David Baay

When using a keyboard synth, it's usually best to set it up as if it were separate keyboard controller and sound module. Disable Local Control of the internal sounds from the keyboard and echo the MIDI through a MIDI track in CbB and back to the keyboard synth. For drums, the keyboard synth will probably want to see MIDI on channel 10, but you don't have to change the transmit channel on the keyboard; you can just set the forced ouput Channel in the MIDI track to channel 10, and leave the Input set to channel 1 of the keyboard's MIDI port. The same goes for any other instrument sound you might want to use from the keyboard, assuming it's multi-timbral - just set the the output channel of a dedicated MIDI track to the relevant channel in the multi-timbral patch setup. You'll probably also want to find and load an Instrument Definition for the keyboard synth so you can set patches from the MIDI track so you always have the right sounds on the right channels for a particular project. You can continue to use 'live', real-time audio output of the synth from the recorded MIDI while devleoping a project, and only commit to recorded audio when the arrangement and MIDI editing are complete. Just don't make the mistake I've made in the past of only recording the final Master and never recording the individual synth tracks such that I couldn't revisti a project later because the synth had died.

When you have Always Echo Current MIDI Track enabled in Preferences > MIDI > Playback and Recording (on by default), the currently focused track will show an 'A' for 'automatic' in the enabled Input Echo button. If you click that button, the 'A' will go away, indicating that Input Echo is forced On and will continue echoing even when focus moves away. This allows having more than one track echoing input (for purposes of layering, etc). So check that other tracks don't have the Input Echo button lit. Otherwise, you should not be encountering this problem, and it should not be necessary to to assign specific input channels. But I usually do recommend choosing channel 1 for everything to avoid doubling in the case that some MIDI source is sending on more than one channel (as my old RD-300s did by default).

I can confirm that inconsistency with Send Level and Pan controls. Double-clicking anywhere in any other control resets it and never opens text entry. With track/bus Volume controls you can double-click the numeric value to enter text, but I usually use Enter on the keyboard to access text entry for any control, regardless.

Yes, that's my understanding as well. And the change is pretty subtle and would probably only be really noticible if it's out of sync with some other timing reference. So.. what's the goal?

Didn't know there was such a thing. ;^)

I've sometimes had only the 'touched' track change, but always attributed it to workiing too fast and releasing Ctrl a moment before making the selection. I don't recall ever seeing some-but-not-all of them change; are you sure about that?

More like an 'oversight' than a 'decision' probably. If they had taken the time signature into account, it would have been easy to specify "Beats in Clip" based on that, and probably not that difficult to implement after the fact.

Sorry, but this is just wrong. The denominator is the value of a 'beat' (i.e. where you would naturally tap your foot or count along in your head), and the numerator is the number of beats/taps/counts in a measure. 7/4 isn't "7 notes played across 4 beats" it's 7 quarter-note beats in a measure.

Save As is a feature of pretty much all Windows content-creation apps that allows saving a copy of the 'document' currently in memory with a new file name without affecting the file from which is was loaded. What I typically do is Save As periodically while working and add a filename suffix to the base song name, referencing the last major action/edit or two, especially immediately after recording content that I don't want to lose to a crash, and before doing something destructive that can' t be easily un-done after making a bunch of other edits or closing the session, like quantizing MIDI or running a CAL script. You can Save As all the versions to the same project folder so they all share the same audio files. The project files themselves generally remain pretty small so it doesn't use a lot fo space. When a project gets to the point that you feel it's "done", you can save it to a new project folder with Copy All Audio enabled to save only the files used by that final version. But I generally just keep everything in the original folder as a record of how a project evolved and a resource for raw recordings that I might re-visit later using different instrumentation.

I've never lost MIDI spontaneously in all my years except by my own mistake. If you're seeing this in the PRV, it could be due to having Hide Muted Clips enabled, but that would not affect the Track View. The most likely way of actually deleting something indirectly is by having Ripple All enabled when you delete something in another track. Other possibilities would be moving it to a hidden track or inadvertently slip-editing the clip down too nothing or maybe executing Bounce to Clip(s) while it's muted. For future reference, I always advise using Save As to preserve earlier versions of a project as it develops in order to avoid saving irreversible edits. If you haven't already re-saved the current session, you should Save As with a new name now and check the last saved version.

It's not clear to me that this is reproducible enough to conclude that. I'd be inclined to think he's running up against some sort of resource management threshold, and that it might coincidentally have worked just as well to export Entire Mix at that particular moment. I'd want to see that there's a a consistent difference in between exporting just the Master bus and exporting the 'Main Outs' that the Master routes to and/or Entire Mix, and also that it's reproducible with different projects. A lot of users export the default Entire Mix without knowing any better and without encountering any issue.

As I said, Sonar creates a virtual bus for each hardware output in the system and uses that to mix down. The driver is not involved. The fact that you can export to a file format that your interface doesn't support - and even with no interface/driver loaded at all - testifies to this.

If I understand correctly, you're conflating parallel processing with parallel routing. What you're describing is parallel routing . Parallel routing of signals through FX plugins is likely to sound vastly different from serial routing, and isn't generally desirable except for specific purposes like adding reverb and parallel compression. And parallel processing should not depend on (or benefit from) parallel routing.

