Cakewalk® Pro Audio™ 8.04
(for Windows 95/98/NT 4.0)
README.RTF
Copyright © 1991-1998 by Twelve Tone Systems, Inc.  All rights reserved.
Cakewalk is a registered trademark, and Cakewalk Pro Audio
is a trademark of  Twelve Tone Systems, Inc.

This file contains supplemental information on Cakewalk® Pro Audio™, Version 8.04.  It was prepared on February 23, 1999.

Contents

User’s Guide Corrections & Clarifications	2
Explanation of new Audio Options	2
Prepare Using N Millisecond Buffers	3
Audio Volume Envelopes	3
Audio Pan Envelopes	4
Snap Modes	4
Audio Data “Queue” Buffers	4
Video Issues	4
Chord Analyzer	6
Using the Yamaha DSP Factory at higher bit rates	6
Using SMPTE/MTC in Cakewalk Pro Audio	6
Console View Resources	8
Console View and Aux Sends	8
Enable Read and Write Caching	8
Support for StudioMix™ Hardware Surface	8
Session 8 StudioWare™ Panels	9
Dump Request Macros	9
Real-time Effects and Processor Speed	9
Configuring Pro Audio to transmit MIDI Machine Control (MMC)	9
Full MMC Auto Punch	10
Managing Chord Libraries	10
Panic (Reset) Strength	10
Lyrics View and Special Keys	11
Sample StudioWare™ Panels	12
What Happened to Pro Audio Version 8.02?	12
Bug fixes in Pro Audio 8.04	12
Supplemental StudioMix™ Information	18
200 ms Delay When Shifting Control Focus	18
Enabling the StudioMix™ disables MIDI Thru on Channel 16	19
View-Console Button Binding Disabled	19
MIDI Channel 16 Must be Enabled	19
“RoughMix.cal” CAL routine assigned to 3rd Key Binding Button	19
Hardware Notes	19
Limitations of Early Sound Blaster Cards	19
AWE Wave Synth and Audio Output	19
MIDI Time Piece tips and tricks	20
Gravis UltraSound	21
Instrument Definitions	21
Upgrading from an earlier version	21
Roland SR-JV80 series expansion boards	21
Roland StudioWare™ Panels	23
Roland VS-880 panel	23
Roland SC-88 Pro panel	24
Roland JV-2080 panel	25
Roland UA-100 StudioWare Panel User’s Guide Available Online	27
QTools/AX Frequently Asked Questions (FAQ)	28
Acknowledgments	35
Instrument definitions	35
Dump Request Macros	36

User’s Guide Corrections & Clarifications
This section of the Readme.rtf file contains corrections and clarifications to the Pro Audio 8 User’s Guide.

Explanation of new Audio Options

Information on several new audio options in the ‘Cakewalk DirectShow Audio’ dialog (Tools-Audio Options) was accidentally left out of the User’s Guide and online Help. Below is an explanation of each new option.

[General tab]

Default File Bit Depth:  Determines the number of bits per sample used for storing recorded (or imported) audio data to disk.  The choices here are 16 or 24.  Note that other values such as 18 or 20 aren't permitted, because they are technically not legal wave format values as defined by the Microsoft's multimedia specifications.  Also, you don't need to have 24-bit capable audio hardware to use this setting, but be forewarned that 24-bit files require 50% more overhead for streaming.

Bits per Sample:  Determines the number of bits per sample used for communicating with the audio hardware for playback or recording.  Your audio hardware must be capable of supporting the setting you supply here.  In most cases, even if your hardware is "advertised" as being 18 or 20 bit, you will want to set this value to 24 for optimum performance.

Dither:  Controls whether a dither signal is added to the final (floating point) audio mix, before conversion to integers.  Disabling this option may provide a slight increase in real-time effects performance.

[Advanced tab]

File I/O Buffers, I/O Buffer Size:  These values determine the buffer characteristics for transfers to and from the disk.  Changing them will not affect audio latency, but will affect the disk throughput for audio tracks.  For best performance, you should make sure that the number of I/O Buffers is greater than or equal to the maximum number of audio tracks you expect to play at a given time.  Also, on some disk controllers, you may get better performance by increasing the default I/O Buffer Size to 128k.

Playback Buffers, Wave Buffer Size:  These values determine the buffer characteristics for transfers to and from the audio drivers.  Lowering either of both of these values will improve audio latency, though making them too low will make your system more susceptible to stuttering or dropouts.

Record Buffers:  This value determine the buffer characteristics for transfers from the audio drivers. If you are using multi-input hardware, and experience problems with recording/playback simply stopping, increase the number of Record Buffers.

Unpack > 16 bit audio: Checking this option can improve performance on specific 24-bit audio hardware systems (for example, the Sonorus STUDI/O card and the Yamaha DSP Factory).  By choosing this option, you are instructing Pro Audio to skip its expensive 24-bit data packing operation, and allowing the audio hardware to do this work instead.  Please contact your hardware manufacturer to determine if their drives support this "24-bit unpacked" data format.

Left-justify unpacked data: When the "Unpack > 16 bit audio" option is enabled, you may select whether you want this data aligned to the least significant bit ("right justified") or to the most significant bit ("left justified").  Many sound cards, including the Yamaha DSP Factory, expect their data to be left justified.  Enabling this option ensures that >16 bit audio will work properly on these sound cards.

Prepare Using N Millisecond Buffers

This option on the MIDI page of the Tools-Global Options property sheet lets you specify how far in advance Pro Audio 8 prepares MIDI data during playback. The default is 500 milliseconds.

If playback stops prematurely, you may try larger values (although you should also check the buffer options in Tools-Audio Options-Advanced).

If you are using MIDI effects, you may want to try smaller values -- for example, 100 milliseconds. Doing so means that, if you change a property for a MIDI effect, there will be less delay before you hear the new value take effect.

