David Baay

I can make out the fuzzy screenshot well enough to see that the faulting module is a .DLL, probaby East West itself. If Cakewalk won't close, you can kill it in Task Manager.

You can't get auto-crossfades by just creating clip overlaps as happens in the parent track, but you can manually cross-fade slip-edited clips that abut eachother in lanes by holding Ctrl with the Smart tool, hovering over the lower half of the split til you see the cross-fade tool, and then clicking and dragging (up, I think) to created the crossfade.

Entire Mix is all hardware outs, which can be problematic if you have a headphone/monitoring mixes going to other outputs. If you have everything going through the Master, and no FX or level adjustments happening after that (standard operating procedure and best practice), then you can just export the Master bus (choose Source = Buses, and un-check all buses except the Master) with nothing selected in the project. What I personally like to do is bounce the Master bus to a ' Master Bounce' track that routes direct to Main Outs, group the mute on that track in opposition with the Master bus mute, A/B the two to confirm the bounce matches the 'live' mix, and then select and export that track. One benefit of this is that you have a copy of the rendered Master saved in the project.

Over time most users' workflow has evolved to recording/entering everything as channel 1, and using forced output channels to channelize events for multi-timbral synths when necessary. It's just a lot more straightforward overall, and it's easier to see what channel is being sent at a glance without having to be concerned about the channel embedded in the events. As an old-school MIDI user from the late '80s, it took me a while to embrace this model, but it really is simpler in the long run for most purposes.

I understood the problem to be about recording live MIDI input. You can't force a change in the recorded channel of incoming events; you have to be sending on the correct channel from your controller.

If you have separate MIDI and audio tracks, the drum map is assigned to the ouput of the MIDI track. If Accent is set up as a Simple Instrument, click the MIDI tab at the bottom of the Inspector as shown in Steve's video to get access to the MIDI output.

If you're recording MIDI for different instruments of a multitimbral synth into the same track, you'll need to set the transmit channel on your controller to match the relevant channel of the synth, and not set either an input or output channel on the track in Cakewalk. In general, I would suggest that it's much better to have one MIDI track per channel for many reasons, including that you can then use the track controls for MIDI Gain (Velocity Offset), Volume, Panning, etc.

It goes by which end of the clip you're closest to, regardless of the position in the pane. You need to be zoomed out far enough that the center of the clip is in view, and start your edit left or right of center, according to which edge you want to adjust.

Yeah, Windows/Cakewalk do not handle moving USB MIDI devices well. I have a minor issue with my MOTU MIDI interface not being initialized properly at boot since the Windows 1903 update. MOTU Support suggested to try moving it to another port. I had already told them that was not an option due to potential issues like this. I think things have improved since the time this happened to me, and no amount of reconfiguration or Windows registry hacking would get the port enumeration back in an order that was compatible with existing projects. I ultimately I ended up having to manually update every legacy project I wanted to work on! I ain't going down that road again. Glad you got your issue resolved without having go that far.

Similar to what Steve suggested, I would put put a drum map on the MIDI track, allowing you to solo each kit piece (or groups of relate pieces in the Drum Pane of the PRV before bouncing. Saves creating a bunch of different MIDI tracks, but still has to be done as individual bounces.

Oops. missed this. Time to upgrade. The bundled Session Drummer has separate outs.

Maybe I'm misreading the OP, but to get individual MIDI drum parts (and overhead/room mics if the synth has them) rendered as independent audio tracks for each kit piece: - Choose to create a separate MIDI track and 'All Audio Outputs - Mono' when inserting the synth. - Freeze the synth, and each part will be rendered to its corresponding track. - For stereo room mics, you can reset the input of one of the mono tracks to the appropriate stereo input, and delete the extra one. - And you can save the whole setup as a Track Tmeplate, including a Drum Map on the MIDI track ouput(s) so you don;t have to go through the setup again.

If I'm understanding correctly that you're working with imported audio that isn't already loop-enabled to follow tempo, try this (assuming the audio is already trimmed to start with a downbeat at 1:01): - Play the project, count through 4 measures, and hit space bar when you count hits 5:01 (for added precision, you can then Tab or Shift+Tab to the 5:01 transient in the audio). - Shift+M to open Set Measure/Beat at Now dialog, enter Measure 5, Beat 1, and hit enter. - The initial tempo will be automatically reset to make the specified measure/beat in the timeline hit that beat in the audio file. - If the calculated tempo is very close to a whole number (likely for imported beats), you can undo the Set, and enter that whole number tempo directly. This technique is handy for setting tempo in a new , empty project, too. Just, start playback, count out 4 bars at the tempo you have in your head, stop with spacebar, and Set the Now time to Measure 5, Beat 1. I suppose this could work for a project with REX/Groove Clip loops already imported, too, but you would need to mute the track to keep it from interfering with your mental count.

