Cakewalk® Home Studio™ 7
(for Windows 95/NT 4.0)
README.RTF
Copyright © 1991-1998 by Twelve Tone Systems, Inc.  All rights reserved.
Cakewalk is a registered trademark, and Cakewalk Home Studio
is a trademark of  Twelve Tone Systems, Inc.

This file contains supplemental information on Cakewalk® Home Studio™, Version 7.  It was prepared on May 15, 1998.

Contents

User’s Guide Corrections & Clarifications	
Stereo Effects Sends	
Audio Data “Queue” Buffers	
Gain Mapping for Quadratic Velocity Taper	
Console View and Aux Sends	
Enable Read and Write Caching	
Real-time Effects and Processor Speed	
Managing Chord Libraries	
Panic (Reset) Strength	
Lyrics View and Special Keys	
Sample StudioWare™ Panels	
Hardware Notes	
Limitations of Early Sound Blaster Cards	
AWE Wave Synth and Audio Output	
MIDI Time Piece tips and tricks	
Gravis UltraSound	
Instrument Definitions	
Upgrading from an earlier version	
Roland SR-JV80 series expansion boards	
QTools/AX Frequently Asked Questions (FAQ)	
Acknowledgments	
Instrument definitions	
Dump Request Macros	

User’s Guide Corrections & Clarifications
This section of the Readme.rtf file contains corrections and clarifications to the Home Studio 7 User’s Guide.

Stereo Effects Sends
Effects sends in the Console view are stereo. A new TTSAUDDX.INI variable controls whether send pan is independently controllable, or whether it always follows the track's pan:

[Wave]
LinkSendPan=<1 or 0, default=1>

When LinkSendPan=0, you can use MIDI controller 94 to control the pan going out to the effects send. This controller is sent on its own MIDI channel in the same way that controllers 91, 92, and 93 are for other effects loop functions.

When LinkSendPan=1, the pan going out to every effects loop will always be the same as the track's pan. LinkSendPan=1 is the default setting because it creates the least amount of work for you; if you want to run a stereo effect on a stereo pair of tracks, all you need to set are the effects send and return levels.

Note: If the first effect in a loop doesn't support stereo input, then all pan settings are ignored, and the send falls back to mono format.

Audio Data “Queue” Buffers

Some DirectX plug-ins maintain a "queue" of audio data buffers while they are processing, and do not produce any audio output buffers until several input buffers have been received.  For Home Studio to handle this situation properly, we need to create extra buffers to make up for the ones being queued by the plug-in.  This TTSAUDDX.INI variable controls how many extra buffers we create:

[Wave]
ExtraStreamBufs=<n, default=4>

Gain Mapping for Quadratic Velocity Taper

DirectShow Audio Engine:

The Quadratic Velocity Taper has been tweaked so that 0dB is predictably at 103.  This makes volume levels compatible with Home Studio 6.0, and simplifies snap to zero in the Console view.

Using the quadratic taper, the gain mapping is now as follows:

	fGain = (nVel / 103) ^ 2, if nVel <= 103.  This means 0dB is when nVel=103.
	fGain = (nVal / 103) ^ 6, if nVel > 103.  This gives a maximum gain of +10dB.

Console View and Aux Sends

The Console view supports a special CAKEWALK.INI setting:

[Console View]
TileConsoleAuxSends=<1 or 0, default=1>

When set to 0, the send knobs and enable buttons for an audio module are lined up top to bottom and do not wrap. Tiling occurs when you have more than 4 aux sends configured). This option is useful if you prefer to use more vertical space in the console than horizontal.

Enable Read and Write Caching
Please keep in mind that the Enable Read Caching and Enable Write Caching options in Tools-Audio Options-Advanced will not take effect until you exit and restart Home Studio.

Real-time Effects and Processor Speed
To properly use real-time effects in Effects view, you need a computer with a Pentium 120 MHz or faster processor. Even with such a powerful CPU, there is a limit on the number of effects you can use simultaneously. Furthermore, different types of effects are “more expensive” in terms of how much CPU they consume. For example, Reverb is relatively expensive, whereas the 2-band EQ effect is relatively inexpensive.

A good strategy is to use an expensive effect like Reverb in an Effects Loop (Aux section in the Console view). That way, you can have several audio tracks share one effect. You can then individually adjust each track’s send and return levels.

Finally, no matter how slow your CPU is, you can always use any effect by applying it to the audio as an off-line edit command. See the “Editing Audio” chapter in the User’s Guide for more information on these commands.

Managing Chord Libraries
The Chord Properties dialog box has in Import button that allows an existing chord library to be merged into your current chord library.  This is especially useful when you install a new version of Home Studio, but you've added chords of your own to the chord library that you don't want to lose.

