brundlefly

White 2A is a Linear Phase EQ which means it will be using a lookahead buffer. Clicking the 'power' button on the FX in the bin to disable it should be enough to check whether it has any bearing. just make sure you get all of them. The effect is not additive, but leaving even on active will drive the delay compensation which is what causes trouble with MIDI buffering.

MIDI buffering was revised a couple years ago, and those extremely high buffer settings are not generally needed. i think the default now is 50ms. But it'd still sensitive to plugins that have very large 'look-ahead' buffers. If you're aware of any 'mastering' type plugins in your project that have big internal buffers, you might try disabling them. Some have 'quality' or 'precision' settings like Cakewalk's Multiband Compressor that can be lowered to reduce the buffer size.

+1 Pretty sure I've entered a feature request for this in the past - probably before this forum existed.

Ah, yes, the jittery Now Time Cursor is indeed a well-known 'feature' of Cakewalk. I've reported it myself. But that's nothing like "when i do any action it takes a minutes to response". Incidentally, regarding the video's next point, it's working as designed that a 'confidence recording' shadow is only displayed for the current take when looping. I can see how you might want it to show everything when layering takes in sound-on-sound mode, but that's not really the purpose. Its main purpose is to give you confidence that your current input is being recorded. Personally I don't ever pay much attention to the content; so long as that 'shadow' is being drawn, and the meter is moving, I'm happy. What's needed in this case is a feature request not a bug fix.

Using a good multi-sampled drum synth, and getting natural velocity variation that takes advantage of it is arguably more important than micro-timing tweaks in making sequenced drums sound natural. That, and having elements of the pattern that evolve from measure to measure with significant pattern and kit piece changes for different sections and fills going and out of them. Plenty of drummers can and do play right on top of the beat with metronomic precision most of the time. It's their nuanced 'touch' with the resulting tonal and rhythmic effects, and constantly changing up some elements of the pattern, that make a drum part groove. Personally, I'm horribly lazy when it comes to creating distinctively different patterns for the different sections or playing proper fills, but I do better with 'touch nuance' and 'evolution' by playing in parts in real time from a keyboard as bitflipper suggested, playing parts all the way through from end to end (or at least 16- to 32-measure chunks), and avoiding too much copy-pasting. I break these rules all the time, of course, but that's the ideal. ;^) I have also dabbled in using Jamstix, and have had good results mixing Jamstix patterns into my home-brewed parts. When doing that I'll thin out competing hits, but I don't really worry too much about whether a real drummer would be able to play it; real drummers might care, but your average listener only really cares if it sounds good. Using a pattern that was meant for a different time signature can also get really interesting... but I digress. ;^)

Still curious what kinds of operations we're talking about. As it stands there isn't enough information here for the Bakers to act on.

Record a guide track of MIDI notes played in sync with beats of the audio track, select the clip and choose Process > Fit Improvisation: https://www.cakewalk.com/Documentation?product=Cakewalk&language=4&help=EditingMIDI.40.html

Not really, but a lot of project-specific content and configuration settings could have a bearing. The first thing to try would be to bypass all FX ('E' on your PC keyboard.) If that doesn't help, I would suggest creating a barebones audio project with a good number of tracks and no FX or synth plugins, enable Autostretch on all the clips, change the tempo 20% in either direction, and see how it plays. If it plays smoothly, you'll have to dig further into the glitching project. If there are problems in the simple project you'll need to share all audio preference settings, and let us know something about the hardware and interface you're running. But even a pretty low-spec machine should be able to handle the simple case.

Yes, this is an old and fairly well-known issue when simultaneously recording both sides of stereo pair to separate mono tracks. To my mind, the function is mostly unnecessary, and should just be left disabled as it is by default.

"Any action"? Can you give some specific examples? And when you say "it takes a minutes to response", I assume you mean some significant fraction of second that is just enough to be bothersome...? I find that Cakewalk's responsiveness generally exceeds my ability to drive a mouse and keyboard, but I wasn't born with them in my hands like some of these youngsters.

I have often thought that the Bakers should go through all the old CALs, and convert them to native functions with corrected logic where necessary. Seems like low-hanging fruit.

Since your screenshot has the notes scrolled out of view, I assume you mean you're dragging the velocity bars directly, rather than using the velocity tool on the note's hotspot as John described, but both methods should work about the same. In my experience, if you have a lot of notes selected and/or drag really quickly, the drawing response can be a little slow. I would say there's room for improvement here, but it may be linked to the audition feature that replays the notes repeatedly as you drag so that you can hear the result in real time. And it may be worse on slow hardware or with some audio drivers if it's related to the auditioning feature.

scook has you covered on how to do it right next time. For fixing it after the fact you're going to have to fool Cakewalk into referencing the DI audio files to the edited clips in a copy of the Amp track. This might sound whacky, but it should work, and it's the only way: - Right-click each take clip in the DI track and choose Associated Audio Files to confirm which file (especially Rec numbers) is referenced by each clip (make some notes if needed). - Save As a copy of the project with a new name to a new folder with Copy All Audio enabled, and close the project. - Go into the audio folder of the new project, and delete the Amp track's audio files (it's an independent copy, no worries). - Open the new project, and when Cakewalk complains that the Amp track's audio files are missing, select the option to Reference Files from the Current Location, select the corresponding DI audio file for that take, and confirm that the name change is okay. Do this for each of the missing files. - Open the original Project, delete the unedited take clips from the DI track, and then copy-paste the edited clips from the Amp track in the new project into the DI track of the old project. The clips in that project should automatically reference the local copies of the DI files. - Save the changes, and you should be good to go. If it turns out you need to make more edits, manually create the needed selection groups of corresponding clips across the two tracks before you edit.

