David Baay

I think you might be right about SM/BAN not always handling durations correctly when they cross 'set' points. I recall looking into this once, but don't remember if it was with Fit Improv or SM/BAN. But I also often record solo piano without a click using liberal rubato and sustain, and have rarely encountered problems with notes getting unintentionally sustained (or failing to sustain) because things got out of sync. But I guess it might depend on your playing style. At a glance, placement of pedal events in the snippet you shared looked pretty typical. I'd be interested in looking an example that went wrong in Fit Improv. As I mentioned in the other thread, SM/BAN doesn't force you to set every beat which might help avoid the problem. EDIT: Here's a typical solo piece of mine for reference, though I don't think I ever got around to 'setting' this one. The main reason I would do it with a piece like this would be to convert the MIDI to notation.

Agreed. SM/BAn pops an error if a Now time is already 'set' or if setitng a pooint owuld require a tmepo outside the supprted range (8-1000bpm IIRC). Seems fit imporv could easily do that. Yeah, SM/BAN is a little more typing-intensive, and won't guess a resolution finer than a quarter-note beat. But the advantage is that you can tab to notes, and set points precisely at note starts, and also set intermediate beat values in cases where few notes are falling on a beat or you need to align an accel or rit. And - maybe more importantly - you're not forced to set every beat if you just want to tighten up tempo variation of specific measures, and let it flow elsewhere. Just remember that fractional beats are decimal, not ticks, so the 8th note 1:480 of a measure would be set to beat 1.500.

I'm actually reading a book right now called This is Your Brain on Music, written by a neuro-psychologist at Stanford who specializes in musical perception and creativity. I'm just now getting into the meat of the book after he went through an introduction of the basic physics of sound and musical concepts. I had a course in acoustic physics in college, so that part is familiar, but I expect to learn some things specifically related to musical perception as opposed to just raw sound perception.

Thanks for the praise, Gary. I enjoy it, and I often learn some things along the way. Good to hear you've found some of it enlightening. This particular feature - moving waveforms within clips boundaries - is one I've never had occasion to use 'in anger', much less with grouped clips. Frankly, that seems like just the kind of unexpected/untested use case that might expose a bug. I'll give it a whirl and see if I can repro any problems. I usually try to avoid questioning why people want to do something, but I am honestly curious what the scenario is that makes moving waveforms within clips preferable to trimming and moving the clips...? I've never really understood what this capability is good for, but that's probably because my projects don't involve a lot of complex audio editing. Cheers, Dave

Good thinking, Doc. Welcome to the forum.

All other things being equal lower pitches will evoke darker, less optimistic emotions. I'm not buying it... at least not for equal temperament-tuned instruments. Other characteristics of a musical piece have a much more predictable impact on it's emotive content than what key it's in, and I'm quite sure my own repertoir includes many counter-examples. And what's with capital 'B' being used to indicate 'flat'. ;^)

The 'recent' plugin options are working here as well. FWIW, my laptop has a completely default Plugin Manager configuration with plugins ordered by type.

The keys of my piano-based compositions tend to be dictated by the fingering of some chords or just where I happened to 'find' the piece while improvising. I've occasionally transposed recorded MIDI to another key to get the right timbre. If the piece is easily played in the new key, I might re-record it, but sometimes it's really not playable in the ideal key. I'm having to think about this more frequently lately as I'm now going back and forth between synth pianos and a real grand piano which gets 'muddy' much faster at the low end than any synth. Nothing resonates like a real piano.

Vel+ (a.k.a Velocity Offset, a.k.a. MIDI Gain) is a Cakewalk feature not supported by MIDI files. The offset will be applied destructively to the velocity of MIDI events in the saved .MID file, such that when you re-open it in Cakewalk, it will sound like it did before saving, but Vel+ will be back to 0. If you want to save that, and other project settings, save as a .CWP project file instead of - or in addition to - .MID.

Try this: - Create a new track named 'Master Bounce' that routes directly to Main Outs (i.e. parallel to the Master bus), and group its mute button in opposition with the Master bus mute. - With nothing selected, Bounce to Tracks to the Master Bounce track with Source = Buses, and only the Master bus highlighted. - Unmute that track, and play it. If it sounds right, export that track as MP3.