The Home Studio installation process will never overwrite the existing chord library, which is in file CHORDS.LIW; it will copy the new chord library to CHORDNEW.LIW if CHORDS.LIW already exists.  You can then use the Chord dialog Import button to import the new chords from CHORDNEW.LIW without losing your own chords.  The Import function checks each chord carefully to avoid creating duplicates.

Due to the large number of chords in the standard chord library, the Import function may take a long time to complete.  If you are sure that you never added chords of your own to the library, then you can simply copy CHORDNEW.LIW to CHORDS.LIW to get the new library.

Panic (Reset) Strength
The Reset command (Realtime-Reset and Transport toolbar) stops playback and turns off any "stuck notes".  There are two ways a MIDI note can be turned off: By a note-off message or by MIDI controller number 123 (all notes off).  By default, Reset uses controller 123 only.

This may be insufficient for some older synthesizers.  If so, set PanicStrength=1 in the [WINCAKE] section of CAKEWALK.INI.  To do so, you may use Tools-Initialization Files.  Reset will send a note-off message for every note on every channel of every port.  This makes Reset much slower but will resolve the problem.

The following  describes in detail which events Home Studio transmits for both Reset options:

PanicStrength=0

Home Studio sends:

Event:			Value:		Channel:	Port:
Pitch Wheel		0		1-16		All
Controller 1		0		1-16		All
Controller 7		127		1-16		All
Controller 10		64		1-16		All
Controller 64		0		1-16		All
Controller 66		0		1-16		All
Controller 67		0		1-16		All
Controller 121		0		1-16		All
Controller 123		0		1-16		All

PanicStrength=1 (this method takes longer, as it send a Note Off message for every pitch on every channel on all ports; the first method only sends a single "All notes off" message (controller 123), which some older equipment don't respond to properly).

Home Studio sends:

Event:			Value:		Channel:	Port:
Note Off		C#5-G9		1-16		All
Pitch Wheel		0		1-16		All
Controller 1		0		1-16		All
Controller 7		127		1-16		All
Controller 10		64		1-16		All
Controller 64		0		1-16		All
Controller 66		0		1-16		All
Controller 67		0		1-16		All
Controller 121		0		1-16		All
Controller 123		0		1-16		All

Lyrics View and Special Keys
The shortcut keys for starting and stopping playback (SPACEBAR, P), recording (R), and rewinding (W), do not work in the Lyrics view, since these keys are used instead to type  lyrics.  When the Lyrics view is the active window, use the buttons in the Transport toolbar to start, stop, record, and rewind.

Sample StudioWare™ Panels
Cakewalk Home Studio comes with sample StudioWare™ panels. Some of these are available by choosing File-Open, selecting StudioWare in the Files of Type list, then double-clicking on the desired StudioWare™ icon.  Others are included within template (.TPL) files. Cakewalk Home Studio 7 ships with these StudioWare™ panels:

Panel:	Format:	
AWE		.CakewalkStudioWare
General MIDI		.CakewalkStudioWare
Roland GS		.CakewalkStudioWare

Hardware Notes

Limitations of Early Sound Blaster Cards
Certain early models of the Sound Blaster cannot do both MIDI input and wave output at the same time. Thus, if you've selected "Creative Labs" as a MIDI In device in Home Studio 's Tools-MIDI Devices dialog, wave audio won't work.

Note that MIDI output will work fine along with wave audio: you can select "Creative Labs" from the list of MIDI Out devices. The problem occurs only when you've selected the "Creative Labs" MIDI In device.

AWE Wave Synth and Audio Output
You cannot use the AWE as an audio device if you use the WaveSynth as a MIDI output device. Audio playback and the WaveSynth won’t work at the same time, because the WaveSynth ties up the AWE audio device. In order to use the AWE as an audio device, go to Tools-MIDI Devices, and make sure the WaveSynth is not selected as an output device.

This is a limitation of the AWE/WaveSynth driver, not Home Studio.

MIDI Time Piece tips and tricks
Below are comments to help you use the MIDI Time Piece (MTP) made by Mark of the Unicorn (MOTU).

MIDI output port restriction
A problem with the initial release of Windows 95 restricts the number of MIDI output ports to 11. There is no known work-around for this problem. This means that you can’t access all 16 ports when using a pair of MTPs.

System Exclusive tips
"FAST 1X" mode of the MTP may exhibit strange behavior with System Exclusive send. This is a result of the MTP's "middle-man" processing techniques. The MTP Windows driver won’t send System Exclusive through the MTP byte by byte; instead, the MTP stores System Exclusive in a buffer to be sent out in larger, faster packets. This causes checksum errors on a Sound Canvas, for example.

We are able to send System Exclusive to the Sound Canvas in FAST 1X mode by lowering the TTSSEQ.INI's SysxSendPacketSize parameter to 344. However, note that if you want to try this yourself, you’ll need to find a number that works on your computer system. In short, use FAST 1X mode with System Exclusive "at your own risk."