The soundcard is not involved either way. CbB creates a virtual hardware bus for each hardware output on the interface (hidden by default but viewable in the Console by dragging the splitter at the far right to the left), and uses this to mix down if the Source for the export/bounce is Hardware Outputs or Entire Mix (all hardware outputs combined). Like Glenn, I don't know why you would have problem exporting some or all hardware ouputs, but I always recommend exporting with Source = Buses, and only the Master selected so you don't have trouble with something like a headphone mix on another hardware out getting included in the export.

To select using the default Smart tool without risk of moving the clip, you can either lasso by right-click and drag across any part of the clip and release to select the whole clip, or left-click and drag in the lower half of the clip to select a time range. When you right-click, the cursor will change to cross-hairs marking the start of the lasso 'box', and when you left-click and drag in the lower half, the cursor will be a simple vertical Select cursor rather than the four-pointed Move cursor you get in the top half of the clip. As noted by others, you need to pay attention to which track is Focused/Active as indicated by the track name being highlighted. This will be the target track for the paste, regardless of what's selected. And the paste will start at the Now Cursor position regardless of where the beginning of the selection is. Play with selecting, copying and pasting different parts of one or more tracks to different times in one or more other tracks and the advantages of separating Selection and Focus will become clearer. Use the Paste Special option (Ctrl+ALt+V) to get more options for pasting multiple tracks to one track, pasting repeats, etc.

I guess I'm probably an exception among the dinosaurs around here for never really having used Sonitus Reverb. By the time I started using plugin FX in favor of hardware, CW was bundling the Lexcon Pantheon, and that became my goto for quickie, "no-brainer" room sound.

7/4 and 5/4 would be fine. It's only a problem when the 'beat' value in the time signature is less than a quarter. Seems likely the Bakers chose to limit it at a quarter to best serve the vast majority of loop-stye composers who are going to be working in 4/4 or maybe 3/4, and wanted to simplify guessing the intended number of beats in an unquantized clip that doesn't end exactly on a beat line. I would just copy-paste, but if you really need to be able to use Groove Clips, you can change the time signature to 19/4 and double the tempo.

Clips can only be looped at whole 'beat' boundaries and CbB considers a beat to be a quarter note regardless of the time signature. As a result, if you have an odd time signature in 8ths, you can't loop just one mesure (or any other odd number of measures). If a two-bar loop won't work in your composition, you can do it the old-fashioned way and copy-paste (with or without repeats) or use Duplicate, depending the need.

They look like waveform previews. Expand the bus to see the preview widget, and toggle the widget off to clear the waveform: https://legacy.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Mixing.22.html The screenshot in the documentation shows the preview waveform in green, but the default is orange.

To be clear, the issue brought up by the OP is just display issue. So long as you have a specific port and channel selected in the MIDI/Instrument track for the Input it will only record that input even though the confidence recording indication might register activity on other hardware/virtual ports while recording. With few exceptions I set the Input all MIDI/Instrument tracks to record from Port 1, Channel 1 of my MIDI interface which is my main keyboard/controller and use the "forced" output Channel setting to re-channel the output of the track only if needed for a multitimbral synth. If the synth isn't multitimbral, I just leave the output Channel as 'None'. The only time I really need to deviate from this is when using a pad controller or a MIDI-generating plugin like Jamstix in which case, the Input to the track will be channel 1 of the relevant port (physical or virtual). With every soft synth presenting it's own dedicated virtual port(s) to the DAW and hardware controllers/synths having independent USB MIDI ports, there is rarely a need to set different transmit channels on the controller or record anything other than channel 1 into a track. Setting the transmit channel was a lot more important in the early days of MIDI when it was common to have only one or two hardware MIDI ports with multiple controllers and synths daisy-chained in series.

The Event List view will make it easier to see if the three controller events have the same CC, channel and value (Views Event List or Alt+8 with the clip selected). You may also find it a little easier to select and delete in the Event List - especially pedal Up/Off events with a value of 0. But if you do want to continue working in the PRV, I recommend Lassoing events to select them by right-click and drag to avoid inadvertently altering controllers or drawing new ones with the Smart tool. Lassoing the top of a controller "tail" selects it so, in the case of sustain controllers that are all 0 or 127, lassoing along the bottom of the lane will select pedal Up/Offs, and lassoing along the top will select pedal Down/Ons

Troubleshooting by the process of elimination is "voodoo"? In the absence of access to the source code, it's one of the few avenues available for an end user to investigate. The "binary" approach I outlined is just a way of speeding up the elimination process in a big project. If the problem is truly involving thread sync, and isn't involving any specific plugin(s), this approach might not help, but it seems to me you're making a lot of assumptions about the root cause of the problem that are not justified by the evidence. I'll be interested to see what the Bakers find.

I missed it entirely, but applaud your effort to reset. ?

The numeric peak resets to -Inf every time you start playback and holds the highest peak encountered during playback up to the Now time. Playback has not yet reached the higher peak in the waveform.

This issue is almost certainly plugin-related, and eliminating UAD from an offending project would be a good place to start troubleshooting. Cakewalk has had various issues with UAD over the years, at least some of which had to be fixed by UAD as I recall. Again, I would be more inclined to attribute any variability in the output file to FX plugins that have random elements, intentional or otherwise. Standard operating procedure for troubleshooting an issue like this is to start stripping the project down until the problem goes away. A good way to do this with a big project is to take a binary approach: Disable half the buses/tracks/plugins and check the export to determine which half has the issue, then disable half of that half, etc. One way or another this is most likely to be a project-specific issue that can only be properly diagnosed by getting hands on with the project and all the plugins (and the UAD hardware if the problem can't be reproduced without it).