All the other threads on this seem to conclude it's due to unexpected response from the ASIO driver. Everyone acknowledges RME drivers are generally among the best so that suggests some 3rd party software/driver component is interfering. You might look into uninstalling whatever driver components the onboard audio was using if it's disabled. Or do the opposite, which I usually recommend: Enable the onboard audio and set it as the default audio device for use by Windows, browsers and generic multimedia apps, reserving the RME driver for use by Cakewalk and other applications that you specifically configure to use it.

He pretty much diagnosed and solved it in the original post: "What I suspect is causing this is that I'm playing sustained notes and am rushing (see "not using the metronome" above), so starting them before the punch-in." If that's the issue, let this function as a public service announcement: when punching in a MIDI performance, set your punch point a quarter note or so ahead of where you think you're going to start playing so that sustained notes don't get lost." If the note-on is played before the punch-in, it will be ignored, and you won't get a note. If your timing is reasonable, setting the punch point a 64th early should do the trick. Or do as I suggested, and just Comp-record into a new lane and comp the parts together instead of trying to punch in.

Record levels are determined by hardware input gain/sensitivity on the analog side of the interface. This 'cable' interface may have a physical control for that, or possibly is controlled by the Windows mixer or a separate 'console' app provided by the cable interface vendor. And, of course, you need to ensure the level out of the guitar is the same as previously.

Set LinkPFSendMute=1 in Config file (AUD.INI). The default is 0, and gives the behavior you're seeing now.

Not sure it's clear from previous responses: you can drag the split point between the two takes later to create an overlap so you have something to crossfade. 5-10ms of overlap and cross-fading is all you need. Zoom in on the punch point, and set snap to .005 seconds so you don't have to guesstimate how long the fades are and you can easily get them to start and end at the same place. The cross-fade should negate the need to worry about snapping to zero-crossings, which isn't really that helpful. As I've posted many times (and demonstrated at least once), splitting at a zero-crossing is no guarantee you won't have a pop if the surrounding signal level is high - you still need a 3-5ms fade. The way you did it is fine given that you couldn't play your way up to the punch point because you had to be ready to play the change. Normally, if you were able to play the change correctly - but maybe only once in 3 or 4 attempts - I'd recommend doing multiple takes of several bars around the problem point until you get a good one, and then use the Comp Tool to create splits with auto-cross-fades into and out of the good take, and drag the split points as necessary get the cleanest possible transitions. As a MIDI guy, I don't actually do that much audio recording and editing, but it seems to me that multi-lane recording and comping capabilities make punching largely unnecessary.

Be sure you're listening to that track, and not some soloed or non-automated copy that's playing in parallel or through a pre-fader send or something.

Individual MIDI events can be muted. Check the PRV and click 'whited out' notes with the Mute mode of the Erase tool (there's probably a modifier key option for the Smart tool, but I don't know it offhand). You may also be able to use the region muting tool. IIRC region muting is used in audio when punching in Overwrite rather than Comp Recording mode; I presume MIDI is the same. CORRECTION: It's enabling the Mute Previous Takes option for punch in that causes this. Sweeping with the Mute tool in the upper half of the clip will undo the region muting without having to go into the PRV.

I have to chuckle a bit at this because historically there have been far more posts expressing concern that the export process does not usually run the CPU at 100%, and therefore could theoretically be completing faster. ;^) Incidentally, I have the audio engine toggle bound to the tilde/accent key, and frequently bop it to stop the engine when making edits hat I don't need to hear, or when walking away from the DAW for extended periods.

Assuming the track layouts are the identical (which seems like a necessity for this to work at all), I would save the 'model' project as a Project Template (audio will be automatically excluded), start a new project from that template, set the tempo to match the raw project, and copy-paste all the audio clips from the raw project into the new project in one go. Then Save As into the same project folder as the raw project with a suitable name so the new project references the audio file from the same place. If you really want the raw and mixed projects to be totally independent, Save As to new project folder, and enable Copy All Audio With Project in the Save dialog. But having them share an audio folder is not a problem.

- Open both projects at the same time. - Delete all tempo changes from the target project. - Select All, and Copy-special the tempos from the source project. - Paste special the tempos to the target project.

The whole purpose of punch recording is to ignore input that arrives outside the punch region. In the case of MIDI, if the Note On is ignored, you don't have a note. The concept of punching in is more applicable to audio where you need a gapless transition from an existing continuous data stream to a new one. MIDI doesn't work that way because there's no data between the start of a note and the end. For these reasons, I almost never use punch with MIDI. I just record another take in a new lane, and 'comp' sections together. This can still be a challenge if notes are overlapping (often the case in piano compositions), It's best to find a place where that isn't happening; otherwise you're stuck with manually editing in the PRV to resolve collisions/doubling. Comping tools don't really work for MIDI for the same reasons that punch is a problem.

Whatever level you draw, it will always persist until the next controller event changes it, so yes you do need to draw the pedal up. And it does appear you have snap at a measure which is why another pedal event gets drawn when you mouse passes the middle of the measure. Drop you snap resolution to something like an 8th, draw the pedal down at the top (127) with a short drag, and then go to where you want to turn it off and draw the pedal up (0) with a short drag, When performing with a real pedal, a pedal down will typically occur approximately a 16th to an 8th after a chord change, and the pedal up will be about the same amount before the next chord change. EDIT: Incidentally, the values don't usually have to be exactly 0 and 127. Most synths that don't respond to continuous sustain values with partial damping will give a full pedal down response at values at 64 and above, and a full pedal up response for any value below that.