brundlefly

That's a high buffer setting. Is the project pushing your CPU that hard?

If it's working with standalone synths, drivers should not be a problem. First of all, if you're using WASAPI driver mode, change your default rate for new projects to 48kHz; Noel posted earlier there's a known issue with WASAPI at 44.1kHz. EDIT: Looks like the hotfix is already out: If still a problem, let us know which of the following steps doesn't give the expected result: - Make sure both the MIDI and Audio devices are enabled in Preferences. - Insert TTS-1 as separate MIDI and First Audio Output tracks. - Set the input of the MIDI track to the keyboard. - Enable Input Echo on the MIDI track. - Play the keyboard and look for MIDI output activity in the MIDI track meter. - If you see activity but don't hear anything, open the TTS-1 UI, and click one of the audition buttons at the bottom of a channel strip. - If you still don't hear anything, open the Console view, drag the pane dividers to the left so you can see the hardware out channel strip(s), click and audition button again, and look for activity in that output meter. - If you have activity there, and still don't hear anything, and you're sure your monitoring sytem is active, something's going on with availability of your audio drivers to Cakewalk.

So why not just write everything as channel 1 in all tracks in the first place and let the forced output channel take care of the rechannelization as I suggested?

Not sure what you mean by this. If you make only one track at a time editable in the PRV tracks pane, you can't see or write controllers on another track. Those two statements are contradictory, and the first one is correct in my view. If you write channel 1 controller events to the channel 4 track, they'll be forced to that channel on playback along with note events, and if you save as a MIDI file, Cakewalk will re-write all the events on the track to channel 4. This happens with Save As .MID regardless of whether rechannelMIDI is enabled in Cakewalk.ini. Knowing you have a lot of experience, I think I must be missing something about your workflow.

Processing by selecting something in the Process menu, or by bouncing to clips/tracks? Need a more detailed description of the steps.

Save the desired layout as a Screenset or Lens. A screenset will be specific to the project in which it's created. Lenses affect all projects. Then, rather than closing the PRV, just change screensets/lenses.

You can copy (everything or selectively) the following: The Cakewalk AppData directory: C:\Users\<username>\AppData\Roaming\Cakewalk\Cakewalk Core (including an export of your current keybindings as a .kbn file) The Cakewalk Content directory (mine is in a non-default location, not sure what the default is)

The selection markers allow you to easily change a selection by dragging the marker, and the new pointer tools allow you to select the desired marker when two or more (loop, punch, selection) markers are on top of each other.

Just curious... do you use a touchscreen? I almost never use the UI transport controls with a mouse; the keyboard shortcuts are so much more convenient.

I'm guessing you mean the current forced output channel of the track. If the track has a forced output channel assigned, the channel embedded in the events doesn't matter. In the age of soft synths, most users write/record everything as channel 1, and depend on independent ports and/or forced output channels on tracks to route events to the proper synth and channel.

I have a problem with the VST3 version of AAS Chromophone 2 causing a crash that the VST2 does not. Others don't experience this, (including AAS themselves, apparently). If re-installing/re-scanning doesn't solve the problem, you might try replacing the VST2 with the VST3 after its loaded, which works with Chromophone.

A 64-bit plugin can address more memory, though I can't imagine an FX plugin needing more than the 4GB supported by 32-bit addressing. And I would challenge you to hear the difference between 32-bit and 64-bit audio processing, especially in a plugin that is probably already introducing subtle distortions in the signal by the nature of its DSP algorithms. I'm not a devleoper, but I believe making plugins use 64-bit addressing is primarily just so that ithey can run in a 64-bit environment without address translation a.k.a. 'bridging'.

That would be audio bit 'depth' as opposed to data bus 'width'. I don't know for sure whether CA-2A was included in the IP package that Bandlab bought; maybe Steve does. But it doesn't appear Cakewalk are putting any energy into plugin development right now, and the return on investment of updating CA-2A to use a 64-bit signal path would likely not be very attractive.

You're confusing x64 memory addressing and data buses with 64-bit audio processing. If you're running x64 Cakewalk on an x64 operating system, the matching version of CA-2A will using 64-bit addressing and data bus, but apparently it does not support 64-bit audio processing. Some other high-end plugins don't either. You'd have to ask the developers why not.

Yeah, that works. I think it will be a little easier to keep track of the process - and know at a glance what's doing on after the fact - if you put the different articulation in different lanes.

No, that has never been implemented. The only visual guide is that 6dB intervals are marked in the track scale, and each 6dB change in the Gain line will halve/double the amplitude. Ultimately, you have to use your ears.

64-bit signal path shows two ticks close together for each channel of the stereo path:

Drum maps aren't just about labeling notes, they can remap the output channel of each event (as well as note number and port). Assuming the different articulation presets are assigned different channels in the synth, a drum map could help with that. But you would need to write the different articulations in different octave ranges of the track, and the loss of easy duration editing with the notes moved to the drum pane of the PRV makes it not a very practical solution. Using separate tracks with appropriate forced output channels assigned is probably preferable overall. Once you have it all worked out, you can consolidate by embedding the channel assignments in the events, and moving them to lanes of a single track.

Have never paid much attention to this. But, yes, CA-2A shows single, 32-bit signal path marks.

Incidentally, I found that I didn't have to first create a fade to reproduce this. I guess it is unexpected that a single click slip-edits the track when clicking with the context menu open whereas it would normally require a click and drag. Workaround (and probably a best practice) is to exit the context menu using the Esc key instead of by clicking.

Can only repro that here if the Edit tool is active, in which case it's not too surprising. Does not happen with the Smart tool.

Edges of the clips must be perfectly abutted to the sample. If the clips or their boundaries have been moved (other than moving the split point itself) it might not be possible to heal the split.

IBe sure to click in the lower half of the clip where the Comp tool is showing.

Appears to be something going on with the Clip Gain automation. Deleting the automation eliminates the problem, and after re-creating the clip automation, nudge from the keyboard continues to work as expected. If you can re-create the condition from scratch, you should report it to the Bakers. Even if you can't, they might be able to see where the problem is in this project file.

Bounce the selection to a new track named Master Bounce that routes directly to Main Outs, and group that track's mute button in opposition with the Master bus. Always maintain that track's position as the last track in the project. Whenever you need to do another export/bounce, start by selecting the Master Bounce track and clicking the clip to define the time range, Then Shift+click the first track in the project to select the same range on every other track, and export/bounce with Source = Buses, and only the Master Bus selected. The Master Bounce track is both muted and not routed through the Master bus, so it won't be included. I usually bounce to a new track, and then drag that clip to a new lane of the Master Bounce track and solo the lane. That way, 'masters' are saved with the project, and I can toggle the track mute to A/B between the bounced mix and the live mix on the Master bus to verify everything rendered correctly. I can also toggle between different master bounces, using the lane solo buttons.