David Baay

All plugins should work both ways. You might just need to make sure CbB knows all the paths that SONAR 2017 is scanning if any are non-default. Might need some clarification of the routing to answer your second question. If the Interface is not set to pass input signals to the headphone out (i.e. Direct Monitoring), and the tracks in SONAR do not have Input Echo enabled, you should not hear anything other the direct, acoustic sound during recording. What interface?

What exactly are you dragging, from where to where, and what are the exact symptoms of "no luck"?

The curse of familiarity is making everyone blind to the basics: Live input signals have to be echoed to the output of the track in order to get to a bus or output. You do this by clicking the Input Echo button in the track header: Off: On:

Two tips: - Drag in the lower half of the clip with the default Smart tool to get the Selection tool; dragging in the upper half will move the clip with the Move tool. - Holding Ctrl gets you a copy instead of a Cut, and you will probably want to hold Shift as well to constrain the drag to preserve the timing of the clip.

That might happen if you inaadvertently put two notes on one beat requiring an impossibly high tempo or, in this case, if you kept the three songs together and had a lng gap between the end of one an the start of the next that would require a tempo less than CbB's minimum of 8 bpm. Also, Fit Improv requires a note on every beat; notes on downbeats would be interpreted as quarters, resulting in tempos that are 25% of what they should be. But you can use that guide track with Set Measure Beat At Now, itshould give a good result. I would start by setting the Now time at the downbeat that should be 5:01, hitting Shift+M, and entering that measure and beat and OK. That'll give you a reasonably accurate average tempo so CW can accurately guess the other beats. Select the MIDI clip and use the Tab-to-notes feature to go out another 4 measure and Set that 9:01 which CbB should guess correctly so all hou have to do is hit Shift+M and Enter. Then you just keep going: Tab, Tab, Tab, Tab, Shift+M, Enter, Tab, Tab,Tab,Tab, Shift+M, Enter... as fast as you can. You can speed that up even more by binding a single key to SM/BAN in key bindings. I use it so much I bound S for "Set". If you make a mistake or get a "tempo out of range" error, Ctrl+Z to Undo and make sure you're setting the right note to the right measure/beat. At some point, you should stop and listen to the piece with the playback metronome running and see how it sound. If the performance was reasonably tight, a tempo every 4 measure might be enough. If there are rough spots, you can go back and set intermediate downbeats as needed or even every measure. The beauty of SM/BAN is that you can set as many or as few points as needed to get what you want, and you can even set fractions of beats (just remember that they're decinmal values, so an 8th note between to beats is .500, not 480 ticks). And finally, Set Measure Beat At Now is only as precise as your precision in setting the Now time to the transients. You can Tab to transients (Shift+Tab to go backward) in an audio clip just as you can Tab to notes in a MIDI clip, but CbB may not place the marker exactly at the beginning of a transient, and you will likely need to enable Audiosnap and raise the Threshold slider in the Audiosnap Palette to disable superfluous markers for transients between beats so you're not Tabbing 8-16 times to get through a measure. Clear as mud? Sorry, this stuff is always easier to do than to describe. ;^)

I must respectfully disagree that music played with a free tempo is necessarily "garbage". ;^) I'm a big advocate for using Set Measure/Beta At Now (SM/BAN) for this purpose. But in some cases, it might be quicker - if somewhat less precise - to create a MIDI Guide Track with one note per beat (i.e. quarters), and run Fit Improvisation against that track to create the tempo map. Audiosnap can be used to take a first whack at generating the notes of the guide track to be dialed in manually as needed, but I wouldn't recommend trying to use Audiosnap - Set Project from Clip with no manual intervention. And, of course, there's drag-audio to-timeline to have Melondyne (Essential is available as a free add-on for CbB) to create a tempo map, but I don't like some aspects of what it does (namely interpolating "smooth" tempo changes at every 8th note even where no notes exist), and it's not always 100% accurate, either. Like Audiosnap, Melodyne might best be used for extracting MIDI to get a head start on creating a guide track for Fit Improvisation. In any case, I would advise separating the three songs into separate projects, and trimming/dragging the audio files to start at 1:01:000 in each project - or with the first downbeat on 2:01:000 if there are pick-up notes. I've given steps for using SM/BAN to do this many times before, but if the OP wants to share one of the tracks - or part of one - I'd be happy to have a look and give specific guidance for applying one or both methods. The exact steps needed can depend significantly on the nature of the recording

