David Baay

Yes. Preferences > Customization > Editing > Selection after a single split:

If the Limiter isn't on the Master bus with everything going through it, you might be hearing the effect of plugin delay causing a phase change against other tracks because the transport has to be restarted to re-sync the Plugin Delay Compensation. This could be very noticeable (and objectionable) if you have some kind of parallel-compression-like set up where you're sending to a bus with the limiter on it, rather than inserting it.

I don't really have a good idea why this is happening , but it seems pretty clear there's some interoperability issue between Cakewalk and the Presonus driver. I can only suggest you uninstall anything related to that S-Engine interface, and maybe re-install the latest Presonus driver, and make sure the Playback and Record Timing Master settings in Cakewalk preferences are referencing it. And don't make it the default device for audio playback or recording in Windows (let Windows use your onboard audio). Beyond that, you might want to contact Presonus to see if they can replicate this.

I think scook has you covered on the other issues, though it's a little weird that the project didn't save the state of the maps. For the above, issue, you probably know: - Choose Drum Map Manager from the output of that track. - Click to highlight the output port assignment of the highest note. - Scroll to the bottom , hold Ctrl+Shift, click the output port of the last note, and choose EWQL. - OK

Multi-track audio quantizing *is* complicated because of the need to avoid phase errors. And it unavoidably takes a bit of massaging of audio transient markers on the guide track to get a good result. The only real alternative is to split the audio at transient markers and quantize the clips which is what Lord Tim was recommending against with his post, and you'd still need to use a common set of transient markers on all tracks. I'm not aware of any other tools or other DAWs that make this significantly easier. You can search cakewalk/sonar multitrack drum quantizing on Youtube to find tutorials. I haven't reviewed any, but here's one:

You need to add soft synths to your project and route the MIDI to them. The easy way is to insert the synths as Simple Instrument tracks, and drag the MIDI to them. Start by clicking the + button at the top of the tracks pane, and clicking the Instrument button in the resulting pop-up.

I happened to stumble across the following posted by Lord Tim on the old forum a while ago, and thought his suggested procedure was nicely succinct. Note that the purpose of applying a common set of transient markers to all tracks is to ensure that stretching doesn't introduce any phase errors with room mics and bleed across other mics: Record the takes (duh) Select each track, enable Audiosnap and set the threshold level to 100% to disable the transients If this is a simple drum track with no kicks playing in time with the snare (so you're getting possible flamming), I bounce kick and snare to a new track ** (see note below) On that track, enable Audiosnap, drag the threshold slider down until it detects most or all of the hits, adjust accordingly by moving transients around or inserting / deleting as necessary. On that track, right click it and choose Pool > Add Clip to Pool Select every other track, right click on one and choose Pool > Apply transient pool markers Manually tighten or quantize your guide track as you see fit. Select every other track, right click and choose Pool > Quantize to Pool No splits, no crossfades needed, no weird gaps, no endless clips. All of the phase is correct and it just works. ** Audiosnap has a BIG problem with ghost notes and weird detections. What I tend to do is put a gate on the kick and snare track and get them extremely clean sounding (to the point of them sounding bad, but so there's a definite attack to each hit, and no noise between the hits) and the bounce THAT to a new track. You can delete the gates after that. You new guide track will have super clear hits and Audiosnap will be a million times better at detecting the transients. This gets a bit more complex with double kick work where things fall on the same beat, or places where you want to set your timing guide from something else (ie: you have a killer ride pattern which is a bit off but that's where everything follows.) You need to decide what is most important, quantize minus any overlapping hits, then go back a few more times and lock in those remaining transients with the rest of the group. Not ideal but I've had great results from doing that.

Hmmm... yeah, forgot about that thread. I would respectfully suggest it might be time to return that thing, and get an interface from a more reputable manufacturer.

Sounds like an interface driver issue that the port is getting closed on stop. What interface, and what driver mode?

That, and are you sure you have the octave number correct in the PRV? Middle C (MIDI Note Number 60 ) is C5 in Cakewalk by default.

Actually that dialog should be named 'Set Measure/Beat at Now' to match the name of the command. The reason it doesn't work at 1:01:000 is that its primary function is to align the measure and beat specified in the upper section to the absolute Now Time where the cursor is by changing the previous tempo. 1:01:000 is locked to SMPTE time zero 00:00:00:00 and there's no previous tempo that Cakewalk can change to move it. Inserting a meter change at the same time is a convenience feature added to that primary function.

