391 There are two general approaches to recording control movements, as indicated in the following table: Approach... How it works... Snapshot You set all the controls to the values you want, and then create a snapshot of these settings at a particular Now time. When you play back the project later, all the controls will snap back to these settings when you reach the appropriate...
Page 392 Snapshot Records a snapshot of the current position of all controls Record Activates real-time recording of all control movements Most StudioWare panels are designed to both send and receive MIDI data. This means two things: ¥ If you move the controls on your external MIDI device, the StudioWare panel will be notiÞed of the changes ¥...
Page 393 Move the controls to the settings you desire. Click Pro Audio records a snapshot of the current control settings. If the Now time is the very beginning of the project, then the snapshot will change the track parameters to match the controls in the panel instead of recording automation events.
Page 394: Control Settings
Click the button in the StudioWare toolbar to turn off real-time recording. Pro Audio records the control changes that you entered while playback was in progress. Control Settings The controls in a StudioWare panel are designed to send and receive various types of MIDI information.
Page 395: Studioware Panel Drawing Speed
Distribute it to other Pro Audio users ¥ Submit it to Cakewalk so we can post it on our World Wide Web site and include it in future releases You are free to embed your name, copyright, or other credits into the StudioWare panel, and you can even password-protect your panels to prevent other users from changing them.
Page 396: Creating A New Panel
Creating a New Panel When you create a new StudioWare panel, Pro Audio always creates a standard set of widgets for each selected track in the current project. The standard widgets are different for MIDI and audio tracks. Once you create the initial panel, you enter Design mode by pressing the button on the StudioWare toolbar.
Page 397 To Edit an Existing Panel... Choose File-Open to display the Open dialog box. Choose StudioWare from the Files of Type list. Choose the panel you want to modify and click OK. Pro Audio opens and displays the panel. Click the button to enter Design mode.
Page 398: Adding And Arranging Widgets
Choose Normal (project ﬁle), Template, or Bundle from the Save as Type list. Enter a name for the ﬁle. Click Save. Pro Audio saves the StudioWare panel as part of the project, bundle, or template ﬁle. To Leave Design Mode... Click the button to leave Design mode.
Page 399 Position the cursor over any edge or corner of one of the widgets, so that it looks like this: Drag the corner or edge of the widget to change its size. Pro Audio draws the widget in its new size. 11-17...
Page 400: Using Clusters
Press the arrow keys on the keyboard to resize the widget one pixel at a time. Pro Audio draws the widget in its new size. To Delete Widgets... Make sure the button is pressed so you are in Design mode.
Page 401 Click in the StudioWare toolbar. Click the mouse anywhere in the panel. Pro Audio adds a cluster widget and displays it as a shaded rectangle. Resize the cluster widget as desired. You can now place other widgets inside the cluster.
Page 402: Functional Settings
Functional Settings Every widget can be programmed to take certain actions when it is manipulated by the panel user. Widgets can send MIDI messages to a port, record MIDI events in a track, change the value of variables (called aliases) that control the operation of the panel, and so on. These functional settings are determined by setting the parameters of the widget.
Page 403 Choose a Primary Action from the list, and then ﬁll in the required ﬁelds for that action type according to the instructions in the following section. If desired, enter an alias for the widget. Click OK when you are done. Pro Audio modiﬁes the widget settings as you indicated. 11-21...
Page 404 Primary Action This section of the widget properties selects the type of data that the widget will generate. Widgets can send the following types of MIDI information to a track or port: ¥ Notes ¥ Controllers ¥ Patch Changes ¥ Pitch Wheel events ¥...
Page 405 Controller Field... Range of values... Number Controller drop-down list, 0-127, simple alias, calculated expression, assignment Value 0-127, simple alias, calculated expression, assignment Channel 1-16, simple alias, calculated expression, assignment The widget sends a MIDI controller number and value. The list of available controllers is determined partly by the instrument deÞnitions in the Assign Instruments dialog box, which you access by choosing Options-Instruments.
Page 406 Key Aftertouch Field... Range of values... 0-127, simple alias, calculated expression, assignment Pressure 0-127, simple alias, calculated expression, assignment Channel 1-16, simple alias, calculated expression, assignment The widget sends aftertouch messages for individual notes. This may be useful if your synthesizer receives (but doesnÕt send) MIDI Key Aftertouch, as is true of synthesizer modules.
Page 407 0-255, simple alias, calculated expression, assignment The widget sends System Exclusive messages. The StudioWare view allows you to deÞne Sysx messages that tell Pro Audio how to package data values into a Sysx message for transmission or recording and also how to extract data values from an incoming or previously recorded Sysx message.
Page 408 This is similar to the syntax used by Pro Audio for deÞning Dump Request Macros, where a combination of literal hex bytes and symbolic names specify how a particular Sysx message should be generated. You can enter a byte of a message as either a hexadecimal or decimal constant or as a symbolic alias name.
Page 409 CAL programs to a widget. If you use this method, the StudioWare panel and the CAL program Þle must be stored in the same directory. Otherwise, Pro Audio wonÕt know where to look for the CAL program when you activate the widget.
Page 410: Customizing The Appearance Of A Panel
Alias The alias is a user-deÞned symbolic name that expresses the widgetÕs value. By using the same alias for several widgets, you can link the operation of these widgets. For example, if a slider and a meter share the same alias, adjustments that are made to the slider will change the current value on the meter.
Page 411 The X, Y, width, and height parameters provide another way to position widgets inside a panel. Note that the Show Label and Show Value options use up some of the space allocated to a widget. This means that enabling one or both of these options on an existing widget will shrink the knob or slider to allow room for the text.
Page 412 Right-click on a widget, and choose Foreground Bitmap or Background Bitmap from the menu. Choose the bitmap ﬁle you want to attach, or choose Default or None. Click OK when you are done. Pro Audio imports the bitmap and attaches it to the widget. 11-30...
Page 413: Advanced Panel Design
Background Color from the menu. Choose the color you want to use. Click OK when you are done. Pro Audio assigns the color to the widget. Advanced Panel Design StudioWare allows you to create very sophisticated and complex panels. This section covers advanced panel design capabilities.
Page 414 Calculated Expression: Enter a computational expression that refers to other aliases, such as VocalLevel + 18. This allows one widget to take on a value that is determined by (but not necessarily identical to) the value of one or more other widgets. Expressions of this form are not inverted, so this deÞnes a one-way relationship between the other aliases and the widget.
Page 415 inequality < less than <= less than or equal to > greater than >= greater than or equal to Some examples of operator usage are: Formula... Example... x = y Alias x is assigned the value of alias y whenever the value of alias y changes x = y + 2 * z Alias x is assigned the value of alias y plus 2 times the...
Page 416: Using Aliases For Track And Port Numbers
