David Baay

Not directly; you'd have to use OCR software on a screenshot. Or maybe find some other MIDI sequencer that allows it. What's the goal?

Your screenshot shows it's 29 measures, not 29 seconds. CORRECTION: Make that 28 measures ending at 29:01. If it's in 4/4, that implies a tempo of 28 x 4 x 60 / 55 = 122.18 (probably 122 even).

If the clip was created in the current project with a matching tempo, you just need to go to Clip Properties in the Track Inspector and correct the mis-guessed 'Beats in Clip' value.

Hiding in plain sight. ?

What buffer size are you running? Presumably you don't have to keep it low to allow real-time recording at this point and can raise it to rduce the CPU load. By the time your FX load is getting that high, you should be largely done with composing/editing/arranging so that you can freeze the synths with their automation, leaving only track/bus FX active. If you're still working on the composition and tweaking synth sounds/automation, you should try disabling non-critical FX until you're really ready for the mixing/mastering stages. I'm sympathetic to the tendency to work on all of the 'stages' of a project in parallel and over-produce individual parts and tracks before the composition is complete as I'm frequently guilty of this myself. But my compositions tend to be sparse enough that I can afford it. If you're working in a musical genre that has a lot more going on with a lot of heavy-weight synths, you need to be more disciplined about separating the stages and getting all your composing/arranging done using raw instrument sounds (and maybe lighter-weight stand-ins for some of them initially) with only the basic FX that you would find on a physical console strip, and using send FX on buses where possible; you shouldn't have a lot of "tracks with roughly the same effects on them".

Is this chronic or just started happening in a session what was previously running smoothly? And audio is smooth and continuous? Even if it is I would suggest power-cycling your interface or re-booting.

You can cliick the track-type icon in any track associated with a soft synth to open the synth's UI. Or you can open the Synth Rack from the Views menu and double-click the icon in the rack. Check your record mode by right-clicking the record button. Sound on Sound will let you layer multple takes and hear previous takes both during playback and while recording. Comping will mute previous takes by clip-muting and new ones will take precedence where they overlap. Overwrite will replace previous takes with new ones up to the point the that you stop recording. New takes will be recorded to new lanes which you can show by Shift+T or clicking the Lanes button in the lower left of the track.

I have also proposed this in the past.

Yes, but not because there's anything inherently wrong with the Loop Construction view, but rather that the Groove Clip stretching algorithm is not as sophisticated as Elastique. I believe it's based on REX, and the format has inherent limitations that make it better-suited to highly rhythmic material with sharp attacks and limited sustain (e.g. drum, bass and rhythm guitar/keys). Groove Clip looping is just not the right tool for the material in your example.

Did you create a synth audio track to host the synth's output? Try inserting the synth as a Simple Instrument track (combined MIDI and synth audio).

The Bakers removed support for onboard 'GS Wavetable' synths a while back - it's not exactly clear why. Reportedly something to do with lack of support in Win11 though it was still working. Unfotunately, they were also required by Roland to remove the TTS-1 GM synth around the same time so it will also be missing unless you already had it as part of a licensed SONAR purchase.

Not seeing an obvious problem in the screenshot that would account for that. Are there only note events in the MIDI track, no controllers? Is SI E.P.'s Volume knob turned up in the UI?

In addition to CSistine's comments about how transient markers are located relative to the initial onset or peak of the transient, you need to be aware that by default Audiosnap is typically going to place a lot of superfluous/duplicate and 'false postive' markers. This can be a problem because when you drag a transient marker, the range over which stretching/compressing occurs is only back to the previous marker and up to the next marker which may or may not be accurately on a beat or may be on the next 16th when what you actually want to do is stretch everything proportionally across a whole beat, several beats or a whole meaure. You can select several markers and do a proportional stretch, but the better approach is to raise the Threshold slider in the Audiosnap palette until approximately the right number of transient markers remain enabled and then manually enable/disable any additional ones you need. or don't need to be active. Then, as you work through the part, adjust the position of any poorly placed marker by dragging its 'head' (the diamond at the center of the marker) before dragging its 'tail' to stretch the audio. All that said, my preferred approach to improving the timing of any audio is to use Set Measure/Beat At Now to get the timeline aligned to the audio with tempo changes only where needed, enable Audiosnap Follow Project Tempo in Auto-stretch mode on the clip, and then reduce or flatten the variability in the resulting tempo map. If the project already has multiple audio tracks you can do this only with the 'wonky' one copied to a temporary project to do the flattening, then bounce down the result and re-import it to the project with the fixed tempo. The advantage of this approach is that you can let the part run for several measures at a time where the timing is good, and only 'Set' beats (or fractions of a beat) where there's a problem that audibly needs to be addressed so you do an absolute minimum of audio-distorting stretching. Also, with Set Measure/Beat At Now you're not beholden to where Audiosnap places markers. You can put 'Now' anywhere your want and just use the markers as a guide or Tab to them when they look right. Whatever technique you choose to use, you're going to have to work with the tools for a while to understand exactly how they work, what their limitations are, and how to make them bend to your will. And, as has been suggested, sometimes re-recording is the best solution if it's your own performance.

