JnTuneTech

I know you won't like this answer, but the feature is not something that Cakewalk has much choice in, currently. The standards for VST programming are generally set by Steinberg, and then it's up to the plugin developers to use those standards, or not. With VST3, the methods of implementing MIDI Program Changes are not the same as the (now very old) General MIDI practices that were/are widely used in instruments, and eventually ported over to many VST2 plugins as well. As I understand it, until VST3 programming adopts some kind of published and accepted common method for implementing MIDI Program Changes, it would be impossible for Cakewalk to have any way to create a common, useful way to approach it. For now, we can use manual MIDI programming in tracks, together with the documented method that works for your goals in the VST3 you are using. -In my experience, so far, very few VST3 instruments use the same method to change banks & programs. But they usually will do it, and usually have the necessary documentation for you to follow, and thus use that in your tracking in Cakewalk. -Sadly, I realize that is not as easy as using the General MIDI banks & program change mapping that came with earlier VST implementations.

Editing, creating, deleting information, in your Cakewalk Master Definitions file is fairly easy, and definitely explained/searchable in the documentation (though it skips around a bit). -Another good post here shows some of that nicely: https://discuss.cakewalk.com/index.php?/topic/65785-instrument-definition-file-for-yamaha-dx7ii-or-tx-802/&do=findComment&comment=469320 Editing is the easiest. Creating your own takes a bit of work, and of course the information on what your note mapping, and/or any banks/patches may need to be, but if all else fails, you can usually read the patch information in your device & type it in in Cakewalk.

In the screen captures presented, I would assume that the either the method of loading the tracks into Cakewalk was different for each instance, or that one of the versions had information that was not in the other, and Cakewalk presented it as a separate track. -Either way, the information in the other posts here is all great, and you might want to look at how Cakewalk presents MIDI, because it does not do it the same as the other editor you referenced. Primarily, Cakewalk does not create a "track" for SYSEX, or time signature, and in current versions tempo can have its own view which is separate and not numbered along with the main tracking.

Most likely this is exactly what that "wet/dry" setting you started all this with can result in! So, -In the reverb FX plugin itself, there should be a control for how much dry signal (unaffected in your sentence above) is passed through the reverb plugin itself - as in the LMMS screenshot, for example. -Most of the time when used on a bus, this setting is used to eliminate that duplicate signal, which sounds like what you need. You will undoubtedly encounter this technique as you go along with audio mixing. Also, audio FX plugins such as reverb, -which as in the notes above about synth plugins do vary widely in cost (many free ones) and features, but many of the better ones allow for MIDI control. You would need to learn how to implement that functionality in the relevant documentation is all.

If that is indeed happening, then you are experiencing other problems. Cakewalk will play MIDI tracks on any virtual synth, including the supplied TTS-1. No external drivers or instruments are needed for that functionality, other than of course a compatible functioning system and sound device. -As mentioned in other comments here - research the many other recent posts on the subject here if you need more information on your last question, but the GS Wavetable synth is no longer supported, nor does it need to be.

Um, the Chinese and/or Russian malware you downloaded a while back. No, seriously, probably expecting too much from mashing together too many different versions of the same code on one PC. -Or, well, truly, one or the other, or both. Maybe neutrinos flipping bits in your processor or RAM... The universe is full of surprises, or so I'm told! ?

I understand - as I say, I have also done this type of interface swap. -I guess since you say that the synth banks are also changed, you may indeed wind up needing to set up new Banks & Note maps in your Cakewalk Instrument Definition master. -If you have made your own banks, you can create new maps in Cakewalk by reading off your synth and creating those new banks in Cakewalk, under Preferences - MIDI - Instruments - Define... There are some other good posts here, as well the documentation, that show how that works, it's actually fairly easy. -As far as downloading default Korg .ins files, yes, perhaps there are other sources for that. -In any case, thanks for the reply, and best of luck!

