brundlefly

Not quite. Not looking for a big debate, but curious why you would object to that statement.

No, probably not; just wanted to put my $.02 in for the record. Yes, I've done other button changes/swaps for myself. I probably won't bother with the Read button because I almost never touch it and it's already pretty unobtrusive when 'lit'.

Yes, a Patch Point is essentially just a stereo 'pipe' that any track can use as a destination or a source. Some confusion may arise because creating an Aux track automatically creates a Patch Point with the same name assigned as Input to the track, but the two objects are really independent of each other.

As I said, the PRV can do this once you convert pitch to MIDI which the Melodyne demo can do so long as the source is just a vocal track with no accompaniment

I assumed you wanted Melodyne/RipX-style pitch indicators that can show 'bent' notes. If you just want basic note/pitch indications, you could convert both tracks to MIDI, and show both in the PRV. But I wouldn't think you would need anything visual if you're only concerned with whether you're nominally singing the right note...?

I disagree, and would definitely not want the Bakers to adopt this convention. I'd be okay with adding a slash to the FX and PDC buttons to clarify that they have 'Bypass/Override' functions, but the lit state should still be indicating whether the button is engaged or not, regardless of whether it has an 'enabling' or 'defeating' function. So both states would show the slash. For me the mental conventions is that a project is in 'normal' playback/mixing mode when nothing is lit. Actually, now that I think about it, for consistency with that convention, the Read button would have a slash and have its 'lit/engaged' status reversed in my perfect world. ;^)

The Patch Points that connect sends/outputs to Aux tracks are inherently stereo, and selecting which part of the stereo Patch Point signal to use as input to an Aux track does not affect the channelization of the source(s). This allows, for example, sending/outputting a stereo track to Patch Point, sending/outputting a mono track to the left side of that same Patch Point and another mono track to the right side, and then having any number of Aux tracks receiving one or both sides of that stereo signal as needed. The sources and destinations can 'do what they want' without affecting each other.

Extracting a vocal take from a finished mix would require one of the two higher levels of Melodyne, Editor or Studio. And showing both the extracted take and your recorded take would require the highest level, Studio, as Editor does not support multiple active tracks. Even then, I suspect it might be difficult or impossible to see them 'side-by-side' for comparison. I don't know of any freeware that can do what you want.

I'm still not able to reproduce a problem with high PDC and/or differing selection methods. The only anomaly I'm seeing is that the attenuation of the waveform previewed in the clip with the clip gain envelope is not accurate; the height of the waveform in the attenuated area is much lower than it should be everywhere. Right offhand I'd guess this is because a simple graphical scaling factor is being applied based on the visual height of the envelope rather than calculating the amplitude per the logarithmic dB scale. Whatever you have going on there seems to be project-specific.

As I recall there have been cases in the past where high PDC latency could cause sync errors with automation, but I don't know that any of that is persisting; I'll try to check. But it appears the second time you bounce with Ctrl+A and FX enabled, the 'Teaser' track was not soloed as it was previously. So the 'Entire Mix' is including other tracks and it's not clear what the waveform should look like.

I can't replicate this but there are too many unknowns in your routing and FX setup, and you're not showing the working case for comparison. The track is outputting to a bus named Voice and Music which presumably outputs to Master, and then you're exporting buses, importing the Master bus render, and routing the new track through the Master bus again . Both the metered and audible level of the whole export appears to be matching the reduced level of the clip rather than the raw level which suggests the clip automation is being applied but something else is going on that's masking the change in level - my first guess would be compression/limiting on one or both of the buses but it's hard to say without looking over the whole project. Try just bouncing the track directly to another track or soloing the track and exporting with Source = Tracks. And whether bouncing or exporting/importing, make sure the imported track is outputting direct to hardware main outs, bypassing the buses. In any case, I think the method of selection is less important than the Source for the export.

I'm not saying you shouldn't worry about it; I'm just saying it's not a bug. Any time you apply processing to a signal, especially anything not designed to have linear phase response, you need to watch the level of the output. Try a different EQ that's not linear phase, and you will likely get a similar result. A quick Google found this: https://www.soundonsound.com/sound-advice/q-why-does-using-high-pass-filter-make-things-seem-louder

Phase shifts caused by non-linear-phase EQing (or other processing) can cause peaks to change by small amounts. Put a loudness meter in the bin, or just switch the meter to RMS, and I doubt you will see an increase anywhere.

