David Baay

As I have posted many times, it is not musically necessary to have tempo changes in between notes. Only one, fixed tempo (i.e. a flat line) is needed to perfectly determine the time between the start of one note, and the start of the next, and the type of music has no bearing on this. Classical music is no more complex or sophisticated than any other type of music in this respect.

Probably too late to make it into the paper, but: My number one favorite feature of Cakewalk is Set Measure/Beat At Now, which allows me to freely record MIDI without a click, and with as much rubato as I want, and then tell Cakewalk precisely where the bars and beats fall after the fact. This is useful for: - Eliminating the tendency to perform poorly and make un-natural tempo corrections when trying to follow a click. - 'Rescuing' an improvised performance that has great overall feel with a few glitches, hesitations, restarts, etc. - Tightening the timing of a piece that has a rubato intro/outro with a steady tempo in the middle. - Quantizing within measures to get a tight rhythm while still allowing different sections to have different or gradually changing tempos. - Syncing overdubbed parts to a freely played performance. - Selectively softening/flattening the tempo variation in a rubato performance after the fact. - Converting a freely played performance to notation.

Track Gain only affects input to the track from recorded/imported audio clips. Live input level has be set at the interface, either by a hardware control or a software mixer/console app that comes with it.

Sounds like Cakewalk is sending MIDI Master Volume (CC7) , lowering the output level from the Clavinova that resets when you power cycle it. By default, the Volume control in a MIDI track will be disabled as indicated by parens around the default value of (101). Moving the volume widget will immediately enable it and the new value will be sent every time the project is launched, and every time playback is started. I usually set Volumes to 127 on all MIDI tracks driving external hardware to start, and only lower it if the resulting input level is clipping.

So long as output from Cakewalk is not going to the same destination as output from the hardware mixer, latency should not be a problem. My understanding is that OBS is a live-streaming app, presumably being used to stream the performance to remote listeners via the Web.

Input gain does not affect live signals, only recorded/imported audio. Input level to CbB has to be set at the interface or in a software mixer that sits between the hardware and CbB - many hardware interfaces have a software console that does this. In your case where a hardware mixer is the interface, managing levels to the ASIO channels may be a hardware function only. That said, if input Gain is left at unity in CbB, the sound of live input monitoring should be identical to what you get when playing back a recording - with or without FX plugins operating on the output. Of course, It will definitely sound different from monitoring the mixed output from the mixer to PA/headphones, but the output from Cakewalk should sound the same whether live or recorded, using I/O level controls in the FX chain and track output Volume to mix

If you really need to split out the MIDI parts, you can use Process > Run CAL > Split Notes To Tracks. Just be sure to set the starting track to the next number after the last existing track in the project. A better option if you just want separate audio tracks, and are using a multi-out drum synth is to create a separate audio track for each output of the drum synth, and freeze/bounce those. If your drum synth doesn't have separate outputs for each kit piece or doesn't have as many as you need (e.g. to break out percussion pieces), you can apply a drum map to the MIDI track output, and use it to solo kit pieces and bounce them to tracks one at a time. I do often like to have the MIDI parts separated to facilitate editing, but I usually put them in separate lanes of a single MIDI track.

I have no familiarity with Opus, but it sounds like Opus is echoing MIDI input to a virtual Out, and your track Input is set to All Inputs. Set the Input of the track to the specific port and channel your keyboard is sending on, and disable MIDI Out from Opus if you're not using it.

I did a quick test, and could not repro the 'soundless note' problem with either input-monitored hardware or a soft synth with an arp and input quantizing enabled. A couple other things I thought of that could have a bearing; - Are there any MIDI FX plugins in the project? - Do you have a non-zero 'Timing Offset' entered under Audio > Sync and Caching?

The purpose of punch recording is to ignore input before and after the punch points, so that's expected. Personally, I would just record the MIDI in a new lane in sound-on-sound mode without punch in and edit as necessary at the overlap point. As for a note played after the punch point not sounding.... - Does it happen with either or both the arp and input quantizing disabled? - What project tempo, time signature and quantize setting? - Is the sound source a soft synth, or input-monitored hardware? - If a soft synth, can you reproduce it with some Cakewalk-bundled synth? - Does it matter how close the the first note is to the punch-in point? - How long is the punch range? - What interface, driver mode, and buffer setting?

