SONAR X2 Reference Guide
Information in this document is subject to change without notice and does not represent a commitment on the part of Cakewalk, Inc. The software described in this document is furnished under a license agreement or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the agreement. It is against the law to copy this software on any medium except as specifically allowed in the agreement.
Getting started If you want to get up and running quickly, please use the following tutorials, which are tailored to learning specific tasks in SONAR. If you are new to Cakewalk products, you may want to start at Tutorial 1.
Getting started
Table of contents Getting started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 About SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Publish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Installing SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Starting to use SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 2 Tutorial 1 – Creating, playing, and saving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Creating a new project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8 Tutorial 7 – Mixing and adding effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Volume and pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Adding effects (FX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Using Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Setting up output devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Assigning Inputs & Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Assigning tracks to mono hardware outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to record . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recording modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Choosing an input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arming tracks for recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Auto arming . . . . . . . . . . . . . . . .
13 Arranging and editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Arranging tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Changing the order of tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Inserting tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adding effects in the Track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing tempos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Transport module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Tempo view . . . . . . .
Using tools to perform common tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 Working with audio clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 Working with MIDI clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Working with MIDI notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 Working with automation envelopes . . .
Using the Synth Rack Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579 Managing instruments in a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 584 18 AudioSnap (Producer and Studio only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587 Using global tools on AudioSnap transient markers . . . . . . . . . . . . . . . . . . . . . . . . . . . 590 Editing transient markers . . . . . . . . .
Using pitch markers in the Track view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 663 Working with REX files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664 MIDI Groove Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 666 Exporting and importing MIDI Groove clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 668 Importing Project5 patterns . . . . . . . . .
Reversing notes in a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adding crescendos and decrescendos. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing the timing of a recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quantizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Fit Improvisation . . . . . . . . . . . . . . . . . . . . .
The Note Map pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 Changing mapped-note settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 767 The Drum Grid pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 Grid lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 769 22 Editing audio .
Playing a soft synth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Muting and soloing soft synth tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rename synths in the Synth Rack view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Multi-port soft synths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847 What the meters measure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848 Hiding and showing meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848 Changing the meters’ display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using remote control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using the Learn option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bouncing tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Real-time bounce . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26 ProChannel (Producer only). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 961 Using ProChannel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 964 ProChannel modules and controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 969 PC76 U-Type Channel Compressor module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975 PC4K S-Type Bus Compressor module . . . .
29 Templates and key bindings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061 Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Template example: three MIDI instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Key bindings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Importing key bindings . .
Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1095 Tablature settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1095 Changing Fretboard texture and orientation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1096 Quick TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1097 Regenerate TAB . . . . . .
Instrument definition tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Why use instrument definitions?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . What can they do and not do? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Where do instrument definitions come from? . . . . . . . . . . . . . . . . . . . . . . . . . . . . Start of tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34 Audio file management. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1169 The Project Files dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1170 Project files and bundle Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1171 Audio folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
36 External devices. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1209 Roland A-PRO controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1210 Setting up control surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1212 ACT MIDI Controller plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1249 Installation Error: DeleteFile Failed; code 5 Access Denied . . . . . . . . . . . . . . . . . . . . 1251 Setting up an internal audio card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1252 Configuring an audio interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
40 MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1279 Timebases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Supported MIDI file meta-events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Features not supported by MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Other MIDI file handling notes .
45 Cyclone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1393 Cyclone toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1394 Pad groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1395 Pad inspector. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Edit > Undo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edit > Redo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edit > History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edit > Select > All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Views > Matrix View. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1422 Views > Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1422 Views > AudioSnap Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1422 Views > Loop Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Views > Screensets > Screenset 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Screensets > Screenset 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Screensets > Revert Current Screenset . . . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Screensets > Lock/Unlock Current Screenset. . . . . . . . . . . . . . . . . . . . . . . . Views > Screensets > Rename Current Screenset. . . . . . . . . . . . . . . . . . . . . . .
Process > Apply Effect > Crossfade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1437 Process > Apply Effect > Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1438 Process > Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1438 Process > Groove Quantize. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1439 Process > Transpose . . . . . .
Utilities > Cakewalk Publisher. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Utilities > Share with SoundCloud. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Utilities > Burn Audio CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Utilities > CWAF Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Hide Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469 Set Snap-to = Current . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469 90 dB Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1469 78 dB Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Integral Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Full Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Display Format > M:B:T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Display Format > SMPTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Time Display Format > Frames. . . . .
Output Bus Meter Options > Show Labels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482 Output Bus Meter Options > Hold Peaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482 Output Bus Meter Options > Lock Peaks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482 Playback Meter Options > Pre Fader. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482 Output Bus Meter Options > Pre Fader . . . . . . . . . . . .
[Track view] View > Display > Display Clip Names. . . . . . . . . . . . . . . . . . . . . . . . . . . 1490 [Track view] View > Display > Display Clip Contents . . . . . . . . . . . . . . . . . . . . . . . . . 1490 [Track view] View > Display > Show Audio Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1490 [Track view] View > Display > Maximize Waveform Height . . . . . . . . . . . . . . . . . . . . 1490 [Track view] View > Display > Vertical Grid Lines > None . . . . . . . . . . . . . . . . .
[Track view] Options > Click Behavior > Right Click Sets Now . . . . . . . . . . . . . . . . . . 1496 [Track view] Options > Click Behavior > Left Click Locks Scroll . . . . . . . . . . . . . . . . . 1496 [Track view] Options > Click Behavior > Double-Click > MIDI Clips > -Nothing- . . . . . 1496 [Track view] Options > Click Behavior > Double-Click > MIDI Clips > Event List View 1496 [Track view] Options > Click Behavior > Double-Click > MIDI Clips > Staff View . . . .
[Track view] Options > Meter Options > Track Meter Options > -12 dB . . . . . . . . . . . [Track view] Options > Meter Options > Track Meter Options > -24 dB . . . . . . . . . . . [Track view] Options > Meter Options > Track Meter Options > -42 dB . . . . . . . . . . . [Track view] Options > Meter Options > Track Meter Options > -60 dB . . . . . . . . . . . [Track view] Options > Meter Options > Track Meter Options > -78 dB . . . . . . . . . . .
[Track view] Tracks > Hide Track(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508 Track Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508 [Track view] Tracks > Sort Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1509 [Track view] Tracks > Selected Track Input Series . . . . . . . . . . . . . . . . . . . . . . . . . . .
Clip follows project tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Edit clip tempo map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Show/Hide Track Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Piano Roll] View > Show/Hide Controller Pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Piano Roll] View > Show/Hide Drum Pane . . . . . .
[Console view] Strips > Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1521 [Console view] Strips > Buses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1521 [Console view] Strips > Mains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1521 [Console view] Strips > Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[Sysx view] File > Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Sysx view] File > Send. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Sysx view] File > Send All . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Sysx view] File > Receive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Sysx view] File > Save . . . . . . . .
Customize UI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1535 47 Beginner’s guide to Cakewalk software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1537 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1539 MIDI channels, interfaces, inputs, and outputs . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choose Track Type dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clean Audio Folder dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associated Audio Files dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Clone Track(s) dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Complete Registration dialog . . . . . . . .
Export OMF dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1602 Expression Text Properties dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1603 Export Track Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1604 Fade/Envelope dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Markers dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Measure Beat/Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meter/Key Signature dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microsoft Media Format Encode Options dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Envelope dialog . . . . . . . . . . . . . . .
File - Folder Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1674 File - Audio Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1679 File - VST Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1681 File - Initialization File (Advanced). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1684 File - Advanced (Advanced) . .
Select By Time dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Default Velocities for Steps dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Select Fretboard Track dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Timecode at Now Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Slide dialog . . . . . . . . . . . . . . . . . . .
Quantize to AudioSnap Pool dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1775 Choose File Type dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1775 Usage Logging dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1775 Loop Properties dialog—Audio Stretching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Staff view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lyrics view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Console view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Console view interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Channel strips. . . . .
Introduction SONAR is a professional tool for authoring sound and music on your personal computer. It’s designed for musicians, composers, arrangers, audio and production engineers, multimedia and game developers, and recording engineers. SONAR supports Wave, MP3, ACIDized waves, WMA, AIFF and other popular formats, providing all the tools you need to do professional-quality work rapidly and efficiently.
About SONAR SONAR is the flagship product of the Cakewalk line of integrated MIDI and digital audio sequencers for the Windows platform. SONAR has a comprehensive feature set that makes it the single most productive tool for sound and music authoring. Here are some of the ways you can use SONAR. Next topic: “Publish” on page 54 Publish Publishing usually means printing your music; it’s one way to share your finished product with other performers.
Game sound development There’s no better tool than SONAR for composing music for electronic games. Clip-based sequencing lets you create and reuse musical themes freely, so you can associate musical sections with game characters, locations, objects, and actions. Your creations can be saved and replayed using the compact MIDI file format, which adapts its sound automatically to the target hardware for the best possible sound reproduction. Next topic: “Sound production and engineering” on page 55.
Film and video scoring and production SONAR has many of the tools you need to execute audio post-production projects quickly and efficiently. SONAR provides chase lock sync to time code for frame-by-frame accuracy when synchronizing audio or MIDI to film or video. Or, you can turn chase lock off to conserve CPU power. SONAR provides high-quality time stretching and sample-accurate editing with zero-crossing detection so you can make the fine adjustments you need very quickly and easily.
Computers, sound and music This section provides some background on the different ways that computers store and play sound and music. Computers work with sound and music in two different forms: MIDI and digital audio.Next topic: “MIDI” on page 57. MIDI MIDI (short for Musical Instrument Digital Interface) is the way computers communicate with most sound cards, keyboards, and other electronic instruments.
Digital audio Digital audio (frequently referred to here as just “audio”) is a simple way to record and play sounds of any type. It works like a tape recorder—you record something, then later play it back. Digital audio stores the sound as a long series of numbers. To record audio in SONAR, you have to have an audio cable connecting the audio output of your electronic instrument to the audio input on your sound card or audio hardware.
Setup You can install SONAR on any computer that runs Windows 7 and has a sound card or built-in sound module. If you want to hook up other devices, like a MIDI keyboard, an electric guitar, or a microphone, you need the right cables, and you need to find the right connectors on your computer. Note: SONAR X2 Producer and Studio provide native Windows x64 support. SONAR X2 Essential runs as a 32-bit program on a Windows x64 system.
If you install a SONAR patch on top of the original installation, any updated content files in the patch will not overwrite existing content files in your personal user application data folder. However, you can force SONAR to update the default content files in your personal user data folder. Warning: The following action will overwrite any SONAR data files such as track templates and project templates that you may have customized. A message box will prompt you if you want to continue or cancel.
The following table describes the various types of analog and digital connections you may encounter.
To connect an electric guitar or keyboard to your computer • If your sound card has a 1/8 inch input jack (built-in sound cards that come with your computer usually do), plug your 1/4 inch mono guitar or audio cable into a 1/8 inch stereo adapter, and then plug the 1/8 inch adapter into the microphone input or line input jack on your computer sound card. If you are connecting a keyboard, the audio cable must go from the keyboard’s audio out or line out jack to the sound card input jack.
Microphone input Microphone Computer Sound Card (or external audio interface) Headphones or Speakers USB connection USB Microphone Computer Sound Card (or external audio interface) Headphones or Speakers That's it! Now that your instruments are all set to go, you can restart your computer and turn on your keyboard, guitar, and microphone. For a complete description of audio input options, see “Hardware setup” on page 1273.
MIDI connections There are three types of MIDI cables in common use. Here’s how to connect each of the three types: • USB cable. This is extremely common. Many electronic keyboards and stand-alone MIDI interfaces use this type of connection. To use this type of connection, simply plug one end of the USB cable into the USB jack on your MDI keyboard or stand-alone MIDI interface, and plug the other end into your computer.
Figure 2. Joystick connector—use this if your MIDI interface is the joystick port on your sound card. A C B A. Insert this MIDI IN plug into the MIDI OUT port on your MIDI instrument B. Insert this MIIDI OUT plug into the MIDI IN port on your MIDI instrument C.
Changing I/O devices You can add or remove USB/FireWire audio and MIDI devices while SONAR is running, and the audio and MIDI engines will dynamically respond to any changes. When a device is added or removed, SONAR prompts you to confirm or cancel the change. If you click Yes, playback stops and the audio and MIDI engines reload. Preserve selected audio devices on device changes Enabled inputs and outputs are persisted per device and per driver mode.
Note: The Missing Audio Outputs dialog box is not shown if there is only a single missing output port and only one available output port. In this case, SONAR will automatically assign the missing output port to the available output port.
Figure 3. The Missing MIDI Ports dialog box lets you remap missing output devices Figure 4. A track’s Output control shows the name of the missing device Opening projects after MIDI configuration has changed If any assigned MIDI output devices are missing when you load a project, which is likely to happen if you transfer projects between different computers, SONAR will do the following: • MIDI tracks. The Missing MIDI Ports dialog box appears and lets you remap the missing devices to available devices.
Starting SONAR There are many different ways to start SONAR. Here are a few: • Double-click the SONAR icon on your desktop. • Click the Start button, and choose Programs > Cakewalk > SONAR X2 (Producer, Studio or Essential) > SONAR X2 (Producer, Studio or Essential). • Click the Start button, point to Documents, and choose a SONAR project from the menu. • Double-click the SONAR program or any SONAR document from the Windows Explorer or the Find menu.
The Quick Start dialog box has several options. Option How to use it Open a Project Choose a project from the Open File dialog box to open it Open a Recent Project Select a project from the list, and click this button to open it Create a New Project Click here to create a new project. Online Videos and more Click this link to view our tutorial videos online. An active Internet connection is needed in order to access this content.
Setting Description Instrument Definitions Files used to control specific MIDI instruments. Audio data directory (WaveData folder) and Picture Cache directory locations SONAR uses the Data directory and Picture Cache directories from the previous Cakewalk version for storing project wave files and their waveform image files. Table 2. Running Wave Profiler The first time you start SONAR, it automatically runs the Wave Profiler utility.
Figure 6. The MIDI - Devices section 1. Look at the top window. Notice that it shows devices on MIDI Inputs; make sure that all devices in this window are checked. If a device isn’t checked, click on it once to select it for MIDI Input. 2. Look at the window on the bottom. Notice that it shows devices on MIDI Outputs. SONAR numbers its MIDI Outputs by the order of the devices in this window. The device on top is on Output 1, the one below it is on Output 2, and so on. 3.
Using MIDI devices after making driver changes If you later add or remove drivers using the Drivers icon of the Windows Control Panel, SONAR reacts in the following way: • If you remove a Control Panel driver, SONAR will not use the device it belongs to the next time you run the program. Any other devices you had selected using the Edit > Preferences > MIDI Devices command will remain selected. • If you add a driver through the Control Panel, SONAR does not automatically use it.
Groove clips are audio clips which have tempo and pitch information embedded within them, allowing them to follow changes to the project tempo or project pitch. You can click on either edge of a Groove clip and drag out repetitions in the track. Events are MIDI data (in MIDI tracks) or automation data. See: “SONAR file types” on page 74 “Opening a file” on page 75 “Views” on page 75 “Working on a project” on page 93 SONAR file types Projects in SONAR can be saved as a project file with the extension .
Opening a file Use the following procedure to open a file. To open a file in SONAR 1. If you haven't already done so, start SONAR. 2. Choose File > Open. 3. In the Open dialog box, navigate to the directory where the project you want to open is located and select it.Click the Open button. 4. If you are opening an OMF file, the Unpack OMF dialog box appears. Set the initial tempo and specify the directory where you want to save the file and its audio.
