David Baay

Regarding "Apply Workspace on Project Load", you may not want to enable that. Here's why: I've just recently started using Workspaces after many years of not feeling they were useful to me because too many of my projects have specific layouts that I don't want to have overridden by a generic Workspace. When I came to understand (thanks to @Starship Krupa) that you don't have to have a Workspace applied automatically, that was the key to making them work for me. With 'Apply...' disabled, you can decide after opening a project whether you want to apply your preferred Workspace by reselecting it from the picklist. If you want the project to take on the layout permanently, just resave it, and it will open with that layout next time even when the Workspace is not applied. Then, if you do some project-specific tweaking of the layout later and re-save it, it will re-load with those tweaks preserved next time. For new projects, just save a project template that has that Workspace applied.

The demo bounces fine for me. Bouncing/freezing just that track with no FX enabled fails? What patch, and approximately how long is the region? Try: 1. Disabling FX if any. 2. Raising the Bounce Buffer Size to 20ms in the bounce/export dialog.

Interesting. I never tried it. Any other P5 features we should ask the Bakers to bring to Sonar?

Tried it with a project migrated as described, and I'm still getting just a MIDI file in the specified directory.

Hmmm... Not seing that here. It may be related to the fact that the audio is referenced from another location because of the way your migrated the project files. I'd have to try that specifically. Is that box unchecked before changing the file type grays it out?

Out of curiosity, I did a quick search of the forum regarding cross-fading of arranger tracks and found this: Auto Crossfades is applied to Section Split/Arrangement Commit Section operations now respect the Auto Crossfade enable in the Track view. Section Split and Commit Arrangement operations will now have crossfades applied when enabled. EDIT: I played around with this and found it has limited flexibility because the max auto crossfade is 25ms; it's really only suitable for removing pops and clicks. It needs a dedicated crossfade setting that's capable of a much longer transition which should be doable since it works offline on Commit Arrangment (or Insert Committed Arrangement which is what I used to test it).

It's simply the converse of your "systems should not force Humans to waste Life/Times simply for their- self-centered view points." Development resources are finite; the development or enhancement of any particular feature has an opportunity cost for other features that may be more broadly useful to more users. And individual users are as likely to make self-centered feature requests as companies are to make self-centered choices about which ones to implement.

Sounds like you're saving as MIDI to a project folder already created by previously saving as the default Type "Normal". You just need to make sure you're changing the file type in the Save As (or Save a Copy) dialog to MIDI, and navigate out of the project folder.

Definitely not a common experience. You should submit an affected project to the Bakers.

I'm curious what this means, exactly. For me, the initial migration of a project from CbB to Sonar's scalable UI requires adjusting the position of some pane splitters and changing timeline zoom level to make the layout of a given project look exactly the same, but it's far from 'a jumbled mess', and doesn't change with 'every update'. That's expressly not recommended as was implied earlier in this thread. Maybe you mis-interpreted that statement...?

Keep in mind this applies to the lives and time of developers and companies ('corporations are people, too', you know) as well as users. It may not be worth the time to develop a feature that does not have broad applicability/usefulness especially if it requires drastically re-architecting the underlying logic, posing the risk or introducing new defects or breaking backward compatibility. That said, I imagine that some basic implementation of cross-fading arranger sections could be very helpful to those who use it. I'd be interested to see a simple example project showing how this works Right offhand, I don't see how it solves the problem of not having overlapping audio to cross-fade without moving segments in a way that affects their timing.

RPN/NRPN messages are part of the MIDI 1.0 standard and thus originally designed to control hardware synths. Some soft synths will have particular parameters that respond to RPN/NRPN messages (usually things that have traditionally used them like Pitch Wheel messages), but the vast majority will use the 'normalized float" values that run from 0 to 1.0 (100%). Internally these are 64-bit floating-point values offering waaaay more resolution than the thousandths of a percent that the Sonar UI presents, but that resolution is about 6 times what an RPN/NRPN running from 0 to 16535 would offer. As pointed out, you can enter those small increments in the automation node properties dialog. Many Sonar parameters can be fine-tuned by holding Shift while dragging; unfortunately this does not seem to be implemented for moving automation nodes. This would ba good candidate for a feature request, possibly including the abillity to scale the automation display range so you could easily see what an envelope is doing when it's only varying from, say, 0 to 1%. Finally, I'll just mention that the extremely small values you're having to use for Reverb level could probably be mitigated by lowering/shortening the Decay and raising the Damping.