Using Aliases for Track and Port Numbers By using aliases for track or port numbers, you can create a panel in which one widget determines the destination for MIDI information sent by another widget. For example, you could create a panel like this one: In this panel, the knob is used to change the track number from 1 through 8, while the slider is used to control the volume of the current track.
Page 417: Grouping Widgets
¥ Make sure you follow the rules for naming aliases ¥ If a cluster has a shadow on the right and bottom edges, it is a pop- up cluster that will be hidden when the alias drops below the minimum value Also, note that when you set the alias and minimum value for a cluster, the cluster will seem to disappear.
Page 418: Widget Tips And Tricks
To Create a Radio Group... Leave Design mode and move all desired widgets to their reset or default positions. Re-enter Design mode. Select all of the widgets that you want to group. Right-click on one of the widgets and choose Radio Group from the menu.
Page 419: Tutorialñcreating A Panel
You can display the actual value of an alias in almost any format, by using a text widget. To do so, you create a string for the Label Þeld of the text widget that contains some special characters, as listed in the following table: Special characters...
Page 420: Starting Out
Starting Out First, letÕs create a standard panel and then remove all of its widgets. With the one General MIDI assigned track selected, create a new panel (choose File-New , pick StudioWare Panel from the list, and click OK). Click to enter Design Mode.
Page 421 Now, letÕs name the cluster and set up an alias, so we can hide and show the cluster when we want to. Right-click on the cluster, and choose Properties . Enter Controllers in the Label ﬁeld. Enter CONTopen in the Alias ﬁeld. Enter a Minimum value of 126.
Page 422: Controlling Midi Sustain And Modulation
Controlling MIDI Sustain and Modulation Now, letÕs add a button inside our cluster that will turn on the sustain of the MIDI track. Click in the StudioWare toolbar to select the Button tool. Click inside the cluster. Right-click on the new button, and choose Properties . Enter Sustain in the Label ﬁeld.
Page 423 Make sure that the values in the Range ﬁelds are 0 for the Minimum and 127 for the Maximum (the legal range for MIDI controllers) and that the Initial value is set at 0. Choose Controller from the Kind list. Enter 1 in the Number ﬁeld.
Page 424: Volume Control And Indicators
Click to leave Design Mode. Adjust the knob. The value indicated by the meter should track the changes you make. Click to re-enter Design Mode. Volume Control and Indicators Now letÕs add one more control that changes the volume of the track. WeÕll also add some LED indicators that light up at minimum and maximum volume.
Page 425: Adding Labels And Images
Check the Show Label option, so the name of the LED will be displayed. Click OK when you are done. Now, follow these similar steps for the Minimum Volume LED: Click in the StudioWare toolbar to select the LED tool. Click somewhere below the volume slider.
Page 426 Now for the formatted string: Click in the StudioWare toolbar to select the Text tool. Click anywhere in the panel. Right-click on the text widget and choose Properties . Choose Volume from the Alias list. Enter The Volume is %d in the Label ﬁeld. Click OK when you are done.
Page 427: Using Layouts And Templates
Using Layouts and Templates A layout is the current arrangement of all the views that pertain to a particular project. The layout of each project is stored automatically as part of every project Þle. In addition, you can save the current layout or load any saved layout and apply it to the current project.
Page 428: Layouts
There are two options that control how layouts are used, as described in the following table: Option… Meaning… Close Old Windows Before Loading If checked, Pro Audio will close all the New Ones views of the current project before applying the layout. If you leave this option unchecked, existing views remain open and additional views are created according to the settings in the layout.
Page 429 To Create or Save a Layout… Arrange the views for the current project the way you want. Choose View-Layouts to display the Window Layouts dialog box. Click Add to display the New Global Layout dialog box. Enter a name for the layout, and click OK. The layout is added to the list.
Page 430: Templates
By default, this folder is the program folder. To change the template directory, choose Global-Options and click the Folders tab. Every time you start Pro Audio, a new, empty project is displayed. If you want, you can determine the settings for this default project by creating and saving a special template Þle, called normal.tpl.
Page 431 Choose File-New to display the New Project File dialog box. The list contains the names of all existing templates. Choose a template from the list. Click OK. Pro Audio creates the new project and displays it in the Track view. 12-5...
Page 432: Template Example: Three Midi Instruments
Template Example: Three MIDI Instruments Suppose that your system has only a single MIDI port but you own three different synthesizers: ¥ One synthesizer set to receive on channels 1 through 8 ¥ A general MIDI synthesizer module set to receive data on all 16 channels ¥...
Page 433: Improving Audio Performance
Improving Audio Performance There are lots of different sound cards on the market. Pro Audio analyzes your sound card(s) the Þrst time you run Pro Audio, and conÞgures itself to work well with most popular cards. However, you may be able to get better audio performance by choosing some settings yourself.
Page 434: Audio System Configuration
The Wave Device ProÞler utility runs automatically the Þrst time you run Pro Audio. You donÕt need to run it again unless you install a new sound card or an updated driver for an existing sound card. The Wave Device ProÞler determines the correct settings at three sample rates (11...
Page 435 If Pro Audio detects this capability, the wave out position option is enabled automatically. You can always override this setting and force Pro Audio to use or to ignore the wave out position information.
Page 436: Enabling And Disabling Audio Devices
Occasionally you may need to disable a device in the Windows Control Panel. Pro Audio also allows you to choose the sound card whose clock should be used to control recording and playback timing (if you only have one sound card, Pro Audio automatically uses it).
Page 437: Directshow Audio Dialog Box
playback rate on each card. These differences may lead to slight synchronization problems if you use one card for recording and a different one for playback. Therefore, you should choose your highest quality sound card for both record and playback timing. Note that while some multichannel sound cards have multiple drivers, most sound cards have only a single audio driver.
Page 438 General Tab Options: Option. . . How to use it. . . Playback Timing Master and Record These two options determine which Timing Master sound cards control timing for the song, if you’re using multiple wave drivers for playback or recording. Note that if you’ve got two wave drivers, but all audio tracks are playing on only one wave driver, then that driver will be the timing master no...
Page 439 Some dedicated audio systems let you mix different sampling rates in the same song; Cakewalk only lets you do this if the audio system supports it. This feature is meant primarily for sound cards that use different Windows drivers for input and output;...
Page 440 Lower values increase the risk of audio problems. MIDI Volume Mapping • Linear Scale is the mapping used in Cakewalk version 6 (and earlier). • Quadratic Taper provides a ﬁner control of volumes at lower settings, analogous to what you might experience with a hardware console.
Page 441 Note: Changes to these settings only take effect when you restart Cakewalk. Copy and Manage Imported Files By default, Cakewalk makes a new copy of any audio data imported via the Insert- Wave File command. If you don’t choose this option, Cakewalk will attempt to “share”...
