brundlefly

If there's no meter activity when armed to record, that would suggest the driver isn't opening the input port. If that's the case, I could see how switching to a different input and back would re-open the port. You might experiment with the Always Open All Devices setting in Audio > Playback and Recording.

When input monitoring is failing, do you get either or both input or output meter activity on that track? Really sounds like an interoperability issue with the driver.

Are you using WDM driver mode to have both interfaces available, or only using the Layla PCI in ASIO mode currently? If so, I'd recommend trying ASIO mode with just the Focusrite interface, and see if ithe problem persists. Years ago I had an issue with input-monitored tracks going silent on rewinding after recording a take with my EMU 1820m PCI. In that case, toggling the audio engine or just restarting the tranport would bring them back to life, and stopping the recording with R instead os Spacebar before rewinding would avoid the problem entirely. Something seemed to be causing the audio driver to close the ports on rewind from stop. Have not seen the issue since the 1820m died, and I started using a MOTU PCie interface.

If their are FX in the track, you can't know that it's echo that's failing. If the FX aren't passing audio, there's nothing to be echoed out. You implied earlier that is can happen with no FX in the bin. Are you sure about that?

Yeah, guess I was little to vague with "enable Audiosnap in Autostretch mode": In the Audiosnap section of Clip properties: - Check the Enable box. - Set the 'Follow Option' to ' Auto stretch' - Then check 'Follow Project Tempo' If the follow option is anything other then Autostretch, the clip will immediately try to confirm to the timeline tempo according to its clip tempo map (which we're not using), and will typically 'go into chaos' as you say. Autostretch mode doesn't do anything until you change/delete tempos.

To work one track at a time, graphically, set the PRV to Show Controller Pane in the View menu. Double-clicking the clip to open it in the PRV should then show all controllers as separate lanes in the Controler pane where you can swipe across controllers with the Erase tool to delete them without affecting notes. https://cakewalk.com/Documentation?product=Cakewalk&language=3&help=Views.05.html Alternatively, you can select tracks/clips, go to Edit > Select by Filter, and check boxes to select only the controller number you want to delete, then hit Delete on your keyboard. You could also use this method to delete controllers from all tracks that have competing Modulation and Expression controllers in one go, but take care that you don't include a track that has only the one controller type. The page I linked earlier does not explicit state that CC1/2/11 affects brightness as Jim suggested, but that might be true, I haven't confirmed one way or the other., but have not really noticed that in the past. I would probably just keep whichever controller is at the highest average level so that you get a good, strong level out of every track as a starting point for mixing.

I just checked, and the 'move' cursor is not interfering with deleting the marker as described here. Possibly you've bound the Delete key at some point for a special purpose...? Or you're trying to use Del on the NumKey pad instead of Delete on the main keyboard...?

An ARA-enabled clip (Audio Random Access) will display 'RFX' (Region FX) in the upper right corner. Groove clips will have beveled/rounded corners, and locked clips will have a lock icon in the upper left corner. You might also check for Audiosnap being enabled under Clip properties in the Track Inspector. If the clip is in any of these special modes applied, slip-stretching will not be allowed. In the case of MIDI, Step Sequencer clips cannot be stretched, either.

Glad to help. Garritan is somewhat unique in using Modulation to control volume. IIRC, they added support for CC11 at some point to be more compatible with GM conventions. CC2 (Breath) also does the same thing. You might want to find out what characteristic of the sound is controlled by Modulation in Spitfire, and see if it's possible to emulate that with a different controller. Here's a summary of controller implementation in Garritan: https://usermanuals.garritan.com/GPO5/Content/controls.htm EDIT: I should add, if the parameter controlled by Modulation in Spitfire has a counterpart in Garritan, you can copy the Mod controllers to the appropriate controller number in the PRV, and then delete the Mod controllers.

Maybe more precise to say say 'offset' the existing MIDI. In other words, 'lie' to the synth, making the timestamps later so the audio renders later without actuallly delaying the audio output. So you could offset the existing MIDI while passing live input MIDI through immediately, and have both in sync with plugin-delayed tracks.

EDIT: Nevermind. Had missed the first of your two updates.

That should still work in CbB. Check that clip isn't locked, Groove-clip-enabled, Audiosnap-enabled, ARA-enabled, etc.

I didn't watch the video, but for a project with tracks already matching a constant project tempo, the procedure is simple: - Select All - Show Clip properties in the Track Inspector, and expand the Audiosnap section. - Check the Enable box, set the Follow Option to Autostretch, and check the box to Follow Proj Tempo. - Change the tempo.