MOTU starting template
MOTU provides a starting template for their setup software called WINDOWS.MTP. Make sure that this is loaded before using the MTP as an interface in Cakewalk Home Studio. The MTP driver will access the MTP's current state as configured by WINDOWS.MTP rather than reinitializing it. This will let you customize the provided template using MOTU's MTP software, and then access this setup in the Windows driver.

Connecting two MTPs
When connecting two MTPs together for 16 input/output ports, put the unit assigned to ports 1-8 first in the chain. Then connect the network cable from the back of the first unit to the network input on the second unit (ports 9-16).

Gravis UltraSound
Cakewalk Home Studio supports sound cards that use "patch caching," such as the Gravis UltraSound. These cards load sounds from your hard drive as needed. If you are using this kind of sound card, the Update Patch Cache command on the Realtime menu will be enabled. When you choose this command, Home Studio examines your song to see which patch numbers you have used. It gives this list to the sound card, which loads the required sounds. This process can take some time, so Home Studio lets you decide when to use Update Patch Cache to "recalculate" the patches used. (Home Studio also performs the "recalculation" when you use File-Open or File-New to open or clear a song file, and when you switch between multiple open files).

If you are using the Play List view, please be aware that there may be a delay between songs, because the sounds required for the next song need to be loaded. This doesn’t mean that there is a problem with Home Studio. This is just the way such a sound card must work.

Instrument Definitions
Instrument definitions help Home Studio understand the way a particular synthesizer works. This enables Home Studio to adjust some of its features, making them easier for you to use.
If a definition doesn't exist for your particular synthesizer, that doesn't mean that it's incompatible with Home Studio. Certain features (like choosing patches) won't be quite as easy or automatic, but they won't be impossible. Remember too that you can create your own instrument definitions for use with your MIDI gear.

For a full explanation of instrument definitions, please see the sections on the Tools-Instruments command in the User’s Guide.

Upgrading from an earlier version
Home Studio SETUP does not overwrite your existing MASTER.INS file. That file contains the instrument definitions that Home Studio loads every time it starts. SETUP installs new .INS files for each supported manufacturer. These files contain the latest complete set of available instrument definitions.

To learn how to import any of these .INS files, see "Importing Instrument Definitions” on page 10-3 in the User’s Guide.

Roland SR-JV80 series expansion boards
Cakewalk Home Studio 7 includes instrument definitions for many of the Roland SR-JV80 Series expansion boards. In order to use these patch lists properly, you must add banks to existing Roland JV/XP instrument definitions.

Note: The Roland JV/XP instrument definitions that are included with Home Studio 7 have been updated to include all of the expansion banks for the corresponding instrument. This makes it easier to assign a specific SR-JV80 bank to a JV/XP instrument definition. If you are using a JV/XP instrument definition from a previous version of Home Studio, you might want to import the updated version that is included with Home Studio 7.

This section will show you how to add banks from these expansion boards.

1.	Open Home Studio, and go to Tools-Instruments. Click on the Define button to open the Define Instruments and Names dialog box.
2.	Click the Import button.
3.	Select ROLAND.INS, then click Open.
4.	Select one of the "Roland SR-JV80…” instrument definitions, then click OK.

The selected Roland SR-JV80 patch names have now been imported, but this instrument definition will not work by itself. It is just a placeholder for the individual expansion board patch names. You can safely delete the imported Roland SR-JV80 instrument definition if you wish, since the individual Patch Name lists will remain.  To use the expansion board Patch Names, you must add the patch name lists to an existing Roland JV/XP instrument definition (e.g., Roland JV-1080, XP-50, or XP-80).

The expansion board slot bank numbers are:

Bank #:	Expansion Board Slot:
10752	A1 (patches 1-128)
10753	A2 (patches 129-255)
10754	B1 (patches 1-128)
10755	B2 (patches 129-255)
10756	C1 (patches 1-128)
10757	C2 (patches 129-255)
10758	D1 (patches 1-128)
10759	D2 (patches 129-255)
10760	E1 (patches 1-128)
10761	E2 (patches 129-255)
10762	F1 (patches 1-128)
10763	F2 (patches 129-255)
10764	G1 (patches 1-128)
10765	G2 (patches 129-255)
10766	H1 (patches 1-128)
10767	H2 (patches 129-255)

The steps below show you how to add one of the expansion board Patch Name lists to an existing instrument definition. For example, if you have the Roland XP-50 with the SR-JV80-04 Vintage Synth expansion board installed in slot A, do the following:

1.	Import the Roland XP-50 and Roland SR-JV80 Expansion Boards instrument definitions (if you haven’t already done so).
2.	Expand the Roland XP-50 branch until you can see the Patch Names for Banks branch.
3.	Expand the Names tree so you can see all the individual Patch Name branches.
4.	Drag the SR-JV80-04 Vintage Synth 1-128 list from the Names tree to the 10752 = XP-A1  branch in the Patch Names for Banks folder. Release the mouse button. The proper bank number is already displayed (10752), so click OK.

