David Baay

Actually, if you don't intend to use Platinum ever again (or you only installed it to get plugins as I did on my laptops), it shouldn't be a problem to delete its Content folder as all those directories will only be referenced by Platinum, either based on Folder Location paths in Preferences or by Platinum-specific registry entries (e.g. for the metronome samples). But you'll want to copy any custom content you might have created in Platinum like FX Chain and Prochannel Presets, Project Templates, Track Templates etc. to their respective Sonar folders. What I've been doing for years is maintaining a common set of content folders directly under Cakewalk Content to which all installed versions of Sonar/CbB/SONAR refer.

Audiosnap in Sonar. Expand the Audiosnap section on the Clip Properties tab in the Inspector and check the Enable box. Click on the clip to open the Audiosnap Palette that gives access to the various functions including Quantize. You can also hit Q for general quantizing, and the dialog box has an option to Audiosnap Beats which shuold be checekd by default. First thing to do in the Palette is to make sure the Clip Tempo was detected correctly andchange it if necessary, the drag the Threshold slider to adjust the transient detection sensitivity and/or Resolution setting to leave a transient marker active on each bass note, and no superfluous ones, Sometimes you wil need to manually enable some individual transient markers that the Threshold adjustment is suppressing or vice versa. Beyond that you will want to read up on the Clip Tempo Map and other Audiosnap features in the Ref. Guide.

Yes, but the key to your amp's "re-amping facility" (I assume) is that the re-amping input matches the low-impedance, high-level, balanced output from your interface to the high-impedance, low level, unbalanced input of the amplifier's pre-amp circuit so that it behaves the same as if the signal were from a guitar. If you're going to use pedal FX designed for a guitar signal, you should ideally use a stand-alone re-amping box between the interface and the pedals to do the same thing:

I forgot the fix hadn't yet been included in one of the updates already released. That should take care of it.

In that case, John has you covered with direct monitoring and the Input/Playback mix control.

... or when mixing with real-time external processing as in this case. And there are many other valid use cases. As a long-time and ongoing hardware synth user, I have always monitered through the box since it became possible to do with reasonable latency. I assume the the reason the OP wants to do it is to be able to tweak the amp to get a good-sounding mix before recording or maybe even to rehearse control moves that he wants to execute while recording.

Try disabling the 64-bit Double Precision Mix Engine and/or Always Stream Audio Through FX. It might also be worth toggling the state of Use MMCSS and/or Enable MMCSS for ASIO Driver. I just recently tried enabling MMCS for ASIO and got some minor glitching when looping. I believe it's off by default and its potential benefit is very driver-specific. More generally, whenever this kind of bad streaming behavior crops up, it's always worth executing Reset Config to Defaults unde Preferences > Audio > Configuration File as a troubleshooting step. Sonar will back up your AUD.INI and replace it with a default configuration.

I would say both of those behaviors are unexpected. I wouldn't expect a Workspace to affect takes lanes at all since a project could have many more tracks with different numbers and ordering of take lanes than the project from which the Workspace was originally saved. This might be something the Bakers need to investigate, but it's possible your Workspace is somehow corrupted or no longer compatible with Sonar, and you just need to create a new one. I suggest you try starting a new project from the Basic template, arrange everything to your preference, save a new Workspace, and see if it behaves as expected with existing projects.

It might not be noticeable if your latency is very low and you're mixing the re-amped signal with the raw signal at a relatively low level as your setup implies. In that case, the delay might just add some "space" to the sound which might be desirable. But there's no way you wouldn't have a delay. I'm not a guitarist, but I would think in most cases you would want to hear only the re-amped signal, using the amp as an insert FX, which is what Exgternal Insert does for you.

I had forgotten the previewer could automatically stretch and loop 'unlooped' audio files. I verified this by dropping a 1-bar click into the browser and changing project tempo while previewing it. But any incorrect "Acidizer Flags" in the header would likely override that. "Beats:999977" certainly looks a little problematic. EDIT: Also just noticed this is wrong: "Duration:3.85 s" Should be 3.84

This is basically the right approach, but rather than sending the guitar track to a bus, add an External Insert to the Guitar track's FX bin, assign its I/O to spare input and output channels on the interface (probably mono), and click the button to set automatic delay compensation so the returning re-amped signal stays in sync with the rest of the tracks.

That's right. Ignoring the OP's mention of SMPTE times, which might just have been intended to indicate where he wants the downbeat in absolute time, changing the time signature to 2/4 at 7:01 will put 8:01 at SMPTE 00:00:17:10 where 7:03 is currently without changing the tempo. If the tempo doesn't need to be held at 90bpm through measure 7, you could also get 8:01 to hit SMPTE time 17:10 by changing the tempo at 7:01 to 4 / 3 * 90 = 120bpm (4 beats at 120bpm to go by in the time of 3 at 90bpm). If there's already MIDI in the project that needs to maintain its absolute timing you can use Set Measure/Beat At Now to make the necessary tempo changes. - Snap the Now time to 7:01, Shift+M for Set Measure/Beat At Now and anchor it where it is by entering Measure 7, Beat 1. - Snap the Now time to 7:01, and SM/BAN it to 8:01. - To get the tempo back to 90 at 8:01. snap the Now time to 9:01 and SM/BAN it to 8:04.