I think it's more important to point out that an EA is a candidate for final release, not a beta. As such, it should be quite solid and stable but it's always possible that a new feature has issues with a certain workflow or project configuration that was not encountered by the beta team or that some change introduced a regression in related functionality. I would therefore advise that EA users who encounter problems should review the list of fixes/features in the EA release post to see if there's anything there that seems even remotely related to the issue they're having. If the code that governs the functionality they're using hasn't been touched, it's highly unlikely the issue is new and specific to the EA release, and it should be reported in the generic Feedback thread instead of the EA release thread or - better yet - posed as an open question to the community to see if non-EA adopters can reproduce it. It's human nature to attribute "new" problems to recent changes, and being aware of correlations like that is an important part of troubleshooting, but you have to take care not to jump to conclusions.

I agree. I don't recall ever encountering a serious issue with persistence of clips edits from one sesison to another, but a project- or workflow-specific bug is always possible. The one thing I know of that's not saved properly right now are tweaks to transient marker positions in an Audiosnap clip. And there have occasionally been certain preferences like RMS+Peak meters that would fail to save (actually I think that one's also still with us), but rarely has anything affected the sound of a project. Whatever is happening won't likely get fixed without a reproducible example.

Going by their avatar photo, I'd say that Eden is female.... I noticed that after posting, and immediately edited the first reference in the sentence to neutral language but overlooked the second. I considered using 'they' but the historical incorrectness of that contruction will always bother me. My wife is a professor whose work gets into this area so I've been properly schooled and we have many non-binary/trans/etc. friends. But as the holder of a Ph.D in English literature, even she struggles with the awkwardness of they/them/their. I kind of wish they would just invent some totally new pronouns. Anyway, all are welcome here. And avatars are not a reliable indicator of anything... except maybe the ones with flames. ;^) P.S. I see they're Rotter Bank, now, so... there's that.

After 35 years of not giving a hoot whether my Sequencer/DAW of choice was "Pro" or not, I finally broke down and installed a trial version of that "Pro" DAW to follow up on a claim on the Modartt forum that Pianoteq sounded better in that DAW than in any of several others (CbB not tried, of course). To make a long story short, I found that the "Pro" DAW could not render MIDI through Pianoteq with the remotest semblance of timing accuracy or consistency. Only a couple transients were rendered within a couple milliseconds of their MIDI notes, many were on the order of 10ms late, and one was a full 19ms late. As my mama used to say, "Pro is as pro does". Oh, by the way, don't try to run that "Pro" DAW with any ASIO interface that doesn't use even multiples of 64-sample buffers; it can't do it.

That's exactly what Bounce to Clip(s) does.

I played around with this and can reproduce the basic issue, but that description isn't completely accurate What's happening is that the punch/overwrite is just slip-editing the original clip to make space for the new audio. Melodyne normally honors manual slip-editing by hiding the blobs and muting the audio in the cropped-out part of the region, but it's not getting the message when the slip-edit is done automatically by punch/overwrite. I found you can fix this by manually making a small slip-edit to the original Melodyne clip and then immediately hitting Ctrl+Z to undo the edit. But if you overwrite the entire clip, it will be effectively slip-edited out of existence, and there won't be anything left to manually edit. Also, I found a couple of related issues when punching into the middle of a Melodyne clip. First, the punch region isn't being muted by the 'Mute Previous Takes' option while recording. And second, the region ahead of the punch-in gets hidden and muted in Melodyne after you do the manual slip-edit of clip after the punch region, and it can't be easily recovered. I'll pass my demo project on to the Bakers.

Yeah, I'm just advising not to touch anything in the Audiosnap Palette except Enable and Threshold until he undestands exactly how all the functions work.

Why not just Bounce to Clip within the project?

It's true that "Set Project from Clip" is the one thing in Audiosnap that can actually change the project tempo map, so executing that that would likely be the cause of the problem. But enabling 'Clip Follows Project' can cause other issues if it's in the wrong mode, and shouldn't be necessary if the OP just wants to manually drag transients around. All that's needed is to enable Audiosnap to show the transient markers and probably raise the Threshold slider to hide some superfluous markers that typically show at the 50% default.

