David Baay

As I said, you need to find and correct the root cause of this issue. Timing Offset is not the appropriate setting to address that. What audio and MIDI interfaces are you using, and are you using the audio metronome? If you're using ASIO driver mode, what is your Output latency shown in Driver Settings? Are there any PDC-inducing FX in the project?

OK. Well, the big difference between recording (and metering) from a hardware input, and playback from a recorded clip is that the Input Gain on the track affects only the latter. So I have to think the discrepancy is due to having the track Gain turned up (possibly in offset mode) to get the higher playback level.

Timing Offset should never have to be more than a few milliseconds. If it's big, it will cause issues because it shifts the MIDI grid against the audio clock, affecting both recording and playback. It's intended to compensate for small 3-5ms MIDI transmission/response latency of hardware synths, but if you're having to use it to compensate for MIDI being laid down in the wrong place when recording, you'll need to find a way to resolve that issue without using Timing Offset. If this is what I think it is, the MIDI recording timing issue seems to affect some hardware configurations. If your audio interface has MIDI ports on it, I would recommend you try to use those first, rather than separate usb ports on keyboards and sound modules.

I'm not understanding the routing at a glance. It wanted a bunch of hardware outputs assigned when I loaded it, and there was no way to know what was 'Master' bus. By default, the only thing going to my Main Out 1-2 ended up being the El Guitar track which outputs to a bus named A 1-2. But the project does drop out at 00:04:16:06 SMPTE, so it's not just your hardware setup. I can't spend any more time right now, but will go over the routing, and see if I can replicate it with a simpler project. EDIT: Cakewalk actually hung at the dropout in my case, and never came back. That's going to make stripping it down more difficult if it persists.

So a quick Google says Brainworx Ampeg VR is "exclusively for UAD-2 hardware and Apollo interfaces.". Since your interface is RME, I assume that means you have the UAD card...? I've never worked with one, but would guess that's where the discrepancy is being introduced, and would check the UAD setup.

Do you possibly have a non-zero Timing Offset entered under Preferences > Audio > Sync and Caching > Synchronization?

Are you arming the MIDI track or maybe depending on the preference setting to 'Allow MIDI recording without an armed track', which may have become disabled...?

Does that bus output to something other than Master, and/or do you change the output of the Aux to something other than Master? EDIT: In order to avoid creating a feedback path, Cakewalk automatically defaulted the output of the Aux to Main Outs instead of to the Master bus. But i still can't replicate the dropout.

Can you share that template? As noted in the other thread, I tried to repro this issue, and could not. Just curious what the full recipe is. You should formally report it to Cakewalk if you haven't already so they can fix it. https://help.cakewalk.com/hc/en-us/requests/new?ticket EDIT: I see you replied in the other thread, and the Aux send is from a Bus. I'll try that.

An extreme example to illustrate. Tempos doubled by the procedure outlined in my first post: Original Doubled

Suppose, as a simple example, you have a piece that's 100 bpm on the verses and jumps to 110 (110% of the verse tempo) on the choruses. Later you decide the whole thing is dragging, and you want to start at 120. In order to have the same relative increase in tempo on the choruses, you need to go to 110% of 120 = 132 bpm. If you don't maintain that proportionality, it won't sound right. This gets even more critical when you have a really rubato piece that's constantly changing tempo. As far the number of tempos goes, to accurately reproduce a tempo change across several notes that isn't linear, you need one change per note interval - no more and no less.

Since he's using the term 'create', I'm guessing maybe we're talking about drawing MIDI in the PRV...?

I don't really get what the issue is. Nudge does work in real time, and if you set successively larger multiples of samples for the three nudge values like 24, 48 and 96 samples (.5, 1 and 2ms at 48kHz), and take advantage of automatic keystroke repeating of the numkeys, it's pretty easy to nudge a clip back and forth while playing or looping by progressively finer amounts until you find the sweet spot. Maybe not quite as intuitive as a knob, but pretty easy.

The Mercury theme I use is the old original 'default' color scheme before the Themes feature was introduced. Now the default is 'Tungsten'. In the last relase of SONAR, Tungsten still had a PRV with a white background. It looks like that changed at some point. With the dark PRV background, selected notes get lighter to make them stand out, where they got darker in the old scheme. Since I don't use Tungsten, and can't confirm that the velocity tail highlighting matched the note highlighting before 19.09, but one way or another it looks like a problem with the theme definition. I also noticed that notes don't seem to be colorized by velocity in that theme as they are in the Mercury theme. Somebody who also uses the Tungsten theme regularly will need to weigh in. EDIT: Just looked again, and notes are colorized by velocity in Tungsten with the dark PRV, but they get darker at lower velocities - the opposite of Mercury. I never did lik the look of Tungsten. The 'wilted-pumpkin orange' highlights just never worked for me. ?

