David Baay

I prefer using Set Measure/Beat At Now to manually sync the timeline to a varying tempo. By the time you do all the tweaks to get Audiosnap to "do it for you" you can generally do it manually with greater precision and more flexibility (i.e not snapping every single quarter note when the tempo is pretty stable for a couple bars. I'd be glad to take a look at your sample, but I have an eye appointment first thing tommorow and my vision will be pretty trashed until the evening. PM a link and I'll get to it when I can. Or you can hunt up one of the many posts I've made about the process over the years and have a go yourself.

If you know it's 92bpm, and it was recorded to a click, you're better off just setting that project tempo manually. But the reason it's off is that Audiosnap is incorrectly detecting the clip tempo. Open the Clip Tempo Map from the Audiosnap Palette, and select the correct tempo from the drop-down at the bottom left of the clip.

I had a quick look at the manual. The YPG-635 does have Local On/Off, but that shouldn't have any bearing on your current issue. The purpose of turning Local Control Off is so that the YPG's sound module doesn't respond directly to the keyboard (via internal 'Local' connection between the keyboard its sound module) when you just want to use the keyboard as a controller to play a soft synth in the DAW or another external sound module.. The usual way to use a keyboard synth in Cakewalk is to have a MIDI track receiving and echoing MIDI back to the keyboard and an audio track receiving and echoing the synth's audio output to monitors connected to the audio interface/soundcard of the PC. That way you have complete control over what you record and hear from within Cakewalk. Both tracks need to have the Input Echo button enabled. For the MIDI track, Cakewalk will auto-echo it by default (see Always Echo Current MIDI Track in Preferences > MIDI Playback and Recording) when it's in focus (track name highlighted). Right offhand, I didn't see that any particular mode needs to be set to get the Yamaha's sound module to respond to external MIDI input, so if you're able to set the MIDI track's Input and Output to the Yamaha, and Input Echo is enabled, it should be working. But you should double-check the 'PC Mode' setting against the manual to make sure you've got it right.

Does the keyboard have a MIDI Activity indicator on it that lights with incoming MIDI? How are you monitoring the Yamaha's ouput - echoing it back through an audio track in CbB or direct from the keyboard to headphones/monitors?

Yes, you should be able place markers and clips anywhere when snap is disabled or exactly on the snap grid if it is enabled. Can you share a minimal project that isn't working as expected?

My guess is you're enabling Lock to SMPTE. A SMPTE frame (1/30 of a second) is 64 ticks at 120bpm.

Depending on the musical content, it may not be possible to get it to -14LUFS without applying some compression to raise the RMS level while keeping the peaks from clipping.

Time to move on from General MIDI. Check the Event list for RPN/NRPN messages that might be making TTS-1 unhappy.

I suggest you install the Early Access 24.02 release from here:

If it's all one fixed tempo I suppose it would. I was thinking you wanted to use SM/BAN because the tempo was varying which is my usual use case.

Select the whole track, right-click a clip and choose Bounce to Clip(s).

Thanks for sharing. I've had dual monitors for years but still don't make good use of them because I find it somehow mentally uncomfortable to mouse and type while looking at the secondary display on the right, expecially when doing something complex.

I'm only suggesting to pull down the Master bus gain, and since he's remixing, it's assumed he will adjust any Mastering plug-ins (probably not even in place, yet) accordingly. Nothing else in the project should be affected.

Yes, that will be fine. Gain-staging purists will undoubtedly object, but I've done null tests with a 50 duplicates of a track summing to massive virtual clipping and been able to get a perfect null against a single inverted track by pulling down the bus gain by the exact amount need to offset the summing.