Figure 7. The Track view. C D E A F B G A. Control Bar B. Inspector pane C. Track pane D. Clips pane E. Video Thumbnail pane F. Browser G. MultiDock All of the current track’s controls are contained in the Track Inspector, which is an expanded version of the current track’s controls located on the far left side of the Track view. You can hide or show the Track Inspector by pressing I on your keyboard (see “Inspectors” on page 523, for more information).
What it does Key Moves the focus to the first track. HOME Moves the focus to the last track. END Table 4. The Clips pane shows the clips in your project on a horizontal timeline called the time ruler that helps you visualize how your project is organized. Clips contain markings that indicate their contents. The Clips pane lets you select, move, cut and copy clips from place to place to change the arrangement of music and sound in your project.
Inspector pane When working on a project, you will frequently need to access track and clip parameters and mix controls. The Track Inspector and Properties Inspector provide easy access to relevant settings for the selected track(s) or clip(s). Figure 8. Use the Track Inspector and Properties Inspector to configure track and clip settings. A B C D H E F I G A. Dock/undock Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track Properties Inspector D. Show/hide ProChannel E.
The Inspector pane appears to the left of the Track view, but can also be moved to the right side. There are three separate inspectors: • Track Inspector. The Track Inspector shows mix settings for the current track, bus, or main, and is essentially identical to a channel strip in the Console view. Advanced MIDI settings are also available for MIDI tracks and Instrument tracks. For details, see “Track Inspector overview” on page 529. • Properties Inspector.
Control Bar Much of your time in SONAR is spent recording and listening to your project as it develops. The Control Bar contains the most important tools and other pieces of information you will need to record, edit and play back your project. The Control Bar consists of several modules that each contain various related controls. You can rearrange and show/hide each individual module, which allows you to only show the functions you need most often.
The Console view The Console view is where you can mix the sounds on all the different tracks to create the final mix of your project. While the Track view provides most of the same controls, you may want to use the more familiar interface of the Console view for mixing.You use the Console view to adjust the levels of sound for the different tracks in your project, to change the stereo panning, and to apply real-time effects to an individual track, combinations of tracks, or the final mix.
Other views SONAR has a number of other views you can use to display and work on your project. To display these view, choose the desired view from the Views menu, or press the view’s keyboard shortcut. The Piano Roll view shows the notes from a MIDI track or tracks as they would appear on a playerpiano roll. You can move the notes around, make them longer or shorter, and change their pitches by just dragging them with the mouse.
Figure 12. The Staff view E D A B F G C H A. Staff view menu B. Zoom in/out C. Staff pane D. Editing tools E. Time and pitch locator F. Dock/undock and expand/collapse G. Track list pane H. Fretboard pane The Loop Construction view allows you to create and edit Groove clips (SONAR loops that “know” the tempo and key in which they were recorded), and export these clips as ACIDized files. For more information, see “Loop Construction view” on page 1872. Figure 13.
Figure 14. A The Browser. B C A. Media Browser B. Plug-in Browser C. Synth Rack Browser The Event List view displays the events in a project individually, so that you can make changes at a very detailed level. For more information, see “Event List view” on page 1832. Figure 15.
SONAR has several other views that are used for very specific purposes. View How you use it Meter/Key To change the meter (time signature) or key signature, or to insert changes in the meter or key signature at specific times in a project. For more information, see “Meter/Key view” on page 1871. Big Time To display the Now time in a large, resizable font that you can read more easily. For more information, see “Big Time view” on page 1872.
Zoom controls Many of the views contain Zoom tools that let you change the horizontal and vertical scale of the view. Figure 16. Zoom controls A B C D E F I H G A. Zoom Clips pane out vertically B. Vertical Zoom fader for Clips pane C. Zoom Clips pane in vertically D. Zoom Bus pane out vertically E. Vertical Zoom fader for Bus pane F. Zoom Bus pane in vertically G. Zoom in horizontally H. Horizontal zoom fader I. Zoom out horizontally The Zoom tools are used as described in the following table.
Key What it does Hold down Z Arm the Zoom tool ALT+Z Undo the current zoom ALT+SHIFT+Z Redo the previous zoom F Fit tracks to window A Show all tracks SHIFT+F Fit project to window SHIFT+double-click a clip Maximize track height F11 Full Screen mode Table 7. To undo/redo zoom with mouse buttons To undo zoom (same as ALT+Z), press and hold down the right mouse button, then click the left mouse button.
Zooming and scrolling in the time ruler 1. Point the mouse pointer at the top half of the Clips pane or Piano Roll view time ruler until the mouse pointer looks like this: . 2. Do one of the following: • Drag up/down to zoom horizontally. Zooming is centered around the Aim Assist line. To zoom faster, hold down the SHIFT key while dragging. • Right-click and drag up/down to zoom tracks vertically. The current track is centered. • Drag left/right to scroll horizontally.
Docking views in the MultiDock You can dock any view other than the Console view in the MultiDock by enabling a view’s Dock in MultiDock option. You can have as many views open in tabbed format as you want. You can toggle through the different views by clicking the tab of the view you want to see (or use the CTRL+SHIFT+LEFT/RIGHT ARROW shortcut). You can also maximize the pane to do detailed work in a view, or drag the splitter bar at the top of the view to enlarge the tabbed view area.The MultiDock.
X-Ray windows The X-Ray Windows feature eliminates the need to constantly minimize, move, or close windows in order to work in other windows. It works by decreasing the opacity of the current window enough so that you can see and work with the window that’s behind the current window. You activate the feature by pressing a keyboard shortcut (default shortcut is SHIFT+X) when the mouse cursor is over a window you want to x-ray.
Floating from the drop-down menu. If Disable Floating is in the menu, then the Floating option is already enabled. Note: All FX/Synth/Control surface property pages are float-enabled by default. 3. To X-Ray or un-X-Ray a single window, move the mouse cursor over the window, and press the keyboard shortcut (default is SHIFT+X) for the X-Ray command. The window does not need to have focus (does not need to be the highlighted window). 4.
5. If the plug-in is a VST or VSTi, write down the VST ID value that’s in the VST ID field at the bottom of the dialog box. 6. Close the Plug-in Manager dialog box. 7. Open the Xrayexclude.ini file that’s in your SONAR program folder (use Notepad). 8. At the end of the file, find the [EffectProps View] section. You will see entries such as the following: ; Waves SSL EQ Stereo XRayExclude11=1397510483 XRayExclude12={E451379E-F7E1-4E82-98D9-BEB87AC45E90} 9.
Working on a project Every project has a current time, known as the Now time (see: “The Now time and how to use it” on page 178). As you record or play back a project, the Now time shows your current location in the project. When you create a project, the Now time is set to the beginning of the project. The current Now time is saved with your project.
To restore the default colors 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. In the Screen Elements window, select the elements that you want to restore; you can CTRLclick or SHIFT-click to select multiple elements. 3. Click the Defaults button. 4. Click OK. SONAR uses the default colors for all selected screen elements. To change the wallpaper 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2.
Color presets Once you create a color arrangement that you like, you can save it as a preset, and then load it whenever you want to use that arrangement. You can also load any of the many factory presets, some of which duplicate the colors of earlier versions of SONAR. You can also import and export color arrangements in the form of .clr files so that SONAR users can share color layouts.
To load a color preset 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. Click the drop-down arrow on the Presets menu to display the list of presets, then click the name of the preset you want to load. To save a color preset 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. Adjust the color settings you want to save. 3. Type a name for your preset in the Presets menu. 4.
To import one or more color presets 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. Click the Import Colors button . The Import Color Set dialog box appears. 3. Navigate to the folder where the color set file you want to import is. Both single presets and groups of presets are stored in color set files, which use the .clr file extension. 4. Click the file that you want to import. 5. Click the Open button. 6.
Installing SONAR SONAR is easy to install. All you need to do is choose the folder where the program and sample project files should be stored. Before you start, make sure you have your serial number handy. Your serial number is located on the back of your DVD case. To install SONAR Note: If you choose to not install the Sample files, you will not have the necessary content to use the tutorials in Chapter 2. 1. Start your computer.Close any open programs you have running. 2.
Starting to use SONAR This chapter has provided you with an overview of SONAR and basic information on how to install the software and configure your system. The following tutorials will give you some hands-on practice in playing, recording, and mixing your projects. If you have not already done so, you may want to refer to “SONAR basics” on page 73 to get the most out of these tutorials.
Introduction Starting to use SONAR
Tutorial 1 – Creating, playing, and saving projects Understanding and managing project files is central to your workflow in SONAR. In this tutorial, we are going to cover the basics of getting started with project files and some of the operations that can be performed with them. Whenever you write or record music in SONAR, you are writing it to be saved into a project.
Creating a new project There are several ways to get started with a project in SONAR. When SONAR is opened, you will be greeted with the Quick Start dialog box. Let’s take a look at the options available in this dialog box. Open a Project. Opens a standard File Open dialog box, which lets you select the project that you want to open. Open a Recent Project. The drop-down list shows the most recent projects that have been opened in SONAR.
Show this at Startup. Clear this check box if you don’t want the Quick Start dialog box to launch the next time you start SONAR. Close. Use this button to close the Quick Start dialog box. For this tutorial, we want to create a new project. • Click the Create a New Project button . Tip: You can also perform this same operation by clicking File > New from the main menu across the top of SONAR’s screen. The New Project File dialog box appears.
Name. Type the name of your project in the Name box. For this exercise, let’s name your project Tutorial 1. Location. Use the Location box to specify where the project should be saved. Click to browse to a specific location. For this tutorial, use the default, as shown in the preceding figure. Audio Path. Use the Audio Path box to specify where to save audio recordings for your project. Click to browse to a specific location.Store Project Audio in its own Folder.
Opening project files Next, we are going to cover how to open existing project files. There are two ways this can be done in SONAR:Click the Open a Project button in the Quick Start dialog box that is first presented when SONAR starts. Note: You can open the Quick Start dialog box at any time by going to Help > Quick Start. • Select File > Open from the menu bar across the top of SONAR’s screen. Let’s go ahead and try one of the above methods.
You can load project files into SONAR in one of two ways: • Select a file by clicking on it so that it is selected, then click Open. • Double-click the file from the browsing pane. Note: If prompted to unpack the bundle, accept the default locations and click OK. Let’s now use one of these methods to open the project file SONAR_AudioDemo.cwb. When the project opens, the File Information window appears.
Playing project files For this next section we are going to configure the project named SONAR_AudioDemo1.cwb for playback in SONAR. If you have not opened the project yet, do so before continuing by using the steps in “Opening project files” on page 105. Configuring your sound device Before we can get any sound, we need to ensure that SONAR is communicating with your computer’s sound card or audio interface.
device that you want SONAR to treat as the default or main output device. This should be the output on your sound card that has either speakers or headphones connected to it. In the Record Timing Master list, select the input on your sound card that you plan to plug devices into, such as a microphone, keyboard or other instrument.
Control Description This is the Read Automation button. It is used to enable/disable automation playback. This is the Write Automation button. When enabled, changes to adjustable track parameters during playback are recorded. For more details, see Tutorial 7 – Mixing and adding effects. This is the Freeze button. It is used to temporarily convert a synth or instrument track into an audio track to conserve CPU power.
Playing the project Now that all of the track’s outputs are set to the appropriate device, the next step is to play the project to make sure it can be heard and sounds right. Locate the Control Bar at the top of SONAR’s screen. The Control Bar contains many useful functions related to projects in SONAR. To learn more about the Control Bar, see “Control Bar overview” on page 495. For now, simply click the Play button to hear the project. Experiment with the Mute and Solo buttons on each track.
Looping project files SONAR features a really handy tool that allows you to repeat specified sections of a project file. You may want to do this to rehearse a part or phrase or to listen closely to a specific section. Perhaps you might set up a loop just because it’s your favorite part of the song and you want to hear it over and over again. For all of the above, you need to loop a section of the song.You may have noticed this demo file is an example of rock music.
Saving project files SONAR offers you many options for saving your work. To investigate these options, click on the File menu and choose Save As. This opens the Save As dialog box. Before doing anything in this window, the first thing you should do is select Project Files in the Go to Folder list. Even if it already says Project Files, click it anyway. You will notice this window looks very familiar to the Open dialog box we looked at earlier in this tutorial.
Output ports they are assigned to. For more information about using templates, see “Templates” on page 1064. • Cakewalk Bundle. This format is typically used when transferring projects to other people or other computers. Cakewalk Bundle files use the .cwb file extension and are similar to Cakewalk Project files. The main difference is that Cakewalk Bundle files actually contain all of a project’s audio data.
Tutorial 1 – Creating, playing, and saving projects Saving project files
Tutorial 2 – Using the Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI files, track and project templates, track icons, FX Chain presets, effect plug-ins and instruments. You can drag content and plug-ins directly into tracks. By default, the Browser is docked on the right side of the screen. To show or hide the Browser, click the Views menu and choose Browser, or press B.
Now that we know how to show and hide the Browser, let’s take a closer look at some of its features, starting with the controls that span across the top of the Browser. Locate the section on your computer screen that looks like the following image. First, let’s review the controls at the top of the Browser. Control Description This is the Move up button. It is used to open the folder one level above the active folder. Stop is used to stop play back of the selected loop.
Figure 18. Media Browser A C B DE F G J H K L I A. Show Media Browser B. Browser menu C. Content Location menu D. Dock/undock E. Docking options F. Expand/collapse G. Move up one level to the parent directory H. Search filter I. File list J. Play/Stop K. Delete content preset L. Save content preset To specify the output device to use for previewing loops and files from the Browser, click the Media button , point to Audio Preview Bus, and choose an output device from the submenu.
Finding and previewing audio loops Now that we have a general idea of how the Browser is laid out, let’s find some of the content that is included with SONAR and give it a listen. 1. Create a new project using the Normal Template as explained in the previous tutorial titled “Saving project files” on page 112. 2. Make sure the Browser is open and visible. If it is not, click the Views menu and choose Browser, or press the B key.Click the Media button to show the Media Browser. 3.
Previewing MIDI groove clips In addition to audio loops, the Browser also allows you to preview MIDI groove clips. Let’s try this now with one of the clips included with SONAR. Unlike audio loops, MIDI groove clips require a soft synth or instrument track to play through. 1. Click the Browser’s Synth button 2. Click the Insert button to open the Synth Rack. , point to Insert Synths and select Cakewalk TTS-1. The Insert Soft Synth Options dialog box appears. 3.
Just like with audio loops, you can set MIDI groove clips to auto-preview by clicking the Media button and enabling the Auto-Preview option. In addition to using soft synths to preview MIDI groove clips, soft synths also have many other useful and powerful features. For more details and instructions on using them, see “Tutorial 4 – Playing and recording software instruments” on page 125.
Tutorial 3 – Recording vocals and musical instruments One of the most important aspects of creating music in SONAR is digital audio recording. This is the process of taking the sound from a microphone or an instrument and recording it to an audio track. Once this step is completed, you can edit and mix the song to prepare it to share with the world. This tutorial will walk you through the steps involved and provide you with some insight on how to get the best possible audio recordings.
