David Baay

Although I have encountered some inconsistent behavior in vairous situations over the years, I believe it's still generally the case that new lanes will be created on overlap (assuming drag and drop mode is Blend) only if lanes are not showing. If lanes are showing, it's presumed that you want things to go where you drop them, and if you want a different lane, you'll create one.

CPU performance is shown by the vertical histogram bars at the left of the module. They will never be displayed before a projectt is loaded and the audio engine is running. The two horizontal bars are Disk Space and System Memory Usage. Both are for the whole system, not just Cakewalk. If you're seeing ~60% on both, that's just indicating that the hard drive where Cakewak stores audio is 60% full, and the OS and all running apps on the system together are using 60% of RAM - not hard to do if you have a lot of apps open, and only 4-8GB. None of this is a problem, unless your RAM usage is that high with only Cakewalk running, and no project loaded. EDIT: Oops. Looks like I missed some posts. Sorry if my info is redundant.

Alt+Enter is just the generic Windows keyboard shortcut to bring up the context menu of a selected object, but I think Cakewalk intercepts it and doesn't do anthing with it. Right-click gets you the same thing. In my experience, it's sometimes necessary to zoom out so that all or most of the clip is visible in order for the waveform re-draw to complete.

Are their tracks frozen? You can't access the UI of a frozen synth. Or they could be 'disconnected' without freezing, but then you wouldn't hear them on playback. Other than the UI opening offscreen somehow, I don't know of anything else that will prevent a synth UI opening.

I don't know what it is, but you've got something else going on in your test case. Simplify it: - New project from the Basic or Blank template with two tracks referencing the same wave file (import once and drag-copy) - Invert phase on one, start playback and verify they null. - Stop Playback. Add the Limiter to one track. - Start playback and verify they still null. Anything you can hear that's caused by the limiter itself will cause a failure to null in this scenario. EDIT: Another thing you can do in the above setup is to group the mute buttons in opposition, and A/B between the two tracks without changing the enabled state of the limiter on the one.

Dupe

If they fall consistently on or near the the same beat(s ) in every measure, you may be able to do it using Select by Filter with the appropriate beat and tick windows defined, but you might need to do it in two or more passes. I presume you want to move or process them somehow...? CAL could very likely do the processing for you, but I don't think has the capability to make a multi-event selection for you and then exit to let you do something with that selection. It just processes an existing selection, working through the array one event at a time.

Yes. Preferences > Customization > Editing > Selection after a single split:

If the Limiter isn't on the Master bus with everything going through it, you might be hearing the effect of plugin delay causing a phase change against other tracks because the transport has to be restarted to re-sync the Plugin Delay Compensation. This could be very noticeable (and objectionable) if you have some kind of parallel-compression-like set up where you're sending to a bus with the limiter on it, rather than inserting it.

I don't really have a good idea why this is happening , but it seems pretty clear there's some interoperability issue between Cakewalk and the Presonus driver. I can only suggest you uninstall anything related to that S-Engine interface, and maybe re-install the latest Presonus driver, and make sure the Playback and Record Timing Master settings in Cakewalk preferences are referencing it. And don't make it the default device for audio playback or recording in Windows (let Windows use your onboard audio). Beyond that, you might want to contact Presonus to see if they can replicate this.

I think scook has you covered on the other issues, though it's a little weird that the project didn't save the state of the maps. For the above, issue, you probably know: - Choose Drum Map Manager from the output of that track. - Click to highlight the output port assignment of the highest note. - Scroll to the bottom , hold Ctrl+Shift, click the output port of the last note, and choose EWQL. - OK

Multi-track audio quantizing *is* complicated because of the need to avoid phase errors. And it unavoidably takes a bit of massaging of audio transient markers on the guide track to get a good result. The only real alternative is to split the audio at transient markers and quantize the clips which is what Lord Tim was recommending against with his post, and you'd still need to use a common set of transient markers on all tracks. I'm not aware of any other tools or other DAWs that make this significantly easier. You can search cakewalk/sonar multitrack drum quantizing on Youtube to find tutorials. I haven't reviewed any, but here's one:

You need to add soft synths to your project and route the MIDI to them. The easy way is to insert the synths as Simple Instrument tracks, and drag the MIDI to them. Start by clicking the + button at the top of the tracks pane, and clicking the Instrument button in the resulting pop-up.

