Cakewalk Pro Audio 9 User's Guide

Cakewalk Pro Audio User’s Guide

™

Information in this document is subject to change without notice and does not represent a commitment on the part of Twelve Tone Systems, Inc. The software described in this document is furnished under a license agreement or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the agreement. It is against the law to copy this software on any medium except as speciﬁcally allowed in the agreement. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, for any purpose without the express written permission of Twelve Tone Systems, Inc.

Cakewalk is a registered trademark of T welve Tone Systems, Inc. Cakewalk Pro Audio, Cakewalk Professional, Cakewalk Home Studio, Cakewalk Guitar Studio, Cakewalk Audio FX, Cakewalk Metro, Cakewalk Overture, Cakewalk Score Writer, Virtual Jukebox, Virtual Piano, CFX, StudioWare, and the Cakewalk logo are trademarks of T welve T one Systems, Inc. Other company and product names are trademarks of their respective owners.

Visit Cakewalk on the World Wide Web at www.cakewalk.com.

Table of Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvii

About This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xvii

Registering Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii

Getting Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1-1

About Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Music Composition and Exploration . . . . . . . . . . . . . . . . . . . . . 1-2

Game Sound Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2

Sound Production and Engineering . . . . . . . . . . . . . . . . . . . . . 1-2

Web Authoring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Film and Video Scoring and Production . . . . . . . . . . . . . . . . . . 1-3

Flexibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Pro Audio Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-3

Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-4

Working on a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-12

Other Types of Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-12

Computers, Sound, and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-13

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-13

Digital Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-14

Installation and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-15

Starting Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-18

Starting to Use Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-19

2 Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2-1

Tutorial 1ÑPlaying a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Rehearsal Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Opening a Project File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2

Playing the Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3

Restarting the Song Automatically . . . . . . . . . . . . . . . . . . . . . 2-5

Table of Contents

Changing the Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-7

Muting and Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-8

Changing a Track's Instrument . . . . . . . . . . . . . . . . . . . . . . . 2-10

Playing Music on a Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . 2-12

Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-13

Tutorial 2ÑRecording MIDI and Digital Audio . . . . . . . . . . . . . . 2-16

Rehearsal Time, Part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-16

Opening the Project File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-16

Recording MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-17

Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-21

Punch-In Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-23

Recording Digital Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-24

Recording Multiple Channels . . . . . . . . . . . . . . . . . . . . . . . . . 2-27

Tutorial 3ÑAudio Editing and Mixing . . . . . . . . . . . . . . . . . . . . . 2-28

Audio Engineering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-28

Opening the Project File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-28

The Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-28

Stretching the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-30

Adding the Announcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-31

Trimming the Announcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-32

Editing the Announcer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-35

Making It Fit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-36

Mixing the Radio Spot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-37

Automating Your Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-38

Saving the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-39

3 Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . .3-1

The ÒNow TimeÓ and How to Use It . . . . . . . . . . . . . . . . . . . . . . . . 3-2

Displaying the Now Time in Large Print . . . . . . . . . . . . . . . . . 3-4

Other Ways to Set the Now Time . . . . . . . . . . . . . . . . . . . . . . . 3-5

Controlling Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Handling Stuck Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6

Loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7

Track-by-Track Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-10

Silencing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-11

Soloing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-12

Changing Track Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-13

Setting Up Output Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-17

Assigning Tracks to Ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-19

Choosing the Instrument Sound (Bank and Patch) . . . . . . . 3-20

Adding Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

Adjusting Volume and Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-23

Assigning a MIDI Channel (Chn) . . . . . . . . . . . . . . . . . . . . . . 3-24

Adjusting the Key/Transposing a Track (Key+) . . . . . . . . . . .3-26

Adjusting the Note Velocity (Vel+) . . . . . . . . . . . . . . . . . . . . .3-27

Adjusting the Time Alignment of a MIDI Track (Time+) . . . .3-28

Other MIDI Playback Settings . . . . . . . . . . . . . . . . . . . . . . . . .3-29

Video Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3-30

4 Recording a Performance . . . . . . . . . . . . . . . . . . . . . 4-1

Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-2

Creating a New Project File . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-2

Setting the Time and Key Signatures . . . . . . . . . . . . . . . . . . . .4-3

Setting the Metronome and Tempo Settings . . . . . . . . . . . . . . .4-5

Setting the Audio Sampling Rate and Bit Depth . . . . . . . . . . .4-7

Setting the MIDI Timing Resolution . . . . . . . . . . . . . . . . . . . . .4-8

Preparing to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-9

Recording Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-9

Choosing a Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-11

Arming Tracks for Recording . . . . . . . . . . . . . . . . . . . . . . . . . .4-14

Auto Arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-14

Recording Music from a MIDI Instrument . . . . . . . . . . . . . . . . . .4-15

Virtual Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-15

Recording Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-16

Tuning an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-19

Loop Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-20

Punch Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-22

Step Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-24

Step Pattern Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-27

Recording Channel by Channel . . . . . . . . . . . . . . . . . . . . . . . .4-28

Importing Music and Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-30

Importing Wave (.wav) Files . . . . . . . . . . . . . . . . . . . . . . . . . .4-30

Importing Material from Another Cakewalk Project . . . . . . .4-31

Importing MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-31

Saving Your Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-32

Labeling Your Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-34

File Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-36

MIDI Input and Echo Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-36

Input Filtering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-36

MIDI Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-37

Local Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4-38

Table of Contents

5 Arranging Tracks and Clips . . . . . . . . . . . . . . . . . . . . 5-1

Arranging Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5-2

Changing the Order of Tracks . . . . . . . . . . . . . . . . . . . . . . . . . .5-3

Copying Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-4

Erasing Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-5

Arranging Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-5

Displaying Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-6

Selecting Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-8

Moving and Copying Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-9

Working with Partial Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-13

Markers and the Snap Grid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-15

Showing Gridlines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-15

Defining and Using the Snap Grid . . . . . . . . . . . . . . . . . . . . . 5-15

Creating and Using Markers . . . . . . . . . . . . . . . . . . . . . . . . . 5-17

Working with Linked Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-21

Splitting and Combining Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-23

Adding Effects in the Track View . . . . . . . . . . . . . . . . . . . . . . 5-26

Changing Tempos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-26

Using the Tempo Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-27

Using the Tempo Commands . . . . . . . . . . . . . . . . . . . . . . . . . 5-29

Using the Tempo View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-31

6 Editing Events and Controllers . . . . . . . . . . . . . . . . . .6-1

The Piano Roll View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Note Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Controllers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Track List Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2

Opening the View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-3

Selecting and Editing Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-3

Working with Multiple Tracks in the Piano Roll View . . . . . . 6-7

Note Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

Selecting and Editing Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8

Transposing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-9

Shifting Events in Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10

Inserting Measures into a Project . . . . . . . . . . . . . . . . . . . . . 6-10

Stretching and Shrinking Events . . . . . . . . . . . . . . . . . . . . . . 6-12

Reversing Notes in a Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-14

Adding Crescendos and Decrescendos . . . . . . . . . . . . . . . . . . 6-15

Changing the Timing of a Recording . . . . . . . . . . . . . . . . . . . . . . 6-15

Quantizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-16

Fit Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-26

Searching for Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-27

Event Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-28

Controllers, RPNs, NRPNs, and

Automation Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-34

Using the Controllers Pane . . . . . . . . . . . . . . . . . . . . . . . . . . .6-36

The Event List View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-42

Event List Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-43

Event List Display Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-45

Editing Events and Event Parameters . . . . . . . . . . . . . . . . . .6-45

Additional Event Information . . . . . . . . . . . . . . . . . . . . . . . . .6-47

MIDI Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-49

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-49

Quantizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-50

Adding Echo/Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-51

Filtering Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-52

Adding Arpeggio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-52

Analyzing Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-54

Changing Velocities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-55

Transposing MIDI Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6-56

7 Editing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-1

Digital Audio Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-2

Basic Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-2

ExampleÑA Guitar String . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-2

Waveforms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-4

Recording a Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-6

The Decibel Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-7

Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-8

Managing Audio Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-9

The Audio View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-10

Basic Audio Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-11

Editing Event Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-12

Setting Volume and Pan Envelopes . . . . . . . . . . . . . . . . . . . . .7-14

Moving, Copying, and Deleting Audio Events . . . . . . . . . . . . .7-16

Splitting Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-16

Combining Audio Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-17

Applying Fades with the Draw Tool . . . . . . . . . . . . . . . . . . . .7-18

Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-20

Basic Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-20

Increasing or Decreasing Volume . . . . . . . . . . . . . . . . . . . . . .7-22

Reversing Audio Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-23

Equalizing Audio Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-24

Advanced Audio Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-25

Removing Silence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-25

Extracting Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-27

Detecting Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-32

Parametric Equalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7-33

Table of Contents

vii

Fades and Crossfades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-35

Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-37

Mixing Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-38

Adding Parametric Equalization . . . . . . . . . . . . . . . . . . . . . . 7-39

Adding Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-40

Applying Delay and Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-41

Adding Flanging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-42

Applying Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-43

Shifting Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-44

Stretching Time and Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-45

8 Working with Notation and Lyrics . . . . . . . . . . . . . .8-1

The Staff View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-2

Opening the Staff View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-3

Staff Pane Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-4

The Fretboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-6

Fretboard Popup Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-6

Basic Musical Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-7

Inserting Notes on the Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-7

Inserting Notes with the Fretboard . . . . . . . . . . . . . . . . . . . . . 8-8

Selecting Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9

Moving, Copying, and Deleting Notes on the Staff . . . . . . . . . 8-9

Auditioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-11

Changing Note Properties . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-12

Deglitch Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-13

Working with Triplets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-14

Beaming of Rests . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-15

Changing the Way Notes Are Displayed . . . . . . . . . . . . . . . . 8-15

Using Enharmonic Spellings . . . . . . . . . . . . . . . . . . . . . . . . . 8-17

MIDI Channels and Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-18

You can disable the forced mapping of MIDI channels. For more

information, see Appendix D: MIDI Files . . . . . . . . . . . . . . . . 8-19

MIDI Channels and the Fretboard . . . . . . . . . . . . . . . . . . . . . 8-19

Chords and Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-21

Adding Chord Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-21

Adding Expression Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-25

Adding Hairpin Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-27

Adding Pedal Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-28

Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-29

Tablature Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-29

Changing Fretboard Texture and Orientation . . . . . . . . . . . 8-31

Quick TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-32

Regenerate TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-32

viii

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 . . . . . . . . . . . . . . . . .8-34

Editing Chords or Groups of Notes from the TAB Staff . . . . .8-34

Editing Notes and Chords from the Fretboard . . . . . . . . . . . .8-35

Working with Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-35

Setting Up a Percussion Track . . . . . . . . . . . . . . . . . . . . . . . . .8-36

Setting Up a Percussion Staff or Line . . . . . . . . . . . . . . . . . . .8-36

Ghost Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-38

Printing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-39

The Meter/Key View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-40

What Is Meter? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-40

What Is Key? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-41

Opening the Meter/Key View . . . . . . . . . . . . . . . . . . . . . . . . . .8-42

Adding and Editing Meter/Key Changes . . . . . . . . . . . . . . . . .8-42

Working with Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-44

Adding and Editing Lyrics in the Staff View . . . . . . . . . . . . .8-45

Opening the Lyrics View . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8-46

Adding and Editing Lyrics in the Lyrics View . . . . . . . . . . . .8-46

Table of Contents

9 Mixing and Effects Patching . . . . . . . . . . . . . . . . . . . 9-1

The Console View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-2

Configuring the Console . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-4

Mixing MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-8

Routing and Mixing Digital Audio . . . . . . . . . . . . . . . . . . . . . . . . .9-10

Audio Track Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-13

Aux Busses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-13

Audio Main Output Modules . . . . . . . . . . . . . . . . . . . . . . . . . .9-15

Using Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-16

Using Control Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-19

Using Remote Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-23

Recording Automation Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9-25

Mixing Down and Distributing Audio . . . . . . . . . . . . . . . . . . . . . .9-27

Preparing Audio for Distribution . . . . . . . . . . . . . . . . . . . . . . . . . .9-29