Audio Volume Envelopes

In version 8, Pro Audio would automatically generate volume envelopes for audio events if their velocity did not map to 0dB. The be fully backwards compatible with earlier versions of Pro Audio, version 8.01 will no longer automatically generate volume envelopes. If you wish to use volume envelopes, you must manually create them in version 8.01. Audio event velocities and volume envelopes are two separate gain stages in pro Audio 8.01. This allows you to also use existing editing commands, such as Edit-Scale Velocities and Edit-Interpolate, to change the velocity of audio events.

Audio Pan Envelopes

In the Audio view, pan envelopes are represented as left on top, and right on the bottom by default. This is consistent with stereo audio tracks, where the left track is on top, and the right track is on the bottom. This is also consistent with most horizontal audio meters. However, some people may prefer to have left values displayed on the bottom, and right on top. This will be more consistent with controller 10 (pan) values in the Piano Roll view, where small values (0-63; left) are on the bottom, and large values (65-127; right) are on top. You can flip the pan envelopes so left is on the bottom, and right is on top. To do so, add the following line to the [Audio View] section in CAKEWALK.INI:

[Audio View]
PanEnvelopeRightOnTop=1

The default value is 0 (zero), which means that pan envelopes will operate with left on top.

Snap Modes

In the User’s Guide, the two different Snap modes are referred to as ‘Snap To’ and Move By’. The two modes are now simply called ‘Move To’ and “Move By’.

Audio Data “Queue” Buffers

Some DirectXplug-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 Pro Audio 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>

Video Issues

Keyboard Support to Advance by a Frame or a Frame Increment:

If the Video view is the active window, you can now use keyboard shortcuts to advance by a frame or a frame increment. The +/-, and left/right arrow keys move forward/backwards by a single frame. If the control key is pressed, then the frame increment value is used (default = 5 frames) Alternatively you can use the [ and ] keys to seek by the frame increment. 

You can change the frame increment that is used when pressing the control or [ and ] keys. To do so, add the following line to the [Video View] section in CAKEWALK.INI:

[Video View]
FrameSkipDelta=5

The default value is 5, which means that Pro Audio will advance by 5 frame increment while seeking using the [ ] or Control key combinations.

On seeking by frames in the video view, the now time is changed to the nearest tick value corresponding to the frame displayed.

Optimizing Editing With Video:

•	If you intend on doing a lot of seeking around or looping and editing with a video file loaded, make sure that your video file has sufficient keyframes. Since each frame has to be computed from the last keyframe encountered, if you have very few keyframes in the video, performance may be slow. To change the number of keyframes, you may recompress the file using Tools-Export Video to AVI and specify more frequent keyframes. Choose a suitable video compressor such as "Indeo Video 5.04" and change the KeyFrame Rate parameter to a number between 1-5. A value of 1 makes every frame a keyframe, and higher numbers insert a keyframe after that many frames.
•	Another optimization tip is to put video on a separate drive from your audio. You can change the path from Tools-Global Options-Folders.
•	Changing the video properties such as Trim and Start time, imposes some degree of overhead. You can apply any changes made here by using Tools-Export Video to AVI.

MPEG and QuickTime video files

Please note that the Start Time, Trim-in time, and Trim-out time can only be set for AVI video files. If you need to adjust these settings for an MPEG or QuickTime files, use the Tools-Export Video to AVI command to save the video file as an AVI file. You can then insert the new AVI file, and adjust the Start Time, Trim-in time, and Trim-out time from the Video Properties dialog.

Exporting video to AVI

Compression issues
Note that not all compression codecs listed may necessarily be compatible while re-compressing video through "Export to AVI". If an incompatible codec is selected an error message may be displayed during the export.

Video Compression
Note that if "No compression" is selected, the video retains its original compression.
The following video compression codecs have been found to be compatible. Different codecs provide varying degrees of compression performance.

Indeo Video 5.04
Intel I.263
Cinepak Codec by Radius
Microsoft Video 1
Microsoft RLE

Video compression cannot be used if the Start Time, Trim-in Time, or Trim-out Time settings have been changed in the Video Properties dialog. If any of these settings have been changed and you need to use video compression, you can 1) export the video file to a new AVI file, 2) then insert the new AVI file, and finally 3) export the video to a new AVI file.

Audio compression
The following audio compression codecs have been found to be compatible. You may see different codecs installed on your system.

CCITT - A Law
CCITT - U Law
DSP Group TrueSpeech
PCM (this is the standard uncompressed format for wav files)
GSM 6.10
IMA ADPCM

Problems Importing QuickTime video files

If your system has a basic Windows installation with DirectShow installed, you may not be able to insert QuickTime video files. You may need to install the latest video Codecs from Microsoft’s web site in order to import different video formats.

The problem can be solved going to Microsoft’s web site (http://www.microsoft.com) and downloading and installing the latest version of Media Player (version 5.01.52.0701 is the latest as of 9/11/98).
 
Chord Analyzer

When using the Chord Analyzer MIDI effect, during playback it will display the names of chords it sees based on Note events in the track.

However, you will see it display the chord names for notes that are slightly in the future -- before you actually hear them. The reason is that MIDI effects work slightly ahead of time, to ensure that playback is solid.  This is partly based on the amount of time you have specified in Tools-Global Options-MIDI-Prepare Using N Millisecond Buffers.  In other words, if you decrease this value, Chord Analyzer will be "less psychic". However if you decrease it too much, playback may stop unexpectedly.

When the Chord Analyzer is processing your live MIDI playback (because the current track has the Chord Analyzer attached to it) then you will not see this behavior. In that case, obviously it cannot analyze what you play until you actually play it. In addition, this behavior is not present when auditioning the Chord Analyzer as an offline command.