Page 442 Clip Audio Mix Upon Overﬂow When this option is enabled, Cakewalk will “clip” every mixed output sample instead of letting it “wrap,” or overﬂow. This often reduces the audible results of...
Page 443 24-bit audio hardware systems (for example, the Sonorus STUDI/O card). By choosing this option, you are instructing Cakewalk to skip its expensive 24-bit data packing operation, and allowing the audio hardware to do this work instead. Please contact your hardware manufacturer to determine if their drives support this "24-...
Page 444: Configuring Pro Audio For 18-, 20-, And 24-Bit Operation
A growing number of "professional" cards are capable of recording and playing back audio at higher bit depths (18-, 20-, and 24-bit) and sampling rates (48 kHz and 96 kHz). Pro Audio allows you to take advantage of these higher bit depths and sampling rates. In order to get the best results, do the following: ¥...
Page 445: Digital Audio Data Management
For more information about working at 24-bit depth, see the 24BitTips.pdf document located in the OnlineDoc folder of your product CD. For the latest information, visit the Cakewalk Website at http:// www.cakewalk.com/Support/Docs/24BitTips.html Digital Audio Data Management Digital audio requires a large amount of disk storage. The tables below...
Page 446 Þles placed into a special folder called the wavedata folder. These audio Þles are in the same format as regular Wave Þles. Pro Audio stores audio data in a way that conserves disk space. If you copy an audio event from one project to another, for example, Pro Audio doesnÕt actually make a copy of the audio Þle, unless the projects use...
Page 447: Changing The Wavedata Folder
You use much less disk space than would otherwise be required ¥ You donÕt have to manually organize and keep track of all your audio Þles Pro Audio includes several features and commands to assist in working with digital audio data: Feature/Command… What it’s for…...
Page 448: Deleting Unused Audio Files
To Change the Wavedata Folder… Choose Options-Audio and click the Advanced tab. Enter the name of the wavedata folder in the Data Directory box. Click OK when you are done. Use the Windows Explorer or some other program to move all audio ﬁles from the old wavedata folder to the new wavedata folder.
Page 449: Compacting Audio Files
Choose Tools-Clean Audio Disk to display the Clean Audio Disk dialog box. Click the Find button. Pro Audio searches your hard disk for audio ﬁles that appear to be unused by any existing projects, and displays the names of these ﬁles in the list.
Page 450: Backing Up Projects With Digital Audio
To Compact Audio Files… Choose Tools-Compact Audio Data . Conﬁrm that you want to compact your audio data. Pro Audio compacts all audio data for the current project into a single ﬁle. Backing Up Projects with Digital Audio A bundle Þle is a single Þle that contains all the informationÑexcept videoÑused in a project.
Page 451: Imported Audio Files
The ﬁle is opened and the audio data placed into the wavedata folder. Imported Audio Files By default, Pro Audio will make a copy of any audio data imported via the Insert-Wave File command and place the imported audio into the wavedata folder.
Page 452: Improving Performance With Digital Audio
Automatic handling of imported Þles is enabled by default. Do not disable this option unless you are prepared to manage the audio Þles individually. To Change Handling of Imported Files… Choose Options-Audio and click the Advanced tab. Check or uncheck the Copy and Manage Imported Files box. Click OK when you are done.
Page 453 Exit other programs The more programs you have open, the more CPU cycles you are taking away from your project. Exit any programs unnecessary to the task at hand. Refrain from other activity during If you open and close windows or do lots playback of editing while playback is in progress, you may steal CPU cycles that would...
Page 454: Mixing Latency
Audio Problems.Ó Mixing Latency Pro Audio has a slider in the DirectShow Audio dialog box, on the General tab, to set mixing latency. Mixing latency is the amount of time Pro Audio allocates to prepare a buffer full of audio data for playback.
Page 455: Queue Buffers
For more information, see the online help. Queue Buffers Pro Audio allows you to set the number of queue buffers in the DirectShow Audio dialog box, in the General tab. A higher number of queue buffers will take longer to Þll, and therefore cause an increase in latency.
Page 456 ¥ The Dropout indicator is located on the left side of the Status bar. It displays the word Dropout whenever Pro Audio has to omit some audio data in order to play all the tracks. You can choose whether you want playback and recording to stop when this happens by checking or unchecking the Stop On Driver Underrun option in the DirectShow Audio dialog box, in the Advanced tab.
Page 457: Using System Exclusive Data
The banks are saved in the Pro Audio song Þle. Each bank can also be saved as a .syx Þle in the format used by the public domain MIDIEX utility.
Page 458: What Is System Exclusive
Exclusive message has a manufacturer ID; the rest of the message is completely proprietary and varies for each manufacturer, even for each of its products. Pro Audio does not understand what this data means; it simply can hold onto it for you. You can take snapshots of your equipmentÕs conÞguration and store them in Pro AudioÕs System...
Page 459: Using The System Exclusive View
Receive Receive dumps data from a synthesizer into the bank. If the bank contains data, Pro Audio asks you whether you want the new data to overwrite the existing data or be appended to it. When receiving dumps, remember to connect both the MIDI In and Out ports of the synthesizer to the MIDI interface.
Page 460 You need to do this for synthesizers that are not on the list. Once the bytes received count stops increasing (see Steps 3 and 4), click Done to tell Pro Audio to stop receiving. The currently selected bank now holds the received Sysx data.
Page 461 The DRM transmits a Sysx message that asks the synthesizer to dump the data. Pro Audio then waits to get some data dumped from the synthesizer. The number of bytes received so far is displayed in a dialog box.
Page 462: More About Dump Request Macros
Þles. Auto The Auto option tells Pro Audio to transmit that bank every time it loads the song Þle. You might use this option for banks that contain System Exclusive messages that load a set of sounds for a synthesizer at or before the start of a song.
Page 463: Edit Bytes
Bytes dialog box, in which you can edit the text. If you make changes and click OK to keep them, Pro Audio tries to convert the text back into binary format. YouÕll get an error message if the text does not begin with an F0 and end with an F7, which are the System Exclusive begin and end bytes.
Page 464: Transmitting Banks During Playback
Transmitting Banks during Playback Pro Audio has a special meta-event, Sysx Bank, that lets you play a System Exclusive bank at a speciÞed time in your song. You can use a Sysx meta-event to send any of the 256 available Sysx banks at any time in a sequence.
Page 465: Saving Midi Files Containing Sysx Banks
Saving MIDI Files Containing Sysx Banks If a MIDI Þle has System Exclusive Auto-Send banks, then Pro Audio saves these in a MIDI Þle as System Exclusive messages at the very beginning of the song (1:1:0). If the song has other MIDI data starting at 1:1:0Ñfor example, notesÑit wonÕt be played correctly because the...
Page 466: Troubleshooting
Pro Audio in order for the change to take effect. SysxSendDelayMsecs=n This setting causes Pro Audio to delay n milliseconds if it encounters an F7 in a System Exclusive bank. n = 60 Default value (in milliseconds)
Page 467 You start dump on instrument, then initiate the Sysx dump from the instrument. Once the bytes received count stops increasing, click Done to tell Pro Audio to stop receiving. The currently selected bank now holds the received Sysx data.
Page 468 This gives the device extra time to process each System Exclusive message. Roland Equipment Some Roland equipmentÑnotably, the GR-1 and GR-50 Guitar SynthesizersÑhave problems receiving Sysx packets in fast succession. You must use the setting SysxDelayAfterF7 = 1 with these devices. Ensoniq Instruments Successfully sending Sysx messages to most Ensoniq instruments requires that you add the following three lines to the [Options] section of...