10 Using Instrument Definitions . . . . . . . . . . . . . . . . . 10-1

Assigning Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10-2

Importing Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . .10-4

Creating Instrument Definitions . . . . . . . . . . . . . . . . . . . . . . . . . .10-5

Creating Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10-8

Copying Name Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10-9

Assigning the Bank Select Method . . . . . . . . . . . . . . . . . . . . 10-9

Assigning Patch Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-10

Assigning Note Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10-12

Assigning Controller, RPN, and NRPN Names . . . . . . . . . . 10-14

11 Working with StudioWare . . . . . . . . . . . . . . . . . . . .11-1

StudioWare Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-2

Using Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-4

Grouping Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-6

Recording Control Movements . . . . . . . . . . . . . . . . . . . . . . . . 11-8

Control Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-12

StudioWare Panel Drawing Speed . . . . . . . . . . . . . . . . . . . . 11-13

Designing and Implementing Panels . . . . . . . . . . . . . . . . . . . . . 11-13

Creating a New Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-14

Adding and Arranging Widgets . . . . . . . . . . . . . . . . . . . . . . 11-16

Using Clusters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-18

Functional Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-20

Customizing the Appearance of a Panel . . . . . . . . . . . . . . . 11-28

Advanced Panel Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-31

Alias Formulas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-31

Using Aliases for Track and Port Numbers . . . . . . . . . . . . . 11-34

Hiding Clusters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-34

Grouping Widgets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-35

Widget Tips and Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-36

TutorialÑCreating a Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-37

Starting Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-38

Adding a Pop-Up Cluster . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-38

Controlling MIDI Sustain and Modulation . . . . . . . . . . . . . 11-40

Volume Control and Indicators . . . . . . . . . . . . . . . . . . . . . . 11-42

Adding Labels and Images . . . . . . . . . . . . . . . . . . . . . . . . . . 11-43

12 Using Layouts and Templates . . . . . . . . . . . . . . . . .12-1

Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-2

Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-4

Template Example: Three MIDI Instruments . . . . . . . . . . . . 12-6

13 Improving Audio Performance . . . . . . . . . . . . . . . . .13-1

Audio System Configuration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-2

The Wave Device Profiler . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-2

DirectShow Audio Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . 13-5

Configuring Pro Audio for 18-, 20-, and 24-bit Operation . . 13-12

Digital Audio Data Management . . . . . . . . . . . . . . . . . . . . . . . . 13-13

Changing the Wavedata Folder . . . . . . . . . . . . . . . . . . . . . . .13-15

Deleting Unused Audio Files . . . . . . . . . . . . . . . . . . . . . . . . .13-16

Compacting Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13-17

Backing Up Projects with Digital Audio . . . . . . . . . . . . . . . .13-18

Imported Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13-19

Improving Performance with Digital Audio . . . . . . . . . . . . . . . . .13-20

Mixing Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13-22

Queue Buffers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13-23

Status Bar/CPU Meter/Disk Meter . . . . . . . . . . . . . . . . . . . . . . .13-23

14 Using System Exclusive Data . . . . . . . . . . . . . . . . . 14-1

What Is System Exclusive? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-2

Sysx Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-2

Using the System Exclusive View . . . . . . . . . . . . . . . . . . . . . . . . .14-3

Send . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14-3

Send All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-3

Receive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-3

More about Dump Request Macros . . . . . . . . . . . . . . . . . . . . .14-6

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-6

Auto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-6

Port . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-6

Edit Bytes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-7

Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-7

Load Bank and Save Bank . . . . . . . . . . . . . . . . . . . . . . . . . . .14-7

Transmitting Banks during Playback . . . . . . . . . . . . . . . . . . . . . .14-8

Real-time Recording of System Exclusive Messages . . . . . . . . . . .14-8

Sysx Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-8

Saving MIDI Files Containing Sysx Banks . . . . . . . . . . . . . . . . . .14-9

Sysx . ini File Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-9

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14-10

Table of Contents

15 Synchronizing Your Gear . . . . . . . . . . . . . . . . . . . . . 15-1

Synchronization Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15-2

Clock Sources with No External Devices . . . . . . . . . . . . . . . . . . . .15-3

MIDI Synchronization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15-4

Pro Audio as the Slave . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15-5

Pro Audio as the Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15-6

Using MIDI Sync with Drum Machines . . . . . . . . . . . . . . . . .15-7

Troubleshooting MIDI Sync . . . . . . . . . . . . . . . . . . . . . . . . . . .15-8

SMPTE/MIDI Time Code Synchronization . . . . . . . . . . . . . . . . . .15-8

Playing Digital Audio under SMPTE/MTC Sync . . . . . . . . .15-11

SMPTE/MTC Sync and Full Chase Lock . . . . . . . . . . . . . . . 15-11

Troubleshooting SMPTE/MTC Sync . . . . . . . . . . . . . . . . . . 15-13

MIDI Machine Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15-14

16 Programming with Cal . . . . . . . . . . . . . . . . . . . . . . . .16-1

Creating and Running CAL Programs . . . . . . . . . . . . . . . . . . . . . 16-2

Sample CAL Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-3

SPLIT NOTE TO TRACKS.CAL . . . . . . . . . . . . . . . . . . . . . . 16-3

SPLIT CHANNEL TO TRACKS.CAL . . . . . . . . . . . . . . . . . . 16-4

RANDOM TIME.CAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-4

THIN CONTROLLER DATA.CAL . . . . . . . . . . . . . . . . . . . . . 16-4

THIN CHANNEL AFTERTOUCH.CAL . . . . . . . . . . . . . . . . 16-4

THIN PITCH WHEEL.CAL . . . . . . . . . . . . . . . . . . . . . . . . . . 16-5

MAJOR CHORD.CAL, MINOR CHORD.CAL . . . . . . . . . . . 16-5

Writing CAL Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-5

Recording CAL Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16-6

Appendix A: Troubleshooting . . . . . . . . . . . . . . . . . . . . A-1

When I Play a File, I DonÕt Hear Anything . . . . . . . . . . . . . . . A-1

I CanÕt Record from My MIDI Instrument . . . . . . . . . . . . . . . . A-2

When I Play a File Containing Audio, the Audio

Portion DoesnÕt Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-3

I CanÕt Record Any Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-4

The Music Is Playing Back with the Wrong

Instrument Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-4

How Do I Use Pro Audio to Access All the Sounds

onMy MIDI Instrument? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A-5

My Keyboard Doubles Every Note I Play . . . . . . . . . . . . . . . . A-5

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? . . . . . . . . . . . . . A-7

Appendix B: Tips & Tricks . . . . . . . . . . . . . . . . . . . . . . . B-1

Video Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Double-Clicking Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

Playing Files in Batch Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-2

The Play List View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-3

Virtual Jukebox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-4

Key Bindings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-8

Windows Taskbar Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-11

Undo, Redo, and the Undo History . . . . . . . . . . . . . . . . . . . . . . . . B-12

xii

Screen Colors and Wallpaper . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-13

Music Notation for Nonconcert Key

Instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . B-16

Appendix C: Advanced Setup . . . . . . . . . . . . . . . . . . . . . C-1

Step 1. Install Windows 95, 98 or NT . . . . . . . . . . . . . . . . . . . C-1

Step 2. Install Cakewalk Pro Audio . . . . . . . . . . . . . . . . . C-1

Step 3. Read the README File . . . . . . . . . . . . . . . . . . . . . . . . C-3

Step 4. Install a MIDI Driver . . . . . . . . . . . . . . . . . . . . . . . . . . C-3

Step 5. Connect Your MIDI Equipment . . . . . . . . . . . . . . . . . . C-7

Step 6. Configure Your Audio Hardware . . . . . . . . . . . . . . . . C-10

Step 7. Set Up to Record Digital Audio . . . . . . . . . . . . . . . . . C-10

Step 8. Start Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C-13

Appendix D: MIDI Files . . . . . . . . . . . . . . . . . . . . . . . . . .D-1

Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D-2

Supported MIDI File Meta-Events . . . . . . . . . . . . . . . . . . . . . D-2

Features Not Supported by MIDI Files . . . . . . . . . . . . . . . . . . D-2

Other MIDI File Handling Notes . . . . . . . . . . . . . . . . . . . . . . . D-3

Special Handling of GM, GS, and XG MIDI Files . . . . . . . . . . D-3

If You Have Problems Playing MIDI Files . . . . . . . . . . . . . . . D-4

If You Plan to Publish Your Songs . . . . . . . . . . . . . . . . . . . . . . D-4

Appendix E: Initialization Files . . . . . . . . . . . . . . . . . . . . E-1

Initialization Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-1

Initialization File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-2

CAKEWALK.INI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-2

TTSSEQ.INI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-4

Variables in the [Options] Section . . . . . . . . . . . . . . . . . . . . . E-4

Variables in the [MIDI Input Devices]

Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-7

Variables in the [MIDI Output Devices] Section . . . . . . . . . . . . . . E-7

AUD.INI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-7

Variables in the [Aud] Section . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-7

Appendix F: Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-1

FX Stereo Reverb and CFX Reverb . . . . . . . . . . . . . . . . . . . . . F-2

FX Stereo Chorus and CFX Chorus . . . . . . . . . . . . . . . . . . . . F-3

FX Stereo Flanger and CFX Flanger . . . . . . . . . . . . . . . . . . . F-3

FX Stereo Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-4

CFX Delay/Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-4

Table of Contents

xiii

FX Pitch Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-4

FX Time/Pitch Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-5

FX Stereo Parametric EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-6

CFX 2-Band EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F-6

Appendix G: Summary of New Features . . . . . . . . . . . G-1

AudioX Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-1

Reduced Audio Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-1

Piano Roll Supports Multiple Track Editing . . . . . . . . . . . . . . G-1

Stereo Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-1

Guitar Fretboard Display, Tablature, and Tuner . . . . . . . . . . G-2

Session Drummer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-2

Export to MP3 and RealAudio . . . . . . . . . . . . . . . . . . . . . . . . . G-2

FX Bin in Track View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-2

CPU Meter and Disk Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . G-2

NTONYX Style Enhancer MIDI Plug-in

(Micro 1.28 Lite Version) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-3

Global Toolbar to Mute, Solo, or Arm Tracks . . . . . . . . . . . . . G-3

More Reliable Clip Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . G-3

Apply Audio Effects Button . . . . . . . . . . . . . . . . . . . . . . . . . . . G-3

Pick Track Button Enhancement . . . . . . . . . . . . . . . . . . . . . . . G-3

Record Mode Saves with Each Project . . . . . . . . . . . . . . . . . . . G-3

Open Patch Browser Directly from Track and Console Views G-3

Enhanced Patch Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-3

Real-time Tempo Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

Minimum Clip Width . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

Must Arm Tracks to Record . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

Reorganized Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

Tools-Run CAL Command Moved to Edit Menu . . . . . . . . . . . G-4

Play List Easier to Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

Right-click Opens Snap to Grid Dialog Box . . . . . . . . . . . . . . . G-4

Smooth Audio Scrubbing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

AmpSim Lite Plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . G-4

xiv

Appendix H: Session Drummer . . . . . . . . . . . . . . . . . . . H-1

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-1

Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Clear a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Move Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Move Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Remove Pattern from a Song . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Add Pattern to a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-2

Load Song from a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-3

Save Song to a File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-3

Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-3

The Settings Dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-3

Default Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-4

Deleting a Preset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-6

Using Session Drummer in Real-time . . . . . . . . . . . . . . . . . . . . . . H-6

Arranging Patterns Into a Song . . . . . . . . . . . . . . . . . . . . . . . . . . . H-7

Creating Drum Styles for the Session Drummer . . . . . . . . . . . . . H-7

Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-9

Drumtrax Style files in the Session Drummer . . . . . . . . . . . . . . . H-9

Experiment with sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-9

Be creative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-9

Defining the Arrangement . . . . . . . . . . . . . . . . . . . . . . . . . . . H-10

Looping Measures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-10

Adding Fills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-10

Regarding Tempos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-10

Quantizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . H-10

Table of Contents

Appendix I: Roland U-8 . . . . . . . . . . . . . . . . . . . . . . . . . . .I-1

Connecting Cakewalk to U-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I-2

Controlling Cakewalk with U-8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-3

Using the EZ Recording and Mixdown Wizards . . . . . . . . . . . . . . . I-6

The EZ Recording Wizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-6

The EZ Mixdown Wizard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-7

Using the U-8 Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-9

Using the Effects Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-13

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-15

Recording Tips and Hints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-15

Mixdown Tips and Hints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I-16

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .I-1

xvi

Preface

The Cakewalk Pro Audio UserÕs Guide is designed to help you learn and

use Cakewalk Pro Audio Version 9. In everyday language, this explains how Pro Audio works and how to use it to create, edit, produce, and perform. WeÕve made this oriented, with lots of cross-references so that you can Þnd the information you need. The index that you can use to Þnd information on any speciÞc topic.

