David Baay

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.

Audiosnap is a collection of tools for manipulating audio and project timing in different ways. The appropriate functions and steps to use in a given situation depend on the starting point and the goal, and it would be difficult to cover all the possible scenarios in a single video. I learned it by experimenting with it. There's a lot of random stuff on Youtube that is more or less (sometimes much less!) correct, depending on who posted it. For a general overview of what it can do, I would actually start with this ancient video by Seth Perlstein on Cakewalk's channel; The UI is a more than a bit out of date, but the overall capcbilities and usage have not changed that much:

What Bass Guitar said about Insert FX vs. Send FX is accurate but it's not clear to me from the above terminology that this is what you're talking about...? FX in tracks are always working as Inserts (i.e. the entire signal goes through the FX), but FX on Buses and Aux tracks can be used either way, depending on whether the source track (or bus) is Outputting or Sending to the aux/bus. And in all cases the Return of the FX is to the Output of the track or bus it's on, so the description "I have the bus drum track picking up the reverb from another bus FX track via a send" doesn't really make sense. You might want to have a look at Sonar's Signal Flow chart and re-phrase that.

To clarify what others are getting at: If playback is through the Tank G, it's likely that its output is being looped back internally to the same input that the USB port presents to Sonar. You need to check the Tank G's app to see if there's a way to disable that. This happens with onboard audio when the input is "What U Hear" or "Stereo Mix", rather than Mic/Line In.

Audiosnap's analysis is sometimes off by factor of two. Before doing tempo extraction or any other operation with Audiosnap you should choose the correct Average Tempo from the pick list in the Audiosnap Palette (or in the bar at the bottom of the clip when 'Edit Clip Map' is enabled in the palette).

Check the status of the license. Demo versions of plugins or plugins with expired/broken licenses will often mute audio intermittently. Usually opening the plugin UI will show if it's in demo mode.

Actually this has come up at least once before. Try accessing export via the Export module in the Control Bar per this thread:

It's been this way for years that you have to set browser security to allow showing insecure content on secure sites; I'm not sure what the path is to that setting in Firefox.

I'd be interested in looking at any example of an exception to what I've explained. One way or another, if a MIDI file opens with notes starting somewhere other than 1:01:000, there must be some message or metadata in the file that defines an earlier starting point.

The timestamps of events in a MIDI file are not in M:B:T format; they're just total tick values starting from 0. If you open the file in Sonar (or any any MIDI app) the first event is always going to be at 1:01:000 and the M:B:T position of all the other events is derived from the PPQ clock rate and time signature(s) embedded in the file. If you want the musical events to start at some specific point later in the timeline, the only option is to have an event at 1:01:000, and include that in the export. Again, this is just how MIDI files work, and is not something that Sonar - or any DAW - can change. Audio files pretty much work the same way except that you have the option to export and import Broadcast waves which have an absolute SMPTE offset embedded in them. In the absence of that information, an audio file will just open with the first sample at time zero in the DAW/Player, and if you want the music to start later, the beginning of the file has to include "dead air" from time zero.

Okay, I misunderstood what you want. The above is correct, but the limitation is not Sonar; it's the Standard MIDI File format. If you want the file to start before the first note, there has to be some event to define that point. Another option is to insert a tempo 'change' at that point; it can have the same value as the initial tempo. Since the tempo map is included in the SMF file, including that tempo node in the time selection will define the start of the file.