9. Select the output that you want the audio track to play through during playback. You will usually choose 1 and 2, because these are most commonly the outputs that speakers or audio monitors are connected to.Click the track's Record Enable button . Note: SONAR only allows recording to tracks that have been record enabled. This is necessary since SONAR allows for multi-track recording. This tells SONAR what track you want your new material recorded to.
measures counted in by the metronome and then recording will begin. Start performing at the beginning of the third count. 13. When you finish recording, click the Stop button or press the SPACEBAR. A new audio clip appears.Press Play to play back the project. If you would like to redo the take, go to Edit > Undo to undo the previous recording, then repeat steps 3, 4 and 5 above until you get a perfect take.Now that your first track has been recorded, you can “over-dub” another part.
This problem can also occur when you are using an analog mixer in your setup. Carefully follow all of your signal paths to ensure that your sound cards audio output is not being looped back into itself. You should also consider the possibility of your microphone picking up the signal from your speakers or headphones. Only a flat line or silence is recorded Open the Windows Volume Control window: • Windows 7: Click the Windows Start button and go to Control Panel > Hardware and Sound > Manage audio devices.
Tutorial 4 – Playing and recording software instruments Software instruments, also referred to as soft synths, are a major part of computer music. Our goal in this tutorial is to add a software instrument to a project. We'll explore a few different ways they can be used with SONAR and look at some options to make the most of them. A brief history Note: Feel free to skip to the next section if you want to start using synths right away.
Adding an instrument track to your project Adding instrument tracks to your project is easy and something you’ll find yourself doing often, so let’s explore some of the basics. For this exercise, we'll start with a blank project. 1. On the File menu, click New. 2. Select the Blank (no tracks or buses) template and click OK. A new project opens. 3. Click Insert >Soft-Synths. A menu lists all available software synths that are installed on your computer.Click DropZone.
Let's take a quick look at DropZone. One of the first things you'll typically need to do is choose a sound. In DropZone and most other Cakewalk synths, a sound preset is referred to as a program. 1. In DropZone's Program window, click Empty Program. The Program Browser appears. Note: It may take a minute the first time the Program Browser opens. This is because DropZone is building a list of all available sounds. Once the list has been built, the Program Browser will open faster the next time. 2.
Recording MIDI First, we'll try recording. This only works if you have a MIDI controller. If you do not have a MIDI controller, skip ahead to the next section of this tutorial. For recording, you don't need the DropZone window open. You can close an instrument by clicking in the upper right corner. This doesn't cause the synth to stop functioning—it will continue to work in the background. Note: If you need to see the DropZone window again, just double-click the track icon.
The ruler at the top of this view represents musical measures and beats. The keyboard image on the left represents what notes are being played. Click on the Smart tool in the Control Bar. You can also enable this tool by pressing the F5 key on your computer keyboard. To draw a note with the Smart tool, click on the grid. To create a note, click on the grid at measure 1. If you click on various sections of a note, the Smart tool performs a different function: • Left edge. Adjusts the start time.
Figure 20. The Snap module. You can now draw notes at shorter distances from each other. To specify the duration of new notes, select the desired duration in the Control Bar’s Tools module. Figure 21. The Tools module. What if I already have a project that contains MIDI tracks? If you already have a MIDI track that you would like to play through a software instrument, the steps are a bit different. Let's start by opening a sample project. 1. On the File menu, click Open. 2.
A new synth track is inserted in your project. On some computers, the tracks may play back through the TTS-1 at this point. However, on computers that have hardware MIDI outputs available, you may need to specify the TTS-1 as each track's output. Here's a fast way to do that: 1. Hold down the CTRL key and click each track to select them. The tracks are highlighted to indicate they are selected. 2. Hold down the CTRL key and click any selected track’s Input control and select Cakewalk TTS1.
Tutorial 4 – Playing and recording software instruments
Tutorial 5 – Working with music notation A great way to compose in SONAR is by using the Staff view. The Staff pane displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work. The Staff pane provides many features that make it easy for you to compose, edit, and print music. You can add notes to your composition with simple point-and-click techniques.
Next we need to configure the Staff view tools for the purpose of this tutorial: 1. Click the Staff view View menu, point to Display Resolution and select the smallest note value on the submenu. 2. Click the Staff view Edit menu and disable the Fill Durations and Trim Durations options. 3. Select the Smart tool in the Control Bar. For this tutorial, we will also change the time signature to ¾, the key to G and the staff layout to display a treble and bass clef. 1.
4. In the Clef list, select Treble/Bass, then click OK to close the Staff View Layout dialog box. The Staff view now looks like this: Now that you know how to set up the Staff view, it's time to play! You can either record a MIDI track in this project or manually add notes. The rest of this tutorial will provide you with a basic overview of the notation tools.
Selecting notes To select notes: 1. Select the Smart tool or Select tool in the Control Bar. 2. Do one of the following: • To select a single note, click the note head. • To select multiple adjacent notes, drag with the right mouse button to draw a rectangle around the desired notes. • To select discontiguous notes, hold down the CTRL key and click the desired notes. Moving notes by time or pitch To move notes: 1. Select the Smart tool or Move tool in the Control Bar. 2.
Changing the duration of a note 1. Right click the note head to open the Note Properties dialog box. 2. In the Duration field, enter in the number of ticks you want for the note, then click OK to close the Note Properties dialog box. 3. Select the Smart tool or the Edit tool .in the Control Bar. 4. Do one of the following: • With the Edit tool , position the pointer over the note’s start or end point, then drag left/ right to adjust the start/end position.
Deleting a note 1. Select the Smart tool or the Erase tool .in the Control Bar. 2. Do one of the following: • With the Smart tool , right-click a note to erase a single note, or keep the right mouse button pressed and drag over notes to erase multiple notes. • With the Erase tool multiple notes. , click a note to erase a single note, or drag over notes to erase Adding lyrics To add a lyric event below a note: 1. Select the Freehand tool 2. Click the Lyric button in the Control Bar. in the Staff view.
Adding chord symbols To add a chord symbol above a note: 1. Select the Freehand tool 2. Click the Chord button in the Control Bar. in the Staff view. 3. Position the pointer above the note you want to add the chord to and click. A chord symbol is added above the note. 4. To change the chord properties or show a guitar chord grid, right-click the chord name. The Chord Properties dialog box appears. Adding expressions 1. Select the Freehand tool 2. Click the Expression button in the Control Bar.
Adding a crescendo or decrescendo/diminuendo 1. Select the Freehand tool in the Control Bar. 2. Click the Hairpin button in the Staff view. 3. Position the pointer just below a note and click. A hairpin event (crescendo or decrescendo) is inserted. 4. To change the hairpin type and duration, right-click the hairpin event. The Hairpin Properties dialog box appears. Note: Hairpin events are ornamental only and do not affect playback. Adding pedal marks 1. Select the Freehand tool in the Control Bar.
Printing your notation Once you are finished entering and editing notes you can print out the score or individual parts. 1. Select the MIDI track or tracks you want to print the notation for. 2. On the Views menu, click Staff View. The Staff view opens. 3. On the File menu, click Print Preview. The Print Preview window opens, allowing you to see how the printed score will look. 4. To change the rastral size of the score, click Configure. The Staff View Print Configure dialog box appears.
Tutorial 5 – Working with music notation
Tutorial 6 – Editing your music While working on your music, you are likely to find that editing is a major part of the song creation process. Before people started making music on computers, all of the editing was done by cutting tape with a razor blade and piecing it together. You can imagine how difficult it could become. In SONAR, you can actually select a part of your music with the mouse and delete/copy/paste/move it all very easily.
Selection Let's start by opening the tutorial project Cakewalk Audio Demo.cwb that we used in earlier tutorials. One of the most important things to understand in order to edit your music successfully is selection. Once you become familiar with selecting, the rest is easy. There are two aspects of selection: • Time Range • Tracks Let's say you'd like to delete the second measure of a certain track. The time range specifies that the edit will need to occur between measures 2 and 3.
2. Drag in the time ruler from measure 1 through measure 6. The selected time range is highlighted. 3. Press DELETE or select Edit > Delete. Measure two is deleted from the selected track. Method 2: 1. Select the Select tool in the Control Bar. 2. Click in the center of the clip and drag to select the section you want to delete. The selected section is highlighted. 3. Press DELETE or select Edit > Delete. You might have noticed that you're only able to select full measures.
Moving clips 1. Another common editing task is to move a selected part of a clip, or an entire clip around in a project. If you understand selection, you're half way there. Let's undo the previous edit (go to Edit > Undo or press CTRL+Z), and turn on Snap to Grid. If you changed the snap resolution, make sure you change it back to Whole Note. Select the section you want to move. Let's go back to the track named GR_Lead 1 and select measures 6 through 10. 2.
Note: The Split tool obeys the Snap to Grid settings. If a split does not occur exactly where you click, disable Snap to Grid and try again. Tip: You can also press the S key to split the selected clip(s) at the current Now time. For this tutorial, select the Split tool , position the Now time at measure 10 in the track named GTR_Lead1, then click to split the clip.
Fading clips You can fade individual clips by using the Smart tool or Edit tool . Drag the upper left corner of a clip to create a fade-in. Drag the upper right corner of a clip to create a fade-out. To change the fade characteristics, right-click an existing fade and select the desired fade type from the pop-up menu. Tip: When cropping clips, you can choose to also move clip fades proportionally, or retain the original fade position.
Tutorial 7 – Mixing and adding effects Mixing is an important part of recording that can really help the music you create in SONAR sound its best. Mixing involves placing different instruments and sounds in layers of the frequency spectrum, adjusting levels so that tracks blend nicely, spreading them across the stereo field and adding effects where appropriate. There are many important decisions to make when mixing, things that are sometimes not considered while writing a song.
Volume and pan Adjusting volume and pan is always a good place to start when mixing. One of the biggest benefits of SONAR's Console view is that you can easily see the volume and pan controls for many tracks simultaneously, in addition to large meters. Some people also enjoy working in the Console view because it doesn't offer a graphical representation of what the music “looks like”.
Note: You can find the Mains meters on the far right side in the Console view. If you don’t see the Mains meters, click the Console view Strips menu and make sure Mains is selected. The next thing we'll try is panning. As with mixing in general, there are no rules when it comes to panning. Be creative, trying different ideas to see how they sound. One important thing to consider is that when you pan two tracks that share the same frequency range away from each other they will become clearer.
3. Point to Audio FX, then point to Cakewalk or Sonitus:fx and choose any one of the available effects. The selected effect is inserted into the track’s effects bin.Experiment with the controls on the plug-in while the music is playing back. You will hear noticeable changes to the sound. 4. Right-click on the effect in the effects bin and choose Delete to remove the effect. Each of the effect plug-ins listed is designed to change the sound in some specific way.
Equalization Each audio track has a dedicated, built-in equalizer (EQ). It is located just above the effects bin in both the Inspector and in the Console View. Figure 25. ProChannel EQ module (Producer only). A A. Equalizer graph Figure 26. Per-track EQ (Studio and Essential). A A. EQ plot One of the primary uses for EQ is to prevent different instruments from stepping on each other in the frequency spectrum.
Reverb and Delay Next, we'll add some space to the song. This is done by using time-based effects. The first thing we'll do is add a delay effect. A delay effect can really enhance an instrument. In our tutorial project, we will add the Delay effect to the track name Chirppy Synth, which sounds very dry and lifeless. Applying a delay might give it more depth. 1. Add the Delay plug-in to Chirppy Synth. 2.
4. Click OK. The Reverb property page appears. 5. Set the Reverb control to 0.0 dB and the Dry control to -Inf. Notice that a send control named Reverb has been added to each track. To enable or disable a send, click the On/Off button located on each track’s Send control.
When a send is enabled, you will hear the reverb effect during playback. To adjust how much reverb is applied to each track, use the send's LEVEL control. Enable the send control for each track that you want reverb on. You'll probably want at least a little reverb on every track except for the kick drum and the bass guitar. See: “Volume and pan” on page 150 “Using Automation” on page 156 Using Automation Another feature that is important to mixing is automation.
6. Disable Write Automation by clicking the button again. 7. Press Play and notice how the track volume changes automatically.Repeat this process with any other automation you feel the project needs. For more information, see “Automation” on page 1001. That concludes this tutorial. But don't stop here. Continue to experiment by adding different effects, adding loops through the Media Browser view, etc. Be creative and listen closely to the mix details in your favorite songs and albums.
Tutorial 7 – Mixing and adding effects
Tutorial 8 – Working with video SONAR allows you to add music and sound to your videos. This tutorial will guide you through the basics of working with video inside SONAR. If you are new to SONAR, it is highly recommended you review “Tutorial 1 – Creating, playing, and saving projects” on page 101 before going any further.
Importing video Before you can start working with video, you first t File dialog box. 1. Select the Normal template, give your project a name and then click OK. If you are having trouble with this, please refer to “Tutorial 1 – Creating, playing, and saving projects” on page 101. 2. On the File menu, point to Import and select Video. The Import Video dialog box appears. Let’s explore some of the options in the Import Video dialog box.
• Video For Windows (.avi) • MPEG Video (.mpg) • QuickTime Video (.mov) The file we are interested in for this tutorial is a Windows Media file, so let’s select Windows Media (*.wmv, *.asf) in the Files of type list. Next, outlined in the above image you will see the File info area on the left and three options on the right. Let’s review what each of these options do.
What if I don’t see the Video Thumbnail pane or Video view? To show or hide the Video Thumbnail pane, drag the splitter bar that separates the Video Thumbnail pane from the Clips pane. To restore the Video Thumbnail pane, point the mouse pointer over the splitter bar (the mouse pointer will look like ), then drag the splitter bar down to restore and resize the Video Thumbnail pane to your liking. You can also press the V key to show or hide the Video Thumbnail pane.
There are three options on this tab that are very important to understand and extremely helpful when working with video. Let's take a closer look at them. Option What it does Start Time The time in your SONAR project at which you want the video file to start playing. Trim-in Time The time in the video file at which you want video playback to start, this is useful if you don’t want to see the opening credits or the first few scenes. This is expressed in SMPTE time code.
Working with markers When syncing up audio events to film cues or video, it is common to use markers. Markers are a powerful feature in SONAR that helps to simplify the task of identifying major events in a song or video. They can be used to clarify where a verse or chorus begins in a rock tune or, in the case of film scoring, they can be used to identify hit points (points in the film where you want a musical event to synchronize with a visual event).
From this dialog box, you can do a lot of very important things. First, let’s name this marker by typing Intro in the Name field. Next, select the Lock to SMPTE (Real World) Time check box. This option is very important when working with video. If a marker is not locked to SMPTE time, its position in relation to events on the video will change with tempo and meter changes in the project. You might also notice that the Time value changes to the SMPTE format after you selected the check box.
Exporting your video Once you have finished with all of your music and have your video synced up as you would like it, you’ll want to mix it down to a video file that you can share with the world. 1. Select everything in the project that you want to export. If you want to export the entire project, simply select Edit > Select > All or press CTRL+A. On the File menu, point to Export and click Video. The Export Video dialog box opens.
The Audio Mixdown Options button will bring up settings specific to the audio in your project. Click the Help button for detailed instructions on how to use these settings. 4. Specify the location you want to save the file to and click Save to export it.
Tutorial 8 – Working with video Exporting your video
Tutorial 9 – Exporting, CD burning and sharing Once your SONAR project is complete, you will want to share it with the world or burn a CD. SONAR offers many tools to help you do this. In this tutorial, we are going to explore some of the basics of these tools. Before we get started, let’s open one of the example audio projects included with SONAR. If you have your own project that already contains audio, you can load that instead. However, your screen will look different from the images in this tutorial.