Several common issues regarding unplanned MIDI response from Kontakt instruments that you may want to examine: 1. The default setting for many instruments in Kontakt allows for several MIDI messages you may not realize to affect playback. -Generally, unless you want to allow those, I recommend turning off the defaults. In Cakewalk for instance, the most common factor is the CC#7 - Volume response, since the MIDI track volume fader/automation setting will send this every time playback is started. -in Cakewalk there are Preferences - Project - MIDI settings that can also address automatic playback defaults on some of those particular controls, but in those recent versions of Kontakt I find it best to apply the preventive measures here 1st. Then also save & close the project & re-open to apply. -Your mileage may vary. 2. Check your MIDI tracking for any other embedded MIDI commands, and/or see if you have any envelopes assigned, that may be causing changes. 3. Very often even the Kontakt instrument itself can also be set to receive MIDI commands for certain functions, so this and all the other steps here can be related. -In the post context here for instance, CC#11 - Expression will change volume (expressively!) in many instruments by default. Since Kontakt setup can contain any number of variables, and it's not clear from your original post whether the MIDI you are sending from Cakewalk is straightforward (notes only, for instance), the above tips, along with the information @John Vere has posted, is the first line of troubleshooting I would suggest. I hope this helps!

To my ear, the difference could be in the synth or sample control itself. I would guess the game sound is applying an envelope to the sample, which is very commonly used to vary note cutoff & resonance, etc., and can be done dynamically with MIDI control as well. -But that is just my guess. As @John Vere points out, there are many virtual synths out there, and if the synth itself doesn't provide the FX you want internally, using a VST in Cakewalk involves an audio track that can have many routings & FX inherently. -Multiple choices for how reverb is mixed, for instance, some reverb FX have a "wet/dry" setting, which again really only applies relative to how the sound is routed, as a send with return routing can achieve the same thing as well. -Just keep looking for the sounds you need, as that is usually the hardest part, then the mixing is easy. -Or so I like to think anyway!

Nice! - Yes, a bit spendy though, but at least there are options other than long term. Just the material you reference from Ken Scott looks quite worthwhile, he sure has a hell of a lot of experience in the "glory days" of studio recording, going on way past the Beatles days, so I hope he does more of those videos. It would have been even more sweet if Geoff Emerick (Respect...) was still around to share what he knew! I do have his book of anecdotes & recollections.

Normally I just use screen capture for things like recording settings that are visible (but not reportable in any other easy way), even though that can be tedious, I know. That being said, if I understand what seems to be the initial problem outlined in your post, my first instinct is to point out that, unless something else was changed with the new audio interface setup, all the necessary instrument definitions are still in place in Cakewalk. What happens when you change the MIDI interface connection(s) entirely, in these older versions of Cakewalk, is that in my experience, the MIDI instrument to port mapping randomly changes, or goes away entirely. I have dealt with that also recently. This also exhibits if you move a project file to any other system with a different I/O setup in fact. I have done that a few times as well! As I mentioned above, I often save screen captures of some setup screens (though I know some things are also available in preference files as well under the hood), and the main MIDI instrument mapping for my hardware ports was one I had snipped, and so I was able to resume my original mapping from there, when I lost it. After that, my older projects went back to working with the proper bank & patch assignments. This is possible because unless you save over the original project with different assignments, or delete/change any Instrument Definition setups in your Master .ins, the old references will still work once the original port mapping is re-established. -That answer may or may not help you, but hopefully it gives you a place to start. As a note, I believe I also had to make sure the MIDI ports were loading in the same order as ones on the old device did - for me that was tricky. I think the OS assigns the MIDI port loading number, and Cakewalk then assigns an order based on that. For me, if it was different, often the instrument mapping was broken or just off if that also wasn't recreated, which as I say, can be tricky. -So, depending on how you organized your Instrument Definitions originally, before the interface change, it may be as simple as re-establishing the Instrument-to-Port (number) mapping you originally used. Provided of course you haven't already overwritten the original projects in question with newer mapping. For instance, if you already had all your various Korg Kronos 88 Instrument definition material under one logical group - in the Instrument list, and you get the new interface MIDI port(s) to the same loading number, you may be able to simply re-map the Korg Kronos 88 instrument to the same port (number) it was on originally, and all the older projects should just recall the bank & patch mappings they had. -I know that worked for me several times now, to not only with the default Instrument Definitions, but the custom ones I created as well. -Which reminds me: Backing up the Master,ins file once in a while is very recommended if you create custom definitions! -Anyway, I hope some of this helps.

