David Baay

I'm guessing this means you have a send from the Master bus to an Aux track that's recording. In that case, you just need to route the Metronome bus direct to Main Outs instead of to the Master bus. I generally do this so that the click isn't affecting my metering; you just have to keep in mind that it may cause clipping at the D/A converters, but ideally you won't be running your Master bus that hot while still tracking. I also usually run a "Pre-Master" bus ahead of the Master to sum all tracks with no mastering FX applied and a "--> Main Outs" bus between the Master and the interface to get the most flexibility in metering, mastering and A/Bing bounced Master tracks against the live mix.

Oops. First instance was wrong; second was right. Fixed it.

Yes, disk I/O buffers can be set independently. I've frequently raised my playback buffer to accomodate high track counts (mostly in 3rd-party projects as my own aren't generally that dense), but I'm seldom recording more than a couple tracks at a time in my own use so don't need a large record buffer. The disk side of things has all become less critical with the advent of SSDs, and it's usally pretty clear whether a dropout was due to a CPU or disk shortfall. I've never personally had occasion to mess with dropout tolerance so can't really say what's ideal in a given situation, and this stuff tends to be very system-specific so you might just have to experiment.

I've rarely encountered a dropped buffer while recording but when it does happen, that buffer will simply be missing from the file, and the next successfully processed buffer will effectively be butted up against the last buffer with no gap. This generally creates a disconuity in the waveform that will manifest as a pop unless the sample level at end of the previous buffer and the start of the next just happens to be very close to the same and trending in the same direction. But if there's a noticeable sync issue with other tracks, that would suggest that it's more than a single, small buffer getting lost. If you're running an exceptionally high buffer like 1024-2048 samples for reliability and/or recording more than one track, you might actually get better results with a smaller buffer size or you might need to increase your Record (disk) I/O bufferin Preferences to accomodate that. Depending on the criticality of the recording, you might also conseder lowering the dropout tolerance so that recording just stops rather than continuing on with no indication of a problem. See this post of more info:

Good on you for doing so. Many issues get posted with no mention of the plugins involved even though plugins are at the root of most unexpected behaviors. Good point. Mod wheels aren't usually spring-loaded, but they can become jittery and send spurious messages due to vibration. I've dealt with this in the past by adding a flatline automation envelope to the track to hold it at a fixed level.

Group the controls, then go into Group Manager, select Custom, and swap the Start and End values of one of them to get them moving in opposition. Write-enable both, and move the control on one of them (either in the UI or from a control surface) in real time during playback to write automation on both.

Both CbB and the new Sonar (no longer all-caps) install independently of SONAR Platinum (except for shared folder content in the Cakewalk directory that is compatible with and used by all of them), and will not affect its operation. They are both fully backward-compatible with project files created in SONAR, and you'll be prompted to let them inherit your hardware setup and other settings from Preferences.

Disable 'Zero Controllers When Play Stops' under Preferences > Project > MIDI. Aria uses CC1 (Modulation) for volume control and CC11 for Expression so zeroing controllers will silence it when the transport is not running. And if these controllers aren't used during recording a live performance, you should insert an initial controller event for each of them at the beginning of the track to ensure they get set consistenty by MIDI Event Chase every time you start playback.

Be aware this is a per-plugin setting. Disabling it for Kontakt 7 will not affect plugins for which it's enabled and giving the desired result.

Other than by unstalling, no, I don't think so. Even Excluding plugins ony hides them from the 'regular' plugin list, not the Region FX list (e.g. Drum Replacer is Excluded by default because it should only be used as a Region FX).

I jumped in the way back machine and verified Q was clip mute toggle in Sonar 8 and K activated the Mute Tool. I won't ask why you're still using Sonar 8 (!).

As rsinger indicated, this fact suggests that the keyboard is sending events with a different MIDI channel than the Korg is set to receive... or you didn't properly connect the OUT of the keyboard to the IN of the Korg when you moved the cables. Also as he suggested, you should work through the setup one step at a time: 1. Keyboard MIDI OUT to Interface MIDI IN, and interface MIDI OUT to Korg MIDI IN. 2. Create a MIDI track in CbB, set the input to the interface MIDI IN - Omni. 3. Arm the MIDI track, hit R to start recording, and play some notes on the keyboard. 4. Stop recording with Spacebar, disarm the track, and confirm notes are recorded in the PRV, and are on MIDI channel 1 (double-click a note to see properties). 5. W to rewind and Spacebar to play the track and and verify you hear sound with headphones plugged into the Korg. 6. Add an audio track to CbB with Input set to the appropriate interface channel and enable Input Echo on it. 7. Start playback and verify you get meter activity on the audio track and hear audio through headphones plugged into the Interface (if there's an echo, disable Direct Monitoring on the interface). 8. Stop playback, enable Input Echo on the MIDI track, play some notes on the keyboard and verify you get meter activity on both tracks and hear audio through the headphones. If all these steps work, recording and playback of MIDI and audio and realtime perfomance with input monitoring will all be working. If any step fails, let us know exactly which one, and we can troubleshoot further.