You'd need to put it in a sampler. The bundled Dropzone is only 32-bit, but will do it, I think. Or Dim Pro if you have it, and or any number of freeware samplers. I believe the Matrix view might be able to do it also.

Could save a few seconds and clicks. I just create the track and name it before bouncing.

That's right. The Output channel is sometimes referred to as a 'forced' MIDI channel because it re-writes the channel of all events on the track.

Just to be clear, LatencyMon numbers will be microseconds (us), not milliseconds. In any case, 255 peak is not great, but shouldn't be a problem except, possibly, if your ASIO buffer is extremely low, like 16-32 samples (333-667 microseconds at 48kHz). I have very occasionally seen a dropout occur with the transport not running. It may be related to having Always Stream Audio Through FX enabled in preferences. One thing you can do is keybind the audio engine on/off, and toggle it off when doing big edits (or a bunch of small ones) that don't involve a lot of listening . I sometimes do it when dragging a big pile of MIDI notes to avoid graphical response delays because Cakewalk is prioritizing audio streaming. I also toggle it off when walking away from the DAW for an extended period just so it won't be wasting CPU cycles with a project idling since I have all the usual power-saving features turned off.

Those controllers look far too structured and consistent to be due any kind of random input. And few synths will not sound radically different with those controllers removed. That said, Edit > Select by Filter is my preferred way of selecting all controllers of a given type to copy/cut/paste, move, delete, etc. Start by selecting the track or clips you want to modify; filtering has to have something to work on as input.

The MIDI menu shown in your screenshot applies only to the inline PRV. It's not possible to hide only controllers in a clip when not using the inline PRV. Your options are: 1. Uncheck View > Display > Display Clip Contents This hides all clip data in both MIDI and audio clips; probably more extreme than you want. or 2. Use controller envelopes instead of individual messages which will be a lot cleaner, especially for straight-line ramps like this that only need a node at each inflection point (Cakewalk interpolates and sends intermediate values on playback), There's a convenient function in the Clips menu to 'Convert MIDI Controllers to Envelopes'. After converting to envelopes, and thinning out unnecessary nodes in the envelope, switch the edit filter back to clips, uncheck View > Display > Display Ghosted Data, and you won't even have to see the envelope when you don't want to.

Does right-click > Region FX > Melodyne work? If so, you can extract after enabling Melodyne on the clip which can work better in some cases. If Melodyne isn't available that's the problem. Essential was bundled with SONAR Platinum, but not CbB. You would need to reinstall SONAR from Command Center or download and install from Celemony if you have a license.

Yeah, I did a quick search after posting, and saw some other reports of problems. Good luck.

Is this affecting all soft synths? If you record MIDI do the notes end as expected? In other words, is the problem with the messages coming in from the keyboard/interface, or is the way a particular instrument is responding? If it's all instruments, and recorded notes don't end, you can install a MIDI port monitor like MIDI-OX to see what's coming in. MIDI-OX is an ancient free MIDI monitor utility. I haven't used it for quite some time, myself. There might well be something newer out there that's better/easier /prettier.

Holding Alt with the Smart tool gets you the Split tool, and selecting with the Split tool splits out the selection in one go. Another method I frequently use when I've already made a selection is to just cut-paste using Ctrl+XV with the Now time snapped to the beginning of the selection. I have F7 bound to 'Go to From' as it historically was by default before X1, so the steps are Select, F7, CtrlXV.

Couple of thoughts: If you originally created the splits with the comping, tool that might be part of the problem. I found that manually-created splits only linked up if they were created at exactly the same points by having snap enabled. This is speculation, but it seems that rather than storing comp splits as group/object, Cakewalk is programmed to just look for all splits that are perfectly aligned, no matter how they were created, and keep them together when you move one. Regarding no being able to use matching split points, ideally you want to select whole phrases with splits in the near-silent sections between phrases so that crossfades hardly even matter. I'm sure there are cases where this isn't possible, but your example doesn't appear to be one of them. EDIT: Clip locking can also be used to protect splits/crossfades on clips or whole lanes that you don't want altered. If you keybind it, it's not too inconvenient.

Two words: Drum Map. I haven't reviewed it, but this should cover it, and still be applicable to Cakewalk by Bandlab: https://www.cakewalk.com/Support/Knowledge-Base/2007013364/Setting-up-a-Drum-Map-for-Addictive-Drums-2-in-SONAR