UserÕs Guide easy to read and task-

UserÕs Guide also includes a comprehensive

Guide

About This Book

The UserÕs Guide is organized as follows:

Chapter 1, Introduction , provides an overview of Pro Audio and instructions for installing the software and setting up your equipment.

Chapter 2, give you some practical experience with 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 work with your projects, and youÕll know about most of the tools you need to create music and sound using your computer.

Chapters 10 through 16 cover the advanced features of Pro Audio. By the time you complete these chapters, youÕll know how to customize Pro Audio both to make the best use of all the MIDI and audio equipment you have in your studio and to be more efÞcient and productive in your work.

The appendices contain additional information you can use for troubleshooting, advanced installation and setup, use of MIDI Þles, and some tips and tricks for using Pro Audio. If youÕve used earlier versions

Getting Started , is a set of three hands-on tutorials that will

Preface

of 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). If you do not register, we cannot provide you with technical support, or inform you when upgrades become available.

Getting Help

In addition to this UserÕs Guide , Pro Audio includes online help that can provide you with quick reference information whenever you need it. Simply press F1 or click the Help button in any dialog box to Þnd the information you need.

If you need more information than you can Þnd in the the on-line help, here are two great places to look:

¥ Check the Support page of our World Wide Web site

(www.cakewalk.com) for updated technical information and answers to frequently asked questions

¥ Post messages to the Pro Audio user community using one of the

Cakewalk newsgroups. For more information about the newsgroups, visit www.cakewalk.com.

You can also get technical support directly from Cakewalk. In order to obtain technical support, you must submit the product registration card that is included with your Cakewalk product, or register your product on our World Wide Web site. You can obtain technical support for this product in the following ways:

¥ E-mail your questions to support@cakewalk.com. Be sure to include

your serial number in your e-mail.

¥ Call Cakewalk Technical Support at (617) 441-7891 on weekdays,

10:00AM to 6:00PM, Eastern time. Be sure to have your serial number ready when you call.

Technical support hours, policies, and procedures are subject to change at any time. Check our web site for the latest support information.

UserÕs Guide or

xviii

Introduction

Cakewalk Pro Audio is a professional tool for authoring sound and music on your personal computer. ItÕs designed for musicians, composers, arrangers, audio and production engineers, multimedia and game developers, and recording engineers. Pro Audio supports MP3, Wave, RealAudio, and other popular formats, providing all the tools you need to do professional-quality work rapidly and efÞciently.

Pro Audio is more than an integrated MIDI and digital audio authoring software packageÑitÕs an expandable platform that can function as the central nervous system of your recording studio. With drivers for common high-end audio hardware, full support for DirectX audio plugins, StudioWare and MIDI Machine (MMC) control of external MIDI gear, and the Cakewalk Application Language (CAL), Pro Audio can handle your most demanding projects.

In This Chapter

About Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Pro Audio Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Computers, Sound, and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Installation and Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Starting Pro Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Introduction

About Pro Audio

Pro Audio is the ßagship product of the Cakewalk line of integrated MIDI and digital audio sequencers for the Windows platform. Pro Audio has a comprehensive feature set that makes it the single most productive tool for sound and music authoring. Here are some of the ways you can use Pro Audio.

Music Composition and Exploration

Pro Audio is a powerful music-composition tool, providing tools to record your own musical performances; enhance or improve the quality of those performances; and edit, arrange, and experiment with the music. With a few simple clicks of the mouse, you can arrange, orchestrate, and audition your composition. Fully integrated sequencing allows you to combine the convenience and ßexibility of MIDI composition with the high-quality sound and subtlety of digital audio sound recording and reproduction. Change the feel of a piece by locking it to a musical groove, or add delicate delays, anticipations, or echoes that add richness to the music.

Pro Audio displays and lets you edit your music using standard musical notation and guitar tablature, so you can adjust individual notes, add performance markings, and print individual parts or full scores. You can graphically draw tempo and volume changes, or add lyrics to display onscreen or to include with printed scores.

Game Sound Development

ThereÕs no better tool than Pro Audio for composing music for electronic games. Clip-based sequencing lets you create and reuse musical themes freely, so you can associate musical sections with game characters, locations, objects, and actions. Your creations can be saved and replayed using the compact MIDI Þle format, which adapts its sound automatically to the target hardware for the best possible sound reproduction.

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. Pitch correction lets you adjust vocals or create harmonies Òon the ßy.Ó ReconÞgurable buses provide full control over your mix. Real-time stereo effects like chorus, ßange, reverb, parametric EQ, and delay/echo can be applied as track inserts, in effects loops, or to the master mix. Pro Audio supports 44.1 KHz sampling for CD-quality

1-2

sound and lets you choose from lower or higher sample rates as well. All

audio effects are 32-bit ßoating point for faster processing and high-

quality sound reproduction.

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. Any Pro Audio

projectÑmusical composition, audio clip, commercial spot, jingle with

voice-overÑcan be stored in a web-compatible format with a few simple

mouse clicks.

Film and Video Scoring and Production

Pro Audio has many of the tools you need to execute audio post-

production projects quickly and efÞciently. Pro Audio provides chase

lock sync-to time code for frame-by-frame accuracy when synchronizing

audio or MIDI to Þlm or video. Or, you can turn chase-lock off to

conserve CPU power. Pro Audio provides high-quality time stretching

and sample-accurate editing with zero-crossing detection so you can

make the Þne adjustments you need in record time. In addition, Pro

AudioÕs new support for video Þles gives you convenient synchronized

access to digitized video, making Þlm and video scoring easier than ever.

Flexibility

Pro Audio works the way you want to workÑyou can customize screen

layouts, toolbars, and audio and MIDI system conÞgurations to make

your work more efÞcient. Pro Audio integrates with other sound- and

music-editing tools so you can access them in an instant without leaving

Pro Audio. There are custom software modules to support specialized

audio devices from Roland and Yamaha. Pro AudioÕs unique StudioWare

technology provides software interfaces for common studio hardware

and lets you create your own custom software interfaces to any external

MIDI-equipped gear. You can even create a single control panel to

manage your entire studio.

Pro Audio Basics

Pro Audio looks and acts like many other Microsoft Windows programs.

The

menus and toolbars give you quick access to all the features of Pro

Audio. Some menu choices and tools display

choose among various options or type in the values you want. If you click

in most views, in time rulers, or on certain other items with the right

dialog boxes that let you

Introduction

1-3

mouse button, you see a pop-up menu that provides quick access to many common operations.

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. If youÕre a post-production engineer, a project might contain a 30-second radio commercial or a lengthy soundtrack for a Þlm or videotape production. By default, every project is stored in a Þle (known as a

work Þle ). The normal Þle extension for a work Þle is. wrk .

Pro Audio organizes the sound and music in your project into tracks, clips, and events.

Tracks are used to store the sound or music made by each instrument or

voice in a project. For example, a song that is arranged for four instruments and one vocalist would normally have 5 tracksÑone for each instrument and one for the vocals. Each project can have up to 256 tracks. Some of these tracks may be used in your Þnished project, while others can hold alternate takes, backup tracks, and variations that you might want to keep for future use. Each track is made up of one or many clips.

Clips are the pieces of sound and music that make up your tracks. A clip

might contain a horn solo, a drum break, a bass or guitar riff, a voiceover, a sound effect like the hoot of an owl, or an entire keyboard performance. A track can contain a single clip or dozens of different clips, and you can easily move clips from one track to another.

Events are the individual bits of sound and music that make up a clip. A

note played on a piano or bass is an event, as is the pressing of a sustain pedal on a keyboard or the turn of a pitch wheel. Each continuous piece of digital audio in your project is an event.

Views

Pro Audio displays your project in windows on the screen that are known as

views . You can have many views open at once, all showing the same

project. When you edit a project in one view, the other related views are updated automatically.

The T rack V iew

The Track view is the main window that you use to create, display, and work with a project. When you open a project Þle, Pro Audio displays the Track view for the project. When you close the Track view for a project, Pro Audio closes the Þle.

1-4

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

Current Track

Splitter bar

The Track pane lets you see and change the initial settings for each

track. One trackÑthe current trackÑis always displayed in color or

marked by a rectangle around one cell. To change the current track,

move the highlight using the mouse or the keyboard as follows:

The Clips paneThe Track pane

Key… What it does…

Arrow Moves one cell in any direction

Page Down Displays the next page of tracks

Page Up Displays the previous page of tracks

Home Moves the highlight to track the ﬁrst

track (track 1).

End Moves the highlight to the last track

(track 256).

Introduction

1-5

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.

The Track view makes it easy to select tracks, clips, and ranges of time in a project. These are the most common selection methods:

To… Do this…

Select tracks Click on the track number, or drag over

several track numbers

Select clips Click on the clip, or drag a rectangle

around several clips

Select time ranges Drag in the time ruler, or click between

two markers

Select partial clips Hold down the Alt key while dragging

over a clip

As with most other Windows programs, you can also use the Shift-click and Ctrl-click combinations when selecting tracks and clips. Holding the Shift key while you click adds tracks or clips to the current selection. Holding the Ctrl key while you click lets you toggle the selection status of tracks or clips.

1-6

The Console View

The Console view is the place where you mix the sounds on all the different tracks to create the Þnal mix of your project. You use the Console view to adjust the levels of sound for the different tracks in your project, to change the stereo panning, and to apply real-time effects to an individual track, combinations of tracks, or the Þnal mix.

The mixing console contains several groups of controls. There is one module for each track in your project, and one module for each output device. You can use auxiliary sends (or aux sends) to direct certain tracks to special modules that are known as submixes.

The Console View:

Audio module

MIDI module Patch point for

real-time effects Aux Send slider

Aux Send Enable

Mute, Solo, and Track Arming buttons

Pan and volume fader for each track

Master volume faders

As in the Track view, you can change track settings or record new music

or sound in the Console view. You may choose to use one view or the

other, or the choice you make may depend on which project you are

working on.

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:

¥ Click the icon for the view

¥ Choose the view you want from the View menu

¥ In the Track view, right-click on a selected track and choose the view

you want from the menu

Introduction

1-7

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.

The Staff view displays the notes from one or more tracks using standard music notation, similar to the way the notation would appear on a printed page. You can add, edit, or delete notes; create percussion parts; add guitar chords and other notation markings; display guitar tablature; display the Fretboard pane; and print whole scores or individual parts to share with other musicians.

1-8

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.

1-9

Introduction

Pro Audio has several other views that are used for very speciÞc

Zoom out horizontally

Zoom out vertically

Zoom in horizontally

Zoom in vertically

Lasso zoom

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 a project

Big Time To display the Now time in a large,

resizable font that you can read more easily

Markers T o add, move, rename, or delete labels for

parts of your song that make it easier to move from one point to another

Lyrics To add and display lyrics for a track

Video To display a loaded video ﬁle

Sysx To create, display, store, and edit

System Exclusive MIDI messages used to control instruments and other gear that are MIDI capable

StudioWare To use custom software interfaces to

control your MIDI gear

1-10

Tempo To view and edit the project's tempo

changes

Zoom Controls

Many of the views contain Zoom tools that let you change the horizontal and vertical scale of the view:

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

Lasso zoom Click to arm, then click and drag in the

view to select the zoom area

Lasso zoom is automatically disarmed after use. Double-click the lasso

zoom button to make the selection stick.You can also zoom with the

keyboard:

Key… What it does…

I Zoom in vertically and horizontally

O Zoom out vertically and horizontally

G Go to (center) the Now time, without

zooming

Z Arm lasso zoom

U Undo the current zoom

Note:

In the Track view, you must also hold down the Ctrl and Alt keys when using these shortcut keys.

