David Baay

You'd need to put it in a sampler. The bundled Dropzone is only 32-bit, but will do it, I think. Or Dim Pro if you have it, and or any number of freeware samplers. I believe the Matrix view might be able to do it also.

Could save a few seconds and clicks. I just create the track and name it before bouncing.

That's right. The Output channel is sometimes referred to as a 'forced' MIDI channel because it re-writes the channel of all events on the track.

Just to be clear, LatencyMon numbers will be microseconds (us), not milliseconds. In any case, 255 peak is not great, but shouldn't be a problem except, possibly, if your ASIO buffer is extremely low, like 16-32 samples (333-667 microseconds at 48kHz). I have very occasionally seen a dropout occur with the transport not running. It may be related to having Always Stream Audio Through FX enabled in preferences. One thing you can do is keybind the audio engine on/off, and toggle it off when doing big edits (or a bunch of small ones) that don't involve a lot of listening . I sometimes do it when dragging a big pile of MIDI notes to avoid graphical response delays because Cakewalk is prioritizing audio streaming. I also toggle it off when walking away from the DAW for an extended period just so it won't be wasting CPU cycles with a project idling since I have all the usual power-saving features turned off.

Those controllers look far too structured and consistent to be due any kind of random input. And few synths will not sound radically different with those controllers removed. That said, Edit > Select by Filter is my preferred way of selecting all controllers of a given type to copy/cut/paste, move, delete, etc. Start by selecting the track or clips you want to modify; filtering has to have something to work on as input.

The MIDI menu shown in your screenshot applies only to the inline PRV. It's not possible to hide only controllers in a clip when not using the inline PRV. Your options are: 1. Uncheck View > Display > Display Clip Contents This hides all clip data in both MIDI and audio clips; probably more extreme than you want. or 2. Use controller envelopes instead of individual messages which will be a lot cleaner, especially for straight-line ramps like this that only need a node at each inflection point (Cakewalk interpolates and sends intermediate values on playback), There's a convenient function in the Clips menu to 'Convert MIDI Controllers to Envelopes'. After converting to envelopes, and thinning out unnecessary nodes in the envelope, switch the edit filter back to clips, uncheck View > Display > Display Ghosted Data, and you won't even have to see the envelope when you don't want to.

Does right-click > Region FX > Melodyne work? If so, you can extract after enabling Melodyne on the clip which can work better in some cases. If Melodyne isn't available that's the problem. Essential was bundled with SONAR Platinum, but not CbB. You would need to reinstall SONAR from Command Center or download and install from Celemony if you have a license.

Yeah, I did a quick search after posting, and saw some other reports of problems. Good luck.

Is this affecting all soft synths? If you record MIDI do the notes end as expected? In other words, is the problem with the messages coming in from the keyboard/interface, or is the way a particular instrument is responding? If it's all instruments, and recorded notes don't end, you can install a MIDI port monitor like MIDI-OX to see what's coming in. MIDI-OX is an ancient free MIDI monitor utility. I haven't used it for quite some time, myself. There might well be something newer out there that's better/easier /prettier.

Holding Alt with the Smart tool gets you the Split tool, and selecting with the Split tool splits out the selection in one go. Another method I frequently use when I've already made a selection is to just cut-paste using Ctrl+XV with the Now time snapped to the beginning of the selection. I have F7 bound to 'Go to From' as it historically was by default before X1, so the steps are Select, F7, CtrlXV.

Couple of thoughts: If you originally created the splits with the comping, tool that might be part of the problem. I found that manually-created splits only linked up if they were created at exactly the same points by having snap enabled. This is speculation, but it seems that rather than storing comp splits as group/object, Cakewalk is programmed to just look for all splits that are perfectly aligned, no matter how they were created, and keep them together when you move one. Regarding no being able to use matching split points, ideally you want to select whole phrases with splits in the near-silent sections between phrases so that crossfades hardly even matter. I'm sure there are cases where this isn't possible, but your example doesn't appear to be one of them. EDIT: Clip locking can also be used to protect splits/crossfades on clips or whole lanes that you don't want altered. If you keybind it, it's not too inconvenient.

Two words: Drum Map. I haven't reviewed it, but this should cover it, and still be applicable to Cakewalk by Bandlab: https://www.cakewalk.com/Support/Knowledge-Base/2007013364/Setting-up-a-Drum-Map-for-Addictive-Drums-2-in-SONAR

I'm not an orchestral composer, and I don't know Studio One well at all, though I took advantage of the discounted cross-grade price when Cakewalk went dark for a while, so take the following with a grain of salt. Just my $.02: I think the main advantage Studio One has over Cakewalk in integrating with Notion is that it can now export directly to Notion without having to go through the intermediate step of exporting to MIDI or MusicXML file. And it does a couple other tricks like automatically exporting a MIDI piano track to a grand staff. But for real-time integration using Rewire (and a virtual MIDI cable for some purposes), I don't think there's a significant workflow difference between using Cakewalk and Studio One with Notion . Given Cakewalk's generally superior MIDI recording and editing capabilities , if you're already familiar with Cakewalk, I wouldn't think migrating to Studio One just to integrate with Notion would be worth the trouble. Presonus continues to improve the integration between Studio One and Notion, but the pace of development of Notion itself has been pretty uninspiring with the last major release two years ago, and minor release 7 months ago. Which way you go might depend on whether you plan to compose primarily in Notion and then export to the DAW for final production,or compose in the DAW and export to Notion to generate a score.

