David Baay

Maybe share that project with just the offending track to see if the problem is reproducible for others. I don't use Step Sequencer that much but have not had issues like that in the past. I would not expect a problem with track mute/unmute to be related to the SS content. Possibly these issues are related to the instrument it's driving; is it SI Drums?

It's possible to see notes in both the drum and notes panes simultaneously, but only while the drum track has focus in the PRV. As soon as you focus something in the Notes pane to edit it, the drum pane will go blank because the PRV is using the output assignment of the focused track to determine where to send the auditioning output. I suppose the developers could jump through some hoops to preserve the visual display of the drum map in this scenario; it just wasn't in the design requirements and probalby wasn't noticed or realized that this might be useful.

What part of "This is not a workaround" didn't you understand? A workaround is a way of overcoming a bonafide software defect or a significant omission in functionality. Moreover a workaround is typically awkward, requires more steps to accomplish and/or yields a result that is not completely satisfactory. None of that is the case here. In fact your "solution" is arguably more awkward, requiring that you enable/disable snap or use modifiers, depending on the situation, that you drag and drop the node with sufficient precision to ensure that it snaps to the correct target, and potentially has an unsatisfactory result (duplicate nodes) unless programmers add logic to eliminate it... oh, wait, that would be just like deleting it in the first place! P.S. If you want to have a discussion about which of us has contributed more to the development and success of Cakewalk and its user community, come back in 30 years and we'll compare notes.

As pointed out, all you need to do is delete the redundant node and (if necessary) change the segment type to something other than Jump. This is not a workaround; this it how it's intended to be used. Creating a new type of snap object to facilitate stacking redundant nodes is not a feature anyone should support.

Personally, I almost always check context menus first when using new software, but I agree Split should be in the Clips menu along with Bounce to Clip(s) which I use frequently enough that I have it in the Custom module.

I quickly got over being distracted by them but am generally in agreement that they add unnecessary clutter to the UI.

I agree, just remove the drum map assignment and do it all in the PRV with both tracks showing. For a simple drum pattern like that, it's generally pretty obvious which rows are kicks and snares without having the drum map labels. Alternatively, you could copy the drums to a lane of the Bass track, mute the clips, and disable Hide Muted Clips in the PRV View menu. This will give you grayed-out drum notes in the Bass track as a timing reference. Or, better yet, play it all in live from a MIDI keyboard to get a natural interplay of drum and bass rhythms. ;^) Time spent learning to play in real time is more productive, more fun and yields better-sounding music than drawing notes with a mouse.

The concepts of clips and groove clips hadn't yet been implemented when CAL was developed; it can only operate on individual events. CAL could be made to do it by Copy-Paste with the known From and Thru values of the selected clip. Groove Clip Looping is sort of aimed at users who prefer to edit with the mouse. If you prefer to use keyboard shortcuts, there is already Duplicate and Copy-Paste with Repetitions that will get the job done in short order. Or you could go to clip properties and change the length of the Groove Clip - e.g. if you quaduple the length, you get 4 repetitions.

Only if the transport is restarted in between takes. With loop-recording, it works more like Comping; try it. I just checked back to the last release of Sonar Platinum, and it behaved the same.

Yes, it's still included and that's the only way to apply swing to MIDI non-destructively. To my mind it doesn't really make sense to apply some fixed amount of swing to a whole project as swing is only really meaningful in the context of an even (or at least closer to even) rhythm in some other part.

Overwrite only applies when you restart the transport in between takes. Loop-recording in Overwrite mode is similar to Comp recording - each pass gets a new lane, and the clip in the last pass is left unmuted while all others are muted. The main difference is that the penultimate take will be entirely muted in Overwrite mode even if the final pass is only partial; in Comping mode, the un-overlapped part of the penultimate take will be split off and left unmuted so you have something sounding throughout the looped region on playback. In either case you can unmute any clip by selecting it and hitting K on your PC keyboard. Or, if you only want to hear one at a time, you can click in the bottom half of any take where the Comp tool is active which will automatically unmute that take and mute all others.