So I got the same stuttering effect here, and noted it was happening particularly on strings and in places where the tempo wasn't changing. I looked at the controllers in the PRV, and found both Modulation and Expression controllers following the same pattern but at different average levels. In Garritan, Modulation (CC1) and Expression (CC11) both control the Expression parameter, so the controllers are competing with each other, and rapidly switching the level up an down since the curves are at different levels. Deleting either set of controllers eliminates the stuttering.

Actually pretty straightforward: - Check the box to Enable MIDI Out when inserting Jamstix - Insert another MIDI track, and set it's Input to Jamstix. - Leave Input Echo disabled. - Arm the MIDI track to record, and hit R. I wouldn't be surprised if there's an option to drag MIDI out of the Jamstix UI, but I've always used the above method because I just like to watch it do its thing in real time, and listen for parts that I might want to modify, move, delete, copy, re-arrange, assign to a different synth, etc. After recording, you can drag that clip to the Jamstix track and switch it to MIDI Playback mode, or take parts of it to different tracks or separate lanes of the of the Jamstix track... whatever works. EDIT: Looking back at some of the projects where I used it, I've usually just set the input of the Jamstix MIDI/Simple Instrument track to the Jamstix MIDI Out, and recorded directly into that track. So long as you leave Input Echo disabled while Jamstix is in Jam mode, that works fine.

Are there tempo changes in the project? Possibly Aria Player is not handling them as well as a Miroslav, though I would expect it should. If the stuttering persists after freezing/bouncing to audio, that would take the audio driver/hardware out of the equation. It could also be that some particular controller in the MIDI is causing problems with Garritan. If you want to share the Garritan version of the project somewhere, I could give it a run on my good-but-less-than-state-of-the-art system to see how it behaves.

I realized after posting that this explains why you don't use the audio metronome.

Yes, I've seen a lot of requests for this over the years. Kind of funny that it got implemented as an incidental benefit of the Export function. I hadn't really thought about it until the OP brought it up again.

Logically, PDC can only work by adding delay. So, conversely, overriding it can only work by subtracting delay. It's not possible to subtract delay from a real-time input, so PDC and PDC override have to work at the output. But the issue with existing vs. real-time MIDI could potentially be handled better by delaying the output of existing MIDI to the synth rather than delaying the audio output from the synth. 'Aways Echo Current' facilitates the composing process by allowing a user to switch instruments simply by changing track focus. In conjunction with 'Allow MIDI Recording without an Armed Track', the creative process can proceed very quickly. A major downside of this feature, however, is that a MIDI track that initially has no input assigned will default to All Inputs - Omni when it gets auto-echoed, which can cause a lot of unexpected problems if you don't realize it. Personally, I just don't work fast enough for it to be of much value to me, and I like to have control over what's being echoed at any given moment, regardless of where the focus is.

That's gotta be it. I overlooked the key word 'files' in the title.

Is it a VST3? I've had trouble with AAS Chromaphone VST3 hanging Cakewalk, though others don't seem to have a problem with it, and other VST3s load fine for me. For Chromophone I have to use the VST2 version.

That's odd. Is this affecting both projects and project templates, or just a particular project? Most of those settings are different than what I typically use, especially the MIDI metronome. It shouldn't matter but it's a bit unusual, so that would be the first thing I'd want to check. Any particular reason you're not using the audio metronome - don't like the sounds on offer?

Coincidentally, a youtube video was just linked in another thread that shows pretty much exactly this process - just doing it in a multitrack project. And he sets every measure from start to finish while I usually start with 'rough set' as described, and dial it in only where really needed. But setting every measure like this is valid if you know the tempo is that variable, and are more concerned with super-tight timing than audio artifacts. I swear: A. That's not my video, and B. I did not see it before posting. ;^)

If you just want to get the task done: - Bounce the Master bus to a 'Master Bounce' track that outputs directly to Main Outs - Solo that track along with the one you want to record on. - Enable PDC Override and record away,

I've ony listened briefly on crummy laptop speakers, but I'm guessing this suggestion would apply broadly; Bring up the level of the instrument(s) defining the harmonic structure. The chord changes are cool but not as audible as they should be everywhere. I think this is partly what makes it sound 'Asian' - the melody is too dominant. A switch to - or addition of - a lead instrument with more sustain on the choruses could also help that. Nice work otherwise. I like it.