David Baay

Support for GS Wavetable was deliberately removed some time ago for compatibility reasons. I subsequently discovered a that it's still available if you set MIDI driver mode in Preferences to UWP instead of the default MME. But I can't say how long this workaround will persist, and I've seen flaky behavior using UWP mode with the one interface I have that supports it for hardware outs so I'm back to MME.

I'm not exactly sure what you have going on because Sonar wouldn't allow sending or outputting the reverb bus back to any source track as that would create a feedback loop, but the Reverb bus should Output to Master. EDIT: I should add that when using an FX on a bus as a Send FX, the FX should be set to 100% wet. The dry signal gets to the Master directly from the track/bus that's the source of the Send, and the wet signal gets there from the FX bus. Dry/Wet mix is controlled by a combination of the send levels and the FX bus Volume.

Not in my experience. NDME overrides Blend and will force a new clip to be created.

No, becasue Blend does not alter any notes in the target clip as Replace and Move do.

I would think the stereoization of the (presumably) mono input from the guitar is happening at the output. So, you're recording a dual mono dry signal and it's getting stereoized on playback (and when monitoring, whether direct or via Input Echo) through the Helix. If the Helix doesn't offer an option to record from the output via internal loopback in the console app, you're going to have to setup a manual loopback.

Yes, I intended to mention that all the Melodyne (i.e. pitch correction) work should probably be done first since it's optimized for working on raw audio and might be negatively affected by any stretching artifacts introduced by Audiosnap. And it should (and must) be rendered before Audiosnap can be enabled.

It's always better to let your audio guide your project tempo, recording the freely varying tempo that you want, and using the various methods available to fit the project timeline to it (Set Measure/Beat At Now being my prefered tool). But if you have an existing fixed-tempo recording that's matching the fixed tempo of the project and you want to add a tempo change after the fact, do the following: - With the audio clip(s) selected, expand the AudioSnap section of the Clip Properties tab in the Track Inspector. - Check the 'Enable' box. - Select 'Autostretch' from the 'Follow Options' pick list. - Check the box to enable 'Follow Proj Tempo'. The clip(s) will automatically conform to any tempo changes you make. See the documentation for information on stretching algorithms and using Bounce to Clip(s) to render the stretching permanent with an Offline algorithm. Although it's all reversible, even after you render the stretching, it's generally advisable to work with a copy of the project to facilitate recovering the original state in case things don't go as expected for any reason.

Maybe. I was actually anticipating Noel and the gang might get some financing together to buy the IP and give it a go without all the corporate overhead. It's hard to imagine Gibson wouldn't have found someone to do that at some point, but it might not have turned out as well as it has if not for Ming's deep pockets. I'm distinctly part of the old guard when it comes to what I see as valuble features and glaring omissions in a DAW. I try not to push back too hard on what others want to see added/changed, and I think I mostly succeed. But I've always been more tolerant of life's many imperfections than some, and often find it slightly amusing how vehement people can get about the small shortcomings that all DAWs have or even just simple implementation differences between them - not that this is the case here. I just can't get that excited about any of it one way or the other. And it's not just my age; it's who I've always been. For years, I've been happy to see what the Bakers would add to each new release without wanting for much, myself. I suppose a lot of it was driven by keeping up with other sequencers/DAWs and feature requests from users as much as the Bakers' own initiative, and I should be thankful for that; I never really thought about it that much.

Not everything unexpected is a defect that needs to be 'fixed'. 95% of the time I find this setting to be unnecessary, and it is disabled by default. Basically all it does is use slip-editing to 'mask' partial copies/moves/deletions instead of 'destructively' truncating clips and removing events. This is why you get the result you described, and why I suspected immediately that was the cause. I can't really envision a workflow scenario in which one would need to be going back and forth between the two modes often enough for it to be controllable with a shortcut. I suggest you leave it off for a significant amount of time and see if you really miss it. Having Sonar's behavior constantly change in different contexts due to toggling settings that are meant to be persistent is a recipe for confusion and inefficiency.

I think disabling Non-Destructive MIDI Editing under Preferences > Customization > Editing will resolve both those issues.

Glad to help. I was just now reading through the responses and getting ready to post the same solution. 😜

The display of the recording as comp clips is just a virtual construct. The underlying recording will be one contiuous .WAV file in the Audio folder of the project (or global Audio Data folder if the project hasn't ever been saved). You can just import that .WAV file to a new track. EDIT: I wish it had been that easy when I once accidentally did this with a MIDI recording (!).

