David Baay

Nicely done, Leizer. Sounds like the synth inspired the composition, which often produces pieces that "just work" as this one does. I like it. I zeroed in the song title because I just bought Chromaphone. I got side-tracked by the VST3 crashing my Cakewalk installation (apparently not a universal problem), but the VST2 works fine. I've been focusing on other toys I picked up around Labor Day, but will get to using Chromaphone soon. Thanks for the added inspiration!

Sweet! Your guitar tone and riffs are superb as usual. I wondered if you had looked into guitar trackers. Must be a lot of fun.

Not sure what can be seen in a text editor that would give a high confidence the file isn't corrupted beyond that the sectors on the disk are readable, but I would guess that there is some irregularity in the file structure. A few things to try: 1. Hold Shift when opening the file to open in SAFE mode. 2. Scan your Projects folder using Utilities > CWAF Tool (Cakewalk Audio Finder), and see if it can read the file well enough to find the audio. 3. Get Cakewalk 3.x Pro re-installed on an old machine or in an emulator on your current machine (not sure what's available), and try it there. If the file is actually corrupted in some way, option 3 is not likely to work, either, but might be worth a try. I actually have a 386 out in the garage that has some old versions of Cakewalk on it, and I might even have the install files for Cakewalk 3.x Pro on a hard drive somewhere.

That isn't really an accurate way of describing what's in the MIDI file. The MIDI file contains a generic MIDI patch change message telling any synth that's set to repsond to channel 6 to load patch #12 from its internal patch library into whatever working memory space is assigned to respond to channel 6. What sound actually gets loaded (or even whether it responds to patch change messages at all) is determined by the synth's programming. So I don't think it's accurate to refer to program change messages as being part of the .MIDI file 'header';it's part of the MIDI data stream just like any other MIDI message, and there can be more than one at different points in the sequence. Ultimately the answer to your question is to open the file in any MIDI editing program, and add or change the relevant Program Change message in the appropriate view. In the case of Cakewalk, if you want just a single initial patch number to be set, you can enter it in the Patch field of the track header, and it will be written into the MIDI file as a Program change event when the file is saved. Or you can enter it directly in the sequence via the Event list view or by Insert > Bank/Patch Change in other views.

The Audio metronome is enough to keep the audio engine active all the time even in a new project with no tracks or synths loaded. I'm wondering if some power-saving/CPU throttling feature that was disabled might have become re-enabled by the 1903 update or some other change in the system. I would double-check that things like Speedstep and C States are disabled in BIOS, Core Parking is disabled. and the power profile is set to High Performance.

Working fine here, too. But 80-110 isn't a super-big velocity change, and SI drums doesn't give a really noticeable timbre change to reinforce the increasing level. Expand the whole dynamic range, and the 'crescendo' will be more noticable.

My first guess would be that - one way or another - you're listening to a frozen/bounced copy of the track, rather than the live MIDI-driven synth output, or the synth is being driven by some other copy of the MIDI that is not the one you're editing. Sharing a copy of the offending track using SI-drums might help get to the bottom of it, if the above doesn't get you there.

If you've disabled any settings on the Visual Effects tab in Windows 'Performance Options' or chosen 'Adjust for Best Performance', change it to 'Adjust for Best Appearance'. The Now Time cursor depends on some of these graphics features to render properly, and there is really no performance benefit to be gained in Cakewalk by disabling any of them in my experience.

That's true for controls that work by sending Continuous Controller events, but since channel is embedded in the note events, the forced output channel assignment is always in effect.

If changing the embedded channel of events has no effect, you must have a 'forced' output channel assigned in the track header that's over-riding the event channels. Clear that, and changing channels by either of those methods should work.

Rather then exporting, use File > Save As, and change the type to MIDI (Type 1 to get separate tracks).

I'm not sure what might prevent your getting the cross-fade tool other than that the clips must be slip-edited (so there's some material on both sides to cross-fade), and abutting with no gap between them. This happens automatically if you run one clip with a slip-edited boundary into another clip in the same lane. Then maybe expand the lane height a bit, and hover over the boundary. Maybe not the most current documentation, but here's a good reference for how the various clip editing tools work in lanes, and what their cursors look like: https://www.cakewalk.com/Documentation?product=SONAR&language=3&help=NewFeatures.022.html Figure 13. Hold down the CTRL key and drag up/down to adjust a crossfade.

I can make out the fuzzy screenshot well enough to see that the faulting module is a .DLL, probaby East West itself. If Cakewalk won't close, you can kill it in Task Manager.