Page 469: Synchronizing Your Gear
When several pieces of equipment are used together, itÕs important that they operate in synchronization. For this to happen, all the equipment must rely on the same source of clock or timing information. Pro Audio lets you use many different types of synchronization so that you can get your work done quickly and efÞciently...
Page 470: Synchronization Overview
When you use either the internal or audio clock, Pro Audio can control other MIDI devices using MIDI Sync. In this case, Pro Audio is the ÒmasterÓ device and the other MIDI devices are the Òslaves.Ó...
Page 471: Clock Sources With No External Devices
Clock Sources with No External Devices When Pro Audio is used alone, or with an external device that does not have its own clock or timing signal, you use one of two clock sources: Internal or Audio. When the clock source is set to Internal, Pro Audio uses the clock built into the computer or the computerÕs MIDI interface as its timing source.
Page 472: Midi Synchronization
Click OK. MIDI Synchronization MIDI Synchronization, or MIDI Sync, is usually used to synchronize Pro Audio with drum machines, stand-alone MIDI hardware sequencers, and sequencers built into MIDI keyboards. When MIDI devices are synched, the master device sends messages to all other devices to start and stop playback and to keep all the devices in sync.
Page 473: Pro Audio As The Slave
Start message to all slave devices, announcing that playback has started. If the slave devices are set up correctly, they receive the message and start playing back with the master device. When Pro Audio is set up as the master device, you can enable or disable these messages.
Page 474: Pro Audio As The Master
General tab. Then check the Show Status Bar box. Pro Audio as the Master There are several options, found in the Project Options dialog box, which you can use when Pro Audio is the MIDI Sync master device: Option… What it’s for…...
Page 475: Using Midi Sync With Drum Machines
The most ßexible way to use a MIDI drum machine is to record the notes it generates into Pro Audio, then use that machine as a MIDI playback device. This lets you edit, cut, paste, and copy your drum parts like any other clip.
Page 476: Troubleshooting Midi Sync
MIDI Sync. Most devices have a Clock option that should be set to External or MIDI. If Pro Audio does not respond to MIDI Sync as a slave device, verify that your external devices are conÞgured correctly to transmit MIDI Sync.
Page 477 1 is synchronized with a time code of 00:00:00:00. If the starting point of the material on your tape is not 0, you need to enter an offset to tell Pro Audio the time code that corresponds to the start of the project.
Page 478 When the time code reaches the start of the project, Pro Audio starts to play in sync. ¥ If the time code is at or after the start of the project, Pro Audio starts playback as soon as it locks to the time code. ¥...
Page 479: Playing Digital Audio Under Smpte/Mtc Sync
Playing Digital Audio under SMPTE/MTC Sync Pro Audio gives you two choices for controlling audio playback when using time SMPTE/MTC Sync: Option… How it works… Trigger and freewheel Audio event playback is started (or triggered) at the exact time code, but then the audio plays at its own internal rate (or freewheels).
Page 480 Once this procedure is complete, Pro Audio knows the difference in rates between the external time code and the audio clock on your sound card. For the rest of the session, Pro Audio will start playback closely in sync, without any drastic pitch changes.
Page 481: Troubleshooting Smpte/Mtc Sync
The frame rate on the match the frame rate you set in Pro Audio. The offset is set incorrectly The offset you enter in Pro Audio must match the start time of recorded material on the tape. Pro Audio is not conﬁgured correctly Verify and/or repeat the steps in “Conﬁguring Pro Audio to Sync to...
Page 482: Midi Machine Control
MIDI Machine Control MIDI Machine Control (MMC) is a protocol that controls an MMC- equipped remote device via MIDI. Pro Audio lets you use MMC to start and stop playback and recording on remote MIDI devices such as tape decks, video recorders, and even other software packages. If you have several MMC-controllable devices in your studio, assign each a unique Unit ID so that MMC commands can be addressed to a particular device.
Page 483 Check the Transmit MMC box. Enter the ID of the master timing device in the Time Code Master’s Unit ID box. Click OK. MMC is now enabled. To Disable MIDI Machine Control… Choose Options-Project , and click the MIDI Out tab. Make sure the Transmit MMC box is not checked, and click OK.
Page 484 15-16...
Page 485: Programming With Cal
Programming with Cal Cakewalk Application Language (CAL) is an event-processing language that you use to extend Pro Audio with custom editing commands. You can write your own CAL program and use or edit CAL programs that other people have written. You also can create CAL programs by recording a series of commands, keystrokes, and mouse actions.
Page 486: Creating And Running Cal Programs
Creating and Running CAL Programs The CAL view is a small notepad-like editor for creating, editing, saving, recording, and running CAL programs. The CAL view works like a basic text editor, allowing you to enter and edit your programs freely. The editor supports Cut, Copy, and Paste, and you can also paste information into a CAL view from a word processor or other text editing program.
Page 487: Sample Cal Files
Choose the CAL program you want to run and click Open. Sample CAL Files The following is a description of the sample CAL programs that come with Pro Audio. You can use these programs as is or modify them to suit your own needs. SPLIT NOTE TO TRACKS.CAL This program splits individual notes to separate tracks.
Page 488: Split Channel To Tracks.cal
Set the From and Thru markers for any part of the track (you don’t have to split the whole track). Run the split channel to tracks.cal program. Pro Audio displays a dialog box. Select the ﬁrst track for the 16 split-channel tracks (preferably, the ﬁrst of 16 blank tracks).
Page 489: Thin Pitch Wheel.cal
MAJOR CHORD.CAL, MINOR CHORD.CAL These two CAL programs and the three other chord-building CAL programs that come with Pro Audio build chords using existing events in the track(s) as chord roots. For instance, if you select a single note as the region and run , two notes are added above the original note.
Page 490: Recording Cal Programs
2. This will be comfortable to LISP hackers, but others may Þnd it a little unnatural at Þrst. Recording CAL Programs Most Pro Audio commands have CAL equivalents. As a result, you can use the macro record capability of the CAL view to create basic CAL programs.
Page 491 Choose any ﬁle and click Open. Return to the CAL view and click to stop recording. Pro Audio creates a simple CAL program that opens the ﬁle. To test the program, close the ﬁle you just opened, return to the CAL view, and press to replay the program.
Page 492 16-8...
Page 493: Appendix A: Troubleshooting
Appendix A: Troubleshooting If youÕre having a problem with Pro Audio, donÕt panic. This appendix lists some common problems and how to solve them. If you donÕt Þnd an answer here, there are two other important places to look for help: ¥...
Page 494: I Canõt Record From My Midi Instrument
Choose Options-MIDI Devices , and No MIDI output device is selected. check the Output device list. Make sure that your computer sound card is highlighted and at the top of the list. If this doesn’t work, try choosing different output devices, one at a time, to see if any of them produces sound.
Page 495: When I Play A File Containing Audio, The Audio
You have not set up Pro Audio to Make sure that 1) you have chosen a record. source for the track; 2) you have armed the track for recording; and 3) you have pressed the Record button, and not the Play button.
Page 496: I Canõt Record Any Audio