Using the Yamaha DSP Factory at higher bit rates

In order to use the Yamaha DSP Factory's higher bit rate support (i.e. 24-bit audio) you will need to make sure that the “Unpack > 16 bit audio " and “Left-justify unpacked data” options, found under Tools-Audio Options-Advanced tab, are selected.  This will allow Pro Audio to open the DSP Factory's wave drivers in the correct manner for > 16-bit support.

Using SMPTE/MTC in Cakewalk Pro Audio

On page 15-9 of the Pro Audio User’s Guide, the following statement is found:

“Pro Audio supports five timecode frame rates, which are normally used for the following applications:”
---------------------------------------------------------------------------------------------------------------
24 frames per second			Film
---------------------------------------------------------------------------------------------------------------
25 frames per second			European video
---------------------------------------------------------------------------------------------------------------
29.97 frames per second (drop)		NTSC color video
---------------------------------------------------------------------------------------------------------------
30 frames per second (non-drop)	NTSC black & white video and most music-only applications
---------------------------------------------------------------------------------------------------------------
30 frames per second (drop)		Rare uses

The timecode choices found under the SMPTE/MTC section of Tools-Project Settings-Clock are the following:

24 frame
25 frame
30 drop-frame
30 non drop-frame

The following table should clear up any confusion regarding which Pro Audio setting to use with each possible type of external timecode.

External timecode type		Possible Applications	Recommended Pro Audio Setting	Notes	
24 fps	Theatrical film worldwide, most other film	24 Frame	Any film in North America or Japan will use this setting.	
25 fps
(also called EBU timecode)	PAL/SECAM video, video and some film in countries that use 50 Hz wall electricity	25 Frame	This is the setting to use when synchronizing to any European video format.	
29.97 fps non drop-frame	NTSC non-broadcast and short length video in North America and Japan, some music projects	30 Frame Non-drop	This setting will allow Pro Audio to synchronize perfectly to the external timecode, but the sequencer position displayed in the Now time and Big Time displays will gradually drift and become incorrect over long periods of time.  The audio and MIDI synchronization to the external device will not be affected by this discrepancy.	
29.97 drop-frame	NTSC broadcast and long format video in North America and Japan	30 Drop-frame	This setting will allow Pro Audio to synchronize perfectly to the external timecode, but the sequencer position displayed in the Now time and Big Time displays will gradually drift and become incorrect over long periods of time.  The audio and MIDI synchronization to the external device will not be affected by this discrepancy.	
30 fps non drop-frame	Most music projects, some Film in North America	30 Frame Non-Drop	This is the best choice for any music project and should be used unless the situation dictates otherwise.	
30 fps drop-frame	Not a Standard type of timecode,  used rarely for speed correction and transfer problems in tape based systems	30 Drop-Frame		

Fps = frames per second
NTSC = National Television Standards Committee (USA)

Console View Resources

Some customers have reported difficulties using the Console view with a project that contains a large number of tracks.  Cakewalk has confirmed this problem can occur and is investigating this further.  Meanwhile, if you encounter this problem, try to reduce the number of tracks.  For example, if the project contains Muted or Archived tracks, try deleting those from the copy of the project with which you want to use the Console view.

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.

Note: This variable is useful if you use any of the Session 8 templates, since the Console view in these templates are configured to show 5 aux sends.

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 Pro Audio.

Support for StudioMix™ Hardware Surface

Pro Audio version 8.03 adds support for the StudioMix™, a tactile hardware control surface that was engineered by Peavey and Cakewalk. If you have a StudioMix™ hardware surface, please refer to the documentation that was included with the StudioMix™ for information on how to use it with Pro Audio. To find out more about the StudioMix™, please visit http://www.cakewalk.com or http://www.peavey.com.

Session 8 StudioWare™ Panels

The Session 8 StudioWare™ panels that were included with Pro Audio 6.0 have been removed. The Session 8 panels are obsolete now that the new Console view has been added. The only limitation is that the Console view cannot control the Input/Return section on the Session 8. To control the Input/Return section, please use the supplied Session 8 Internal Mix template (File-New-Session 8 Internal Mix).

Dump Request Macros

When you press the Receive button in the Sysx window, you may pick from a list of Dump Request Macros. These are short System Exclusive messages sent to a synthesizer to make it dump (send back) System Exclusive data. DRMs are defined in your CAKEWALK.INI file in the [Dump Request Macros] section. You may add your own DRMs or modify the ones that we have provided. Use the Windows Notepad to edit the file.

Please note that many DRMs have been donated by customers who are using the particular equipment. In some cases we have not been able to test those DRMs because we do not have access to that equipment. We are redistributing such DRMs on an as-is basis. 

Real-time Effects and Processor Speed

To properly use real-time effects in the Console 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.

Configuring Pro Audio to transmit MIDI Machine Control (MMC)

On page 15-14 in the Pro Audio 8 User’s Guide, the “To Configure MIDI Machine Control…” section should read:

To Configure MIDI Machine Control…

1.	Choose Tools-Project Options, and click the Clock tab.
2.	Select ‘SMPTE/MTC’ as the clock source.
3.	Click the MIDI Out tab.
4.	Check the Transmit MMC box.
5.	Enter the ID of the master timing device in the Time Code Master’s Unit ID box.
6.	Click OK.

MMC is now enabled.

To Disable MIDI Machine Control…

1.	Choose Tools-Project Options, and click the MIDI Out tab.
2.	Make sure the Transmit MMC box is not checked, and click OK.

MMC is disabled.

Full MMC Auto Punch

Auto Punch works for all MMC devices that support on-the-fly recording. (In past versions of Pro Audio, Auto Punch was restricted to only those devices that supported the MMC Event command.)

