David Baay

I have never seen an event recorded in CbB that didn't come from hardware or from a MIDI-generating plugin except in the unusual case that CbB was recording MIDI via hardware (or virtual MIDI cable) loopback and picking up messages sent at the start of playback/recording by enabled Volume, Pan or Patch widgets in a MIDI track. And I know of no circumstance in which CbB will spontaneously generate [Pitch] Wheel events in the absence of an automation envelope explicitly created to do it.

That's one of the reasaons I fit the timeline to the MIDI, so I can do a partial quantize to tighten up the performance. With MIDI, you can also reduce the varability or completely flatten the tempo if desired. You can do the same with audio but the quality of the audio stretching will tend to be unacceptably distorted for a delicate solo guitar performance as you probalby know. But, yes, you will be able to quantize added MIDI parts. I'm not familiar with Logic's tempo-following feature, but all DAWs can read the tempo from a MIDI file into a project/song file in whatever format they store it, and CbB can copy-paste tempos between projects so you can take the tempo map from a MIDI-based project and bring it into an existing audio project.

Hi Michael, I would be happy to take a look at one of these for you. It may not be so much work that it requires payment. I've been recording without a click for years and using Set Measure/Beat At Now to align the timeline to the music when needed. I'm a MIDI guy, but the process is essentially the same for audio; it just takes a little longer to make sure you're setting the timeline too transients accurately. If the click from Logic is truly well synced to the performance, it will be easier. But if that's the case, you might also look into having the client export/save the tempo map as a .MID file that you can open in CbB to bring in the map. P.M. me a link to a download (a zipped CbB project folder or OMF file). Should be able to get to it tonight if not sooner. P.S. Had a listen to the MP3s and snapped the first 8-10 bars of the raw one. Client definitely has a unique sense of how long a phrase should be and where chord changes should happen in addition to the drifting timing. I don't envy you, but the basic chore of finding the beats and setting the tempo is not too difficult. Would be easier with a guitar track alone.

If everything in the setup track has a non-track location defined in CbB to store it, a track won't be needed to hold anything so it won't be necessary to create one. If a track has been created, simply looking at the Event List should reveal what data was in the track that couldn't be stored elsewhere. In the past, I've seen MIDI files that open with a first track that contains only a track name (e.g. the song or author's name), but in your case where it's the default "Track 1" and there appear to be clips in the track, the Event List should reveal something.

A few thoughts: - Audio was not copied because Events was left unchecked in the Duplicate dialog. The whole point of freezing an instrument track is to render the audio so it doesn't really make sense to duplicate a frozen Instrument track without including Events unless the intent is to create another "Live" Instrument track in which case all you have to do is re-enable the disabled FX bin and you're in business. - The root of the problem is that duplicating an Instrument track requires inserting a new instance of the synth, and that new instance is not being put into the frozen state. But it wouldn't make sense to freeze a duplicate of an Instrument track in which Events have not been included in the duplication. This presents a logical conundrum that can only be avoided by forcing all options to be enabled when duplicating a frozen Instrument track - Events, Properties (including the frozen state of the synth), Effects and Sends. The user shouldn't be allowed to uncheck any of these in the Duplicate dialog for an Instrument track. - To my mind, the proper way to do this would be to create an unfrozen duplicate of the Instrument track with all options forcibly enabled (except clip-linking which should be disallowed to prevent yet more logical conundrums when one of the tracks is subsequently unfrozen and changes made to the MIDI), and freeze the new instance so it's referencing its own audio file and is completely independent.

Another possibility: The Roland Duo-Capture on my laptop cannot dynamically change sample rates; it has a physical switch for 44.1kHz and 48kHz. Just yesterday I had a 44.1kHz project fail to launch with the switch set to 48. The Start Screen went away, but the project never opened. In the past, I would have expected it to load and throw a warning that the audio was incompatible with the driver when I attempted to start playback. I don't know if this is expected behavior now or it was just a one-off failure. I'll retry it.

Is 32-bit (aka x86) Splat replacing the x64 plugins with their x86 counterparts or is it using Bitbridge or a 3rd-party bridging component like Jbridge to load them (I think bridging works both directions) ? Either way, the replacement or the bridging could be working incorrectly. Why not just run x64 Splat?

So long as all the clips are selected, they should all copy-paste to their respective take lanes at the new time with no special procedures, regardless of whether lanes are showing or not. You might try copying by Ctrl+drag. Or Ctrl+Alt +V to Paste Special and make sure there isn't some option causing a problem, but I can't think of any that would have a bearing. As a sanity check, you might try selecting one of the clips that didn't paste and copy-paste it to a new track.

Share a copy of the project file without audio for review...?

Are interface I/O drivers available and checked in Preferences > Audio > Devices?

Would be good to get it reported to the Bakers. If you can save just that guitar track as MIDI with the tempo changes included, I'd like to try it. But if the issue is in the Staff View code, it might not get any attention. ?