If it fails, check your sound card documentation to make sure it is properly installed and conﬁgured. You have not set up Pro Audio Make sure that 1) you have chosen a source to record. for the track; 2) you have armed the track for recording;...
Page 497: How Do I Use Pro Audio To Access All The Sounds Onmy Midi Instrument
How Do I Use Pro Audio to Access All the Sounds on My MIDI Instrument? Pro Audio is normally set up to access the 128 sounds that are part of the General MIDI standard. Pro Audio also includes custom instrument deÞnitions that match the sounds on many popular instruments.
Page 498: I Donõt See The Clips Pane In The Track View
Pro Audio looks for all audio data in a certain folder, called the wavedata folder. If you have renamed or moved either Pro Audio or the wavedata folder, Pro Audio may not be able to Þnd your audio Þles. If you know where the audio Þles are stored, choose Options-Audio, click Advanced...
Page 499: Why Do I Get Errors From The Wave Profiler
you donÕt know where the audio data are stored, choose Start-Find- Files or Folders and search for Þles named *.wav. For more information about the wavedata folder, see ÒDigital Audio Data ManagementÓ on page 13-13. Why Do I Get Errors from the Wave Proﬁler? Audio devices such as voice modems or speakerphone devices can cause an error message from the Wave ProÞler.
Page 501: Appendix B: Tips & Tricks
Appendix B: Tips & Tricks Pro Audio includes literally hundreds of features that make it easy to conÞgure your work environment and get your project work done more efÞciently. This appendix lists some of the features not covered elsewhere in the manual and highlights some shortcuts and tricks you can use to be more productive and efÞcient.
Page 502: Video Support
¥ Pro AudioÕs Play List view lets you create and work with a series of project, MIDI, and bundle Þles. As each Þle plays, Pro Audio loads it and displays it in the Track view and other views like any other project Þle.
Page 503: The Play List View
The Play List view lets you create, edit, and save a play list (or set) of up to 128 Pro Audio projects. Once youÕve created the list, you can play back the entire sequence automatically. You can even program the list to pause between songs for a Þxed amount of time or to wait for a keystroke...
Page 504: Virtual Jukebox
Change the order of songs Drag the ﬁle to a new location in the play list Copy a song to another Ctrl-drag the ﬁle to a new location in location in the play list the play list Remove a song from the play Select the song and click list press the Delete key...
Page 505 You can drag Þles from the Windows Explorer into the Virtual Jukebox. The Þles that you drag into the Virtual Jukebox window are inserted into the play list before the current selection. You can also drag Þles from the Virtual Jukebox into Pro Audio as follows: ¥...
Page 506 To Create or Edit a Play List… To create or edit a play list, follow the directions in the table: To do this… Do this… Choose File-New Play List . If you Create a new play list made any changes to the currently open play list, you will be prompted to save the changes.
Page 507 To Control Playback… Here’s how to control playback with the play list: To do this… Do this… Play the play list Double-click a ﬁle to start playback on that ﬁle, or click on a ﬁle in the list and click the Play button. Stop playback Click the Stop button.
Page 508: Key Bindings
Rather than tie up all the notes on your MIDI keyboard with key bindings, Pro Audio lets you deÞne a Shift key on your keyboard that indicates when you want to use a key binding. For example, you could designate the lowest note on your keyboard as the Shift key, and then any number of notes to speciÞc commands (for example, C4 to Edit-...
Page 509 Click Bind to bind the key combination to the command. Click OK when you are done. Pro Audio puts an asterisk (*) next to the key to show that it is bound to a function and draws a black line connecting the key and function name.
Page 510 Click Bind to bind the key to the command. Click OK when you are done. Pro Audio puts an asterisk (*) next to the key to show that it is bound to a function and draws a black line connecting the key and function name.
Page 511: Windows Taskbar Indicators
Click OK to conﬁrm that you want to clear all key bindings. Click OK when you are done. Windows Taskbar Indicators When Pro Audio is running, youÕll normally see two indicators in your Windows Taskbar, right next to the clock: Volume control...
Page 512: Undo, Redo, And The Undo History
Undo, Redo, and the Undo History Pro Audio provides very powerful Undo and Redo commands that let you move forward or backward through any portion of an editing session. Every project has its own independent undo history. This means you can return to any open project and use the Undo and Redo commands, even if youÕve spent the last hour working on a different project.
Page 513: Screen Colors And Wallpaper
History list grows again. Any events occurring before the event you highlighted remain on the list. By default, Pro Audio keeps a history of up to 128 editing actions for each open project. Once that limit is reached, each new action pushes out the oldest item from the History list.
Page 514 Erasing Color used to show your erasing in the Piano Roll and Tempo views Event List Note Color of note events in the Event List view Event List KeyAft Color of key aftertouch events in the Event List view Event List Control Color of controller events in the Event List view Event List Patch...
Page 515 Audio view pan envelope Color of audio event pan envelopes in the Audio view Audio view volume envelope Color of audio event volume envelopes in the Audio view Piano Roll Tracks 10, 20, 30... Color of all tracks in the Piano Roll that end in the number “0”...
Page 516: Music Notation For Nonconcert Key Instruments
Choose Options-Colors to display the Colors dialog box. Click the Defaults button. Click OK. Pro Audio uses the default colors for all screen elements. To Change the Wallpaper… Choose Options-Colors to display the Colors dialog box. Choose the desired wallpaper according to the table: To do this…...
Page 517 Note that this Key+ information is saved in Pro Audio .wrk Þles, but not in standard MIDI Þles. If you save a Þle as a MIDI Þle, the Key+ transposition will be applied to each note event, so that the Þle will...
Page 518 B-18...
Page 519: Appendix C: Advanced Setup
Pro Audio. Step 1. Install Windows 95, 98 or NT Before installing Pro Audio, make sure that Windows 95, 98 or NT is installed properly. Try some of the sample programs that come with Windows, such as Media Player and Sound Recorder.
Page 520 This will reopen the AutoRun window, and you can click Install Cakewalk to start installation again. When Setup starts, a dialog box welcomes you to the Cakewalk Pro Audio Setup. Click Next to continue. Setup asks you to enter your name, company (if any), and serial number.
Page 521: Step 3. Read The Readme File
Windows Control Panel. Any . mid ﬁles on your system may still be registered as Cakewalk ﬁles after you do this; if you still need to open the . mid ﬁles, you can register them with other applications. See your Windows documentation for more on registering ﬁles.
Page 522 properly. Instead, use the MIDI driver provided with your MIDI interface card or sound card. Consult your cardÕs accompanying documentation to determine which driver to use and how to install and conÞgure that driver. If you plan to record and play back digital audio on a Windows- compatible sound card, make sure you have installed the wave driver for that sound card.
Page 523 To Install a Driver Included with Windows… Windows includes drivers for most common multimedia devices. To install a driver included with Windows, do the following: Click the Start button, and choose Settings-Control Panel . In the Control Panel, double-click the Add New Hardware icon. In the Add New Hardware Wizard, click Next.
Page 524 If you need to change DMA, IRQ, or port settings, deselect the Use automatic settings checkbox and reconÞgure the driver with the correct DMA, IRQ, and port addresses. To Remove a Driver… Click the Start button, and choose Settings-Control Panel . In the Control Panel, double-click the System icon.