If all MMC features work except for Auto Punch record mode, your equipment probably doesn't support the MMC Event command. (Consult with the manufacturer if you aren't sure.) You can overcome this limitation by adding the following line to the Options section of your TTSSEQ.INI file, which can be found in your Cakewalk Pro Audio directory:

[Options]
MMCUseEvent=0

Make sure you restart Pro Audio for the new setting to take effect. This mode causes Pro Audio to send MMC commands to perform automated punches during recording. This method is less precise than use of pre-programmed events, so only use this setting if necessary.

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 Pro Audio, but you've added chords of your own to the chord library that you don't want to lose.

The Pro Audio 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 Pro Audio transmits for both Reset options:

PanicStrength=0

Pro Audio 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)

Pro Audio 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 or CAL view, since these keys are used instead to type  lyrics or CAL commands.  When the Lyrics or CAL view is the active window, use the buttons in the Transport toolbar to start, stop, record, and rewind.

Sample StudioWare™ Panels

Cakewalk Pro Audio 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 Pro Audio 8.0 ships with these StudioWare™ panels:

Panel:	Format:	
AWE		.CakewalkStudioWare
EMU Orbit		.CakewalkStudioWare
General MIDI		.CakewalkStudioWare
Mackie OTTO 1604 		.CakewalkStudioWare and .TPL
MMC (A generic Panel 
for products that support 
MIDI Machine Control)		.CakewalkStudioWare
Novation BassStation BS-1		.CakewalkStudioWare
Novation BassStation Rack BSR-1	.CakewalkStudioWare
Novation DrumStationRack DRM-1	.CakewalkStudioWare
Novation SuperBassStation SBR-1	.CakewalkStudioWare
Roland GS		.CakewalkStudioWare
Roland JV-2080 Effect		.CakewalkStudioWare
Roland JV-2080 EFX #1-#25		.CakewalkStudioWare
Roland JV-2080 EFX #26-#40		.CakewalkStudioWare
Roland JV-2080 Patch		.CakewalkStudioWare and .TPL
Roland SC-88Pro EFX #1-#34		.CakewalkStudioWare and .TPL
Roland SC-88Pro EFX #35-#64	.CakewalkStudioWare and .TPL
Roland UA-100 Compact Effects #1-#34.CakewalkStudioWare and .TPL
Roland UA-100 Compact Effects #35-#64.CakewalkStudioWare and .TPL
Roland UA-100 Full Effects		.CakewalkStudioWare and .TPL
Roland UA-100 Mixer		.CakewalkStudioWare
Roland UA-100 Utility Split Events	.CakewalkStudioWare
Roland UA-100 VT-X		.CakewalkStudioWare and .TPL
Roland VS-880		.CakewalkStudioWare
Session 8 Input/Return section		.TPL (Session 8 Internal Mix)
Tascam RC-808		.CakewalkStudioWare
Yamaha 01v		.CakewalkStudioWare
Yamaha 03D		.CakewalkStudioWare and .TPL
Yamaha ProMix 01		.CakewalkStudioWare and .TPL
Yamaha SW1000MIXER		.CakewalkStudioWare
Yamaha SW1000EDIT		.CakewalkStudioWare

What Happened to Pro Audio Version 8.02?

Pro Audio version 8.02 was a special release of the German version of Pro Audio 8, and was never available as a patch for Pro Audio 8.00/8.01. Version 8.03 has all of the functionality of version 8.02, as well as other bug fixes and enhancements. 

Bug fixes in Pro Audio 8.04

The following is a list of bugs and other issues that have been addressed since version 8.00.

Bugs fixed in version 8.01:

•	Exporting audio to a .WAV file with the Tools-Export Audio command would double the file size.

•	When loading projects that were created in Pro Audio 7 and earlier into Pro Audio 8.00, audio event velocities were not mapped properly. In Pro Audio 8.01, velocities are no longer migrated, they are retained, and now act as an additional gain factor on top of whatever envelopes may already exist in the audio.

•	If the Tools-Global-Options-MIDI-Prepare Using [500] Millisecond Buffers setting was left at its default value of 500 milliseconds, then notes could drop out during playback on tracks that had a Time+ setting of greater or equal to “1”.

•	If the Stereo Reverb audio effect was inserted as a Master effect, opening and re-opening its property page could crash Pro Audio 8.00.

•	Audio effects would slow down the system during silent passages in a project.

•	Lasso zooming down vertically causes Track pane and Clips pane to get out of sync (the Track pane cells and the clips in the Clips pane would not align properly).

•	Combining overlapping 24-bit audio events in the Audio view introduces distortion.

•	In Pro Audio 8.00, it was not possible to import the audio stream from a video file when working with 24-bit projects.

•	24-bit audio was corrupted upon Export to Audio (the resulting .WAV file would distort).

•	It was not possible to use the Tools-Export Video to AVI command when working with 24-bit projects.

•	It was not possible to copy and paste 24-bit audio between two 24-bit projects.

•	The Parametric EQ audio effect would lose its settings when closed and re-opened by double-clicking the effect bar in the Console view.

•	Archived tracks would stream (silent) data in Pro Audio 8.00. This means that archiving audio tracks would not improve system performance.

•	Using the piano key pane in the Piano Roll view to select notes by pitch caused the focus to stay there. This meant that you couldn’t use the DELETE key to delete the selected note events.

•	When using multiple sound cards in Pro Audio 8.00, any effects that were patched in an Aux bus would not be applied when using the Tools-Mixdown Audio command.

•	The Left/Right arrow keys could not be used to scroll horizontally in the Piano Roll view.

•	Archiving an audio track that was using an Aux send, could cause silent playback or a crash.

•	When working with volume and pan envelopes, the Node Properties dialog now only displays the timeline in samples. This is because currently envelope nodes are relative only to the clip and not the sequence, thus other timeline modes are useless for this type of node.

