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David Baay

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Everything posted by David Baay

  1. Routing notes to different physical or virtual ports should not be a probem; I have done it frequently in the past. Just make sure you're routing the right 'Out Notes' to the right ports with the correct re-mapping from 'In Note' to ' Out Note', keeping in mind the non-standardization of octave numbering as reginaldStjohn noted.
  2. I agree, but would still record MIDI rather than audio, and use Set Measure/Beat At Now to sync Cakewalk's timeline to it.
  3. MIDI buffering was revised a couple releases ago. The default now is 50, and is generous where 250 was marginal and 500 was needed in most cases under the old scheme. I've been running mine at 20 without a problem.
  4. Don't know what to tell you. It is a bit strange, but hard to see how it really matters, unless you think the MME version sounds better? What prompted you to compare them in the first place?
  5. Non-realtime audio rendering is an offline process that does not depend on hardware or drivers. I think it's more likely that TTS-1 just never renders the same way twice. Even if you do two exports with the same driver mode, they will differ enough not to null. I've observed this with TTS-1 in the past. I believe it's a micro-timing issue as opposed to the timbre differing.
  6. So you recorded live performance input as well as sequenced playback from a workstation-type keyboard simultaneously? I assume you had some sort of sync set up with matching tempos between the workstation and Cakewalk...? Were you playing to Cakewalk's audio metronome, or just playing along with the keyboard accompaniment? And how are MIDI and audio being routed and monitored while recording? If MIDI is all late relative to the grid due to audio latency and/or MIDI transmission delay, you might have a lot of notes getting quantized the wrong direction, but I know of no circumstance that will cause notes to be deleted. Possibly you have early and late notes on the same note number getting quantized to the same gridline so one gets masked by the other...? In any case, zoom in a bit and check the average discrepancy between the MIDI and the grid. And watch how it moves when you alternately quantize and undo. If everything is typically late (or early) you can start by nudging the whole clip to minimize the average discrepancy before quantizing. If there's a strong average offset one way or the other, you'll want to see what can be changed in your setup to minimize it. Quantizing isn't rocket science, so long as you have a good handle on what resolution is needed, and everything is within half of that resolution of the M:B:T grid line where it was intended to land, it should give a good result.
  7. So if Melodyne is used in the FX bin, you would need to right-click in Prochannel and set it to 'Post FX Rack' for it to have an effect (no pun intended).
  8. True, but a typical GM-style MIDI file downloaded from the Web will either be a Type 0 or Type 1 with one channel per track. But I suppose the OP might have something unconventional, which would account for the problem..
  9. You can selectively change clip foreground and background colors in the clip propertie section of the Inspector. You can also adjust default track colors in Preferences. It's been a long time since I messed with this so I'm not sure how those assignments interract with Themes. As I recall, the last time I used custom colors, I had to edit them in X2 and import them because Platinum had eliminated access to some color settings. Clip backgrounds may have been among those. At a certian point, I decided to just settle for the default Mercury scheme, and choose a specific track color from the picker in the track pane when I need better visibility for some a specific track.
  10. A Type 0 file should still open with channels automatically split to tracks, but you must use File > Open as scook noted, not File > Import.
  11. I think you'd have to go back to an early version of Cakewalk for Windows before the concept of a MIDI 'clip' was implemented.
  12. Sure. So long as you just have an audio track set to receive the output of the drum synth (making it a 'Synth' track), you can route as many MIDI tracks to the synth as you like. But using lanes of a track makes for easier application of drum maps and editing in the PRV as well as helping to keep the track count down. Having drum parts on separate tracks gives you some added flexibility to mix with MIDI controls. I don't usually bother with that now, but it would be nice to have per-lane velocity offset controls.
  13. I'm going to guess Edit Filter is not set to Clips.
  14. - Differentiate drum kit pieces. - Differentiate harmony/voice 'lines'. - Separate rhythm parts or chord progressions from melodies played on the same instrument (sometimes doubled with linked clips on another instrument track). - Try out different combinations/permutations of alternate takes by clip/lane muting. - Easily discard a take later on when you decide it's not what you want. - Isolate keyswitches. - etc...
  15. I only recently retired my Roland RD-300s, purchased new in 1988. It's having a second life in my son-in-law's studio.
  16. I never had occasion to work with tempos in CAL. I glanced briefly though this CAL programming guide, and didn't find anything relevant: http://members.ziggo.nl/t.valkenburgh/Cakewalk Application Language Programming Guide.pdf CAL predated the integration of digital audio into Cakewalk, so there wasn't really a need to reference any processing to absolute time.
  17. In my case, toggling power to the USB MIDI interface off/on after booting also reloads the driver properly. So it's not necessary to reboot. But I suspect your issue is different. Here's thread that might help you find the cause of that error message, specifically: http://forum.cakewalk.com/quotthere-is-not-enough-memory-availablequot-prompt-when-utilizing-samson-keyboard-m3595932.aspx
  18. Shift+T to show lanes. I don't usually want sound-on- sound MIDI recordings to be destructively merged into one clip, but I have requested previously for sound-on-sound MIDI to be displayed as merged in the comp/parent track when lanes are collapsed.
  19. Sure. An old but useful trick I still use it occasionally. One thing to be aware of in your process: Tab to transient depends on Audiosnap transient detection which can be a bit variable, and the current algorithm usually places markers a couple milliseconds into the attack of the transient. This works well enough for adjusting musical timing based on where a listener would hear the transient 'hitting' rhythmically, but I would not depend on it 100% for precise registration of samples.