Page 525: Step 5. Connect Your Midi Equipment
Choose Start-Settings-Control Panel . In the Control Panel, double-click the Multimedia icon. In the Multimedia dialog box, click the Devices tab. Click the Add button. Scroll through the list of drivers to ﬁnd one that matches your card or interface. When you have done this, you’ll be prompted to enter IRQ and port address settings for the card or interface.
Page 526 If Your Keyboard Has a MIDI Thru Jack If your keyboard has three MIDI jacksÑIn, Out, and ThruÑthen use the following diagram. If you are using a 15-pin joystick adapter cable that splits into two MIDI cables: ¥ Connect the 15-pin jack to your computerÕs joystick port. ¥...
Page 527 Each MIDI device should be set to a unique MIDI channel or range of channels to avoid note-doubling. Refer to the manuals for your MIDI devices for information on how to set their MIDI channels. Your MIDI interface may have a Thru jack as well as In and Out jacks. If your master keyboard lacks MIDI Thru, you can add more MIDI modules to your setup by connecting the MIDI interfaceÕs Thru to the Þrst moduleÕs In.
Page 528: Step 6. Configure Your Audio Hardware
How you do this depends upon the kind of digital audio hardware you have. To use the audio features of Pro Audio, you must have a 16-bit or greater sound card: up to 24-bit. Older, 8-bit sound cards cannot take advantage of Pro AudioÕs features.
Page 529 Electric Guitar Direct-In You can connect an electric guitar directly to your sound card using a 1/4Ó mono to 1/8Ó stereo adapter. The following diagram shows this setup: input (line may work, too) The 1/8Ó jack should be plugged into the sound cardÕs mic input, although plugging into the line input may also work.
Page 530 If you want to connect a guitar ampliÞerÕs direct output to the sound card, you should base your setup on this example. Microphone Direct-In Microphones can be plugged into the sound cardÕs mic input. Some inexpensive microphones are made especially for use with sound cards and come equipped with 1/8Ó...
Page 531: Step 8. Start Pro Audio
Note: If your mixer has busses, use them! This helps avoid feedback. Step 8. Start Pro Audio When you installed Pro Audio, the default setup procedure added a Cakewalk folder to your Programs menu. To Start Pro Audio… Click the Start button located in the lower-left corner of the screen.
Page 532 Migrating Preferences The Þrst time you run Pro Audio, it asks if you want it to search for an older version of Pro Audio and transfer (or migrate) the preferences you established in that version to Pro Audio. Pro Audio searches all hard disks in your system for older versions, and if you have more than one older version of Pro Audio installed, Pro Audio presents a list of them.
Page 533 Choose Options-MIDI Devices to open a dialog box in which you select the MIDI In and MIDI Out devices that Pro Audio will use. Each item in the list is a MIDI In or MIDI Out port from drivers installed using the Windows Control Panel.
Page 534 Control Panel, Pro Audio reacts in the following way: ¥ If you remove a Control Panel driver, Pro Audio will not use the device it belongs to the next time you run the program. Any other devices you had selected using the Options-MIDI Devices command will remain selected.
Page 535: Appendix D: Midi Files
Format 0 Þle, Pro Audio collapses MIDI information from all of its tracks into one single track. Pro Audio also lets you save and load Þles in the RIFF MIDI Þle format. This is a standard Resource Interchange File Format speciÞcation that encapsulates a Standard MIDI File of either format 0 or format 1.
Page 536: Timebases
When you save a project to a MIDI Þle, most of these parameters are applied to the individual events. For instance, if you have assigned track 1 to channel 10 in the Track view, Pro Audio will write the MIDI Þle so...
Page 537: Other Midi File Handling Notes
Track 4, in accordance with conventions used by karaoke players. ¥ Pro Audio inserts any Text or Lyric events found at time 0 in a track into the Comments Þeld in the File Info dialog box, unless the Text or Lyric event is preceded by a Note event.
Page 538: If You Have Problems Playing Midi Files
Audio will insert one for you. If there is no GM, GS, or XG reset System Exclusive message present at the start of your song, Pro Audio will not operate in this GM mode. If You Have Problems Playing MIDI Files A MIDI Þle can cause playback problems if all of the following are true:...
Page 539 Auto Send. This message will not only re-initialize a General MIDI compatible sound module to a known state, but will also tell Pro Audio to generate GM setup measures for your program changes when you save the song in Standard MIDI Format. See ÒVariables in the [Options] SectionÓ...
Page 541: Appendix E: Initialization Files
Before making any changes to any of the .ini Þles, you should make a backup copy in case you make a mistake. After you have made your changes, save the Þle and close Notepad. Pro Audio reads the settings in these Þles only when it Þrst starts up. Therefore, if you change any settings while Pro Audio is running, you should exit and restart Pro Audio in order for the changes to take effect.
Page 542: Initialization File Format
The variable names contain no spaces. They are not case sensitive. CAKEWALK.INI Many of the items in cakewalk.ini are set using Pro Audio menus and dialog boxes. However, some items can be changed only by using the Options-Initialization File command or by directly editing this Þle using the Windows Notepad.
Page 543 HyphenDir=<drive:path Path <installation This determines the location of the name> directory>\ttshyph.dll Hyphenator extension DLL used by Pro Audio, and is written during installation. This should never need to be changed. MaxPanelUndoSteps= Integer Each StudioWare view remembers a <num> certain maximum number of (Design mode) operations before discarding old ones.
Page 544: Ttsseq.ini
CPU is really overtaxed. FlywheelAmount=<num> Integer 5 ( second) This line speciﬁes the SMPTE ﬂywheel time in 1/10 seconds. This is the maximum dropout time length Pro Audio will allow before aborting sync.
Page 545 ﬁnd the proper value for your system. MMCPort=<num> Integer -1 (all) By default, Pro Audio will transit MMC commands on all MIDI ports. In some situations it is necessary to limit the number of ports MMC is transmitting on. This line speciﬁes which port MMC is to be transmitted on.
Page 546 SendLocalOff=<0 or 1> Boolean 1 (enable) This line determines whether or not Pro Audio should send a Local Control OFF message during startup. SendLocalOn=<0 or 1> Boolean 0 (disable) This line determines whether or not Pro Audio should send a Local Control ON message at exit.
Page 547: Variables In The [Midi Input Devices]
Integer This variable speciﬁes the maximum size of the picture cache. The picture cache is located in the directory speciﬁed by the PictureDir=<path> variable (defaults to <Cakewalk Folder>\Picture Cache). PictureDir=<drive:path name> Path <Cakewalk This line speciﬁes where to store the directory>\Picture...
Page 549: Appendix F: Presets
Appendix F: Presets The following is a list of presets provided with Pro Audio plug-in audio effects. The FX effects are stereo effects; the CFX effects are mono effects.
Page 550: Fx Stereo Reverb And Cfx Reverb
FX Stereo Reverb and CFX Reverb Preset… Description… Ambient Very wet reverb—great for synth pads. Arena When applied to several instruments, this creates an arena or stadium type of sound. Club Simulates a small club room. Good for sax, rhythm guitar, or percussion.
Page 551: Fx Stereo Chorus And Cfx Chorus
FX Stereo Chorus and CFX Chorus Preset… Description… Deep Chorus Guitar A deep chorus, Fender Jazz-like. Great on bass too. Vocal Chorus A solo vocal chorus effect. Thick Group Vocals Great for taking a few background voices and creating more of a choir-sized sound. Thicken Use this effect to thicken a sound rather than give it an obviously chorused sound.
Page 552: Fx Stereo Delay