This will bring us to the Export Audio dialog box. This has many useful functions. Let’s explore some of them in detail. You should notice that the top half of this window is very similar to the Open and Save dialogs that were discussed in “Tutorial 1 – Creating, playing, and saving projects” on page 101. This is used to navigate to locations on your computer’s hard drive and tell SONAR where you want to store the exported audio.
For this Tutorial, we are only going to explore some of the more common settings. If you would like to read about all of the options and settings click the Help button. Control Function Channel Format Specifies if the audio should be exported as stereo or mono. Sample Rate Allows you to set the sample rate of your export. 44100 Hz is used for CD quality audio. Bit-Depth Allows you to set the bit-depth of your export. 16-bit is used for CD quality and 24-bit is often used for DVD quality audio.
Burning an audio CD Select Utilities > Burn Audio CD to open the Audio CD Burner dialog box. Simply browse to the audio files you want to burn and click the Add Track button. You can also drag audio files into the Burner track list. Note: Any files that are not in 16 bit, 44.1kHz wav files will automatically be converted to the proper CD format. Depending on the type of blank CD you are using, you can fit up to 80 minutes of audio on one CD. Make note of the Space Available and Space Used fields.
To open Publisher, select Utilities > Publish to Web. Notice that your recently exported project is already listed in the Track list. This is because you selected the Add to Cakewalk Publisher check box in the Export Audio dialog box. The following table describes a few of the buttons in the publisher interface. If you would like to explore all of the features in Publisher, click the button labeled HELP in the upper right corner of the Publisher window.
If you want to share your music online SONAR features a powerful upload utility powered by the online service SoundCloud. See: “Uploading audio to SoundCloud” on page 174 “Troubleshooting” on page 937 Uploading audio to SoundCloud SONAR lets you easily mix down and upload the current project directly to SoundCloud, or you can choose to upload an existing audio file. Cakewalk SoundCloud lets you upload one audio file at a time. Multiple audio files can be uploaded directly from the SoundCloud web site.
The Share with SoundCloud dialog box appears and shows a progress bar along with the name of the file that is being uploaded. To cancel the upload, click the Cancel button. The Upload Successful dialog box appears when the file has been uploaded successfully. Click the displayed link to view the uploaded file on SoundCloud.com. The Upload Failed dialog box appears if the upload is not successful. There are various reasons why an upload may have failed.
To share your music on Facebook and Twitter When you upload a song to SoundCloud, you can choose to also send automatic “push” notifications to your linked Facebook and/or Twitter accounts. You must configure your Facebook and/or Twitter setting using the account management tools at SoundCloud.com first before being able to share on Facebook and/or Twitter. To link your Facebook and/or Twitter account(s), click the corresponding Setup link in Cakewalk SoundCloud.
Controlling playback When you play your SONAR project, you have full control over the tempo or speed of playback, which tracks are played, which sound cards or other devices are used to produce the sound, and what the tracks sound like. You can access all of the playback functions from the Control Bar (see “Control Bar overview” on page 495).
The Now time and how to use it Every project has a current time, known as the “Now time” on page 1916, which keeps track of where you are in a project. The Now time appears as a vertical line in the Track view and is displayed in the Transport module in the Control Bar (see “Transport module” on page 504). Figure 28. The Transport module in the Control Bar. A B C A. Current Now time (click to cycle through the available display formats) B. Position C.
SONAR with an external device whose start time is not 0, you must offset SONAR to match the external device’s start time. For more information, see “Synchronizing your gear” on page 1153.
If you click in the Time Ruler while the snap grid is enabled, the Now time will be snapped to the nearest point in the grid. By setting the grid size to a whole note or quarter note, you can easily set the Now time to a measure or beat boundary. Note: The Time Ruler only obeys snap when Musical Time or Absolute Time is selected in the Control Bar’s Snap module. When playback or recording is stopped, the Now Time either remains at the point where the project stopped or snaps back to the Now Time Marker.
The Now Time marker changes appearance to indicate if playback is paused, running, or recording. Figure 30. The Now Time marker indicates the playback state A B C A. Paused B. Playback C. Recording You can change the Now time marker behavior so that the marker moves to the current Now time when playback or recording is stopped (on the Track view Options menu, clear the On Stop, Rewind to Now Marker option or press CTRL+W).
You can also right-click the display, and choose time formats from the pop-up menu. The pop-up menu also lets you choose the following display options: • To hide the time display, choose None. • To show the time display, right-click the empty area and choose one of the available time formats from the pop-up menu. The time display settings are global and persist between sessions.
Shortcut What it does CTRL+HOME Sets the Now time to the beginning of the project CTRL+END Sets the Now time to the end of the project CTRL+PAGE UP Sets the Now time to the start of the current measure if the Now time is not on a barline, or to the start of the previous measure if the Now time is on a barline. CTRL+PAGE DOWN Sets the Now time to the start of the next measure Table 18.
The Time ruler The Time ruler appears in the Track view, Tempo view, Staff view and Piano Roll view. It has several functions, including: • Making a time selection. The Time ruler follows the Snap to Grid settings, if enabled. • Changing the Now time • Adding loop, punch, and pitch markers. You can right-click in the Time ruler to add markers. • Zooming and scrolling.
To switch the Time ruler format to H:M:S:F (SMPTE) 1. Right-click in the Track view Time Ruler. 2. In the menu that appears, select Time Ruler Format > H:M:S:F. To switch the Time ruler format to samples 1. Right-click in the Track view Time Ruler. 2. In the menu that appears, select Time Ruler Format > Samples. To switch the Time ruler format to milliseconds 1. Right-click in the Track view Time Ruler. 2. In the menu that appears, select Time Ruler Format > Milliseconds.
Controlling the transport To control playback, you have your choice of tools, menu commands, and shortcut keys for most common operations. When you start playback, the Now time updates continuously to show the current time. When you stop playback, the Now time rewinds to the Now Time Marker. When you start playback again, it continues from the same point. If the Now time is advancing but you don’t hear any sound, see “Troubleshooting” on page 1251.
To pause playback • Click the Pause button . Playback stops, but the Now Time cursor and the Now Time marker do not move. To resume playback again • Do one of the following: • Click the Pause button • Click the Play button . . • Press SPACEBAR. Playback resumes. Rewinding and fast forwarding The Transport module has dedicated Rewind and Fast Forward to rewind and fast forward smoothly during playback. To rewind or fast forward, click the Rewind pressed until you want to resume playback.
• Playback will stop when no more data is present going forward. When disabled: • Playback will engage if there is no data present in the project at all. • Playback will continue past the end of a project until the user manually stops playback. Auto fade when starting/stopping playback SONAR makes it possible to render a smooth fade in/out whenever audio playback is interrupted.
Looping Sometimes you want to listen to one portion of a project over and over, either so you can play along and rehearse or because you want to edit that section of the project while it is playing and hear the results as you make changes. SONAR has a playback looping feature that makes this simple. Looping is defined in the Loop module in the Control Bar. Figure 35. The Loop module. A C B D A. Loop On/Off B. Set Loop Time to Select C. Loop Start Time D.
To set up a playback loop • Set the loop start and end times in one of the following ways:Drag the mouse between two points in the Time Ruler of the Track view, Staff, or Piano Roll view to select a range of times, then click in the Control Bar’s Loop module to copy the selection time to the loop time. • Click between two markers in the Track, Staff, or Piano Roll view to select a range of times, then click in the Control Bar’s Loop module to copy the selection time to the loop time.
Using the Markers module The Markers module lets you navigate by markers and insert new markers. Inserting markers at important milestones in your project makes it easy to navigate through your project. To insert a marker, do one of the following: • Click the Insert Marker button in the Markers module. • Click the Project menu and choose Insert Marker. • Press the M key when the Now time is in the desired location for your marker. • Hold down the CTRL key and click the top half of the time ruler.
To use the Punch module Figure 38. The Punch module. A C B D A. Auto-Punch On/Off B. Set Punch Time to Select C. Punch In Time D. Punch Out Time The Punch module contains the following controls: • Auto-Punch on/off . Enable/disable punch recording. Toggles punch recording on/off. • Set Punch Time to Selection . Set the Punch In time to the start (From) time of the selection, and the Punch Out time to the end (Thru) time of the selection. • Punch In Time. The current Punch In time. Click to modify.
• Stop . Stop playback. • Play . Start/stop playback. • Pause . Pause/resume playback. • Fast Forward . Gradually fast forward the project. • Record . Start recording (requires at least one track to be armed for recording). Right-click to access global record options. Click and keep the mouse button pressed for a brief moment to enable step recording. • Step Record. Open the Step Record window. For details, see “Step recording” on page 291. • RTZ . Rewind to the start of the project.
To use the Loop module Figure 39. The Loop module. A C B D A. Loop On/Off B. Set Loop Time to Select C. Loop Start Time D. Loop End Time The Loop module contains the following controls: • Loop on/off . Enable/disable playback looping. • Set Loop Times to Selection . Set the Loop Start time to the start (From) time of the selection, and the Loop End time to the end (Thru) time of the selection. • Loop Start Time. The current Loop Start time. Click to modify. • Loop End Time.
Track-by-track playback SONAR lets you play back any combination of tracks at one time by changing each track’s status. You can control the status of each track with the individual controls that are on every track, or with the global controls in the Control Bar’s Mix module. For more information about the Mix module, see “Mix module” on page 509. Figure 40. The Mix module. A B C D E K F G H I J A. Mute B. Solo C. Arm D. Input Echo E. Live Input PDC Override F. Bypass All Effects G.
the Console view, the Track Inspector, or the Mix module in the Control Bar. If a track is both muted and soloed, it does not play. Mute has precedence. The track status is saved with the SONAR project file. If you save a SONAR project as a standard MIDI File, however, all tracks are saved without mute, solo, or archive indicators.
• Solo / Unsolo All Tracks track is soloed. . Click to solo/unsolo all tracks. The button is lit if at least one • Dim Solo enable/disable . Enable/disable Dim Solo mode. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. For details, see “Dim Solo mode” on page 200. • Exclusive Solo enable/disable . Enable/disable Exclusive Solo mode. With Exclusive Solo mode, you can only solo one track and one bus at a time.
Silencing tracks When a track is muted, SONAR processes the track while playback is in progress so that you can unmute the track without stopping playback. If you have lots of muted tracks, this can place a heavy load on your computer. Archived tracks, on the other hand, don’t place any load on your computer. Therefore, if there are tracks you want to keep but don’t need to play, you should archive them instead.
Sometimes you want to hear a single track, or a few tracks at once, without having to mute all the other tracks. You can do this by soloing the tracks you want to hear. As soon as any track is marked as a solo track, SONAR ignores all mute settings (unless a soloed track is also muted—mute takes precedence over solo) and plays only the track or tracks that are set to solo. Any number of tracks at one time can be marked as solo. All these tracks will play together.
Dim Solo mode Normally when you solo a track/bus in SONAR, the tracks or buses which are not soloed are essentially muted. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. The default gain reduction is -6dB, but can also be configured for -12dB and -18dB. Dim Solo is useful when you want to focus on a specific track but you still want to edit/mix the track in context with the entire mix.
Exclusive Solo mode By default, SONAR allows you to solo multiple tracks and buses simultaneously. With Exclusive Solo mode, you can only solo one track and one bus at a time. When you solo a track or bus in Exclusive Solo mode, all other soloed tracks or buses are automatically unsoloed. This allows you to quickly listen to individual tracks and buses in isolation without having to manually unsolo other tracks or buses. To enable/disable Exclusive Solo mode Click the Exclusive Solo button Figure 43.
Solo Override When you enable Solo Override on a track or bus, that track/bus will never be muted as a result of soloing any other track/bus. This is a very useful feature when you want to always hear a particular track regardless of which other tracks are soloed. For example, you may want to always hear the vocal track while you solo other instrument tracks. This can be accomplished easily by using Exclusive Solo mode (see “Exclusive Solo mode” on page 201) and enabling Solo Override on the vocal track.
To invert the phase of a track 1. Open the Track Inspector or Console view. 2. In the track you want to invert the phase, click the Phase inversion button . Changing tracks’ mono/stereo status SONAR has a Mono/Stereo button in each track module in the Track Inspector and Console view. The buttons in the track modules force each track to play in either stereo or mono, but preserve the tracks’ pan positions in the stereo mix.
Using mono VST plug-ins on stereo tracks may cause out of sync audio When using a mono VST plug-in on a stereo track (interleave set to Stereo), the left and right channels will be out of sync. The left channel is processed by the mono effect, and delay compensation is applied, while the right channel is not processed and does not have delay compensation applied.
Changing track settings Each track in a project contains MIDI or audio information and has a variety of settings (also called parameters) that determine how the track sounds. By changing these parameters, you can change the sound of your project. For audio tracks, you control parameters such as volume, stereo panning, and the output device that is used to produce the sound.
Note: MSR buttons may appear in the header bar if the Track pane is wide. Figure 46. Audio track controls A B C D E F G H I J K L M N W O P Q R S T U V A. Track number B. Track name C. Edit Filter D. Mute E. Automation Read F. Solo G. Automation Write H. Arm for recording I. Freeze J. Input echo K. Archive L. Peak level M. Expand/collapse track N. Track icon O. WAI display P. Expand/collapse Take Lanes Q. Expand/collapse Automation Lanes R. Volume slider S. Input T. Output U. Pan slider V.
Parameter What it means Mute When enabled, mutes the track. Solo When enabled, solos the track. Arm When enabled, arms the track for audio recording. Input Echo Turns input monitoring on or off. Automation Read and Write Enable/disable automation playback and recording, respectively. buttons Peak value Displays the Peak value, which is the amplitude of the latest audio peak in the track. Expand/collapse Take Lanes Hides or shows Take lanes.
Parameter What it means Send Level (Track Inspector and Console view only) Controls volume of audio data sent by this send module. Send Pan (Track Inspector and Console view only) Adjusts the send pan setting. Send Pre/Post switch (Track Inspector and Console view only) Pre (pre-fader) means that the Send signal goes to the bus prior to the track’s volume fader; post means the Send signal goes to the bus after the volume fader.
MIDI track parameters The following pictures illustrate MIDI track parameters: Figure 48. A MIDI track header controls B C D E A. Track number B. Header icon C. Track name D. Maximize/restore E. Meter Note: MSR buttons may appear in the header bar if the Track pane is wide. Figure 49. MIDI track controls B A C D E F G H I J K L Y M N O P Q R S T U V W X A. Track number B. Track name C. Edit Filter D. Mute E. Automation Read F. Solo G. Automation Write H. Arm for recording I.
Figure 50. MIDI track effects bin and track scale A B A. Track scale B. MIDI effects bin Here is a summary table of the different MIDI track parameters and how they are used: Parameter What it means Track number A sequential track number used for reference Track name A name that you assign the track for easy reference. Note that if you do not assign a name to a track, the default name is the track number. This track number will change if you change the order of your tracks.
Parameter What it means Velocity trim (Track Inspector and Console view only) The change in velocity (volume) that will be applied to notes in this track on playback; ranges from –127 to +127 Input The input source for the track, used in recording Output The output device through which the track is played Ch (channel) (Track Inspector and Console view only) The MIDI channel through which the notes will be played Bank (Track Inspector and Console view only) The set of patch names available for the
To change a track name 1. Double-click on the current track name. 2. Enter the new track name. 3. Press ENTER. The default track names (Track 1, Track 2, etc.) are not actually names, but placeholders until you name a track. If you reorder the tracks these placeholders change. You can rearrange and resize the panes in the Track view as shown in the following table.