Note: If you’re using an older JV/XP instrument definition that doesn’t already include the expansion banks, drag the SR-JV80-04 Vintage Synth 1-128 list from the Names tree to the Patch Names for Banks folder (or over an existing bank). Release the mouse button, and enter the proper bank number. According to the list above, we know that patches 1-128 in expansion slot A uses bank # 10752, so enter that number.

5.	Drag the SR-JV80-04 Vintage Synth 129-255 list from the Names tree to the 10753 = XP-A2  branch in the Patch Names for Banks folder. Release the mouse button. The proper bank number is already displayed (10753), so click OK.

You can repeat this process for any other expansion boards that you have.

QTools/AX Frequently Asked Questions (FAQ)

These questions and answers are provided to help you better operate QTools/AX v1.0 within Cakewalk Home Studio version 7.0. There are two main methods of using QTools/AX within Home Studio; in an off-line mode or real-time through the Console view. Questions 1 through 11 deal with questions related to the Console view and questions 12 through 15 deal with off-line operations.

If, after reading through this F.A.Q., you still require technical support regarding the QTools/AX plug-ins, please use the email address below to forward your support questions to our speedy and courteous QSound Technical Support Team and we will do our best to help you out. BE SURE TO HAVE YOUR REGISTRATION NUMBER! QSound will only provide technical support to registered QTools/AX users.

QTools/AX Technical Support Email:	qtoolsax.support@qsound.com

Console View:

1.	Where can QTools/AX 3D audio plug-ins be inserted in the Console view?

Due to the specialized nature of 3D processing, the QTools/AX plug-ins are restricted to specific areas of the console view where the proper signal flow can be produced to provide the desired 3D results. These areas are as follows:

AUX CHANNELS	QSYS/AX, Q123/AX, and QX/AX can all be inserted on AUX Channels. 	There are some conventions that must be followed when inserting QSYS/AX and Q123/AX on these channels as they require a mono input (please see question #4).	
MASTER FADER	Depending on what hardware configuration you have, you may be able to insert QX/AX on the Master Fader section as well. You will know if this is possible if an insert window appears over the Master Fader’s LED Meters. Q123/AX and QSYS/AX will not insert here as they require mono input.	

1.	Why can’t I insert QTools/AX plug-ins on a regular channel (track)?

	QTools/AX plug-ins require specific audio signal flow to work. The channel signal flow in 	Cakewalk Home Studio 7 is stereo because each channel has its own L/R pan slider. 

QSYS/AX and Q123/AX require mono input while producing a stereo output. If they are allowed to be inserted on a channel strip, these plug-ins would look for a mono signal for input and only find a stereo stream. They would not connect to the stream and they would not produce a 3D effect. These two plug-ins can be inserted only on AUX channels. (Please see question # 4 for further details)

If QX/AX is inserted on a channel strip, you would assume that since QX accepts stereo input 	and outputs stereo, that it should connect fine with the signal flow. This would be true for most processes, only the QX/AX plug-in is specialized. It requires a stereo input that has differences in left and right audio content before it actually will create an expanded 3D stereo output. Just because 	the channel can send to both right and left only means that it can send the SAME audio to either side of the stereo signal, at adjustable volume levels. Unfortunately, this is stereo in format, not content, 	and will not produce a 3D stereo effect. QX/AX works best on true stereo mixes where individual elements within the stereo signal are panned to unique pan positions. QX/AX works best inserted on an AUX channel or the Master Fader where you can send it many different tracks that all have 	individual pan positions.

2.	Why can QX/AX be inserted on the Master Fader, but not QSYS/AX or Q123/AX?

QSYS/AX and Q123/AX are designed to create stereo 3D effects from mono elements. They both require a mono signal as input. The Master Fader insert is stereo input and output. QX/AX is the only plug-in that will have an effect because it requires a stereo input.

3.	Why do I receive a “Cannot patch effect” error when I try to insert QSYS/AX or Q123/AX on an AUX Channel that I already have other plug-ins inserted?
	
The AUX channels in the console view are set up to default to stereo input and output. If you have a plug-in that requires mono input (Such as QSYS/AX or Q123/AX), they must be inserted FIRST on the AUX channel. The AUX channel can only identify and create the proper mono signal input 	connection provided that these mono-to-stereo plug-ins are the inserted first. 

This means that if you wish to use QSYS/AX on a channel with a delay and a reverb as well, you must select QSYS/AX FIRST and insert the other plug-ins after. You will not be able to insert QSYS/AX and then another mono-to-stereo plug-in right after (such as Q123/AX) because these plug-ins produce a stereo output and Home Studio will not create a mono configuration after the first plug-in has been inserted.