Do you have Punch Recording enabled? Normally an early note will be placed at 1:01:000 no matter how early it is, but if Punch is enabled, it might be dropped. I'd have to check. Historically, I've started almost everything at 1:01:000 unless there are 'pick-up notes before the first downbeat and never have an issue with lost notes. That said, I most often record without a click (or count-in) lately so would have to double-check that nothing has changed. EDIT: Did a quick test and confirmed a note played on the last beat of the count-in (i.e. a whole quarter note early) was recorded at 1:01:000 as expected. Enabling Punch muted the sound until the end of the count-in but did not affect recording the MIDI note. So I don't know offhand what could cause the reported behavior. Are you using USB MIDI from a controller or MIDI DIN on a standalone MIDI interface?

Please start a new thread for your specific issue, and clarify the symptoms of "screws it all up". The Event List view will usually be a better place to see timing/doubling issues. The Staff View is trying to fit MIDI timestamps to musical note values which may or may not give a good result , depending on the timing precision vs. the metronome and the display settings.

- What synth and patch? - Do you have Arranger sections defined? - What is your MIDI Prepare Using Buffer set to? Try something between 20 and 50 if outside that range. - Do you have a non-zero value set for BounceBufSizeMsec in Config File (AUD.INI)? If so, what is it? If not, try changing your ASIO buffer size (used by default for rendering when BounceBufSizeMsec=0).

Make sure your Playback and Record Timing Masters are I/O drivers on the same device. Try renaming AUD.INI and letting CW build a new one (I like to do this manually, but 'Reset Config to Defaults button in Preferences > Audio > Config File will do it for you). If successful, compare to the two files to find the root cause. I would also advise doing the opposite of this: I always recommend leaving onboard audio enabled and set as the default audio device for use by Windows, browsers and other generic multimedia apps so they don't try to grab your interface driver.

Not an unreasonable expectation, and works for other views as you pointed out. I was just pointing out that the issue in your example was due to a focus problem, not an issue with key bindings per se.

Mark is referring to the Transpose MFX, not Process > Transpose; the MFX can fit notes to a scale as the OP requested.

If you have Always Echo Current MIDI Track enabled n preferences, you can't permanently set track inputs to None. CW will automatically set a focused track to All Inputs - Omni because it can't 'Always Echo' nothing. The preferred approach is to set the track inputs to a hardware MIDI controller port so there will be nothing to echo when you're not actually performing on the controller. If you don't have a physical MIDI Input from a controller that's always available, you can set them to the Virtual Controller. If all else fails, disable Always Echo... and manually enable MIDI Input Echo only when needed. I typically take the belt an suspenders approach, and do both - assign specific input port (and channel) to every MIDI/Instrument track and disable Always Echo.

This is where you're going wrong. Clicking the tab in the Multidock does not focus the view. You have to click inside the view. You can verify this by trying to cursor down the list of events after clicking on the tab. The cursor will not move because the view isn't actually focused.

Vel+ is Velocity Offset. The value you set is added to all events in the track on playback up to a maximum of 127. To change the velocity of an individual event in the Drum Pane, hover near the top of the event until you see the velocity adjustment tool, then click and drag. Or show the Controller pane and drag the velocity tail up or down. P.S. If the Offset is already driving the net velocity to 127, raising the velocity of the event cannot add any velocity.

That can only heppen with a clip selected which would mean focus is still in the Track View.. Click in the open PRV, and then try it. If you haven't changed the Global assignment. Crtl+R will arm/disarm all tracks.

Renaming a clip is only applicable to the Track View. If focus is in another view (e.g. the PRV in the multidock), then the Global assignment will apply. If you don't want Ctrl+R to do anything outside the Track View, you should assign it to 'Do Nothing' in the Global context.

No sweat. I prefer to see/use italics for emphasis or maybe a few bold, lowercase words, and no more than one exclamation point. ;^)