I found that moving the the cross-faded clip to another lane eliminated the unexpected linkage with splits in other lanes, but I didn't go through all the possible permutations, and given the nature of this seemingly buggy behavior, there may well be some inconsistencies. FWIW, I don't think what Steve posted is relevant either.

Hmmm... okay. Not a usual part of my workflow, but I can repro all of that, and it seems buggy. The only thing I can suggest as a workaround is to use additional lanes: - Create crossfades at both ends of the middle clip to start. - Add another lane and drag the middle clip to it, holding Shift to constrain the position. - Now you can move the split point by dragging the end of either clip at the crossfade, and the fades will move along with the split point to wherever you want it.

+1, Or just expose it for mapping to a keyboard shortcut so the UI doesn't have to change when driver mode isn't ASIO.

I think you'll need to clarify exactly what moves you're making and where. Crossfades are only created automatically when working in the parent track with lanes not showing. If you drag a clip over another in the same lane with lanes showing, the clip you're not moving will get cropped out of the way, not cross-faded. And I don't understand what's meant by "the crossfade is changed to a fade out/fade in; that's exactly what crossfade is...?

My understanding from the distant past is that some display functions in Cakewalk, specifically the Now Time Cursor, depend on one or more of these settings to work properly. To avoid problems, I've always left this set to Best Appearance. I think it would be very unusual that graphics functions have any bearing on audio processing performance. Unless you can identify a specific graphical event/condition that coincides with a glitch in audio processing, I would look elsewhere. If you haven't yet checked DPC latency, that would be the place to start: https://www.resplendence.com/latencymon

I think this could be simplified to just have Cakewalk report how much Plugin Delay Compensation is being applied on top of the interface driver/buffer latency, and which plugin is reporting the highest plugin delay. There really are no other sources of latency that need to be (or can be) easily measured and reported. The only other significant sources of latency are un-reported audio interface hardware/firmware latency, and total MIDI keyboard scanning/interface/synth response delay, neither of which Cakewalk has any way of measuring unless the user sets up a loop back path. Un-reported audio interface latency can be a significant part of the overall audio latency when running extremely low ASIO buffer sizes, but is usually not more than a millisecond, and can generally be ignored after measuring it once to set a Manual Offset for record latency adjustment. MIDI input latency, on the other hand, can be upwards of 6 milliseconds which is significant in the grand scheme of things for performing/recording live MIDI input, and doubles when using outboard hardware synths that are subject to outbound transmission delays and hardware and synth response delays as well.

I agree, Diamond is my Goto patch. Addictive Keys was mentioned. I have that as well. It sits well in a mix with a less complex tone (fewer high harmonics), but is not as responsive to dynamics in terms of timbre change on the attack or the harmonic evolution of the sustain decay on held notes/chords. And you can't interrupt the release when pedaling late, so I use it for more percussive parts that don't require a lot of nuance, and in settings where the piano isn't the star. EDIT: Of course, there are plenty of demos out there, but here's an example of what TruePianos can do. The tone on this is minimally EQ'd or otherwise manipulated, using the Diamond 'Jazz' patch: Dexter's Tune (Cover of a solo piano piece by Randy Newman)

I'm still struggling with the fact that my MOTU MIDI Express XT interface isn't detected at startup. I either have to power it up or toggle the power off/on after booting to get the driver loaded. I've not had this problem on any PC or version of Windows in the 25-odd years I've been running this interface until Win 10 1903 installed a couple weeks ago. The problem manifested immediately the first I launched Cakewalk after the final reboot. I've tried a number of different things to fix it without success. The MOTU ClockWorks utility doesn't see it either, so it's not specific to Cakewalk. Other than that, I've had no issues.

I don't know if 4Front are really still honoring the discount for SONAR owners; you might want to contact them. TruePianos is still the best-sounding, most expressive and playable, inexpensive piano I know of. It's not 100% modeled, like Pianoteq, but modeling is clearly being used to get smooth timbre change across the dynamic range and to produce a more realistic release sound and sustain behavior. I despise pianos that have a noticeable velocity switching, and TruePianos has none. It also lets you interrupt the release with the sustain pedal which a lot cheaper sampled piano can't do - another feature that makes it more playable if you're used to a real piano. It makes a slightly unpleasant 'warbling' sound when releasing notes held by sustain , but it's not that noticeable in most situations. I don't know of anything free that sounds even half as good as a solo instrument.

I don't understand what you're clicking on that closes it. The way it should work is you adjust the height of the focused track, and then when you click on a different track, the previously zoomed one returns to the default height of the other un-zoomed tracks, and the new one expands to the zoomed height you set previously. And if you adjust the height of an un-zoomed track, they all change together.

Perfect! I understand your reticence to upload the file. Thanks for taking the time to detail the changes. I'm not surprised to see incorrect samples being referenced; it's a common error, probably due to copy-pasting lines to build the file. Sometime obvious on auditioning the instrument, but sometimes not. I've done it myself. ;^) Cheers, Dave

Although it may not be relevant to this issue, I have always felt that using WDM driver mode, and letting Windows have access to your audio interface is asking for trouble. I prefer to use ASIO mode, and set Cakewalk not to share drivers or release them when not in focus. I leave my onboard sound active for use by Windows, browsers and generic multimedia apps so that they all keep their mitts of my audio interface, and patch the soundcard output to an outboard mixer so it can play through my studio monitors when desired.