David Baay

It's working here. You sure your getting Shift? Alt+Smart Tool without Shift is the split tool. Also, you can move data within a clip without already having the borders slip edited. Cakewalk automatically adds a slip edit to the boundary when you do that.

Is the Fatar only a controller, or also a synth? If it's a synth, you can check it by connecting MIDI OUT to IN directly on the keyboard, turning Local Control off, and seeing if it can 'play itself' via MIDI. To check the interface cable, you can do something similar: Enable the interface's MIDI Out in preferences, and connect the OUT to the IN. Then set up two MIDI tracks in Cakewalk, one to play an imported or step-entered MIDI clip to the MIDI OUT, and one set to record the MIDI IN, and see if it makes the round trip.

Re-mixed/mastered and re-posted from Soundclick to Bandlab. Don't think I ever actually posted it to the Songs forum. Has some simple, light percussion and ride cymbal. Any jazz-fusion drummers or sax/flute/horn players out there that might want to have a go at playing over it, let me know. Cheers, Dave

Re-posted with transposition up to G from Eb. Sounded okay on the digital piano, but is clearer on the real piano in the higher key, and easier to finger the modulation to A, although I'm having to re-learn how to play it there... muscle memory is both a blessing and a curse!

Make sure you successfully copied something into your paste buffer. Paste can't operate on nothing. Right offhand, I don't know of any other cause of the the Paste Special dialog failing to come up.

FWIW, I often run into the situation where I've played both straight and triplet 8ths, and want to quantize both toward their respective grids. In this case, you have to quantize to 16th triplets (the greatest common devisor of both durations), but if your playing is loose (or just plain 'bad'), some notes may move the wrong way. In that case what I do is create a clip in another track that has notes exactly on the matching 8ths and 8th triplets, and Groove Quantize to that reference clip. I also discovered a while ago that I'm in the habit of playing a figure of 3 in the time of 5/16ths. I have to watch out (listen out?) for that, and avoid quantizing those bits, and then separately Groove Quantize them to a reference clip with notes at 400-tick intervals. I often wish Cakewalk could really 'understand' rhythm, and take care of all of this for me. ;^) Kudos to Michael for taking the time to explain the ins and outs of swing quantizing. I wanted to help when I first saw the question, but felt it it would take to much typing to explain!

If the Input Echo button has an 'A' in it, that indicates it's being automatically enabled by having 'Always Echo Current MIDI Track' enabled in MIDI preferences, and will stay on until you change focus (track name highlighted) to another track. Otherwise, I know of no situation in which Input Echo can't be disabled on a MIDI or Simple Instrument track.

Regarding the above question in the old original post. I just checked this out, and it appears to have a bug. You have to add 1 to the number of measures you would expect to enter. So for the above case, where you want the iterations pasted every 12 measures, you would set the 'Interval' at 13:01.

Edit > Paste Special or Ctrl+Alt+V

Once you have your two tracks with output channels assigned, you simply change focus from one to the other, and 'Always Echo Current MIDI Track' in Preferences (enabled by default) automatically enables the Input Echo on that track to the specified output channel. Note the 'A' in the Input Echo button in the screenshot; this indicates Track 2 is being Auto-echoed because it's focused (track name highlighted).

I should say I'm also in the habit of setting the track Input channel to 1 since the keyboard I used for the first 25 years of my MIDI 'career' transmitted on both channels 1 and 2 at power-up by default. It is a best practice just to be sure you don't echo/record doubled note events.

Each synth presents its own port to Cakewalk, so unless it's a multitimbral synth that needs separate channels to drive separate instruments, you don't need to use a specific channel to drive it; it will respond to anything, and because it's a separate port, the MIDI on the track that Outputs to that port can't be picked up by any other synth. For single-channel. 'mono-timbral' synths like this it's easiest to insert it as a Simple Instrument that automatically sets up the MIDI and Audio routing to and from the synth for you, but I often recommend using separate tracks and setting up the routing yourself until you thoroughly understand how it all works.. The reference to not using Omni is referring to the MIDI (or Simple Instrument) track's Input assignment. That doesn't need to be set to a specific channel, either, but you do want to set it to only listen to your keyboard/controller's port. With the Input set to Omni, it's possible for the track to pick up and echo MIDI being passed through or generated by other synths that have MIDI Out capability. The only time you might need to specify an input channel is if your keyboard is transmitting on more than one channel at the same time.