The only crash I have ever had with CWAF was related to having a project folder nested within another project folder. It was a long time ago so I don't remember the exact situation, but IIRC, I found it by watching the status bar at the bottom of CWAF to see what folder it was scanning when it crashed. It may also help to exclude as many non-project-related folders as possible. Here's a post about how I set it up and use it:

IIRC, I have had to go into metronome preferences and enable the Audio metronome to get .WRK files playing in the past.

Did you just switch to the floating track view to show the effect of switching to the Preferences dialog? Does the problem persist if you maximize the track window? Also, is CbB referencing the same driver as X3 for Playback Timing Master in Preferences > Audio > Driver Settings?

Can result from having 'Remove DC Offset' enabled in Audio > Playback and Recording preferences.

I discovered a while back that if CbB's Media Browser is defaulting to a path that includes large .ZIP files (even upstream of the directory to which its pointing), it can slow the program launch. If this is the cause in your case, you may need to move those archive files to a different path or change where Media Browser is looking for content.

The messages themselves don't carry port information. There is no 'incoming port' value that you can 'retransmit' or map to some other port. What you're wanting to do cannot be done without extending the message format beyond the MIDI 1.0 spec. For the time being, you will have to use multiple tracks outputting to separate drum maps in order to route CCs to specific ports/instruments.

So basically what's needed in this case is a 'Pass-thru' option for Channel that just passes events without altering their embedded channel. I'm thinking that actually should not be that challenging to implement. The alternative would having a drum map with 128 x16 = 2048 rows (!) to handle explicit mapping all possible combinations of input note number and channel. ?

If a drum map is still in place that outputs to the synth, it won't be deleted.

Not sure there's an answer here, but there's a long discussion with additional links and info: https://www.steinberg.net/forums/viewtopic.php?t=103828 Coincidentally, it specifically mentions Lynx having issues with it.

It's an inherent imitation of the MIDI 1.0 message types. Note On messages can be differentiated (and routed) by their note numbers. CC messages don't have that; there's nothing to 'tell' the drum map that a given CC is associated with a given note number. Getting that capability will require imlementing something like Steinberg's proprietary 'Note Expression' or MIDI 2.0's 'Polyphonic Expression', and will require completely re-architecting Cakewalk's MIDI engine.

+1, although that should affect all DAW apps running on the same machine equally. Another random thought: Having Steinberg Cubase 'Generic Low Latency ASIO Driver' installed can cause these symptoms.

Back when dinosaurs roamed the home studio, Go to From was bound to F7. That binding was discarded in X1, but the function still exists, along with similarly handy functions: Go to Thru, From=Now, From=Start, Thru=Now, and Thru=End (formerly F8, F9, Ctrl+F9, F10 and Ctrl+F10, respectively). I could not live without these and restored them with custom bindings.

Any chance you enabled the non-default 'aggressive' ThreadSchedulingModel=3 in AUD.INI (Preferences > Audio > Config File) despite warnings that it's experimental? Many who have tried it had a result like you describe, and many of those promptly forgot they had made the change and blamed the update... as usual. ;^)

There might be a bit of a learning curve related to default keybindings that have been altered or disabled (e.g. 'O' to toggle Envelope/Offset mode), and changes in modifier keys and hotspots to get different tool behaviors, and features that didn't exist previously like Ripple Edit and Workspaces. In particular, I recommend setting Workspaces to 'None' in the upper right corner of the UI until and unless you decide to use them.

Depending on the project configuration and how the bus and insert are being used, you might try outputting the bus to an Aux track that outputs to the downstream, bus, moving the insert to that Aux track, and using the track's solo. Or just re-route the source tracks from the bus directly to the Aux track with the insert, and use that Aux in place of the bus. Otherwise, the only solution is to not use external inserts on buses in a persistent way. Dial in the sound you want, bounce the bus output to a track, and remove or mute the bus. If you can get enough noise going on a thread in the Feedback forum, maybe you can get the Bakers to fix it finally.