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Mark, Many thanks! That's one problem solved, three to go.👍

Mark, Yes, Screenshot 2 is "correct" and at this point Sonar is functioning normally. But, if you delete either the 2nd or the 3rd node in from the last node on the right to rebuild the single fade-out line that extended out of the original clip, you get Screenshot 3 (see attached) where Sonar has become very confused about re-drawing the envelope. The two methods you mention in your 2nd paragraph work fine, but often, when working quickly, I just grab a clip and drag it then clean up any extra nodes or lines that Sonar created. With CbB and earlier versions of Sonar I don't recall ever having a problem with this procedure.

Amberwolf, Thanks for your suggestion. We are shut down tonight owing to heavy thunderstorms approaching. Will check this tomorrow.

Mark, Thanks for responding. I'm not very familiar with making video of Sonar, but I'll give it a try. Meanwhile, I've attached two more screenshots that will illustrate the problem almost as well. This problem has not occurred on either my new or old DAW when I've moved audio clips, but it occurs consistently when I move either MIDI or Instrument clips as shown in the attached screenshots. Screenshot 1 shows a MIDI track with two clips and a volume envelope--everything is normal. Screenshot 2 shows what Sonar does when you move or drag the last clip a bit to the left--notice that Sonar creates a new node on the right edge of the moved clip along with a jump line that connects to the fragment of the original envelope that was left behind. Screenshot 3 (attached to my previous post) shows what happens if you try to delete the node on the right edge. Hope this helps; hope you can help us. Of the four problems mentioned in my previous post, this is the most troublesome as we rely heavily on automation envelopes for our mixdowns. Until the end of 2024 they worked great in Sonar and we've never experienced this problem when we used CbB.

For me it would be Igor Stravinsky's Le Sacre du Printemps (The Rite of Spring). I was awestruck by it the first time I heard it nearly sixty years ago and am still awestruck when I hear it played today.

I have encountered a few problems with Sonar 2025.02 and reported them to Cakewalk Support, though some of them appeared as far back as v. 2024.11. In February we upgraded our DAW computer to an Intel Ultra Core 7 265K, 3.88G.Hz, 32 GB RAM PC with 64 bit O.S. running Windows 11 Pro, v. 24H2. We installed v. 2025.02, build 077 which has been running very smoothly on the new computer, but in spite of the new, clean installation the four problems with Sonar reappeared. 1. Crazy or impossible automation envelopes appear after a MIDI clip has been moved: after creating an envelope in a track, draw a line linear or curved connecting the right-most node in the clip to a node outside the clip near its right side. Go to clips and move the clip to the left, say one measure. Go back to track automation and find that Sonar has created a new node on the right edge of the clip. Try to delete this node and an impossible envelope appears with new nodes and parallel envelopes that can’t be played or easily deleted. Refer to attached screenshot below. 2. A 10 second delay occurs whenever a project is closed containing simple instrument tracks of either Absynth 5 or FM 8. Most of these are small projects with no other plug-ins. If you click again on Close or File you get a “Sonar is Not Responding” message. We have not encountered any delay with projects containing Massive, Omnisphere, Dimension Pro, or Zeta tracks. There is no delay with projects containing only MIDI tracks, only audio tracks, or a mixture of MIDI and audio. 3. The Quick Start screen appears every time we initiate Sonar even though it has been unchecked in Preferences and in the Quick Start screen itself. 4. Local/Off-Line Help was not included in either v. 2024.11 or 2025.02. To obtain Local Help we had to request, download, and execute a separate file supplied to us by Cakewalk Support. At this point, Local Help is working in Sonar, but it should be an integral part of Sonar (included in the installation) just as it was in CbB. Cakewalk Support advised uninstalling then re-installing Sonar 2025.02 and we did this three weeks ago, but again, all four problems we encountered months ago reappeared in the new installation. Cakewalk Support has not come up with a solution to date; I don't know what more I can do on my end.

