David Baay

I graduated from college the year MIDI was introduced, but had no awareness of it for several years after that. I had worked a bit with voltage-controlled synths (including a Synclavier) in an electronic music class, but mostly just played acoustic piano, and was not into any kind of recording.

in '88, I moved to Florida from Colorado, and left the the family heirloom piano with my sister.  A month into piano withdrawal, I walked into a music store to see what the state of electric keyboards was, and found a Yamaha Clavinova set up with a Roland MC-50 sequencer. Twenty minutes later, I was totally absorbed in recording and layering MIDI tracks, and another hour after that, walked out of the store with a slim publication by Electronic Musician that was a thorough introduction to MIDI - I think out friend, Craig Anderton, might even have been a contributor.

A week or two later, I ended up buying a Roland RD-300s piano but no sequencer, having decided that a software sequencer would be the better way to go. Six months later, back in Colorado, I bought my first Intel 80286 computer and went looking for a MIDI interface. Cakewalk 2.0 for DOS came bundled with the MPU-401... the beginning of a great adventure.

Right-click the numeric peak value in the track header, and choose Go to Peak.

53 minutes ago, Byron Dickens said:

Have you unchecked  "remove DC offset during recording" yet?

OP is recommending  others to do that, not asking about it.

Or right-click the comp clip in the parent track and choose Flatten Comp to create a new, soloed lane with all clips combined. This is useful in cases where you want to keep the individual takes separate as well as having a combined one. In order not to have them appear in the PRV along with the comp clip, you will want to mute the clips and enable 'Hide Muted Clips' in the View menu. I pretty much always have this option enabled; would be nice if it honored take lane muting as well.

I'm unable to reproduce this issue. Tried with TTS-1, TruePianos, and a hardware synth. None had any volume change after editing in the staff view.

Possibly your issue is related to a template as mine was. See if you can reproduce this in a new project started from the Basic template.

On 1/23/2020 at 8:12 AM, C. A. Hamman said:

Create a new track by re-adding the Plugin VSTi - and paste in the Events

I will check this out, but am wondering if just using Replace Synth, and selecting the same synth would re-initialize it - or may even just re-load the patch.

Another thing you might try is hitting the MIDI 'panic' button in the Transport module. This sends controller reset messages to all channels of all ports.

A slight correction to what I wrote above about Cakewalk sending CC7=64: It was actually CC11 Expression, and hitting the MIDI Panic button would restore full volume by sending CC11=127. The only way to reset CC11 otherwise is to deliberately add a controller event to a track, which makes it somewhat of a 'mystery' volume control.

That's not a waveform. It's either high-density velocity/controller tails or display artifacts at that zoom level. I sometimes see a few stray vertical lines in MIDI clips when zoomed out, but never that extreme.  Try zooming in a bit. Normally velocity/controller tails would only show with the Inline PRV enabled.

Hey, Dave, you should just do a quick test yourself. I don't think it's related to streaming performance or buffer settings. It seems there's just some logic issue with the way offset corrections are applied when working on a pair of inputs. Looking back at old threads, it only occured when recording each side of a stereo pair to a separate mono track, not with a single stereo track, which was not made 100% clear in the OP. This was reportedly fixed in the Newburyport release but I don't think I ever personally verified it.

40 minutes ago, bitflipper said:

Corrupt in what way?

It just causes a general distortion of the audio. I never looked into exactly what the nature of the distortion was.

Glad to help. It's not on by default, and works with mono inputs as you noted.

I thought it was fixed a some point , but I recall there being an issue recording stereo inputs with 'Remove DC Offset' enabled.

29 minutes ago, David Bachtell said:

This will, however, cause doubled notes to be recorded.

Leaving Local Control on while also echoing MIDI back to a keyboard synth's MIDI IN will cause double triggering  of the keyboard's sound module while playing in real time or if you record audio from the keyboard synth, but it won't affect soft synths or generate duplicate MIDI events because Local Control is from the keybed directly to the keyboard's sound module - usually not even using MIDI.