My guess would be this is a case of not paying close attention to which track/bus is focused (name highlighted) vs. Selected (number.letter highlighted. They can be one and the same, but its working as designed that the focus can be moved away from a selected track/bus, and the focused track/bus is the one whose Prochannel will appear in the Inspector. I'll wager we have all made this mistake at one time or another. I have not seen Prochannel 'activation' issues like this since it was first introduced when there were some reproducible anomalies that needed to be fixed. If it's truly a bug, the Bakers will need a reproducible recipe, including a copy of the offending project if it's project-specific, in order to fix it.

The grass is always greener over the skeptic tank.

I have a Roland D-110 (two, actually) c. 1988. that I could sample for you. I'm pretty sure the sound would be comparably thin and uninspiring. ;^) But, seriously, it was mentioned that Roland makes the virtual Sound Canvas VA plugin available as part of it's subscription service for virtual versions of its hardware synths. But it's also still available for direct purchase with a lifetime key from the usual online music stores for $69. Its demos can be heard here, starting with acoustic piano:

Always glad to help. Sounds like a worthy project.

Yes, OP should modify the workspace or choose one that shows the Mix Module. Or, my personal prefernce, set Workspace to "None'.

I would tend to agree with this. I could see losing context for counterpoint or swing due to attenuation of a some rhythmic element(s) at a distance changing your perception of 'groove' to some extent, but I can't say I've ever encountered something sounding really 'off' like that. But it might be more likely if you don't have strong enough dynamics in the rhythmic elements to really define the groove well at lows levels or in imperfect listening conditions. Best thing would be to post it here or on the Songs forum to let us hear for ourselves.

Yes, I understand the implementation is very similar to track envelopes and that they can be converted back and forth. I just hadn't used them enough recently to remember that. And articulations are so closely tied to the phrasing of note start times and durations that it would have been logical for them to be part of the clip a la clip envelopes.

I've had my Selection module set to Medium for so long I forgot there were selection options in the Large module. All the options are on by default so the impression you get when you copy-paste a clip is that articulations are inherently part of the clip. To the OP's original post, it is a bit counter-intuitive that if articulations are triggered by keyswitches in the MIDI clip, they will be duplicated by clip-looping, but not if they're triggered by articulation maps.

That control is specific to the Arpeggiator section; if you hover over it, you'll see the tooltip says: "Arp Process MIDI Channel(s)". Yes that's the relevant control - the output channel from the MIDI part of the Instrument track to the Kontakt instance in the Synth Rack that it's associated with. I forgot it's accessible from the Track Pane which is why I suggested going to the MIDI tab of the Inspector. Either way is fine. Since Kontakt is multi-timbral synth, it's good to get in the habit of setting the appropriate output channel in the track even if you're only using a single instrument initially. If you had recorded MIDI from a keyboard, it would likely have been sending events with channel 1 embedde din them so this would not hav ebeen necessary. But sincce the MIDI were from a multi-tack file each track has a different channel embedded in the MIDI events. I call the track setting "forced" output channel because it automatically and non-destructively re-writes the channel of events (i.e. Note On/Off messages, Controllers, etc) to the specified channel on the fly as opposed to changing the channel of the events themselves. The basic concept to understand is that a MIDI channel is not like an audio channel that has a dedicated wire or "pipeline" for the data to follow. With MIDI, all the messages are traveling on the same wire, in single file, and the channel is a parameter of each individual MIDI message. Assigning a channel to an instrument in the synth (or vice versa, depending on how a particular synth UI is set up) tells the instrument to only respond to messages with the matching channel parameter.

Copy/Cut-Paste is lane aware. A copy from one track will go to the corresponding lane of the target track by default unless you specify otherwise by showing lanes and focusing a different lane. If the corresponding lane doesn't exist in the target track. I think it should create a new lane, but I haven't verified that, and I have occasionally seen unexpected results with lane awareness, and CbB will sometimes stack clips in layers in the same lane which it shouldn't generally do. I generally do all inter-track copy-pasting in the track view - with lanes open if necessary - and by drag and drop if there's any question about where things or going to go.