QSound recommends that QSound 3D audio processing be the last process in the signal chain. Many processes can destroy the 3D audio encoding if they are applied after QSound. 

This recommendation is in direct conflict with the current convention mentioned above for Cakewalk Home Studio 7 software in that you must place QSYS/AX and Q123/AX FIRST on an AUX channel for them to connect properly. One solution is to create AUX channels that are dedicated to individual QSYS/AX and/or Q123/AX processors. Other processing should be done on the channel BEFORE it the AUX channels set up exclusively for QSYS/AX and/or Q123/AX processing.

4.	How does the AUX “Pre” button affect my QSound set-up?

The “Pre” button on the AUX channel allows you to send the signals from the channel directly from the channel BEFORE the level faders on the channels. This means that you can have the channel level faders at “0” but the AUX channel will still receive signal from the AUX SEND LEVEL knob (provided it is turned up and the SEND ENABLE button on the channel(s) is on). 

In the alternate mode, (“Pre” AUX channel button not selected), the level sent to the AUX channel is affected BOTH by the channel level fader (direct signal) and the AUX SEND LEVEL (effects signal) knob. The big difference is that the channel level fader will also send direct signal to your final mix (original signal from that channel that goes directly to the Master Fader and doesn’t go through the AUX channel)

When an AUX channel is in ‘Pre’ you are still able to adjust the associated channel pan faders. Therefore, you can send a stereo mix to the AUX channel from the AUX SEND LEVEL knobs.

If you wish to create the most dramatic QSound effects, it is suggested that you use “Pre” mode and turn off all of the associated channel level faders. This will send 100% of your channel’s signal through the AUX channel and the 3D effect will not get watered down by any direct signal coming from the channel level faders.

5.	How should I setup the individual channel pan faders to get proper QSound processing?

This will depend on which QTools/AX plug-in you are sending to on the AUX channel. 

If you are sending signal to QX/AX, you can adjust the channel pan fader to wherever you wish to reproduce the sound in a 3D expanded soundfield. For instance, if you want a guitar to show up way outside the right speaker in “Q” Right, you could pan this guitar far to the stereo right with the pan and this will show up at the AUX channel (along with anything else you are sending this AUX channel) in a stereo mix and QX/AX will expand this stereo submix into QSound 3D.

In the event that you are sending a signal to a QSYS/AX or Q123/AX plug-in on an AUX channel, the position of the pan fader on the individual channel will not matter because when the stereo (panned) signal reaches the AUX channel it will be first summed to a mono signal and be fed to these mono-to-stereo processors. (This is, of course, provided that the QSYS/AX or Q123/AX plug-in was inserted FIRST on that AUX channel).

6.	What are the faders on the AUX channels for and how do they effect my QSound effect?

On the AUX channels there are two faders that resemble the channel pan faders . These AUX faders have a somewhat different purpose. They are balance controls for the input and the output of the AUX channel. They work similarly to the balance control on a home stereo or boombox. They will not move the incoming signal from left and right, they will merely attenuate the signal on either side depending on the setting.

When using all QTools/AX plug-ins, it is critical that both of these balance controls remain directly in the center position. This will assure that you send the proper signal to the plug-ins. As described above, when QSYS/AX or Q123/AX is inserted on an AUX channel, the stereo signal that arrives at the plug-in (again, provided that the plug-in was inserted FIRST on the AUX channel) will be summed to mono. This send (input) balance fader will have no effect on the input to a QSYS/AX or 	Q123/AX plug-in but the return (output) balance fader will have an effect on the output if it is adjusted. Thus, it is recommended that you leave these faders in their center position.

7.	Can I insert QTools/AX plug-ins on MIDI tracks?

QTools/AX plug-ins can only work with digital audio tracks. If you wish to put 3D audio effects on your MIDI sounds you can record the audio out of your synthesizer or sound module back into Home Studio as an audio track and subsequently process with QSound effects.

8.	Could you please describe a sample set-up that will allow me to use the QSYS/AX plug-in properly so that I get a guitar solo track (#1) out in “Q” Right and a keyboard track (#2) in “Q” Left?

Channel #1 & EFFECT Set-up:

Channel #1 = Electric Guitar Solo
Channel #1 Pan Position = Panned to extreme stereo right

**(Actually, it doesn’t matter where the channel strip pan position is for the AUX send because it will sum to mono at the QSYS/AX effect BUT if you 	decide to bring up the channel strip fader it will show up wherever this pan fader is positioned).