Melodyne was extracting tempo from the clip to the project's timeline. Assuming the audio  was already well-synced to the timeline, you probably just have a lot of very small tempo changes in the tempo map . As Martin suggested, Ctrl-Z ( undo) should revert or you can just close out of the project without saving.

Assuming you mean recording MIDI from a keyboard  through a track driving a Bass synth as opposed to using some kind of pitch-to-MIDI on a real bass...

Two things to check would be that the keyboard might be sending on two channels or the track input is set to Omni and the keyboard is connected by both MIDI DIN and USB MIDI ports. The latter would probably result in truncated notes due to overlapping events being on the same channel. The former can be diagnosed by checking channels of events in the Event List view.

Yes. Melodyne Essential can both extract tempo from a clip, and allow a clip to follow changes to project tempo. You just don't have as much control over the result as with Editor or Studio. Audiosnap is more flexible and powerful than any of them for adjusting timing, specifically, but it requires more user intervention to get a good result.

The best approach and exact sequence of steps depends on what you're starting with (i.e. all clips the same length and  at the same, known and fixed tempo, or clips with different lengths and/or variable/unknown tempos). It's hard to give explicit intructions with knowing that. If the tracks were recorded together so they're all nominally in sync with each other, then, yes, I would suggest choosing one track to be the 'master' reference for setting the the project tempo(s). Then enable autostretch on all the clips, and make any changes to the project tempos that you feel are needed. 

If you have the additional situation that the tracks are not already well-synced to begin with - either because they're from different sources or because one or more performances are rushing/dragging - you would need to sort that out as an intermediate step between setting the project, and re-jiggering the tempo(s) of the whole project.

The difference between Autostretch and the other modes of Clip Follows Project is that it won't immediately alter the clip timing when enabled. The clip will just follow changes that you make to the project tempo after enabling it. The other modes will immediately stretch the clip to conform to the project tempo based on the clip's tempo map. This requires doing  a lot of work on each clip to ensure that the beat markers in the clip tempo map are matching the audio transients, and that's going to get messy and time-consuming when working with multi-track recordings.

On 1/20/2020 at 3:33 AM, cclarry said:

Well, I believe it is a CbB issue.  I switched ASIO Drivers and had the
same thing happen, which eliminates the Axe I/O Asio as the cause.

You can always eliminate interface/driver as a cause of any bounce/freeze/export issue; they have no role in rendering audio offline (non-realtime). The only point of connection is that the ASIO buffer size currently set for realtime playback and recording is used by default as the 'chunk' size for processing audio offline.

Some things I would always try as a matter of course for issues like this are:

- Raise the ASI0 buffer size or override the default for offline processing by setting a non-zero BounceBufSizeMsec= value in AUD.INI (Preference > audio . Configuraiton File). 20  is a good starting point, and you can try up to 200.

- Disable the 64-bit Double Precision Engine.

 - Freeze/Bounce any clips with un-rendered stretching or Region FX before the final export.

- As a last resort, disable Use Multiprocessing Engine (or maybe just Plugin Load Balancing if enabled).

'Normal' audio clips that haven't already been 'REXed' or otherwise loop-enabled do not follow tempo changes. The easy way to enable an audio clip to follow tempo changes is to hit Ctrl+L to enable Groove Clip Looping.

To get the highest quality and options for the stretching algorithm used, you will want to use Audiosnap:

1. Alt+A to open the Audiosnap palette, select the clip and click the 'power' button.

2. Set the drop-down next to Clips Follows Project to 'Autostretch'

3. Click the Clip Follows Project button.

Both of these methods assume that the clip tempo is already matching the existing project tempo. if it isn't, the clip will still follow the percentage change in tempo, but the actual tempo won't automatically match the project tempo.

Snapping loop markers is working here - honors Global snap if PRV snap is off and PRV snap if it's on. 

Possibly you have PRV snap set to a low resolution and/or magnetism is not high enough  for you to clearly see the snap at the current zoom level...?

