David Baay

That would have come up eventually. You are not the first to get caught out by punch. ;^)

Interesting; is that relatively new? I don't recall having access to the MIDI Out of an instrument track previously, and did not think it would ever be allowed since changing it (or assigning a Drum Map that outputs to the wrong port) could break the Instrument track.

I've mostly switched to instrument tracks as well, but always recommend noobs start out with separate tracks to learn the concepts of routing MIDI and audio to/from the synth rack, I/O ports and channels, MIDI vs. audio automation, velocity vs. volume, etc. For those who have never worked with a hardware synth, I think it would be really hard to get a good understanding of all this stuff without having access to separate MIDI and Synth tracks. And being able to split Instrument tracks can help when trouble-shooting "no sound" issues. Also, it occurs to me that under the current implementation it's not possible to apply a Drum Map to an Instrument Track.

i agree with the terminology that a Synth Track is an audio track with a synth assigned to the input, but the icons for Synth and Instrument tracks have been reversed since X1. Back in in SONAR 7 before Instrument tracks were introduced, the Synth Track icon looked very much like the current Instrument Track icon. When instrument tracks were introduced, the MIDI port was added to the icon to indicate the new track type, but this got mixed up when Skylight was introduced in X1. I reported it, but could not get the gatekeeper at the time too acknowledge that it was wrong and forward it to the devs. Swapping these icons is the one change that I make to the default Mercury theme because it's always bugged me that they're backwards.

I think it has always have been the case that PRV notes use the track color regardless of a custom clip foreground colors. You should be able to get back to having everything in sync by selecting the entire project and checking Use Track Colors box in Clip properties.

Cakewalk includes a 32-bit VST-bridging component called Bitbridge that is automatically invoked when a 32-bit plugin is loaded (instrument or FX). It has some quirks and limitations that can be overcome by using the inexpensive 3rd-party 'Jbridge'.

Agreed. This thread is a goldmine for more advanced users, especially anyone working with a device like Maschine.

I'm seeing a few unexpected behaviors that might be contributing to the problem: - When you first change the Edit Filter in a track form Clips to Notes (a.k.a. inline PRV), there is no flyout menu to allow selecting to show controllers. - After changing the Edit Filter to Notes, you can open it again and get the option to select a controller for editing. - The MIDI tab in the track view has an option to Show Controllers, but it isn't available until you've selected a controller in the Edit Filter, - Only controllers that have been selected in the Edit Filter are available to check/uncheck under Show Controllers; you have to change the Edit Filter to each controller type one at a time to make it available in the Show Controllers list. - Once you switch the Edit Filter back to Clips, you're back to square-one with showing controllers. I don't do a lot of controller drawing/editing (mostly recorded in real time) or use the Inline PRV so I'm not sure when any of this might ever have been working as expected, but it seems like it needs some attention. I would expect the Show Controllers menu to be available any time, regardless of whether the Edit Filter is set to Clips or Notes, and to be able to select to show any or all controllers without ever having to select them in the Edit Filter.

All of my pieces start out as improvs. Most end up gaining more structure (sometimes over a period of months or even years) and benefit from it. But sometimes the original really can't be improved. In this case I prefer the purity/simplicity, tone and imaging of the first one. The detuning is very cool. Well done!

Confirmed. Have not seen this before; must be relatively new...? Clicking anywhere in the Track View before focusing a track will also fix the problem.

- What keyboard, and how is it connected (USB or MIDI DIN)? - What sound source (VSTi, hardware module, keyboard synth or - heaven forbid - onboard GS Wavetable synth)? - What audio interface, driver mode and buffer size?

To be more precise about 'continuous output', it's really variable resistance of a potentiometer in the pedal that is converted to a digital value by an A/D circuit in the keyboard/controller, and that digital value is in turn used to generate MIDI controller messages. A standard switch-style pedal can only present two resistance values - infinite when it's open, and something near zero when it's closed. (Different pedal and controller brands use different conventions for which pedal position is open, and whether open or closed generates 0 or 127, but that's beside the point.) The important thing to understand is that the keyboard/controller will only generate 0 or 127 from a switching pedal, so you would only be able to select min and max cabinet speeds. The trick is to drag the min and max histogram sliders for the CC number past each other in the MFX UI to create a 'hole in the middle" that excludes CC64. Understand the MFX operate on the output of the track so this will not prevent CC64 from being recorded but will prevent it from being echoed or sent on playback from that track. HOWEVER... I just realized your synth needs to see these messages in order for the 'learned' function to work. So what you probably need to do is use a MIDI Mapper MFX to change the controller message to something to which the synth doesn't already respond, and have the rotary function 'learn' that controller. Actually, it's likely that the rotary function is already programmed to respond to some specific controller by default that you can map to. I forget whether a mapper is bundled with Cakewalk. If not, I think Tencrazy has one, and other free ones are probably also available.