Channel #1 Channel Strip Level Fader = Set to “0” for Maximum QSYS/AX 3D effect
Channel #1 Send Knob Setting = Using SEND #1 for this effect. Set AUX SEND #1LEVEL to max
Channel #1 Send Enable Button = ON

AUX #1 = QSYS/AX plug-in Inserted (NO OTHER plug-ins INSERTED)
AUX #1 Send Balance Fader = Set to Center position **This will be disabled with a QSYS/AX inserted 
AUX #1 Send Level Knob = Set to Max (adjust to suit after)
AUX #1 Return Balance Fader = Set to Center position **This is important that it is centered for proper 3D effect**
AUX #1 Return Level Knob = Set to Max (adjust to suit after)
AUX #1 Pre Button = ON

QSYS/AX on AUX#1 Pan Position Fader = Set to extreme right (value = +63)
QSYS/AX on AUX#1 Input Level = Set to Max (adjust to suit after)
QSYS/AX on AUX#1 Crossover = Set to suit
QSYS/AX on AUX#1 Bypass Box = DO NOT SELECT

Channel #2 & EFFECT Set-up:

Channel #2 = Keyboard
Channel #2 Pan Position = Panned to extreme stereo left

**(Actually, it doesn’t matter where the channel strip pan position is for the AUX send because it will sum to mono at the QSYS/AX effect BUT if you 	decide to bring up the channel strip fader it will show up wherever this pan fader is positioned).

Channel #2 Channel Strip Level Fader = Set to “0” for Maximum QSYS/AX 3D effect
Channel #2 Send Knob Setting = Using SEND #2 for this effect. Set AUX SEND #2 LEVEL to max

**Now, we are creating a new 3D effect in “Q” left with the keyboard, you will need a separate QSYS/AX plug-in on another AUX channel to create this effect**

Channel #2 Send Enable Button = ON
	
AUX #2 = QSYS/AX plug-in Inserted (NO OTHER plug-ins INSERTED)
AUX #2 Send Balance Fader = Set to Center position **This will be disabled with a QSYS/AX inserted  
AUX #2 Send Level Knob = Set to Max (adjust to suit after)
AUX #2 Return Balance Fader = Set to Center position **This is important that it is centered for proper 3D effect**
AUX #2 Return Level Knob = Set to Max (adjust to suit after)
AUX #2 Pre Button = ON

QSYS/AX on AUX#2 Pan Position Fader = Set to extreme left (value = -63)
QSYS/AX on AUX#2 Input Level = Set to Max (adjust to suit after)
QSYS/AX on AUX#2 Crossover = Set to suit
QSYS/AX on AUX#2 Bypass Box = DO NOT SELECT

9.	Could you please describe a sample set-up that will allow me to use the QX/AX plug-in properly so that I get a stereo synth track (Channels # 3 & 4) to expand into 3D?

Channel #3 & 4 Set-up:

Channel #3 = stereo Synth Left Channel
Channel #3 Pan Position = Panned to extreme stereo left
Channel #3 Channel Strip Level Fader = Set to “0” for Maximum QX/AX 3D effect
Channel #3 Send Knob Setting = Using SEND #3 for this effect. Set AUX SEND #3 LEVEL to max

**Suggested that you group the AUX # 3 SEND LEVEL Knobs at the same level on channels #3 & 4 **

Channel #3 Send Enable Button = ON

Channel #4 = stereo Synth Right Channel
Channel #4 Pan Position = Panned to extreme stereo right
Channel #4 Channel Strip Level Fader = Set to “0” for Maximum QX/AX 3D effect
Channel #4 Send Knob Setting = Using SEND #3 for this effect. Set AUX SEND #3 LEVEL to max 

**Suggested that you group the AUX # 3 SEND LEVEL Knobs at the same level on channels #3 & 4 **

Channel #4 Send Enable Button = ON

AUX #3 = QX/AX plug-in Inserted (NO OTHER plug-ins INSERTED)
AUX #3 Send Balance Fader = Set to Center position **This is important that it is centered for proper 3D effect**
AUX #3 Send Level Knob = Set to Max (adjust to suit after)
AUX #3 Return Balance Fader = Set to Center position **This is important that it is centered for proper 3D effect**
AUX #3 Return Level Knob = Set to Max (adjust to suit after)
AUX #3 Pre Button = ON

QX/AX on AUX#3 Input Level Fader = Set to Max (Adjust to suit after)
QX/AX on AUX#3 Crossover Fader = Adjust to suit
QX/AX on AUX#3 Center Drop Fader = Set to Max (0.0 dB) for best results. **More extreme 3D effects as Center Drop is attenuated.
QX/AX on AUX#3 Bypass Box = DO NOT SELECT

10.	Could you please describe a sample set-up that will allow me to use the Q123/AX plug-in properly so that I can take mono sax track (#5)  and give it some “3D stereo” realism?

Channel #5 & EFFECT Set-up:

Channel #1 = Saxophone
Channel #1 Pan Position = Panned to extreme stereo right

**(Actually, it doesn’t matter where the channel strip pan position is for the AUX send because it will sum to mono at the QSYS/AX effect BUT if you 	decide to bring up the channel strip fader it will show up wherever this pan fader is positioned).

