David Baay

It just occured to me that a recent change to AS is that the default stretching algorithm is now Elastique instead Groove Clip. In my experimentation with this algorithm when it was first released, I found that it could produce weird timing in some cases. Try switching to Groove Clip or one of the Izotope algorithms.

What changes did you make using Audiosnap?If you're using it to have the overall clip tempo follow changes in the project tempo, make sure the Follow Project mode is 'Autostrech'. (drop-down to the right of the option in the Audiosnap palette) If it's anything else, transient markers will get snapped to the grid with a probable bad result unless they've been carefully 'massaged' into the correct positions for that purpose.

For future reference (when mixdown is not hanging), the easy way to bounce audio clips together while preserving the original separate clips (with or without active clip/region FX), and keeping everything them in the same track where you might already have special output routing, sends and FX in place is to use Flatten Comp.

Most often clip selection failure is due to having the track's Edit Filter set to something other than clips, but that wouldn't change with a restart. Not sure I understand the bounce to clips issue. You're saying the new clips is created on top of the old clip instead of replacing it?

Yes I understood that. I was responding to chris.r's comment that the alternative required a "multitude" of mouse clicks. Really it only requires one more on top of dragging the instrument into the project, and then a couple more to delete the abandoned MIDI track. If you were to drag in all the instruments first, in the corresponding order, it would only take one click to drag all the MIDI clips to those instrument tracks, and two clicks to delete all the abandoned MIDI tracks - an average of 0.188 extra clicks per instrument for a 16-track MIDI file. ;^)

It's kind of a superfluous option. For the most part, CbB does not allow same-lane overlaps, but there are some bugs that will let it happen, and you'll see more of them if you don' keep that option checked.

I think you must be thinking of a different DAW or different situation in CbB. I just double-checked, thinking something might have changed since I last tried it, but there was no prompt about the length. The project opened with no complaints, but the audio is truncated as described. The clip runs 4 measures, but audio is a flat line for about the last five 16ths of the last measure (44.1/48 * 4:01:000 > 3:03:672).

For future reference, the Gain control in an audio track controls the input level to the track from playback of an existing, recorded or imported audio clip, but has no effect on live input signal as noted.

There's one problem with converting the sample rate of audio files outside of CbB that was pointed out to me when I suggested this solution in the past. The length of the audio clip in samples is stored in the project, so when it reads in data from a higher sample rate file, the clip will be truncated to the original number of samples, and there's no way to get the clip to reference the entire file, short of importing it at the new rate.

It's not the same compensation as for external audio input, but there is a bug that causes soft synth audio to be laid down early by exactly one ASIO buffer when the synth is driven by existing MIDI in the project. (Note that the opposite problem occurs when recording a soft synth driven by live, real-time MIDI input, but is expected because the audio isn't compensated for MIDI latency or the fact that the audio you're playing along with is delayed by output latency). Workarounds are: - Set a very small ASIO buffer (e.g. 32 samples), and ignore the error. - Freeze or Bounce to Track instead of recording. - Put a send on the Synth track to an Aux track, and record on the Aux track which won't have the compensation mis-applied.

Hmm, while you can achieve the same typically in more than one way in CakeLab and having to go through multitude of mouse clicks of course, for the workflow this seems to be a great feature request indeed . While I agree this could be a convenient feature (though not at all 'baffling' to me that it isn't already), I wouldn't call dragging the MIDI clip to a new Instrument track and deleting the unneeded MIDI track a 'multitude of mouse clicks'.

Shift+A shows automation lanes, and will create a Volume lane by default as a convenience since that's the most often used type of automation. If you want something else, you can change the type using the drop-down in the lane header or by right-clicking the envelope, and choosing Assign. If you don't want any automaiton on the lane, don't Shift+A to show automation lanes in the first place.

How are the instruments assigned to outputs within the synth? I'm not familiar with Acoustica, but TTS-1 has 4 outputs. If all instruments are assigned to output 1 (the default), it wont be possible to mute that output if some track driving another instrument using the same output is soloed; the solo will override the mute, and keep the output active. Ideally each instrument in a multi-timbral synth should be assigned to a dedicated output with a separate Synth track (i.e. an audio track with synth output assigned as input) hosting each output. This also allows you to to apply different automation, FX and Send destinations/levels to each instrument.

Late to the party. Very cool, Noel. Listening to the performances now; as we '70s kid would say... Eeeeexcelent, Man! Cheers, Dave

Yes, as demonstrated in OP's other thread on the subject. Linked here for the benefit of future searchers:

I suggest you capture a copy of AUD.INI before and after re-configuring after successful launch with default AUD.INI, and see what all has changed. Then try reverting changes one at a time and relaunching to find the culprit.

Audionsnap has Extract and Apply Groove functions that work with both audio and MIDI. But I still don't think this is going to get the OP what he's looking for in terms of a 'flowing intro'.

That's why I prefer to zoom on the Now time. Since I usually want to zoom on or near the start of a note, snapping the Now time to the nearest beat and/or tabbing to the transient, and zooming gets me that spot centered in the tracks pane without having to take care where my cursor is. And if the exact spot I want goes a little off screen at high zoom levels, it's a simple matter to scroll left or right.

I'm not saying it's a solution. I'm confirming it's got issues, but that it can work in the situation I described, which is why I didn't immediately see a problem with it after switching my zoom options.

Note the first reference said 'center in the tracks pane'. So, for example, if the timeline is showing measures 1 through 16 to start, start zooming somewhere right of bar 9.

I found that I can reproduce that if I start by zooming with the cursor left of center in the tracks pane. Start by zooming on something right of center, and zooming anywhere will work as expected after that. EDIT: Also, of you zoom out to point that 1:01:000 becomes visible, the cycle starts over, and you have to again start zooming right of center.

Following on my previous post, here's what a tempo map for a rubato performance looks like. The recording was real time without a click, and the tempo map was made by setting every eighth triplet using Set Measure/Beat At Now. Note how that tempos increase and decrease in a periodic way (what goes up must come down). The flat line is where the piece moves into a steady tempo, and I could just set a fixed tempo for those several measures until it changes again to follow a quickie rubato ending I threw in. You can hear it here:

Based on your description, I'm guessing the intro needs to be played with rubato - varying tempo significantly both from bar to bar, and within bars. You're not likely to get the desired effect just by randomizing note timings against a fixed tempo grid, and it's very difficult to 'program' natural-feeling rubato. Ideally you should find someone who plays keys to record it as MIDI, but if you want to try 'programming' it, I suggest you start by drawing tempo changes in the Tempo view.

Make sure Mouse Wheel Zoom in the Track View Options menu is set to zoom At Cursor rather than At Now time. Personally, I prefer to set the Now time where I want to zoom, and then zoom on the Now time.

He's talking about the Virtual Controller that you select as an input to a MIDI or Instrument track. As such, there would be no way for it to animate according to the output of the track on playback. But position sensitive velocity output should be possible to implement.