Jack, Many thanks for your feedback. Sorry for not having checked this post in a while, but the band wanted you to know they greatly appreciate it. Also, I should have mentioned this earlier; Sun's Muse is a strong and active supporter of independent filmmakers. It can often be difficult and quite expensive for independent producers and directors to acquire and pay for the music they need for their soundtrack. If anyone out there is looking for soundtrack music, please let us know ... Sun's Muse license or fee is ridiculously low.

Also listen on: https://www.youtube.com/watch?v=YpkOXAq7LYo&list=OLAK5uy_nRHiWHirBYpTnqibnUH7yxfkIuTjtSaMg

Thanks for responding guys. I had accidentally unchecked Big Time when I created the workspace you see in the screenshot and I'm now using that workspace most of the time. Problem solved.

Can someone explain what happened to Big Time in Sonar? It's supposed to be under the Views menu and is mentioned on three different pages of the Sonar Reference Guide (170, 199, and 1812), but I can't find it. Please see screenshot below.

Check out my post on October 10th. Data in the Time field above the track headers and in the Transport module need to be sharper and easier to read. These are areas that you read frequently as you work on a project.

I'm not an expert on the code for Windows, but isn't there a relationship between C++ Redistributables and Windows systems software? If so, would it be helpful to run the systems integrity check, sfc /scannow, every few months or before installing a Sonar update or is it totally unrelated to the redistributables problem?

My first post in the Song section, hope I get everything right. Music for the Dark Parlor is Sun's Muse' first album. They compose primarily ambient music, mostly electronic. I did the mixing and could be considered the producer. Here is the link: https://sunsmuse.hearnow.com The album is also available on CD. Please contact info@leonineproductions.net for more information. l

I enjoyed reading about everyone’s experiences with acoustic pianos. We have and continue to play our Steinway upright that is now about 54 years old. The original felt hammers and dampers are in very good condition, everything works, it still holds its tune, and I had to replace one string when it broke about forty years ago. I am not a good pianist and have never worked as a professional musician, but I love the sound of the instrument. Back in the seventies I had the opportunity to play a Steinway Concert D grand piano. The piano tuner at a local college music department was a friend of mine and after he had finished tuning the instrument for a recital to be held later that evening, he noticed me standing off to the side on the stage and said, “Why don’t you sit down and give it a whirl?” So I did. I didn’t have my sheet music with me so for about 20 minutes I played whatever I could remember—a little Debussy, some Rachmaninoff, a short piece by Scriabin, and a little jazz. It was incredible—not my playing--the sound of the Concert D. It was made for this stuff--think of the opening bars of Rachmaninoff’s 2nd Piano Concerto. When you play a grand piano, the fundamentals of the lower keys are much more prominent (owing to the longer strings used for these notes), and you feel these low frequencies through your fingers and arms, even through your feet as they rest on the floor. My impression was, WOW, this is a REAL piano, everything else I’ve played sounds like a toy. For those who like pianos but haven’t had a chance to play a concert grand, I hope you get the opportunity soon; it’s an extraordinary experience.

David, With regard to annoyance 2, I didn't explain this clearly. I was referring to the pane to the right of the Drum Notes pane where you have the time grid with the colored rectangles representing notes, except in this case they represent beats or hits on the various percussion instruments when you've selected Show Notes with Duration. If you select Session Drummer 2 from the New Drum Map list and Show Note Names, the colored rectangles contain the names of the various drum kit pieces e.g., Bass Drum, Snare, High Conga, etc. When you select Session Drummer 2 Default you get the Drum Note pane on the left, and the rectangular notes on the time grid to the right, but it will not show the names of the kit pieces even when you've checked Show Note Names. My point was if the Bakers could find a way to do this it would make editing the drum beats easier, like it does when you're editing notes in a MIDI track. With problem 3, your solution is a good one, I've done something similar with my Templates folder. I'm grateful to Starship Krupa for bringing the Drum Map feature to everyone's attention in the Forum. I hadn't worked with Drum Maps for more than a year, but I remember the fun I had working with it back when I was using SONAR X3, and I began to get some new ideas for using percussion in some of the compositions I've been working on. That's why I think it's important for the powers that be in Cakewalk to make some improvements here. If the feature is fun to use and fairly easy to learn it will attract more users and new customers.