Don't know why you keep insisting that you have to sign up. Below is a screenshot of the first link that search brings up: http://bandlab.com/membership I get your point about the challenge of getting there from the Sonar page, but making false statements to support your argument isn't helpful.

You need to have an audio track in the project with Input set to the interface channel to which the audio output of the Korg is connected with Input Echo enabled on the the track to echo the signal to the output of the track and on to the Master bus.

No biggie; I almost didn't notice it but am pretty sure K has been the default since advent of clip muting while Q was already reserved for Quantize. I've joked previously that K stands for "Kwiet". ;^)

Yes, looks like the clip is muted, but the default shortcut is K, not Q. If you loop-record in Comping mode, any part of a take that's overlapped by a later take will be muted. Right-click the Record button in the transport to see recordng preferences, and see the Ref. Guide for how it all works.

Not true. Google 'bandlab membership' and any of the first half-dozen or so links will get you to a page that shows the cost. But I agree the 'Bandlab Membership' link on the main Sonar page should take you to http://bandlab.com/membership instead of account log in/sign up.

I recommend getting familiar with the keyboard shortcuts for From = Now, From= Start, Thru = Now, and Thru =End. I've restored the original shortcuts F9, F10, Ctrl+F9 and CTl+F10 for this very frequently used operations. F7 = Go to From and F8 = Go to Thru are also indispensible. I don't know offhand what the new default assignments are.

The 'Interment' (chuckle) has always been flooded with misinformation. You can't blame Cakewalk for this. ;^)

Delete and Cut are actions that will be added to the History list without affecting the Record action. If you want to discard the recording and remove the Record action from history, you need to Undo (Ctrl+Z) the Record action before taking any other action that adds to the History.

When drwing new notes in a track with a single lane of MIDI, the distance at which a new clip is created when drawing a new note in the PRV is anything over 7 beats from the end of the most recent note. It can be avoided either by initially drawing the note within that distance and then dragging it later as necessary or by dragging out the boundary of the clip in the track view to encompass where a new note will be inserted in advance. Having multiple lanes in a MIDI track can complicate this as it's difficult or impossible to control which lanea note will go into when drawing in the PRV. Unless this has changed, I believe it will usually default to the earliest/lowest-numbered lane, but this can be unpredictable based on the recording/editing history of the track, and focusing a particular lane before drawing in the PRV does not guarantee new notes will go into that clip's lane.

The suggestions to use the tempo map are correct for this situation. SMBAN is for aligning the time line with a real-time performance that already has a variable tempo. I suggest setting snap at the smallest note value in the MIDI at that point to draw a tempo change at each note/chord.

When recording a mono source, you need to select only the left or right channel of the stereo input pair as Input to the track. You can bounce the stereo track to Split Mono and discard the silent channel to fix what you’ve got without re-recording.

The last time I looked only Pro Tools and Reaper support this (i.e. defining the value of a beat to be a dotted quarter with three eighths per beat), and it's optional because not all 6/8 and 9/8 compositions have a triplet feel. In CW and every other DAW, a "beat" is always a quarter note and has two 8ths. This also affects how tempo is defined - bpm is always quarters per minute (not the dotted quarters per minute of compound time).

I suggest you uncheck Use ASIO Reported Latency, leave the Manual Offset at 0, and try recording the metronome output via the loopback setup suggested by reginaldStjohn. The recorded click should be laid down approximately that 262 samples late (usually a little more due to unreported hardware/firmware latencies). If it's still early, execute Reset Configuration File and try again. If you can get the metronome recording late without compensation as expected, then you can re-enable automatic latency compensation plus or minus a Manual Offset to dial it in to the sample and then move on to recording your DI guitar. If you continue to see the metronome recorded early without any compensation applied, then I would have to think there's something on your system like ASIO4ALL or Steinberg's Generic Low Latency ASIO Driver interfering with Cakewalk's using the Focusrite driver exclusively.