David Baay

As bdickens said most sustain pedals are just on-off switches. There are sustain pedals that produce continuous output, but it's not likely your inexpensive pedal does, so using it to control Expression is not going to happen. It's also unlikely that your keyboard can be configured not to generate C64 (sustain) messages in response to the switching of the Sustain pedal input., but you can keep those messages from being sent to the synth by putting the Event Filter MIDI FX in the bin of the MIDI track (split the Instrument track if necessary to access the MIDI FX bin), and setting it to filter out CC64. The free MIDI 'SustainFix' MFX from TenCrazy may also have an option to do this (not sure, and don't have it installed on this machine). If it does, I would recommend it over the Event Filter which I have found to be a bit wonky in the past (causing delayed note events even when not filtering notes). https://tencrazy.com/gadgets/mfx/ EDIT: Checked the SustainFix MFX on my main DAW, and it does not have an option to block CC64.

The 'hardware' buses in Cakewalk are still virtual/software; the audio interface driver comes after them. If everything is ultimately routed through Master to a single hardware bus and the levels are not altered on that bus, Entire Mix will indeed be the same as the Master. You make a good point that hardware buses are only displayed in the output list for Entire Mix if something is actually routed to them so there is an opportunity to see that something is not going to the Main Out 1-2, and to exclude it by unchecking it if necessary or to go looking for the unexpected routing to it. But as busy as the export dialog is, this could easily be overlooked in the heat of battle. In any case, no one is saying that exporting Entire Mix is wrong, just that exporting the Master bus directly is a best practice to avoid unexpected results.

Sing your main vocal... then do it again but whisper it.. then delete both tracks and load up a synth to carry the melody.

I responded to your post in the EA thread: This is not new; CbB (and SONAR before it) has always done this (i.e. muted input monitoring during count-in). I'm a bit surprised this doesn't come up more often, but I suspect most users don't ever try to play during the count-in.

http://forum.cakewalk.com/Exporting-a-final-mix-m2509719.aspx Cakewalk CTO Noel Borthwick on exporting a final mix: "The cleanest and most deterministic way is to bounce the output of a final bus, typically named master as it is in the normal template but it can be any other name of your choice. For convenience we also allow the capability to output the "entire mix". When you choose "entire mix" internally the bounce process creates a "virtual master bus" and redirects the outputs of all the hardware mains to this. Then the virtual master is rendered. This essentially is summing SONAR's output to ALL hardware outputs. Entire mix can be a useful shortcut sometimes when you don't have a master bus - e.g older projects created before bussing existed. However you have to be careful that you don't have any duplicate signal paths sending to your hardware, or these signals will be summed into your mix, probably not something you want. A common reason why this might happen is if you have your project set up to send to headphone outs. Another common problem here is if you have adjusted the level of your hardware mains for listening purposes this gainstage will be included in the bounce which may not be what you want. So in short its better to manage this yourself by keeping a final bus and always rendering its output wen you want to bounce your project.

'ENTIRE MIX' is all hardware outputs which may include signals you don't want in your export (e.g. a headphone mix sent to a vocal booth). I always recommend to export the Master bus.

Hmmm..., yeah, not working here either; holding Shift causes nothing to be drawn as you noted. I normally get tempo changes by using Set Measure/Beat At Now with MIDI recorded in real time without a click, so hadn't noticed this wasn't working in the new tempo track. It didn't used to be necessary to hold a modifier when drawing in the old tempo view. It automatically honored snap if enabled. Can't see offhand why this change would have been necessary, and would suggest the Bakers restore the old behavior if possible.

Assuming you mean drawing MIDI notes in the PRV, if a new note starts more than a measure later than the end of the previous one, Cakewalk will start a new clip by default. It's not a bug; it's just how it works. My guess is it's a holdover from the early days when all MIDI notes were grouped by measures, and that was the finest resolution at which you could edit. In any case, you can just select the entire track and Bounce to Clips to combine them. Or you can slip-edit the end boundary of the clip out in the Track View in advance to encompass notes that will be further out. Or you can enter notes the old-fashioned way - in real time with a MIDI controller - and each take will be a contiguous clip, not matter how long you pause between notes. I started with Cakewalk for DOS 2.0 in 1988, so yes, I'm biased. I have spent some time getting to know Studio One, and dabbled a bit in Reaper. Both took several days to get even slightly comfortable with and I had to check the documentation constantly to get the most basic things done. This is the nature of DAWs. They are way too complex to be 'intuitive'. And they all have bugs, and features that are more or less 'polished' than the equivalent feature in some other DAW.

It would be best to figure out exactly why that is, because it's almost certainly configuration-specific, and thus could revert back to the less-pleasing configuration at some point without your knowing how to restore the magic. First step would be to import the master bus export from one version into the other to verify there is an actual difference with a nulling test and, if so, start comparing individual tracks/stems with frozen synths and FX to nail it down.

Before the advent of Ripple Editing and the Arranger Track, it was useful for arranging. I still use it frequently for that purpose - old habits die hard. Another option for quick mouse access to Deselect All: Put it in the Custom module of the control bar.

I'm always advising against using continuous tempo changes because it's not musically necessary to have tempo changes in between notes and can cause problems with many instrument and FX plugins. You can avoid this by enabling snap at a resolution that matches the smallest note interval when drawing tempo changes.

Hmmm... that makes it less likely a new project is going to help . I dunno...

I thought about this one for a while, but had no really bright ideas. Pretty weird set of symptoms. I actually would not expect it to be fixed by a re-install. Something's going on with the plugin handling or possibly the project is corrupted. If the routing and plugin setup is not hugely complex, I would suggest importing the tracks to a new project started from the Basic template (rather than some potentially bad/ancient custom template), and see if the new project behaves better.

