David Baay

All the other threads on this seem to conclude it's due to unexpected response from the ASIO driver. Everyone acknowledges RME drivers are generally among the best so that suggests some 3rd party software/driver component is interfering. You might look into uninstalling whatever driver components the onboard audio was using if it's disabled. Or do the opposite, which I usually recommend: Enable the onboard audio and set it as the default audio device for use by Windows, browsers and generic multimedia apps, reserving the RME driver for use by Cakewalk and other applications that you specifically configure to use it.

He pretty much diagnosed and solved it in the original post: "What I suspect is causing this is that I'm playing sustained notes and am rushing (see "not using the metronome" above), so starting them before the punch-in." If that's the issue, let this function as a public service announcement: when punching in a MIDI performance, set your punch point a quarter note or so ahead of where you think you're going to start playing so that sustained notes don't get lost." If the note-on is played before the punch-in, it will be ignored, and you won't get a note. If your timing is reasonable, setting the punch point a 64th early should do the trick. Or do as I suggested, and just Comp-record into a new lane and comp the parts together instead of trying to punch in.

Record levels are determined by hardware input gain/sensitivity on the analog side of the interface. This 'cable' interface may have a physical control for that, or possibly is controlled by the Windows mixer or a separate 'console' app provided by the cable interface vendor. And, of course, you need to ensure the level out of the guitar is the same as previously.

Set LinkPFSendMute=1 in Config file (AUD.INI). The default is 0, and gives the behavior you're seeing now.

Not sure it's clear from previous responses: you can drag the split point between the two takes later to create an overlap so you have something to crossfade. 5-10ms of overlap and cross-fading is all you need. Zoom in on the punch point, and set snap to .005 seconds so you don't have to guesstimate how long the fades are and you can easily get them to start and end at the same place. The cross-fade should negate the need to worry about snapping to zero-crossings, which isn't really that helpful. As I've posted many times (and demonstrated at least once), splitting at a zero-crossing is no guarantee you won't have a pop if the surrounding signal level is high - you still need a 3-5ms fade. The way you did it is fine given that you couldn't play your way up to the punch point because you had to be ready to play the change. Normally, if you were able to play the change correctly - but maybe only once in 3 or 4 attempts - I'd recommend doing multiple takes of several bars around the problem point until you get a good one, and then use the Comp Tool to create splits with auto-cross-fades into and out of the good take, and drag the split points as necessary get the cleanest possible transitions. As a MIDI guy, I don't actually do that much audio recording and editing, but it seems to me that multi-lane recording and comping capabilities make punching largely unnecessary.

Be sure you're listening to that track, and not some soloed or non-automated copy that's playing in parallel or through a pre-fader send or something.

Individual MIDI events can be muted. Check the PRV and click 'whited out' notes with the Mute mode of the Erase tool (there's probably a modifier key option for the Smart tool, but I don't know it offhand). You may also be able to use the region muting tool. IIRC region muting is used in audio when punching in Overwrite rather than Comp Recording mode; I presume MIDI is the same. CORRECTION: It's enabling the Mute Previous Takes option for punch in that causes this. Sweeping with the Mute tool in the upper half of the clip will undo the region muting without having to go into the PRV.

I have to chuckle a bit at this because historically there have been far more posts expressing concern that the export process does not usually run the CPU at 100%, and therefore could theoretically be completing faster. ;^) Incidentally, I have the audio engine toggle bound to the tilde/accent key, and frequently bop it to stop the engine when making edits hat I don't need to hear, or when walking away from the DAW for extended periods.

Assuming the track layouts are the identical (which seems like a necessity for this to work at all), I would save the 'model' project as a Project Template (audio will be automatically excluded), start a new project from that template, set the tempo to match the raw project, and copy-paste all the audio clips from the raw project into the new project in one go. Then Save As into the same project folder as the raw project with a suitable name so the new project references the audio file from the same place. If you really want the raw and mixed projects to be totally independent, Save As to new project folder, and enable Copy All Audio With Project in the Save dialog. But having them share an audio folder is not a problem.

