David Baay

This might be related to an issue that was brought up a while ago that nodes don't get included in the selection when the view has to auto-scroll as you're dragging to select off-screen nodes. All nodes have to be already visible when you start the selection. I haven't checked whether this might have been fixed already.

+1 Is lasso (right-click and drag) not working for this?

I am seeing Patch Points there despite the option being named 'Send to Existing Bus'. Thumbs up on the rest of it.

Make sure you have Non-Destuctive MIDI Editing un-checked in Editing preferences.

Should not happen if you have 'Re-use Existing Lane' option or Re-use... Unless Takes Overlap' option selected in Record Options since Overwrite is theoretically eliminating the overlap in the punch region befrore recording starts. But there may be scenarios (certain combinations of tempo and punch points) where CbB thinks there's still an overlap and only the first option would work correctly.

Cool.

Confirmed with a basic project using Cakewalk True Pianos that Real-time Freeze runs indefinitely when the output of the Synth/Instrument track is an Aux track. Good catch.

Good point, but it only happens when Exclusive Solo is engaged.

Confirmed. And the musical value is ignored in favor of the Landmarks as shown in your video. I also saw some other odd behavior where it nudged by random small amounts (4 ticks, 32-ticks) when the clip start was between 1:01:000 and the first marker, but I can't reproduce it consistently

CbB is running seamlessly on a new Dell Inspiron laptop with Win11 pre-installed, using WASAPI with onboard audio. I won't be upgrading my 7-year old desktop DAW that came with Win10; I'll just get a new machine with Win11 (or 12!) when the time comes. Only one Win10 update caused any issue for me, and it's minor: I now have to power up my old MOTU MIDI interface after the O/S loads or the driver won't load properly.

That's Solo Override. I has no effect until you solo some other track; then it prevents the Override-enabled track(s) from being silenced.

Just confirmed the issue with Event Editor and Exclusive solo of an Instrument track at the same time as sjoens was posting. Never had all three of these conditions come together I guess.

Interesting, My experience with hardware mixers is pretty limited and I hadn't ever encountered that. 'gate every FX in the signal path' is kind of an odd way of describing what's happening. You're gating the signal (from a clip in CbB or from a tape in the analog world), and that gated signal is passed on to the next effect if there is one. So all the FX see an altered signal, but their behavior isn't directly affected by the gate except to the extent that they might respond differently to the altered attacks and decays in the signal.

I meant only to compare FX Bin signal flow to hardware inserts.

Gave it a go both before and after upgrading Melodyne Editor 4 to 5 that I hadn't yet installed, and could not reproduce a problem. I also tried with Ripple Edit - All engaged and that didn't cause a problem despite all the clips becoming selected when I clicked on one. Might need someone to share a problematic project to see if it's project-specific.

I start pretty much all my projects at 1:01:000 unless they start with a partial 'pick-up' measure, and have only ever encountered a few specific issues with external hardware synths needing time to process a patch change or MIDI tracks with a positive (early) Time Offset entered. It shouldn't be a problem in general. The OP mentioned using the Arranger which makes me think this might be related ('Select Events with Sections' option):

Hey, Chuck, I'm not understanding the distinction you're making between the way CbB handles Insert FX and the way a hardware mixer handles them. Plugins in FX bins are acting as a series of Insert effects (i.e. the entire signal goes through each FX in turn before being returned to continue on it's way to the track's output) as opposed to a Send FX (i.e. a copy of the signal is sent on a parallel path to a bus with the FX on it before re-joining the track's output on the Master bus). If a hardware mixer has multiple insert jacks per channel, those inserts operate in series just like CbB's FX bin. If the mixer has only one insert per channel, you have to connect multiple FX in series externally (or use a multi-FX processor).

John mentioned this might be due to having Ripple Edit - All engaged; has anyone checked that?

Like many users with higher-end digital pianos, I often use hardware piano sounds in preference to VSTis. I will respectfully disagree with John and say that the best hardware is generally superior to the best plugins in this realm, and the Yamaha NU1 is certainly among the best. Are you direct-monitoring the Yamaha's output or input-monitoring back through an audio track in CbB and out to a monitoring system? If the latter, possibly you are recording both MIDI and Audio, and getting phasy sound from the layering of the real-time MIDI driven output with the recorded audio on playback. SOP for working with a hardware piano/synth is to record only the MIDI initially, edit it as necessary to perfect the performance, and then arm an audio track to record it and mute/archive the MIDI track after recording the audio. Most of the other setup issues that would cause echoing (e.g. the piano transmitting on two channels or connected via both USB and DIN MIDI ports) would manifest while playing live as well as on playback. In any case, make sure you have the Input of the MIDI track set to a specific port and MIDI channel of the Yamaha to avoid recording duplicate MIDI events.

Screensets don't have to be locked to maintain different track visibility settings; each screenset has independent settings. But I can't get the Track Manager dialog to be out of sync with the Console view as shown in your screenshot other than by having uncommitted changes.

Session drummer does not differentiate MIDI input channels, only note numbers; any of the twelve pads will respond to any of the 16 channels. But it does offer 12 separate stereo outputs assignable to the twelve 'channel' strips. I assume when you say you used 8 tracks initially that you had CbB create individual instrument tracks per output for 8 of the 12 outputs. So you can add 4 more, and assign the instrument 'channels' in SD3's mixer view to the separate outputs using the drop down at the bottom of each channel (this does not happen automatically). Each channel/pad in SD3 can host multiple instrument sounds differentiated by note number but all the instruments on any one channel/pad will share the common audio output assigned to that channel. You can add a new instrument track by right-clicking in the Synth Rack, and choosing 'Append Instrument Track', but you have to do the SD3 mixer output channel assignment and the Instrument track's audio input assignment manually. This is unique to SD3 because it doesn't automatically assign the strips to independent audio outputs the way a 'normal' multitimbral instrument might. Technically, you can create 24 mono tracks for the 24 L/R output channels, but there's no way to get two instruments assigned to one channel strip panned left and right independently within SD3 to hit the two sides of the output pair so SD3 is effectively limited to twelve independent stereo outputs.

I know it works when bouncing mono tracks within CbB, but maybe not when exporting clips to file. I'd have to try it.

Split mono is for separating the sides of a stereo clip/track/bus. Clearly CbB should handle this situation more gracefully, but it would seem the incompatibility of 'Split Mono' with the source being a mono clip is likely causing this error. Changing the Pan Law to one of the -3dB center options should get you what you want.

Punch muting is applied at the moment recording is started. Comp Recording doesn't do its thing until the transport is stopped because the length of the take isn't defined until that moment. It's possible for a clip to be 'double-muted' by both region muting of Mute Previous Takes and full clip muting used in Comp Recording. That's just what happens when you combine Punch and Comp recording as described. It doesn't really make sense to do that in most cases which is probably why the documentation doesn't address it in one place, but it follows logically from the way the two features work independently. Yes, it can be confusing. Such is the nature of highly complex, powerful and flexible software.

Working as designed. CbB trusts your judgement that if you didn't set the punch range to encompass the whole previous take that you don't want the whole take muted, and uses region muting to mute only the part of the clip inside the punch range.