David Baay

The screenshot from LatencyMon shows the root of the problem: "Highest reported DPC routine execution time... ndis.sys..." Disabling Wi-Fi in BIOS or possibly just "auto-discovery" in Windows as metallus suggested is likely to resolve this. Bluetooth drivers can be even more problematic, and should be disabled in BIOS if/when not in use.

I can't repro that. Copying frozen audio is the same as copying any audio; it just creates a new clip that references the same audio file. If the track configuration is the same (gain, interleave, panning, volume, output routing, sends, automation, etc.), it will sound identical to the frozen audio, and null with it when phase-inverted. If it sounds different, some track parameter is likely not matching.

This is a longstanding issue, not related to the OP's case since instruments and freezing are involved. Freezing a mono synth output adds 3dB regardless of pan law.. It has been that way for a long time, and has not been fixed despite being reported by many. Bouncing to tracks does not have the same effect, so either you want to freeze your instruments before you start mixing or leave them 'live' all the way through the bounce/export of the final mix. I think the OP's case is almost certainly related to particular FX that do not behave consistently from one playback to the next - i.e. they have some randomness built-in as scook suggested. That, or possibly there is some issue with the the way they interact with Cakewalk with regard to reporting and storing parameter values.

Or record to separate lanes of the same track.

+1 for Set Measure/Beat At Now. It's basically a non-graphical, keyboard-shortcut-based version of the drag-timeline-beats-with-mouse feature that you would like to have. Very precise and flexible, allowing you to make adjustments only where necessary at whatever level of detail you desire. Using keyboard shortcuts will speed the process, and avoid having to use the mouse at all unless Tab to Transient misses the mark: - Shift+M opens the Set Measure/Beat At Now dialog; you set one point for every execution. ( I have 'S' assigned because I use it so much). - Type the Measure number if necessary, Tab to the Beat and type that number if necessary, and Enter to OK. - Start by Setting the downbeat that should be 9:01 to establish an initial, average tempo; after that, SM/BAN should 'guess' pretty accurately which beat you're setting. - You can set beats in any order, and go back to set more as needed to get as tight as you want; enable the playback metronome to hear how it's going. - Do not delete or modify tempo changes that SM/BAN inserts; if you get something wrong, Ctrl-Z (Undo) as many times as necessary go back to where it was good. - Use PageUp/Down to move by measures and Tab to Transient (Shift+Tab to go backwards) to zero in on beats you want to set. (again, I have modified shortcuts so Ctrl is not needed for 'paging' by measures). - Use Spacebar to start/stop playback (a lot of people seem to use the transport buttons with their mouse which I find very slow and awkward) - Note that you can enter fractional beats (as decimals, not ticks) to set a transient that's not on a beat - e.g. beat 4.5 is the last eighth of a 4/4 measure. EDIT: Forgot to mention... since the project is multi-track, whichever clips(s) is/are selected is what Tab-to-Transient will use to set the Now time. Audiosnap does not have to be enabled for Tab-to-Transient to work.

Onboard audio and many soundcards do this when the Input/Source selected in the soundcard's mixer app is 'What You Hear' or 'Stereo Mix'; it needs to be 'Line' or 'Mic'. If your pedal has an included mixer/control panel app, check for that.

Try enabling Non-Destructive MIDI Editing in Preferences. Both enabled and disabled have their quirks; pick your poison.

I don't know about that. Playback is basically a matter of reading a file, but also subject to whatever clip properties are associated with that file. It seems likely the file itself was fine, but something about the clip properties was breaking/silencing playback. Cakewalk owns the creation, storage, and interpretation of its own clip properties so this could well be on the Bakers. To test this hypothesis, I would import the original audio file into a new project rather than copying the clip from one project to another. Unless you've 'cleaned' the project folder, that original file should still be there. Even if that still failed, it would be enlightening to know what it is about the file that's confusing Cakewalk. and might still lead to some kind of fix .

Only other thing I can think of is some automation weirdness. Is there any track or clip automation that might be getting copied over to the new track?

Doubt I posted about it. Just reported directly to the Bakers.

Wrong thread.

Sorry, but this is not consistent with telling people to read carefully which is insulting when delivered as an order with an exclamation point to someone who is clearly reading - and writing - more carefully than you are.

Not sure what you're getting at here. First, off, I never use Ctrl+Delete, and it did not work for me; I had to use the context menu. Redo is not available until I first Undo, so I did both, and both seemed to work fine...?