True, but if you're only working with CbB, you can simply copy-paste tempos from one project to another. You don't have to jump through all those hoops. EDIT: Also, you don't actually need to have any MIDI note events in the project to Save As .MID with tempo changes in order to transfer them to another DAW.

The spoken-word clip you shared doesn't seem to fit the description except for the motor-boating sound. The pertinent questions would be: - How did the beat markers line up, and did you correct them if they weren't right? - What tempo was detected, was it right, and how different was it from the project? - How much much did you change the pitch? I just did a quick test with a verbal count-in sample that I happened to have handy, and it worked fine but the Groove Clip algorithm worked better for increasing the tempo than decreasing it which is typical. I got a better result just slip-stretching it to fit the project tempo using the default Elastique algorithm, and then pitch-shifting it - even the DX Pitch Shifter worked okay for that.

I don't think it's a bug, per se, but rather a questionable design choice that the composite of all clips in the parent track is only shown when lanes are showing. MIDI tracks work the same way. I've brought it up with the Bakers a number of times over the years.

I have occasionally had a particular track in a project get 'out of whack' in this way after making several recordings and undoing/redoing/deleting some takes. I'm not sure of the exact sequence of events that can cause this, but it seems the lane-indexing can get mixed up over time and only deleting all lanes will restore the normal take ordering and numbering behavior.

As best I can figure out, CbB/Sonar doesn't like when the start of a note is more than about 64 measures off-screen. At minimum zoom with the PRV at maximum width and no keyboard, I can get 740 measures on-screen, and I can manipulate a note that's 804 measures (740 + 64) long; but as soon as I scroll far enough out to see the end of it, the start is now over 64 measures off screen, and I can no longer edit it in the PRV and have to resort to the Event List or scroll back to nearer the start time.

You need to clarify the project setup and the intent of doubling the cello part and what steps you took to copy the MIDI. Are you saying you have two Instrument tracks (combined MIDI and Synth audio) using two separate instances of Musio Cello inserted in the synth rack? Or is it two MIDI/Audio channels of a multitimbral instrument? The Musio website doesn't even make clear whether the plugin is multitimbral or you use a separat einstance for each sound. As has been explained, MIDI itself does not produce reverb, but there is a MIDI controller (CC 91) that is intended to control the depth/level of reverb produced by a synth, and Cakewalk MIDI tracks (and the MIDI side of Instrument tracks) have a knob for it. Copy-Pasting or drag-copying a MIDI clip from one track to another cannot, by itself, cause an instrument to start producing reverb unless the clip contains CC91 messages or the instrument on the target track is already configured to be producing reverb. If the timing of the MIDI clip is inadvertently shifted by a few ticks it might produce a delay effect that sounds a bit like reverb, but I doubt that's the problem in this case. As and aside, you should be aware that simply doubling an instrument with no change to the timbre of the patch and timing of the MIDI is not going to make the two tracks sound like two separat einstrument; it will just make the cello louder. Most symphonic plugins have 'section' versions of instruments to produce the chorusing effect of multiple musicians playing the same part.

You can lasso controllers just as well but I would probably just do it in the Track View to quickly get all of them.

Cool. Glad to help.

I would guess antivirus scanning. Make sure Cakewalk projects/content and program directories are excluded at a minimum. Watching the Windows Resource Monitor while saving might help confirm that or give another clue. It could also be casued by large zip/archive files left on the Wndows Desktop or other paths the Windows Explorer-based browser might be indexing. This usually affects loading more than saving, but would be something to watch for, especially given you presumably just transferred a lot of data from an old PC to the new one.

I understand stuff can get overlooked in the shuffle, but I did ask, "what instrument and what velocity do the MIDI notes have?" Next place to look is at the meters in the Spitfire UI. If you aren't getting a good level out of the intrument, it has to be either low velocity into the instrument from the MIDI side or some setting in the instrument UI is lowering the output level. I'm not familiar with Spitfire stuff so can't give more detailed guidance. Is the MIDI your own composition/recording, live input from a keyboard, or imported from a 3rd-party? If the latter, check the Event View for controller events that might be effecting the level (especially CC1 Modulation, CC7 Volume, and CC11 Expression) Any FX or Prochannel inserts on the track? The only other thing that comes to mind would be having some other track/bus soloed with Dim Solo enabled, allowing a low level through from the Instrument track. But the default gain for Dim Solo is -12dB so I would still expect more level in that case.

I don't get latency with your project, but I'm missing some plugins. The first suspect I see is: LoudMax - Per the website: "LoudMax is a Look-Ahead Brickwall Loudness Maximizer". It's in an FX Chain in the Prochannel on the DnB bus. Other suspects would be one of the several reverbs that might use convolution. And, as mentioned previously, I don;t have any of the Kilohearts stuff. In general, I would not recommend using such and intensely "pre-populated" template with such convoluted routing and so many plugins.

Drag the pane divider at the far right of the Console view to the left to reveal hardware channel faders.