David Baay

No, there's no mechanism available to 'nudge' a loop. The closest you will come is using keyboard shortcuts to set From and Thru selection points, and then using Shift+L to set the loop to the selection.

I misunderstood the problem. I thought it was that the volume widget wasn't staying at a new position, not that it wasn't having any affect. Glad you got it figured.

Sounds like the mixer is echoing its output back to its input which is more commonly a default setup with onboard soundcards but can happen with any interface that has internal mixing/routing capabilities. In any case, routing of audio in the Mackie would be the first place to look.

What's the timing reference and routing of MIDI and audio? Are you saying the sound from an external hardware synth is sounding ahead of the Cakewalk's audio metronome when enabled on playback with the synth output monitored through Cakewalk? And is the MIDI quantized to the grid in Cakewalk? If you're direct-monitoring the synth and your audio buffer is high, you might conceivably hear the synth a bit ahead of Cakewalk's audio metronome and/or audio tracks playing back, but usually MIDI transmission and synth response delays would mostly cancel out any output latency, and the typical 2-3ms discrepancies would be pretty hard to hear in any case. Cakewalk has a Timing Offset setting to sync MIDI-driven hardware synths with audio, but usually it's used to do the opposite - delay audio to sync with the delayed synth response. In any case, you'll want to understand exactly where the sync error is being introduced before you go tweaking anything. Timing Offset can have undesirable effects in other contexts, so I'd start be making sure it's 0ms. Preferences > Audio > Sync and Caching > Timing Offset (msec) If we're talking about soft synths the above is all irrelevant.

Step 1; Verify there's signal at the output of the mixer by connecting it to a standalone recording/monitoring/metering device.

Checked this out and found that once an automation envelope exists, it's not possible to alter the level with a snapshot at a position before the first node in the envelope; the new node takes on the value of that first node, regardless of what you set. This looks like a bug. But creating a snapshot of the level at time zero before any automation envelope exists worked as expected.

Pure audio track, not MIDI, Synth or Instrument? Automation?

You can click and drag a loop by the bar between the markers in the timeline with or without snap enabled.

+1 I don't think I've ever re-installed an O/S or any flavor of Cakewalk on the same drive twice in my entire life, going back to Cakewalk 2.0 for DOS on an 80286. No problem I've ever encountered could not be resolved with a targeted fix (sometimes to hardware - bad RAM/HDD sectors, improperly seated cards/cables, over-heating CPU, failing/over-taxed power supply, etc.).

I'll be interested to hear back how it's going on day 365. Sincerely wishing you good luck.

I do all of what you're describing with almost every piece I record now., and have done for years.. I've seen the timeline-dragging technique (and have Studio One myself), and while it's a logical way to implement a mouse-driven solution, it would not work well for CW where the M:B:T timeline is the fixed visual reference, and the Now cursor travels faster or slower with changing tempo. Moreover, I generally find that anything I can do with keyboard shortcuts is faster than with a mouse. With S bound to Set measure/Beat At Now in place of Shift+M as I have it, the process in that video would essentially be just repeatedly hitting Tab, S, Enter as fast as you can. But more importantly for my purposes, Set Measure/Beat At Now can set any fraction of a measure, not just quarter-note beats. A lot of my piano compositions have the most distinct transient somewhere other than the 1 and 3 beats, and may not even have a note on every downbeat so I need to be able to 'Set', for example, the last 8th note of a measure or maybe even some triplet value. And in a rubato piece, it's usually necessary to set several points in a measure to capture a rit. precisely. It's certainly a little more labor-intensive to set a project to a freeform piano composition like that than to set it to a kick drum track (tutorial videos often show the least challenging scenario), but it can still be done pretty efficiently using a combination of Spacebar to start/stop playback, Pg Up/Down to measures (I eliminated having to use Ctrl) and Tab/Shift+Tab to navigate to the transient/note you want to set. Entering fractional beats requires some typing since CW will only guess to the nearest beat which can get a little more awkward, but given that other implementations may not allow it at all, I'm okay with that. I guess the bottom line is that you shouldn't hold your breath for timeline-dragging or absolute MIDI duration-locking; SM/BAN can do it all pretty easily already once you get the technique down, and can do things I'll wager some of those other implementations can't.

So you're selecting between markers to set the length of the cut/copy? Check to see that the From and Thru values are as-expected, and when setting the target time for the paste make sure your Now time is snapping to the Measure/Beat and not to Zero-crossings or Landmarks. Beyond that, I can only suggest zooming in on the discontinuities to see what's out of place. It should be evident.

This is highly unlikely to be directly related to the update in my view. Most likely due to a plugin that induces PDC, but the worst of these will generally cause no more than 1/3 of second latency (16384 samples).

While I would very much like to have the option to lock the duration of a MIDI clip to absolute time, I disagree that Set Measure/Beat At Now is complex or inaccurate. i use it regularly, and find it consistently easy and precise within the limitations of two decimal places for tempos, and notwithstanding that it uses decimal values for fractional beats instead of ticks which is a little unintuitive. The main context in which I would like to lock MIDI to absolute time is for deleting tempo changes that were set incorrectly or were inadvertently left in place while recording a new take without a click. incidentally, I agree that the Ref. Guide in incorrect about the length/duration of a MIDI clip being locked by setting Absolute Timebase; this only affects the start time. I have reported it several times over the years at the same time I requested the option to lock MIDI clip durations.

Did the bounce run the full 3 minutes in real time (required for processing any real time input, including the return from an external insert)? If not, chances are you had an unintended selection set. Selections are not saved when project is closed so shutting down is automatically going to resolve that. I know there have been assorted issues with UAD stuff over the years so I suppose that's also a possibility.