Okay, I wasn't understanding what you were saying until I read this. The issue isn't really about whether anything is selected or not. It's just which minus key you use. The one in the Numkey pad will never enter a minus sign in this context; it only decrements whatever the current value is. Regardless of whether the value is selected or not, you have to use the top row of the QWERTY to get a minus sign. The Numkeys increment/decrement values in other contexts as well (e.g. MIDI Key+ and Time+ offsets)

Yes, it does. but you need to use Paste Special (Ctrl+Alt+V) to get the Paste dialog box. Very old versions of SONAR (like S8 and earlier) opened the Paste dialog automatically every time. Like Go To, the paste dialog defaults to the start time of the selection so all you have to do is change the Measure. Ultimately it's the same number of keystrokes as using Go To, but it might feel more straightforward.

Not at my PC to do the calculation, but if the underlying MIDI value is in microseconds/quarter note, then Sibelius is likely showing more precision than is available and should be rounding to fewer places.

I should add: If you really need to paste rather than drag, snap the Now time to the start of the selection, hit the shortcut for Go To (mine’s non-default) change just the measure, Ok and paste. Go To defaults to current Now time so the beat:tick will be correct.

Assuming you want everything to be on their respective bars/beats as well as their absolute start times, you need to do the following (after aligning the first clip to the video): - Snap the Now time to the beginning of that first clip (assuming it's cropped to the first audio transient), and SM/BAN that point to the nearest measure (probably 2:01:000). Don't worry that this is going to temporarily throw the timeline wildly out of sync with the rest of the project, initially. - If there is a clip in the project starting at some known bar, snap the Now time to that clip and SM/BAN it to the bar it should be hitting (+1 if you started at 2:01). If there are no easily-found audio/MIDI 'landmarks in the the piece, play the project, count out 8 measures, and stop the tranport near the downbeat that should be 9:01. Tab to the downbeat transient (or MIDI note) or visually set the Now time there with snap disabled, and SM/BAN that to 10:01 (assuming you started at 2:01). - If the audio was recorded to a click, the whole thing should now be in sync with the timeline. If it varies, you can set additional points as needed to get the timeline in sync everywhere. - If you want the first measure to be at the same tempo as the first measure of music, you can set a matching tempo at 1:01:000 without affecting anything that happens after the point you snapped in the first step. The one issue I foresee is if the start time is very shortly after 1:01:000, CbB won't be able to set a high enough tempo for the first measure to bring 2:01 back to that absolute time. In that case, you might need to set the meter of the first measure to 1/4, and change it back to 4/4 (or whatever it is) at 2:01.

Set the To/By switch in the snap module to By. Then things snap 'by' the snap resolution from wherever they are.

Seeing "retrim" in your sreenshot made me do some Googling. Had never actually taken the time to research much about SSDs. Haven't read the whole thing, but found this article to be accessible and nicely illustrated: https://www.techspot.com/article/2600-ssd-trimming-explained/

Whether you hear a single dropped buffer depends on the material. I can often hear the resulting click/pop from a single late buffer pretty clearly on a soloed track in a project that's pushing the limits at the current buffer size. But you don't need to worry about what gets exported in any case as offline rendering is not subject to the processing time constraints that lead to late buffers when playing back in real time.

Back before SONAR X1 was released, the default shortcuts for From=Beginning and Thru=End were Ctrl+F9 and Ctrl+F10. I restored these shortcuts when they were removed because I had over 10 years of muscle memory invested in them. I did the same for From=Now (F9), Thru=Now (F10), Go to From (F7) and Go to Thru (F8). At the time, there were no shortcuts assigned to any of these by default so far as I know. I was never aware of Shift+Alt+F6 and don't know when that might have been implemented. I suspect it's a one-off, and default shortcuts for the other permutations mentioned above were never re-defined. I recommend you create your own for all of them using whatever key combos make sense and are not already assigned to something else you need.

Mine started doing flaky stuff like that before it went completely belly up - mainly just not producing any output, even with a firm key press.

"I was wrong; it's actually badass." 'nuf said. My only complaint is that watchers might be more convinced of its badassness if he showed something like the Gloss EQ flyout instead of Sonitus compressor and the Step Sequencer instead of Step Recorder.