- Open both projects at the same time. - Delete all tempo changes from the target project. - Select All, and Copy-special the tempos from the source project. - Paste special the tempos to the target project.

The whole purpose of punch recording is to ignore input that arrives outside the punch region. In the case of MIDI, if the Note On is ignored, you don't have a note. The concept of punching in is more applicable to audio where you need a gapless transition from an existing continuous data stream to a new one. MIDI doesn't work that way because there's no data between the start of a note and the end. For these reasons, I almost never use punch with MIDI. I just record another take in a new lane, and 'comp' sections together. This can still be a challenge if notes are overlapping (often the case in piano compositions), It's best to find a place where that isn't happening; otherwise you're stuck with manually editing in the PRV to resolve collisions/doubling. Comping tools don't really work for MIDI for the same reasons that punch is a problem.

I double-checked, and both meter ranges and metering mode options are being saved per-project here with Workspaces set to None, including the previously problematic RMS+Peak option for Playback meters. You're going to have to give detailed steps for replicating the problem with specific setting choices, and it would be best to start a dedicated thread.

The only issue I ever noted with meter setting persistence was that Playback meters would not recall the RMS+Peak mode, and would revert to Peak only (IIRC - I have not checked this one after seeing it persist for many years in SONAR). And the settings should save with project templates, so re-save your default and/or most frequently used templates with the desired settings, and that should take care of it.

Whatever level you draw, it will always persist until the next controller event changes it, so yes you do need to draw the pedal up. And it does appear you have snap at a measure which is why another pedal event gets drawn when you mouse passes the middle of the measure. Drop you snap resolution to something like an 8th, draw the pedal down at the top (127) with a short drag, and then go to where you want to turn it off and draw the pedal up (0) with a short drag, When performing with a real pedal, a pedal down will typically occur approximately a 16th to an 8th after a chord change, and the pedal up will be about the same amount before the next chord change. EDIT: Incidentally, the values don't usually have to be exactly 0 and 127. Most synths that don't respond to continuous sustain values with partial damping will give a full pedal down response at values at 64 and above, and a full pedal up response for any value below that.

Depends what you mean by "track a music keybooard". The A in ADAT is for Alesis. A lot (if not all) Alesis keyboard synths have ADAT Lightpipe out for audio, and I'm sure there are others. But ADAT from a MIDI-only controller keyboard makes no sense as noted.. ADAT is limited to 48kHz, 24-bit, so in theory an instrument plugin that uses higher rate/depth samples or actual 'synthesis' can produce higher audio quality than a keyboard synth with ADAT output. But taking the ADAT output of a synth that has it will be superior to taking the analog output into an interface. But then you also need an ADAT-compatible interface. I had an Alesis QS8 and still have a QSR that i used as a master clock with my MOTU interface slaved to it so that I could record digital audio direct from the synth.. The Alesis didn't like being slaved to the MOTU's clock for some reason, and that configuration would result in distorted audio.

If the Behringer showed input, and the MIDI activity monitor in the Taskbar did not, that would indicate some problem with the driver. If you rebooted at some point, the driver might have started working properly. If you're now getting MIDI recorded and echoed in Cakewalk, I think you'll find that the MIDI monitor is now also showing that activity.

Ignoring the output side for the moment, does the MIDI activity monitor that Cakewalk places in the Windows Taskbar show input activity (enable under Preferences > Customization > Display), and, if so, can you record MIDI input? Verify the RD1000 is set to transmit regular MIDI data on channel 16 and not just SysEx messages, and/or try deliberately changing to a different transmit channel. Incidentally, if the RD-1000 is like my old RD-300S from the same era, it can transmit on two channels at once, and you'll want to make sure one is disabled.

No, he's using the 'forced' MIDI [output] channel assignment in the track which should non-destructively re-channel all events on playback, both notes and controllers, overriding the embedded channel in the events themselves. And per the OP, it's working as expected with the VST2 of Garritan and the VST3 of Miroslav, so evidently the VST3 of Garritan has an issue, though it's a bit difficult to imagine what that could be, exactly.