I meant with handling multiple soft synths and FX plugins. Streaming audio and playing back MIDI driving hardware synths is not that big a chore. The main limitation on audio track recording and playback will be the performance of your hard drive which can be dealt with by increasing the disk buffers if necessary

Not sure why you're getting re-directed to that URL. Below is the content of the post. I was quoting and responding to an earlier post. Open Notepad, enter this line: (do (+= Now 240)) Save as "Transport Forward 16.cal" Put this file to the folder with other CALs. Go to Options > Keybindings and assign this CAL to whatever key you like. Now if you press that key, cursor moves 16th note forward. For opposite do the same but start with (do (-= Now 240)) If you want cursor to move by bigger steps, enter 480 or 960 instead of 240. (Clock resolution must be set to 960 ppq) This deserves a bump. And FWIW, to prevent bad behavior when cursoring back to time zero, I did this: (if (>= Now 30) (-= Now 30) (= Now 0) ) Note: The "do" is not necessary if only one statement is to be executed. And the second statement works like an "else" in the case that the cursor is less than one full increment (30 ticks in this case) from time zero.

With all due respect, Mark was mistaken in this case. The regular quantize dialog can quantize beats within an audio clip as well as audio clip start times (though not at the same time), but you have to enable Audiosnap on the clip first to quantize beats. But this is unrelated to the OP's issue that Groove Clips can't be quantized either way.

The test I outlined was intended to confirm the playback is actually changing, and not a mistaken impression because I've never heard that myself or seen it reported by anyone else. If it checks out with the nulling test, it would be interesting figure out what's going on in your particular case. No doubt Audionsnap can produce some bad outcomes (whether from misuse or defects), including that "offline" rendering has timing anomalies that don't manifest in real-time "online" playback, but variable timing from one playback to the next is not typically one of them.

The thing about "Entire Mix" is that it's the sum of all hardware outs. So if you have a send to another hardware out (e.g. a headphone mix for a vocal booth), that's going to get summed into the exported file. Assuming everything is routed to the Master bus as it should be, and Master goes to the hardware outs that drive the monitoring system you use when mixing, exporting from the Master bus is the best practice IMO. It ensures the level in the audio file matches the metered level on your Master bus and isn't affected by using the level controls on the hardware strip to control your monitoring level, I highly recommend avoiding that since this extra gain stage so easily gets out of sight and out of mind and can cause confusion later on about why what you hear from Cakewalk is not the same as from another app (or another CW project with a different setting) playing your exported master through the same monitoring system.

Shouldn't be happening. Bounce the Master bus to a new track that outputs directly to Main Outs, invert the phase and see how it nulls with the live tracks. Depending on FX and the way stretching is rendered, nulling may be imperfect but it should sound the same every playback. The kind of audible timing variations you're talking about should produce some pretty severe flamming/echoing if it's really happening. One thing to watch out for if to make sure the mode for Clip Follows Project is Autostretch before enabling it. If it's anything else, things will move around and likely get out of sync as soon as you enable it. Also, If you're not editing clip maps to make sure the beat markers are locked into their respective transients, quantizing is unlikely to work well.

I don't have any Korg gear, but, yes, I would guess it will require sending a SysEx message.

Hmmm... yeah, getting just a little long in the tooth. I'm a bit surprised your CPU even supported the Win10 upgrade. You will definitely want to upgrade sooner than later and get a dedicated audio interface if working with CbB is going to continue to be a significant part of your musical life. With proper optimization, that machine should still be able to pull off a clean recording at 128-sample buffer in a basic project with not too much going in the way of plugin processing or multitrack audio playback streaming, but will continue to struggle as your projects get more complex.

You can nudge the whole selection, but not individual markers...? I read it as wanting to nudge the Now Cursor which can be done with CAL. See post 23 here: http://forum.cakewalk.com/quotnudgingquot-the-quotcursorquot-now-time-m1339533.aspx Ah, that pesky Aim Assistant; he quickly gets on my nerves, and the timestamp in the timeline is indeed problematic - almost always disabled here..

I'm not clear what exactly is popping up that interferes with grabbing loop markers...? If Loop and Punch markers overlap, you can get one or the other depending on how high in the timeline you hover the mouse. Getting to an overlapped Selection marker is harder. One way is to hold Shift and click nearby so that it moves out from under the loop marker without affecting the other end of the Selection. The Ref. Guide says; Tip: If multiple markers overlap, you can click any of the overlapping markers and keep the mouse button down, then press TAB to cycle through to the marker you want to move. For example, if a selection, loop, and punch marker are all at measure 5, pressing TAB (while holding down the left mouse button) cycles through S (selection), L (Loop), and P (Punch). However... I found this is not working since the default binding of Tab to Goto Next Transient/Note was removed in the last release, and now has to be deliberately bound if you want to use use it. This manual binding overrides the tab-through-marker-types function. The Bakers might need to revisit this.

It should not normally be necessary to go that high in a properly tuned DAW recording a single track. but it could be WiFi or something is causing a spike in DPC latency. You can watch DPC latency in real time and get an idea what's causing it with this: https://www.resplendence.com/latencymon The fact that it happens shortly after you start recording also suggests it might be due to anti-virus scanning the new audio file. I can't actually check the audio file because my browser security doesn't like the URL.

Random thought: symptoms sound a bit like effects of the 'Generic Low-Latency ASIO Driver' that Cubase (or other Steinberg software) installs.