David Baay

I didn't realize BA was installing a Melodyne Studio trial because I had already upgraded my Essentials version from SONAR to Editor some time ago, and never installed from BA . I'm pretty sure you'll be down to monophonic MIDI extraction after the expiration in any case. My main complaint with using Audiosnap to extract tempo is that it doesn't place the tempo changes exactly on beats - a regression that came up in X1 and was never fixed. The small discrepancies aren't really audible for the most part, but it offends my sense of order. I've also found it to be a bit unstable when making a lot of clip tempo map adjustments, and those adjustments inevitably take as much or more work than just using Set Measure/Beat At Now which offers more flexibility and precision (e.g. setting fractional beats, dealing with rubato, or setting nothing for several meaures when the tempo and timing are stable). Also, alterations to clip tempo maps don't save properly, so you have to do all the mapping and execute Set Project from Clip in one session.

Yes, you can use Audiosnap on frozen audio tracks. But Audiosnap is really optimized for music that is essentially a fixed tempo with just a bit of rushing/dragging. For music that has more deliberate/radical rubato, you will be better of using a manual method like Set Measure/Beat At Now, which I prefer for mapping even fixed tempo audio (and which can work directly with MIDI to even better effect because the note starts can be precisely located). For automatic tempo extraction requiring the least amount of fiddling/tweaking, you will get the best result from the drag-to-timeline function of Melodyne. A Melodyne Essential demo can be installed from the Add-Ons section of Bandlab Assistant, and the drag-to-timeline function will continue to work indefinitely even after the rest of the demo expires. You just drag and drop the audio clip on Cakewalk's timline. But Melodyne also works best for essentially fixed-tempo music. See this post (and the thread in general) for guidance on doing it manually with Set Measure/Beat At Now:

The ratio of 65 minutes to 60 minutes is suspiciously close to the ratio of 48kHz to 44.1kHz sample rates. Cakewalk stores the length of a clip according to the number of samples in the audio file. If there's a clock mismatch somewhere, that could cause the clip to come up short. I would start by double-checking that rates are matching everywhere, and the record timing master is set correctly. Then check the file size in samples and sample rate using a 3rd-party audio editor.

I was going to mention checking for MIDI Gain (velocity offset) as well, but figured that would be fairly obvious. It occurs to me that I had a somewhat similar situation recently, and found that Cakewalk was sending CC7=64 on starting a new project from a template that I use for simply playing and recording my digital piano. So it has just a single, empty MIDI track in it to echo and record real-time performances. I never did figure out why this template was doing this, but creating a new one eliminated the problem. Since it involved hardware ports, I was able to see what as happening using MIDI-OX. I didn't bother reporting it to the Bakers because I wouldn't be able to say what steps led to the state the template was in since it's been around and modified in various ways over a long period of time. If you're creating a lot of projects from an old template, it might be worth creating a new one from scratch.

If you aren't setting an initial MIDI Volume in the track to control the synth output level, you probably should. Or, conversely, you might have inadvertently pulled a MIDI Volume control down at some point. For a Simple insturment track, access to MIDI Volume is via the MIDI tab at the bottom of the Event Inspector. And if the MIDI is imported, check for Volume, Expression or other contorller messages in the clips themselves. Also, make sure your MIDI/Instrument track Inputs are set to a specific port and channel (usually channel 1 of your keyboard controller) to prevent unintended response to MIDI messages being output by, or passed thru, some other source. The ideal way to troubleshoot would be to throughly examine the settings of a low-level track/synth combo after replacing it with a new track and synth instance as you described, starting with a comparison of the output level of the synths, assuming the synth UI has a meter.

Yes, you could re-import them like that, or you could also just rename them to match the file names in the newer project (presumably altered by applying FX), and substitute the renamed files for the 'bad' ones. But I would only recomend that if you're sure the lengths are identical.

True, the hum will emanate from the analog section, but all ground paths in a system can introduce the small voltage drops between component grounds that cause it, including USB and MIDI cables. For whatever reason MIDI DIN connections are less prone to cause ground loops than USB connections in my experience, even if the MIDI interface is ultimately connected via USB to the PC. And referencing Bob's comment about plugging everything into one AC circuit and using a UPS, that certainly helps, but it doesn't guarantee you won't get ground loops. A weak ground or current leak anywhere in any component or its connection to that common ground can lead to voltage differences across grounding paths that cause hum.

That's a pretty unusual set of symptoms. What keyboard, and is the keyboard also the sound source? If not, which soft synth? And did the pedal come with the keyboard and/or is from the same manufacturer? If it's a keyboard synth, does it behave normally when played under local control with direct-monitoring and Cakewalk out of the picture?

