msmcleod

This is intentional. Quick groups have always worked this way. See the "Quick Groups" section of the reference guide (page 1044) The only thing that has changed here is that controllers are drawn behind the notes rather than in front. Controller events were always drawn in a single colour on MIDI tracks, as opposed to controller automation, which follows the colour of the automation lane. There is currently no way to set the colour of individual types of controller events, which is why it uses a slightly darker shade of the clip colour.

It's hard to tell what is going on without seeing the routing of your project, how you've got OPUS set up, and what export options you're using. Does OPUS support more than one "bank" of MIDI inputs? AFAIK you need to use VST3 to use more than 16 MIDI channels, and only if the VSTi itself supports it. VST2 will only ever support 16 MIDI channels. Although the easiest solution would be to limit OPUS to 16 MIDI channels, and create a new instance of OPUS to give you another 16, Cakewalk should support multiple banks of 16 MIDI channels in a VST3 VSTi if the VSTi itself supports it. If you can PM @Jonathan Sasor your project, we can take a look and see if we can work out what is going on. Please include steps to reproduce the issue, including exactly which options you're using to export - a screenshot of the Export Audio dialog with all the sections expanded should suffice.

FWIW The last time I had this issue, it was down to the custom Kensington mouse drivers I'd installed. Once I'd uninstalled those, and Windows was using its own internal mouse driver, everything was working fine. Cakewalk wasn't the only application that had strange behaviour... IIRC it seemed to be older MFC based applications that were most affected. If you do have 3rd party mouse drivers installed, you may find they aren't fully Windows 11 compatible. Try uninstalling them and see if it helps.

Sounds like you may have a plugin somewhere that has gone into demo mode? Check all of the plugins in your project are authorized.

The track template menu is a standard Microsoft menu, which unfortunately has a limit to the number of entries. While we have gone some way to fix this for plugins, it still remains an issue for templates. As a workaround, you can use the Media Browser, with the filter set to "Track Templates" and just drag the template into the project: I'd recommend doing the same for synths / audio fx:

Yeah, I'd change it back to ASIO for normal use. There's no difference in sound quality, but the latency is much higher when using WASAPI Shared. BTW - this is the mixer I use for screen capturing with Cakewalk running: https://www.thomann.de/gb/the_t_mix_mix_502.htm It looks like this is actually cheaper than the Behringer and has the benefit of having phantom power.

If you're doing screen recording, the easiest way is to set Cakewalk to use WASAPI Shared. That way all applications can share the audio device. You also want to make sure that "Suspend Audio Engine When Cakewalk Is Not in Focus" is unchecked. Both of these can be set within Preferences->Audio->Playback and Recording. Personally however, I find it easier to use a small hardware mixer and set the screen recording software to use the internal sound card. Something like this is ideal to capture the output of my audio interface and a microphone, and route it back to my on-board audio device: The one I have is similar to this, but it also has phantom power for the mic.

@Gewa - try the following: 1. First check your driver mode in Preferences->MIDI->Playback and Recording, and set it to MME. You need to close all projects to be able to change this: 2. Make sure the input itself is enabled (i.e. checked) in Preferences->MIDI->Devices. The example below shows "MIDIFACE 8x8", but in your case check the one that corresponds with your Alesis Turbo:

Put it in the master bus FX bin, like you would any other track, either on the inspector or in the tracks view (with buses visible): However... although this will do what you asked, putting the reverb on the master bus is not really what most people would do. You're better off having a separate reverb bus, and having each track send to that bus. @Creative Sauce has a great video explaining this:

This is how you access all 16 tracks:

Bind the keys in question to "Do Nothing" in Preferences->Customization->Keyboard Shortcuts Here's a similar request:

Save the track as a track template, then import it in the destination project. You can then copy/paste the clips across.

I almost ran out of licenses trying to troubleshoot a hardware issue on my DAW PC. Every time I swapped something out and/or restored my OS image, it needed reauthorising. The annoying thing was, that part of the repro for the BSOD I was getting was to use a particular project which was using ARC 2, and I had to actually use the PC for some time before it would BSOD. IIRC IK will reset the license count for you if you ask them and give them a good enough reason.