Channel #1 Channel Strip Level Fader = Set to “0” for Maximum Q123/AX 3D effect
Channel #1 Send Knob Setting = Using SEND #4 for this effect. Set AUX SEND #4 LEVEL to max
Channel #1 Send Enable Button = ON

AUX #4 = Q123/AX plug-in Inserted (NO OTHER plug-ins INSERTED)
AUX #4 Send Balance Fader = Set to Center position **This will be disabled with a Q123/AX inserted 
AUX #4 Send Level Knob = Set to Max (adjust to suit after)
AUX #4 Return Balance Fader = Set to Center position **This is important that it is centered for proper 3D effect**
AUX #4 Return Level Knob = Set to Max (adjust to suit after)
AUX #4 Pre Button = ON

Q123/AX on AUX#4 Pan Position Fader = Set to center first and adjust to suit for 3D stereo effect
Q123/AX on AUX#4 Input Level = Set to Max (adjust to suit after)
Q123/AX on AUX#4 Bypass Box = DO NOT SELECT

Offline processing:

11.	Are there any other ways of using the QTools/AX plug-ins in Home Studio?

QTools/AX plug-in can be accessed in an off-line mode through the right-click mouse menu. This off-line processing is identical to the processing found in Cakewalk Home Studio version 6.01. After you select the audio track(s) that you wish to use QTools/AX plug-ins on, you can bring up the plug-in interfaces through the “Plug-In’ menu. 

12.	Are the track’s pan values important when processing off-line?

Yes, to produce the proper QSound 3D effects, there are some conventions that must be followed to assure proper QSound 3D processing. 

If you are using either of QSound’s two mono-to-stereo plug-ins, QSYS/AX or Q123/AX, it is critical that the tracks to be input into the processor by panned center (Pan Value = 64). If any of the track are set at any other pan value (including 0 or 127), the resulting effect will not be QSound 3D.

When you are using the QX/AX plug-in, the tracks you select MUST be in stereo pairs ONLY (i.e. the ‘top’ track of a stereo pair has a pan value set at “0” and the ‘bottom’ track of that same stereo pair must have a pan value set at “127”. This is the only way that Home Studio will recognize the two tracks as a stereo pair and the QX/AX plug-in will accept this pair and process it properly. If the pans are not set to these values and in this track order, you will not receive proper QSound 3D stereo expansion.

13.	Why are there 2 pages on the plug-in Interface and what is the Mixing page all about?

Home Studio deals with digital audio streams in a unique way which requires specialized plug-ins such as QTools/AX to have some additional mixing options. Due to the nature of the effects, two of the three Qtools/AX plug-ins require mono input and produce a stereo output (these are QSYS/AX and Q123/AX), and the other plug-in (QX/AX) requires a stereo input and produces a stereo output.

To assure that you get the best results when any of the three plug-ins, it is highly recommended that you use the “Create a Send Submix” option ONLY! If you use the either of the other two settings, you run a larger risk of not getting proper QSound 3D audio results. When you use the Send Submix option, you are able to setup what tracks you would like the resulting processed stereo file to show up on. The display only lets you choose a single track, but it will allocate the track you choose as the 	‘L’ channel and the next track down as the “R” track and it should set the pan values accordingly.

14.	Can I do any adjustments on the plug-ins in real-time when I process off-line? 

No, in the off-line mode, you cannot adjust any parameters in real-time. Home Studio offers an Audition button on the side of the interfaces so that you can hear a portion of the selected file(s) with the effect. This Audition is not a real-time function either. Home Studio has provided the Console view for the purpose of real-time functionality.

Acknowledgments
We would like to thank the following Cakewalk  users who have contributed instrument definitions and System Exclusive Dump Request Macros:

