David Baay

Late to the party, but... the conventional way of achieving this - and maybe still the easiest - before the new export features existed would have been to solo the folder and export the Master bus. This will still work, and won't require re-busing anything. Just make sure there are no dynamic FX on the Master because summing compressed tracks is not the same as compressing the sum.

+1 for getting a real controller, and learning to enter to record parts in real time with control of velocity and duration as well as pitch. Even if you make a lot of mistakes at first, you will improve quickly with, fixing them will be faster than entering and editing one note at a time using the mouse and/or PC keyboard. Recording drum parts from a controller keyboard keyboard is especially easy (and a good place to start) because you can record just one or two kit pieces at a time, and you don't have to worry about duration or fingering.

Bounce to tracks and Flatten Comp are applicable only to Audio. Bounce to clips is applicable to both Audio and MIDI, and will combine all selected clips. I generally only use bounce to clips with material in the same lane, so not sure offhand where the combined clip will end up when they come from different lanes - I'm guessing the first lane. When entering notes in the PRV, if a new note is more than 2 beats later than the previous note, Cakewalk will start a new clip rather than extending the existing clip to encompass the new note. There really should be a setting to control this, but I don't believe there is - another reason to learn to use controller to record parts in real time, rather than drawing with a mouse. The advantages of having drum parts in separate lanes are primarily related to editing/arranging in the track view - being able to easily select and cut/copy/paste pieces of individual parts to different places or apply clip FX or changes with the Event Inspector selectively. It also facilitates soloing/muting parts and or trying out different patterns by making changes to a copy in a new lane.

Select all clips (or just select the track number), then right-click a clip and Bounce to Clips. But having different drum parts on different lanes of a track can be very useful, and I recommend just leaving it that way.

Thanks for the heads up. I've been waiting to get a deal on the 'crossgrade' option at for owners of 'qualifying' Kontakt Player-compatible libraries - now just $125. I picked up Morphestra 2 on sale last year which made me eligible, but then did not do a good job of watching out for the sale. I'm really not that big on samplers in general, but Kontakt libraries are so ubiquitous it's pretty much essential if you want access to even a few. I picked up a few other deals on Kontakt Full-only libraries last year, knowing I would eventually get the to use them. Looking forward to playing with the new toys!

There's a button for it in the Mix Module in the Control Bar. 'I' in this image: https://www.cakewalk.com/Documentation?product=Cakewalk&language=3&help=Automation.13.html

As Craig noted, Offset mode works 'under the covers', and will not affect the displayed position or dB values of your automation envelope. Moving the whole envelope up and down is an alternate way of dealing with the problem. I don't know of a shortcut or gesture that would inadvertently select and entire envelope other than clicking the track number to select the whole track with the Edit Filter set to the envelope.

That works, too, but not every track is going to have a dedicated bus where you can do that. And if the track has any post-fader sends, you're generally going to want the level of the track to be right at the output. Offset mode is the quick, easy and recommended way. of doing this. Incidentally, you can tell you're in offset mode because all the widgets will have a '+' in them. But it's easy to overlook in the heat of battle which is why users sometimes get in trouble by inadvertently enabling Offset mode (more so when 'O' was the default shortcut).

In the distant past, the PRV would sometimes get in odd states depending on where it was opened - .i.e. docked, undocked but not floating, or floated. You might try playing with that. Also I'd be curious whether this is all projects or just your current one.

You need to select the Autostretch mode from the drop-down next to Clip Follows Project before enabling it.

The track you use as a guide track for Fit to Improvisation is sacrificial. Its timing will go out of sync with the timeline and existing MIDI and Audio to which you're trying to align the timeline with tempo changes. If you want to keep a copy that stays in sync, copy it to another track or to another lane in the same track before executing Fit.

Hey, no fair, and where's the fun in that? The (unwritten) rules of the forum say you have to figure stuff out without being able to look at the project directly. ;^)

I cannot repro this. Since you're not recording, record options should not have a bearing. I thought the status of Non-Destructive MIDI Editing might, so i changed that, but still could not reproduce the problem. If you can reproduce it a second time, you might need to share exact steps. When you did the 3x drag-copy of the 'base' pattern was that also done in the PRV with looping already encompassing the 4 x 4 bars (if I'm reading the PRV interpreting correctly with the timeline out of view), or did you do that part in the Track View? And what's in the apparently empty clips?

Okay, my second guess is that you're exporting 'Entire Mix', and you have a send of that track (or the first bus it hits) to a second hardware out (maybe via another bus), like a headphone mix. What you hear in your monitors is only the master bus coming through the main outs, but what you get on export is a mix of the main outs and that other hardware output. Try exporting with Source=Buses, and select only the Master bus. EDIT: Hmmm... just looked back at your screenshot and see you have only one stereo output. But I would still recommend you export only your Master bus.

Flanging/Phasing generally only occurs when two identical signals (both frequency and timbre) go out of phase. If you're adding MIDI instruments to a recording that used real instruments or other virtual instruments., that should not happen. If it did, we'd all be in a world of hurt all the time. But if Mark's shifting-tempo trick made whatever you were hearing go away, I guess that's all that matters.