In my recent experience, there indeed seems to be no concrete "manual" or list of commands in any searchable generally available source. -I have had many passes at working with the format manually though, and I still just find it best to copy, analyze, modify existing .ins files. -I also had to recently remind myself that Cakewalk will properly format .ins entries in your current Master.ins file, when you create a definition setup using the Preferences - MIDI - Instruments - Define... dialog in the GUI. I would suggest taking that process, creating a very simple definition (made up or otherwise) - using the Patch, Bank, and Note Names functions at minimum, and watching the way the GUI notates that process as you create & associate them, and then also analyzing the corresponding result in your Master.ins as well.

That definitely sounds frustrating, and hard to deal with! Your basic information is very helpful, but a few things should also be examined: Does the activity meter on each MIDI track respond the same each time you play through? Save before playing after loading the sample(s) - does the Cakewalk project show as "dirty" - changed - after the first playthrough? Can you confirm in the sampler GUI that the settings seem to remain the same each time you play through, -especially of course after the first play through? Are there any instructions in the sampler documentation that refer to specific MIDI configuration considerations? I would try to narrow down the source of the playback change. Is it volume somewhere in the process, or is it a change in the MIDI response, etc. Try testing it with one track - instrument in a test project. Turn off MIDI input/echo, and just place notes in a blank MIDI track manually in PRV. Play that back, look for changes you or Cakewalk didn't accidentally introduce somehow. That would be my first suggestion.

I really don't find that solution (unchecking outputs first) faster, or easier in day-to-day usage. For one thing, when you open a MIDI file in Cakewalk, all MIDI outputs are set to the same thing, and it is very easy to change them all at once. I use it all the time. 1 - use the "Open" menu to open the MIDI file. 2 - insert (at least 1) TTS-1 instrument. 3 - Select all the opened MIDI tracks, and change the output to TTS-1. -Viola. (-Tip - lower the default output level of the TTS-1 track.) Play. Additionally - optionally, you can then spend time assigning the Bank & Patch selection/display, and even Volume, Reverb & Chorus on each MIDI track - Inspector view to your taste. -The catch there is that sometimes MIDI files contain embedded commands that override those initial track settings as you play the file back. -But really, is that so hard? It requires changing no system settings at all. Oh, also be careful, as with TTS-1 opening some types of MIDI files, this is where the infamous no-warning crash happens - for me anyway. Right after setting it up as above, and hitting play. So, if I am concerned about that, I will save the project, usually as a proper project file, and then hit play! ? Your mileage may vary!

No, the volume always remains the same. This is also a disadvantage of this sound engine, that is that the channel volume does not affect while playing a note. So, for example, if a Channel Volume (7) command occurs while a note is playing, it will not affect that note, but will only affect the next note after that command. But am still researching what this tremolo command is used for! Again, perhaps I am mistaken, the brain sometimes chooses to interpret sounds in different ways ?. But perhaps the instrument note level was changing, not the channel level. This is common in MIDI programming, and typically Expression (11) is used to change an active note level, separately from the overall Channel Volume (7), since the latter does not normally change an otherwise already keyed note. I can't help answering questions about use of sforzando, I haven't used that app. I am fairly versed in using multi-timbral synths, in Cakewalk of course the TTS-1, and you seem to have the hang of that. There is basically 1 mini sampler/synth for each channel there, and while each synth can be somewhat customized initially - thus having its own saved parameters, each synth then uses the dynamic channel specific controls of 7 and 11, as well as pitch bend, modulation, etc. On each synth output there is a reverb and chorus mix level, but the type of reverb, as well as chorus is set on an overall settings page that is common to all channels, and the reverb & chorus actually mixes at the point of each main output. Whereas the other MIDI control items like modulation, pitch bend, vibrato, etc. dynamically activate the feature on a channel-by-channel basis within the saved synth - relative to the saved synth settings determining how those commands will exhibit in each instance. Hopefully you can examine the packets of individual channels and their respective control one at a time, and just find a way to emulate each instrument with a synth that sounds the same - or close anyway, one part at a time. If it were me, I would separate the instrument/control MIDI stream into separate tracks in Cakewalk. Perhaps you are already doing that - but either way, I have no doubt you can find some combination of techniques to get this working! Just keep at it. ?