@azslow3 - thanks for your input here... you've done a pretty good job of explaining everything. If I could add to it, and hopefully not muddy the waters! The Control Surface API was primarily geared at transport and track (fader/pan/MSR) control, as at the time it was written, this is what most control surfaces were designed to control. It was made public so that control surface manufacturers could develop & provide dedicated control surface DLL's for their products. With that said, there are basically two types of control surface with Cakewalk: Type 1: Control Surfaces geared to a particular piece of hardware, with the intention of controlling transport & tracks. Type 2: Totally generic surfaces, with a bunch of faders and/or pots or rotary encoders with no specific purpose. These can be used to control either transport/tracks, or dynamic plugin control via ACT Learn. The Generic Control Surface is more of a type 1 - it's very old and can be used for surfaces that have no dedicated control surface DLL, and also as a reference for people writing their own control surface DLL. The "ACT MIDI Controller" control surface is newer and can be either Type 1 or Type 2. When using the ACT MIDI Controller for dynamic plugin control, the main purpose of the ACT Control Surface dialog is to specify what controls are available (i.e. buttons / faders / sliders), and what MIDI message they send. In essence You "MIDI Learn" within the ACT MIDI Controller dialog to teach it what controls are available on your device. You "ACT Learn" synth or effect parameters to link them up with a particular control. Note: the main reason you do the "MIDI Learn" step, is so that Cakewalk tries to assign default parameters to controls when you first enable ACT on a plugin. But of course, you can use ACT Learn to override these assignments. This is one of the best videos I've found explaining it all:

It's worth mentioning that C2 or C1 are not standards, which is why the option to change the base octave is there in preferences. The actual MIDI note for middle C is always 60, regardless of whether it's called C3 or C4. This is why the dropdown in the Articulation Map editor also shows the MIDI note number to avoid ambiguity. I'd recommend using the MIDI Learn function in the Articulation Map editor, so you don't have to worry about note numbers at all - you just have to play the note on your MIDI keyboard. If you're working from a list of key-switches in the documentation, you could use MIDI Learn for the first note to see whether it says C2 or C1, and then enter them manually from there taking or adding one to the octave as appropriate. This page is a handy reference: https://studiocode.dev/resources/midi-middle-c/

Turning the engine off / on can be slow (in the order of a few seconds), especially if you've got a lot of audio inputs/outputs, so I doubt if most people would want this. The plugin is being told one of its outputs is being disconnected, so it shouldn't be trying to continue processing on that output. Turning the engine off switches off all processing for everything, so it's a really a brute force workaround.

@Milton Sica - FWIW this isn't new to this release. The same thing happens in both 2022.06 and 2022.02, so I think it's an issue with the plugin.

I can reproduce this - the crash report says it's a problem with the VSTi, but we can look into it. As a workaround for the meantime, turn the audio engine off before deleting the tracks:

Uncheck "Enable MIDI Output": What is happening is, the MIDI Output of track 1 is being fed to track 2. You can stop this from happening in future, by clicking on the "Insert Synth Properties" button on the synth rack... ... then unchecking "Enable MIDI Output if Available":

The easiest way to do this is using exclusive solo: If you need more than one track for your "reference", you can group the solo buttons of the reference tracks.

I use Dunlop 0.73 yellow tortex picks almost exclusively, the only exception being when strumming chords on an acoustic 12 string - then I use the red 0.5mm, or lighter pick if I can find one.

Ah yes - you're right. Hmm - yeah, that's a bit limiting.

Are you maybe talking about this?

Everyone can be forgiven for not knowing about this one.... I found it by accident... but you can actually replace an effect: 1. Right click on the effect you want to replace, and pick Insert Audio FX... 2. Hold down ALT when choosing the new effect. The downside is there's no quick grouping across tracks, so you can't, for example, use it to replace all your SSL EQ's with API EQ's.

This is a quirk of MIDI clips. The selection is shrunk to the extent of the notes before the ripple edit operation takes place. I've never really got a definitive answer from the team as to why the selection shrinking happens, apart from it was done that way by request of users a long time ago - certainly as far back as the Cakewalk Pro Audio days. This certainly caused issues when trying to sort out the split/comping behaviour when doing MIDI loop recording for the 2022.06 release. It is something I'd personally like to have changed, or at least make it a preference. The main obstacle is that it's baked so deeply in the code, it's difficult to ascertain where it's happening and under what circumstances. There's also the danger that there's other code that relies on this behaviour. We'll try to make time to look at this again.