Yes. That's a very old bug. I thought it pre-dated x64 versions, but maybe not. You'll just have to use separate outputs and EQ in the output track. Personally, although I sometimes still grab TTS-1 for a particular sound that I think will work well for some purpose, I could live without it, and generally do. It always had quirks, doesn't have enough independent outputs, and most of the sounds are pretty weak. Some of the basses do sound pretty good, but so do Dim/Rapture Pro if you have one of those.

Not seeing that here; both selected note and velocity tail get darker as expected. In the first screenshot, the note is so light it looks like it might be muted. If you have a track with multiple lanes, and not set to Hide Muted Clips in the PRV, possibly your selected a muted note that is causing de-selection and masking of the an unmuted note in the same place...? If that doesn't explain it, you might need to give more details about track color, velocity colorization settings, etc. EDIT: Could also be related to the theme. I still use Mercury, so my PRV background is light, and note colorization for different states may be different.

Nice find, Chuck. I guess no one ever reported it to the Bakers. If they had, I'm sure it would have been squashed pretty quickly. EDIT: FWIW, I could not repro this in the current release with a new project started from the Basic template. Was able to record and playback out to 5+ minutes at 24-bit x 48kHz, 32-sample buffer with a send on that track to an archived Aux track with or without Input Echo enabled. Must be more to the recipe. Maybe multiple Aux tracks with echo disabled or with FX on them, or the project had to originate in an earlier version of CbB/SONAR when Aux tracks were in their infancy, or...?

No, you can only change one point at a time (by clicking, not by dragging), and even if you could drag them all together, simply offsetting them all by the same number of BPM would not maintain the proportionality between different tempos. It has to be a percentage change.

There is no new feature to help with this. Below is a workaround I've posted before. It's awkward because you have to work in SMPTE time. Also you should avoid trying to scale only part of the project; IIRC, there are issues with the way Cakewalk handles that. 1. Enable autostretch (a.k.a. Clip Follows Project) on any audio clips. 2. Select a MIDI or audio clip that runs the length of the project (bounce/record one if necessary). 3. Go to Process > Fit to Time. 4. Convert the current Thru time to total frames (usually 30 frames/sec). 5. Divide that by the desired factor (e.g. 1.10 to get a 10% increase, 0.90 for a 10% decease). 6. Round and convert that new value to minutes:seconds:frames. 7. Enter that as the new Thru, and select Modify by Changing: Tempo Map. 8. Click OK.

I can see removing 'View' from 'Event List View' and 'Piano Roll View' options for consistency and to eliminate redundancy in the Views menu, but that's a trivial thing. If there's apparent conflict/redundancy, it's might be between between lenses and screensets, but lenses are applicable across projects where screensets operate within projects. Both lenses and screensets are way of controlling the arrangement of views. I don't see why you would want to rename/reclassify a view as a lense...? If you think about a 'View' as being a way of looking at and editing musical, lyrical, video and other content that you create, then the Track Manager doesn't really qualify; it's just a dialog for determining what tracks are visible. I suppose there's an argument to be made that it should be possible to leave it open and/or dock it like the Markers and Tempos views, but you can't create/delete/modify tracks in the Track Manager, so it's not really in the same class. I'm not really sure what you mean by 'event list manager'...? Event list qualifies as a view, albeit an old and largely neglected one.

Thank you Mr. Grant. Glad you enjoyed it. I did work a little harder on mixing this one than I usually do, though it's a sparse enough arrangement not to be that complicated. Good to know the extra effort paid off!

Well done, Daryl et al. A good tune, and made me laugh. Ironic that the lyrics were written by a woman. She clearly has great insight into the minds of men.

? Only the vinyl version, sadly. I have, however, seen the Brubeck Brothers live. They are definitely chips off the ol' block, and equally inspiring.

Thanks, Bert. I actually ended up offsetting the sax track about 30 ticks early because the slow attack made it sound draggy as-recorded. It's still a little loose/draggy in places, but I felt that added realism so I left it in.

I think you are right on, Daryl. More cowbell! Actually, I just picked up the 'Odd Time' add-in for Jamstix, and was planning to let it have a go at this. If it turns out well, I might offer it to Rayzoon as a demo. I wasn't that impressed with the 7/8 demo on their site. ?