David Baay

I resisted the temptation to load up on plugins for decades, relying mostly on Sonar-bundled content plus hardware synths and FX modules for 30 years! And I have a lot of more-or-less finished compositions (if not fully produced recordings) to show for it because I spent more time just playing and developing musical ideas. A few years ago I caught the plugin bug (I blame this forum, actually!) and loaded up on all kinds of instruments and FX, many of which remain virtually untouched because I still tend to just sit down and play/record solo piano which requires very little in the way of processing and mixing. But I'm not as productive as I used to be because I still spend too much time keeping plugins, plugin managers and licenses updated and messing around searching for the perfect piano or accompaniment sounds or just familiarizing myself with some plugin so I won't get bogged down trying to figure it out when I really need it... which might be never! I haven't bought anything new for quite a while now and think I'll be able to hold the line because maintaining what I have is already pretty overwhelming. But I do enjoy just learning how things work and marveling at the heights that DSP and physical modeling technology have reached. But AI is just around the corner, and I'm sure there will be related toys to tempt me. I'm especially looking forward to the version of CW that will be able to analyze all my projects and create a finished song "in the style of David Baay" from musical keywords I enter. ;^)

I tried using dxishell for some DX plugins that didn't get ported to 64-bit, but it tended to be problematic so I abandoned them. For Sonitus and other plugins that did get ported there was no need.

In the amateur world: - Solo piano compositions based on I, IV, V triads played (or worse yet, step-sequenced) on a freebie VST. - The endless hours people spend trying to "humanize" sequenced parts that could be so much better spent learning to play a MIDI keyboard/controller in real time. In the professional world: - AUTOTUNE!!!

We never got VST versions, just 64-bit versions of the DX plugins.

The need for such a large offset is quite unexpected in any case. Even if your interface has quite high hidden latency on top of the 512-sample buffer, you should not be seeing more than 14-15ms of audio input latency plus maybe 3-4 milliseconds of MIDI transmission and response delay. Ideally you would get the buffer down to 128 samples or less and not need more than 6-8ms offset. But 46ms doesn't make sense in any scenario.

This setting shifts the MIDI grid against the audio clock (including the audio metronome) for both playback and recording and will affect where MIDI is laid down on the grid when recording. This setting was originally intended to compensate for MIDI transmission and response delays of hardware synths to sync them with playback of recorded audio - delays that are typically on the order of a few milliseconds. Higher values will cause problems in other contexts.

Clip/lane muted?

This is quite possible if using different online (real-time) and offline (fast-bounce) stretching algrorithms. When using the same algorithm for both, the difference will usully be more subtle. The Groove-Clip algorithm does not typically yield the best result overall for offline rendering, but it generally works well for online rendering and it's quality issues tend more toward distortion than "hiccups".

That's the way I interpreted it as well. Process > Length at 200% should do the trick.

I have HPF enabled on a lot of projects and have never seen/heard that. Can't think offhand what action might cause it either.

All the time: https://en.wikipedia.org/wiki/Street_light_interference_phenomenon

You mean with just a tempo change in the tempo map? is it just one discrete change or a series of changes over a short period (which some people expect to be "smoother" but isn't usually musically necessary and can actually cause problems as Jonesey noted). What kind of noise? Is this just involving MIDI or also stretching-enabled audio clips? Some plugins (mostly delays) can behave badly with tempo changes; otherwise should not be a problem in general.

Thanks for clarifying as I was also a little mystified about the scenario that would make this necessary. This is a good example of a situation that comes up rarely enough that it might not make sense to have a dedicated editing mode to address it. But my guess is this is an orchestral piece and the situation is probably more common for orchestral composers.

As John pointed out, this is the root of the problem. The FX bin is after the Gain control. You need to insert the instrument in the Synth Rack and set its output as the Input to the audio track so the signal will enter the track ahead of the Gain control. Inserting instruments in FX bins is supported for backward compatibility for projects (actually pre-SONAR 2 .WRK files) that used this approach, but is not the preferred usage now and is subject to other issues.

You've got that backwards. Insert FX are inherently pre-fader because the FX bin is ahead of the Volume control. It's not possible to have them post-fader

The above seem to be in conflict with this: How are you expecting to move "everything" downstream of the insert point without affecting clips that cross the insert point? There are many ways to selectively move content later, but not by Insert Time/Measures. This function is designed to insert an empty gap in all tracks.

Once the project tempo is well-aligned to the audio, you should set the Follow Option to Auto Stretch before enabling Clip Follows Project and making manual changes to the tempos. Other modes will try to re-align transient markers to the timeline again which may result in some immediate stretching, especially if the mode is different from that used to Set the Project from the clip. Autostretch mode won't stretch any audio until you make tempo changes, and then will just uniformlyl stretch the clip between tempo changes without regard to transient markers which will tend to be more transparent.

That's true because the Record meter is ahead of the input to the track, but the hardware input connects to the track after the Gain control. See this signal flow diagram: https://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Mixing.07.html The diagram doesn't show it, but the "take off" point to write the signal to disk is essentially at the same point as the Record meter. But on playback, the signal from the file/clip comes in ahead of the Gain control. So if you alter the Gain, you will hear the difference on playback but not while recording.

In John's defense I will note that you ommitted "and installed it" from your quote, which is key to understanding which application that poster was referring to. Having been accused recently of not reading carefully enough when I am, in fact, a very careful reader in general, I can sympathize. Sometimes you just miss stuff. And John's reponse seemed more of an "explanation" than a "deflection" to me.

Are you seeing this in all projects? Snap Intensity is saved per-project and the intensity of the most-recently opened project will pertain to all open projects, but you should be able to change it in any one of them unless possibly a particular project has become corrupted somehow. Workspaces should not have a bearing but you might try setting Workspaces to None and re-trying. Otherwise... I dunno.

Strange. File import/conversion is an offline process that should not care what hardware (physical or virtual) drivers are in place. Seems more like one of those drivers was not allowing the .WAV file to be written to the drive as opposed to interferring with the conversion process, although I suppose there could be some contention for a CODEC. In any case this might be something you want to take up with the virtual audio cable developer to get a full solution.

Nether the track's Gain (input) level or Volume (output) controls alter the recorded level of a hardware input. That is solely determined by the input level/sensitivity control on the interface. So you can freely change track's Gain to get the desired level into any FX plugins you might be using and Volume to get the desired listening level.

Is this happening with a new project started from the Basic template? Can you record the note into a MIDI track regardless of whether you're hearing anything?

Just to clarify, what needs to be changed is the Edit Filter. This would be my guess also.

You can't record/import the backing tracks into CbB first...?