Double-clicking a clip will open it in the PRV . The menu options shown the screenshot are in the View menu of the PRV. If PRV snap is enabled at the upper right, it overrides Global snap in the Control Bar - often desirable so that you can having a finer resolution for editing MIDI than you use in the track view for arranging clips. There have been bugs with snap in the past, but i;m not aware of anything outstanding. Can't think right offhand hwy it wouldn't work if it's properly enabled. Hopefully people will notice this is resurrected thread, and not be responding to the earlier posts.

Nicely done, Leizer. Sounds like the synth inspired the composition, which often produces pieces that "just work" as this one does. I like it. I zeroed in the song title because I just bought Chromaphone. I got side-tracked by the VST3 crashing my Cakewalk installation (apparently not a universal problem), but the VST2 works fine. I've been focusing on other toys I picked up around Labor Day, but will get to using Chromaphone soon. Thanks for the added inspiration!

Sweet! Your guitar tone and riffs are superb as usual. I wondered if you had looked into guitar trackers. Must be a lot of fun.

Not sure what can be seen in a text editor that would give a high confidence the file isn't corrupted beyond that the sectors on the disk are readable, but I would guess that there is some irregularity in the file structure. A few things to try: 1. Hold Shift when opening the file to open in SAFE mode. 2. Scan your Projects folder using Utilities > CWAF Tool (Cakewalk Audio Finder), and see if it can read the file well enough to find the audio. 3. Get Cakewalk 3.x Pro re-installed on an old machine or in an emulator on your current machine (not sure what's available), and try it there. If the file is actually corrupted in some way, option 3 is not likely to work, either, but might be worth a try. I actually have a 386 out in the garage that has some old versions of Cakewalk on it, and I might even have the install files for Cakewalk 3.x Pro on a hard drive somewhere.

That isn't really an accurate way of describing what's in the MIDI file. The MIDI file contains a generic MIDI patch change message telling any synth that's set to repsond to channel 6 to load patch #12 from its internal patch library into whatever working memory space is assigned to respond to channel 6. What sound actually gets loaded (or even whether it responds to patch change messages at all) is determined by the synth's programming. So I don't think it's accurate to refer to program change messages as being part of the .MIDI file 'header';it's part of the MIDI data stream just like any other MIDI message, and there can be more than one at different points in the sequence. Ultimately the answer to your question is to open the file in any MIDI editing program, and add or change the relevant Program Change message in the appropriate view. In the case of Cakewalk, if you want just a single initial patch number to be set, you can enter it in the Patch field of the track header, and it will be written into the MIDI file as a Program change event when the file is saved. Or you can enter it directly in the sequence via the Event list view or by Insert > Bank/Patch Change in other views.

The Audio metronome is enough to keep the audio engine active all the time even in a new project with no tracks or synths loaded. I'm wondering if some power-saving/CPU throttling feature that was disabled might have become re-enabled by the 1903 update or some other change in the system. I would double-check that things like Speedstep and C States are disabled in BIOS, Core Parking is disabled. and the power profile is set to High Performance.

Working fine here, too. But 80-110 isn't a super-big velocity change, and SI drums doesn't give a really noticeable timbre change to reinforce the increasing level. Expand the whole dynamic range, and the 'crescendo' will be more noticable.

My first guess would be that - one way or another - you're listening to a frozen/bounced copy of the track, rather than the live MIDI-driven synth output, or the synth is being driven by some other copy of the MIDI that is not the one you're editing. Sharing a copy of the offending track using SI-drums might help get to the bottom of it, if the above doesn't get you there.

If you've disabled any settings on the Visual Effects tab in Windows 'Performance Options' or chosen 'Adjust for Best Performance', change it to 'Adjust for Best Appearance'. The Now Time cursor depends on some of these graphics features to render properly, and there is really no performance benefit to be gained in Cakewalk by disabling any of them in my experience.

That's true for controls that work by sending Continuous Controller events, but since channel is embedded in the note events, the forced output channel assignment is always in effect.

If changing the embedded channel of events has no effect, you must have a 'forced' output channel assigned in the track header that's over-riding the event channels. Clear that, and changing channels by either of those methods should work.

Rather then exporting, use File > Save As, and change the type to MIDI (Type 1 to get separate tracks).

I'm not sure what might prevent your getting the cross-fade tool other than that the clips must be slip-edited (so there's some material on both sides to cross-fade), and abutting with no gap between them. This happens automatically if you run one clip with a slip-edited boundary into another clip in the same lane. Then maybe expand the lane height a bit, and hover over the boundary. Maybe not the most current documentation, but here's a good reference for how the various clip editing tools work in lanes, and what their cursors look like: https://www.cakewalk.com/Documentation?product=SONAR&language=3&help=NewFeatures.022.html Figure 13. Hold down the CTRL key and drag up/down to adjust a crossfade.