•	Digital Audio Labs (DAL) online Help for the V8 incorrectly referred to the Soundscape HDR1.

•	Online Help for Tools-Audio Options did not list several new settings. This Help section has now been updated to reflect all audio option settings.

•	Certain CAL Track Function references opened the wrong online Help topic.

•	The 'i' hot key was used twice in the Clips Pane inspector menu.

•	Changes to the Tools-Global-Options-MIDI-Prepare Using [500] Millisecond Buffers setting did not appear to "stick" between sessions until playback was initiated.

•	It was not possible to drag a volume or pan envelope node in the Audio view when at a vertical zoom level of 60% or greater.

•	A Playlist did not use the MIDI Echo settings of the currently playing project; it used the MIDI Echo settings for the next project in the Playlist.

•	If the Scrub tool was selected in the Audio view, moving the anchor point for an event that did not begin at time 1:1:0 could crash Pro Audio 8.00.

•	Dragging a volume envelope could cause audio popping.

•	Note durations could not be set in the Staff view by using the numeric keypad (although you could use the QWERTY keyboard).

•	Only the first 32 characters of an audio event’s name were displayed correctly.  Any remaining characters were displayed as garbage.

•	Lasso zooming while holding the Shift or Ctrl keys could cause the measure numbers in the time ruler to disappear.

•	Vertical lasso zoom past the length of track could cause a crash.

•	CFX (mono) audio effects would remain in track inserts after unsuccessfully dragging them to an AUX bus (mono effects cannot be used in an Aux bus). The effect would appear to be removed from the track insert, but the effect would be applied during playback, and would also be displayed if you closed and re-opened the Console view.

•	Dragging a clip down to another track that was initially not visible (only visible after vertically scrolling the Clips pane), would not redraw the screen, and the clip would end up on the wrong track.

•	Forwarding to the end (Go to End) of the currently playing project in a Playlist could cause a crash.

•	Scrubbing in the Audio view with high zoom levels could lead to a crash if a video file was loaded.

•	Dragging and dropping events vertically, then scrolling, could cause the time ruler bar to disappear.

•	When sending real-time input to the Arpeggiator MIDI effect, the echoed MIDI data would be transmitted on the wrong channel.

•	Dragging the Arpeggiator MIDI effect’s ‘Lowest Note’ slider during playback could cause a crash.

•	If a video file was loaded, arming a track for recording could cause the video to roll.

•	When applying an audio effect as an offline command, only the first clip would be processed if ‘Create a Send Submix’ was selected in the Mixing tab.

•	The default Arpeggiator MIDI effect settings have been replaced with more useful and appropriate default settings.

•	If a MIDI effect was applied to one of a few LINKED clips, the associated clips would be moved incorrectly.

•	The Metronome could drift away from MIDI tracks during looping playback.

•	When using the Session 8 hardware, patching effects in the Console view, then trying to close the Console view, would lead to a crash.

•	Lasso selecting events could cause a crash if looping was enabled and the Staff view was open.

•	If the Overwrite record mode was selected, Pro Audio would cause an application error if you used any keyboard accelerator keys (spacebar, etc.) during a count-in.

•	Lasso zooming past the end of a track could cause a crash.

•	If the anchor point had been moved, an audio event would not move to the proper location when changing the Time setting in the audio event Properties dialog.

•	When applying volume and pan envelopes, there is some additional overhead during playback. This is necessary in order to process the envelopes with better than sample accuracy. In Pro Audio 8.00, the additional overhead would be applied to all the audio events, even if just a single audio event used a volume or pan envelope. In Pro Audio 8.01 playback is more efficient, as any additional overhead only applies to audio events with non-linear envelopes. Audio events with a straight envelope line, or no envelope at all, will result in more efficient playback.

•	Patch Caching would send incorrect data to certain sound card drivers.

•	Patching multiple Master effects in the Console view, then opening and re-opening the effect property pages could cause Pro Audio to crash.

•	There was a small resource leak when repeatedly scrubbing in the Audio view while a video file was loaded.

Bugs fixed in version 8.03:

•	Using the Overwrite record mode, or punch-recording, could cause data loss if recording over linked audio clips.

•	If the record mode is ‘Sound on Sound (Blend)’, then recording new audio within a linked clip caused the displayed clip to be hidden.

•	Pressing 'R' to start and stop recording (on-the-fly punch-in/out) removed data after the first “take”.

•	Pressing 'R' to start and stop recording (on-the-fly punch-in/out) would delay a second before starting or stopping record.

•	The Play List would sometimes not indicate which song was the “current” song.

•	When using the Play List, the layout of the “next” song was sometimes displayed on top of the “current” song.

•	The Play List would take a while to load the “next” song.

•	Adding envelopes during playback could cause popping at the end of clips.

•	The various “Stretch Audio” options were unavailable when working with  24-bit audio.

•	When using the Roland UA-100, moving loop markers during playback could cause a crash.

•	When using the Roland UA-100, adding an effect in Aux send 1 and enabling the send in a track could lead to a crash.

•	When using the Roland UA-100, starting/stopping playback or rewinding could sometimes cause a crash.

•	There was no status bar message for the View-Layout menu item.

•	When using the Auto Punch record mode, and using a sound card in half duplex mode, recording could stop after 60-90 ticks.

•	The Edit-Cut dialog settings did not persist between invocations.

•	Selecting AutoSave every '1' change caused a 'failure to open document' error.

•	The Tools-Mixdown Audio command did not work properly if any effects were assigned to an aux bus.

•	The Tools-Mixdown Audio command did not work properly when selecting a 'send enable' on any track.

•	The Tools-Mixdown Audio dialog did not select the next available blank track.