I finally got around to checking this, and am not seeing a problem with saving Peak Hold on bus meters or the old issue with saving RMS+Peak on track meters. I don't know about bus meters, but the RMS+Peak issue existed long before Workspaces were introduced, and I don't use them in any case. +1 I'm not seeing a an issue with this,. either

There must be more to it than that as this is clearly not a problem that everyone using a lot of synths and plugins experiences regularly.- it's likely related to some specific plugin(s) as scook suggested and you could save yourself a lot of work over the long term by testing to find the culprit.

I'm still on board for this, both for my own benefit, and so that anyone considering CbB as a primary DAW is not put off by the lack of a feature that is so widely implemented.

There was a longstanding issue that RMS+Peak on tracks was not saved. I eventually gave up on it and haven't checked whether it was ever fixed.

Yeah. I mentioned earlier that I play a lot ninth chords with the second included and played with the thumb. In fact I do it even on 'shorter' chords where I could easily reach the second with my forefinger, but it's just easier to use the thumb, and usually makes transition to the next chord easier as well. I'm of the 'whatever works' school of fingering. EDIT: It occurs to me that this all goes back to my affinity for the music of Steely Dan and something I read many years ago about Donald Fagan's affinity for "mu" chords. I consciously started using them after that and eventually 'doubled down' by adding both the 2nd and the 9th: https://www.google.com/search?q=donald+fagan+mu+chord

From time immemorial (I'm talking Cakewalk for DOS 2.0!) up until X1, the above shortcuts were bound by default to F9, F10, Ctrl+F9 and Ctrl+F10. I had grown so used to them that I had to restore the defaults and still use them regularly. I like the idea of using the bracket keys for this if you're not already used to something else - easy to reach and logical. By default they work like the +/- keys to increment/decrement values by larger amounts (e,g, by octaves in the key+ widget), but I would guess few people use this.

Open up the Windows Resource monitor from the Performance tab in Task Manager, and watch how the different resources are being used while performing operations that are slow - especially disk access. A couple of things I have encountered in the past that were revealed by the Resource Monitor: - The Real-time Scanning feature of Windows Defender gets enabled spontaneously and causes every resource used by Cakewalk to get scanned, even samples and plugins that aren't in the project. Exclude Cakewalk-related directories from scanning, and disable real-time scanning. - Media Browser is attempting to read a large .zip file on your desktop or in your projects directory. This is related to Windows functionality used by the browser, and can only be avoided by moving the archive file. EDIT: There are some audio options that might be implicated in issues with the RME driver, and you probably should disable/uncheck any I/O that you won't be using regularly like ADAT. - Always Stream Audio Through FX [when the transport is stopped] - Always Open All Devices - Allow Arm Changes During Playback/Record

With tracks for both linked clips selected in the PRV I was able to get some bad behavior, though different from what you described. I did not see problem with editing velocities or disappearing notes. What I saw mostly was: 1. Both individual notes and lasso-selected groups would snap back to their original pitch and/or time and become unselected when released. 2. Sometimes the group would move, but a subset of the group would become unselected on release. 3. Notes were sometime copied when simply dragged with no modifier. The behaviors were very unpredictable, sometimes working or failing alternately with several moves of the same selection. I suspect this might be related to an issue I reported recently that notes on a track that is selected for display in the PRV, but not focused for editing, can be edited even when Autofocus is disabled, contrary to the Ref. Guide and what I would expect. When clips are linked, I think there's a conflict about which clip is following the edit of the other when you make a selection that includes events from both tracks. When I put the clips in separate time ranges where I could avoid selecting events from both when lassoing, I did not see problems.

Another 'trick' I recommend is to bounce the Master bus to a track (I name mine 'Master Bounce' that routes directly to Main Outs and group its Mute button in opposition with the Mute on the Master bus. This allows you to A/B the bounce with the 'live' mix on the Master bus to verify the mix is a complete and accurate representation of what you've been hearing. Then you can just export that track to different WAV or MP3 formats and not have to wait for Cakewalk to render all the instruments and FX every time when the mix is unchanged. This also automatically embeds a copy of the Master in the project for future reference and you can bounce different mixes to different lanes of the Master Bounce track, and use the lane solo buttons to A/B them and determine which version gets exported when you export the track. You can also invert the phase of the Master Bounce track and undo the mute grouping to check how the bounce 'nulls' against the live mix. But keep in mind that some instruments and FX don't render the same way from one playback to the next or in real time vs. offline (a.k.a. Fast Bounce), so nulling may be imperfect if the tracks aren't frozen.

If you're hearing a velocity response from SI, then variable velocity is being generated by the guitar controller, and CbB will record it as a parameter of each Note On MIDI message. As John noted, though velocity is not technically a 'Controller', CbB displays velocities in the Controllers pane of the PRV. You can also see numeric velocity values in the Event List view. The easy way to get a single MIDI track out of CbB is simply to drag or copy-paste a clip to a destination folder or application in Windows. Since velocity is embedded in the Note On message it will always be automatically included in a MIDI file, but the effect may not be as clear in another context if the instrument playing back that MIDI file does not have the same response to velocity which is a characteristic of the instrument's programming. I have not used SI drums, but most drum synths have a facility for dragging patterns from the UI to the clips pane in the track view to bring the MIDI into the project. EDIT: Just did a quick check, and patterns can be dragged and dropped from the SI pattern selector directly to the tracks pane where they can be copied, pasted, groove-clipped, re-arranged and edited in the PRV giving you more flexibility/variation in your arrangement.