I happened to stumble across the following posted by Lord Tim on the old forum a while ago, and thought his suggested procedure was nicely succinct. Note that the purpose of applying a common set of transient markers to all tracks is to ensure that stretching doesn't introduce any phase errors with room mics and bleed across other mics: Record the takes (duh) Select each track, enable Audiosnap and set the threshold level to 100% to disable the transients If this is a simple drum track with no kicks playing in time with the snare (so you're getting possible flamming), I bounce kick and snare to a new track ** (see note below) On that track, enable Audiosnap, drag the threshold slider down until it detects most or all of the hits, adjust accordingly by moving transients around or inserting / deleting as necessary. On that track, right click it and choose Pool > Add Clip to Pool Select every other track, right click on one and choose Pool > Apply transient pool markers Manually tighten or quantize your guide track as you see fit. Select every other track, right click and choose Pool > Quantize to Pool No splits, no crossfades needed, no weird gaps, no endless clips. All of the phase is correct and it just works. ** Audiosnap has a BIG problem with ghost notes and weird detections. What I tend to do is put a gate on the kick and snare track and get them extremely clean sounding (to the point of them sounding bad, but so there's a definite attack to each hit, and no noise between the hits) and the bounce THAT to a new track. You can delete the gates after that. You new guide track will have super clear hits and Audiosnap will be a million times better at detecting the transients. This gets a bit more complex with double kick work where things fall on the same beat, or places where you want to set your timing guide from something else (ie: you have a killer ride pattern which is a bit off but that's where everything follows.) You need to decide what is most important, quantize minus any overlapping hits, then go back a few more times and lock in those remaining transients with the rest of the group. Not ideal but I've had great results from doing that.

Hmmm... yeah, forgot about that thread. I would respectfully suggest it might be time to return that thing, and get an interface from a more reputable manufacturer.

Sounds like an interface driver issue that the port is getting closed on stop. What interface, and what driver mode?

That, and are you sure you have the octave number correct in the PRV? Middle C (MIDI Note Number 60 ) is C5 in Cakewalk by default.

Actually that dialog should be named 'Set Measure/Beat at Now' to match the name of the command. The reason it doesn't work at 1:01:000 is that its primary function is to align the measure and beat specified in the upper section to the absolute Now Time where the cursor is by changing the previous tempo. 1:01:000 is locked to SMPTE time zero 00:00:00:00 and there's no previous tempo that Cakewalk can change to move it. Inserting a meter change at the same time is a convenience feature added to that primary function.

Sorry for the barrage of questions, but... ASIO? Is it a consistent amount? How much? Always late? Have you checked your Manual Offset lately? How high is it? Does it happen if the metronome count-in is disabled? Other users have occasionally reported that count-in causes recordings to be offset. Are there PDC-inducing plug-ins in the project with PDC Override enabled for input monitored tracks?

The "Selection" option in the Export Module of the toolbar shows the length of the current selection in SMPTE. EDIT: Also, now that there are Selection markers in the timeline, you can define a selection of the desired length, using snap to seconds, and then turn off snap ( or set it to some musical time or other relevant increment), and drag it around to encompass what you need.

Glad to help, Nigel.. You're not the first to be caught out by this. ;^)

Punch uses region muting to mute the overlapping parts of other clips. Switch to the Mute tool, and drag through the top of the clip to unmute.

Edit Filter not set to Clips? Dim Solo? (but that wouldn't prevent editing)

Disable 'Stop at Project End' in Track View Options.

This happens when Cakewalk is recording from the soundcard's output instead of its input. In your onboard soundcard's mixer app, change the Input from 'What U Hear' or 'Stereo Mix' to 'Line' or 'Mic'.