Changing track settings in the Track pane You can change the values in the Track pane in a number of ways: Control How to change the setting Volume and Pan Click on the control and move your cursor left or right to adjust values, or press ENTER and type a value. Input and Output Click on the black arrow on the right of the control and select a driver from the menu that appears, or double-click on the control and select a driver from the menu. Buttons Click to enable or disable Table 26.
selected track. • To adjust the same control in all selected tracks of the same type, hold down the CTRL key and adjust a control in any selected channel strip. For example, to assign a group of tracks to the same output, select the tracks you want to assign, then hold down the CTRL key and assign the Output control in any selected track. All selected tracks will be assigned to the same output. All track parameters are saved with a SONAR project.
Figure 52. The MIDI - Devices section A A A. These devices are not selected When you first run SONAR it asks you to select MIDI devices. You may want to change these selections in the future. You can do so by selecting different devices in Edit > Preferences > MIDI Devices. Your computer is usually equipped with at least one audio device—your computer sound card.
To choose MIDI devices 1. Go to Edit > Preferences > MIDI - Devices. 2. Click on any MIDI device in the Outputs list. 3. To move any device to the top of the list, deselect all other devices and click Move to Top to move the selected device to the top of the list. 4. When all devices are selected in the order you want, click OK.
To assign a track to an output 1. Click the Output drop-down of the track you want to assign. 2. Select the output you want to use. To assign a group of tracks to the same output, select the tracks you want to assign, then hold down the CTRL key and assign the Output control in any selected track. All selected tracks will be assigned to the same output.
To assign different audio input ports to multiple tracks 1. In the Track view, select the tracks whose audio input port you want to assign. 2. Click the small drop-down arrow in the first selected track’s Input control . The Input Port menu appears. 3. Choose Selected Track Input Series from the context menu. The Assign Series of Inputs dialog box opens, which lets you choose the first input port in the series. Figure 53. The Assign Series of Inputs dialog 4.
2. Choose Set All Bus Outputs from the context menu. The Output port submenu appears. 3. Select the desired audio output port. The audio output port is assigned to all stereo buses Note: Only hardware main outputs may be assigned, not other buses. Assigning tracks to mono hardware outputs SONAR lets you assign audio track and bus outputs to individual (mono) hardware outputs in addition to stereo pairs.
Choosing the instrument sound (bank and patch) Electronic keyboards and synthesizers often contain hundreds or thousands of different sounds. Each sound is known as a patch. The name comes from the early days of synthesizers, for which you physically rewired (using patch cords) the oscillators and modulators to produce different sounds. Patches are normally organized into groups of 128, called banks.
To insert a bank/patch change 1. Highlight the track whose bank and patch you want to change by clicking on the track number. 2. Set the Now time to the time at which you want the change to occur. 3. Choose Insert > Bank/Patch Change to display the Bank/Patch Change dialog box. 4. Choose a bank and patch from the lists. 5. Click OK. SONAR inserts a change in bank and patch.
Adding effects You can add both MIDI and audio effects directly from the Track view. SONAR adds these effects in real-time, preserving your track’s original data. To add an audio effect in the Track pane Do one of the following: • In an audio track, right-click in the effects bin and choose a plug-in from the pop-up menu. • Click the Insert Plug-in button at the top of the effects bin and choose a plug-in from the pop-up menu.Use the effects bin to add real-time effects B A C A. Enable/disable plug-in B.
Adjusting volume and pan The Volume and Pan settings control the initial volume and pan of a track during playback. Every time SONAR starts playback, the Volume and Pan settings for the track are set to these initial levels. SONAR allows you to choose different panning laws if you want (see “Configuring panning laws” on page 223). In some projects you want the volume or panning of a track to change while playback is in progress.
a signal that’s panned hard left or right, and no dip in output level in either channel when the signal is center panned. • -3dB center, sin/cos taper, constant power. This choice causes no boost in a signal that’s panned hard left or right, and 3dB dip in output level in either channel when the signal is center panned. • 0dB center, square-root taper, constant power.
Adjusting volume trim Volume Trim acts like the trim control on a mixer, raising or lower the level prior to the volume fader. Volume trim is useful for calibrating your faders to match a dB reference level or for aligning your faders for grouping. The Volume Trim control has a range of -18dB to +18dB. Raising or lowering the Volume Trim raises or lowers the apparent volume of the track by that amount without affecting the actual fader level.
Adjusting the Key/transposing a track (Key+) Each MIDI note event has a key number, or pitch. On playback, the key offset (Key+) parameter transposes all notes in the track by the designated number of half-steps. The value can range from -127 to +127. A value of 12 indicates that notes will be played back one octave higher than they are written.This parameter does not affect the note number that is stored for each note event.
Adjusting the note velocity (Vel+) Each MIDI note event has a velocity, which represents how fast the key was struck when the track was recorded. On playback, the velocity offset parameter adjusts the velocity data for all notes in the track by the designated amount. The value can range from -127 to +127. The effect of changing velocities depends on the synthesizer. Some synthesizers do not respond to velocity information. For others, the effect varies depending on the sound or patch you have chosen.
To set the time offset for a track 1. Select the track and open the Track Inspector. 2. In the Track Inspector, click the Time+ control. 3. Enter a value, or press the + or – key until you reach the value you want. Figure 55. The Track Inspector contains advanced MIDI controls. Other MIDI playback settings Two other MIDI settings can affect what happens when you play back your project, as described in the following table.
Controlling live MIDI playback—MIDI echo When you play your MIDI keyboard or controller, the sound that SONAR produces is determined by what hardware or software synth SONAR sends the incoming MIDI data to after SONAR receives the data. This is called MIDI echo. By default, SONAR sends the data to the MIDI output or software synth listed in the Output field of the current track.
Storing favorite configurations If you want a track to respond to more than one port or channel, you must create a preset input configuration. If you create some favorite configurations of MIDI input options, not only will they be stored with the project you created them in, but you can save each one as a preset to load in any MIDI track in any project you want.
To create or edit a preset input configuration 1. In the Input field of a track that you want to select inputs for, click the drop-down arrow and choose Manage Presets from the drop-down menu. The MIDI Input Presets dialog box appears. 2. In the Input Port column, find the input port that you want to use for this track (if you only use a single-port MIDI interface, you’ll only see one choice). 3.
Local control You should normally disable the Local Control setting on your master keyboard to prevent notes from being doubled when you play your keyboard. If you disable Local Control, your keyboard sends notes that you play to SONAR, which echoes them to the synthesizer, which plays them only once. When SONAR starts, you can have it send a special MIDI message that attempts to disable Local Control automatically. Most modern synthesizers respond to this message.
Playing files in Batch mode SONAR allows you to play several files in sequence automatically using the Play List view. You can use this feature in live performance applications or just for fun. SONAR’s Play List view lets you create and work with a series of project, MIDI, and bundle files. As each file plays, SONAR loads it and displays it in the Track view and other views like any other project file.
To create and edit a play list To create and edit a play list in the Play List view, follow the instructions in the table: To do this Do this Open an existing play list Choose File > Open, choose Play List from the Files of Type list, choose the file you want and click Open Create a new play list Choose File > New, choose Play List Set from the list, and click OK Add songs to the play list Click or press INSERT, choose a file from the Add Song to Play List dialog box, and click Open Set the delay af
To play files from the Play List view To play back files from the Play List view, follow the instructions in the table. To do this Activate the play list Choose the starting song Start playback Stop playback Skip to the next file Loop continuously over the play list Show or hide file name extensions and folder names (path) Do this Click in the Play List view toolbar so that the button is pressed. If this button is not pressed, only a single file will play when you start playback.
Video playback, import, and export Video files play in the Video view in real time as your project plays. You can also view your video on an external DV device connected to an IEEE 1394 port (“FireWire”). The File > Import > Video command lets you include the following video file types in your project: • AVI (also called Video for Windows). • MPEG. • Windows Media Video. • QuickTime (.mov files only). SONAR supports QuickTime 7, including H.264 support and the ability to import AAC audio files.
that plays back incorrectly. • When exporting to QuickTime, the frame rate of the QuickTime video compressor will default to “best possible”. Since not all movies in a SONAR video project correctly report their frame rate, the best practice is manually enter the desired frame rate. This is done in the video settings of the QuickTime video compressor. • Exports to QuickTime from a SONAR video project created from an AVI using the Indeo video compressor will create a movie with white frames.
Note 2: After you load a video file into a project, you can play it back either in the Video view, or on an external DV device through a FireWire port. See “Video playback on a FireWire DV device” on page 244 for more information. To play a video file in the Video view 1. Open the Video view by choosing Views > Video. 2. Press the SPACEBAR to play or stop video playback. 3.
To adjust the SMPTE time 1. Move the Now time to the place where you want SMPTE time to be either 00:00:00:00, or a number you can enter. 2. Use the Project > Set Timecode At Now command to open the Set Timecode At Now Time dialog box. 3. If you want to set SMPTE time to 00:00:00:00 (the dialog’s default value) at the current Now time, click OK to close the dialog box.
To set the Start and Trim times 1. Right-click in the Video view and choose Video Properties. 2. Set options as described in the table: Option What it means Start Time The time in your SONAR project at which you want the video file to start playing Trim-in Time The time in the video file at which you want video playback to start Trim-out Time The time in the video file at which you want video playback to stop Table 32.
2. Use the File > Export Video command. The Export Video dialog box appears. 3. In the File Name field, type a name for your new video. 4. In the Files of Type field, choose the kind of video file you want the exported file to be. 5. Click the Encoding Options button to open a dialog box of encoding options for the kind of file you’re creating. Some codecs do not work: click the Help button in the dialog box for help choosing options.
Using the Video Thumbnails pane At the top of the Track view in SONAR is the Video Thumbnails pane, which displays individual frames of your video at certain time intervals of your project. The time interval between displayed frames is determined by the zoom level you choose. If you zoom in far enough, you can view each individual frame of your video.
commands for horizontal zooming. You control the height of the Video Thumbnails pane by dragging the splitter bar up or down that’s at the bottom of the Video Thumbnails pane. For step-by-step instructions, see the following procedures: To hide or show the Video Thumbnails pane Do one of the following: • Drag the splitter bar that separates the Video Thumbnails pane from the Clips pane. • Click the Track view View menu and choose Video Thumbnail Show/Hide. • Press the V key.
To change the Trim-Out time • In the video track strip, click the Trim-Out field, type a new number in SMPTE format, and press ENTER (you can press the SPACEBAR instead of typing colons, if you want, and you can type single zeros instead of double zeros). The Trim-Out time is the time in your video file at which you want to stop video playback. To use the Video Thumbnails context menu 1. Right-click the Video Thumbnails pane or the Video Thumbnails track strip. 2.
6. Click Save to export your video. Once you save the video file, it can be re-inserted into a project (see “Importing and playing back videos” on page 237). If the project will ultimately be exported to tape, that project will need to have an audio sample rate of 48 KHz playing back at 16 bits. To play video on an external DV device 1. Connect your external FireWire device. Make sure Windows recognizes the device, and displays the device’s icon on the Windows taskbar. 2.
Exporting a project to a FireWire DV device Once your project sounds the way you want it to, you can export the video and audio together to an external FireWire DV device. This is called “printing to tape,” if your external device uses tape. To export a project to an external DV device 1. Use the File > Export > Video command to open the Export Video dialog box. 2. In the Save as Type field, choose AVC Compliant Device.
Locating missing audio If you try to open a project and SONAR is unable to locate all the audio files that the project references, the Find Missing Audio dialog box appears. The Find Missing Audio dialog box helps you find any missing audio in your project. See: “The Find Missing Audio dialog” on page 247 “Restoring missing audio files” on page 247 “Managing shared and external files” on page 248 The Find Missing Audio dialog Use the Find Missing Audio dialog box to find missing audio in your project.
3. Select the file or files that SONAR has found and click OK. The Find Missing Audio dialog box appears. 4. Select one of the following options: • Move file to Project Audio Folder. Use this option if you are sure that no other projects are referencing this file in its present location. • Copy file to Project Audio Folder. Use this option if the missing file is shared with another project and you want to keep all of your project’s audio files together. • Reference file from present location.
Recording You can add sound or music to a SONAR project in many different ways. You can record your own material using a MIDI-equipped instrument, use a microphone or another audio input to record digital audio information, or import sound or music data from an existing digital data file. With the Input monitoring feature, you can hear your audio instruments exactly how they sound in SONAR, including any plug-in effects (effects are not recorded, however).
Creating a new project You can add music and sound to an existing project or to a new project. Just as in any Windows program, you open an existing project file using the File > Open command, and create a new project file using the File > New command. When you create a new SONAR project, there are some additional parameters you can set to make it easier to work on your project.
also includes a template with two MIDI and two audio tracks (called the Normal template). If you are creating a new project that will contain only audio material, use the Audio Only template. If you are creating a new project that will contain only MIDI material, use the MIDI Only template. You can create your own template files and use them as the basis for other new projects. For more information, see “Templates” on page 1064. To create a new project file 1.
Setting the Meter and Key signatures By default, a new SONAR project is in 4/4 time and the key of C major. You can change these settings to any desired “Meter” on page 1915 or key. These settings apply to all the tracks in a project. You cannot set different meter or key signatures for different tracks. The meter or key signature of a project can change at any measure boundary.
Figure 60. The Meter/Key Signature dialog box 3. Enter the top and bottom meter values in the Beats per Measure and Beat Value fields. 4. Choose the key signature from the Key Signature list. 5. Click OK. You can also set the meter and key signature in the Control Bar’s Transport module, or choose Project > Insert Meter/Key Change. Setting the Metronome and Tempo settings The metronome counts off each beat in a measure, so you can hear the tempo of your project.
To configure metronome settings, click the metronome icon in the Control Bar, right-click the Playback Metronome on/off button Preferences > Project - Metronome. or Record Metronome on/off button , or go to Edit > Note: If you are synchronized to an external clock source, you cannot use the count-in feature. For more information, see “Synchronizing your gear” on page 1153. To set the tempo and metronome for a new project 1.
To change your Metronome settings 1. Do one of the following to access metronome settings: • Click the metronome icon in the Control Bar’s Transport module. • Press SHIFT+F3. • Right-click the Playback Metronome on/off button or Record Metronome on/off button in the Control Bar’s Transport module. • Go to Edit > Preferences > Project - Metronome. 2. Change the metronome settings as indicated in the following table. To do this Do this Enable the metronome during playback Select the Playback check box.
To set the MIDI metronome sounds from your MIDI instrument 1. Select a track in the Track view that is assigned to the MIDI device you want to use for the metronome sound. 2. Right-click the Playback Metronome on/off button to show metronome settings. or Record Metronome on/off button 3. Make sure that the settings in the Port and Channel fields match those for the track in the Track view. 4. Click on the Key box in the First Beat or the Other Beats section. 5. Play a note on your MIDI instrument.
To set the sampling rate and audio driver bit depth for new projects Note: If you are planning to move your project to a Digital Audio Tape (DAT) or to some other media via a digital transfer, set your sampling rate and bit depth to match the target unit. For example, use 44,100Hz/16-bit for a project that will be mastered to a CD, so that no sample rate conversion is required. 1. Go to Edit > Preferences > Audio - Driver Settings. 2.
When Wave-64 Files are created Wave-64 files are created behind the scenes automatically under the following usage scenarios: • When the number of samples recorded exceeds the file size limit of a 32-bit RIFF WAV file (approximately 2GB file size). • When you export, bounce or freeze tracks or clips and the resultant wave size exceeds 2GB. • When you destructively process audio effects on a SONAR clip whose duration exceeds 2GB.
