David Baay

Depends how many and which modules are active. If you managed to enable all the defualt modules in 40+ tracks, I can imagine the load might be pretty significant.

I'll let someone else make the sheep joke.

Just be sure to keep track of which port is which (can be hard to tell if you're not looking directly from behind in good light), and don't disable Local Control too soon.

The definition of daisy-chaining is connecting IN of one synth via the THRU of another. But in some cases a module will have only an OUT that you enable to act as a THRU. In any case if your DAW has no DIN ports, the top of the chain will need to be a device that has both USB and DIN; I don't think the JV-1010 does...?

Cool. It was the only explanation I could think of. Check the default Prochannel setup in whatever template you used to start the project.

A file recovery app like 'Recuva' may be able to resurrect audio files, but if the project was never saved, there is nothing to recover; it was all in RAM., including any MIDI that was recorded.

Check to see if some Prochannel module is enabled on all tracks.

I was referring ot this: That wouldn't technically be "daisy-chaining" since the remote PC would have dedicated I/O into the DAW. Only if you ran multiple soft synths or a soft synth and a hardware wavetable card and had one or more that were cable of passing MIDI Thru to the next would you be daisy-chaining anything. If you connected a controller or synth module via USB that has a MIDI Thru port on it, you could daisy-chain other devices off that device. A lot of devices have both USB MIDI and DIN ports.

Indeed, you make lot of debateable points. ;^) The MIDI reposnse time of hardware synths can vary widely, and it will be lower if the synth has a digital out, removing D/A/D conversion time. And a good part of the delay will be MIDI transmission from the contorller, through the DAW and out to the synth- as much as 10ms for a slow interface like my MOTU MIDI Express XT (it's old as the hills, and possibly not as fast as a newer 128). My old E-MU 1820m had a MIDI round trip around to 3ms - I miss that. Both software and hardware syths can be either simple sample players or implement varying degrees of real-time DSP/modelling to generate sounds. Personally I prefer the latter in most cases for their more natural response in real-time performance (mainly loudness and timbral response to velocity), even if they might not sound as much like the 'real thing' in the case of a patch that's supposed ot emulate a real, physical instrument - drums being the primary exception. I don't think it can be claimed that hardware synths consistently sound better than soft synths unless you're talking about true analog synthesis . In the case of digital synthesis, there are good and bad examples of both, and I would say soft synths ultimately have the edge in having access to more processing power and more RAM than most (if not all) hardware synths. If a soft synth doesn't sound as good as digital hardware, it's a shortcoming of the programming, not the hardware it's running on. And any soft synth will beat the crap out of a hardware synth in MIDI response time and noise floor unless the harware synth is connected by a very fast MIDI interface and digital audio I/O. Getting back to the OP, what you're essentially talking about here is turning soft synths into hardware synths by running them on external hardware. I gather a lot of Orchestral somposers do that to offload the synth processing, using various forms of networking to transmit MIDI and audio between multiple platforms. I've never really had the need, but have also considered doing it just for fun. But the logistics have maintaining two desktop PCs and user interfaces has deterred me from ever making the effort.

Glad to help. I have no problem with people coming here first, or maybe after a quick search that didn't get them everything they needed to know.

As Dan mentioned, when a plugin has issues with Fast Bounce, it's usually not subtle at all, but it can be hard to know which plugin is having an issue when rendering a whole mix if you haven't been freezing/bouncing along the way. Some plugins only have trouble when bouncing with a very small buffer size. By default, the current buffer size for real-time playback is used for offline (fast bounce) rendering. You can avoid problems related to rendering with a small buffer by setti a non-zero value for BounceBufSizeMsec in AUD.INI (Preferences > Audio > Configuration File). Values up to 200ms are reasonable, and may actually speed up rendering in some cases. I've had mine set at 20ms for a long time after discovering that Rapture had trouble with buffers under about 4ms. Note, also, that some synths have a special 'offline rendering' mode that has to be enabled. This applies especially to VSTis that stream directly from disk.

Depending on how busy and loud the the music is, a single late buffer here and there may escape your notice. Soloing some relatively quiet track with sustaining sounds like an acoustic guitar or vocal will sometimes let you hear isolated clicks more clearly. But if you don't notice them during normal listening, they're not a problem. Bounce/Export won't be affected in any case. I always get a single late buffer reported at the moment I stop the transport. Restarting the transport restarts the count.

Set the metronome to MIDI, and then you should be able to set the Clock to 'Internal' (system clock).

Make sure Polyphonic Velocity Auditon is enabled in Preferences > Editing. Then lasso-select all the notes in the chord before clicking one of them.

Also, if you set a loop region, reWind will stop there first, and jump forward to there if already at zero. Very handy. Incidentally, I navigate by measures/markers so often that I have PgUp/Dn with no modifier bound to Previous/Next measure, and Ctrl+PgUp/Dn bound to Prev/Next Marker.

When you wrote Shift+Drag, I assume you mean Click and Drag since Shift isn't needed to move a crossfade. I don't work with crossfades enough to have run into that, and can't reproduce it now. If you have a semi-reproducible case, you should report it to the Bakers with a copy of the project.

Hmmm... I can confirm the MIDI track solo button doesn't light, but it does continue to be heard in my case. Not sure when this changed, but in the past users have actually complained that it wasn't intuitive that all MIDI tracks driving a multitimbral synth would be soloed when you soloed any output even though it's neessary because Cakewalk can't know how channels relate to outputs within the synth.

Respectfully, I typically recommend the opposite: leave onboard audio enabled and designated as the default playback and recording device for use by Windows, browsers, games and other generic multimedia apps so that they keep their mitts off your dedicated "pro audio" interface, reserving it for applications specifically configured to use it (preferably via the manufacturer's own ASIO driver). If you want to hear multimedia audio through your monitoring system, use an outboard mixer to merge it.

Can you record MIDI, even though you might not hear the synth respond?

Right, so enable (check) the Behringer IN and OUT ports, select the Behringer IN as the input to your MIDI track, and it should work.

If the keyboard is plugged into the Behringer, it's not the Yamaha that you'll see in MIDI Devices, it's the Behringer's MIDI IN/OUT. Do you see that in MIDI Devices? If not, check Windows Device Manager to make sure it's seeing the Behringer's MIDI ports, and ensure Driver Mode under Preferences > MIDI > Playback and Recording in Cakewalk is MME.

Not sure what could make it go that wrong. If you want to share either the guitar track or the click track somewhere I'll see if I get a different result.

That can probably be done just as easily within Cakewalk. Noises in between words and phrases can be attenuated or silenced with a Volume automation envelope, and gaps/silences and can be closed up by deleting sections with Ripple Edit enabled. And plugins like an Expander can often be used to automate some of the noise reduction.

If you want to get more specific than MIDI Omni (i.e. all channels of all ports), which can be problematic if you have MIDI-generating VSTs in the project, choose Manage Presets from the Input pick list, and define a preset for only those specific MIDI ports and channels that you want to record: http://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=0x203D5

I'm in. Love playing in real time with multitap delays, and this one sounds doubly (pun intended) inspiring. Hmmm... 2009. I think I'm overdue to post another one: The Power of Two