David Baay

It was always possible to drag those panes open in CbB but there were no lines between the Video, Arranger and Tempo tracks to indicate where the panes were divided, and no tool tips to show which was which. The pane dividers were made narrower because they were starting to take up a lot of real estate.

Hard to know without seeing the entire track view. If the muting is across multiple tracks, I would guess some other track is soloed. If the grayed clips are in lanes of the same track I would guess you clicked one of them in lower half where the Comp tool is active, which would mute everything else in that region. In that case, selecting all the grayed clips and hitting K should unmute them.

Just shift+drag the selected notes to another lane, and click the clip with the notes left behind. You can then leave them separate or bounce back together.

Okay, yes, I'm aware of that specific issue with Quick Grouping I/O assignments via the Inspector. I thought you meant something more general in the Track View itself. Yes, I see that on both my unscaled desktop displays and scaled laptop.

Newer components of Shared Utilities have always been fully backward-compatible with earlier releases. And going the other way, older CW installers will not overwrite a newer file so there shouldn't ever be an issue.

Much sharper overall for me on both my 1920x1200 desktop monitors at 100% and my 3072x1920 laptop scaled to 160%. Easiest way to see it is to have them both full-screen and Alt+Tab back and forth. I'd like to see some fonts enlarged in Sonar to better match CbB (e.g. Transport and Mix module numbers and labels), but they are definitely less fuzzy.

Check the lock options in the context menu for the Control Bar if either Lock and Justify or Lock and Center are selected, the scroll controls will go away. Lock Order or no locking will give you the controls. In general I would suggest that anyone experiencing behavior different then CbB first check for preferences/options that have defaulted to a different state in Sonar. These need more detail.

You just need to switch to the large transport. I only use the small one and do all navigation with shortcuts.

Ten years from now a chip in his head will energize the operating system and upload the latest user manual to his BRAM (Bio RAM) automatically.

Are you running an extremely small ASIO buffer? All versions of SONAR up to the final release of Platinum had a limitation that they would not display a histogram in the Perf Meter at ASIO buffers less than 32 samples. This was addressed in CbB at some point. Also, the metering algorithm was less sensitive in SONAR and would show a lower load than CbB. If the project is light enough and your buffer big enough, you might not see any activity in SONAR for a project that shows some low level activity in CbB.

PM me a link to the MIDI file (or partially-reconfigured project) and let me know what you want/don't want on each track. I'll fix it for you. Dave

This is a function of each VSTi's programming. Some synths are programmed to respond to common controllers and some are not (e.g. most will respond to CC7 Volume by default, but Kontakt does not). And sometimes the assignments are non-standard (e.g. Garritan synths use CC1 modulation for volume control instead of CC7). You'll have to check the VSTi's doumentaiton on a case-by-case basis to deteremine if the default controller mappings can be defeated. Otherwise, you might need to use a MIDI FX to rewrite standard controllers to something the synth doesn't implement.

Post a screenshot of what you're seeing

Either use the MIDI Volume contorl in the track to set the synth's master volume, or right-click it and choose Disable. MIDI Volume controls are disabled by default (as indicated by parens around the default value of 101). Once you move them, they become active, and CbB sends the value every time playback is started. Note for future reference that some synths don't respond to CC7 Volume messages by default and have to be MIDI-learned.

When not using multitimbral synths, every instrument has it's own dedicated port, so distinguishing channels is not necessary. But setting a specific port and channel for the track input as Promidi suggested is a best practice to ensure you only record and echo the port and channel your controller is on. They can still all be channel 1 at the input. If you ever need to distinguish cannels for a Multitimbral synth, you just set a forced output channel for the track (the wideget labeled C). I'm thinking possibly you just removed the lane from the Controller Pane by clicking the minus button; this doesn't remove the controllers from the track, it just temporarily removes them from the display. To delete them I would select the track(s) and use Edit > Select > By Filter. This gives you the same dialog as Find/Change; click the None button and then re-check only Controllers, OK to apply the filter, and delete. If you want to leave some controllers, enter only the range of controller numbers to be deleted. Or you can wipe them out with the erase tool in the PRV Controller Pane one lane at a time.