In my 35 years I have encountered this issue many times, and it's come up on the forum many more times. As a result, I've always advocated selecting a specific channel of a specific port for Input to avoid duplicate/truncated notes and related issues.

Personally, I prefer having Velocity Offset (a.k.a MIDI Gain) widget in the track header, and use it frequently, because it essentially gives the ability to "tell the performer to play more aggressively" with the resultant change in attack/loudness/timbre/etc. response programmed by the synth developer. To me it's more useful to have ready access to a control that does something very different to the sound than audio gain/volume. Conversely, I seldom have a need to alter audio Gain on an Instrument track. I prefer to control the input level to the track by MIDI Volume (CC7) controlling the output level of the synth. This is an old habit based on the the fact that you can't control audio Gain on a live input from a hardware synth, but I see no reason to treat soft synths differently just because I can. I think it could be argued that Velocity Offset should never have been conflated with 'Gain' in the first place, and it might be useful to have ready access to both controls in Instrument track header as you suggested. But if I can only have one, I'll take Vel+. Ulitmately, I'm satisfied with having access to all the controls via the Inspector.

I do this all the time: - Create at track named Master Bounce, set the ouput direct to Main Outs, mute it and and group its mute in opposition with the Master bus mute. - Tracks > Bounce to Tracks - Set Destination to Master Bounce, Source = Buses, and check only the Master bus. - OK - Toggle the mute to choose whether you hear the bounced master or the live master bus.

Is keyboard is using USB MIDI or a DIN connection to the Scarlett? In either case, I second Promidi's suggestion to check for incorrect assignment of a port as a Control Surface.

What exactly are the symptoms of "not working"; what's the source and what's the target? Does the interface have MIDI activity lights to verify it's receiving input from a keyboard or output from the PC? How about CbB's MIDI activity indicator in the system tray? How about the health status of the driver in Device Manager? Try unchecking/re-checking the ports in MIDI Devices and saving changes.

As noted, CbB has a simple tick-based offset in each track via the Time+ widget that affects the whole track. Sonar additionally allows setting an absolute time offset via Articulation maps to accomodate changing tempos and applying different offsets in different parts of a track if necessary.

A USB mic is essentially a rudimentary audio interface with a transducer attached. Although it might be made to work with the right configuration settings, you should really just get a decent analog mic for the MOTU so you don't have two interafaces using different drivers, driver modes and possibly different sample rates and latencies competing for resources and having to be synced.

Comp recording automatically splits and mutes sections of clips wherever a newer take overlaps an older one. You can select muted clips and hit keyboard shortcut 'K' to unmute them. If you're intending to get layered takes, use Sound on Sound record mode.

I hadn't really registered how long the gap is. A gap that big seems more like some sort of unreported file-writing error. DPC spikes or anything else causing the buffer to run dry would usually cause a full dropout with the transport stopping long before that. I'm pretty sure the DropoutMsec parameter applies only to playback and that the tolerance for recording is much smaller or even zero (i.e. even a single empty buffer will cause an instantaneous recording dropout). FWIW, I have a Dell laptop with Win11 that's prone to DPC spikes but have not encountered anything like that. One thought: If you've enabled Write Caching at some point in your attempts to gain reliability you might actually want to disable that; it's not always helpful in my experience.

I have some essential tremor in my hands and pretty significant macular degeneration in my right eye, but have no issues with clicking in the timeline to set the Now time even on my 15" laptop display with the scaling set to show the same real esate as on my 24" desktop monitor (also small by current standards). I wonder if you might just need a higher-quality mouse with the right mousepad, responsiveness settings, weight, friction and an ergonomic position that keeps your arm and hand relaxed and stable to achieve the necessary control to click precisely without dragging. All that said, I can see some value in having more control over the multiple functions that the timeline supports and being able to disable some of them (I almost never use its zoom function, myself).

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: