David Baay

This is very interesting, My Roland RD700NX does this sometimes when playing very lightly. Usually the second note is such low velocity that I can just ignore it. But if my OCD gets the better of me I will sometimes go through a recording and manually 'glue' them to restore the full duration . It typically doesn't affect more than dozen notes in a 4-minute piece so is not a lot of work, but I've recently been considering writing a CAL script to fix them for me. I had assumed it was a defect in the keyboard design that it could re-trigger so easily, but I just Googled and found that the RD-700NX has a 3-sensor keyboard. It might still be considered a defect that it's so hyper-sensitive, but it's good to know it was designed deliberately to better emulate the repetition mechanism of a real keyboard action. It does play beautifully otherwise.

Might be easier to find the specific issue if you can share a copy of a project to be analyzed.

One man's "core features" are another's "superfluous relics". ;^) I forgot about the phase buttons because I haven't used that dialog in anger for a decade. or more. Yes, there are some dated dialogs and UI elements scattered around Cakewalk. In most cases I suspect this reflects their relative unimportance to the majority of users. The development team has always been pretty small, and there's a limit to how often they can re-visit existing functionality that might not be pretty but is perfectly serviceable. I don't really have any objection to your suggestion except to the extent that they will take precious development time away from adding new features and continuing to polish what I consider to be the 'core features' needed for recording, editing, arranging, mixing and mastering songs. And in these areas, Cakewalk generally is as polished as anything out there.

Ah, yes. I didn't realize the un-labeled boxes at the bottom are for phase inversion.

If you need more input level to TH3 to get the desired sound while recording, you can add a gain plugin ahead of TH3. An empty FX Chain will let you add 6dB.

True, But that can't currently be done from the Process menu, either. It seems this post is as much about adding new features as it is about presenting them differently, and not just about Gain as the subject suggests.

Yes, but if you're not assembling an album, you can just select in the timeline and export as Kalle Rentaho suggested. The mistake the OP made was selecting all the tracks first which is not necessary. CW will export everything in the time range if nothing is selected. You can also set a punch or loop region and use the option in the export dialog to get the time range from that.

As Mark said, automation is the more modern way to handle this. The beauty of digital audio editing in a modern DAW is that it can all be non-destructive. You can continually tweak your edits as needed and immediately hear the result without having to commit them until everything is sounding like you want. But you're using the old-school shoot-first-listen-later destructive tools. Just use automation (and all the other non-destructive editing tools) and when you've got what you want, bounce/export the audio.

This only happens in Comp recording mode and is a necessary feature. In order for Comping to work properly, every lane has to have clips with matching boundaries so that the content of only one lane is heard at any given point. Marled's solution of using a punch region to define the boundaries for all takes and stopping the transport outside it is a good one, Otherwise the usual procedure when you don't want any part of the last take it is to just delete the last take lane and then heal the split in one of the remaining takes, either by sweeping through the whole clip, starting from outside it, or by selecting the two clips and Ctrl+clicking one of them with the Comp tool.

Disabling the Volume widget will stop CC7 from being sent when playback starts but won't have any effect on what happens when playback is stopped. In any case, the issue here is CC1.

... and duration. Much of the "mechanical" sound of step-entered MIDI is due to a lack of natural use of duration as well as velocity. I've often posted that I can hard-quantize the start times of a live performance without totally killing the "feel" so long as the velocities and durations are preserved. My advice is to get a keyboard controller if you don't already have one and spend all the time you would have used trying to humanize your step-entered MIDI learning to play it. I maintain the even with very limited ability to play a keyboard, you will still get better (and faster) results by recording an imperfect performance (at lower tempo if necessary), and removing the 'excess imperfection' than by trying to do the opposite. And the more you do it the better you'll get and the less you'll have to fix. Plus it's just way more enjoyable!

PDC [Override] can only work on audio/instrument tracks whose output path does not go through the PDC-inducing plugin. If the FX is on the track you're monitoring or on a bus in that track's path to Main Outs, there's no way to bypass the delay with the FX active.

I agree it would be inappropriate to implement this just to work around NI's non-standard MIDI implementation, but I have long wished for the ability to selectively zero controllers anyway. The only controller I typically need or want to have zeroed on stop is CC64 - Sustain. In most cases all others can stay wherever they are.