Punch-recording is problematic with MIDI because, unlike audio, if you start playing a noted even a millisecond before the punch region, the entire note will be excluded from the recording because the Note On is ignored. You'll be better of just recording a new take in Sound on Sound mode and manually comping it in.

Ctrl+A to Select All Process > Find/Change and OK the first dialog (Search) as-is. In the second dialog (Replace) under 'All Non-Special Events', change the Max Channel to 1, and OK.

Non-multi-timbral instruments generally don't care what channel is embedded in the MIDI events; they will typically respond to anything by default. The Inputs you're looking at now are the MIDI Inputs to Instrument tracks. If you don't have a MIDI controller or MIDI interface (or it's not powered up), it's normal to have only the virtual controller available. But if you're just wanting to play back existng MIDI clips, the Input assignment to the Instrument track doesn't matter. What matters is that the Output of the MIDI side of the the combined MIDI-audio Instrument track is assigned to the correct instrument in the synth rack. If you normally do have a MIDI controller or some other source of hardware MIDI input, it's possible that the Instument track assgnments have gotten fouled up by those ports going missing. I've never encountered this issue myself, but others have reported it can happen. The easiest way to sort things is to right-click and Split the Instrument track so you can verify the MIDI track 's Output is assigned to the correct synth, and the Audio track's Input is assigned to the correct synth output. You can also see the MIDI Output assignment on the MIDI tab in the Inspector for an Instrument track without splitting it, but the Audio tab will show the MIDI Input assignment (same as the MIDI tab) not the synth's ouput so it's best to just go ahead and split them. This also lets you watch the MIDI and Audio track meters at the same timeduring playback to see where the disconnect might be.

Oops, forgot where I was. Pay no attention to that man behind the curtain!

I can't repro that. For me, both Paste Specials went to the marker because that's the M:B:T time that comes up in the Paste Special dialog. I never thought about it before, but apparently Paste Special can only go to the nearest tick because of that. I'm not sure why yours would end up exactly 10 ticks after the marker unless the time somehow got fat-fingered before the dialog was OK'd...? But when I do a normal Ctrl+V with the Now time at the start of the clip, the new clip pastes to that exact time (i.e. 3 samples after the tick). Bottom line: You might want to consider revising your workflow to keep everything starting on whole ticks. 125bpm is 2 ticks per millisecond so there really shouldn't be a need to place anything with any finer resolution than that.

When you say "drag-copied to my cursor" do you mean Snap to Landmarks with Now checked? The marker is on the tick, but the clip is 3 samples late. When you insert a marker, it will go to the tick that that clip is nominally 'on', so if the clip is between ticks, there will be a discrepancy. I generally snap everything to ticks so I hadn't considered that possibility. I still need to look at the other steps, but I noted your snap is set to By rather than To which can also cause unexpected results if not intended.

I've also seen Preferences intermittently open in the background for years, and/or with a bold font or other drawing issues. The slow access to Keyboard Shortcuts (and slow open of Preferences if the last page you accessed was Shortcuts), started just a couple/few years ago. There was discussion on the forum at the time that it seemed to have gotten suddenly worse, but the Bakers never seemed to acknowledge that something significant had changed. All I know is that accessing Keyboard Shortcuts in ye olde SONAR Platinum is basically instantaneous with the same .kbn file. The slowness in CbB is real pain.

Yeah the Format setting is relevant, but not the Source.

I often seen this issue with zooming from 0 instead of at the cursor, but I don't see it being consistently related to some number of mouse clicks. For me it seems completely random, and will continue zooming from 0 once it happens until I release Alt and try again.

When snap is completely disabled, the finest placement you can make is to the sample, so things effectively snap to samples in that case. When snap to Landmarks is enabled with Clips and Markers checked and the musical resolution disabled, you can snap markers to clips and vice versa. But be aware that markers will snap to clip boundaries (both starts and ends) in any track or lane. If you have a lot of tracks and clips with variable start/end times, markers could be snapping to some clip boundary that's not onscreen or that you're just not paying attention to. This clock setting is for synchronizing to SMPTE or MIDI timecode from an external clock source and has no bearing on editing/snap behavior.