FX Stereo Delay Preset… Description… Slap-back 1 A 100 millisecond slap-back delay. Slap-back 2 A 400 millisecond slap-back delay. Slap-back 3 A 500 millisecond slap-back delay. Fast Tremolo Delay A fast delay with a tremolo effect. Great on guitars. CFX Delay/Echo Preset…...
Page 553: Fx Time/Pitch Stretch
5th up Pitch shift a 5th up. 5th down Pitch shift a 5th down. FX Time/Pitch Stretch Preset... Description… Vocal 3rd Up A formant-preserving pitch shift a 3rd up. Vocal 3rd Down A formant-preserving pitch shift a 3rd down. Vocal 4th Up A formant-preserving pitch shift a 4th up.
Page 554: Fx Stereo Parametric Eq
FX Stereo Parametric EQ Preset... Description… 6dB High pass ﬁlter Slight reduction of low-frequency elements. 6dB Low pass ﬁlter Slight reduction of high-frequency elements. AC Hum removal Narrow band pass ﬁlter, reducing frequencies around 60Hz by 12dB. Flat response No ﬁltering. CFX 2-Band EQ Preset...
Page 555: Appendix G: Summary Of New Features
9 and version 8. AudioX Window Pro Audio 9 has a new window that lists any of your sound cards that conform to the new AudioX standard (such as the Yamaha DSP Factory). AudioX is a standard that allows sound card producers to write software that makes all of their cardÕs features fully available, and will easily...
Page 556: Guitar Fretboard Display, Tablature, And Tuner
For more information about exporting audio, see ÒMixing Down and Distributing AudioÓ on page 9-27. FX Bin in Track View Pro Audio 9 has a new Effects Bin in the Track view. You can now add audio or MIDI effects to individual tracks without leaving the Track view.
Page 557: Ntonyx Style Enhancer Midi Plug-In (Micro 1.28 Lite Version
Global Toolbar to Mute, Solo, or Arm Tracks Pro Audio 9 has a new toolbar that enables you to mute or un-mute, solo or un-solo, and arm or unarm all tracks at once. ItÕs called the Solo toolbar and you display it by choosing View-Toolbars and clicking Solo.
Page 558: Real-Time Tempo Adjustment
Real-time Tempo Adjustment In Pro Audio 9, you can use the spin buttons on the tempo dialog box to change tempo and hear the results immediately. Minimum Clip Width This viewing option in the Clips pane ensures that even the smallest clip is visible enough to edit.
Page 559: Appendix H: Session Drummer
Session Drummer The Session Drummer is a MIDI Plug-in that allows the user to select, arrange and then play a MIDI drum pattern within a song in Cakewalk. It is as simple to use as standard drum machine, but, unlike the hardware device, it works within the program so no syncing is required.
Page 560: Style
The Session Drummer can quickly generate drum parts for practicing, composing, or just playing. The MIDI drums can play back on the internal sound card, or out the MIDI port to any compatible MIDI device. Style Various drum patterns representing different styles of music. The choices in the Pattern section vary according to which style you choose in the Style section.
Page 561: Load Song From A File
Load Song from a File Click to select from a list of previously saved drum tracks. In the Open dialog, select the drum track you want to open and click OK. Save Song to a File Click to save the set of patterns in the Song Þeld. In the Save dialog, enter a name for the drum track and click OK.
Page 562: Default Settings
In Session Drummer, enter a name for the new mapping in the drop-down list. Click the Note: If you do not select an output port, the default port is set at 1 To Save as a Preset… Click to open the Settings dialog. Make the changes you want in the Settings dialog and click OK.
Page 563 Instruments Drum Map Note # Note Name Note # Note Name Name Name Acoustic Bass Drum Ride Cymbal 2 Bass Drum 1 Hi Bongo Side Stick Low Bongo Acoustic Snare Mute Hi Conga Hand Clap Open Hi Conga Electric Snare Low Conga Low Floor Tom High Timbale...
Page 564: Deleting A Preset
Right-click in the Aux bus and choose Add MIDI Track. A new module appears in the Console view. Right-click in the Effects Patch area (the black window directly below the track name ﬁeld in Console view) and select Cakewalk FX-Session Drummer . Double-click on the Session Drummer plug-in.
Page 565: Arranging Patterns Into A Song
Arranging Patterns Into a Song Playing patterns from the pattern pane is as easy to use as a drum machine. However, at some point you may get bored hearing the same pattern over and over again. This is where the Song pane comes in. You can add patterns to the song pane, control how many times and in what order they play.
Page 566 Session Drummer. A quick way to familiarize yourself with this is to open one of the drum style Þles using Pro AudioÕs Open command. To Create a Style for Session Drummer…...
Page 567: Guidelines
Since the Session Drummer plays the pattern over and over, it is extremely important that the pattern loops correctly. You can check this before you save your Style pattern by selecting the clip in the track view and looping it using the loop toolbar. Guidelines ¥...
Page 568: Defining The Arrangement
Deﬁning the Arrangement Many styles of modern music feature several different musical sections (verse, chorus, bridge etc.). The rhythm arrangements can be changed or altered (slightly or drastically) to help distinguish these different sections. HereÕs a few very basic ideas among the thousands that are commonly used: ¥...
Page 569: Appendix I: Roland U-8
In this Appendix Connecting Cakewalk to U-8 ........2 Controlling Cakewalk with U-8.
Page 570: Connecting Cakewalk To U-8
U-8 driver and U-8 control application from the Roland Turn on U-8 before launching Cakewalk. Launch Cakewalk. To see if Cakewalk and U-8 connect, check that these two things happen when you open Cakewalk: • A rotating U-8 icon appears while Cakewalk boots up.
Page 571: Controlling Cakewalk With
Now U-8’s buttons and knobs control Cakewalk. Tracks 1-8 are always audio tracks in this version of Cakewalk. If you open a new, empty project, only audio track 1’s fader will respond at startup. As soon as you activate a track by naming it or adding properties to it, its fader will respond.
Page 572 To Choose and Execute a Menu Command… Press U-8’s Menu button and then press the right or left Cursor button to highlight the Cakewalk menu you want to open. When you reach the correct menu, press the U-8 Enter button to open the menu.
Page 573 The following table covers all the remaining tasks that you can control using U-8. To Do This... Do This… Activate the U-8 Mixer Press the Mixer button window Activate the U-8 Effects Press the Effects button window Toggle between U-8 Press the Window button (if the Effects window StudioWare and Track view is open, it remains on top even if you press the...
Page 574: Using The Ez Recording And Mixdown Wizards
You launch the wizards by pressing one of several EZ Recording buttons. U-8Õs Start button opens the Cakewalk Quick Start window. After the window opens, you can open a new or preexisting project by using U-8Õs up or down Cursor button to select an option, and then pressing U-8Õs Enter button when your option is highlighted.
Page 575: The Ez Mixdown Wizard
Press the Next/Marker button to close the EZ Recording Wizard. Make sure Cakewalk is rewound to the time where you want to start recording and press U-8’s Record button. Press U-8’s Stop button when you’re ﬁnished recording.
Page 576 Use U-8’s right or left Cursor button to choose either: • Mix down to an audio track—Choose this option if you want to mix your audio tracks to a single stereo track in Cakewalk. • Mix down to an external recording device—Choose this option if you are mixing to a DAT machine or other external device.
Page 577: Using The U-8 Mixer
U-8Õs Effects/Mixer Control knobs and/or the U-8 Enter button to choose values for the framed control. When Cakewalk is open, the U-8 Mixer and Effect window do not respond to commands from the U-8 module unless the Roland U-8...
Page 578 Cakewalk's File-Open command and choose Roland U-8 Cakewalk StudioWare from the Open dialog box. Tip: When you work with the U-8 Mixer, always set the U-8 moduleÕs Track Status buttons to Audio+MIDI. That way, U-8 faders 5-8 control the white input faders in the U-8 Mixer.