I resemble that comment. ;^)

Yes, I don't know offhand what's typical for other DAWs, but Sonar does have a zoom-out limit. It's in M:B:T, so if your recording is independnet of the project tempo, you can get more absolute time by lowering the tempo. FOr example, the M:B:T limit on my laptop with the Inspector, Browser and Tracks pane closed to maximize the Clips pane, I can see about 2880 measures. At 125bpm, that's about 90 minutes, but at half that tempo, it's 3 hours. At the minimum tempo of 8bpm, it's 24 hours.

One way or another, there has to be an overlap in order to do a cross-fade. In order to do that with Arrangements, Sonar would need to implement some non-visual setting where you specify that playback of each segment starts before the previous one ends and the resulting overlap is cross-faded. But I suspect that the way Arranger segments are currently processed would not easily allow this as it would require reading data from different parts of the timeline concurrently in real-time - or possibly buffering the different regions to RAM in advance - which doesn't currently happen in any other context. The process you described will work for the kind of 5-10ms cross-fades needed just to eliminate pops between discontinuous segments. But for longer transitions - as in movie scenes - you would need to actually render individual segments with significant added time before and after to allow overlapping their boundaries without moving them closer together which will foul up the timing of rhythmic material.

I suspected and just confirmed by checking the Ref. Guide that when controls are grouped, holding Ctrl temporarily overrides the grouping so you can alter one member independently - i.e. it becomes Quick Unrouping. So far as I know, quick-grouping of groups is simply not implemented. The simplest alternative would be to output each pair to an Aux track that outputs to the bus, use the grouped track volumes to contol the pairs and use quick-grouping on the Aux volumes as needed. If you're using matchng FX on each guitar pair, Aux tracks will also facilitate that and reduce the number of plugins you have to manage. Or don't create any permanent groups and, just use quick-grouping for everything, selecting what you want to control in each case.

Raising faders on the tracks the feed the bus will have the identical effect to raising Input Gain. Both will increase the level into the FX bin.

Not sure about the problem with quick-grouping of groups and not at my DAW to test, but you should be able to get the same result using Input Gain on the bus if only those six tracks are going to it.

If a plugin uses a lookahead buffer, enabling/disabling may require retarting playback for CW to re-calculate the delay compensation. In some cases this can happen automatically, but not always. This may depend on what plugin is involved, and where it is in the project. @Anders Madsen I should add that it may also depend on how you bypass it: via bypass/power button in the plugin's UI, by disabling only that plugin in an FX bin, or disabling the whole FX bin.

Double-click an empty area of the track header (i.e. where the double-ended arrow appears to drag it), and it will go to maximum height. Double-click again and it will return to its previous height.

You can't edit/audition events in a step sequencer clip in the PRV/Drum Pane, but adding events should create a separate MIDI clip and you should hear those. Can you hear newly added notes on playback? Might be best to share a copy of the project stripped down to that one track for troubleshooting.

How about the global FX Bypass in the Mix Module? Make sure that's not lit/enabled. 'E' is the default keybinding for it.

I would guess using a VSTi that echoes MIDI or installing virtual MIDI cable software with looback enabled. Otherwise the only way MIDI get's into another track is by a physical MIDI loop via having Out=Thru enabled on a keyboard controller or an interface that can loop MIDI internally, if not an actual cable between an OUT and an IN. That pretty much covers the possibiities other than some sort of project corruption. But given that CW isn't inherently capable of outputting MIDI to more than one port (much to the chagrin of many users), that seems unlikely.

Regarding the excess file length, you probalby have an automation node or something further out in the timeline that''s being interpreted as the 'End' in the absence of an End Marker or making an explicit selection to set the range as noted by Glenn. Regarding the flatline after 3:04, that's pretty odd. Maybe try setting a higher Bounce Buffer Size in the export dialog (I typically use 20ms). If all else fails, checking the Render in Real-Time box should do the trick if it's playing through normally.

Regardless of what approach is used to get bounces of each bus through the Master, separately, be aware that any compression, limiting or other dynamic FX on the Master are not going give the desired result because they depend on the input level of the summed signal and will behave differently (even to the point of doing nothing at all) when processing individual buses. The sum of compressed signals will never be the same as compressing the sum. Non-linear phase shifts in FX could also alter peak levels and cause other problems with the re-summed stems.