This is likely a big factor in this case - not enough reports to make it a priority. I had forgotten about it myself because I only stumbled on it the one time. It just sounded familiar enough that I looked back through my old bug reports to find it.

Please don't insult me. I did read carefully. You said nothing about preventing deletion of the bus in your first few posts. You just said you wanted limited controls to prevent you from inadvertently changing things. Peace. Out.

Select the clip, show clip properties in the inspector, and expand the Audiosnap section. Check the Enable box, set the Follow Option to Autostrech, and then enable Follow Project Tempo. Change the project tempo, and the clip will follow it. You'll want to experiment with the different online (realtime, non-destructive rendering on playback) and offline (used when exporting or bouncing) stretching algorithms to get the best result. It depends on what you're playing, of course, but I usually find that 70-80% of the target tempo is slow enough, and allows me to play more naturally than 50%. The less you stretch/compress the audio the better.

I did not say 'hide'. I said 'disable'. You could see the disabled controls if you chose, but would not be able to change their values or states, and there would be an indication of that, like having the control grayed out. Not everyone will share your particular idea of the perfect Master bus, so it would be better to generalize the capability of locking out controls so they can't be inadvertently changed.

Pretty weird symptoms. Maybe try Bounce to Clips before the first playback to render a new file. If it doesn't help, or breaks first-time playback, don't re-save the project.

I would alternatively propose just having the ability to selectively disable controls on any track/bus; this would give you this capability, and be more flexible and more broadly useful to more users.

Okay, after some head-scratching, I have figured out that SPFC/ASP is referring to Set Project From Clip/AudioSnaP. I'm not 100% clear on what the starting point was, but if you have tracks that were originally recorded to a click, and you just need to find the fixed tempo that matches, I would suggest using Set Measure/Beat At Now (SM/BAN) with the Now time snapped to a known measure and beat somewhere far out in the project (i,e, count out to the downbeat at 65:01, and 'Set' that). If the first downbeat isn't at time zero, and there are pick-up notes that prevent trimming and sliding everything back, you will first need to slide everything to put the first downbeat on 2:01, and 'Set' that beat as an anchor. If it's a live performance that was recorded without a click, you will likely need to set additional points to get the timeline synced up everywhere. Or you could try dragging a track to the timeline which uses Melodyne Essentials (installed from Bandlab Assistant) to create a tempo map. The results may be better than Audiosnap, but Melodyne has its own quirks that make me prefer doing it manually with SM/BAN. In any case, Cakewalk does have way of renumbering measures, so you'll just have to remember that the second 8 starts on 10:01 instead of 9:01, etc. if there's a pick-up measure.

Each MIDI track has a CH widget. That's the Output Channel assignment. If it's not showing in the track headers by default, you can use the Inspector. Everything in the track will get 'forced' to that channel on playback so it's non-destructive, and can quickly be changed to another channel.

Glad to help. Just setting the track Input to a specific port will avoid problems in most cases. Except in the case of multitimbral synths, you can have everything on channel 1, and just depend on every synth having it's own virtual MIDI port(s) to keep things isolated. Even with multitimbral instruments, most users still record/input all the actual MIDI events as channel 1 on every track, and just depend on the forced output 'CH' assignment in the track to re-channel the data on playback for the intended synth channel.

Fit Improv will do what you want, but you'll have to do it in a new project, or take the existing MIDI out of the project temporarily, and bring it back in because Fit Improv presupposes that everything already in the project will be in sync with your guide track, and is just going to change tempos to fit the guide track without affecting the absolute playback timing of any existing material. It will probably be easiest to just open a new project, tap out your guide track, execute Fit Improv, and then copy-paste the tempos from that project into the one with your existing MIDI.

If a MIDI track's input is set to Omni, which is the default when Input Echo is enabled for the first time (either manually or by Always Echo Current MIDI Track in preferences), that track can receive MIDI from anywhere, including virtual MIDI outputs of other synths, which is probably the issue in your case. The solution is to deliberately set a the Input of every track only to a specific port and channel (usually matching your controller keyboard) when you create it. You may also want to disable MIDI Out in the properties of virtual instruments that have one that you're not using. Personally, I keep Always Echo Current MIDI Track disabled because I like to be in control of which tracks are echoing even if it takes a little extra clicking.

This is an old issue that I reported way back in 2016. Last worked as expected in X3e.