Page 579 Mixer Button or Control... How to Control It… Play buttons—When a Play Move the Cursor buttons until the blue frame button is highlighted (yellow), encloses the four Play buttons. Use Effects/ it allows that input to be Mixer Control knobs 1-4 to choose values. heard.
Page 580 Mixer Button or Control... How to Control It… Red fader—This is the master Move U-8’s red Master fader. fader. It controls overall level for both playback and recording. Rec Adjust knob—Moving Move the Cursor buttons until the blue frame this knob makes ﬁne encloses the Rec Adjust knob.
Page 581: Using The Effects Window
Open or close the Effects window by pressing U-8Õs Effects button. When Cakewalk is open, the U-8 Mixer and Effect window do not respond to commands from the U-8 module unless the Roland U-8 StudioWare panel is open. If you don't see the StudioWare panel open, use Cakewalk's File-Open command and choose Roland U-8 Cakewalk StudioWare from the Open dialog box.
Page 582 Effect Window Button or How to Control It… Control... Effect button—This is a Move the Cursor buttons until the blue frame bypass button. When it is not encloses the Effect button, and press U-8’s highlighted, the effect is Enter button to turn the Effect button on or off. disabled.
Page 583: Troubleshooting
Troubleshooting Problem... Do This… Cakewalk and U-8 fail to Always turn on U-8 before opening Cakewalk. If connect. problems persist, reinstall U-8’s drivers, and possibly Cakewalk. Buttons don’t work. Make sure the U-8 Shift key is not active. U-8 Mixer window or U-8 Open the StudioWare panel ﬁrst.
Page 584: Mixdown Tips And Hints
function to show if a track is armed or muted. Mixdown Tips and Hints ¥ When you close the EZ Mixdown Wizard, instead of pressing the Record button right away, press Play to audition any applied effect for a few seconds. If you like it, rewind and press Record. Otherwise, open the Effects window and choose another effect.
Page 585: Index
Index Numerics distortion 4-17 importing 4-30 18-24 bit operation 13-12 mixing 9-10 to 9-15 3dB Louder 7-8, 7-22 modules 9-13 3dB Quieter 7-8, 7-22 recording See Recording audio routing 9-10 to 9-15 setting up for recording C-10 under SMPTE/MTC Sync 15-11 Audio data 13-13 to 13-20 Acoustics 7-2 applying a fade to 7-35...
Page 586 DirectX technology 7-37 Auto Shuttle 15-10 echo 7-41 to 7-42 Automate in Track 11-20 ßanging 7-42 Automation Data 6-34, 6-36 mixing 7-38 displaying 6-39 pitch stretching 7-38, 7-45 to 7-46 recording 9-25 to 9-27 reverb 7-43 Aux busses shifting pitch 7-44 automation data for 9-26 time stretching 7-38, 7-45 to 7-46 changing number of 9-7...
Page 587 Cakewalk FX Stereo Delay 7-41 to 7-42 displaying 5-6 to 5-7 Cakewalk FX Stereo Flanger 7-42 displaying contents 5-7 Cakewalk FX Stereo Reverb 6-51, 7-43 to 7- displaying names 5-7 drag and drop editing 5-10 editing partial 5-13 Cakewalk FX Time/Pitch Stretch 7-45 to 7-...
Page 588 adjusting knobs in 9-3 choosing source in 4-13 Data conÞguring 9-4 to 9-6 sysx 11-25, 14-1 to 14-12 controls 9-3 See also Audio data linking controls in 9-19 to 9-23 Decay 7-43 modules 9-2 Decibel scale 7-7 to 7-8 mute and solo in 2-10, 3-12 overview 1-6, 9-1 Decrescendos 6-15 toolbar 9-26...
Page 589 Duration 4-25 arranging audio 7-1 audio 6-49, 7-8 to 7-9, 7-38 changing 6-19 audio, changing 6-19 Fill 8-15 to 8-17 channel aftertouch 6-29 increasing 7-32 controller 6-29 note 6-17, 6-47 crossfading 7-36 note property 8-12 editing 6-8 to 6-15, 6-45 parameter 6-43 hearing 7-20 strength 6-21...
Page 590 File bundle 2-39 Fretboard File extensions changing appearance 8-31 displaying 8-6 2-39, 4-33 hiding 8-6 16-1 Fretboard pane See Fretboard 4-32 Full chase lock 15-11 14-1, 14-7 12-4 4-30 1-4, 2-39 Gain (dB0) 7-34 File Info window 4-35 Game sound 1-2 Files 12-4 General MIDI See GM 9-29...
Page 591 6-29, 6-37, 11-24 If Outside Window 6-21 bindings 12-5, 16-7, B-8 to B-11 Importing signature 4-3 to 4-4, 8-41 from a Cakewalk project 4-31 to 4-32 Key+ 3-14 music 4-30 to 4-35 KeyAft event 6-43 wave Þles 4-30 Keyboard 2-13...
Page 592 Loop recording 4-20 MCIcmd event 6-44 using 4-21 Measure Loop/Auto Shuttle inserting a blank 6-11 settings 3-8 Measures, inserting 6-10 to 6-12 toolbar 3-7 Meter 4-3, 8-40 to 8-41 Looping settings 12-5 delays 3-29 Meter display 9-6 drum 6-26 changing 9-6 over songs 2-5 to 2-7 Meter/Key 4-3 sections of song 2-6...
Page 593 Name, of a track 3-13 driver changes C-16 New track setting up C-15 adding 5-4 MIDI Out D-3 Newsgroups, Cakewalk xx MIDI Sync 15-4 to 15-8 Next Marker 5-20 status messages 15-6 Normal template 4-2 troubleshooting 15-8 Normalize 7-22, 7-23...
Page 594 of patches 10-12 to 10-13 NTONYX Style Enhancer plug-in G-3 Note velocity 6-8, 7-29 Number, of a track 3-13 adjusting 3-27 to 3-28 changing 6-55 compressing 6-33 displaying 6-36 Offset, quantizing option 6-20 editing 6-36 Online Help xx inverting 6-33 Only Notes, Lyrics and Audio 6-21 Notes 6-43 Open Level (db) 7-26...
Page 595 5-18 note property 8-12 project information 4-35 parameter 6-43 scores 8-39 to 8-40 range 7-32 Pro Audio selecting 6-4 as master 15-6 to 15-7 shifting 7-44 as slave 15-5 to 15-6 stretching 7-38, 7-45 to 7-46 basics 1-3 to 1-4...
Page 596 Record 4-15, 4-19, 4-21, 4-22, 4-24 Project 1-4 Record Mode 4-9, 15-14 creating a 4-1 to 4-38 Record Options 2-22, 4-21, 4-24 importing from a Cakewalk 4-31, 4-31 to Recording 4-32 Arming tracks for 4-14 information 4-34 to 4-35 arming tracks for 4-14...
Page 597 Rests, beaming of 8-15 Search Next 6-27 Retrograde 6-14 Select All Siblings 5-21, 5-23 Reverb 7-43 Select by Filter 6-27, 6-28, 6-31 to 6-32 Reverse 6-14 Select by Time 5-14 Rewind 3-6 Select None 5-14 Right Delay 7-40 Sensitivity setting Right Feedback 7-41 quantizing parameter 6-18 to 6-19 Series of Controllers 6-38, 6-41...
Page 598 Staff, percussion 8-35 to 8-38 patches 3-20 to 3-23 software 13-4 Start time 6-5 Sysx data from 14-3 to 14-5 Starting Pro Audio 1-18 to 1-19, C-13 with handshaking dump protocols 14-4 Step Record 4-26, 4-28 System Exclusive See Sysx Step Recording 4-24...
Page 599 deleting 14-7 using 5-29 Edit Bytes 14-7 Tempo view naming 14-6 how to use it 1-10 port 14-6 Text 6-44 Receive 14-3 Text event 6-44 Send 14-3 THIN CHANNEL AFTERTOUCH.CAL 16- Send All 14-3 Sysx Data 14-2 THIN CONTROLLER DATA.CAL 16-4 in Event list 6-44 THIN PITCH WHEEL.CAL 16-5 Sysx Data events 14-2...
Page 600 resizing columns of 3-15 grouping 2-38 Track Properties increasing number of 9-4, 13-20 to 13-22 inserting 2-31 bank 3-22 inserting blank 5-4 channel 8-36 killing 5-5 Key+ 3-26 maximum number of audio 13-20 pan 3-24 mixing 13-21 patch 2-11 to 2-12 muting 2-8 to 2-9, 3-12, 9-13 port 2-13, 3-16, 3-20, 8-36 output devices of 3-17 to 3-19...
Page 601 Undo Recording 2-20, 2-26, 2-32 Always on Top option B-8 Updates A-1 changing playback mode B-7 controlling playback of B-7 Virtual JukeboxShow Cakewalk File Infor- mation option B-8 Vel+ 3-14, 3-27 to 3-28 Virtual JukeboxShow Full Path option B-8 Velocity 6-29, 6-47, 8-12...
Page 602 Windows 95/98 C-4 to C-6 Windows NT 4.0 installing drivers in C-6 Window-Tile in Rows 2-19 Wipe 5-5 with Sysx banks 14-9 Work Þle 1-4 World Wide Web xx authoring 1-3 Cakewalk site xx publishing audio on 9-29 to 9-34 Index-18...
Page 603 5. WARRANTY. 5.1. Limited Warranty. Subject to the other provisions in Articles 4 and 5 of this Agreement, Cakewalk war- rants to you, the original licensee, that the media on which the Product is recorded will be free of defects in...
Page 604 8. TERMINATION. This License Agreement will terminate immediately if you breach any of its terms. Upon termination, you will be required promptly to return to Cakewalk or to destroy all copies of the Product cov- ered by this License Agreement.

CAKEWALK PRO AUDIO User Manual

Preface

1 Introduction

2 Getting Started

3 Controlling Playback

4 Recording a Performance

5 Arranging Tracks and Clips

6 Editing Events and Controllers

7 Editing Audio

8 Working with Notation and Lyrics

9 Mixing and Effects Patching

10 Using Instrument Definitions

11 Working with Studioware

Quick Links

Troubleshooting

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Summary of Contents for CAKEWALK PRO AUDIO