You can't get auto-crossfades by just creating clip overlaps as happens in the parent track, but you can manually cross-fade slip-edited clips that abut eachother in lanes by holding Ctrl with the Smart tool, hovering over the lower half of the split til you see the cross-fade tool, and then clicking and dragging (up, I think) to created the crossfade.

Entire Mix is all hardware outs, which can be problematic if you have a headphone/monitoring mixes going to other outputs. If you have everything going through the Master, and no FX or level adjustments happening after that (standard operating procedure and best practice), then you can just export the Master bus (choose Source = Buses, and un-check all buses except the Master) with nothing selected in the project. What I personally like to do is bounce the Master bus to a ' Master Bounce' track that routes direct to Main Outs, group the mute on that track in opposition with the Master bus mute, A/B the two to confirm the bounce matches the 'live' mix, and then select and export that track. One benefit of this is that you have a copy of the rendered Master saved in the project.

Over time most users' workflow has evolved to recording/entering everything as channel 1, and using forced output channels to channelize events for multi-timbral synths when necessary. It's just a lot more straightforward overall, and it's easier to see what channel is being sent at a glance without having to be concerned about the channel embedded in the events. As an old-school MIDI user from the late '80s, it took me a while to embrace this model, but it really is simpler in the long run for most purposes.

I understood the problem to be about recording live MIDI input. You can't force a change in the recorded channel of incoming events; you have to be sending on the correct channel from your controller.

If you have separate MIDI and audio tracks, the drum map is assigned to the ouput of the MIDI track. If Accent is set up as a Simple Instrument, click the MIDI tab at the bottom of the Inspector as shown in Steve's video to get access to the MIDI output.

If you're recording MIDI for different instruments of a multitimbral synth into the same track, you'll need to set the transmit channel on your controller to match the relevant channel of the synth, and not set either an input or output channel on the track in Cakewalk. In general, I would suggest that it's much better to have one MIDI track per channel for many reasons, including that you can then use the track controls for MIDI Gain (Velocity Offset), Volume, Panning, etc.

It goes by which end of the clip you're closest to, regardless of the position in the pane. You need to be zoomed out far enough that the center of the clip is in view, and start your edit left or right of center, according to which edge you want to adjust.

Yeah, Windows/Cakewalk do not handle moving USB MIDI devices well. I have a minor issue with my MOTU MIDI interface not being initialized properly at boot since the Windows 1903 update. MOTU Support suggested to try moving it to another port. I had already told them that was not an option due to potential issues like this. I think things have improved since the time this happened to me, and no amount of reconfiguration or Windows registry hacking would get the port enumeration back in an order that was compatible with existing projects. I ultimately I ended up having to manually update every legacy project I wanted to work on! I ain't going down that road again. Glad you got your issue resolved without having go that far.

Similar to what Steve suggested, I would put put a drum map on the MIDI track, allowing you to solo each kit piece (or groups of relate pieces in the Drum Pane of the PRV before bouncing. Saves creating a bunch of different MIDI tracks, but still has to be done as individual bounces.

Oops. missed this. Time to upgrade. The bundled Session Drummer has separate outs.

Maybe I'm misreading the OP, but to get individual MIDI drum parts (and overhead/room mics if the synth has them) rendered as independent audio tracks for each kit piece: - Choose to create a separate MIDI track and 'All Audio Outputs - Mono' when inserting the synth. - Freeze the synth, and each part will be rendered to its corresponding track. - For stereo room mics, you can reset the input of one of the mono tracks to the appropriate stereo input, and delete the extra one. - And you can save the whole setup as a Track Tmeplate, including a Drum Map on the MIDI track ouput(s) so you don;t have to go through the setup again.

If I'm understanding correctly that you're working with imported audio that isn't already loop-enabled to follow tempo, try this (assuming the audio is already trimmed to start with a downbeat at 1:01): - Play the project, count through 4 measures, and hit space bar when you count hits 5:01 (for added precision, you can then Tab or Shift+Tab to the 5:01 transient in the audio). - Shift+M to open Set Measure/Beat at Now dialog, enter Measure 5, Beat 1, and hit enter. - The initial tempo will be automatically reset to make the specified measure/beat in the timeline hit that beat in the audio file. - If the calculated tempo is very close to a whole number (likely for imported beats), you can undo the Set, and enter that whole number tempo directly. This technique is handy for setting tempo in a new , empty project, too. Just, start playback, count out 4 bars at the tempo you have in your head, stop with spacebar, and Set the Now time to Measure 5, Beat 1. I suppose this could work for a project with REX/Groove Clip loops already imported, too, but you would need to mute the track to keep it from interfering with your mental count.