Setting the MIDI timing resolution Each SONAR project has a setting for the timing resolution, or timebase, that indicates the resolution of MIDI data. This resolution is measured in ticks or pulses per quarter note and is often abbreviated as PPQ. The default resolution is 960PPQ, which is accurate enough for most applications. In this timebase, each quarter note is represented by 960 ticks, each eighth note by 480 ticks, each eighth-note triplet by 320 ticks, and so on.
Preparing to record To prepare for recording, you need to do the following: • Set the recording mode. • Choose your input(s). • Arm one or more tracks for recording. • Check your recording levels (audio only). • Tune your instrument if necessary (audio only). • Set the Now time to the point where recording should start. • Start recording. After you record, you can use the Edit > Undo command to erase the most recently recorded material.
Recording mode How it works Overwrite The new material replaces (overwrites) any existing material. This means that portions of existing clips may be “wiped clean” to make room for newly recorded material. While recording, you will not be able to hear material from existing clips. Auto Punch Recording only takes place between the punch-in and punch-out times. You can use Auto Punch in either Sound on Sound or Overwrite mode. Table 35.
that’s on the MIDI channel you chose. • (name of MIDI input driver) > (MIDI Omni or MIDI ch 1-16). Choosing this option causes the track to record any MIDI channel coming from the named MIDI interface input driver, unless you choose a particular MIDI channel instead of MIDI Omni. Then the track will only record input that’s on the MIDI channel you chose, from the named input driver. • Preset.
If your sound card has more than one pair of inputs, a pair of numbers appears after the name of each audio driver to indicate which pair of inputs the driver is attached to. To choose a MIDI input in the Console view or Track Inspector 1. At the bottom of a MIDI channel strip, click the Input control.A pop-up menu of MIDI channels appears. 2. Choose an input from the following: • None. This option actually sets the Input field to Omni.
To disarm all tracks at once Click the Arm / Disarm All Tracks button Figure 62. in the Control Bar’s Mix module, or press CTRL+R. The Mix module. Auto arming You must arm tracks in order to record. To safeguard your data, there is no automatic arming of any tracks. If you want to record MIDI tracks without arming a track, go to Edit > Preferences > MIDI Playback and Recording and select the Allow MIDI Recording without an Armed Track check box.
Arming tracks during playback/recording SONAR is able to arm and disarm tracks during playback and recording. This allows you to record to different tracks while the transport is rolling, without first having to stop playback in order to arm a track for recording. To allow arming during playback Go to Edit > Preferences > Project - Record and select the Allow Arm Changes During Playback/Record check box. Note: The Allow Arm Changes During Playback/Record option is disabled by default.
Recording music from a MIDI instrument Once you have set your tempo and metronome, and armed one or more tracks, you are ready to start recording. To record MIDI 1. Set the Now time to the point in the project where you want to start recording. 2. Click or press R. If your metronome count-in is turned on, it will play the count-in. 3. Play or perform the material you want to record.
Input quantizing Input quantizing allows you to automatically quantize MIDI input during recording. You can see the results immediately, and hear the results as soon as a track is looped. Note: Input quantizing does not destroy your original recording. If you press CTRL+Z after you finish recording with input quantizing enabled, the quantized clip is deleted, and the original unquantized clip appears, just as you recorded it.
To set options Click the track’s Input Quantize resolution menu in the Track Inspector, choose Quantize Settings to open the Input Quantize dialog box, select the desired settings, then and click OK. Note: To get explanations of the options in the Input Quantize dialog box, press F1 when the dialog box is open. Visual indicators You will see the following visual indicators when Input Quantizing is enabled: • When the track is armed for recording, the track’s Arm button cirle.
Arpeggiator Note: This feature is not available in SONAR X2 LE. The arpeggiator lets you play intricate patterns of notes that would otherwise be extremely difficult or impossible to play manually and at speeds and octave ranges that exist beyond the physical limitations of the player or keyboard range. Arpeggiated events are new events that are based on notes that you play on your controller keyboard.
Arpeggiator controls The following table describes the controls in the Arpeggiator. Control Description Enable/Disable Enables/disables the arpeggiator on a given track. This control can be assigned to MIDI remote control and modified in real-time during project playback. Preset Control You can create and edit arpeggiator presets; all user parameters are stored in the preset. • Arpeggiator settings are included in track templates.
Control Description Source Mix When 0, simultaneously held notes arpeggiate as single notes. At 50%, simultaneously held notes are heard as a chord in addition to the usual arpeggiated notes, both at equal levels. At 100%, only the held chord is audible. Control: Knob (0 – 100%); this control can be assigned to MIDI remote control and modified in real-time during project playback. Ch MIDI input and output menu—the Arpeggiator only affects input data that’s on the MIDI channels listed on this menu.
Using the arpeggiator One arpeggiator device appears on every MIDI and instrument track, located in the Track Inspector. To enable/disable the Arpeggiator • Click the Enable/Disable Arpeggiator button in the Track Inspector. Figure 65. Arpeggiator controls are availalbe in the Track Inspector Using patterns and presets Pre-authored patterns are used to apply rhythmic and melodic variations to the arpeggio. SONAR includes many professionally-authored pattern files for you to experiment with.
A A. Click to load a preset To load the next/previous Arpeggiator preset • Click the Next Preset or Previous Preset button in the Arpeggiator. A A. Click to load the next/previous preset To save an Arpeggiator preset • Click the Preset control in the Arpeggiator and select Save Pattern As from the drop-down menu. The current pattern is saved with the current Arpeggiator parameter settings. A A.
• Shape • Swing • Velocity To record arpeggiator automation 1. Right-click the desired arpeggiator parameter in the Track Inspector, and select Automation Write Enable on the pop-up menu. 2. Click the Play button to start playback. 3. Adjust the arpeggiator control as desired. When you are finished recording automation, click the Stop button to stop playback. Automation (envelope) data appears in the Track view.
Recording audio Before you record audio, you should check your input levels. If the levels are too low, you may end up with too much hiss and background noise in your recording. If the levels are too high, your recording will be inaccurate or distorted. To check your audio levels, use the audio meters in the either the Track view, Track Inspector or Console view.
Once you have set your sampling rate and input levels, you are ready to start recording. If the meters do not move, check your sound card software’s mixer program and make sure that you have the proper input enabled for recording.When you record audio, SONAR stores each audio clip in a separate file. These files have the same format as a Wave (.wav) file, but they have special names and are stored in a separate directory on your hard disk.
Confidence recording and waveform preview When you’re recording audio or MIDI data, SONAR gives you many visual cues that tracks are armed and that SONAR is recording data. When one or more tracks are armed: • The Arm button in each armed track turns red. • The Clips pane next to each armed track gets a reddish hue. • The Arm / Disarm All Tracks button the Control Bar’s Mix module is lit.
Input monitoring Being able to hear plug-in audio effects applied to a live signal is an exciting feature of SONAR. However, there are two issues that users commonly stumble upon when using the input monitoring feature. The first is that the monitored signal seems to have an echo associated with it. The second is that live input monitoring can lead to nasty feedback problems, particularly if you have an outboard audio mixer, or you record from a different sound card from the one you are playing back with.
The bottom block of the picture represents the sound card. The shaded area above it represents the audio drivers. The unshaded area at the top represents the main environment of the operating system. As the diagram shows, analog audio flows into the card's line input (on the left), and is immediately split in two. One branch goes up through the analog-to-digital converter (ADC), where the audio is digitized, buffered and fed to the driver (labeled Wave In in the diagram).
Next, you say "2." In the time it takes you do that, the ADC has converted the "1" to digital form and the Wave In driver has fed it to SONAR for processing. SONAR processes the buffer right away and passes the processed data right back to the Wave Out driver. say “2” SONAR Finally, you say "3." By this time the original "1" has been converted back to analog audio by the DAC, and that analog signal is mixed in with the "3" you have just said.
To enable input monitoring • Turn your speakers down, and on an audio track that you want to monitor, click the Input Echo button so that it’s lit up (on) . To disable monitoring for this track, click the button off. Or • Turn your speakers down, then click the Input Echo On/Off All Tracks button in the Control Bar’s Mix module. This enables input monitoring on all tracks. To disable monitoring for all tracks, click the button again.
To automatically disable input monitoring during playback Go to Edit > Preferences > Audio - Playback and Recording and clear the Disable Input Monitoring during Playback check box. When this option is enabled, input monitoring will be disabled on all tracks during playback but not during recording.
To enable/disable live input PDC override • Do one of the following: • Click the Live Input PDC Override button in the Control Bar’s Mix module. • Press SHIFT+E. Figure 66. The Mix module. Delay compensation is enabled/disabled on all live input tracks in the project. All other tracks have normal delay compensation applied. Note: If the live track being monitored also contains track data (or MIDI data in the case of a synth track), the streamed track data will not be delay compensated.
The Audio Engine button SONAR has a button in the Control Bar’s Transport module called the Audio Engine button . This button lets you turn SONAR’s audio engine off if you’re getting distortion or feedback and want to cut the sound off. When playback or recording are in progress, SONAR enables the button automatically—however, the button appears greyed-out during playback or recording because you can’t control the button at that time.
Loop recording When recording a vocal or an instrumental section, you might want to record several different takes so that you can choose the one you like best. You might even want to record several takes to double a part or merge the best parts of each.Normally, to record each take you would have to arm a track, start recording, perform the take, and then stop recording. You can record multiple takes more easily using a feature called loop recording.
3. Right-click the Record button Figure 67. 286 The Record section Recording Loop recording in the Transport module to access recording settings.
4. Choose to stack all takes in a single track or to store them in separate tracks. 5. If you choose to stack all takes in a single track, choose either Sound on Sound or Overwrite mode. If you use single track and Sound on Sound with Track Lanes enabled, selecting the Create New Lane on Overlap check box will create another Take lane if your new clip overlaps an existing clip. 6.
Punch recording Suppose you are happy with most of a track but want to replace some sound or add new material in one small section—perhaps as small as a couple of notes. This is where punch recording comes in handy, because it lets you record new material only within a specified range of times. For example, suppose you recorded a 32-bar keyboard solo but made some mistakes in the 24th and 25th bars. With punch recording, you can play the entire solo again, so you make sure you can get the feel you want.
B A A B A. The loop starts and ends here B. The punch starts and ends here To punch record 1. Choose the input(s) for the track(s) you want to record, and arm the track(s) for recording. 2. Enable the Auto Punch on/off button in the Control Bar’s Punch module. 3. Set the start and end times in one of the following ways: • Enter the times directly in the Punch module. • Select a range of time and click in the Punch module.
To use punch while looping 1. Choose the input for the track(s) you want to record, and arm the track(s) for recording. 2. Set the loop start and end times. 3. Set the punch start and end times, as described previously. 4. Right-click the Record button to access recording settings. 5. Choose to stack all takes in a single track or to store them in separate tracks. 6. Set the Now time to the beginning of the loop. 7. Click or press R to start recording.
Step recording Step recording is a method of recording MIDI notes one note or chord at a time. It’s a very easy and precise way to record, but can sound mechanical if used in the wrong situation. You use step recording in its typical form by choosing a step size, such as a quarter note, and then playing a note on your MIDI keyboard.
MIDI data is recorded using step record even if the track is not armed. Loop markers are ignored. And step recording always uses the Sound on Sound (blend) record mode, regardless of the current record mode. With Auto Advance disabled, you must click Advance each time you want to advance to the next step. While this requires more effort, it also provides you with more flexibility.
Figure 70. The Step Record - Advanced window A B D C A. Randomize durations field B. Step pattern recording field C. Click to move insertion point by single beat D. Click to move insertion point by single measure To use basic step recording 1. Click the Record button and keep the button pressed for a bried moment until the pop-up menu appears, then choose Step Record. The Record button changes to 2. Click the Step Record button . to open the Step Record dialog box. 3.
50% or 75% by clicking the dot icon , or double-dot icon , respectively. You can add different step sizes together by holding down the CTRL key while you click extra icons, or by pressing the + key on the NumPad. • For a tuplet step size, click a notehead icon to choose the “tuplet unit” (for example, for eighthnote triplets, choose an eighth note). Then enable the Tuplet check box and fill in the “n” in time of “n” fields.
To use advanced step recording The procedure for Advanced step recording is the same as for Basic, but with these extra options, which become available when you click the Bas./Adv. button in the Step Record dialog box so that it displays Bas.
To use other commands while step recording • Use the mouse to click the command you want to use. or • Click the Activate Step Recording button in the Step Record dialog box so that the button is not red. This disables step recording, allowing you to use both the mouse, and any keyboard shortcuts that the Step Record dialog box uses, for other commands. By default, opening the Step Record window will automatically enable step recording. SHIFT+R is the default shortcut to open the Step Record dialog box.
Default setting or option Default shortcut Dot NumPad * Double dot SHIFT+NumPad * Add next step size to previous step size NumPad PLUS key “+” Toggle the Delete on Back Step option NumPad MINUS key “-” Follow step size CTRL+Num Lock (does not change Num Lock state) Step backward NumPad 0 Step advance NumPad ENTER Beat backward SHIFT+NumPad 0 Beat advance SHIFT+NumPad ENTER Measure backward CTRL+NumPad 0 Measure advance CTRL+NumPad ENTER Auto Advance NumPad PERIOD “.
Step pattern recording The Pattern option lets you define a repeating rhythmic pattern of notes and rests so that you can use step recording more efficiently. For example, suppose your project is in 4/4 time, and one track has a pattern that is two measures long: quarter notes in the first measure and on the first two beats of the second measure, followed by a half-note rest on the last two beats. This pattern has six quarter notes followed by two quarter-note rests.
Recording specific ports and channels Most MIDI instruments are capable of sending information on several different channels at once. By default, SONAR merges all incoming MIDI data and records it on whatever MIDI tracks are armed. However, SONAR also allows you to control which MIDI input ports and channels each track will record. Here are some examples of when this feature might be useful: • There are several performers, each playing a different MIDI instrument.
• Manage Presets. If you want to create or edit any preset collections of input ports and channels, you can select this option (see following procedure). 2. Click OK. SONAR shows new track inputs in the Input fields in the Track pane. To create or edit a preset input configuration 1.
Importing music and sound While recording is perhaps the most common way of adding material to a SONAR project, there are several other methods you can also use. SONAR lets you import music into a project from several different types of digital data files, including MIDI files; audio files in Wave, MP3, AIFF, and other formats; audio CD tracks and other SONAR project files.
3. Choose the audio file you want to import. SONAR displays information about the file at the bottom of the dialog box. 4. Click Play to listen to the audio file before importing. 5. If the new file is stereo, check the Stereo Split option if you want to insert the file into two separate tracks. 6. Click Open. SONAR loads the audio data from the audio file and places it in the selected track at the Now time.
4. Click Play to listen to the audio file before importing. 5. If the new file is stereo, check the Stereo Split option if you want to insert the file into two separate tracks. 6. Click Open. If the Always Import Broadcast Waves At Their Timestamp option is selected in Edit > Preferences > File - Audio Data, the imported Broadcast Wave file appears at its timestamp on the selected track. Otherwise, the file appears at the Now Time on the selected track.
single destination track in the target project.You can also copy material from one project to another by displaying the Track view for both projects side by side, then using drag-and-drop editing. To import material from another project 1. Open the source project, or click in the Track view for that project. 2. In the Track view, select the material you want to import. 3. Choose Edit > Copy Special to display the Copy dialog box. 4. Make sure that Events in Tracks is checked.