I generally prefer to use MIDI DIN connections on the audio interface when available to minimize the chance of introducing hum into the sytem with a ground loop. Next best would be MIDI DIN connections on a separate MIDI interface. This is more important when using keyboard synths that have both MIDI and audio connections to the DAW - less likely to be a problem with a controller-only keyboard.

Select the tracks, Ctrl+Alt+V to Paste Special, select <new> as the starting track, and check the 'Paste to One Track' box.

I'm an atheist, so I had to Google: https://www.thenivbible.com/blog/what-forgiveness-requires/ You know the initiative is on the forgiver — May we wait until someone seeks our forgiveness before we forgive them? No, we may not. Jesus expects us to forgive those who sin against us even before they request it or take responsibility for what they have done (see Mark 11:25).

No, but you can open a project in 'Safe Mode' by holding Shift when you open it, allowing you to choose which plugins, if any, get loaded.

I should say John Vere a.k.a. Cactus Music is generally one of the 'good guys' around here, and should be forgiven his slightly edgy post, as I trust he will forgive me my slightly edgy response. I myself have sometimes been tempted to post "Hellooooo??? Did anyone see my post? Do you all have me blocked or something?" ;^)

I have projects using both TTS-1 and Aria Player working as expected. I have seen the frozen meter thing when synths are inserted in FX bins instead of in the synth rack. Since both TTS-1 and Aria Player offer multiple audio outputs, I wouldn't expect that to be the case here, but thought I'd mention it.

If you don't have the PRV Controller pane open to show velocities in a separate lane, the velocity bars overlaid on the notes pane cannot be manipulated directly. But if you hover over the upper edge of a highlighted note in the Notes pane, you'll get a velocity tool icon; click and drag up/down to alter velocities on all selected notes, and the bars will move with the change. Part of the reason I suggested using the Event Inspector is that it avoided having to explain a lot of details like the above.

Glad to help. It sounded familiar though I hadn't encountered it myself for a long time. As the range and quality of my plugin collection has superceded my old hardware processors (mostly digital, so no analog 'sweetening' to be gained), I haven't used external insert for quite a while, much less in combination with soloing buses.

Where do you get that people have something against using a mouse? The OP actually 'Liked' your post. Just because people continue to discuss other options, that doesn't mean they're discounting your suggestion. I answered the OP's question as asked, though I might use the PRV velocity pane myself in many cases. It would depend on where I was in the UI when I decided to change the velocity and whether I needed it to change proportionally; if you're in the Track or Console views, Event Inspector is convenient. Dragging in the PRV can't change by percentage, and changing by a small amount like 5 levels can be a bit fiddly to pull off with precision, especially if you happen to be on a laptop and using a glidepoint pad. No big deal, either way. It's always good to know different ways to skin the cat.

Uncheck 'Use Paste Special Options on Paste' under Preferences > Editing.

See this thread on the old forum for a possible solution: http://forum.cakewalk.com/lost-breverb-presets-m2883066.aspx

A longstanding issue that apparently never got fixed: http://forum.cakewalk.com/Do-external-inserts-go-quite-when-soloing-an-Aux-track-or-Bus-with-an-external-insert-m3475781.aspx

Just to beat the dead horse some more... ;^) To me the easiest approach is to put the part on its own track and use the MIDI Gain (Velocity Offset) control on the track. This is a fixed offset, not percentage, but if you're just tweaking up and down by 10-20 levels, there's very little effective difference between a fixed offset and a percentage change. Or, better yet, get the audio output of that kit piece going through its own track (or synth mixer channel), and tweak the audio level. The best approach for a given situation depends on how the synth is responding to velocity, and what you're going for in terms of tone. And, of course, I always have to advocate... just record the dang part in real time from a MIDI keyboard! Much more fun, and the more you do it the better you'll get, and the more natural and 'grooving' your MIDI parts will sound. It's easier to do a little quantizing and tweak a few hits here and there than to place and adjust every event with a mouse and PC keyboard.

What about dragging MIDI clips from other tracks instead of from the browser?

Also noting Max tick is 479. If clock is not 480PPQ, you might need to click All, then None, then check RPN. That said, I reported an issue to the Bakers a while ago that empty lanes for controller types that had been completely deleted were perisisting in the PRV, and couldn't be permanently eliminated.

Two things: - To reduce by a percentage, subtract that from 100 - i.e. 80% to reduce by 20%. 75% would be subtracting 25%. - Remember that the inverse of a multiplication factor, x, is 1/x. So the percentage that reverses a 20% increase is not 80%, but 1 / 1.2 = .833 = 83.3%.

I second the motion. Leave your onboard sound enabled and set as the default audio device for Windows, browsers and other generic multimedia apps, reserving your Focusrite interface for Cakewalk and other ASIO-optimised apps. If you need to hear multimedia audio through your studio monitors, use an external mixer.