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Disclaimers: I didn't watch any of the videos you did, and I don't know if your laptop has a LAN (ethernet) port. But if it does, and if you aren't using it, there are some designs for laptops that trade off hardware for software, which could cause the bad latency. In the software case, the software has to service a special part of the LAN at high priority in a loop. It's worst when the LAN port has no connection (no cable or nothing at the other end of the cable). Not even sure this would show up in wdf01000.sys, but if you haven't already, it's worth trying to disable the LAN interface if you have one.

Seems wdf01000.sys is a module that can be coupled with other driver modules for many different devices. The latency reporter combines the report for all devices that use that module. Finding which device is invoking that module with the outrageous processing times is a puzzle.

8 hours ago, chris.r said:

That, I would call a design flaw, rather than bug. I mean, in Windows, is an app not being able to distinguish perfectly between different devices connected? I thought each device has its unique signature number or something. If so, then it should be easy for the DAW to assign an internal number for each respectively... and not mess with the numbers later on.

For USB devices, the establishment of uniqueness depends on the type of device. Disks and many other device types have unique identifiers down to the serial number of the individual device. Unfortunately, the USB MIDI class was defined without a serial number, just vendor ID and product ID. So two devices of the same make and model are not distinguishable. Can they be distinguished by which hub and port they are plugged in? Maybe, so don't ever shuffle them. Do Cakewalk and Windows do everything that could be done to uniquely identify devices, I'm not sure. But it's definitely an imperfect situation in the USB MIDI specs.

Save a backup & be happy. Seriously don't worry, you won't screw it up.

If you don't see those variables in the [options] section of TTSSEQ.ini, cakewalk uses the default values. The file most likely for you to add those variables is %AppData%\Cakewalk\Cakewalk Core\TTSSeq.ini  (where %AppData% is based on your windows ID).

Is the flaky project gone or still saved somewhere? I love looking for mysterious noises. If it's still around, strip it to the least audio that still makes noise, as John Vere says, and send it to the cloud.

I wish it were more clear to me what the role of this 7/8 loop is in this 4/4 project.

Bounce the whole thing then edit is one way to go. All  your notes are preserved, but the loop property is lost obviously. Another way is to snip off where you want to edit and bounce just that part, leaving the loopable part as it was.

When applied as clip effect, clip effect automation is available. My older version of Melodyne exposes pitch, formant and volume.

A while back (2013) it was said that automatable parameters available within an ARA effect might be considered for exposure in a future version of Sonar. Has that happened at all in Cakewalk? I have no way to know what automatable parameters are available in the latest Melodyne. Or maybe Melodyne itself offers envelopes?

Also, wouldn't there be  a way to enter 9 notes of equal length and then use the stretch tool to modify the clip length to fit the length you would like?

There's a thing called groove quantize that maybe you could use. The manual describes this in detail. Synopsis:

Quote

Groove Quantizing is a way to edit a track so that its rhythmic feeling and, optionally, controller data are similar to some other piece of music. The other piece of music forms a groove pattern that you store in a groove file, which has an extension of .grv.

First, construct one beat or measure of the pattern you'd like to emulate. Craft the timing and the accent you want to reproduce. Save that as a groove. Then you can apply that to a different sequence of nine notes to reproduce the timing and accents.

More than just separate tracks: when you are using the same synth patch, even using two different instances or channels, playing two of the same notes can sometimes cause some undesirable phase cancellations. Two different patches may be needed, or at least some detuning or chorusing. By separating the parts, you will guarantee yourself to be able to work around any unison problems.

I'm not familiar with any videos, but for sure some people here can help you with that. The Cakewalk pdf manual seems to be pretty clear about what can be done with groove clips. Importing is on p. 709, looping p. 711, finer points, including changing normal audio into a groove clip, in a few following pages. Find the manual under the "Cakewalk By Bandlab" menu at the top of this page. Or here.

A suspicion about Breverb2: what happens if you turn off plug-in load balancing?

Audiosnap & Groove/Loop are mutually exclusive. You could bounce it then loop it -or- just loop the original. A groove clip has usually been created such that enabling looping will get it to the project tempo as well as enabling the feature of dragging it for loop purposes.

Properties of tracks and buses, and also prochannel controls, clips, and now the arranger, are now all in the inspector pane. Type 'I' (eye) to open the inspector (or main menu views->inspector). Click on a track. There are icons at the top of that inspector - make sure the triple-horizontal-bar icon is selected, and there are the track properties.

Instrument definitions are in the edit->preferences dialog (or just type 'p'), under the midi section. There is kind of a tree there, and with help from 'help' you can figure out how to configure your synth to always use the right bank select method.

The sysex shown is GS reset, meaning all patches are to be set to default? Then it must be the patches embedded per track in the file that are not being set properly. The post about reading banks maybe has a big clue. The instrument definition for the chosen synth has bank numbers and also an option that chooses how the bank number should be interpreted ("bank select method"). Perhaps the older versions of Pro Audio don't use that.

From the help pdf:

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Normal               Take the value of Controller 0, multiply it by 128, and add the value of Controller 32 to derive the bank number.

Note: A synthesizer manufacturer may refer to Controller 0 as the MSB (Most Significant Byte) and to Controller 32 as the LSB (Least Significant Byte).

Controller 0 only    The value of Controller 0 is the bank number.

Controller 32 only      The value of Controller 32 is the bank number.

So check the bank numbers in your instrument definition file; also if it has "Controller 0 only", change it to one of the others & vice versa.

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To change the Bank Select method

1. Highlight and expand the instrument in the Instrument tree.

2. Expand the Bank Select Method branch in the Names tree.

3. Drag the desired bank select method from the Names tree to the Instrument tree.

1 & 1/2 semitones is about the ratio between 44100 and 48000. In other words, if your plugin thinks it should generate audio at 44100 when your sound card is playing at 48000 or vice versa it will be that much out of tune. Does your project match the sound card setting? And does other audio in your project sound OK? Does Carbon Electra have its own setting for sample rate (unlikely)?

Sometimes a tempo-based digital delay will make scratchy sounds during a tempo change. If you see tempo changes around where you hear the noises, that's the clue that your digital delay in the "airy chords" preset is tempo-based.

I reported some anomalies in the mute & solo & input echo parts of the MIDI signal flow. A signal flow chart might settle some questions, including how prerecorded material merges with live input. Also bear in mind that there are some signal flow entanglements with instrument tracks and their synth components.

The Strike may be configured by default to not bother to send note off for instruments that have a constant short duration.

It's configurable in the FX/MIDI page of Voice Mode - MIDI -> Note Off

Myabe you wanted 2048?

There are some confusing issues with MIDI ports in various versions of Windows. Try google: "windows limit of midi ports"

This multiport interface works for me.

There's a thing called "snap offset" that can be set as a special property of a clip. Normally a clip snaps at its left edge to whatever landmark you're using in the track, such as "beat". The snap offset is a point in the clip that is used as the snap point of the clip instead of the left edge.

It could be handy in the case of aligning a clip that has a pickup, strum, or some other feature before the first "beat" of the clip.  (See help for "snap offset".) I don't know if it works for loops, though. Also, since loops are a multiple of beats long, the end of the clip would be short of the end of a beat by the same amount of its snap offset (if snap offset works on loops at all). That would be OK when repeating the loop.