Instrument definitions
Alesis QuadraSynth Plus - Les Vargha
Alesis S4 QuadraSynth - Bo Bickley
Digitech DSP-256XL - Richard S. Huntrods
Digitech DSP-2101 - Christopher Orth
Digitech GSP-21 Legend - Russell C. Cole
E-MU Proteus FX - Andrew Fiddian-Green
E-MU Proteus FX GM - Andrew Fiddian-Green
Ensoniq ESQ-1 - Joe Slater
Ensoniq SQ-1 - Dave Weatherall & Gabi Heigl
General Music S Series - Dave Williams
General Music WS Series - Dave Williams
General Music WX/SX Series - Dave Williams
Korg 01/W Drum Kits - Greg Belfor
Korg 03R/W - Chinh Nguyen Do
Korg 05R/W - Art Slater
Korg i3 - Brian P. McCarty
Korg T3 - Paul Spencer
Korg Wavestation SR - CIS 76075,1726
Korg X3 - Daniel Joseph Oak
Korg X5DR - Michael Oski
Kurweil MASS - Deb Rogowski
Oberheim 1000 - Richard S. Huntrods
Peavey PRO-FEX - Christopher Orth
Peavey Spectrum Bass - Jim Davis
Peavey UltraVerb II - Russell C. Cole
Roland D-50 - G. W. Greene
Roland D-70 - G. W. Greene
Roland JD-990 - G. W. Greene
Roland JV-1080: Patch - Mark Bridges
Roland JV-1080: Rhythm - Mark Bridges
Roland JV-880 - Warren Bedell
Roland JV-880 Drums - Warren Bedell
Roland JV-90 - Jamie Macgregor
Roland JX8P - CIS 70242,505
Roland R-8M - G. W. Greene
Roland SC-88 - Chris Smith & Jim Kometani
Roland SRV-330 - G. W. Greene
Roland U-220 - G. W. Greene
Roland XP50 - CIS 73040,146
Technics PR307 - James Spooner
Yamaha Clavinova PFP-100 - Jean-Philippe Poibeau
Yamaha PSR-500 - Bill Sweeney
Yamaha SY-22 - Rob Kooijman
Yamaha SY-85 - Daniel K Jorenby
Yamaha SY-99 - Jean-Philippe Poibeau
Yamaha TG100 - James Spooner
Yamaha TG300 - Jac Hedberg
Yamaha W5/7 - Jeff Barnett
Yamaha SY-35 - Russell C. Cole
Yamaha SY-77 - Jeffrey Greenberg
Yamaha SY-99 - Jean-Philippe Poibeau
Yamaha TG-33 - Deb Rogowski
Yamaha TG-500 - Paul Fuller & William H. McCloskey

Dump Request Macros
360 Systems 8x8 Midi Patcher - Bob Camp
Alesis D4 Drum Module - Peter DeFazio
Alesis Midiverb III - Robert Rampley
Alesis Quadraverb - Sergio Blostein and Chris Connell
Alesis QuadraSynth - Robert Rampley
Alesis Quadraverb GT - Robert Rampley
Casio CZ-1000 - Steve Quinlan
Digital Music MX-8 - Jim Kometani
Digitech GSP-21 - Legend Russell C. Cole
E-Mu Proteus - Bob Camp
E-Mu Proteus FX - Andrew Fiddian-Green
Ensoniq ESQ-1 - Mark Moulding
Ensoniq TS-10/12 - David UZ Hahn
Ensoniq VFXsd and SQ-1 - Tim Godfrey
Eventide H-3000 - Jeffrey L. Seltzer
Kawai K4 - Christopher Moreno
Kawai K5/K5m - Sergio Blostein
Kawai K11/GMega - Sergio Blostein
Korg O1/W - Larry Poulin
Korg O3R/W - Brian P. McCarty
Korg 05R/W - Art Slater
Korg i3 - Brian P. McCarty
Korg DS-8 - Peter Glass
Korg M-1 - Ozzie B. Bostic and Pete Halliday
Korg M-1 All Sequence - Dan Kudo
Korg 707 - Sergio Blostein
Korg DDD-1 - Sergio Blostein
Korg M3R - Sergio Blostein
Korg T1 - Sergio Blostein
Korg DW-6000 - Christopher Moreno
Korg T3 - Larry Bachtell
Korg Wavestation - Larry Bachtell
Korg X3 - Daniel Joseph Oak
Korg X5DR - Jay M. Meyers
Kurzweil K1000 Plus - Jeffrey K. Morris
Lexicon LXP-1 - Sergio Blostein
Lexicon LXP-5 - Sergio Blostein
Peavey DPM 3 - C. L. Carter
Roland A-80 - Sergio Blostein
Roland D-50 - Steve Quinlan
Roland JV-880 - Warren Bedell
Roland S-550 Sampler - Bob Camp
Roland D110 - Jim Kometani
Roland D-20 - Matt Boland
Roland JD-800 - Stephen Tapp
Roland JD-990 - G. W. Greene
Roland Sound Canvas - David Hahn /DxD Music Team
Roland U-20 - Sergio Blostein
Tascam 688 - Sergio Blostein
Waldorf MicroWave - Jeffrey L. Seltzer
Yamaha DX-100 - Steve Quinlan
Yamaha DX-2 - Sergio Blostein
Yamaha DX7II - Susan Gulick
Yamaha DX-21 - Christopher Moreno
Yamaha ProMix 01 - Richard R. Goodwin
Yamaha RX5 - Sergio Blostein
Yamaha RX-11 - Sergio Blostein
Yamaha RY-30 - Patrick Band and Henrique Lang
Yamaha SY35 - Russell C. Cole
Yamaha SY-77 - Jeffrey K. Morris and Sound Ideas Productions
Yamaha SY-85 / TG-500 - Richard R. Goodwin
Yamaha TG-33 - Patrick Band and Henrique Lang
Yamaha TX7 - Sergio Blostein
Yamaha TX81Z - Sergio Blostein