  20. See post 23 in this old thread for how to set up CAL files to allow "nudging" the Now Time at any desired tick resolution with keybindings: http://forum.cakewalk.com/fb.ashx?m=1365944 You'll need to calculate how many ticks in 500ms at your current project tempo as 8 x Tempo (e.g. 800 ticks at 100bpm).
  21. We're talking about a physical mod wheel on a controller keyboard, right? In most cases, moving the the mod wheel in the synth UI will not generate MIDI output that can be recorded, and it would require a special setup to captuer and route it correctly if it did. So, assuming we're talking about a physical mod wheel, recording modulation events and getting them to control the desired synth parameter are two different tasks. If you're not able to record modulation events from your keyboard at all, it has nothing to do with what synth the track is driving or whether MIDI learn is working. And you don't need to set up a controller lane in advance to record controllers from a physical mod wheel on a keyboard/controller. Assuming you can record MIDI notes from your keyboard, then port and channel assignments are correct, and the only thing that would prevent controllers being recorded would be that the box to enable recording of Controlllers in Preferences > MIDI > Playback and Recoridng has been unchecked (it's enabled by default). If it's checked, you don't even need to have a synth set up to arm a MIDI track and record notes and controllers. Then, when you double click the MIDI track to open it in the PRV, and show the Controller pane, the mod wheel events will be displayed automatically. So the first task is to get recording of controllers working, and then we can worry about whether the synth is responding to them as expected.
  22. You can't apply a different tempo to an individual MIDI clip, but there are various ways to stretch/compress a MIDI clip to effectively play slower or faster within the context of the project tempo. There aren't too many different ratios that are likely to work. If a 70-80 bpm clip sounds like it should work with your 120bpm track, then it's likely you need to double its length after importing it to be effectively 60PBM. You can do this by Process > Length. But without hearing what you're working with that's a wild guess.
  23. Not lane-muting, clip-muting. Everything you decribed is consistent with clips being muted. Comp recording automatically mutes takes as they're superseded by newer ones. Clicking a take with the Comp tool in the lower half clip will 'promote' that take and mute others in the same time range. Or you can use the 'k' shortcut as mentioned to unmute any or all takes in the case that you want sound on sound playback. I'm not completely understanding your description of the different problems you're encountering , but i don't think you're encountering a bug. I think you must need to understand the tools. A screenshot might help clarify what you're seeing. Or share a copy of the project with the MIDI drums.
  24. If the performance was recorded without a metronome, the tempo is going to be more or less variable over time, This procedure will fit the project timeline to the MIDI with tempo changes calculated for you: – Drag the clip to align the first downbeat note to the nearest bar line (i.e. 1:01:000 if it starts on a downbeat or 2:01:000 if there are pickup beats). – If isn’t starting at 1:01, snap the Now time to 2:01 and use Set Measure/Beat At Now (Shift+M) to pin down that point as the reference for subesequent timeline ‘Sets’. – Start playback and stop the transport at the downbeat note that should be hitting the 9:01 barline. Tab/Shift+Tab to the beginning of that note, and SM/BAN that point to Measure 9, Beat 1 (or Measure 10 if the first downbeat is at 2:01). Cakewalk will change the previous tempo to make the beat fall on the specified absolute Now time, and insert a matching tempo at that point to serve as reference point for the next Set. That tempo is the average for those 8 measures though there will likely be some variation within it that you can address later. - If there was a pick-up measure, go back and set the first pickup note to the appropriate beat or fractional beat (decimal, not ticks), and change the initial tempo to match the tempo between that point and 2:01. – Go through the rest of the clip using a combination of playback (spacebar), Ctrl+PgUp/Dn for previous/next measure and Tab to MIDI notes to put the Now time on downbeat notes at 8- or 16-measure intervals, and ‘Set’ those beats out the the last downbeat or the point where a decelerando starts if there is one. (Note: If the rhythm doesn’t consistently have notes on downbeats, you can set a different beat or even a fractional beat somewhere else in the bar). Once you get the hang of using the shortcuts, this goes pretty quickly. – Enable the playback metronome, and listen through the clip, setting additional points as needed to further tighten up the timeline to the MIDI clip. Understand that SM/BAN is entering tempo changes to make the timeline fit the MIDI. MIDI event start times and durations will be recalculated to preserve the absolute playback timing of the original performance at the new project tempos. Open Views > Tempo to see the tempo map being created. – If you find that you’ve made things worse at some point, always Undo your way back to the last ‘Set’ before the mistake was made. Deleting a tempo will cause the timing of the MIDI to change, which you don't want. - It’s best to do a periodic Save As with a new project name suffix at regular intervals so you can easily back up to a ‘good’ state if needed later on. I usually do these progressive saves with something like “Rough Set Thru 33;01” appended to the name to know where I left it. - Once you have the timeline aligned to the MIDI throughout the performance, you can edit the tempo map to smooth the variations or delete all but the first to completely flatten the tempo and/or quantize to tighten up the performance.
  25. I've never seen that before which makes me think it's related to UWP driver mode for MIDI. If so, try changing to the default MME mode under MIDI > Playback and Recording. So fas as I know, there's no performance or functional advantage to using UWP mode with hardware connections. It's main benefit is supporting Blutooth. My old multiport MOTU interface driver only exposes a single port in UWP mode, and there ar eno errors reported, but it doesn't work.
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