Layouts

You may spend a lot of time making sure that all the views are laid out

on the screen just the way you want. When you save your work, you can

save the screen layout along with it. You can also save the layout by

itself and then use the layout with other projects. See ÒLayoutsÓ on page

12-2.

Introduction

1-11

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.

Every project has a current time, known as the Now time. As you record or play back a project, the Now time shows your current location in the project. When you create a project, the Now time is set to the beginning of the project. The current Now time is saved with your project.

You control recording and playback using tools on the Transport toolbar, which work a lot like the ones on your tape deck or CD player:

Play RecordGo to Beginning

Go to EndStop

As you work with a project, you can use Pro AudioÕs mute and solo features to choose which tracks are played, or you can create loops to play a particular section over and over again. You can also create markers, which are named time points you add to your project to make it easy to jump to a particular location.

Reset

Play RecordGo to Beginning

Go to EndStop

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Other Types of Files

Pro Audio lets you create and work with several other types of Þles, in addition to the work Þles that store your songs and other projects:

File type… Purpose…

Play List To play a series of Pro Audio projects

and standard MIDI ﬁles, one after another

CAL To write, edit, and run CAL programs

that extend the capabilities of Pro Audio

StudioWare To control external MIDI devices from

Pro Audio

Computers, Sound, and Music

This section provides some background on the different ways that

computers store and play sound and music. Computers work with sound

and music in two different forms: MIDI and digital audio.

MIDI

MIDI (short for Musical Instrument Digital Interface) is the way

computers communicate with most sound cards, keyboards, and other

electronic instruments. MIDI refers to both the type of cables and plugs

used to connect the computers and instruments, and to the language

those computers and instruments use to talk to each other. The MIDI

standard is accepted and used worldwide. Almost any electronic

instrument you buy today will have MIDI connectors and can be used

with other MIDI instruments and with your computerÕs MIDI interface.

The MIDI language conveys information and instructions, both from the

computer to the instrument and from the instrument to the computer.

For example, if your computer wants your keyboard to play a note, it

sends a MIDI ÒNote OnÓ message and tells the keyboard which note to

play. When your computer wants the keyboard to stop playing that note,

it sends another message that stops the note from playing.

The MIDI language has many other instructions, such as messages to

change the sound that is used to play the notes (the bank and patch),

messages used to work the sustain pedal and the pitch-bend wheel, and

others. By sending the right messages at the right times, your computer

can control your electronic instrument and make it play music.

MIDI information can be sent on 16 different channels. You can set up

your MIDI equipment to listen for messages on all channels or on only a

few.

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

MID.

There are several important advantages of the MIDI format:

¥ Large amounts of music can be stored in a very compact form

¥ Different parts of a piece can easily be assigned to any instrument

you can imagine

¥ The music contains information on notes, tempos, and key

signatures that makes it possible to display and edit the piece using standard musical notation

Introduction

1-13

The primary disadvantage of MIDI is that the quality of the music a listener hears will vary depending on the MIDI equipment the listener is using. For example, MIDI usually sounds much better on an expensive synthesizer than it does on an inexpensive sound card.

Digital Audio

Digital audio is a simple way to record and play sounds of any type. It works like a tape recorderÑyou record something, then later play it back. Digital audio stores the sound as a long series of numbers.

Sound Waves

Sound waves are vibrations in the air. Sound waves are generated by anything that vibrates; a vibrating object causes the air next to it to vibrate, and the vibration is passed through the air in all directions. When the vibrating air enters your ear, it makes your eardrum vibrate, and you hear a sound. Likewise, if the vibrating air hits a microphone, it causes the microphone to vibrate and send electrical signals to whatever it's connected to.

These vibrations are very fast. The slowest vibration frequency you can hear is about 20 vibrations per second, and the fastest is around 16,000 to 20,000 vibrations per second.

Recording Digital Audio

To record digital audio, your computer monitors the electrical signal generated by a microphone, an electric guitar, or another source. At equal intervals of time (for CD-quality sound, this means 44,100 times a second), the computer measures and saves the strength of the electrical signal from the microphone, on a scale from 0 to 65,535.

1-14

That's it. Digital audio data is just a long series of numbers. The computer sends these numbers, in the form of electrical signals, to a speaker. The speaker then vibrates and generates the same sound that was recorded.

The primary advantage of digital audio is the quality of the sound. Unlike MIDI, a digital audio recording is very rich, capturing all the nuances, overtones, and other characteristics of the sound exactly as performed. The main drawback of digital audio is that it takes up a lot of disk space. To record a 1-minute segment of stereo, CD-quality digital audio, you need about 10 megabytes of disk space.

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.

WAV).

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

connectors on your computer.

Before you install Pro Audio, take a minute to register the software so

we can let you know when updates become available and provide you

with technical support. To register your copy of Pro Audio, Þll in the

registration card in your product package and mail or FAX it back to us.

Or, register at our web site: www.cakewalk.com.

To connect a MIDI keyboard to your computer, you need to have a MIDI

adapter cable. One end of the cable should have two 5-pin DIN

connectors that connect to your keyboard or other MIDI device. At the

other end, you need a 15-pin connector to connect to a sound card

through its MIDI/joystick port.

MIDI to 15 Pin Connector

5-pin DIN connector

If you have a dedicated MIDI interface, lots of electronic music gear, or

work with many different music software packages, you should read

Appendix C: Advanced Setup.

Before you attach or detach any cables from your computer, you should

shut down your computer and turn off the power to all your equipment.

This greatly reduces the chance of electrical damage to your equipment

while plugging and unplugging cables.

15-pin connector (DB15)

Introduction

1-15

To Connect a MIDI Keyboard to Your Computer…

1. One of the 5-pin connectors on the MIDI cable is labeled Out. Plug this connector into the MIDI In jack on your electronic keyboard.

2. The other 5-pin connector on the MIDI cable is labeled In. Plug this connector into the MIDI Out jack on your electronic keyboard.

3. Plug the 15-pin connector on the MIDI cable into the MIDI/joystick port on your sound card. (If you have a joystick, unplug it, plug in the MIDI cable, and plug the joystick into the pass-through connector on the MIDI cable.)

To Connect an Electric Guitar to Your Computer…

1. Plug your 1/4” mono guitar cable into a 1/8” stereo adapter.

2. Plug the 1/8” jack into the microphone input or line input jack on your computer sound card.

To Connect a Microphone to Your Computer…

1. If your microphone does not have a 1/8” mono or stereo plug, plug the microphone into a 1/8” adapter.

1-16

2. Plug the 1/8” jack into the microphone input jack on your computer sound card.

That's it! Now that your instruments are all set to go, you can restart your computer and turn on your keyboard, guitar, and microphone.

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. Your serial number is located on your registration card. Your CD-KEY is located on the back of your CD case.

To Install Pro Audio...

1. Start Windows.

2. Place the Cakewalk Pro Audio CD in your CD-ROM drive. The Cakewalk Pro Audio CD Autorun screen displays automatically. If Autorun is disabled, double-click on Setup.exe in your CD directory.

3. Click the Install Pro Audio button to start Cakewalk Setup.

4. Follow the installation instructions displayed on the screen.

The setup program walks you through the installation process, making suggestions as you go. The setup program also adds a Cakewalk folder and program icon to your desktop.

You can also install Pro Audio by choosing Start-Run and running the application named

SETUP.EXE from the CD.

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...

1. Click the Start button, and choose Control Panel.

2. Double-click on the Add/Remove Programs icon.

3. Choose Pro Audio, then click Add/Remove.

4. Click Yes to conﬁrm that you want to uninstall Pro Audio.

Introduction

1-17

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.

¥ Right-click on the desktop, and choose New-Cakewalk Song. When

the song icon appears, type a name for the song. Then double-click the icon to start Pro Audio.

¥ Click the Start button, point to Documents, and choose a Pro Audio

project from the menu.

¥ Double-click the Pro Audio program or any Pro Audio document

from the Windows Explorer or the Find menu.

When you start Pro Audio, you see the Quick Start dialog box:

The Quick Start dialog box has several options:

Option… How to use it…

Open a Project Choose a project from the Open File

dialog box to open it

Open a Recent Project Select a project from the list, and click

this button to open it

1-18

Option… How to use it…

Create a New Project Choose a template for the new project in

the New dialog box, and click OK to create the project

Learn More about Cakewalk Click here to view the Getting Started

topic in the help ﬁle. This topic has links to tutorials, a glossary of terms, as well as some basic procedures.

If you donÕt want to see the Quick Start dialog box in the future, uncheck the box at the bottom of the dialog box, and click Close. You can see the Quick Start dialog box later by choosing Help-Quick Start.

Starting to Use Pro Audio

This chapter has provided you with an overview of Pro Audio and basic information on how to install the software and conÞgure your system. To get started with Pro Audio, you can do two things:

¥ Try the tutorials that appear in Chapter 2.

¥ Watch the TECHniques video tutorials to see some of Pro AudioÕs

features in action. These tutorials are available on the Cakewalk 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.

Introduction

1-19

1-20

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.

In This Chapter

Tutorial 1—Playing a Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Tutorial 2—Recording MIDI and Digital Audio . . . . . . . . . . . . . . . . . . . 16

Tutorial 3—Audio Editing and Mixing. . . . . . . . . . . . . . . . . . . . . . . . . . 28

Getting Started

Tutorial 1—Playing a Song

The Þrst tutorial teaches you the basics of playing MIDI with Pro Audio. You'll learn how to:

¥ Open and play a project Þle

¥ Make the song repeat automatically

¥ Use markers

¥ Speed or slow the tempo

¥ Mute a track and play a track solo

¥ Change a track's instrument

¥ Play a track on a MIDI keyboard

¥ Transpose the song

If you have not already done so, please read Chapter 1, Introduction, for basic background information about projects, tracks, clips, the Track view, and the Console view.

Rehearsal Time

YouÕre a member of a garage band preparing to make a demo tape. The band practices three nights a week, but youÕd like a little extra time to work on a solo in one of your songs. Fortunately, one of your fellow performers is also a 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.

2-2

So, itÕs rehearsal time. LetÕs go!

Opening a Project File

As you learned in Chapter 1, Pro Audio stores MIDI and digital audio data in project Þles. The Þrst thing you need to do is load the project Þle containing your band's song.

1. If you haven't already done so, start Pro Audio.

2. Choose

3. In the Open dialog box, select the ﬁle Open button.

Pro Audio loads the project and opens the Track and Console views. Feel free to move and resize these views to better ﬁt your screen; we'll be doing a little work in each of these views later in the tutorial. Right now, though, let's play the song!

File-Open

tutorial1.wrk

. Click the

Playing the Song

Buttons in the Large Transport toolbar, shown in the following picture, can control most of Pro AudioÕs basic playback functions. If you donÕt see the Large Transport toolbar, then choose View-Toolbars and check Transport (Large).

Now time (MBT)

Now time (SMPTE)

Now time slider

Rewind

Stop

Play

Record

Go to End

Meter/Key

Reset

Starting Playback

1. To play the song, click the Play button , or press the space bar.

Do you hear music? Go ahead, get out your instrument and jam along! If you don't hear anything, see troubleshooting tips.

Appendix A: T roubleshooting

for some

Restarting the Song

When Pro Audio gets to the end of the song, it stops. To play the song again, do the following:

1. Click the Rewind button , or press W to go back to the ﬁrst measure.

2. Click the Play button, or press the space bar.

Pausing Playback

1. To temporarily pause playback, click the Play button or the Stop button , or press the space bar. Click the Play button

again to resume playback.

Certain Pro Audio functions can only be used when the song is paused. If a function or command does not seem to work, try pausing the song.

Getting Started

2-3

The Now Time

Marker list Previous

marker

Next marker

Insert marker

View markers

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). During playback, the Now time increases in accordance with the progress of the song.