FYI - Chrome froze twice attempting to download. Life's too short to drink cheap beer... or use cheap synths. ;^)

Yes, I actually removed that from my original post because interface buffer options don't generally go high enough to be a problem, but BounceBufferSizeMsec definitely can. Glad that sorted it.

Yes, I'm switching the Edit Filter to Clip Gain first by Shift+clicking one of the envelopes. I did not consider that a 'hoop' ;^)

Works without jumping through any hoops here if I lasso-select (right-click+drag) the multiple clip gain envelopes (use Ctrl to add non-adjacent clips to the selection).

This issue has been reported sporadically by a handful of users. I've never experienced it in all my years with Cakewalk so presume it's an interoperability issue with some audio hardware/firmware/driver or possibly plugin-related. AFAIK, no one has ever found a clear cause or solution other than getting a new interface or just having it spontaneously stop happening. If this wasn't happening previously, and you have an audio interface of known pedigree, you might try re-installing the interface drivers or uninstalling any audio-related app you might have installed recently. Or try changing driver modes in CbB. If you can't get to the bottom of it, you might work around it by using a dedicated click track with a snippet of metronome audio you can drag around as needed to get a count-in. Or just use punch recording so you can hear a couple bars of existing tracks before recording starts.

You're right, the audio interface is not involved, but the real-time/online audio buffer size is used as the default 'chunk' size for rendering offline. Some synths don't render properly offline if it's too low. Try setting the buffer to 512-1024 samples. If that solves the problem, you can set a non zero BounceBuffsSizeMsec= in the Configuration File to override the real-time setting when bouncing/exporting. I keep mine at 20ms (960 samples at 48kHz) which seems to work well.

The PDC button should have no no effect one way or the other unless there's a plugin in the project that induces PDC. So the first thing to do is to identify and remove that plugin. This much latency also suggests a PDC issue. Soft synths driven by existing MIDI (i.e. not by live input from a hardware MIDI port) are buffered up in advance and behave just like recorded audio. If not PDC, it's a hardware/firmware/driver issue. There is no mis-configuration I know of that that can produce that much latency

Yes, CC Map. My mistake for confusing the issue with all the talk about blocking CC64 entirely. i haven't ever actually had a need to use CC Map, but I assume it's fairly straightforward.

This is expected behavior per the Ref. Guide when no clip is explicitly selected (it only mentions selecting markers by double-clicking, but clearly lasso works the same way). To select the same transient in multiple clips 1. Select the clips that you want to edit. 2. Select the Smart tool in the Control Bar. 3. Assign the track’s Edit Filter control to Audio Transients. 4. Double-click a transient marker in any selected clip. All transient markers near the same position (within a defined time window) in all selected clips are selected. Note 1: If no clips are selected, transient markers from all clips are eligible to become selected. Note 2: To specify the size of the time window, click the AudioSnap Options button in the AudioSnap palette to open the AudioSnap Options dialog box, then specify the desired Pool Transient Window value. Markers moving when you bounce is also expected because Cakewalk analyzes the new audio file created by bouncing and, if it's changed, transient detection is likely to yield slightly different results.

If your project has no audio tracks and no soft synths, there is nothing to enable the audio engine which is needed to run the transport if the Clock source in Preferences is Audio. You can try changing it to Internal (i.e. the Windows system clock), but my experience loading old MIDI-only projects is that CbB no longer likes to run as pure MIDI sequencer. You don't have to use the MIDI metronome just because you want to direct-monitor your outboard synths. But if you don't enable the audio metronome, you'll need to add a dummy soft synth or audio track with Input Echo enabled to give the audio engine something to process. Or you could just dig out your old 80286 with the MPU-401 MIDI interface and fire up Cakewalk for DOS. ;^)

Is it reproducible in a new project started from the default 'BASIC' template?

I should have guessed this cause sooner. Older Roland keyboards send All Notes Off when the last key is released. This should not affect sustain function on a properly programmed synth, but some allow All Notes Off to override sustain. TruePianos is one, and it sounds like SI Piano is another. Go download the free SustainFix MFX from Tencrazy,com and set the option to block CC123 All Notes Off. My first and long-time keyboard was an RD-300S that did this, but i never tried to use SI E.P. with it. https://tencrazy.com/gadgets/mfx/