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There's probably an easier/faster way to do that. I'm not sure what you're doing in the Process menu, but here's how I do it. Split the clip right before the mouth noise I want to remove, then drag the edge of the clip until the breath is edited out. If you split the clip by using alt-click, it goes very quickly. Split, edit, split, edit. Faster to do than to type how to do it. And, yes, I, too, think a "repeat last command" would be a good thing for Sonar to have. Matter of fact, I wasn't even aware that it didn't. It's such a standard thing.

I get the left to right part. People from Western countries would expect the playhead to go from left to right. I was wondering more about the part where the tracks are horizontal, with headers on the left. That doesn't seem like something that DAW's picked up from something else, except maybe seismographs and other paper chart recorders. I know that trackers, which were a hip thing for a while and never really went away, and actual physical piano rolls scroll top to bottom. The traditional DAW/NLE layout lets the user watch as events are triggered, get an overview of a whole song or project. Maybe it's a simple as real estate: monitors are wider than they are tall, so horizontal tracks lets you display the greatest amount of timeline. Then there's Waveform, and Ableton Live, who put the track headers over on the right for no good reason I can think of, except unless the other stuff in Ableton Live need to be over there. These features are the way they are because someone thought of the best way to present the information, tried it, it worked, and then other developers adopted it. Draw and paint programs have floating palettes because it works. It's great to have access to those tools right there where you're working so you don't have to look away. I just get curious about things sometimes. Why is this program that I stare at so much the way that it is?

I'm not losing any sleep over the question, nor would I ask anyone else to. I'm not trying to develop my own DAW so there's nothing to fix other than satisfying my curiosity. Speaking of which, do you think I'm putting myself in danger asking about DAW development history?? If so, I'd like to know what pitfalls to watch out for. If it's too dangerous to even speak of, I understand. But a vague hint or two might not hurt?

Today's freeware pick, and highly recommended by me, Soundly Shape it EQ. Recommendation: do not write this off as "oh boy, another paragraphic to add to my collection of over a dozen of them." Try it first. Even though it doesn't do anything that the sonitus EQ doesn't. Even though MEqualizer and TDR Nova have more features. In this case it's not about having one single EQ plug-in that can do everything. It's how it does it, with everything right where it needs to be. What they say about it being lightning fast to set up the usual EQ tasks is true. Just fire it up, try doing your standard highpass, lowpass, notch, and boost. See how many clicks it takes you. Then decide whether to keep or trash. Single click to add a node, and if you do it at the ends, it's smart enough to start with a highpass or lowpass, depending. Then, once you have a node in place, when it's focused, it will have a small (but not too small) pop-up box attached with various parameters like Q, shape, etc. Changing the Q is as easy as clicking on the parameter and dragging up and down. The important thing for me is that you don't have to travel to another window or another part of the UI to do anything. It's all right there at the active node. I like it so much I'm wondering if it's going to replace MEqualizer as the first EQ I reach for for basic tasks. It has 10 bands to MEQ's 6, but I never use that many bands anyway. If you know what a drooler I am about MEqualizer, that should tell you how stoked I am. Also, I'm not just about freeware, I have some heavy hitters as far as this type of EQ. sonible entropy and proximity, Kilohearts Slice and Carve, T-Racks Equal, the entire Melda line, and all of iZotope's. I'm a hard sell. It doesn't do all of the fancy things others do, but that's what those EQ's are for. This is bread and butter. I fired it up in PluginDoctor and it was in the ballpark with MEqualizer for performance, which is my benchmark for that. Try their other freebie, PlaceIt, which despite the name is more of a sound designer's tool than a spatial placement tool. You can emulate the sound of laptop speakers in an office, the traditional telephone, "Wish You Were Here" transistor radio, party next door, and so forth. If I were doing soundtrack work, I'd consider it essential. I'll use it on dialog samples for my ambient stuff.

Argh, I seem to have missed the follow ups (good idea to use quoting, it alerts people). I've found that with some of these, you must click on the Input Echo button for the instrument's MIDI track for them to work properly. Otherwise, Cakewalk defaults to only input echoing on the currently selected track.

