David Baay

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.

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. .

The feature referenced by scook applies only to clip automation and fades. Cakewalk does not change the waveform display with changes to a track's Gain control. If that's what your talking about, I presume the videos you've seen are showing some other DAW.

Had not gotten around to actually listening to anything other than the click track. ;^)

Soloing by muting only audio outputs and not MIDI works better because the synths driven by those other MIDI tracks are still rendering audio so that when you unsolo the soloed track, the rest of the audio comes back in fully intact without dropped notes from note-ons or controllers that got 'muted'. MIDI event 'chasing' can address that to an extent, but not as well as just leaving the rendering process running, and muting the audio output. But nothing has changed with regard to these other 'odd' behaviors as far as I can tell. Muting a MIDI track still allows live-input to pass to the output though the MIDI meter doesn't show it.

I think my issue was due to Melodyne (Editor) having become deactivated since I last used it. I was subsequently able to get a tempo by dragging the clip, but only one average for the whole section. I then trimmed it, duplicated it a couple times, and bounced the three copies together, and got a more typical result with multiple chnages over several measures. But I still prefer Set Measure/Beat At Now for its precision, control and flexibility at the cost of a bit more time and effort. I have been wondering why you break up the clips and process sections separately. Though I don't like the way Melodyne places tempo changes in general, I've not found that it has any particular trouble with long clips with variable tempos.

If Kontakt is inserted in the FX bin of the audio track, try moving it to the Synth Rack. Using the FX bin to host a synth is a legacy configuration that is still supported for backward compatibility, but is not the preferred configuration and has been known to cause stuck notes. If that's not it, I dunno... When I first saw the post, I suspected Zero Controllers When Play Stops was not enabled to zero CC64 (Sustain) which is a pretty common issue with piano synths, I know you've already checked that, but it might still be worth pressing/releasing your sustain pedal to see if it stops the notes.

I have not used the drag-to-timeline feature for a while - certainly not since the new tempo track feature was introduced. I'm finding that it's not working in the current release at all with any audio file - no errors or hangs, but no tempo changes are generated. Possibly the last time you used it successfully was in an earlier release...?

The Melodyne component used to extract the tempo info may be having trouble with that - insufficient data - and the algorithm might be stuck in a loop if that condition wasn't anticipated. Or, similarly, Cakewalk may be having trouble with the limited set of data it's getting from Melodyne. I'll check out the bundle in a bit.

You might try Bounce to Clip(s) each of the split clips so you have a separate audio file for each instead of a slip-edited copy referencing the original file. It may be there is some issue with processing the slip-edited clips.

Check the Track Inspector for the Battery 4 track for sends.