David Baay

Yes, this makes it much more flexible and useful for accomodating the variable attack times of an instrument's various articulations throughout a track. The appropriate offset can be built in to each articulation so it's completely transparent. I understand the desire some users have expressed to be able to just plug in a fixed absolute time offset at the track level like the Time+ offset in ticks that we've always had, but once you've defined a particular absolute time offset and saved it in your articulations library, it's quite easy to add it across the entire length of any track that needs it.

I hear you. That put me off as well.

Immediately to the left of the Read button in the Mix Module. Enable it to set an offset, and then disable it get back to Envelope mode in which mix changes and automation envelopes 'ride on top of ' the offset. When in Offset mode, there are '+' symbols on the controls that can be offset. You need to remember to turn it off after making a change or your mixing will get confusing.

More like excluded on Saving. Track templates are only setting routing data, not content.

Haven't checked plugin scan, but export notification and location is working here. Check Preferences > Customization > Display > Notifications. All should be enabled on by default but maybe it inherited a non-default setting from somewhere.

Yes, in the Tracks pane for the PRV select the the last track you want articulations from and Lasso or Ctrl+Click the articulations you want. Then select the next highest track and Ctrl+Lasso/Click to add to the selection. If there are more then two source tracks, keep working your way up until you've got articulations in the highest (i.e. lowest-numbered) track selected, then Ctrl+C to copy, set the Now time for the paste, and Ctrl+V. The reason you want to start selecting from the last track is so that the uppermost track you select from will be the starting point for the paste so everything goes to its respective track. But beware of targeting issues that may occur if there are uninvolved tracks in between. Ultimately you may find it more predictable to just do the tracks one at a time, depending on the complexity and whether all the tracks are adjacent. The other option is to do it in the TrackView, but then you have to jump through some hoops to exclude notes from the copy.

Okaaay... that was interesting. I went back to my DAW and Next was nowhere to be seen, shut down, crashed, outta here, abducted by aliens. I re-launched it and none of my audio setup was recalled. It was back on WASAPI and I had to reset everything. I then closed it deliberately in hopes it will store the setup for next time. I then re-recorded, (including getting the distinctly slow metronome until I changed it), and I'm able to repro your issue. If I pre-roll from the start with a 1-measure count-in, my two-measure punch-in at bar 5 ends up being the silent count-in and the first bar I played. I'll see what I can do to get the message to the Bakers.

🤣 Sorry, but that had me seriously laughing out loud. I dunno, John. It worked for me. Sounds like it's having some issue with your audio clock, but if the same happened with a different interface... I dunno. Are you saying it places what you were playing during the pre-roll in the punch region? I realize playing along during the pre-roll is SOP to get a smooth transition, but I didn't actually do that; I started playing at the punch in. I'll try it your way.

Yes, I recorded audio from my digital piano being played in real time via Local control. No MIDI involved... but also no microphones. Line in.

Enable Offset mode in the Mix Module and offset the Volume. Volume Offset can go to -INF.

I saw your post about this previously. I hadn't really done much of anything with Next but thought I'd give this a try. I hadn't even set up my ASIO interface with it. It took a couple minutes to figure that out, and just a few more to open a default 4-track audio template, record 8 bars, and then punch in a couple in the middle. It took me a minute to figure out that looping had been enabled by default when I set up the punch, but after I got that turned off, I was able to get a pretty decent punch right away; the timing seemed fine. FWIW I was recording from my digital piano under Local control, input monitoring through Next. The only weirdness I encountered that didn't seem due to user error is that the metronome showed 120bpm, but was clearly running much slower than that initially, like 90bpm even after several restarts. I cranked it up to 150, and it was running about as fast as I would have expected for that so I set it back to 120 and it was right on what I expected in the first place. EDIT: I'm not a regular Discord user, but had visited the Next server previously and posted a couple of times. A link for it came right up when I logged in, and there are recent posts.

A basic keyboard split by note number can be done with Cakewalk's included Event Filter MIDI FX, putting the FX on multiple Instrument track to allow/block complementary key ranges . But what he's showing after that point with separate outputs per string seems clearly a function of MIDI Guitar 2 itself, and I'm not familiar with it. I would guess each string is assigned a channel.

Yes, unfortunately Track templates won't save articulations because they're stored as MIDI events, and track content isn't saved in Track templates, but Project templates can save MIDI content, including articulations.

Cool. Strange that normal clip export wasn't getting the job done but maybe there's some small difference in the way Time Signature metadata is formatted in Groove Clip files that Beat Buddy likes better.

I little bell went off as I was thinking about this. If you're "exporting" by dragging the clip out of CbB to the file system, that could be the problem. File > Export and Save As MIDI will include tempo and time signature but drag and drop will not unless you first convert it to a MIDI Groove Clip.

I don't know what the convention is for encoding Time Signature in a MIDI File, but I verified that CbB can read a non-4/4 time signature from one of its own exported/saved-as MIDI files on re-opening it, so I'm not sure why another app wouldn't, unless it's looking for some other indication. You are setting the time signature in the Transport module in CbB, correct? As you know, Cakewalk goes back almost to the dawn of software seqencers so it would be pretty weird for it to be doing anything unconventional in this regard.

I can repro that soloing the folder visually solos all the Aux tracks, but audibly solos only one (seems to always be the most recently created). And it's the Input Echo on the Aux track that's not being preserved. If there's an audio clip in the Aux, you'll hear it. I don't recall seeing this issue mentioned before.

Highly unlikely I think. So long as CbB remains available in any form it will most certaily never sport the vector graphics of Sonar. And now that you bring it up, the Bakers might end up keeping it available indefinitely specifically to appease support the Win7 luddites.

Are you appying Reverb or any other stereo FX via sends? If so you'll need to right-click the Send Pan and enable 'Follow Track Pan' if that's what you want.

In this particular case, I think all the FX going gray in the bin kind of gives it away. But I just realized that Mercury doesn't apply the track strip color to the header of the FX bin as Tungsten does; it remains the default black. Not sure to what extent one or the other was intended, but I prefer Mercury's treatment.

Glad to hear it, and hoping for a 'Mercury Classic' version. ;^) I've significantly warmed to the flat look, but would appreciate having a more-3D option. And I'm guessing this will be a big hit with other oldtimers.

Zooming and checking colors with a picker, it appears to me that this is an artifact of the smoothing algorithm blending the edges of the icon with the background, exacerbated by the fine line used to draw the icon. Even the most distinctly 'orange' pixels appear to be very slightly altered by the surrounding background color. If they were all that pure color (i.e. no smoothing), I don't think there would be a difference, but the icon would be badly pixelated of course.

Good one.

So if I'm understanding correctly that this means dragging the clips to start earlier, it's to be expected that the clip lengths will stay the same and a gap will open up after them. To avoid that you would need to lasso the clips in that segment and slip-stretch the start times by holding Ctrl+Shift and dragging the start. I can't say that I've ever tried to combine comping with stretching, but my first attempt seemed to work as expected.

I personally dislike the way Melodyne interpolates tempo changes where none exist, and it can make big mistakes when the rhythmic pattern changes at the chorus. Also, it generally can't handle any significant rubato but that shouldn't be an issue in this context. Worth a try, but I would still opt for the manual method.