brundlefly

I downloaded the demo of Pianissimo (32-bit only, but that shouldn't be a factor), and reproduced the issue. I ran the same track against True Pianos - Cakewalk, and SI electric Piano, and they both responded as expected. Then I inserted a CC 121 Reset All Controllers, which I thought was what Zero Controllers sends, but, surprisingly, none of them responded to it. Then I replaced CC121 with CC123 All Notes Off, and only Pianissimo did not respond to that. Then I disabled Zero Controllers in preferences, and found that TruePianos and SI Electric Piano still went silent on stop as has been my experience with soft synths. It may well be that SONAR sends All Notes Off on stop. IRC, there are settings related to this in the TTSSEQ.ini and/or Cakewalk.ini. So now I'm note sure how Zero Controllers is implemented. I probably knew at one time, and have forgotten. I'd be surprised if it sends individual controller messages, but it's possible. But the bottom line seems to be that this issue is synth-specific.

Seems most likely it's the particular synth your using that's not responding to CC 121 All Controllers Off. Try putting some other controller in the track that gives a clearly audible result, and see if that gets zeroed. You might also try assigning a forced Output channel to the track to make sure the Zero Controllers message is getting to the right channel on the synth. One thing I don't understand is that my experience has always been that soft synths generally won't sustain on stop even if Zero Controllers is disabled. I don't know much about soft synth programming, but I always thought this was because the synth gets some non-MIDI message directly from the host telling it to stop producing output. For example, a drum synth that has a cymbal ringing on stop will go silent even though drum samples are typically triggered as 'one-shots' that don't respond to Note Offs. So even if SONAR isn't sending Zero Controllers or the synth isn't responding to it, it should still go silent.

For sustained notes 'hanging' on stop, you can enable 'Zero Controllers When Play Stops' in Preferences.

I like to bounce the Master Bus to a track that routes directly to hardware Main Outs, and group the mute on that 'Master Bounce' track in opposition with the Master Bus mute. This allows easily A/Bing the 'Master Bounce' against the live mix to make sure it sounds and looks right (length, amplitude, compression, channel balance, fades, etc). Then you can export just that track, and know that the uploaded file will be exactly what you intended.

I have often wished some plugins would have automatic loudness compensation in place of a manual make-up gain. I haven't checked the plugins you mentioned, but it seems like it would require a pretty big lookahead buffer to do the job properly - meaning a lot of plugin delay - but at the mixing stage, that shouldn't be a problem.

Hardware or software synths? If soft, which one, and is it inserted in the Synth Rack or in the track's FX bin? If it's in the FX bin, try moving it to the Synth Rack. If hardware, is it connected by MIDI DIN to an external interface or by USB MIDI built into the synth? Are there any FX plugins in the project with very high plugin latency that triggers Plugin Delay Compensation? Cakewalk/Bandlab's LP plugins induce a lot of DPC at med/high precision settings that can cause MIDI buffering issues - usually dropped note ons, but I suppose dropped note offs or controllers would also be possible. MIDI FX plugins can also potentially cause problems, even if they're on some other track. Also, just to be clear, are we talking about real-time performance by input-echoed MIDI or playback of recorded/imported MIDI? The Prepare Using Buffer only applies to playback.

A lot of users find this to be unexpected/unwelcome behavior, but it's working as intended. Paste Special is the how you access paste options, and changing an option persists for all subsequent pastes until you change the option back with Paste Special. Personally I find more often than not that I want the changed paste options to persist for at least one more paste so, in the long run, it saves time.

This has been my main use of Rewire. Notion had other issues that prevented my continuing to use it with any frequency, but I did have the Rewire functionality working realtively smoothly within its limitations (e.g. Notion's playback cursor not following changes in CbB Now Time when transport isn't running).

This typically happens when you enable Input Echo before selecting a specific input, and Cakewalk defaults to All Inputs - Omni (i.e. all channels of all inputs). Once you've selected a specific input, it shouldn't change.

Cool. Glad to help. 'Online' means real-time processing during playback. 'Offline' is what's used when you Bounce to Clip(s) to destructively apply the stretching , creating a new audio file. In general, the offline algorithms are more sophisticated, and will sound better. But in some cases, Groove Clip yields the most transparent results.

Have not double-checked, but usually if you have multiple clips selected, any change to properties will affect all of them. If they start out with different values, the property show '(multi)'.

