David Baay

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.

Yes 'Stereo Mix' is the output of the soundcard. You need to be recording from the input by setting the source to Line In. I gather ARIA is the name of the wavetable synth in your soundcard, not referring to Garritan Aria Player plugin. Wavetable synths are generally not usable in Cakewalk anyway due to latency issues. You'll want to get a good orchestral VSTi.

Routing notes to different physical or virtual ports should not be a probem; I have done it frequently in the past. Just make sure you're routing the right 'Out Notes' to the right ports with the correct re-mapping from 'In Note' to ' Out Note', keeping in mind the non-standardization of octave numbering as reginaldStjohn noted.

I agree, but would still record MIDI rather than audio, and use Set Measure/Beat At Now to sync Cakewalk's timeline to it.

MIDI buffering was revised a couple releases ago. The default now is 50, and is generous where 250 was marginal and 500 was needed in most cases under the old scheme. I've been running mine at 20 without a problem.

Don't know what to tell you. It is a bit strange, but hard to see how it really matters, unless you think the MME version sounds better? What prompted you to compare them in the first place?

Non-realtime audio rendering is an offline process that does not depend on hardware or drivers. I think it's more likely that TTS-1 just never renders the same way twice. Even if you do two exports with the same driver mode, they will differ enough not to null. I've observed this with TTS-1 in the past. I believe it's a micro-timing issue as opposed to the timbre differing.

So you recorded live performance input as well as sequenced playback from a workstation-type keyboard simultaneously? I assume you had some sort of sync set up with matching tempos between the workstation and Cakewalk...? Were you playing to Cakewalk's audio metronome, or just playing along with the keyboard accompaniment? And how are MIDI and audio being routed and monitored while recording? If MIDI is all late relative to the grid due to audio latency and/or MIDI transmission delay, you might have a lot of notes getting quantized the wrong direction, but I know of no circumstance that will cause notes to be deleted. Possibly you have early and late notes on the same note number getting quantized to the same gridline so one gets masked by the other...? In any case, zoom in a bit and check the average discrepancy between the MIDI and the grid. And watch how it moves when you alternately quantize and undo. If everything is typically late (or early) you can start by nudging the whole clip to minimize the average discrepancy before quantizing. If there's a strong average offset one way or the other, you'll want to see what can be changed in your setup to minimize it. Quantizing isn't rocket science, so long as you have a good handle on what resolution is needed, and everything is within half of that resolution of the M:B:T grid line where it was intended to land, it should give a good result.

So if Melodyne is used in the FX bin, you would need to right-click in Prochannel and set it to 'Post FX Rack' for it to have an effect (no pun intended).

True, but a typical GM-style MIDI file downloaded from the Web will either be a Type 0 or Type 1 with one channel per track. But I suppose the OP might have something unconventional, which would account for the problem..

You can selectively change clip foreground and background colors in the clip propertie section of the Inspector. You can also adjust default track colors in Preferences. It's been a long time since I messed with this so I'm not sure how those assignments interract with Themes. As I recall, the last time I used custom colors, I had to edit them in X2 and import them because Platinum had eliminated access to some color settings. Clip backgrounds may have been among those. At a certian point, I decided to just settle for the default Mercury scheme, and choose a specific track color from the picker in the track pane when I need better visibility for some a specific track.

A Type 0 file should still open with channels automatically split to tracks, but you must use File > Open as scook noted, not File > Import.

I think you'd have to go back to an early version of Cakewalk for Windows before the concept of a MIDI 'clip' was implemented.

Sure. So long as you just have an audio track set to receive the output of the drum synth (making it a 'Synth' track), you can route as many MIDI tracks to the synth as you like. But using lanes of a track makes for easier application of drum maps and editing in the PRV as well as helping to keep the track count down. Having drum parts on separate tracks gives you some added flexibility to mix with MIDI controls. I don't usually bother with that now, but it would be nice to have per-lane velocity offset controls.

I'm going to guess Edit Filter is not set to Clips.

- Differentiate drum kit pieces. - Differentiate harmony/voice 'lines'. - Separate rhythm parts or chord progressions from melodies played on the same instrument (sometimes doubled with linked clips on another instrument track). - Try out different combinations/permutations of alternate takes by clip/lane muting. - Easily discard a take later on when you decide it's not what you want. - Isolate keyswitches. - etc...

I only recently retired my Roland RD-300s, purchased new in 1988. It's having a second life in my son-in-law's studio.

I never had occasion to work with tempos in CAL. I glanced briefly though this CAL programming guide, and didn't find anything relevant: http://members.ziggo.nl/t.valkenburgh/Cakewalk Application Language Programming Guide.pdf CAL predated the integration of digital audio into Cakewalk, so there wasn't really a need to reference any processing to absolute time.

In my case, toggling power to the USB MIDI interface off/on after booting also reloads the driver properly. So it's not necessary to reboot. But I suspect your issue is different. Here's thread that might help you find the cause of that error message, specifically: http://forum.cakewalk.com/quotthere-is-not-enough-memory-availablequot-prompt-when-utilizing-samson-keyboard-m3595932.aspx

Shift+T to show lanes. I don't usually want sound-on- sound MIDI recordings to be destructively merged into one clip, but I have requested previously for sound-on-sound MIDI to be displayed as merged in the comp/parent track when lanes are collapsed.

Sure. An old but useful trick I still use it occasionally. One thing to be aware of in your process: Tab to transient depends on Audiosnap transient detection which can be a bit variable, and the current algorithm usually places markers a couple milliseconds into the attack of the transient. This works well enough for adjusting musical timing based on where a listener would hear the transient 'hitting' rhythmically, but I would not depend on it 100% for precise registration of samples.

See post 23 in this old thread for how to set up CAL files to allow "nudging" the Now Time at any desired tick resolution with keybindings: http://forum.cakewalk.com/fb.ashx?m=1365944 You'll need to calculate how many ticks in 500ms at your current project tempo as 8 x Tempo (e.g. 800 ticks at 100bpm).