•	In the Piano Roll view, the Snap feature always used ‘Move to’, even when ‘Move by’ was selected in draw mode.

•	When saving a StudioWare panel, invalid characters were allowed when typing a file name, with no warning.. The panel was not being saved.

•	Launching .BUN files from MS Explorer could cause a crash.

Bugs fixed in version 8.04:

•	The Yamaha DSP Factory can be used properly with 24-bit projects (added “Left-justify unpacked data” option in Tools-Audio Options-Advanced).

•	Launching .WRK files from MS Explorer could cause a crash if the WRK file was saved with the Console view open.

•	Pro Audio would crash when starting if the Normal template was saved with the Console view open.

•	MIDI Playback was heard with fader at minimum after recording automation beginning at time 3:01.

•	Fader positions and volume levels did not reflect the volume parameters at time 0 after rewinding.

•	Pressing two or more buttons on the StudioMix™ could cause the buttons to become inactive.

•	Occasionally, the loss of transport functions from StudioMix™ to Pro Audio would occur. All buttons, jog/shuttle control would also be lost.

•	Assignments from the StudioMix™ configuration view did not apply when selected via PC keyboard up/down arrows.

•	Pressing StudioMix™ ‘softkey’ could lead to a crash while Playlist was open.

•	StudioMix™ master fader not recording automation data.

•	Console view remote control parameters would  revert to NPRN values when StudioMix™ was disabled.

•	StudioMix™ faders did not always update their positions when a file was opened.

•	Pressing F1 for help with Console view open removed the Main output meters, and did not bring up the Console view help topic.

•	MIDI Pan not responding to recorded automation data.

•	Automation data was being recorded from the StudioMix™ when ‘record automation’ was not enabled in the Console view.

•	Changing an assignment in the StudioMix™ configuration view caused the StudioMix™ faders to momentarily jitter.

•	Loading a file containing automation data could lead to a crash under Windows NT 4.0.

•	Fader positions and volume levels were not retained when rewinding to time 0 with ‘null’ values (“—“).

•	Undo (Ctrl-Z) command was not working if the track view had the focus and a fader was moved on the StudioMix™.

•	Enabling ‘write fader’ prior to playback and recording automation caused the existing (old) automation to be heard.

•	Recording automation from the Console view caused the volume level to revert to values displayed in Track view.

•	Recording automation on a MIDI track with the Arpeggiator MIDI effect in a track insert caused the automation data to be ignored.

•	StudioMix™ Jog/Shuttle wheel did not increment or decrement smoothly (added – Jog/Shuttle by beat and measure).

•	Moving the shuttle control on the StudioMix™ with Playlist open and on top led to a crash.

•	Old automation could be heard while new automation was being recorded when punching in or overwriting.

Supplemental StudioMix™ Information
This section contains additional information regarding the use of the StudioMix™ hardware surface.

200 ms Delay When Shifting Control Focus

When using the StudioMix™ hardware surface with Pro Audio, you will notice a 200ms delay in shifting focus from one control to another.  For example, when you move a fader on the hardware surface, then go to move another one, the control focus (which determines the control whose value is reflected in the Console's Value field) will not change for 200ms. This is perfectly normal and is a byproduct of the accuracy mechanism that the faders employ to ensure they are at the correct position.  If you wish to see the control's value in the Console's Value field, you will have to pause slightly (about 200ms) between manipulating controls.

Enabling the StudioMix™ disables MIDI Thru on Channel 16

When the StudioMix™ hardware surface is enabled (in Tools-Global Options), the MIDI Thru on MIDI channel 16 will be disabled in the sequencer engine for whichever port is specified in the StudioMix™ Configuration view.  This prevents a feedback loop of control data between the software and the hardware surface

If you experience faders jittering or randomly generating data at any point during use, follow this procedure:
In Tools-Global Options, disable the "Enable StudioMix hardware" option.
Turn the StudioMix™ Hardware off.
Wait one minute
Turn the StudioMix™ hardware on.
In Tools-Global Options, enable the "Enable StudioMix hardware" option.

View-Console Button Binding Disabled 

You will notice that the View-Console button binding is disabled in the selections for the five programmable keys on the StudioMix™.  This is because the Console view must be open in order to use the StudioMix™ hardware, and thus the command can cause the surface to no longer respond.  If you wish to trigger this, you will need to do it from the computer keyboard or a MIDI message via a key binding located in the Tools menu.

MIDI Channel 16 Must be Enabled 

If the Console view does not respond to fader movements from the StudioMix™, go to Tools-Project Options-MIDI Input, and make sure that channel 16 is enabled/checked.

“RoughMix.cal” CAL routine assigned to 3rd Key Binding Button

By default, the “RoughMic.cal” CAL routine is assigned to the 3rd (from top) StudioMix™ Key Binding button. This CAL routine resets the volume and pan parameters for each track.

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 Pro Audio '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 Pro Audio.

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 Pro Audio. 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.)

Using the sync input port
Since the MTP has a 17th port for sync input, you will see this in the Cakewalk Pro Audio MIDI Devices list as a separate input port. Cakewalk Pro Audio supports a maximum of 16 input ports. If you have two MTPs using all 16 input ports and are using SMPTE sync, deactivate one input port in MIDI Devices so that you can use the 16th available input port as your sync port. Also, sync audio input should be read on the first MTP. This configuration is based on the routings of the provided WINDOWS.MTP template.

Gravis UltraSound

Cakewalk Pro Audio 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, Pro Audio 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 Pro Audio lets you decide when to use Update Patch Cache to "recalculate" the patches used. (Pro Audio 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 Pro Audio. This is just the way such a sound card must work.