On getting back to this I forgot the OP has indicated it wasn't a problem in CbB. I don't have CbB on this machine but I just checked Platinum, and indeed they preview okay there. I don't know offhand how to determine what tool/method was used to embed the looping metadata and whether they are consistent with some standard/convention. @msmcleod might be able to download the files and have a look.

There was recently an issue with other view parameters were not being restored correctly only on the first project to be opened, so possibly this is another manifestation of that, but I am not able to repro your issue. Is this Sonar free or paid? If paid, are you using Workspaces? Can you share a demo project?

I'm not sure I understand the issue... or maybe that you understand it. Your transport module is showing SMPTE time. That's only ever going to be in sync with whole measures at tempos of 15, 30, 60, 120 and 240bpm, and you're currently at 90bpm where a measure is 1/3 of a second (20 frames) longer than 2 seconds. So the frame value will increase by 20 frames mod 30 with every measure, giving you 20, 10, 00, 20, 10, 00... as you're seeing.

I think there must be some issue with the metadata in the files that tells Sonar they're 'loops'. They do behave like loops when dragged into a project and rolled out, but the preview basically stops when the file ends as it would with an audio file that has no looping metadata added. You might need to take this up with loop vendor. Try replacing your files with these - bounced and converted to Groove Clip loops: EDIT: Just realized I did not export these loops correctly, and the looping info was lost. Fixed by saving from Loop Construction view. I should also note that these are 48kHz where the originals were 44.1kHz. HTHT_125_Hat_Loop_Adder (GC).wav HTHT_125_Hat_Loop_Amped (GC).wav

What is it?

It's always been a challenge to predictably add notes to a specific take lane. It would be nice if focusing the lane did the trick but it doesn't. I'm pretty sure I've formally reported/requested this in the past. In the mean time, the most reliable way I've found is to select a note in the PRV that belongs to the relevant clip and Ctrl+drag copy it to where you want the new note. That note will always be created in the clip from which it was copied and any additional notes you add will go to that clip. This also avoids the problem that creating a note more than aabout 5 beats later than the last note in a clip creates a new clip. Drag-copying a note beyond the current boundary of the clip automatically extends the clip boundary.

It's perfectly safe to Melodyne a flattened comp in the original track. This doesn't affect the comped lanes at all. If you want to change it later, you can just unsolo the flattened comp, delete (or mute) the lane, re-comp, re-flatten and Melodyne again. That said, I always advocate saving a project with a suffixed name before doing major edits so you easily revert if something goes wrong, and I do often archive raw tracks (mostly MIDI in my case) within projects until I'm satisfied with the final product.

I kind of suspected something like that. I tried it myself yesterday and didn't see a problem, but I Melodyned a flattened comp after unlocking it. If you Melodyned the unflattend comp clip in the parent track with lanes closed, it makes sense that the Melodyne clip would replace the individaul takes that comp clip represents with the Melodyne clip in T1. So I'd say it's not a bug, but it could certainly be considered unintuitive if you aren't fully aware of how ARA works and how a comp clip represents take lane clips when lanes aren't showing.

In the Tools module of the Control Bar, select the Draw (Pencil) tool, right-click it and choose 'Line'. As you draw over existing velocities, it will 'trim' them to form a straight line between the start and end points of your drag.

If Windows or other another app is competing for control of the clock rate that could happen. Less likely with a manufactuer-provided native ASIO driver; more likely with onboard audio using WASAPI or any 3rd-party driver. What audio interface and driver mode?

What are you using for a keyboard/controller. Most VSTs will respond to wayward pitch wheel messages the same as hardware modules. How big is the pitch error in semitones? A clocking error between 44.1 and 48kHz would throw it off a little more than a semitone in either direction, but the hardware modules would only be affected if they're being monitored through Sonar.

I don't have CbB on this machine, but Sonar Platinum 17.10 produces the same output on freezing, so either the problem just didn't manifest with the particular MIDI content and instruments you were using at the time or possibly Spitfire have updated their rendering engine since then and created a problem.

Not sure what might have happened but a few observations and questions: - Based on the uppermost take lane being soloed it appears that Flatten Comp was excuted at some point whether deliberately or not. - Are you sure the remaining clip in T1 is your comp, and not just the first take? - Based on that clip's name, it appears to have had Melodyne applied. Was it Melodyned before comping? Normally a flattened comp would be locked and could not be Melodyned after the fact unless it was unlocked first. - Are the takes still in the audio folder? They should be unless Clean Audio Folder was executed.