It just occured to me that a recent change to AS is that the default stretching algorithm is now Elastique instead Groove Clip. In my experimentation with this algorithm when it was first released, I found that it could produce weird timing in some cases. Try switching to Groove Clip or one of the Izotope algorithms.

What changes did you make using Audiosnap?If you're using it to have the overall clip tempo follow changes in the project tempo, make sure the Follow Project mode is 'Autostrech'. (drop-down to the right of the option in the Audiosnap palette) If it's anything else, transient markers will get snapped to the grid with a probable bad result unless they've been carefully 'massaged' into the correct positions for that purpose.

For future reference (when mixdown is not hanging), the easy way to bounce audio clips together while preserving the original separate clips (with or without active clip/region FX), and keeping everything them in the same track where you might already have special output routing, sends and FX in place is to use Flatten Comp.

Most often clip selection failure is due to having the track's Edit Filter set to something other than clips, but that wouldn't change with a restart. Not sure I understand the bounce to clips issue. You're saying the new clips is created on top of the old clip instead of replacing it?

Yes I understood that. I was responding to chris.r's comment that the alternative required a "multitude" of mouse clicks. Really it only requires one more on top of dragging the instrument into the project, and then a couple more to delete the abandoned MIDI track. If you were to drag in all the instruments first, in the corresponding order, it would only take one click to drag all the MIDI clips to those instrument tracks, and two clicks to delete all the abandoned MIDI tracks - an average of 0.188 extra clicks per instrument for a 16-track MIDI file. ;^)

It's kind of a superfluous option. For the most part, CbB does not allow same-lane overlaps, but there are some bugs that will let it happen, and you'll see more of them if you don' keep that option checked.

I think you must be thinking of a different DAW or different situation in CbB. I just double-checked, thinking something might have changed since I last tried it, but there was no prompt about the length. The project opened with no complaints, but the audio is truncated as described. The clip runs 4 measures, but audio is a flat line for about the last five 16ths of the last measure (44.1/48 * 4:01:000 > 3:03:672).

For future reference, the Gain control in an audio track controls the input level to the track from playback of an existing, recorded or imported audio clip, but has no effect on live input signal as noted.

There's one problem with converting the sample rate of audio files outside of CbB that was pointed out to me when I suggested this solution in the past. The length of the audio clip in samples is stored in the project, so when it reads in data from a higher sample rate file, the clip will be truncated to the original number of samples, and there's no way to get the clip to reference the entire file, short of importing it at the new rate.

It's not the same compensation as for external audio input, but there is a bug that causes soft synth audio to be laid down early by exactly one ASIO buffer when the synth is driven by existing MIDI in the project. (Note that the opposite problem occurs when recording a soft synth driven by live, real-time MIDI input, but is expected because the audio isn't compensated for MIDI latency or the fact that the audio you're playing along with is delayed by output latency). Workarounds are: - Set a very small ASIO buffer (e.g. 32 samples), and ignore the error. - Freeze or Bounce to Track instead of recording. - Put a send on the Synth track to an Aux track, and record on the Aux track which won't have the compensation mis-applied.

Hmm, while you can achieve the same typically in more than one way in CakeLab and having to go through multitude of mouse clicks of course, for the workflow this seems to be a great feature request indeed . While I agree this could be a convenient feature (though not at all 'baffling' to me that it isn't already), I wouldn't call dragging the MIDI clip to a new Instrument track and deleting the unneeded MIDI track a 'multitude of mouse clicks'.

Shift+A shows automation lanes, and will create a Volume lane by default as a convenience since that's the most often used type of automation. If you want something else, you can change the type using the drop-down in the lane header or by right-clicking the envelope, and choosing Assign. If you don't want any automaiton on the lane, don't Shift+A to show automation lanes in the first place.

How are the instruments assigned to outputs within the synth? I'm not familiar with Acoustica, but TTS-1 has 4 outputs. If all instruments are assigned to output 1 (the default), it wont be possible to mute that output if some track driving another instrument using the same output is soloed; the solo will override the mute, and keep the output active. Ideally each instrument in a multi-timbral synth should be assigned to a dedicated output with a separate Synth track (i.e. an audio track with synth output assigned as input) hosting each output. This also allows you to to apply different automation, FX and Send destinations/levels to each instrument.

Late to the party. Very cool, Noel. Listening to the performances now; as we '70s kid would say... Eeeeexcelent, Man! Cheers, Dave