Amberwolf

My brother's apple stuff has an eq on the output built into the OS. I don't know where he changes the settings for that, but there is almost certainly one built into yours, too, ifyou look in your audio settings or wherever else apple might have hidden that. This would help you flatten the output of the iphone and not have to do anyting to the audio before that.

Don't send them to a bus. Change the output of the track to that bus. (presumably right now they all go to yoru hardware out)

What is the process you are using unsuccessfully, step by step? This may help us help you figure out what's missing from your recipe.

My previous post says how to enter it with a key in my ancient version; you'd need to either test it or find it in your keybindings for your version. There is also a menu option somehwere but I don't know where that is in the modern version. Offset is what it says on the tin. It gives you a second version of the control (gain, volume, whatever) to provide you a way to offset the entire automation you've already set or created without having to alter the actual automation. For specifics on the modern version's offset mode you'll probably want to look up offset in the help.

It's not a jump, they just dropped the stage out from under.... Everybody else is wearing velcro shoes.

If you are using non-destructive midi editing, then every clip you split / cut duplicates the *entire* clip, but exposes only the part of the clip between the cuts. So if you make a lot of cuts, you get a lot of copies of the full data of the original clip. If you bounce all those clips (individually or together) you erase all the hidden data. If you never slip-edit stuff back into view, you could temporarily or permanently turn off NDME in your options, but doing this means that every slip-edit you do to a midi clip destroys the information you hide, not just hiding it. Audio clips are always nondestructive edits, so the same applies there. If you have a lot of clips with hidden data, you can make a project VERY slow to save. Frequent autosave can be hell.

FWIW, in any software, if a drag-lock is "touchy" and requires not moving in the direction the lock is supposed to prevent moving in, it's a useless "lock". The whole point of a lock is to ignore any moviement in the direction the lock locks in, so if it doesn't do that, it isn't working.

Not sure what the icon looks like now, but for me it's a keyboard icon near the top right of a plugin window frame. This allows you to to pass or deny keystrokes thru to SONAR while a plugin window is in focus. If it's pasing thru, you can get behavior you don't want or expect if you don't realize this.

Most likely at some point you changed to offset mode and upped the gain or volume output while there, without realzing it. Unless shortcuts have changed, if you hit O it changes to offset, and pressing it again brings you back to automatable controls view. (I think it would be nice to have a view that has both visible to keep track of this sort of thing easier; don't know if that's possible in modern Sonar). So it's easily possible to be, say, trying to rename a track, accidentlly not click on it right, type someting and end up accidentlaly triggering assorted shortcuts via the keys you pressed--and O is a common letter in English0 musical words at least (Vocals, Viola, Bowed, Orchestra, Toms, etc) so ti's very very easy to do this. (ask me how I know 😊 ). Then go change a control (volume, gain, whatever) somewhere, then later on rename *another* track and switch back to automated mode, all without ever realizing it's happened, utnil you run into something like this. Deleting the track fixes it, since it deletes the offset control value. Antoher thing that can cause it is clip gain envelopes, or an automation envelope for the main gain or volume that was later hidden to be able to see something else more clearly, and then forgotten about. Since the value of an automated control still shows on the control, you'd see this change...but not if you did the automation, and hten accidentally switched to offset mode--that version of hte control doesn't change with automation, so.... In offset mode, at least in my ancient version, there is a + sign in the controls that have that mode when you're viewing them. There is no + in them if you're in the automatable view, so it is easy to see which mode you're in if you remember to look for that (took me a while to learn to check).

If you turn the track(s) down, does the problem go away or lessen? If so, you're simply overloading the output whcih causes clipping. Beyond that, we'd need to know how you have the project and metronome setup, your bussing structure, audio driver info, et.c

Are you drawing the notes in and having them end up in the wrong place? Or do you have a clip that you are editing? If you are editing a clip, are the notes in it different than what you see in PRV? Are you using the song key map to tell it to change from the key that it was already in? Or something else? More specific details are necessary to find out if what you are seeing is normal or not, and if not, how you might correct it.

I wonder if they're using (like many companies) a poorly-trained AI for support tasks? Or maybe it is just a poorly-trained human.

What happens with any loop when dropped into a project depends on what the loop creator actually set within the file. There are some loopmakers that set the flags for all the proper things, and even include marker data so when you drop it in there are markers automagically placed in the timeline. Most don't seem to set all the flags, and some don't even set the loop flag nor include the tempo data, forcing the user to do this for each file. Some of them don't seem to have the beats info even though looping is enabled, and Sonar sometimes guesses wrong on how many so it plays twice or half as fast as it should. And it seems to be hit or miss with some loopmakers where some of their stuff has some things, and some has others, and none of it has everything. So I long ago got used to just checking the looping properties of everything as I drop them one at a time into a project, by pressing Alt-Enter on each clip as I go, and no longer pay attention to what was already set right, so I don't know which makers do it right or not.

Apparently, Drywater, Mars has infected my brain thoroughly; it's gone beyond just a few music tracks and now I'm buildng the universe and want to write the stories, then make webisodes for them. A thread for the development of the ideas, if anyone is willing to help out: https://cff.ssw.net/forum/viewtopic.php?p=106959#p106959

They have a free loops pack fo choreographs that might give some idea of the sounds it can make, if that helps.