David Baay

I saw your post about this in another thread today, and thought there might be more direct way to do this in Cakewalk/Sonar using the included Channel Tools plugin. I gave it a whirl on a guitar track and it seemed to do the trick: - Without converting the mono track to dual mono, add a Send to an aux track, leaving it default Postfader. - Add Channel Tools to the Aux, Invert the right channel, click the Pre button in the Delay section and enable the Link button in the Delay section. - Start playback and start turning up the delay. - Initially the right chanel will be completely nulled by the phase inversion and will fade in as you raise the delay. The stereo image will change pretty radically over a useful range of about 2-20 ms. Above that you start to hear the delay more distinctly but that can be useful up to about 50ms above which it start to become an echo. Adjust the level of the Aux track (or send level) to taste. In addition to saving time and not having to use 3rd-party plugins, the beauty of this approach is that any edits you make to the original track are automatically reflected on the Aux track without having to do anything, and the postfader send ensures the levels remain proportional. But if you want to EQ or add FX independently, you can make the send Prefader and group the track volumes or whatever works. There might also be value in unlinking the left and right delays and tweaking them individually or in playing with the Mid-Side controls and channel width/panning, You migth also consider creating a "Stereoizer" bus and sending multiple tracks to it (the same can be done with an Aux track of course).

Select the clip, go to the Clip Properties tab of the Inspector, change the Time Format to seconds and check the Length.

This assumes you're willing to consolidate all clips, lanes and comping, and destructively render all clip-level edits: slip edits, fades, mutes, stretches, looping, clip automation, and clip FX.

Yes, you can use Quick Grouping to freeze multiple tracks.

I found some of the same issues putting two mono EIs in series on a mono track - mainly delay compensation not working correctly but also some other undesirable side-effects. I'll send a report.

This will just get you the left channel of Mix 1 and the right channel of Mix 2. Panning does not collapse a stereo mix to mono, it just reduces the level of the opposite channel until it's gone. If you're really wanting two mono mixes, you'll also have to set the Interleave button on the two MIX buses to mono. Obviously, it's not possible to preserve the stereo image when the output is a mono channel, but the information in both channels of each mix will be preserved by switching the buses to mono.

I can confirm you can now just change the I/O assignments of an existing External Insert to use one channel of the pair, and the other channel will be freed up for use by another EI instance. However there may be issues trying to use the two mono paths in series on the same track. I encountered some issues that I would need to investigate further.

The downside if that approach is that you can end up with lots of redundant copies of .wav files that are carried forward with each version. To me, that's messier than having 20 .CWP files (that can be easily sorted by Last Modified date) in a common project folder, referencing a common audio folder.

The recording is likely being over-compensated for record latency due to the driver mis-reporting the value (in samples) to Sonar. You will need to determine the appropriate a negative offset to be entered as Manual Offset under Preferences > Audio > Sync and Caching. The best way to do this is by temporarily disabling the Use ASIO Reported Latency checkbox (zeroing any Manual Offset that might already be entered) and using a utility like CEntrance Latency Tester to measure the Actual round-trip latency via a patch cable looping an output back to an input. Then subtract the Reported value from the Actual value to get the Manual Offset (again, this will be negative in your case because the driver is over-reporting the latency). Enter that value and re-enable User ASIO Reported Latency, and you should be in business. This is a newer utility that does the same with a nicer, more flexible interface than CEntrance: https://oblique-audio.com/rtl-utility.php

I can't immediately repro that which means the Bakers will need to have a copy of your specific project to investigate.

I would guess the Edit Filter of the lane is still set to 'Audio Transients'. The beveled corner on the clip shows it hasn't been bounced.

With the track armed, you should see live input signal in the meter of the track to which you're recording with the transport stopped. If not, the Input of the track is not assigned correctly or your interface driver is misbehaving and needs to be re-initialized by power-cycling or reboot, or the interface internal routing via hardware or software mix control is fouled up. If you can see the signal in the record meter but can't hear it with Input Echo enabled, I can only think that some other track/bus is soloed.

Either don't create a new folder for each version or create the top-level folder outside of Sonar using Windows Explorer before you save the first version and navigate up that folder level when saving a new version. I generally take the first appraoch and just Save As new versions with a new file name. That way, the different versions can share some audio files that are common to all versions and also reference newly recorded/bounced files that are unique to a particular version, but all saved in a common Audio folder. But I do have higher level folders that contain, for example, all projects recorded with a particular audio-MIDI interface setup or all Improvisations started in 2025, all Bug Demo projects, all Test projects, etc.

I would tend to suspect this is what happened. The 'M' got stuck or inadvertently pressed during playback and the project was re-saved or auto-saved before it was noticed.

Yes, better. And the vocal placement is quite a bit better. Previously, with heaphones, it sounded like it was floating in the middle of my head while the instruments were in a different space, more out front. I didn't recognize it as excessive width, but that must have been it. Nice work.