I was joking of course. I don't think it would actually be that big a deal to implement a "Merge" option for MIDI recording, and it should even be possible to retain separate MIDI takes in hidden take lanes indefinitely, so that they could be 'unmerged" at a later date. In fact, it occurs to me that the only thing that's really needed is an option to display events as a single clip in the parent track and manage them as such. I largely disagree with the rest of your critique. This has all been discussed ad nauseum over the years and decades. Suffice it to say Sonar continues to be developed, sometimes leading and sometimes following other DAWs in one respect or another. Every DAW has its strong and weak points. Every DAW has champions and detractors. Every DAW has underlying architectural constraintss that make implementing a particular feature more or less difficult with more or less potential fallout. Every DAW worthy of the name is capable of producing fully professional output. The greatest limitations will always be the capbilities, creativity and imagination of the user.

That's what I mean by incorrect guess. It seems to do well with patterns having strong quarter-note beats but might do less well with patterns containing less well-defined 8th or 16-note patterns. If it thinks 8ths are quarters, it will overestimate the beats in clip by 2x. I'd be very surprised if the algorithm has changed significantly from CbB to Sonar or even since the last release of Platinum.

Sonar sometimse guesses the number of beats in the clip incorrectly. Go to the Groove Clip section of the Clip Properties tab in the Inspector and correct the Beats in Clip value.

I should add: if it were me, I would just destructively edit the velocities (or re-record the performance). In addition to editing them directly and "drawing" ramps and curves as you would with automation, the Transform tool allows re-shaping groups of velocities in various ways without losing the underlaying rhythmic pattern.

It's not currently possible to automate Velocity Offset. If the synth is programmable you might get the same effect by assigning a controller(s) to brighten the tone, open a filter or do whatever else it is that makes the timbre change with velocity and automate the controller(s). If the synth is a sampler with velocity layers, you're kind of out of luck.

Interleave is key to this. If Interleave is Mono, panning doesn't matter. But if Interleave is stereo, you need to pan hard left for odd channels and hard right for even channels. Pan Law doesn't matter when using mono outs.

I did the same as Jonesey and also had the free version of TDR Nova installed. Some softer tom hits were actually being gated out. In other places, bleeding snare hits were getting though the gate along with the tom. I got no unexpected noises in between the gates opening, but I do get 'spits' of sound when stopping the transport in between tom hits that go away when I disable the Novas. Don't have time to look into it further at the moment.

I guess tha makes select by left-click with the Smart tool the exception among all the methods, and maybe clip-locking is not what's going on in the OP's case. It was just the only thing that came to mind.

Okay, I guess some of the confusion comes from referring to what is commonly called an 'FX bus' as a "bus FX track". In any case, sending to an FX bus is the common setup for a Reverb that you want to apply ot multiple tracks - definitely nothing wrong with doing that. If anything I would expect the reverb bus setup to sound "better" because the send adds to the overall level at the Master bus whereas an Insert FX on a track with the Mix level pulled down is essentially 'replacing' part of the dry signal with wet signal which won't add level and may even reduce it. But if you compensate all the levels properly, it should be possible to make the Send setup sound identical to the Insert setup. And if the signal is panned,, you would want to make sure the Send pan is set to Follow Track Pan.

Lasso and swiping in the timeline/keyboard also work to highlight in the PRV, but not left-clicking on notes. The Smart tool doesn't register that there's a note under it (no change in pointer) when Clip Data is locked.

The OP is saying the note 'blobs' aren't getting highlighted when selected - unrelated to keyboard animation. Sounds to me like the notes aren't actually getting selected, possibly due to the clip being locked.

What failed (or what were the symptoms)? The most common problems I run across in old electronics are power supply issues, bad capacitors (which all have a limited lifespan) that lead to regulator failures.... So...it might be fixable. My UltraProteus also failed a few years ago. The display comes up with a random "garbage" characters and the unit is unreponsive to any front-panel controls or MIDI input. Replacing the CMOS battery did not help. I suspected a bad power supply but never looked into finding someone qualified to check it out.

There is no need to 'apply' the offset. You just switch back out of offset mode and the offset remains in place 'in the background' with the envelope mode automation 'riding in top of' the offset.