David Baay

Given that you just want to be able to pass a contiguous range of notes in the center and save it as a preset filter that can be applied to multiple files, I second musekamp's approach. The drum map solution was needed in my case because the passed notes weren't a contiguous range, and I didn't plan to delete anything. I just wanted be able to hear what was missing, and then transpose/re-orchestrate to preserve as much of a performance as possible.

It only seems global because the Cakewalk forum is a hotspot.

It might be, but there must be more to it than that Set Project is generally broken. Must be something project/content/configuration-specific. EDIT: Can you share the audio file?

Yeah , I thought the "4:17" sounded familiar. Here's Noel's response to the original thread:

Undupe.cal

Num Keys on the 10-key pad nudge by default if Numlock is off.

That's a little strange because the only way you get a duration that small by having Last Touched set in which case it would only stay that small until you drew a longer note. In any case, the draw duration shouldn't have any bearing on where the start times snap. I would have to go with Mark's suggestion that you inadvertently nudged the whole clip at some point.

I use a Drum Map to pass only notes that can be played by a physical music box when composing for that instrument using a VSTi.

FWIW I consider this to be somewhat of a myth. I start pretty much all my projects at 1:01:000 without issues unless: 1. There are pick-up notes before the downbeat. 2. An external hardware synth needs time to respond to a patch change or other controllers or SysX. But I don' t think this was the OP's concern in any case. He just wanted to include the "dead air" in the pre-roll he has already built into his project.

+1

I checked Splat 17.10, and the menus are the same except that the MIDI option wasn't grayed out as it should be and is in the current EA - apparently that was fixed at some point.

Following on my previous post, I did a quick test: 1. Found and old project from 2016 that was deliberately set up to test Set Project (last Splat was 2017.10). 2. Opened it in CbB, and it got a 'toast' notification that it was detecting transients - apparently because there were no files for the audio in the Picture Cache. 3. Executed Set Project without doing anything else and it worked as expected, resetting a 100bpm project to the 125bpm fixed tempo of the clip. 4. Closed the project and CbB without saving and deleted the relevant files from the Picture Cache. 5. Opened the project in Splat 17.10, to have it write the picture files, and executed Set Project with the same successful result. 6. Closed the project and Splat without saving. 7. Re-opened it in CbB, and confirmed it did not re-detect transients because the Splat-generated picture files were still in place. 8. Executed Set Project, and it still worked as expected. I did not find anything in Aud,ini or Cakewalk,ini referencing the transient detection setting I mentioned so I think it must be the default.

CbB uses a different transient-detection algorithm by default. IIRC you can force it to use the old algorithm with an option in the Config File (AUD.INI). If AS was already enabled in a project saved from Platinum, you might need to set CbB to use the old algorithm if you don't first have it re-detect transients either by bouncing or by Re-compute Pictures. I haven't run into anything like this, but haven't had a need to Set Project in anything that dates to Splat era. I generally use Set Measure/Beat At Now anyway.

No, Step Sequencer is just a MIDI sequencer that drives a synth..

Not noticing anything different here. Can you pan normally? I know some interfaces have a mono mode.

I don't think anything has changed there...? Insert is non-destructive, inserting the FX in the Clip FX bin, and Process is a one-time destructive application of the FX (equivalant to Insert FX and then Bounce to Clips)

I'm not really clear on what the situation or goal is. Cakewalk does not yet provide any kind of 'pre-roll' capability. If you need to have anything happen before the first downbeat, you'll have to slide everything out to start at 2:01:000. But your post also suggests you're having to insert some dummy audio to get the transport to run in an empty project which you can avoided by disabling 'Stop at Project End' at the bottom of the Options menu in the Track View. EDIT: On re-reading I think I understand that you just want all the clips to start at 1:01:000 (i.e. 'Time Zero' = Bar 1). In that case you can just drag the start boundary of the first clip in every track back to 'zero', select everything, right-click and choose 'Bounce to Clip(s)'.

I got a CAL script working pretty nicely for this. It's got some awkward structure in places because I haven't worked with CAL for a long time, and couldn't recall how to do some things (like getting more than one thing done in the 'else' part of a conditional). And I'm sure it could be made to run faster but it works. I haven't tested much in the way of corner cases, but could share it after I've hammered on it a bit more. As a test project, I found a particularly bad example of a 3-minute improvisation with 49 re-triggers. The highest velocity 'ghost' was a 16 with most well below that. I was playing so lightly that many notes had velocities in the single digits all the way down to 1 and some of the re-triggers were at higher velocity than the initial note. The gaps between them ranged from 1 to 9 ticks so there's no mistaking them for deliberate repetitions. It was an interesting exercise and will be a useful tool so thanks to the OP for getting me motivated to do it.

Really sorry to hear that. See you next week.

This a really good point. I often record without a click and then use Set Measure/Beat At Now to align the timeline to measures as necessary to get everything close enough to the grid to be able to do a percentage quantize if needed. Even with very tight quantizing, leaving the tempo variations from one measure/section to the next in place helps preserve the live feel. And working in the opposite way, it will be a lot easier, and probably more effective, to change tempo every few measure than to edit individual note timings within the context of a fixed tempo. And ramping sections up/down with Insert Series of Tempos could also be effective, and sound pretty natural if done correctly.

For a simple one-to-one mapping of input channel to output channel (or Omni to 1), and MFX is not needed. The forced output channel assignment in the track will take care of it.

If it's an Instrument track, you will need to go to the MIDI tab in the Inspector to access the output Channel field. If it's a pure MIDI track, the Channel widget is in the track header when showing 'All' or "I/O" controls.

There's also the issue of continuity for users who have a well-established workflow that depends on the old implementation. Minor changes like removing the phase buttons from the track view (eventually restored by popular demand) have generated long acrimonious threads on the forum in the past.

Many moons ago, I fixed a bad key on my RD-300s by swapping a strip of velocity sensors from the top of the keyboard where I almost never play to the middle where the problem was. If it turns out the RD700NX's problem is consistently on certain keys, I might try that, but I suspect it's more widespread.

The fact that that there are three notes in a row on the same key exhibiting the problem in the OP's screenshot suggests there might be a problem with the sensors on that particular key. It's also interesting that the velocity of the 'ghost' notes is at or near zero. I'll have to check some recordings and see if any particular keys are more common offenders on my keyboard and what the velocities are; I didn't think they were that close to zero.