• Tracks • Clip positions—an OMF file's EDL edit resolution can be either frame accurate or sample accurate. SONAR can read either, but always writes sample accurate. The clip position is specified in absolute samples. • Slip edits • Fades and crossfades (as destructive edits)—SONAR renders any fades when it writes OMFs, creating separate clips for any fade-ins or fade-outs. SONAR slip-edits the original clip to make room for the fade-in and fade-out clips.
8. Click OK. SONAR opens the OMF file. You can also export SONAR projects as OMF files (File > Export > OMF command). See “Exporting OMF files” on page 935. Importing MIDI files You can create a new SONAR project from a MIDI file simply by opening the file. SONAR takes material from the file and places it into one or more tracks in the Track view. To import data from a MIDI file into a project 1. Open the MIDI file as a new, separate project. 2. Choose Edit > Select > All. 3.
Saving your work Like most Windows programs, SONAR has a File > Save command and a File > Save As command to save your work. Normally, you save your projects in the standard project file format, with a file extension of .cwp. This file contains all your MIDI data and all your project settings. Any digital audio that is part of your project is stored in a separate file, as described in “System configuration” on page 1182.
To Save a project 1. Choose File > Save As to display the Save As dialog box. 2. Choose the type of file you want to save from the Save as Type list. 3. Enter a file name and click Save. SONAR saves the file. You can also use File Versioning instead of using Save As. For more information, see “To use File Versioning” on page 308. To change the Auto Save settings 1. Go to Edit > Preferences > File - Advanced to access Auto Save settings. 2.
Labeling your projects SONAR lets you attach subtitles, composer credits, copyright, and other information to your projects, as shown in the following table. Label Description Title The title for your project; prints automatically at the top of a Staff view printout. Subtitle For a subtitle or dedication; prints directly below the title in a Staff view printout. Instructions Use for performance instructions; prints flush left in a Staff view printout.
To display and edit project information 1. Choose Project > Info to display the File Info window. 2. Edit the information as desired. Figure 71. The File Info window 3. If you want the File Info window to display automatically, save the file. 4. Click Stats to see statistics about the contents of the file. 5. Choose File > Print Preview if you want to print the project information 6. Close the File Info window.
File statistics To open the File Statistics dialog box, select Project > Info and click the Stats button in the File Info dialog box. The File Statistics dialog box displays the following information about the contents of the project file: Statistic What it means Created The date the project was first saved. Editing time The total time you’ve had the project open, from the time it was created to the last time it was saved. This does not include time spent editing the project since you last saved it.
Recording Saving your work
Arranging and editing The Track view makes it easy to arrange and mix your projects from a single view. From one location, you can select, copy, move, mix, and rearrange the parts of your project, using menu commands or drag-and-drop tools. You can add real-time audio and MIDI effects from the effects bin and buses. Markers provide easy-to-use reference points and labels for the different parts of your project, and the snap grid makes it easy to align your clips to the desired time points.
“Take lanes and comping takes” on page 367 “Clip muting and isolating (clip soloing)” on page 375 “Track folders” on page 378 “Adding effects in the Track view” on page 381 “Changing tempos” on page 382 “Undo, redo, and the undo history” on page 390 “Slip-editing (non-destructive editing)” on page 392 “Enhanced editing with keyboard” on page 399 Arranging tracks SONAR provides a variety of commands that let you work with the tracks in your project. Here are some of the things you can do.
All the commands you use to arrange tracks work on selected tracks. The current track (the one with the lighter titlebar) is always selected. You can select additional tracks as shown in the following table. To do this Do this Select a track Click the track number in the Track view. The track is selected, and all other tracks—except the current track—are deselected. When a track is selected, both the track number and all the data in the track appear highlighted.
Changing the order of tracks There are several ways you can change the order of tracks in the Track view: • Drag a track to a new position in the Track view. • Use the Track view Tracks > Sort Tracks command to rearrange the tracks in order based on the track name, status, or other setting. To drag a track to a new position 1. Position the mouse just to the right of the track number, over the track icon of the track you want to move. The cursor changes to an up/down arrow. 2.
To sort the tracks 1. Click the Track view Tracks menu and choose Sort Tracks to open the Sort Tracks dialog box. 2. Choose the attribute by which to sort from the Sort By list: Attribute How it works Name If you choose this attribute, SONAR puts the tracks into alphabetical order, either ascending or descending, depending on what you choose in the Order list.
Inserting tracks You can insert new tracks by a variety of methods. When you insert multiple tracks, you can set track output properties at the same time. If you want new audio tracks to always use the same output bus, you can set that bus as the default bus. For step-by-step instructions, follow these procedures: To insert a single track Do one of the following: • Click the Insert menu and choose Audio Track or MIDI Track.
Configuring the display of tracks in the Track view There are several commands in the Track view View menu and Track pane context menu that allow you to configure the appearance of your tracks in the Track view. You can use these commands to zoom in or out, show or hide any combination of tracks, and revert back to previous display settings. The following table lists each of these commands and provides an explanation of each.
To lock or unlock the height of a track 1. Right-click an empty area in one of the desired track’s controls to display the Track pane context menu. 2. Choose Lock Height from the menu. When you lock the height of a track, its height does not change when you use a Zoom or Fit command. When a track’s height is locked, you can still drag the track strip’s lower border to adjust the track’s height. After you drag the border, the altered track height becomes the track’s locked height.
Erasing tracks You can easily delete an entire track, including all of the track properties and all of its clips and events. Sometimes, you only want to erase, or wipe, the contents of a track, leaving the track properties as they are. If you delete or wipe a track by mistake, you can use Edit > Undo to restore the deleted material. When you delete or wipe a track, the track information is not placed on the Clipboard.
To create a track template 1. Select the track or tracks you want to save as a preset. 2. Select File > Export > Track Template from the main menu. The Save As dialog box appears. 3. Enter a name for the template and click Save. Track templates use the file extension .cwx. To insert a track or tracks from a template • Select Insert > Track Template to open the Import Track Template dialog box, then select the desired track template.
• Select Views > Icons > [name of desired view] > Small Icons or Large Icons from the main menu. To change a track icon 1. Right-click on the icon you want to change. 2. Select Load Track Icon from the menu that appears. The Open dialog box appears. 3. Select an icon and click Open. Note: The right-click option is not available when you right-click a track icon in a track header in the Track view.
Configuring Track view controls To configure track and bus control layouts 1. Click the Track Control button at the top of the Track pane and choose Track Control Manager to open the Track Control Manager. 2. In the Preset field, choose the control preset that you want to configure, or choose , and type a name to create a new tab. 3. In each of the four Strip columns (Audio Strip, MIDI Strip, etc.), check all the controls you want to see for the current preset. 4.
Arranging clips The Track view provides many ways for you to rearrange, copy, and paste clips to arrange your music the way you want. The easiest is to select the clips or portions of clips you want to arrange and then drag and drop them wherever you want. You can drag and drop clips in the Track view even while playback is in progress. You can also arrange clips via the Clipboard using the Edit > Cut, Edit > Copy, and Edit > Paste commands, which work like those in almost all Windows programs.
• Name. You can also assign each clip a descriptive name, which is displayed in the upper-left corner of the clip. • Contents. At your option, clips can be displayed with a graphical representation of the events in the clip. The effect is slightly different for MIDI and audio information. A B C A. A MIDI clip shows each event; by looking at the clips, you can “see” the notes that are being played B. An audio clip shows the actual waveform C.
Clip header indicators Audio and MIDI clips show various information at the top of each clip. A standard clip shows only the clip name, while clips that have been modified in various ways show additional information. Figure 73. A Clip header indicators B C D A. Clip group number B. Clip name C. Indicators (FX, AudioSnap, Follow Project Tempo, Stretch, V-Vocal, MIDI editor) D. Clip data (audio waveform or MIDI data) Note: Clip headers automatically disappear if the track height is less than 36 pixels.
Audio clip MIDI clip Description n/a The clip is a V-Vocal clip, which lets you perform pitch correction on notes and phrases, edit formants, and add vibrato to monophonic sounds. For details, see “V-Vocal clips (Producer and Studio only)” on page 898. n/a The clip has been stretched from its original duration by the displayed percentage value. For details, see “Slip-stretching audio” on page 642. n/a The clip follows the global project tempo.
• Point the mouse pointer at the top half of the Clips pane or Piano Roll view time ruler (the mouse pointer should look like this: ), then drag up/down. To zoom vertically Do one of the following: • Click the vertical zoom buttons to zoom in or out by a fixed percentage each time you click. • Drag the vertical zoom fader to zoom in or out by the amount you drag. • Hold down the CTRL key and press the UP ARROW key (to zoom out) or the DOWN ARROW key (to zoom in).
To zoom using the mouse wheel (Fast Zoom) • Hold down the ALT key and roll the mouse wheel forward to zoom in, backward to zoom out. • Hold down ALT+SHIFT to intensify mouse wheel zoom effect.Hold down ALT+CTRL to adjust track scale (Track View Clips Pane only) To select Fast Zoom options 1. Click the Track view Options menu and choose Zoom Options. 2. Select the intensity of the Zoom effect in Zoom Factor by using the spinners or manually entering a value. 3. Select the vertical and horizontal Zoom focus.
To change clip colors 1. Select the clips whose color you want to change. 2. Open the Clip Inspector and show the Properties section. Figure 75. The Clip Inspector. 3. Choose a color as follows: To do this Do this Use the default color Select the Use Track Colors check box. Use a custom color Click the Foreground or Background field and pick a color. Table 49. SONAR changes the color of the selected clips.
Using the Navigator view The Navigator view displays a large part of your project so you can see an overview of your song. The Navigator view is a floating version of the Navigator pane found at the top of the Track view. To open the Navigator view, click the Views menu and choose Navigator, or press ALT+SHIFT+8. Figure 76. The Navigator view. A A. Track rectangle Track rectangle The Track Rectangle appears as a green rectangle within the Navigator view.
• Track Height Medium • Track Height Tall To zoom the Navigator view Right-click in the Navigator view and select one of the following options: • Horz Zoom Level 1 • Horz Zoom Level 2 • Horz Zoom Level 3 • Horz Zoom Level 4 • Horz Zoom Level 5 • Horz Zoom to Project Opening views by double-clicking clips By default, double-clicking a MIDI clip in the Clips pane opens a Piano Roll view for that track, and double-clicking an Audio clip opens the Loop Construction view for that track.
Selecting clips Before you move, copy, edit, or delete clips you need to select them. There are several ways to select whole clips, as shown in the table: To do this Do this Select a single clip Click on the clip in the Clips pane. Select several clips at once With the right mouse button, drag in a rectangular pattern that touches each clip. Select all the clips in a track Click on the track number in the Track view.
• Smart tool: • Header. Click to select the clip. • Top/Bottom. Drag to select by time. • Top/Bottom. Click to select the clip. • Top/Bottom. Drag with the right mouse button to lasso select. • Select tool: • Top/Bottom. Click to select the clip. • Top/Bottom. Drag with the left mouse button to select by time. Drag with the right mouse button to lasso select. The Smart tool and Select tool obey Snap to Grid. To lasso select Using the Smart tool or Select tool , drag with the right mouse button.
When you use the Edit > Paste Special command to add information to a track that contains existing material, there is one final option you can choose. Option What it means Paste as New Clips New clips are created containing the events on the Clipboard, exactly as described in the preceding table. Paste into Existing Clips (MIDI clips only) The events on the Clipboard are merged into any existing clips that occupy the same region of time. This means you will never end up with clips that overlap.
Figure 77. The Drag and Drop Options dialog box SONAR moves the clips to their new location. Note: Moving an audio clip (other than a Groove clip) to a part of your project that has a different tempo changes the size of the clip. To move clips using cut and paste 1. Select the clips you want to move. 2. Choose Edit > Cut Special to display the Cut dialog box. Figure 78. The Cut dialog box 3. Choose the options you want and click OK.
Figure 79. The Paste dialog box 7. Choose the options you want and click OK. SONAR places the clips in their new location. To choose a specific start time and/or length for a clip 1. Select the clip you want to edit. 2. Open the Clip Inspector and select the Properties section. 3. In the Time Format field, choose the units you want to use for the new start time and/or length by clicking one of the radio buttons: • M:B:T.
SONAR adjusts the clip to the values you chose. Note: The Snap Offset field is for audio clips only. The value of this field is the snap offset of the selected clip, in samples. When you set a snap offset value for a clip, and then drag the clip, the left edge of the clip does not snap to the current snap resolution--the clip snaps to a point on the clip that is the distance from the left edge of the clip to the snap offset value.
To delete clips 1. Select the clips you want to delete. 2. Do one of the following: • Choose Edit > Delete, which brings up a dialog box—choose options and click OK. • Press the DELETE key. SONAR deletes the selected clips.
Click the front/left portion of a clip. The Aim Assist line snaps to the start of the clip boundary and travels with the clip as it is dragged. Click the rear/right portion of a clip. The Aim Assist line snaps to the end of the clip boundary and snap operates on the clip’s end. The AimAssist line travels with the clip as it is dragged. To enable/disable Aim Assist • Do one of the following: • Click the Edit menu and choose Aim Assist. • Press X. The vertical Aim Assist line is shown or hidden.
Reverting clip(s) to original time stamp All audio and MIDI clips in SONAR have a Original Time property, which stores the original SMPTE time stamp associated with a clip. The Original Time clip property is based on absolute time, not tempo. This allows you to freely re-arrange clips and later revert them back to their original time. SONAR automatically assigns the Original Time property during import or immediately after record.
Locking Clips You can lock a clip so that it can’t be accidentally modified or deleted. You can lock the clip’s position and/or its data. To lock or unlock a clip’s position and/or data • In the Clip Inspector, select the Properties section, click the Lock field and choose what clip attributes you want to lock: • Position and Data. This choice locks position and data, and causes a lock icon to appear on the clip . • Position Only.
• Clip Lock > Lock Data. In lock mode, this choice locks data only, and causes a blue lock icon with the clasp unlocked to appear on the clip. If position is already locked, then both position and data become locked, and a “locked” lock icon appears on the clip. In unlock mode, if both position and data are locked, and you unlock data, then the yellow “unlocked” lock icon appears on the clip, meaning that only position is locked.
Clip groups SONAR lets you treat multiple clips as a single unit. By grouping clips, you can select and edit an entire group of clips by simply selecting or editing any group member. A group can contain both audio and MIDI clips from a single track or from multiple tracks. Clip groups are very useful, for example, when editing multitrack drums and you want to synchronize edits on all clips from the same recording take.
The following example shows two takes of a five track loop recording. The first clip group is selected. Note: The Group Clips Across Tracks setting is stored with each project.
To create a clip group 1. Select all the clips you want to group together. 2. Do one of the following: • Press [ (square bracket). • Right-click any selected clip, point to Add to Clip Group and choose New from the pop-up menu. A new clip group is created and the group number is displayed next to each clip name. Note: A clip may only belong to one clip group at a time. If any of the selected clips already belong to another clip group, they will be removed from the other group and placed in the new group.
To remove all clip groups 1. Do one of the following: • On the Edit menu, point to Select and choose All. • Press CTRL+A. All clips are selected. 2. Do one of the following: • Press SHIFT+[ (square bracket). • Right-click any selected clip and choose Remove from Clip Group from the pop-up menu. The selected clips are no longer grouped.
• [Mute Entire Clips mode] Lasso-selecting will mute clips that are touched by the lasso as well as other clips in the same group that intersect the lasso time range. • [Mute Time Ranges mode] Selecting a range will mute all clips in the group that intersect that time range. Note: Muting a time range is limited to one track or take lane at a time. • [Isolate mode] Isolate mode does not follow clip groups for clips that live in the same track.