Something I've long been curious about: what DAW's or NLE's were the first to adopt the design/layout paradigms that are now pretty much standard. Whatever their differences, the "classic" DAW's seem to have settled down with a standard layout paradigm. You know you're going to see a main window with tracks laid out horizontally, track headers at one side, and another window with a piano roll for MIDI editing. The piano roll has a graphical representation of a piano keyboard at the left and a grid where you enter and edit notes. From there, it's down to the finer points of how you navigate those things. Also, over the years, many DAW's have added an optional "inspector" at the left that lets you access more parameters relating to a focused track. Same with a vertically-arranged "browser" either at left or right that acts as a table of contents for plug-ins, loops and other such things. Most of them now have some sort of layers or lanes or equivalent that allow for different iterations of the tracks. Cubase has this, Sonar, Pro Tools and of course the REAPERs and Mixcrafts and Studios One and Mixbuses that came later. Even Waveform and Ableton Live have it, with the difference being that the track headers are at the right for whatever reason. Who were the firsts? Who did the first piano roll with the keyboard at the left? Who first did the horizontal tracks with headers? Lanes? Everyone copies features and workflow from each other, but someone had to do them first. Later, who was first to have the floatable dockable rearrangeable windows for the views? Who put that inspector over at the left? The bulk of my experience is with Cakewalk, Mixcraft, and Studio One, all of which are close enough to each other that it's down to specific differences, IMO. I have no experience with pre SONAR X Cakewalk stuff, so I don't know about that. The reason this came up for me is that I visited with a college professor friend whose specialty is media, and when he wrote a paper on the influence that computers have had on how we create music, he chose Cubase as his starting point. I think that was because he had to start somewhere, and to him, Cubase seemed to be the first widely adopted MIDI sequencer.

Where on earth did you find that sketchy link? The CbB download is still on BandLab's site.

Recommendation: do not write this off as "oh boy, another paragraphic to add to my collection of over a dozen of them." Try it first. What they say about it being lightning fast to set up the usual EQ tasks is true. Just fire it up, try doing your standard highpass, lowpass, notch, and boost. Then decide whether to keep or trash. Single click to add a node, and if you do it at the ends, it's smart enough to start with a highpass or lowpass, depending. Then, once you have a node in place, when it's focused, it will have a small (but not too small) box with various parameters like Q, shape, etc. And changing the Q is as easy as clicking on the parameter and dragging up and down. The important thing for me is that you don't have to travel to another window or another part of the UI to do anything. It's all right there at the active node. I like it so much I'm wondering if it's going to replace MEqualizer as my go to. It has 10 bands to MEQ's 6, but I never use that many bands anyway. If you know what a drooler I am about MEqualizer, that should tell you how stoked I am. As do we all, I have some heavy hitters as far as this type of EQ. sonible entropy and proximity, Kilohearts Slice and Carve, T-Racks Equal, the entire Melda line, and all of iZotope's. I'm a hard sell. It doesn't do all of the fancy things others do, but that's what those EQ's are for. This is bread and butter. I fired it up in PluginDoctor and it was in the ballpark with MEqualizer for performance, which is my benchmark for that. Cause for rejoicing among a vocal subset of forum buddies: to download it, you click on the button that says "download." Then your download starts. Then you run the installer and the plug-in is installed. Period. No newsletter, no "liking" them or downloading the installer shell or online verification or any of that. Rigmarole don't bother me, I'll crawl over broken glass just to try out a free limiter from a favorite plug-in house.? But I got yer 6. Also try PlaceIt, which despite the name is more of a sound designer's tool than a spatial placement tool. You can emulate the sound of laptop speakers in an office, the traditional telephone, "Wish You Were Here" transistor radio, and so forth. If I were doing soundtrack work, I'd consider it essential. I'll use it on dialog samples for my ambient stuff.

Different animal. PlaceIt is more soundtrack-y sound design-ish than it is spatial. So if you want to emulate laptop speakers, telephone, old radio, party in the basement, etc. PlaceIt is the thing, and it does it well. Fun to play with. Gotta try doing a "Wish You Were Here" transistor radio effect some time. As others have said, no issues here in Sonar or CbB.

Other than the Tutorials subforum, which we are now posting in, there are no other resources that I know of for text-driven tutorials. Curious: my installation of SONAR Platinum doesn't have a set of tutorials in its help files. Can you be more specific about where/how to find them?

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It was a joke aimed at people like me who are capable of being jaded by a manufacturer giving out free licenses for what is actually a pretty great plug-in in its category. Be grateful that you didn't get it.? "Pizza again? We always have pizza!"