Indeed it was Brundlefly. Not sure why the new forum defaulted to my real name, but I decided to just leave it. I figured my avatar would be recognized by the old-timers. ;^) All your points are well taken with one exception: System performance should not alter latency. Latency should always just be fixed based on config settings, plugin delays and hardware/firmware interface buffers, and if the limit of CPU performance is reached, the audio engine will drop out.

Ah, okay. I thought you were just trying to avoid having to open the PRV track pane, and I missed the part about using a keybinding.

In the mean time (and maybe indefinitely, given that Pick Tracks was deliberately removed from the PRV in favor of the track pane a long time ago)... Depending on your workflow, and the number of tracks you have to deal with, this could be a workaround or maybe even the preferred solution: Enable editing on all tracks in the PRV track pane by sweeping through all track numbers, enable Autofocus, then close it. All notes will display as 'ghosted except for the currently active/focused track. Clicking on any note will 'pick' that track and un-ghost all the notes. If you know you're only going to be needing to work on a subset of all tracks, you can Ctrl+click in the PRV track pane to enable just those tracks for editing to reduce the 'clutter' of ghosted notes. This should at least reduce the amount of time you need to have the track pane open.

This could be an issue if the OP is playing a direct-monitored hardware synth, but in any circumstance where the audio passes through or originates from the box, 25ms of Plugin Delay Compensation would make performing pretty uncomfortable. So I doubt that's a factor in this case. Also, just so the OP understands, not all plugins add latency. only those with internal 'lookahead' buffers to 'see what's coming' in order to do their processing (e.g. transient shapers, convolution reverbs, any linear phase FX), some compressors/limiters). Plugins that do this are generally classified as 'mastering' plugins that are not intended to be used in the 'tracking' phase of a project. Also, Cakewalk allows overriding delay compensation on input-monitored tracks so you can still record external sources without feeling the extra latency in some cases. But, as John says, it's best to avoid tracking with plugins that need PDC.

See Timing Offset (msec) under Preferences > Audio> Sync and Caching. it's indented under the Full Chase Lock option which makes it look like it's somehow dependent on that option but it's not, This setting is primarily intended to let you advance the playback of existing MIDI driving external hardware synths to make up for the MIDI transmission and audio latency that would otherwise cause them to sound late vs. recorded audio and soft synth tracks. But because it works by effectively shifting the M:B:T against the audio clock (including the audio metronome), it can also compensate for MIDI latency on recording. The only problem is that the offset needed to correct for late recording (i.e. shifting the M:B:T grid later vs. the audio clock so the MIDI lands earlier in the grid) is the opposite of what is needed to compensate for latency on playback (shifting the M:B:T grid earlier so MIDI output is sent before audio). This isn't a problem if you don't use hardware synths because soft synths are handled like recorded audio, and aren't affected. Only I/O from/to hardware MIDI ports is affected. All that said, if your MIDI is being laid down 25ms late, you've got some systemic or procedural issue that needs to be addressed. One-way MIDI transmission delays are typically on the order of 2-3ms, and should not really be an issue so long as your audio latency is also low . I have seen a number of reports over the years of MIDI being lad down late (or sometimes early, which is really strange) on some hardware setup. Unfortunately, I've seldom seen this get resolved without changing some hardware. You can try experimenting with the Timing Offset, but values of more than a few milliseconds can start to have weird effects when starting/stopping playback and recording, It might be worth sharing you hardware setup, audio interface and driver settings, and letting us know what instruments you're using and how you're monitoring in case there's an obvious issue (like maybe using the MIDI metronome to get a click from an onboard soundcard synth).

Clicking anywhere in the track header will make it the active/focused track.

Depending on how you came up with 114.005, I would guess that the tempo is nominally 114bpm, even, and your measurement or the performance was just off by that much (on the order of 20 ticks or 10ms over a 4-minute song at that tempo). If we're talking about syncing MIDI to audio, that should be of no consequence unless the song is lot longer than that.

Actually, I generally feel the same way, and typically leave 'Always Echo' disabled. The main reason in my case is that I often leave Local Control enabled on my keyboard synth to eliminate the MIDI round-trip latency and get the best possible response when just playing and recording solo piano and not working with any other synths which is the way most of my projects start out. Obviously I don't want the MIDI track in my default template echoing automatically in that case. But when working in a project with multiple synth tracks, and wanting to have the most transparent experience with performing on a controller while switching tracks in the PRV, I would think 'Always Echo' is the way to go.

The currently focused track (name field highlighted) is the default destination for pasting. Selection and track focus are independent in Cakewalk so it's quite possible to select a clip in one track while some other track remains focused so the paste ends up going there. This is a useful feature when needed (e.g. you want to copy clips from several other tracks to the one you're currently working on without constantly having to switch the focus back to the destination track and/or scroll up and down in a big project), but it does mean you need to keep track (no pun intended) of where your focus is. If you're not deliberately intending to move/copy things across tracks you'll want to start all your edits by deliberately clicking in the header of the track you intend to work on to set the focus there before you do anything else. The PRV has 'Auto Focus' and 'Always Paste Copied Notes into Active Track' options to help with this, but so far as i know, the Track View still does not. This would might make a good feature request to facilitate some workflows.

To clarify, the PRV snap resolution and mode settings will override the global snap resolution and mode settings, but the PRV snap enable depends on global snap being enabled. So if you temporarily want snap completely disabled in order to draw controllers, you can just toggle global snap off with the default 'N' keybinding; you don't have to disable both.