Following on Starise' post, The fundamental thing to understand is that there are four types of tracks in Cakewalk, MIDI, Audio, Synth, and Instrument (also called a 'Simple Instrument'. - A MIDI track only records, echoes and plays back MIDI events. - An Audio track only records, echoes and plays back audio. - A Synth track is just an Audio track with a soft synth assigned as Input; it records , echoes and plays back audio from a synth. - An Instrument track combines MIDI and Synth track functions into a single track; the Input is MIDI, the Ouput is Audio, and connections to a synth in the rack are more or less hidden. It is possible to place a synth VSTi in the FX bin of an Audio track rather than using the Input assignment, but this is not the typical or ideal way to use soft synths. In Cakewalk, it's preferred to insert the synth in the virtual Synth Rack (Views > Synth Rack), and assign the Output of a MIDI track and the Input of an Audio track to it. You can do this all manually, but the Insert > Soft Synth dialog gives you options for having the necessary tracks created automatically along with inserting the synth in the rack. If the synth uses a single, stereo output, MIDI channel and patch/sound (i.e. 'monotimbral' as opposed to multitimbral), the easiest option is to choose to create a Simple Instrument track. Cakewalk calls this 'Simple' because it was the last type of track to be added to the program, and was considered 'simple' compared to managing separate MIDI and audio tracks. A lot of 'old-skoolers' don't like them because they obscure the signal routing somewhat, and make it slightly more awkward to use some features (e.g. MIDI Controller Envelopes), but they can be very handy, and this is probably what you're used to other DAWs. For a multitimbral or drum synth that uses multiple MIDI channels and/or audio outputs, you will usually want to insert it with a separate MIDI and Audio tracks. In your case, where you already have the MIDI tracks, you would typically choose to just create the audio ouput tracks, and then assign the outputs of your existing MIDI tracks to the synth. If TTS-1 isn't loaded automatically when you opened the MIDI file because your DAW has hardware MIDI Outs available or you brought the MIDI tracks in by File > Import, you can easily assign all the tracks to a multitimbral synth that you've inserted in the rack by selecting them all (Ctrl+A, or left-click and sweep through the track numbers), and then holding Ctrl while you change the Output assignment of one of them to the synth. In that case, you would also need to assign an output Channel to each MIDI track to ensure eac MIDI track drives a single channel of the multitimbral synth. Hope that helps clarify some things.

I'm attaching a copy that's had the timeline set to the MIDI using Set Measure/Beat At Now - my preferred method. I could generate a working guide track for the original project if you want to see that. I left TruePianos - Cakewalk inserted. Nice playing BTW. FitImprovTest - Set Using SMBAN.cwp

Looks like the problem is a misplaced guide note for 7:2. It's so close to 7:1 that the effective tempo for that beat is about 960bpm. Set Measure/Beat At Now can handle it, but I think Fit Improv is confused. EDIT: Actually, there are four 'dupe' notes on beats 7:01 through 7:04, and the two at 7:01 are on the same tick, which is probably what really caused Fit Improv to choke. Removing all four dupes allows Fit Improv to run successfully.

Yeah, you're not going be able to open the multidock within that floated Console view. But you can Ctrl+Tab from the Console to the Track view, and if the Multidock is open or maximized, you'll see it there.

It would be helpful to have a screenshot showing how your views are configured. Assuming from the description that you have the Console undocked, I did a quick check, and the multidock open/close shortcut only worked when the undocked Console View was floating (the default when first undocked), but then you wouldn't see the dock opening and closing if the console is maximized because it's part of the main application window that will be hidden behind a maximized Console . If floating is disabled, the standard 'D' shortcut stops working. ButPrev/Next Measure shortcuts work in either mode for me so I'm not sure what that's about, though another user menitoned having the same problem recently.

I hear what you’re saying but a huge number of pre-existing bugs have also been fixed. Hard to imagine none of them would be affecting you. But you’re the best judge of what you need.

I wasn't sure whether the goal was to just to 'lock in' the bus FX settings and maybe get higher offline processing quality or to conserve CPU and/or eliminate latency. In the latter case, you would also need to archive related tracks and disable the bus' FX. Certainly not as simple - or as easily reversed - as a properly implemented bus-freezing function could be.

Freezing means rendering audio to a file. Currently a bus can't play an audio file, though I suppose that capability could be added. In the mean time you can bounce the bus to a track that outputs to the same destination, and mute the bus.

Select a single note, and use Tab and Shift+Tab to play the next/previous note. This is what we used to do in the Event List with Shift+Spacebar. Tab now works there as well, and Shift+Spacebar now temporarily loops a selection (most often used in the clips view for auditioning comp clips).

Not understanding why Shift is involved or at what point one clip in a Selection Group gets deslected. Alt+Left-click with the Smart Tool by itself should split a group...?

Fit Improv doesnt require a lot of complex computation, so it can happen almost invisibly, except that you should see some movement of the clip length against the timeline. Check Views > Tempo to see if tempo changes have been inserted.

This was discussed in the thread below. Ctrl+Right-Click will bring up the context menu without clearing the selection. Affects the PRV as well.

My guess would be they're in a separate clip that's muted or a clip that's partially muted with region muting. Would need to see the Clips pane.

Sounds like it's getting a CC72 message from somewhere that's raising the attack time. I've seen 3rd-party MIDI tracks do that. Check the Event list for any tracks routed to it.

+1 In fact the one that Noel just fixed in the latest HotFix should be particularly relevant to working with large and long orchestral arrangements, as would the recent change to MIDI Prepare Using Buffer management: Long MIDI project crashes on playback after seeking to high time value.