Sorry for the barrage of questions, but... ASIO? Is it a consistent amount? How much? Always late? Have you checked your Manual Offset lately? How high is it? Does it happen if the metronome count-in is disabled? Other users have occasionally reported that count-in causes recordings to be offset. Are there PDC-inducing plug-ins in the project with PDC Override enabled for input monitored tracks?

The "Selection" option in the Export Module of the toolbar shows the length of the current selection in SMPTE. EDIT: Also, now that there are Selection markers in the timeline, you can define a selection of the desired length, using snap to seconds, and then turn off snap ( or set it to some musical time or other relevant increment), and drag it around to encompass what you need.

Glad to help, Nigel.. You're not the first to be caught out by this. ;^)

Punch uses region muting to mute the overlapping parts of other clips. Switch to the Mute tool, and drag through the top of the clip to unmute.

Edit Filter not set to Clips? Dim Solo? (but that wouldn't prevent editing)

Disable 'Stop at Project End' in Track View Options.

This happens when Cakewalk is recording from the soundcard's output instead of its input. In your onboard soundcard's mixer app, change the Input from 'What U Hear' or 'Stereo Mix' to 'Line' or 'Mic'.

MIDI track output assignment will jump to the virtual port of a newly inserted soft synth when no hardware ports are available. Possibly your Fantom X wasn't powered up when you opened that first project...?

Definitely use your own self-created MIDI. As I'm sure you know, a GM file is likely to be sending a GM/GS Reset and contain all kinds of controller messages, some of which Cakewalk will migrate into the track header controls as initial settings (e.g. Volume, Pan, Chorus, Reverb). If the MIDI volume widget is showing '(101)' - disabled at default level - try raising it to 127 which will enable it to be sent when play starts and set the output volume on the module to max. Then go into the event list of your self-created MIDI clip, and add CC1 = 127 and CC11 = 127 events. And disable 'Zero Controllers when Play Stops' in case that's silencing the module. Conversely, you might try deliberately adding a GM/GS Reset to the SysX view and read through the section on working with GM/GS/XG devices in the Ref. Guide for other ideas. I believe there may be some messages that Cakewalk sends at startup by default, but I've never had them cause a problem with any of my outboard gear. Or possibly you've actually enabled one deliberately at some point in the past. Check your Cakewalk.INI file against the Ref. Guide for anything that's non-default.

You mean you don't get how to have the imported audio land at the correct position in the first place? I kind of wondered what the need was to move data within the clip. I have pretty much never had a need to do that. But my workflow doesn't generally involve importing samples, either.

Seems more likely the issue is that the module isn't responding to MIDI that is, in fact, reaching it. Does the module have a MIDI activity indicator? Can you configure the OUT to be a THRU, and pass MIDI back to Cakewalk? Otherwise, check the usual suspects: - Some other app is not releasing the driver. - Receive channel does not match what Cakewalk is sending. - Event velocities are too low. - MIDI volume has been zeroed by track volume or other wayward CC7 message. - Some other controller, (CC1 Modulation. CC11 Expression) needs to be raised. - Notes are out of range of the current patch . - The patch has a very long attack, and notes are not long enough to get the sound to an audible level.

My thoughts exactly. Very moving. Thanks for sharing. The SoundCloud player seems to have 'thrown away' the very end of the fade-out here, but otherwise flawless.

Thanks for the listens and comment, gents. Glad you enjoyed it. We had Dave Brubeck playing in the house all the time when I was young, and I never got over it. I just love 'odd' time signatures.

I have a song that was originally recorded without a click into a 4/4 project. After I set the timeline to it so I could tighten up some timing, I experimented with changing it to 6/4, because it was more like the way I felt it while playing, but it works either way, and I ultimately ended up leaving it as 4/4. https://www.soundclick.com/html5/v4/player.cfm?songID=8229694 There's also an example of the 3 in 5/16s thing I was talking about. Since I found it in this piece, I've discovered I do it all the time! Usually just a triplet here and there so I have to treat it separately when quantizing. https://www.soundclick.com/html5/v4/player.cfm?songID=13249262 I have a lot of fun analyzing my own timing after the fact since I write by improvising, and am not really thinking analytically about what I'm doing at the moment of inspiration. I may not even know I'm playing in 7/8 or 10/4 or whatever it is until I go to record it.