Melodyne not installed? (free version can be installed from Bandlab Assistant).

Meh... I'm holding out for 'Read My Mind'. Until then, I'm sticking with Cakewalk. But, then, since I'm mostly my own 'Client' maybe it would work...?

A major shortcoming of this is that only the start time is locked. The content of a MIDI clip will always follow tempo changes unless they are made using 'Set measure/Beat At Now' which may or may not be feasible, depending on the situation. I have long wished to be able to lock the Absolute duration of a MIDI clip as well as the Absolute start time.

Are you saying you have a new clip starting at bar 24? If so, make sure Audiosnap enabled on it. Check the Audiosnap and Groove Clip sections of Clip Properties in the Inspector. If the clip is a Groove Clip, it will have to be bounced-to-clip before Audiosnap can be enabled; the two features are mutually exclusive. Yes, it is a long-standing bug that the state of Clip Tempo Mapping is not saved. Reported many times - not sure why it doesn't get attention. P.S. I prefer using Set Measure/Beat at Now for this and many other reasons - more precise, more flexible, more predictable, and is typically just as fast or faster then editing Clip Tempo Maps once you get the hang of it, making good use of keyboard shortcuts.

Ah, so it is.

Yeah, you would think, but the MIDI tab doesn't display an MFX bin as your screenshot shows... unless I'm missing something?

As bdickens said most sustain pedals are just on-off switches. There are sustain pedals that produce continuous output, but it's not likely your inexpensive pedal does, so using it to control Expression is not going to happen. It's also unlikely that your keyboard can be configured not to generate C64 (sustain) messages in response to the switching of the Sustain pedal input., but you can keep those messages from being sent to the synth by putting the Event Filter MIDI FX in the bin of the MIDI track (split the Instrument track if necessary to access the MIDI FX bin), and setting it to filter out CC64. The free MIDI 'SustainFix' MFX from TenCrazy may also have an option to do this (not sure, and don't have it installed on this machine). If it does, I would recommend it over the Event Filter which I have found to be a bit wonky in the past (causing delayed note events even when not filtering notes). https://tencrazy.com/gadgets/mfx/ EDIT: Checked the SustainFix MFX on my main DAW, and it does not have an option to block CC64.

What are the exact symptoms of "doesn't work"?

This is likely to be project/plugin-specific. Have you tried it in a very simple project? What about using the L keybinding instead of clicking? EDIT: Oops. missed that rollback fixes it. Maybe also related to the Melodyne -related changes...? Does it happen in a project without Melodyne?

The 'hardware' buses in Cakewalk are still virtual/software; the audio interface driver comes after them. If everything is ultimately routed through Master to a single hardware bus and the levels are not altered on that bus, Entire Mix will indeed be the same as the Master. You make a good point that hardware buses are only displayed in the output list for Entire Mix if something is actually routed to them so there is an opportunity to see that something is not going to the Main Out 1-2, and to exclude it by unchecking it if necessary or to go looking for the unexpected routing to it. But as busy as the export dialog is, this could easily be overlooked in the heat of battle. In any case, no one is saying that exporting Entire Mix is wrong, just that exporting the Master bus directly is a best practice to avoid unexpected results.

Sing your main vocal... then do it again but whisper it.. then delete both tracks and load up a synth to carry the melody.

I responded to your post in the EA thread: This is not new; CbB (and SONAR before it) has always done this (i.e. muted input monitoring during count-in). I'm a bit surprised this doesn't come up more often, but I suspect most users don't ever try to play during the count-in.

http://forum.cakewalk.com/Exporting-a-final-mix-m2509719.aspx Cakewalk CTO Noel Borthwick on exporting a final mix: "The cleanest and most deterministic way is to bounce the output of a final bus, typically named master as it is in the normal template but it can be any other name of your choice. For convenience we also allow the capability to output the "entire mix". When you choose "entire mix" internally the bounce process creates a "virtual master bus" and redirects the outputs of all the hardware mains to this. Then the virtual master is rendered. This essentially is summing SONAR's output to ALL hardware outputs. Entire mix can be a useful shortcut sometimes when you don't have a master bus - e.g older projects created before bussing existed. However you have to be careful that you don't have any duplicate signal paths sending to your hardware, or these signals will be summed into your mix, probably not something you want. A common reason why this might happen is if you have your project set up to send to headphone outs. Another common problem here is if you have adjusted the level of your hardware mains for listening purposes this gainstage will be included in the bounce which may not be what you want. So in short its better to manage this yourself by keeping a final bus and always rendering its output wen you want to bounce your project.