You can set the Now time of the song by clicking in the ruler in the Clips pane or (when playback is paused) by dragging the Now slider in the Transport toolbar.

While you are playing with the song, you may want to keep an eye on the Now time. The Big Time view displays the Now time in a large font so you can more easily see it from a distance. To open this view, choose View-Big Time. You can change the time format displayed in the Big Time window by clicking on it. You can change its font by right-clicking on it.

Starting from a Marker

Markers make it easier to Þnd certain points within the song. You may want to set markers at the beginning of each section of your song or at times with which some event must be synchronized. The Markers toolbar lets you move the Now time to a marker, add a new marker at the Now time, and edit the marker list. If you donÕt see the Marker toolbar, then choose View-Toolbars and check Markers.

2-4

The current song contains several markers. LetÕs try starting playback from the marker labeled C:

1. If the song is playing, pause playback by clicking the Stop button

2. In the drop-down list in the Markers toolbox, select the marker labeled C. The Now time moves to the start of measure 17.

3. Click the Play button .

For more information about markers, see ÒCreating and Using MarkersÓ on page 5-17.

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.

Looping Over the Entire Song

To control looping, use the tools in the Loop/Auto Shuttle toolbar. If you donÕt see this toolbar, choose View-Toolbars and check Loop.

Loop properties

Loop On/Off

From time

To loop over the entire song, do the following:

1. Click the Loop From time. The time display changes to an edit box with spin controls.

2. To loop over the entire song, the loop must start at 1:01:000. If the Loop From time is not already set to 1:01:000, use the keyboard or spin controls to enter this value.

3. Click the Loop Thru time.

4. Press F5 to open the Markers dialog box.

Thru time

Copy selection time

Getting Started

2-5

5. Select the marker named <End> and click OK. The Loop Thru time is set to the end of the song.

6. Click the Loop button to enable looping.

7. Click Play.

When looping is enabled, the time ruler displays special ßag markers that indicate the loop start and end times. You can drag these markers to change the loop start and end times.

Loop From Loop Thru

To turn looping off, click the Loop button again.

Looping Over a Section of the Song

Maybe you would like to practice one section of the song over and over. 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:

1. Click on the Loop From time.

2-6

2. Press F5 to open the Markers dialog box.

3. In the Markers dialog box, select marker C and click OK. The loop start time is set to the marker time.

4. Click on the Loop Thru time.

5. Press F5.

6. In the Markers dialog box, select marker D and click OK.

7. Click the Loop button to enable looping.

8. Click Rewind. The song rewinds to the Loop From time.

9. 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 to the Loop/Auto Shuttle toolbar.

Click here to select the portion of the song between markers C and D

Changing the Tempo

If the song is having trouble keeping up with you (or if you're having trouble keeping up with the song!), you can easily speed up or slow down the song. There are two ways to do this: you can change the tempo, or you can change the tempo ratio, which determines the tempo by multiplying it by a user-deÞned amount. The controls for either method are found on the Tempo toolbar. If you donÕt see this toolbar, choose View-Toolbars and check Tempo.

Tempo ratio 3

Insert tempo

Tempo

Tempo ratio 2

Tempo ratio 1

Setting the Tempo

LetÕs pick up the pace a little. Do the following:

1. With the song playing, click on the tempo. The tempo will be highlighted and spin controls will appear.

2. Use the spin controls to increase the tempo to 100 beats per minute.

3. Press Enter. The song will play a little faster.

Getting Started

2-7

Changing the Tempo with the Tempo Ratio Buttons

By default, the Tempo Ratio buttons let you play the song at half or double tempo. Try this:

1. Click the ﬁrst button . The song slows to half its normal tempo. Note that the actual song tempo (100.00) has not changed.

2. Click the third button . The song speeds to twice its normal tempo.

3. Click the middle button . The song returns to its normal tempo.

Setting the Tempo Ratios

Tempo ratios can be changed by Shift-clicking on them and entering a new number in the dialog box. By default, tempo ratios are set to 0.50,

1.00, and 2.00, respectively.

Advanced Tempo Control

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. For more information, see ÒChanging TemposÓ on page 5-26.

2-8

Tempo ratios affect the entire song, even if there are tempo changes. Pro Audio always multiplies the current tempo in the song by the tempo ratio to determine the playback tempo.

Muting and Soloing Tracks

Muting a Track

Frequently you will want to temporarily turn off one or more instruments in your ensemble. Pro Audio makes it easy to mute the parts you donÕt want to hear.

For example, suppose that you are practicing the piano part for this song and want to hear only the other instruments. LetÕs mute the piano part. With the song playing, do the following:

1. In the Track pane, click on the Mute button in the Piano track (track 1). The button turns yellow, and the piano part drops out of the song.

2. To turn the piano back on, click the Mute button again.

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:

1. In the T rack pane, click the track number (the leftmost column) of the Piano track. The track is selected.

2. While pressing Ctrl, click the track number in the Sax track. The Piano and Sax tracks are selected.

3. Choose

You can also mute or unmute tracks by using the pop-up menu:

1. In the Track pane, click the track number of the Piano track.

2. While pressing Ctrl, click the track number of the Sax track. The piano and sax are selected.

3. Right-click on either track to bring up the pop-up menu.

4. Choose tracks are unmuted. Y ou can also unmute all tracks by clicking the Mute indicator on the Status bar.

Track-Mute

Mute

. Both tracks are muted.

(which should have a check mark beside it). The

Playing a Track Solo

If you want to hear one track by itself, you could mute all other tracks. But thereÕs a quicker way to do itÑthe Solo button. For example, to play the drum part by itself, do the following:

1. Click the Solo button in the Drum track (track 5). Voila, a percussion solo!

2. To let the other instruments back into the song, click the Drum track's Solo button again.

Solo is not exclusiveÑyou can let as many instruments as you like into the solo. Note that the green SOLO indicator lights up in the status bar whenever a track is soloed.

Getting Started

2-9

LetÕs use a different method to solo all three percussion tracks:

1. In the Track pane, click the track number in the Drums track. The track is selected.

2. While pressing Shift, click the track numbers in the Shaker and Triangle tracks. All three percussion tracks are selected.

3. Choose

When you want to let the entire ensemble back into the song, click the Solo indicator on the Status bar to unsolo all the tracks, or select all soloed tracks and choose Track-Solo. As a third option, right-click, bring up the pop-up menu, and turn off the solo from there.

Note that Solo takes priority over Mute. If both buttons are selected in a track, the track will be played.

Track-Solo

Mute and Solo in the Console View

The Console view contains Mute and Solo buttons identical to those in the Track view. The two sets of buttons are synchronized. To see this, do the following:

1. In the Console view, mute the Bass, Sax, and Drums tracks.

2. Solo the Piano track.

3. In the Track view, check that the ﬁrst track is soloed and that tracks 2, 3, and 5 are muted. Click the selected Solo and Mute buttons to return the tracks to normal.

Changing a Track's Instrument

If your sound card is like most, its internal synthesizer is capable of producing at least 128 different instrument sounds, plus several dozen percussion sounds. Now you'll Þnd out how to get some of those other instruments into the act. LetÕs try changing the instrument playing the piano line.

2-10

Changing the Patch in the Track View

With the song playing, do the following:

1. Solo the Piano track so you can hear the piano part more clearly. To do this, click on the Solo button in the Piano track (track 1).

2. Right-click on any column (except Bank and Patch) in the Piano track to open the pop-up menu.

3. Choose

4. Find the Patch setting. This setting indicates which patch, or instrument, is used by this track. Right now, the Piano track uses the patch called Acoustic Grand Piano.

5. T o change the patch, select a new patch from the drop-down list. Pro Audio immediately starts playing the piano part with that new instrument.

6. Have fun trying all the different patches!

7. Click OK to keep the patch you have selected currently, or click Cancel to go back to the original patch.

Track Properties

to open the Track Properties dialog box.

8. Click the Solo button in track 1 again to unsolo the Piano track.

You can also change the patch by clicking in the Patch Þeld and using the + and Ð keys to increment through the different patches. To do so:

1. Solo the Piano track by clicking on the Solo button in track 1.

2. Click in the Patch ﬁeld in the Piano track, moving the highlight to that ﬁeld.

3. Press the + or – key on the numeric keypad.

4. Click the Solo button in track 1 again to unsolo the Piano track.

You may want to experiment with changing all the instruments used by the song. One thing you should know: Changing the instrument on a percussion track (such as the Drum, Shaker, and Triangle tracks in this song) may have no effect. Percussion instruments are played on MIDI

Getting Started

2-11

channel 10, which in General MIDI is dedicated to percussion. The note determines the instrument, and the patch is irrelevant.

Changing the Patch in the Console View

ItÕs easier to change a trackÕs patch in the Console view. For example, to change the Piano trackÕs patch, click the Patch button in the Piano module and choose a new patch from the menu.

Playing Music on a Keyboard

If you've connected a MIDI keyboard (or another instrument) to your external MIDI interface or the MIDI interface of your sound card, you can play one or more parts of the song on the keyboard instead of the sound cardÕs internal synthesizer. For instructions on connecting a keyboard to your computer, see ÒTo Connect a MIDI Keyboard to Your ComputerÉÓ on page 1-16. For this tutorial, we assume that you want to connect the keyboard to the 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.

1. Choose

2. In the Output Ports column, two devices should be selected. The ﬁrst should be your sound card synthesizer device; the second should be your MIDI out device. The uppermost selected device will correspond to Port 1, the second device to Port 2, and so on. For help with these settings, see “Setting Up Output Devices” on page 3-17.

3. Click OK.

Options-MIDI Devices

to open the MIDI Ports dialog box.

2-12

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:

1. In the Track view, right-click on any column in the Piano track (track 1) to open the pop-up menu.

2. Choose

3. For Port, select your MIDI out device.

4. Click OK.

Or, if you prefer, the procedure is a little easier in the Console view:

1. In the Console view, click the Port button in the Piano module.

2. Choose your MIDI out device from the menu.

If you donÕt hear anything on your keyboard, see Appendix A: Troubleshooting for some hints on troubleshooting.

Track Properties

to open the Track Properties dialog box.

Transposing

Sometimes itÕs useful to transpose, that is, to move the pitch of the song upward or downward. You may want to bring the song into someoneÕs vocal range, make the song easier to play along with on your instrument, or simply make an aesthetic adjustment.

LetÕs raise the pitch of the song by a Þfth. With the song playing, do the following:

1. In the Track pane, drag over the track numbers for tracks 1 through 4 to select them.

2. Choose

3. In the Transpose dialog box, enter 7 in the Amount box. You can type the number or use the spin controls.

Edit-Transpose

Getting Started

2-13

4. 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; see “Transposing” on page 6-9 for more information.

To undo your transposition, choose If you want to transpose to a lower key, do the same thing, except enter a negative number in the Transpose dialog’s Amount box. For example, to lower the pitch of the song by a ﬁfth, enter -7.

Note that you do not have to transpose entire tracks at one time; when you learn more about selecting smaller sections of music, you will be able to transpose individual clips, or parts of clips.

Edit-Undo

, or press Ctrl-Z.

Transposing Percussion

You may be wondering why we did not transpose the percussion tracks. As mentioned earlier, in General MIDI each note in the percussion channel is mapped to a particular percussion instrument: a snare, a kick drum, a cymbal, a triangle, and so on. Transposing the percussion tracks will not change the pitch of each note but rather will change the instrument used to play each note! This is not usually the desired effect, so in general you would not use the Transpose command on percussion tracks.

On the other hand, when a track contains events for only one percussion instrument (that is, all the notes are the same pitch), you can change the instrument by transposing the track. For example:

1. With the song playing, solo the Triangle track (track 7).

2-14

2. T o hear the triangle more clearly, click in the Triangle track's V el+ column and enter 127. This increases the velocities of the triangle notes, which increases their notes’ volume.