@Tony Carpenter - I guess I should apologize then for going off the deep end! If you are only using SD3 to analyze things, then carry on. I will repeat my initial response - going back to basics might be easiest. You should be able to bring up the kit pad/note assignments on a TD50x master unit, and just write those down for reference. Then you would probably want to bring up that TD50x MIDI input map in SD3, save it as a different name, and edit/add the appropriate kit assignments to taste. - Mapping can be a bit of a task, but you will get it, and once done, you will forget all about it and just play on - right? ?

You may need to look more into the method SD3 uses for modifying & saving customizations, as it sounds as though you may only be making temporary mapping changes. -Each software package has its own methods to follow, and SD3 is usually good at providing documentation. It may be worth learning how some of the mapping options for standard MIDI percussion works in Cakewalk as well, since once you modify a map, and in fact even when just using the default mappings on various rhythm instrument samplers, being able to quickly use them in MIDI input & editing can be very important. -I just recently worked with a project that needed some percussion, and here's what I used to make it easy for input & editing on the PRV in Cakewalk: I decided to use a basic percussion MIDI track, and create a 4-bar sequence using the PRV in Cakewalk, with my sampler target being SD3 with the EZX - Latin Percussion library loaded. -All fine & well, as the default instruments in that sample set cover what I needed, and can easily be tuned & tweaked if needed in the SD3 GUI. One problem: Trying to use the sample set quickly by either note numbers or pitches is very tough. Lots of articulations, and even a few duplications, even with the default note mapping. -So, what worked for me - creating a note map that I can apply in the PRV to visually identify the correct map by kit piece name, instead of the default MIDI note number. As it happens, SD3 has a decent set of tools for viewing and printing the MIDI note mappings of the library you are using. So, I printed out a PDF of the Latin Percussion EZX default note mapping, and saved it. Then, I opened it on my PC running Cakewalk, and resized & moved the windows for each app so I could see what I needed from each app (as in my case, I was using a single-monitor) simultaneously. -This particular procedure will also apply in the Instrument Definitions sub-section in this forum, by the way-. I decided to create an Instrument Definition (or optionally at the minimum a note map section) for the Toontrack - Latin Percussion EZX library, since I didn't already have one to import. -It is fairly easy, but somewhat time consuming, as there are up to 128 notes to define, but with some keyboard shortcuts, and copy-paste operations, it can go by quicker, FYI. The Preferences - MIDI - Instruments - Define... dialog in Cakewalk is the easiest entry point for creating these note name maps (though you can also do it manually with a text editor). -The Cakewalk documentation covers the options & keyboard shortcuts, and in my case I often refer to that by using the "Help" in the Define Instruments and Names dialog (or by just searching the Cakewalk documentation). Another recent post in this forum has a great animated example of using the input method described here: So, with the PDF map from the SD3 printout, and the Cakewalk dialog both visible, I created a note map to the sample kit. -I mostly made use of the keyboard shortcuts to enter the data, also copy-paste sped up entering the Instrument: format used here to preface each articulation. Then, once saved, I was able to put the MIDI track I was creating in PRV, and apply the Note Names map I had just created. -And as a result, I was able to use the sample library fairly quickly in PRV in Cakewalk. Similarly, Drum Maps can be created & modified, shared, etc. using their own set of tools, and can be just as helpful (and/or tedious to create), - just another option that works somewhat differently. They both can really help your workflow, so check them out! In the context of the original post here - if you were to create and save a custom mapping layout for a sample library, and you wanted to quickly use that instead of the default view during PRV entry or editing in Cakewalk, that could be something you may also find useful. -Do also note (no pun intended!) that you can use the Define tool to update & correct the entries you already have, as well, as often as you need to, - I definitely have found that quite helpful. ? Otherwise, using a text editor to copy & paste when creating slightly modified similar sample sets can speed that procedure up a lot. -Your mileage may of course vary, but when you manage to get your own custom mapping working properly, this technique can really help in repeated usage going forward!

