Will.

It is a separate install, so you have to install it.

Doesnt show on my end. The other thing is - I've tried to offset notes myself then open in Sonar and it showed correctly. Maybe I'm doing it wrong?

Are you sure it's not project related? The cwp.file doesn't look right. The Midi clip shows one note in the TV (which indeed you say you've created) but the PRV shows 3 notes. Maybe others can test on their side too?

Hey, IgoRr. How you" This is not 100% accurate. Cakewalk also allows you to import cue markers. Depending on the file that was imported - it might have had an end marker where the file was added. I have had my fair share of frustrations on this and took me a while to figure what is happening. Not sure what is going on in @badt1mes project, but should this be this case where the sample have it written on and being used - it can be disabled here.

Careful with clip gain. It is one of those tools - when it is not needed - it's not needed." It is the reason why most cry why their tracks do not compete with commercially released tracks. If your recordings have enough headroom. Only use clip gain where one-word peaks to high on the meters - this is why I suggested "comping." Instead of "lowering" that problematic word with clip gain and potentially sucking its dynamics away, rather replace that word with the vocals that was recorded to be used for comping, incase a mistake or something does not sound right for a more cohesive sound. If you know how to read your levels - you might notice that certain parts might look as if they are loud on the WAVEFORM, but your level meter and ears will tell you otherwise - DON'T EDIT or MIX VISUALLY too much. Clip gain and the Gain knobs in the console view are great tools, but it should be respected. So, before you use it- GET IT RIGHT AT THE SOURCE FIRST.

A normal compressor is a "downwards" compressor and then you get compressors that are both downwards and upwards compressors. The Sonitus Compressor. Waves C1, RVox and MV2 are all both Down and Upwards compressors. You can also use the LA2A and the 1176 Bluey with a fast attack and release to level out your vocals. DOWNWARDS COMPRESSION: UPWARDS COMPRESSION:

This is where more knowledge on different genres will help you a lot - especially "rap" vocals who are recorded the exact same way. So, this is where my experience might help you in this scenario. Recording TIP: Don't lean into the mic when recording stand up straight. First let me say: Because you are your own "recording engineer" you will never be satisfied with a recording take. Don't focus too much on your "tonality" instead focus more on the "dynamic side of the take. This is what's more important when you're doing line-per-line recording - your dynamics. Get a fix point where you stand or sit and just keep recording from start to end. Layer the vocals at least 3 times for the entire song. This is where the fun begins. Mute all other double vocal takes and Level the dynamics of your first takes with a compressor. Start with a 4:1 Ratio and slowly back out until you find that sweet dynamic level - this is where the magic will happen. This is where all your "Tonality" issue will vanish or a better way to put "will balance out." Your first compressor should be downwards compression > followed by your EQ (you might also learn that you might not even need to EQ your vocals the more you learn this.) After your Downwards compression and EQ insert another compressor that can do UPWARDS compression. This will bring out all your soft words and will balance out the levels in your vocals by giving you a more constant dynamic range - which in return will give you that even tone you want. You might want to learn multiband compression too for both balancing the tonal aspect of the vocal and to level its dynamics. Time to COPY and PASTE the same effects to the doubles we have. Use these for comping (Yes, we do comping with rap vocals too.) Listen to the original takes and the double and match the words/lines that sounds better than the original takes. CAUTION: DONT REPLACE BECAUSE YOU WANT TO AND BECAUSE ITS FUN - NO!! Replace the parts where it sounds as if the compressor hits too hard on a certain word. First practice with comping to understand it, before going crazy with it. It is a totally different form of art in music - it requires a trained ear. If you happy with your results send them to an Aux track, or Bus, for further processing, to shape the overall vocal. Remember the EQ on the vocal track should only be done to remove low and high frequencies you can remove up to -1dB in the 220 - 440 range, just don't boost any frequencies here. As mentioned, you can boost, shape and glue the vocal on the Aux or Bus. Theres times when I'll approach a rock vocal as what I'd do on a jazz vocal, or a Pop song as how I would do a RnB, or Metal vocal. So, to take away from this: Don't focus too much on the tonal side when recording line-per-line. Where there might be a slight tonal change - compliment that take with some doubles from the other takes you did. You can stand 10 feet away from the mic and mix it to sound the same as the one that was taken a foot away - if you know how. Hope this help.

Use the proper stretch tool. Right click on the wrench in the tools bar.

Literally all it does.

Groove clip does not stretch the file. It ONLY prep's it to be duplicated as an extended LOOP FILE.

Its more related to the plugin. I have the Arturia Keylab, Nektar Impact and the M-Audio Keystation. They do this inside of Cakewalk, FL Studio and Protools and I've heard it happen in Ableton too. Pressing the same note or chord release those sustain notes. I've tried those manual steps to choose different velocity and sustain settings sensitivity step, but they all still do that from time-to-time. I know exactly which plugins in my arsenal will ring up when I use them. Kontakt and the UVI Workstations, TTS and Airmusic Grand Mini to name a couple.

Locate the Snap to Grid module on the control bar.

What isnt being realised here is: Yes, it is just a wrapper, but it offers more virtual inputs than the standard driver does. There are times when im in a different city collaborating, when all we use is a laptop, Ableton or PT (yes, even protools allows it) with tons of USB midi gears like USB Mics, USB Keystations, USB Drum kits or a Midi Guitar using Asio4All. MAudio has had its "Airhub out for quite sometime now. Arturia just began intergrated such ports in their Minifuse product. Nonetheless - Asio4All do offer more flexibility than the built-in WDM and WASAPI drivers of windows thats why it is still being used. Most low bidget Behringer devices use Asio4All for this very reason. I do use it at times. When im on the plane with my laptop - for sure I use. It offers a higher buffer size too. Never had an issue with it AS IN NEVER. So, not sure why its seen as an issue with Cakewalk.

You say what? Research will show otherwise. That X1 period 2009 - it was found everywhere. Cakewalk won NAMM that year.

This was actually in my previous reply to @pwalpwal but decided to remove it, as it might spark another debate 😂 Andew said that they do test on PC's Just the more mainstream ones.