3. Press Enter.

4. Select the Triangle track by clicking on its track number.

5. Choose

6. In the Amount box, enter -25.

7. Click OK.

The triangle sound is replaced with the sound of a cow bell. To undo your transposition, choose

Edit-Transpose

to open the Transpose dialog box.

Edit-Undo

, or press Ctrl-Z.

Transposing with Key+

Another way to transpose a track is to use the Key+ column in the Track view. For example, letÕs raise the Sax track by an octave:

1. Click in the Sax track’s Key+ column.

2. Enter 12. This raises all notes in the track by 12 half-steps, or an octave.

3. Press Enter.

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. (They can also be used to perform destructive, or permanent, editing.)

For example, letÕs raise the Bass track by an octave too. In the Console view, do the following:

1. Right-click in the Bass track effects patch point (the empty box below the track name) and choose the menu. The Transpose effect is added to the track.

Cakewalk FX-T ranspose

from

2. Double-click the Transpose effect to open the Transpose dialog box.

3. In the Offset box, type 12. You can also use the pop-up slider below the box to set the offset value.

Getting Started

2-15

If the song is playing, youÕll immediately hear the change. You can use this technique to adjust your effects in real time.

To delete the Transpose effect, click on it and press Delete.

That completes the Þrst tutorial. In the next tutorial, youÕll learn to record MIDI and digital audio tracks into Pro Audio.

Tutorial 2—Recording MIDI and Digital Audio

This tutorial teaches you how to record with Pro Audio. YouÕll learn how to:

¥ Set up the metronome

¥ Record MIDI tracks

¥ Use loop recording

¥ Use punch recording

¥ 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.

2-16

Pro Audio lets you record two different types of data: MIDI and digital audio. If you have a MIDI instrument connected to the MIDI In port of your sound card or an external MIDI interface, youÕll probably want to record your performance as MIDI. Otherwise, youÕll need to hook your instrument, preamp, effects rack, mixer, or microphone to the appropriate audio input of your sound card and record your performance as digital audio. For information on how to connect your instrument to the computer, see ÒInstallation and SetupÓ on page 1-15.

Opening the Project File

If you havenÕt already done so, the Þrst thing you need to do is load the project Þle containing your bandÕs song.

1. Start Pro Audio.

2. Choose

File-Open

3. In the Open dialog box, select the ﬁle

4. Click the Open button.

Pro Audio loads the project and opens the Track and Console views.

tutorial1.wrk

Recording MIDI

LetÕs record a new MIDI track in the song. If you have no MIDI device to connect to your computer, you can use CakewalkÕs Virtual Piano (included with Pro Audio) as a MIDI source. For more information about this tool, see 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; it can use the PC speaker or a MIDI note; and it can accent the Þrst beat of each measure. It also quickly and accurately follows any tempo changes that happen in the song.

You can set up the metronome with the Metronome toolbar. If you donÕt see the Metronome toolbar, choose View-Toolbars and select Metronome.

Accent ﬁrst beat Use PC speaker

Metronome settings

Measures

Count-in

LetÕs set up the metronome to play two count-in measures on the PC speaker when recording. Here's what to do:

1. In the Metronome toolbar, click in the Count-in box.

2. Use the spin control to set the count-in value to 2.

3. Select the Count-in Measures option .

4. Deselect the Metronome During Record option .

5. Select the Use PC Speaker option .

Beats

Metronome during record

Metronome during playback

Use MIDI note

Getting Started

2-17

6. Deselect the Use MIDI Metronome option . By disabling the Metronome During Record option, you cause the

metronome to turn off after the count-in measures. If you would prefer to hear the metronome during the entire song while recording, enable this option instead. 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.

1. Choose

2. In the Input Ports column, select your sound card's MIDI In device or the MIDI In for your external MIDI interface. (If you will be using the Virtual Piano, select the Virtual Piano device as well.) For help with these settings, see “Setting Up the MIDI In and MIDI Out Devices” on page C-15.

3. Click OK.

Options-MIDI Devices

to open the MIDI Ports dialog box.

Setting Up Playback

During recording, Pro Audio will play the rest of the song as usual. Depending on what instrumental part of the song you are going to record, you may want to mute one or more tracks, or solo certain tracks. For example, if you are going to record a new piano part, you might want to mute track 1 so that you're not competing with the old piano part while recording. To mute any track, click the track's Mute button .

2-18

You can also set other playback options, such as the Tempo ratio, to make your recording session easier.

Recording MIDI

Now you'll record a new track in the song. Do the following:

1. Make sure your instrument is turned on and set up to transmit MIDI data.

2. Double-click the Name column in track 8 and type a name for your new track.

3. Make sure the Source column in track 8 is MIDI Omni. If it isn’t, double-click the Source column and set the Source in the Track Properties dialog box to MIDI Omni.

4. In track 8, click the Arm button .

5. On the Transport toolbar, click Record , or press R.

Y ou'll hear two measures counted in by the metronome, then playback and recording will begin. Go ahead and start playing!

When you ﬁnish recording, click the Stop button , or press the space bar. If you've played any notes, a new clip will appear in the Clips pane in track 8. If no new clip appears, see “I Can’t Record from My MIDI Instrument” on page A-2 for some troubleshooting hints.

Listening to the Recording

LetÕs play back your performance on your sound card. For an added dimension, weÕll open a few other views in the process. Do the following:

1. Double-click in the Source, Port, Channel, or Patch column in track 8 to open the Track Properties dialog box.

2. For Port, select your sound card’s MIDI synthesizer.

3. For Channel, select an unused channel, such as 7.

4. For Patch, select any instrument.

5. Click OK.

6. Choose

7. Choose

8. Choose

9. Choose

10. To return to the start of the song, click the Rewind button .

11. Click Play .

View-Piano Roll View-Staff View-Event List Window-Tile in Rows

to open the Piano Roll view.

to open the Staff view.

to open the Event List view.

to tile the views.

Getting Started

2-19

ItÕs almost as easy to listen to your performance on your MIDI instrument. For instructions on how to play a track on a MIDI keyboard, refer to tutorial 1.

The Piano Roll, Staff, and Event List views all show the same basic informationÑthe notes in track 8. The Piano Roll view displays the track as a player-piano roll. The Staff view shows notes in traditional music notation. The Event List view lists all MIDI events for the track. When you need to edit a track, you can work in any of these views. On different occasions you may have reason to use different views. More information about the Piano Roll, Staff, and Event List views can be found in later chapters of the UserÕs Guide.

When you're ready to continue, close the Piano Roll, Staff, and Event List views.

Recording Another Take

Maybe your Þrst attempt at recording resulted in a perfect performance, but maybe not. If you'd like to remove your Þrst take and try again, do the following:

1. Choose recording.

2. Click Rewind , or press W. The track is still armed for recording, so you don't need to re-arm it.

3. Click Record , or press R.

Alternatively, you could record your next attempt on a new track. That way you can keep all the takes and select the best one later (or combine the best parts of each!). If you record on a new track, be sure to arm the new track for recording and to disarm the previous track. See ÒLoop RecordingÓ on page 2-21 for more information.

Edit-Undo Recording

or press Ctrl-Z to undo your

Fine T uning

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). Quantize lets you select full or partial rounding, and it even lets you distort the timing into a ÒswingÓ beat. For more information on Quantize and other related commands, see ÒChanging the Timing of a RecordingÓ on page 6-15.

2-20

Saving Your Work

When you have something youÕd like to keep, you can save the project by doing the following:

1. Choose

2. In the File Name box, type a new ﬁle name, such as

3. Click OK. The project is saved under the new name. From now on, you can click

the Save button to save your work.

File-Save As

my project

Loop Recording

If you'd like to record several takes successively, you can set up Pro 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.

Let's try recording a few takes of the section between markers A and B, placing each take in a new track.

Setting Up Looping

First, let's set up Pro Audio to loop over the section between markers A and B:

1. In the Clips pane, click in the ruler between markers A and B. This selects the range of time from marker A to marker B.

2. In the Loop/Auto Shuttle toolbar, click to set the Loop From and Loop Thru times.

When you click , looping is turned on automatically.

Setting Up the Tracks

Now let's set up the Þrst of the tracks where the takes will be stored:

1. In track 9 (or the ﬁrst available empty track), double-click the Name column and name the track.

2. Click the Arm button.

Getting Started

2-21

3. Double-click in the Source, Port, Channel, or Patch column to open the Track Properties dialog box.

4. Set the Source to MIDI Omni.

5. Set the Port to your sound card's MIDI synthesizer.

6. Set the Channel to an unused channel or to the channel you used for your earlier take(s).

7. For Patch, select any patch.

8. Click OK.

As usual, you could set the tracks to play back on your MIDI instrument instead by specifying the appropriate port and channel.

Loop Recording

Finally, let's record our takes:

1. Choose dialog box.

2. Choose the Store Takes in Separate Tracks option to store each new take in a separate track. Each time a new take starts, the settings from the ﬁrst track will be copied to the new track.

3. Click OK.

4. Click Rewind .

5. 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-Record Options

Realtime-Reject Loop Take

to display the Record Options

2-22

To stop recording, click Stop , or press the space bar.

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. Then, you arm the track and start recording. You can play along with the original take to get the rhythm and feeling. However, nothing will be recorded until the punch start time. During the punch, the material already in the track will be replaced with what you record. When the punch ends, the song will continue to play, but recording will stop.

Let's try it. Suppose you want to replace measures 5 and 6 in the take in track 8.

1. Display the Record toolbar by choosing

Step record

Punch In Time

2. In the Record toolbar, click on the Punch In Time.

3. Type 5 and press Enter.

4. Click on the Punch Out Time.

5. Type 7 and press Enter.

6. Select Auto Punch from the Record Mode drop-down list.

7. Arm track 8 and disarm any other tracks that are armed.

8. If you like, you can mute the tracks containing your other takes, or even solo track 8.

Punch Out Time

Record mode

Click here to set punch times to the selection start and end times

View-Toolbars-Record.

Click to open the Record Options dialog box

9. If looping is still on, click the Loop button to turn it off.

10. Click Rewind .

Getting Started

2-23

11. Click Record . Play along until you are past the punch end time, then click Stop .

Replay your take to hear the difference. If it's still not right, try again! An alternative method is to select measures 5 and 7 by dragging in the

time ruler. Then right-click the time ruler and choose You can combine loop recording with punch recording; see “Punch

Recording” on page 4-22 for details.

When Auto Punch is enabled, the time ruler displays special markers that indicate the punch in and punch out times. You can drag these markers to change the punch in and punch out times.

Punch In Punch Out

Set Punch Points

Recording Digital Audio

If your instrument is not MIDI-compatible, you must record your solo as digital audio data. To record digital audio, you need some sort of device hooked up to your sound card's line or mic inputÑan electric guitar, a preamp, a mixer, and so on. If nothing else, try playing or singing into a microphone!

2-24

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.

1. Choose

2. Click the General tab.

3. Select a Default Sampling Rate. For CD-quality sound, use 44100 Hz.

4. Click OK.

Lower sampling rates will save disk space but will result in lowerquality audio. Before embarking on any major project, try sampling at different rates to determine which one best suits your needs.

Options-Audio

Setting Up an Audio Track

LetÕs set up a track for digital audio.

1. In the Track pane, in the ﬁrst available empty track, double-click the Name column and enter a name for your new track.

2. Double-click in the Source column and set the Source in the T rack Properties dialog box to your sound card’s audio input.

Checking the Input Levels

Here's how to check the audio input levels:

1. Open the Console view and click the Arm button in your new audio track. An audio meter will appear next to the track's volume fader.

2. Perform as you would during recording. Watch the meters respond to the sounds you produce.

3. If the meters never come even close to the maximum, increase the input level using the Windows mixer or your sound card’s software mixer.

4. If the meters even occasionally reach the maximum, decrease the input level using the Windows mixer or your sound card’s software mixer.

The idea is to try to get the input level to rise as high as possible, but without ever reaching the maximum. That way, you get the strongest possible signal without distortion.

If you don't see any movement of the audio meters, you may have an audio input problem. Refer to “I Can’t Record Any Audio” on page A-4 for troubleshooting hints.