I would suggest starting with the basics - if you have a customized set of kit pieces/pads. Literally write (or type) out a list of the note/control numbers your kit pieces/pads are using first. Then using the note mapping options in SD3, figure out what is and isn't properly matching. -Going from there might be easier, as there are only so many kit pieces/pads, but many, many options for the software mapping. -That would be my basic suggestion.

Isn't it just wonderful that these things get added in and automatically turned on by default? I mean really, many of these kind of features may actually become properly helpful (once they use our collective "anonymous " data we never properly know we consented to be collected - to bug-check & refine them), but having no real actionable warning and/or usage instructions that allow us a chance at dealing with them initially, is the biggest issue I always have with this kind of thing. And you would think with simple word processing - typing, the initial default would be to type exactly what I've tried so hard to learn to properly type... But no. As far back as the mid-90s, I was convinced that there should be some kind of office-centric computing system & software that remained closed-featured, as in basically not connected to anything outside of the device itself. There are a few old word-processing typewriters like that if I recall correctly. Being an office systems admin, I wanted (and still do) some way of allowing modern use of computer processing, for tasks like word processing, spreadsheets, accounting, what have you, that would only work primarily as designed without possibility of constant change, and of course intrusion and malware. -Sometimes I just want to go back to a physical typewriter and paper. Actually, I make sure to at least try to watch for those settings when setting up new computers from the get-go, but it really is discouraged by most PC OS setup routines, and unless you read the reams of EULA text that may give a clue to a seasoned lawyer on a good day, it's almost impossible to even know your choices, isn't it? As far as inking & typing feature "enhancement" in Windows, there is an initial option to (ostensibly) turn that off, as well as the option to not use "advertising ID", and the general category of "optional diagnostic data", but how much really still goes on behind the scenes... well good luck controlling that. I started thinking of Sting's lyrics for "Synchronicity" as I read that, for some reason. ? I know, -we 've all pretty much walked into this willingly though, wanting technology to work as much as we do. And when it's used positively (as I hope that Cakewalk does - I am trusting anyway...) it really can be great, no argument. I truly hope things like AI can help us really gain power against things like cancer and other massive problems. However, I hope I don't lose much more of my privacy, and choice, than I already feel happened with the advent of always connected computing devices - especially in our phones and media players. Typing in Windows is just the top layer of it all. And I still remember when I could type physically on a typewriter, take the paper out, file it and lock it in a cabinet, which was inside a lock-able living space, which in most environments was at least lawfully recognized as protected space with legal, or even physical repercussions upon those who trespassed. -Not anymore. Phones, and often PCs - now on, connected, 24/7, and if Windows wants to change your typing, or read it into Bing AI automatically, or of course some cracker wants to hack it all and sell it, and blame you for "allowing it to happen", well, -here we are! -Where's our sign? ? OK, back to regularly laughing along with everyone here, -pardon my rant!