Hmmm... I thought it might be due to nudging the note outside the slip boundary, but that would make is disappear from the Event List as well, and the clip boundary should expand with the nudge. But I think it's telling that the note isn't just failing to be drawn, it's being replaced with a rest. I can't repro with the the same notes in a test project, but I'm wondeirng if it might have something to do with the tempo changes which I can't read to replicate. The high density of changes looks like something Melodyne drag-to-timeline would generate. I have seen high-density tempo changes like that cause other display anomalies.

Please re-read my post. I'm successfully using it both places. Just to be sure, I spent several minutes going back and forth between the PRV and the TV, and between MIDI tracks and Audio tracks in the TV. I also tried scrubbing back and forth, changing my ASIO buffer size, and trying everything else I could think of to break it. All good so far.

I'm not seeing any problems either. Scrub is working in the PRV, on Audio tracks in the TV and on MIDI tracks with Inline PRV enabled, and there is no freezing when switching between docked PRV and TV. I will say, however, that I have experienced crashes in the past with scrub tool and had learned to avoid it as HOOK mentioned earlier in the thread. I would hazard a guess that this might have been an audio driver issue, and the issue that @pulsewalk is seeing might also be driver-dependent.

I can't repro that. Is it reproducible? If so, how far did you nudge, what are the musical values (i.e. timing intervals) of the notes that disappeared, what's the value of Display Resolution and do you have Fill/Trim Durations enabled? Might be helpful to share a copy of the affected MIDI clip. Also, I'm not seeing a problem sliding automation; you just need to make sure the nodes are selected.

You can move the whole Cakewalk program directory anywhere you want after installation and create a directory junction to it. I did this to achieve the opposite: moving it from a spinning O/S drive to an SSD I added later. For example if moving from Program Files on C to Program Files on K:, after you've cut-pasted or drag-moved the directory (not copied; it needs to be gone from the original location in order to make the junction), open a command prompt 'as administrator' and enter: mklink /j "C:\Program Files\Cakewalk" "K:\Program Files\Cakewalk" That's all there is to it. You'll see what looks like (and works like) a standard shortcut in C:\Program Files but as far as Windows is concerned, nothing has changed. If the drive is so tight that you can't even get CbB installed, you can move some other apps using directory junctions first, or consider moving My Documents; Windows has a separate feature that allows that: https://support.microsoft.com/en-us/topic/configuration-of-the-my-documents-folder-dfd9a90d-8f80-18d6-e7cc-f1566fc3b10b#:

Overall quality of the A/D/A converters and analog sections is more important than raw sample rate and bit depth, but I'm curious... can you tell me the actual measured Round-Trip Latency at 32-64-sample ASIO buffer, and can it run smoothly at those buffer sizes (assuming low DPC latency and sufficiently fast CPU for the plugin load)? I'm still happy with the MOTU PCIe interfaces on my desktop DAW but would be looking for a faster interface for the laptop laptop to replace the aging (and slow) Roland Duo-Capture EX. MIDI Round Trip would be good know as well. Makes me crazy that manufacturers never provide these specs, and few users take the time to measure and report them.

The thread you linked indicates that path to creating an empty preset required encountering a bug that was not reliably reproducible; I have tons of old WRK file-based projects that were reworked in the X1 era, and would certainly have taken that path if I had ever seen the opportunity. In any case, what I was getting at was that it was never an intended condition and has always required some sort of workaround to achieve.

Hmmm... I'd about lay money on my recollection that GlossEQ has always been the minimum configuration without the workaround.

TTS-1 has 4 stereo ouputs (or 8 mono if you pan instruments hard left and right). OP just needs to add audio tracks and assign their Inputs to the other Outputs.

It's not a new product; for all intents and purposes, it's just another update, and updates are no longer free. As with virtually all superceded software, previous versions will not get updated with either new features or bug fixes. There is nothing unusual in the way this is being handled. If some really significant regression in usability with broad impact can be verified before Sonar becomes available, I'm sure the Bakers will consider a hotfix. And FWIW, I'm still seeing pedal markings in the Staff View here.

It throws an error/warning, but it still clears the ProChannel successfully. Just save an empty .TXT file as Empty.pcp. After loading into a track/bus, right-click and choose Set Modules as Default. If you do this in a template for both tracks and buses, that template will never load anything in the ProChannel. I've been doing this for years and haven't encountered any issues.

So far as input filtering goes, CbB can only be set to completely ignore all controllers for purposes of recording; it's not selective and it will still echo everything in real time. MFX operate at the output of a track, which is effective to control what gets echoed, but won't limit recording; you'd have to Apply it after the fact. But even given those limitations, I don't know of an MFX offhand that's designed to only pass changing values. Most MIDI controllers are designed to only generate a new message when the position of the physical control has changed, so this isn't a very common scenario. You might have better luck finding a 3rd-party MIDI management app that can operate between the hardware ports and the DAW to do the necessary filtering. I recall looking into one of these apps a long time ago. It wasn't no-brainer cheap so I didn't pursue it, but I wouldn't be surprised if there are some pretty powerful freebies out there now.

Yes, I'm pretty sure the video series l linked covers that.

I don't know this library, but would expect "Ah" and "Oh" to be two different instruments/patches that need separate instrument tracks using two channels of Kontakt, Or possibly they use key-switched "articulations". Check the documentation.