Instrument Definitions

Instrument definitions help Pro Audio understand the way a particular synthesizer works. This enables Pro Audio 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 Pro Audio. 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

Pro Audio SETUP does not overwrite your existing MASTER.INS file. That file contains the instrument definitions that Pro Audio 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 Pro Audio 8.0 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 Pro Audio 8.0 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 Pro Audio, you might want to import the updated version that is included with Pro Audio 8.0.

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

1.	Open Pro Audio, 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.

Roland StudioWare™ Panels

Roland VS-880 panel

The Roland VS-880 StudioWare™ panel that is included with Pro Audio 8.0 has been updated from the VS-880 panel included in Pro Audio 6.0. The following enhancements have been made to the previous VS-880 panel:

Changed the switching mode when clicking the SEL button.
Fixed a problem when specifying tracks.
Fixed a problem where all EQ settings only work for track #1.

How to use the Roland VS-880 Panel

You can control the Roland Digital Studio Workstation VS-880 from within Pro Audio.
First of all, connect your MIDI interface’s MIDI OUT to the VS-880 MIDI IN, and connect the MIDI interface’s MIDI IN to the VS-880 MIDI OUT respectively.

Go to Tools-MIDI Devices, and select the Input and Output device that the VS-880 is connected to.

Create nine (9) successive tracks for controlling the VS-880 from Pro Audio (or simply load the Roland VS-880 template; File-New-Roland VS-880). Make sure the nine tracks are assigned to the following channels:

Track:	Channel:
1	1
2	2
3	3
4	4
5	5
6	6
7	7
8	8
9	15

Make sure the tracks are assigned to the same port as the VS-880 is connected to.

Click the Setup button on the right side of the Roland VS-880 panel. Use the Track knob to specify the first track you create in step #2, and use the Port knob to specify which port the VS-880 is connected to.

Set the device ID for VS-880 using the large (ID) dial in the upper right corner.

What can you control with the Roland VS-880 panel?

You can control the following settings of VS-880:

For every track:

Slider controls			MIX Send Level
Switch SOURCE/PLAY	Track Status
Settings for EQ, EFFECT SEND etc.
				EQ L Gain, EQ L Freq., EQ M Gain,
				EQ M Freq., EQ MQ, EQ H Gain,
				EQ H Freq.,AUX Send Level, AUX
				Send Pan/Bal., EFF-1 SND Level,
				EFF-1 SND Pan/Bal., EFF2 SND
				Level, EFF-2 SND Pan/Bal.
Settings of Pan			MIX Send Pan/Bal.

Master Control:

Slider				Master Level
AUX LEVEL			AUX Level
Settings of AUX, RTN		AUX Level, AUX Balance, 
				EFF-1 RTN Level, EFF-1 RTN Balance, 
				EFF-2 RTN Level, EFF-2 RTN Balance
Switching EFFECT TYPEs	Effector-1 Algorithm, Effector-2 Algorithm

When using MMC, you can use the following buttons:

	[ZERO], [REW], [FF], [STOP], [PLAY], [REC]

Press the Update button, then click the MTR button to show the level meters.

Roland SC-88 Pro panel

There are three (3) different Roland SC-88 Pro panels. Each panel can be used to control specific functions on the SC-88 Pro:

Roland SC-88Pro.CakewalkStudioWare
Purpose: Set the settings for each part or MIDI channel;set patches.
Buttons: SETTING, SYSTEM, CTRL, PART, DRUM, REVERB, CHO, DELAY, EQ

Roland SC-88Pro EFX #1-#34.CakewalkStudioWare
Purpose: Select EFX from #1 through #34, and set their parameter settings.
Buttons: SETTING, ON/OFF, FILTER, DS, MOD, COMP, CHO, DLY/REV, PITCH, OTHER

Roland SC-88Pro EFX #35-#64.CakewalkStudioWare
Purpose: Select EFX from #35 through #64, and set their parameter settings.
Buttons: SETTING, ON/OFF, MLT2S, MLT3S, MLT2P

How to use the Roland SC-88Pro Panels

1. 	Click the SETTING button to show a screen with sliders.  Here, you can set output tracks, ports, and MIDI channels.
2. 	Click any button that is available in each panel to show a popup cluster.  If you move sliders or buttons here, their corresponding MIDI data will be output.
3. 	Click the Record or Snapshot button to record widget movement or capture widget positions to the assigned tracks.

* If you click the Snapshot button, all the data is recorded to the same time (Now time).  This may cause data concentration, or the order of the data might be changed when the data is transported between different environments.  In this case, you should edit the data using the Event List view.

Notes and Known Limitations

With the settings below, you should be able to use the SC-88 Pro panels without any problems:

In Windows, go to Start-Settings-Control Panel-Display|Settings, and use the following settings:

Color palette : High Color (16 bit) or higher
Desktop area : 1024 by 768 pixels or more
Font : Small Fonts

* Depending on your system, it may take several minutes at longer to load a panel.
* Some widgets are not updated even if the Update button is pressed.

Roland JV-2080 panel

With the JV-2080 panel, you can control the patch,  effects and EFX advanced settings from within Pro Audio. You can also record those settings into a song using the Snapshot button or Record button in the StudioWare view. By using these features, you can restore the same setting when playing back a song at a later time.

The Roland JV-2080 panel is designed to be used under the following conditions:

•	The Roland JV-2080 must be in the Performance mode.
•	Only the temporary area of JV-2080 is affected. You need to record the settings into a song using the Snapshot button or Record button in order to restore specific settings at a later time.
•	Your computer and the Roland JV-2080 must be connected bi-directionally (MIDI IN and MIDI OUT), so they can communicate with each other.

Compatible Synthesizers

The Roland JV-2080 panel can also be used with the following Roland synthesizers whose MIDI implementation is compatible with the JV-2080:

•	XP-80
•	XP-60
•	XP-50
•	JV-1080

Note that EFX B and EFX C are not supported on these models.