Getting Started

2-25

Recording Digital Audio

It's time to record!

1. 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.

2. Mute any tracks you don't want to hear while recording, or solo the tracks you do want to hear.

3. The track is already armed for recording.

4. In the Transport toolbar, click Record .

Y ou’ll hear two measures counted in by the metronome, then playback and recording will begin. Go ahead and perform!

When you ﬁnish recording, click the Stop button , or press the space bar. A new clip will appear in the Clips pane. If no new clip appears, see “I Can’t Record Any Audio” on page A-4 for some troubleshooting hints.

Listening to the Recording

Let's play back your performance. Do the following:

1. Double-click in the Source, Port, Channel, or Patch column in the new track to open the Track Properties dialog box.

2-26

2. For Port, select your sound card's audio output device.

3. Click OK.

4. To return to the start of the song, click the Rewind button .

5. Click Play .

Recording Another Take

If you'd like to delete your performance and try again, do the following:

1. Choose Ctrl-Z (Undo).

2. Click Rewind or press W.

3. The track is still armed for recording, so you don't need to re-arm it.

4. Click Record .

Alternatively, you could record your next attempt on a new track.

Edit-Undo Recording

to undo your recording, or press

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.

Recording Multiple Channels

If you can gather the entire band around your computer, and if you have the proper equipment, you can record a full multiple-instrument performance all at once. If you have several MIDI instruments, you can route their input into your sound card through a MIDI merger; data that arrives on different MIDI channels can be routed to different tracks. Likewise, a typical sound card can record audio on both right and left channels; each can be recorded on a different track. Multiple sound cards and multi-I/O sound cards can expand the number of possible inputs. For more information, see ÒAudio System ConÞgurationÓ on page 13-2.

That completes the second tutorial. Now youÕve learned the basics of playing and recording material for your projects. In the next tutorial you'll learn about basic audio editing techniques, audio effects, and mixing with the Console view.

2-27

Getting Started

Tutorial 3—Audio Editing and Mixing

The third tutorial teaches you how to edit digital audio and apply audio effects. You'll learn how to:

¥ Stretch or compress music to Þt a certain period of time

¥ Edit and rearrange audio data

¥ Apply effects to audio data

¥ 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. Your task is to Þnish the radio spot.

Opening the Project File

First, letÕs load and play the project Þle from your client. Do the following:

2-28

1. Start Pro Audio.

2. Choose

3. In the Open dialog box, select the ﬁle

4. Click the Open button.

5. Click Play .

The project contains several tracks. Tracks 1 through 6 are MIDI tracks that have an edited version of ÒBoston Rain,Ó which weÕll use as background music for the radio spot.

File-Open

radiospot.bun

The Plan

LetÕs talk about what you need to do to transform this into a 20-second radio spot.

Music

Your client likes the edited version of ÒBoston RainÓ as background music, but it is too long for the 20-second spot. There are two choices: You could fade the volume as you approach the 20-second mark, or you could speed the music to stretch it. In this tutorial, we'll use the second option.

Script

Your client has supplied the following script:

Music... Announcer...

Edited “Boston Rain” From Cakewalk, makers of the world’s

number-one-selling music and sound software, comes Pro Audio Version 9— the most powerful release yet for 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

Getting Started

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. It is usually advantageous when compressing or stretching music to change the tempo rather than the notes, because this will keep the relationship of notes to measures intact and let you edit the music more easily later. In the present case we'll change the tempo

Do the following:

1. In the Track view, select the area between the markers labeled Start and End.

2. Select all the MIDI tracks (1 through 6), by dragging over the track numbers.

3. Choose

4. For New Thru, enter 00:00:20:00. If this ﬁeld is displayed as Measures:Beats:Ticks, click the Format button.

5. For Modify by Changing, select Tempo Map.

6. Click OK.

Play the project again and note the difference. Y ou'll see that the tempo in the Tempo toolbar has changed from the original 90.00 beats per minute to 95.97. You could have entered this number directly, bypassing the Fit to Time dialog box, but you probably would have had to experiment with different numbers until the MIDI tracks ended up at just the right length. Fit to Time calculated the correct tempo value for you.

Edit-Fit to Time

to open the Fit to Time dialog box.

2-30

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:

1. Choose

2. In the File Name box, type an unused ﬁle name, such as My RadioSpot.

3. For Save as Type, select Normal.

4. Click OK.

The project is saved under the new name. From now on, you can click the Save button to save your work.

File-Save As

Adding the Announcer

Your next task is to record the announcer track. The procedure is similar to the one we used in the last tutorial, but you don't need to set the sampling rate (because it is already set) and you don't need to turn on the metronome (the music will give you timing cues for the beginning and ending of the spot).

To record the announcer track, you'll need a microphone. For help with connecting a microphone to your computer, see ÒTo Connect a Microphone to Your ComputerÉÓ on page 1-16.

Setting Up the Announcer Track

LetÕs create a new track for the announcer.

1. In the Track view, select track 1 by clicking the track number.

2. Right-click the track number and choose pop-up menu to insert a new track.

3. Double-click the Name column and type Announcer for the name of the new track.

4. Double-click in the Source column to open the Track Properties dialog box.

5. Set the Source to your sound card's audio input.

6. For Port, select your sound card's audio output.

7. Click OK.

Insert Track

from the

Getting Started

2-31

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. You can do this by using the Console view, as we did in the previous tutorial. Please refer to that section if you need to know how to do this.

Recording

Let's record the announcer track.

1. Make sure that the Announcer track is armed for recording.

2. In the Transport toolbar, click Rewind , then click Record .

3. Read the script, with feeling. When you ﬁnish recording, click the Stop button , or press the

space bar. A new clip will appear in track 1 in the Clips pane. Play back what you’ve recorded and see how it sounds! If you don’t

like the results, choose again. It’s okay if the announcer’s voice over doesn’t ﬁt exactly… because we will be editing it to make it shorter soon.

When you have a recording you like, remember to disarm track 1 and save your work.

Edit-Undo Recording

(or press Ctrl-Z) and try

2-32

Trimming the Announcer

Our next task is to edit the announcer segment to make it Þt within the 20 seconds. There are two parts to this. First, we'll trim the beginning of the audio and move the entire voice-over so that it starts at the beginning. Then, we'll remove the pauses or breaths and slide the segments around in time until they Þt.

Opening the Audio View

We'll perform our editing work in the Audio view. To set up the Audio view, do the following:

1. Solo the Announcer track, so you don’t hear the music while you edit.

2. Select the Announcer track by clicking on the track number (track

1).

3. Choose track 1 is displayed.

4. If selected, deselect the snap grid .

5. 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. This prevents unwanted pops and clicks resulting from any edits.

6. Click the H:M:S:F button to display the ruler in SMPTE time.

7. Click and drag the horizontal and vertical zoom controls as necessary to zoom out and in on the waveform.

View-Audio

to open the Audio view. The audio data in

Horizontal zoom control

Vertical zoom control

Trimming the Beginning of the Announcer

Now weÕll see how to trim the beginning of the announcerÕs read. This will eliminate any unwanted silence at the beginning. Do the following:

1. In the Audio view, select the Scrub tool .

2. Drag the horizontal zoom control until you can see enough of the audio event to identify the three separate sections.

3. Drag through the audio events near the beginning of the voiceover to hear them. Let go when you have reached the point directly before the ﬁrst word.

4. Right-click on the event and choose

5. Click OK in the dialog box that appears. The event has now been split into two events, each of which has

the same name. The ﬁrst portion, which should only be silence, is currently selected.

Split

from the pop-up menu.

Getting Started

2-33

6. Right-click on the ﬁrst portion of the audio event (the one that is only silence) and choose

7. 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.

8. Click OK.

The silence that existed before the announcer is now gone, and now we can move the remaining piece of voice-over so that it begins right at the start of the spot.

1. Select the Selection tool and then click on the announcer’s audio event.

2. While holding down the mouse button, drag the event so that it starts closer to the beginning of the music. Let go of the mouse button.

3. In the dialog box that opens, choose the Replace Old with New option and click OK.

4. Rewind to the beginning of the project and hit play. Listen to where the voice-over begins. If you need to move it earlier, follow steps 1 through 3 again.

Delete

from the pop-up menu.

2-34

Renaming Audio Events

Now that weÕve got the announcer starting in the right place, letÕs rename that audio event:

1. Right-click on the announcer audio event.

2. Choose

3. In the Name ﬁeld, enter the name Edited V/O.

Event Properties

from the pop-up menu.

4. 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. This will allow us to Þt the entire read into the allotted time. To do so, we will split the audio and delete the silence in the same way that we trimmed the preceding event.

1. In the Audio view, choose the Scrub tool .

2. Find the beginning of the silence by clicking and dragging the mouse over the waveform.

3. Right-click and choose

4. Click OK in the dialog box.

5. Find the end of the silence.

6. Right-click and choose

7. Click OK in the dialog box.

8. Right-click on the newly deﬁned event, which is comprised entirely of silence.

9. Choose Events in tracks is selected.

10. Click OK.

11. Repeat this procedure so that all silence has been deleted.

The silence has been deleted, so now we should move the audio that followed it.

1. Click on the middle section of voice-over and drag it earlier in the track so that a more natural pause exists between the two sections.

Delete

from the pop-up menu and make sure that only

Split

2. Release the mouse button.

Getting Started

2-35

3. In the dialog box that appears, choose Blend Old with New or Replace Old with New, then click OK.

4. Listen to the read. If the pause seems natural, do the same to the last section. If not, try moving the middle section until the pause is correct.

Combining Audio Events

After you have moved the audio around and Þnished tightening pauses, you may want to have a single, continuous audio event instead of three separate ones. To do this:

1. Select all the events by holding Shift while clicking on each.

2. Right-click on any of the events and select pop-up menu. The events will combine into a single audio event.

If you overlapped any of the events when you moved them, you will be presented with a dialog box asking how to treat the overlapping parts. For more on this, see “Moving and Copying Clips” on page 5-9.

Combine

from the

Making It Fit

Now that weÕve edited the announcer clip, letÕs see if it Þts in our allotted time. Unsolo the announcer track and press Play. Does it Þt? If so, move to the next section. If not, youÕll have to use the Fit to Time edit on the audio. To do so:

1. From the Track view, select the announcer clip by clicking on it.

2. Choose

3. In the dialog box that appears, set the New Thru time to 00:00:20:00 and make sure that the box next to Stretch Audio is checked.

4. Click OK. Pro Audio processes the audio so that it runs faster while keeping the same pitch (also known as time compression).

5. Click Play and listen to the spot. The announcer should now ﬁt in the 20 seconds of the music.

Edit-Fit to Time

2-36

If the announcer’s clip still doesn’t ﬁt, you could remove the middle section, but that’s cheating.

You should save your ﬁle again now.

Mixing the Radio Spot

Now letÕs go to the Console view and Þnish the project. WeÕll apply realtime audio effects to the announcer track, then automate the faders in real time.

Preparing the Console

Before starting, let's make sure that the Console view is set up correctly.

1. If the Console view is not open, choose

2. Click the Module Manager button to open the Module Manager dialog box.

3. Make sure all options are selected and click OK.

View-Console

Applying Real-Time Audio Effects

It's quite simple to apply real-time effects to a track. Let's add a small amount of equalization to the announcer track.

1. In the announcer track’s effects patch point (the area just under the track name), right-click and choose The effect is added to the track.

2. Double-click the effect to display the settings.

3. Make sure that the Band is set to 1.

4. Adjust the Center Frequency knob to around 2500 Hz.

5. Adjust the Q to 6.

6. Adjust the Gain to +3.6 dB.

7. Change the Band to 2.

Cakewalk-FX EQ (Stereo)

8. Adjust the Center Frequency knob to around 7500 Hz.

9. Adjust the Q to 6.

10. Adjust the Gain to +3.6 dB.

Play the project to hear what it sounds like. You can continue to adjust the effect while the project plays; there is a slight delay before your adjustments are audible.