I thought I recalled seeing this issue mentioned  in the past, but could not find a thread. I don't have Maschine, so can't verify. 

Does it cause and practical audio timing/composing/editing issue or is it a visual anomaly? 

I didn't realize BA was installing a Melodyne Studio trial because I had already upgraded my Essentials version from SONAR to Editor some time ago, and never installed from BA . I'm pretty sure you'll be down to monophonic MIDI extraction after the expiration in any case.

 My main complaint with using Audiosnap to extract tempo is that it doesn't place the tempo changes exactly on beats - a regression that came up in X1 and was never fixed. The small discrepancies aren't really audible for the most part, but it offends my sense of order. I've also found it to be a bit unstable when making a lot of clip tempo map adjustments, and those adjustments inevitably take as much or more work than just using Set Measure/Beat At Now which offers more flexibility and precision (e.g. setting fractional beats, dealing with rubato, or setting nothing for several meaures when the tempo and timing are stable). Also, alterations to clip tempo maps don't save properly, so you have to do all the mapping and execute Set Project from Clip in one session.

Yes, you can use Audiosnap on frozen audio tracks. But Audiosnap is really optimized for music that is essentially a fixed tempo with just a bit of rushing/dragging.  For music that has more deliberate/radical rubato, you will be better of using a manual method like Set Measure/Beat At Now, which I prefer for mapping even fixed tempo audio (and which can work directly with MIDI to even better effect because the note starts can be precisely located).

For automatic tempo extraction requiring the least amount of fiddling/tweaking, you will get the best result from the drag-to-timeline function of Melodyne. A Melodyne Essential demo can be installed from the Add-Ons section of Bandlab Assistant, and the drag-to-timeline function will continue to work indefinitely even after the rest of the demo expires. You just drag and drop the audio clip on Cakewalk's timline. But Melodyne also works best for essentially fixed-tempo music.

See this post (and the thread in general) for guidance on doing it manually with Set Measure/Beat At Now:

The ratio of 65 minutes to 60 minutes is suspiciously close to the ratio of 48kHz to 44.1kHz sample rates. Cakewalk stores the length of a clip according to the number of samples in the audio file. If there's a clock mismatch somewhere, that could cause the clip to come up short.

I would start by double-checking that rates are matching everywhere, and the record timing master is set correctly. Then check the file size in samples and sample rate using a 3rd-party audio editor.

1 hour ago, C. A. Hamman said:

As it is as if the setting is changing the Velocity...

I was going to mention checking for MIDI Gain (velocity offset) as well, but figured that would be fairly obvious.

It occurs to me that I had a somewhat similar situation recently, and found that Cakewalk was sending CC7=64 on starting a new project from a template that I use for simply playing and recording my digital piano. So it has just a single, empty MIDI track in it to echo and record real-time performances. I never did figure out why this template was doing this, but creating a new one eliminated the problem.  Since it involved hardware ports, I was able to see what as happening using MIDI-OX.

I didn't bother reporting it to the Bakers because I wouldn't be able to say what steps led to the state the template was in since it's been around and modified in various ways over a long period of time.

If you're creating a lot of projects from an old template, it might be worth creating a new one from scratch.

If you aren't setting an initial MIDI Volume in the track to control the synth output level, you probably should. Or, conversely, you might have inadvertently pulled a MIDI Volume control down at some point.  For a Simple insturment track, access to MIDI Volume is via the MIDI tab at the bottom of the Event Inspector.  And if the MIDI is imported, check for Volume, Expression or other contorller messages in the clips themselves.

Also, make sure your MIDI/Instrument track Inputs are set to a specific port and channel (usually channel 1 of your keyboard controller) to prevent unintended response to MIDI messages being output by, or passed thru, some other source.

The ideal way to troubleshoot would be to throughly examine the settings of a low-level track/synth combo after replacing it with a new track and synth instance as you described, starting with a comparison of the output level of the synths, assuming the synth UI has a meter.