Since it's statistically unlikely that anyone (including me) will have anything new to say on this subject, I came up with a numbering system to save typing and space. The idea is that whenever we feel like we need to say something on the topic, we can just look it up and then post the number that corresponds to what we're bursting to share. In the unlikely event that someone was interested in what I was saying, they could look up the numbers, but it's really not necessary. The important thing is that I register my agreement or disagreement with what is being said. I already know I'm not going to change anyone's mind, I figured that out in the first month or two. But it's the internet, so I must have my say whether anyone cares or not. Methodology: after analyzing the dozens of earlier topics, and with input from others who pointed out some that I missed, there are basically 2 topics (either B. "it's been a long time since they said anything" or A. "they said something without giving the price and licensing model"), and 55 statements that just get repeated over and over. For instance, this topic is B because it's about how an announcement was made that didn't include the price or even the future offering of, perpetual licenses for Sonar. Simple!

So for you, 18>33. Whatever. 16. 53.

So 18 led to 27 for you. It does seem like 18 is making it hard for some people to 33. But 13 and 25, IMO. 16, right? ?

I was actually aware that both of the plug-ins have been given away many times over the years. A free license for TrueVerb was my first Waves plug-in, 10 or more years ago. My comment was meant to be amusing, ironic, "wishing" for something to happen that is known to happen rather often. I could also wish for brainworx to release more vintage hardware emulations (especially console EQ's) or for UAD to give some consideration to MacOS compatibility. Or for MeldaProduction to focus less on endless documentation and hand-holding. Glitchmachines could get outside their comfort zone and release something more adventurous. Maybe Freakshow Industries' ads could show a sense of humor once in a while instead of rote descriptions of what the processors do. BandLab shouldn't be so hasty about rushing Cakewalk Sonar's release and AVID should take copy protection more seriously. If only more REAPER users could speak up and help spread awareness about the product in social media and YouTube comments. Apple could stand to get some synergy happening with sales of Logic Pro and MacOS computer systems. And if only users of this forum could speak up and let BandLab know their opinions about pricing, subscription licensing, and where Cakewalk Sonar will fit in the marketplace. That would surely be entertaining and informative, and it would serve to let BandLab know that we stand united in our opinions. For my own part, perhaps I should be more verbose....

So there's free, which means that you're legally entitled to use it without paying a license fee, and then there's "almost free" which means that you're not legally entitled to use it without paying a license fee but you can use it without paying if you're willing to ignore a prominent notice reminding you that you're not legally entitled to use it without paying. For instance, Cakewalk by BandLab and Audacity and Ubuntu are free, REAPER and GoldWave and Windows 10 are almost free.

Here it comes, here it comes, here comes your 7th Berzerk Distortion.... If only they'd do a freebie of TrueVerb or H-Comp Hybrid Compressor.

I don't know what the FL Studio channel rack looks like, but if you want to program beats using the step sequencer and use your own sound files for the drum sounds, Speedrum Lite will do the job. It's freeware. TX16Wx is more complex and will also do the job. Also freeware.

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I really should analyze what's up with the unintended consequences thing, because it wasn't that way with Mixcraft. I didn't wear a shiny spot on my Control and Z keys as quickly. Also not that way with Vegas or Audacity or Paint.NET. My first thought is that it's down to differences in how Cakewalk clears selections. Some convention in other Windows apps that I'm used to but is different in Cakewalk. Maybe something to do with right clicking and context menus....what happens over and over is that I delete something and it takes something else with it that I didn't expect it to. Stuff often seems to be selected when I was not expecting it to be. One of my earliest WTF's with CbB was right clicking on a track header, selecting Delete Track and then being asked if I wanted to delete multiple tracks. This happened over and over again. Hmm.

Nor do I. If you mean you don't understand my "Not nearly excited enough" comment, I'm referring to their first reply saying that they were excited for me to snag the limiter. I'd love to share their excitement. Hyperbits gotta realize that it's not exactly an endorsement of how well they have it together.

`-Select None is my favorite, the one I use most often. Whatever its charms, I find that Cakewalk is the worst about creating unintended consequences due to not releasing selections in the way I expect. Solution: when in doubt, hit the tilde key and clear 'em all. I also have the thumb buttons on my mouse set to Ctrl and Alt which is great for drag copying and splitting, respectively. Holding both down and wheeling gets me zoom, and that's a much-used thing for me.

Not nearly excited enough, I'd say.

I did try that at one point and got the "Get updates" reply. Did they send your code via Instagram or email or what? Eh, mastering limiters I got plenty of, just wanted to see their take on it.