At this point, we are nearly Þnished; all that's left is to balance the mix.

Getting Started

2-37

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. And, on MIDI tracks, you can control the Chorus and Reverb and change patches Òon the ßy.Ó Try it now! To learn more about how to use the controls in the Console view, see Chapter 9, Mixing and Effects Patching.

Grouping Controls

To assist in manipulating the controls, you can tie faders to one another. For example, if you want to increase the volume level on three tracks, you can assign them to a group. Then, when you move one volume fader, you move them all. You can even have the controls move in opposite directions For example, you can fade one track in and another out.

To group faders:

1. Right-click on the fader for track 2 (Piano).

2. In the pop-up menu, choose down list. This assigns the fader to group A.

3. Repeat this for all the MIDI tracks.

Now you’ve grouped all the MIDI track faders. When you move one fader, all of the others follow. If you want to move a single fader independently of the others, hold the Ctrl key while moving the fader. For more on creating and using control groups, see “Using Control Groups” on page 9-19.

Group

and select A from the drop-

Automating Your Mix

Finally, you can record the movements and settings of the mix or automate them. To do so:

1. Rewind to the beginning of the project.

2. Move the faders, pans, and any other controls to the initial settings you desire. You should set up a good balance between voice and music.

3. Enable automation recording by clicking on the Record Automation button .

4. Begin playback, and move the faders as needed so that the balance between voice-over and music is maintained throughout the spot. If you want, adjust the pan controls, too.

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Near the end of the spot, you may want to fade the music out. To do this:

1. Grab any of the faders for the MIDI tracks and pull it down. Because the faders are grouped, all will lower.

YouÕve now automated your radio spot. Now letÕs listen to it again and watch the faders move automatically:

1. Rewind to the beginning.

2. To make sure the faders always show their current value, select the Update option .

3. Press Play.

Y ou’ll see the faders move just the way they moved when you recorded their movements. When you’re done tweaking the mix, disable the Record Automation button.

For more information about automation and the Console view, see “Recording Automation Data” on page 9-25.

Saving the Project

If youÕve been good, you've been saving your work all along. So far, though, youÕve been saving the project as a normal Pro Audio project Þle (with the extension .wrk). The normal Pro Audio Þle contains all the projectÕs musical data, as well as screen layout and other project information. However, this Þle does not contain the projectÕs digital audio data, which is managed automatically by Pro Audio and stored in a different location. By managing the digital audio data, Pro Audio is able to store the data more efÞciently and save disk space. 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. Here are two ways to do it.

Saving the Project as a Bundle File

A Bundle Þle (with the extension .bun) is similar to a normal project Þle, but it also contains the project's digital audio data. Bundle Þles must be opened and played with Pro Audio. To save the project as a Bundle Þle, do the following:

1. Choose

2. Choose Cakewalk Bundle from the Save as Type list.

File-Save As

Getting Started

2-39

3. Enter a ﬁle name in the File Name box.

4. 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:

¥ Keep reading. Chapters 3 through 9 cover the core features of Pro

Audio in a lot more detail than youÕve seen here.

¥ Learn by trying. Now that youÕve covered the basics, thereÕs a lot you

can learn simply by experimenting with the software. Go ahead and try it out. You can always use Undo if you make a mistake.

¥ Use the on-line help. If you need information on a particular topic,

look in the on-line help (either the contents or the index) to Þnd the information you need. See your Quick Start card for speciÞc information about the on-line help. Or, simply look in the index of this UserÕs Guide.

2-40

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.

Playback

In This Chapter

The “Now Time” and How to Use It . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Track-by-Track Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Changing Track Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Video Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

The current time in hours, minutes, seconds, and frames

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 measure, beat, and tick number (MBT) identiÞes the Now time in musical time units. Ticks are subdivisions of quarter notes and indicate the timebase of the song. For more information about the timebase, see ÒSetting the MIDI Timing ResolutionÓ on page 4-8.

Here are some examples of times expressed in measure, beat, and tick (MBT) format:

Time... What it means...

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1:01:000 First beat of the ﬁrst measure

9:04:000 Fourth beat of the ninth measure

4:02:060 The 60th tick of the second beat of the

fourth measure

The second time format is commonly referred to as the SMPTE time. SMPTE is the acronym for the Society of Motion Picture and Television Engineers. In this format, time is measured in hours, minutes, seconds, and frames. ItÕs not necessary for a project to begin at time zero in this formatÑany arbitrary time can be used to represent the start of a project. For more information, Chapter 15, Synchronizing Your Gear.

Here are some examples of times expressed in this format (assuming that zero is the start time):

Time... What it means...

00:00:00:00 The beginning of the project

00:05:10:00 Five minutes and ten seconds from the

beginning of the project

01:30:00:00 One hour and thirty minutes into the

project

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

• Click on the Now time in the large Transport toolbar, enter the desired time, and press Enter

Playback

• Choose

Go-Time

or press F5, enter the desired time, and click OK

• Click on an event in the Event List view

When entering a time in MBT format, the beat and tick values are optional. You can use a colon, space, or vertical bar to separate the parts of the Now time:

You enter… The Now time is set to…

2 2:00:000

2|1 2:01:000

4 2 0 4:02:000

9:1 9:01:000

5|1:30 5:01:030

3-3

When entering a time in SMPTE format, you can enter a single number (hour), two numbers (hour and minutes), three numbers (hour, minutes, and seconds), or all four numbers.

If you click in the time ruler while the snap grid is enabled, the Now time will be snapped to the nearest point in the grid. By setting the grid size to a whole note or quarter note, you can easily set the Now time to a measure or beat boundary.

You can also use the buttons and the scroll bar in the Transport toolbar to adjust the time, as shown here:

Click to back up one measure

Click to jump to the beginning

Drag to any desired position

Click to move ahead one measure

Click to jump to the end

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. HereÕs how:

To Display the Big Time View…

1. Choose

2. Change the settings according to the table:

To do this… Do this…

View-Big Time

to display the Big Time view.

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Switch time format Click on the view to toggle between

MBT and SMPTE time

Change font or color Right-click on the view, choose the

font and color you want, and click OK

Change the size of the view Drag any corner of the view to

change its size

Note that Pro Audio ignores font styles and effects such as strikeout and underline.

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

Go-From

Go-Thru

Go-Beginning

Go-End

Go-Previous Measure

Go-Next Measure

F5 Lets you enter the Now time in

the Position toolbar or in a dialog box

F7 Sets the Now time to the From

time (the start time of the current selection)

F8 Sets the Now time to the Thru

time (the end time of the current selection)

Ctrl-Home Sets the Now time to the

beginning of the project

Ctrl-End Sets the Now time to the end of

the project

Ctrl-PgUp Sets the Now time to the start of

the previous measure

Ctrl-PgDn Sets the Now time to the start of

the next measure

If your project has markers, you can use the Marker toolbar to set the Now time:

Playback

To do this… Do this…

Skip to the next marker Click on the Markers toolbar (or press

Ctrl-Shift-PgDn)

Skip to the previous marker Click on the Markers toolbar (or press

Ctrl-Shift-PgUp)

Jump to any marker Choose the marker name from the list in

the Markers toolbar, or press F5 when typing a Now time in the Transport toolbar

For more information about markers, see ÒCreating and Using MarkersÓ on page 5-17.

3-5

Controlling Playback

Controlling playback is very simple, and you have your choice of tools, menu commands, and shortcut keys for most common operations.

When you start playback, the Now time updates continuously to show the current time. When you stop playback, the Now time stops at the time you stopped. When you start playback again, it continues from the same point.

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.

To Start and Stop Playback…

To do this… Do this…

Start playback Press the spacebar, click , or

choose

Realtime-Play

Stop playback Press the spacebar, click , or

choose

Realtime-Stop

Rewind to the start of the project

Skip to the end of the project Click

Click , press the W key, or choose

Realtime-Rewind

Handling Stuck Notes

Under MIDI, the events that turn notes on are separate from the events that stop notes from playing. Normally, when you stop playback, Pro Audio attempts to turn off all notes that are still playing. Depending on how your equipment is conÞgured, itÕs possible for notes to get stuck in the ÒonÓ position. The Realtime-Reset command is used to stop all notes from playing.

Note:

You can control the MIDI messages that are sent by the RealtimeReset command. See Appendix E: Initialization Files for more

information.

3-6

To Clear Stuck Notes…

1. Choose toolbar.

Realtime-Reset

, or click on the Large Transport

Loops

Sometimes you want to listen to one portion of a project over and over, either so you can play along and rehearse or because you want to edit that section of the project while it is playing and hear the results as you make changes. Pro Audio has a playback loop feature that makes this simple.

Loops are deÞned in the Loop/Auto Shuttle toolbar, as shown here:

Click to turn looping on or off

Loop From time

To set up a loop, you do three things:

¥ Set the start time of the loop

Loop Thru time

Click to copy the selection (From and Thru) times

Click to open the Loop/Auto Shuttle dialog box

Playback

¥ Set the end time of the loop

¥ 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.

Loop From Loop Thru

3-7

The Loop/Auto Shuttle dialog box contains three additional settings that affect the details of how looping operates:

Option... How it works...

Rewind to start time on stop Whenever you stop playback for any

reason, Pro Audio rewinds immediately to the start of the loop (this option is off by default)

Stop at the end time Playback does not proceed beyond the

end of the loop

Loop continuously When playback reaches the end of the

loop and rewinds to the start, playback continues automatically (this option is on by default)

With the default option settings, Pro Audio will play the loop over and over again, continuously. 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.

The Rewind command operates slightly differently when looping is in effect. The Þrst time you rewind, the Now time is set to the start of the loop. If the Now time is already at the start of the loop, Rewind takes you to the beginning of the project. From then on, Rewind switches back and forth between the loop start time and the start of measure 1.

3-8

To Set Up a Playback Loop…

1. 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

• Click between two markers in 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

• Type the loop start and end times directly into the toolbar

• Select a range of times, then right-click in the time ruler and

choose unnecessary)

2. Click to turn looping on.

Set Loop Points

(this method makes step 2

To Change the Loop Settings…

1. Click , or choose the Loop/Auto Shuttle dialog box.

2. Check the options you want to use.

3. Click OK.

Realtime-Loop and Auto Shuttle

To Cancel a Playback Loop…

1. Click on the toolbar to disable looping.

Playback

to display

3-9

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

Mute The track is not played, but you can turn

it on while playback is in progress

Archive The track is not played, and you must

stop playback to re-enable it. Archived tracks do not tax your CPU during playback so they can be used to store alternate takes.

Solo Only those tracks that are designated as

solo tracks are played; all others are muted

While playback is in progress, you can mute and unmute tracks in any combination, which means you can hear only the tracks that you want. You can change the status of a track in the Track view or in the Console view or by using commands on the Track menu.

3-10

The status of each track is shown in the Track and Console views:

Archived track

Normal track

Muted track

Solo track

Normal track

Muted track

Playback

Solo trackArchived 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 T racks

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. If you have lots of muted tracks, this can place a heavy load on your

3-11

computer. Archived tracks, on the other hand, donÕt place any load on your computer. Therefore, if there are tracks you want to keep but donÕt need to play, you should archive them instead. Archived tracks are indicated by the letter A in the Mute button that is displayed in the Track and Console views.

When you mute or unmute a track while playback is in progress, there may be a slight delay before you hear the effect of the change. This is to be expected and does not indicate a hardware or software problem.

To Mute or Unmute Tracks…

• To mute or unmute a track, click the Mute button in the Track or Console view

• To mute or unmute several tracks at once, select the tracks and choose

Mute

Track-Mute

or use the Solo toolbar or Status bar to unmute all tracks.

, or select the tracks, right-click, and choose

To Archive or Unarchive Tracks…

1. Select one or more tracks in the Track view.

2. Choose menu to toggle the archive status of the selected tracks or use the Solo toolbar or Status bar to unmute all tracks.

Track-Archive

, or right-click and choose

Cakewalk Pro Audio 9 User's Guide

Specifications and Main Features

Frequently Asked Questions

User Manual