Supplied panels
 
There are four (4) different Roland JV-2080 panels. Each panel can be used to control specific functions on the JV-2080:

Panel Name			Target Parameters				
Roland JV-2080 Patch		Performance select, Patch edit for each part
Roland JV-2080 Effect		Effect settings for Reverb and Chorus,
				Output settings for each part
Roland JV-2080 EFX #1-#25	EFX #1-#25 settings
Roland JV-2080 EFX #26-#40	EFX #26-#40 settings

Connection and Preparation

Connect your computer’s MIDI interface and JV-2080 to each other, so that they can communicate bi-directionally. Make sure the proper input and output devices have been selected in Tools- MIDI Devices.

Template File

It is recommended you start with the Roland JV-2080 Template. The template has the following settings:

•	System exclusive message which switches the Roland JV-2080 into the Performance mode
•	16 tracks to control each of the 16 parts in the Roland JV-2080

How to Use the Roland JV-2080 panels

Clicking the SETTINGS button will open a popup cluster with sliders. Start by setting the target track (1-255) and the device ID of the target JV-2080 (The default device ID for the JV-2080 is 17(10H).
Clicking the REQ button will get the current settings of the JV-2080. The current parameter settings on the JV-2080 are reflected in the displayed pop-up cluster. Moving sliders and knobs will transmit data to the JV-2080 in real-time. You can record current parameter settings into the current project by clicking the Snapshot button. Please note that the parameters currently hidden are not recorded into the song, so you will need to repeat any snaphots/recording for each parameter group.

Roland JV-2080 Patch Panel

1.	Select a base Performance using the PERFORM button.
2.	When you want to use the patch settings for each part included in the selected performance, you have to designate "---" for Bank and Patch settings in the Track view.
3.	When you want to override the settings in the performance, select Bank and Patch in the track properties as you like.
4.	Select the target part using the PART 1-16 buttons.
5.	Select the target tone using the TONE 1-4 buttons.
6.	TONE On/Off shows the current status of each tone in the selected performance/part, and you can switch them by pressing the button.
7.	Open the parameter panels you want to edit, then edit the parameters using the sliders.

Roland JV-2080 Effect Panel

You can arrange the effect settings using the Chorus and Reverb buttons, and you can set the effect send level of each part using the PART 1-16 buttons.

JV-2080 EFX #1-#25
JV-2080 EFX #26-#40

1.	Select a target EFX (A, B or C) using the Target EFX button.
2.	EFX Source designates the EFX setting to be used (You can confirm the current setting by pressing the REQ button.)
3.	EFX Type designates the type of EFX you want to use (You can confirm the current setting by pressing the REQ button.)
4.	Edit the parameters using the sliders in the pop-up clusters.

Notes and Known Limitations

When clicking the REQ button, the EFX Type may be opened when you request the EFX Source. This happens according to the timings of your operation and the JV-2080's data transmission. If this happens please select the EFX Type again.
The LED on a button may not be turned on, although you click a button. In this case, please click the button again.

If you click the Snapshot button, all the data is recorded to the same time (Now time).  This may cause data concentration, or the order of the data might be changed when the data is transported between different environments.  In this case, you should edit the data using the Event List view.

If you save a song while the panel view is displayed (even if it is minimized), the whole panel is saved along with the song. Note that you cannot restore the settings of the JV-2080 by simply loading a file that contains a JV-2080 panel. If you want to restore the settings, you need to record them into the song using the Snapshot button or Record button. Then, save the song with those settings, after closing the StudioWare view.

Roland UA-100 StudioWare Panel User’s Guide Available Online

A User’s Guide for the Roland UA-100 StudioWare panels is available in the Support section of the Cakewalk web site (http://www.cakewalk.com).

QTools/AX Frequently Asked Questions (FAQ)

These questions and answers are provided to help you better operate QTools/AX v1.0 within Cakewalk Pro Audio version 8.0. There are two main methods of using QTools/AX within Pro Audio; 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.	

2.	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 Pro Audio 8.0 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.

3.	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.

4.	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 Pro Audio 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 Pro Audio 8.0 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.

5.	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.

6.	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.)

7.	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.

8.	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 Pro Audio as a .WAV file and subsequently process with QSound effects.

9.	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

10.	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

11.	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:

12.	Are there any other ways of using the QTools/AX plug-ins in Pro Audio?

QTools/AX plug-in can be accessed in an off-line mode through the right-click mouse menu, or by choosing Edit-Audio Effects-QTools. This off-line processing is identical to the processing found in Cakewalk Pro Audio 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 Edit menu.

13.	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 Pro Audio 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.

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

Pro Audio 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.

15.	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. Pro Audio 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. Pro Audio has provided the Console view for the purpose of real-time functionality.

Acknowledgments

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

Instrument definitions

ADA MP-2 - Morten Saether
Alesis QuadraSynth Plus - Les Vargha
Alesis S4 QuadraSynth - Bo Bickley
Digitech DSP-128 - Morten Saether
Digitech DSP-256XL - Richard S. Huntrods
Digitech DSP-2101 - Christopher Orth
Digitech GSP-21 Legend - Russell C. Cole
E-MU Classic Keys - Morten Saether
E-MU ProFormance - Morten Saether
E-MU ProFormance+ - Morten Saether
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
JL Cooper MSB+ REV2 - Morten Saether
JL Cooper Fadermaster 2.0 - Morten Saether
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
Kurzweil PC-88mx - Morten Saether
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 GP-8 - Morten Saether
Roland GR-1 - Morten Saether
Roland GSmkII - Jim Kometani
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 MU100R - Jamie O’Connell
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
Yamaha XG - Morten Saether

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
JL Cooper Fadermaster 2.0 - Morten Saether
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