Is it working as expected with some other DAW app? Nothing specific comes to mind. Some things to try: 1. Rename Aud.INI to start over with a default config file. 2. Move it to a different USB Port, and make sure power management of USB ports is disabled. 3. Remove and re-install the driver with the interface disconnected. 4. Leave your onboard audio interface enabled, and set it as the default device for Windows so it keeps its mitts off your NI interface.

So you got it sorted? If not I'm happy to take a look at fixing the Project. If BIAB has rendered the MIDI start times, durations and time signature incorrectly but playback has the right absolute timing, one possible solution is to have the CbB play the project while you re-record the MIDI in another DAW (can be an old installation of SONAR) via hardware or virtual MIDI cable. Don't ask me how I know this. ;^)

If you saved at some point before deleting the take, the file would be expected to persist until you use the Clean Audio Folder or Cakewalk Audio Finder utility to remove orphaned files. If you deleted the clip before saving, the file should have been deleted on closing the project (i.e. when it would no longer be needed by undo). I checked the file numbering, and saw this: While recording the first take, the file has a (Rec1) suffix, and does not include the track name. On stopping recording the track name gets added and the Rec number increments. The same happens with subsequent takes so you end up with all even- numbered files. That seems new, and I'm not sure what the purpose of renaming is, but I haven't had occasion to pay attention to this for quite a while. In any case, when I deleted the take clips, saved and closed the project, the files were deleted as expected.

The rule of thumb is to have the 'pre-master' peaking at no more than -6dB. But if you're going to master the mix on the Master bus in the same project, you'll want to use the input Gain to pull down the level ahead of the FX bus where you'll be putting mastering plugins. If you're going to export the mix for someone else to master or to do mastering in another project or another application yourself, you can use Volume to bring the level of the exported file down. I do it all in one project by basically renaming the Master bus to 'Pre-Master' and putting another 'Master' bus between that bus and the hardware outs. I can get away with doing it all in one project because my projects tend to be pretty lightweight to begin with in terms of plugin load. Another trick I use for doing it all in one project is to put a third 'Main Outs' bus between the Master and the hardware outs. This can be used to control output volume to the monitoring system without affecting metering on the Master. This is also where my metronome bus outputs so I can keep it from clipping the output when the Master is maxed out. Also, when I like how the Master is sounding, I can bounce that to a 'Master' track that outputs directly to that 'Main Outs' bus, and group the mute on that track in opposition with the Master bus mute to A/B between them as I make more tweaks to the live Master. Additional bounces can be made to new lanes of the 'Master' track, and the lane solo muttons used to A/B/C/D... between all the different mixes/masters. I started doing this long before the Mix Recall function came along. Using Mix Recall on top of this gives me the best of all words - superfast and easy A/B switching with 'hard copies' of everything plus and the ability to recall the settings of whichever mix/master I finally settle on as the best... so far ;^). And finally, the trick of bouncing the master bus to a track means your final, mastered mix is saved with the project, and you can easily tell whether the rendered file is a faithful representation of the live mix. You can even invert the phase on the Master track and play it back in parallel with the live mix on the Master bus to check for nulling (just remove the mute grouping first, and keep in mind that some synth and FX plugins may behave slightly differently from one playback to the next, causing less-than-perfect nulling, unless the tracks are frozen). Hmmm... that got longer than intended... Hope it helps.

If the PRV is also displaying incorrectly, then the MIDI file from BiaB likely had issues baked in. You might try 'Opening' the MIDI file as a new project rather than 'Importing' it into an existing project to understand what was in the file. There are probably a number of ways to fix this, but I'd need to see the project file to understand exactly what's going on and whether a global change can fix it or it needs to be done measure by measure.

Scroll lock enabled? Clicking with the mouse can also lock scrolling, depending on settings in Track View > Options > Click Behavior. If this is enabled, clicking in an open area of the Track view (i.e. where no clips exist) will re-enable scrolling. The two scroll locks are independent, and it is possible to double-lock scrolling by enabling both.

You need to unfreeze the track to get access to the MIDI without splitting the Instrument track. Even if you split the track to separate MIDI and Synth audio tracks, you still need to unfreeze in order to re-enable the synth and re-render the modified MIDI, so you might as well unfreeze. .