brundlefly

If I recall correctly you're running a Behringer interface that does not have a native ASIO driver and uses ASIO4ALL, correct? ASIO4ALL can cause this kind of instability. You might be better off using the Behringer in WASAPI Exclusive or even WDM mode. Long term you should look into getting an interface with native ASIO drivers.

No setting, especially, just Insert > Rewire Device > Notion, and choose to create the First Synth Audio Output. Then arm the track and record. If you can hear it playing, recording audio should work like any other synth. The only thing I can think is maybe you inserted it as a Simple Insturment track so the arming button is to record MIDI input, not audio. In that case, you either need to split the Instrument track and arm the Synth track or arm the audio side of the Insrument track via the Audio tab at the bottom of the Track Inspector.

Sounds like you might have somehow removed C:\Program Files\Cakewalk\Shared Utilities\Internal from your scan paths in Plugin Manager.

I just pulled up an old pre-CbB project in Sonar that's rewired to Notion, and it records audio from a piano score driving a VSTi in Notion as expected.

Bounce as in Fast Bounce, a.k.a. Offline Rendering? I don't think Rewire supports that - strictly real time - but it's been a while since I used it.

Windows Defender also has a real-time scanning mode that can play hell with CW. At one time you could turn it off and it would stay off. Then at some point I recall it started re-enabling itself, and I had to add all the CW-ralated content locations to its Exclusion list on my main DAW. But now that you mention it I don't think I ever did that on the laptop, and it's not been a problem there. Go figure.

- Select all clips with unwanted controller events. - Edit > Select > By Filter - Click the 'None' button, then re-check the 'Control' box. - OK and Delete. If the controller types still show up in the Controller pane though you don't see any actual events, it may be that some controllers are hidden by slip-editing, and you need to Apply Trimming or Bounce to Clips to get rid of them.

I've requested this in the past, and also the ability to select multiple nodes and change the segment type for all of them. Neither have been implemented so far as I know.

This looks like something you might find in a 3rd-party GM MIDI file. The first step would be to separate out the different channels to different tracks if there are, in fact, notes on more than one channel in the track. Otherwise just delete all controllers that aren't on the saem channel as the notes. Then check the Event List viw to see if CC1 Modulation is actually being used throughout the performance or just being initialized to 0 at the start. Continuous Sustain alone shouldn't cause that much trouble, but I wrote a CAL a while ago that can convert them to full pedal down/up events if you want to try that. EDIT: I have a number of different sustain-related CALs, but it looks like I was mistaken that I ever wrote one to convert coninuous to discrete. I could probably modify one of my existing CALs to do it, but not sure I can get to it in time to address your case. As I said, the continous ones shouldn't be causing a problem if you get rid of everything else - unless possibly they were created manually with excess resolution. FOr reference, my RD-700NX digital piano only sends one message every 8ms or so, which means each pedal up/down is typically only 6-7 messages in a realtime recording. And CW won't even generate that many when using a MIDI sustain envelope. Any more than that is overkill.

Or use the option to group while recording in Record options which will also group multiple takes for comping. I would recommend grouping, but if you really want to do it with left/right channels of a stereo track, Send to Aux Tracks instead of buses and set each track Input to only the left or right channel of the patch point.

Note "New Sonar" in the title. Not available in the last release of CbB.

I agree. Keep track/lane/clip muting functions independent, but hide MIDI at whatever level it's muted.

In addition to comments already made about interface latency and disabling direct monitoring so you hear only the input-monitored signal, this suggests you might have the track Input set to a stereo pair rather than just the one channel (left or right side of the pair) that your guitar is plugged into. Also note that loading up on "normal" plugins will not increase latency - only CPU load and the probability clicks/pops/dropouts - but some FX use a lookahead buffer that will add latency (a.k.a. plugin delay). Many guitar amp sims do this to some extent, especially if they use convolution as many more modern ones do.

Double-clicking the audio clip will open the Properties tab of the Inspector: https://legacy.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Inspectors.4.html

You don't have to bounce clips together so long as the Timebase is Musical (clip start times follow the M:B:T grid when changing tempo) which is the default for both MIDI and Audio. But I do recommend doing this in a copy of the project (can be in the same project folder and referencing the same audio files; it just needs to be a separate CWP file) just to avoid unrecoverable mistakes. - Ctrl-A to select the whole project. - Open the Audiosnap section of Clip Properties and click to Enable Audiosnap on all the audio clips. - IMPORTANT: Set the Follow Option to Auto Stretch before enabling Follow Proj Tempo. - Enable Follow Proj Tempo. - Change the tempo; if the tempo is variable you can use the Tempo Offset by percentage in the tempo track to change them all proportionally. - As John said, 50% is a lot. I typically find 75-80% feels reasonably slow for this kind of thing.

You can't select with the Comp tool, you can only comp (i.e. split out the swept section in all concurrent takes and mute the the takes other than the one you're sweeping). To select with the Smart tool, you need to make the take lane a bit taller than minimum so that you can get the Select tool cursor when hovering near the center of the lane height (higher gives you the Move tool, and lower gives you the Comp tool).

Try exporting just the Master bus with nothing selected (Ctrl+Shift+A before exporting). This is my SOP, and I have not encountered any problems.

Expand the Groove Clip section of Clip Properties.

Not directly; you'd have to use OCR software on a screenshot. Or maybe find some other MIDI sequencer that allows it. What's the goal?

Your screenshot shows it's 29 measures, not 29 seconds. CORRECTION: Make that 28 measures ending at 29:01. If it's in 4/4, that implies a tempo of 28 x 4 x 60 / 55 = 122.18 (probably 122 even).

If the clip was created in the current project with a matching tempo, you just need to go to Clip Properties in the Track Inspector and correct the mis-guessed 'Beats in Clip' value.

Hiding in plain sight. ?

What buffer size are you running? Presumably you don't have to keep it low to allow real-time recording at this point and can raise it to rduce the CPU load. By the time your FX load is getting that high, you should be largely done with composing/editing/arranging so that you can freeze the synths with their automation, leaving only track/bus FX active. If you're still working on the composition and tweaking synth sounds/automation, you should try disabling non-critical FX until you're really ready for the mixing/mastering stages. I'm sympathetic to the tendency to work on all of the 'stages' of a project in parallel and over-produce individual parts and tracks before the composition is complete as I'm frequently guilty of this myself. But my compositions tend to be sparse enough that I can afford it. If you're working in a musical genre that has a lot more going on with a lot of heavy-weight synths, you need to be more disciplined about separating the stages and getting all your composing/arranging done using raw instrument sounds (and maybe lighter-weight stand-ins for some of them initially) with only the basic FX that you would find on a physical console strip, and using send FX on buses where possible; you shouldn't have a lot of "tracks with roughly the same effects on them".

You can cliick the track-type icon in any track associated with a soft synth to open the synth's UI. Or you can open the Synth Rack from the Views menu and double-click the icon in the rack. Check your record mode by right-clicking the record button. Sound on Sound will let you layer multple takes and hear previous takes both during playback and while recording. Comping will mute previous takes by clip-muting and new ones will take precedence where they overlap. Overwrite will replace previous takes with new ones up to the point the that you stop recording. New takes will be recorded to new lanes which you can show by Shift+T or clicking the Lanes button in the lower left of the track.

I have also proposed this in the past.