One procedure that has sped things up in drum MIDI editing, for me over the years, was the move to putting most of the primary kit piece programming on separate MIDI tracks. -Either after the initial note entry, or even before, as often I will be transcribing from an audio track, and doing it part by part, -That is my method of choice, but it all really has to be done which ever way fits your own workflow of course. When using the PRV for drum programming, I most often rely on note mapping via instrument definitions, and so each track can have its own map, and can even be customized with some prep work. Drum maps can work in a similar way, and take just about as much work to set up, but I still like to use standard PRV note view for most acoustic-style drum programming, as many samplers may actually make use of differing note length values for some instruments. Again though, it varies - it's highly dependent on your workflow needs. For instance, programming drum-machine style instrumentation using drum notation view or the drum map setup can actually work better than the single-track method I use for acoustic-style sample use. So, the best shortcuts can vary depending on many factors.

Yes, it definitely is a digital - MIDI representation factor that dictates that for any application that uses MIDI as a basis for programming. -As far as whether or not it matches other standards in musical notation, I can't really recall if starting things from 0 or 1 is a thing, I will admit. But it brings to mind the differences between cultures, like how some places ground floor of a building is called the 1st floor, and some places the 1st floor is the one starting above the ground floor... Whether those points help the OP or not, is not immediately clear, but I also happen to use a lead-in on almost all my projects, and as in another post, agree a good method of moving that point if needed is by using the ripple-edit method (and as mentioned, turn it off after using it!). Set your first beat wherever you feel it works best, but the time ruler numbering is set and dictated by MIDI programming rules, and changing/offsetting that visually could become rather confusing, I would think.

I would be camp-less I guess! In my mixes, I will find what sounds best. If time shifting OH for phase issues sounds better, I may use it. If it sounds fine as is, I just use it. -But it definitely can be a subject one can over-think, so be careful!

Per the initial post - The amount of variables, and information on what you have actually set up and tested, make it unlikely that anyone else can repeat what is described here, and in fact even given the information regarding the update to the post. But it is good that you seem to have found some kind of solution! Quite often, you may find simple testing and reporting here, with full details on setup of the tracking at the very least, can help with getting questions answered here. As it is, I would suggest looking into the MIDI routings in your project, and whether or not the correct channel assignments are in place, as most often those details are what can make all the difference in using a MIDI input to trigger various MIDI instruments. Understanding and confirming all the choices, from MIDI keyboard output settings, the Cakewalk track input assignments, through to the MIDI instrument input settings, are often the culprit with the kind of response you are describing. And those variables all change with different MIDI instruments, and not all plugins will initially respond alike. I hope that helps going forward.

@msmcleod I sure hope this, and so many of the illustrated, task specific functional use clips & text you have been providing wind up in an easily-searchable compiled format somewhere soon. -For me, these often beat the heck out of basic user guide information. I would suggest Cakewalk provide these - along with, and cross-linked, to the standard PDF user guide as the new offerings roll out. IMHO. Or do you already have a database of this stuff linked somewhere? -If so, where... and carry on!!

One of the first thoughts that comes to my mind, regarding your post, is that "common basics" are really going to be individual, rather than common. -For instance, in what I mostly program, hi hat variations are one of my pet peeves, as there are never enough in any sample set to match real world variations. -For me-. And, as to a ride & choke combo - I have played plenty of drum passages using expression on the ride - I would never leave that out. -But again, that's me-. I suppose our OCD nature needs to be recognized as personal, and although it's natural also to compare, and even helpful to learn some other viewpoints, one might want to try and focus on what method actually suits us best going forwards. Sometimes it's about interoperability - between projects, or established standards, so then there's that too. -Way back when, as I began to program early MIDI drum modules that started with GM drum mapping as a basis, I was initially frustrated at some of the groupings and limitations of that system. I still never found a "perfect" distribution of drum parts in mapping, and now with the depth of some drum sample sets, I find I can hardly make an "optimized" map that always covers the basics in any given sample set. In fact, I bounce back & forth between maps, depending on the material I'm covering, and whether the default sample sets are sufficient, or need to be customized (which for me it's about 50/50). -I'm just glad I can create & use alternate note name maps in Cakewalk for use in the PRV, that one ability alone helps me navigate my drum mapping OCD much more comfortably. -All the programming still eats up so much time though!