Nudge Nudging is moving a clip or a MIDI note by a small amount to the left or right or up and down. There are three customizable settings for the Nudge feature. You can also nudge clips (in the Track view) or notes (in the Piano Roll view) up or down, and you can use keyboard shortcuts (see “To Nudge a Clip Using Keyboard Shortcuts” on page 351).
field: Absolute time setting Description Seconds Whole seconds. Milliseconds Thousands of a second. Frames Number of frames. The default frame count is 30 frames per second. The number of frames varies depending on the setting in Edit > Preferences > Project - Clock. Samples A very small amount of time. For CD-quality audio there are 44,100 samples per second, so a value of 1 here would not move a clip by a perceptible amount.
Working with partial clips SONAR lets you select, copy, move, and delete portions of a project even if they do not match clip boundaries. There are two ways to do this: • Directly select portions of one or more clips. • Select a range of times and one or more tracks. SONAR automatically selects the portions of clips that are in both the selected time range and the selected tracks.You can then copy, move, or delete the material the same way you do with whole clips.
To clear the partial clip selection You can clear the time-restricted selection in any of the following ways: • Click in an empty area of the Clips pane to completely clear the selection. • Choose Edit > Select > None or press CTRL+SHIFT+A to completely clear the selection. • Click on a single clip in the Clips pane to clear the time selection and select the clip.
Markers and the snap grid SONAR has a collection of features you can use to simplify and speed the work you do arranging your projects. Here are a few of the most important things you can do: • Show gridlines on measure boundaries in the Track view. • Define and use the snap grid to make drag-and-drop editing more accurate. • Create markers to identify and work with key time points in your project.
You can also use the snap grid to move clips by a certain interval, rather than snap them to the interval. Moving by an interval can be useful during drag-and-drop operations, if your data are not exactly aligned with measure or note boundaries. To set advanced Snap to Grid settings, go to Edit > Preferences > Customization - Snap to Grid. Magnetic snap. Cakewalk’s snap grid has an option called magnetic snap.
select the desired check boxes in the Landmarks section. SONAR will snap to landmarks on tracks/lanes that are currently visible in the Clips pane. 2. Go to Edit > Preferences > Customization - Snap to Grid. 3. If you want to change the magnetic snap strength, or turn off magnetic snap, adjust the Snap Intensity slider. 4.
Snap offsets Snap offsets allow you to set a point other than the beginning of a clip as the “snap” point used by the Snap to Grid. A snap offset is the number of samples from the beginning of the clip. Snap offsets affect all edits that obey the Snap to Grid setting. Once the snap offset is added, you can set the Timer Ruler to SMPTE or MBT time. Note: You cannot set a snap offset for a Groove clip. Creating a snap offset Use the following to add a snap offset to a clip: 1.
The time associated with a marker can be expressed in musical time or as a locked SMPTE time. If a marker has a musical time (measures, beats, and ticks), the marker stays at that musical time regardless of changes in tempo. If a marker has a locked SMPTE time (hours, minutes, seconds, and frames), the marker stays at the same time even when the tempo is changed. Locked markers are useful for projects that require you to sync the music or sound with film scores or multimedia presentations.
To add a marker 1. Open the Markers dialog box in one of the following ways: • Click in the Control Bar’s Markers module. • Press M. • Choose Project > Insert Marker. • Click in the Markers view. • Hold down the CTRL key and click the marker section of the Time Ruler. • Right-click in the Time Ruler and select Insert Marker. SONAR displays the Marker dialog box. Figure 85. The Marker dialog 2. Enter a name for the marker in the Name box. 3. The time is set to the Now time.
To edit a marker 1. Either right-click on the marker in the Time Ruler, or choose a marker in the Markers view and click . SONAR displays the Marker dialog box. 2. Change the marker name, time, or other settings as desired. 3. Click OK. SONAR updates the marker in the Time Ruler and the Markers view. To copy a marker 1. Press and hold the CTRL key. 2. Drag a marker in the Time Ruler of the Track view, Staff view, Tempo view, or Piano Roll view. SONAR displays the Marker dialog box. 3.
To jump to a marker There are many different ways to jump to a specific marker: • Choose a marker from the drop-down list in the Control Bar’s Markers module. • Press G twice to display a list of markers, choose the marker you want, and click OK. • Click on a marker in the Markers view to set the Now time to that marker. • Click the Next Marker button or Previous Marker button in the Markers module.
TAB to transients You can use the TAB and SHIFT+TAB keys to jump to audio transients, and MIDI Note events. Tabbing is only possible when the transport is not rolling. TAB to transients is selection-based, which means tabbing will go to the next/previous transient amongst all selected clips. If there is no selection, tabbing operates on the current track. To move the Now time to the next transient • Press TAB. To move the Now time to the previous transient • Press SHIFT+TAB.
Working with linked clips SONAR makes it easy to repeat a pattern over and over using a feature called linked clips. Linked clips always have the same contents, name, and display color. Any change you make to the internal contents of one of the clips, such as adding or editing notes or effects, automatically applies to all of them. Any number of clips may be linked with each other.
To make linked copies of a clip using copy and paste 1. Select the clips you want to copy. 2. Choose Edit > Copy Special to display the Copy dialog box. 3. Choose options as desired and click OK. SONAR copies the clips to the Clipboard. 4. Click in the Track pane to set the current track to be the one where clips should be pasted. 5. Set the Now time to be the time at which the clips should be pasted. 6. Choose Edit > Paste Special to display the Paste dialog box. 7.
Splitting and combining clips SONAR provides several commands that are used to split and combine clips. Specifically, you can:Split a clip into several smaller clips • Create a new clip from a selected portion of an existing clip • Combine adjacent or overlapping clips into a single, longer clip The following table summarizes the commands you can use. To do this Use this command Notes Split clips into parts • Works on all selected clips.
While the Split command works for both MIDI and audio clips, for audio clips, the Split command provides sample accurate editing and snap-to-zero capability.Note that the Edit > Undo and Edit > Redo commands work with all three of these editing commands. SONAR allows you to specify what is selected after a clip is split into two parts: • Left portion (default). Only the left portion is selected. • Right portion. Only the right portion is selected. • Both portions.
Take lanes and comping takes Take lanes provide an alternative method of viewing and editing overlapping clips on tracks. Overlapping clips can occur when you record multiple takes on the same track. Take lanes can be expanded or collapsed on each track. When expanded, Take lanes are indented below the parent track. Take lanes can be created, hidden, and removed, and each track can have an unlimited number of lanes. Take lanes provide many benefits, including: • Better visibility of clip data.
• You use loop recording in Sound on Sound mode, and choose to store takes in a single track. • You record over some pre-existing data while in Sound on Sound mode. • The track contains at least one overlapping clip. See: “Take lane controls” on page 368 “Using Take lanes” on page 370 “Take lanes and comping takes” on page 367 Take lane controls Most of the controls in Take lanes are identical to the controls found in tracks. Figure 88. Take lane controls. A B C D F E G H I J A.
tracks). • Notes. The selected tool operates on MIDI Note events (only available for MIDI and Instrument tracks). • Clip Automation. The selected tool operates on clip automation envelopes. Select the desired automation parameter from the submenu. Created envelopes are displayed in bold text at the top of the menu. • Name. Take lanes are automatically named with a sequential take number. You can rename Take lanes, just like regular tracks. • Solo. track.
Using Take lanes To expand/collapse a track’s Take lanes Click a track’s Expand/collapse Take Lanes button . Any existing clips are moved from the parent track to separate Take lanes. Tip: To show/hide Take lanes in the current track, press SHIFT+T. Figure 89. You can expand and collapse Take lanes on each track. A B A. Take lanes expanded B. Take lanes collapsed After Take lanes are expanded, you can move clips on top of each other without SONAR automatically creating new Take lanes.
Take lanes and Automation lanes can be displayed simultaneously. Take lanes are always displayed immediately below the parent track, and Automation lanes are displayed below the Take lanes. The Expand/collapse Take Lanes button has three states: • Collapsed, with no existing lanes. The button is not highlighted . • Collapsed, with at least one existing lane. The button has a soft blue glow • Expanded. The button is solid blue . . To insert a new Take lane 1.
To mute or unmute a Take lane Click the Take lane’s Mute button . To solo or unsolo a Take lane Click the Take lane’s Solo button . You can only solo one Take lane at a time. To arm a Take lane for recording Click the Take lane’s Arm for Recording button . You can only arm one Take lane at a time. Note: If a track’s Take lanes are expanded while recording into the parent track, the recorded data will be moved to a new Take lane after recording is stopped.
To edit clip automation in a Take lane 1. Click a track’s Expand/collapse Take lanes button . 2. Click the Take lane’s Edit Filter, point to Clip Automation, and select the desired clip automation parameter. Created envelopes are displayed in bold text at the top of the menu. 3. Use the global tools to edit automation envelopes. For details see “Tools” on page 407. To crop overlapping clips to eliminate overlap 1.
To edit a specific Take lane control across multiple tracks Quick Groups allow you to effortlessly adjust identical controls across the same Take lane in different tracks. For example, you can quickly mute all Take lanes named T2. You can Quick Group the Mute, Solo, Arm for Recording and Edit Filter controls. Quick Groups can either affect all tracks, or only selected tracks of the same type. You hold down the CTRL key to momentarily create a Quick Group.
Clip muting and isolating (clip soloing) Together with Take lanes, clip muting and isolating (clip soloing) make it easy to build a composite take from multiple takes. The Mute tool lets you mute/unmute entire clips, or only regions within clips. Click a clip to mute/ unmute the clip. Drag in the bottom half of the clip to mute a region, and drag in the top half to unmute a region. A clip that is completely muted displays the Mute icon in its upper left corner.
To mute or unmute an entire clip 1. Select the Mute tool in the Control Bar. 2. Click the clip. When a clip is currently muted, SONAR displays the Mute icon in the upper left corner of the clip. A A. Mute icon Toggling a clip’s mute status You can mute or unmute a clip without using the Mute tool if you want. Pressing K on your keyboard toggles the mute status of all selected clips. Any muted time ranges remain muted.
To isolate a region 1. Select the Mute tool in the Control Bar. 2. Set the track’s Edit Filter control to Clips. 3. Hold down the CTRL key and drag across the region you want to isolate. To isolate a clip 1. Select the Mute tool in the Control Bar. 2. Set the track’s Edit Filter control to Clips. 3. Hold down the CTRL key and click the clip to isolate the entire clip/lane.
Track folders A track folder contains tracks in the Track pane of the Track view. Track folders make larger projects much easier to manage—you can group different types of tracks in their own folder: vocals, soft synths, ReWire instruments, drums, etc.The main characteristics of a track folder are: • You can edit all the tracks in the folder as if you were editing a single track—especially valuable for drum tracks. The track folder displays a composite clip in the Clips pane of all the clips in the folder.
• Use the Insert > Track Folder menu command. Or • Right-click a track that’s not in a track folder and select Move to Folder > New Track Folder from the pop-up menu. A new track folder appears in the Track pane. To add a track to a track folder • In the Track view, move the mouse cursor just to the right of the track number of a pre-existing track until the cursor turns into a black, double-ended arrow, and then click and drag the track’s titlebar onto the track folder. Release the mouse.
To delete a track folder 1. In the Track view, right-click and select Delete Track Folder from the menu that appears. 2. SONAR asks you if you want to delete all the tracks in the folder along with the track folder— click Yes or No. SONAR deletes the track folder. If you didn’t choose to delete the tracks in the track folders, SONAR moves these tracks to the top level. To open or close a track folder • Click the folder icon that’s just left of the track folder’s name.
Adding effects in the Track view You can add both MIDI and audio effects directly from the Track view. SONAR adds these effects in real-time, preserving your track’s original data. To add effects in the Track view 1. Right-click in the effects bin of the track you want to add effects to. A A. Right-click here to add an effect An effects pop-up menu appears. SONAR displays MIDI effects if you are editing a MIDI track, and audio effects for an audio track. 2. Select an effect from the menu.
Changing tempos Your project can incorporate all kinds of tempo changes, including step changes from one tempo to another, gradual increases (accelerandos) or decreases (ritardandos), and almost any other type of change you can imagine. The tempo changes you add to your project become part of the project and are saved with the project file.You can add tempo changes to your project in the following ways: • Clicking the tempo display in the Control Bar’s Transport module.
Using the Transport module The Transport module displays the current tempo and lets you change the tempo as shown in the following figure. Figure 91. The Transport module. A A. Click to enter a new tempo When you enter a new tempo directly in the Transport module, you change the most recent tempo setting in the project. To change the current tempo in the Tempo toolbar 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes.
To insert a tempo change 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu. Each clip that has Groove Clip Looping enabled has beveled edges instead of sharp corners. The same command disables Groove Clip Looping on any selected clip that has Groove Clip Looping enabled. 2.
Figure 93. The Insert Series of Tempos dialog 3. Enter a starting tempo, ending tempo, and step size. 4. Enter a starting and ending time for the series of tempo changes. 5. Click OK. SONAR erases any existing tempo changes between the starting and ending time, and inserts a series of tempo changes that change smoothly between the starting and ending time. This command never inserts more than one tempo change on the same clock tick.
Using the Tempo view The Tempo view provides both a graphic display of the tempo and a list of all tempo changes in your project. In the graphical display you can use your mouse to draw tempo changes directly onto the graph. In the tempo list, you can insert, edit, and delete individual tempo changes. To open the Tempo view, choose Views > Tempo or press ALT+SHIFT+5. Click the Tempo List button to display or hide the tempo list. Figure 94.
The Tempo List Pane has its own tools for editing tempo changes: Tool Name What it’s for Tempo List Displaying a list of all tempo changes in the project. Insert Tempo Insert a new tempo change Delete Tempo Delete a tempo change Tempo Properties Edit a tempo change Table 60. To insert a tempo change in the Tempo view 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes.
2. Select the Freehand tool in the Control Bar. 3. Drag the cursor across the graph, adjusting the tempo level as you move left to right. SONAR introduces a series of tempo changes. To erase tempo changes in the Tempo view 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu.
To edit a tempo change in the Tempo view 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu. Each clip that has Groove Clip Looping enabled has beveled edges instead of sharp corners. The same command disables Groove Clip Looping on any selected clip that has Groove Clip Looping enabled. 2.
Undo, redo, and the undo history SONAR provides very powerful Undo and Redo commands that let you move forward or backward through any portion of an editing session. Every project has its own independent undo history. This means you can return to any open project and use the Undo and Redo commands, even if you’ve spent the last hour working on a different project. The undo history of a project is lost when you close the project.
The History list is updated every time you make a change to a project. For example, if you insert a new note into a project using the Piano Roll view, that action is added to the History list. This entry remains on the list—even if you undo the change—so that you can redo the change later on. If you delete the note, this change is added to the History list. You can click the Clear button in the Undo History dialog box to erase the undo history for the current project and free up some memory.
Slip-editing (non-destructive editing) Slip-editing allows you to non-destructively hide or reveal the beginning of a clip, the end of a clip, or both. The hidden material in a clip is not heard during playback. All hidden material remains intact and can be restored. All slip-editing movements correspond to the current snap to resolution. For more information about the snap to grid, see “Defining and using the Snap Grid” on page 354. A B A. Clip handle B.
. A A. Clip handle 5. Click and drag the clip handle until the unwanted information has been removed. The hidden information in the slip-edited clips remains intact but is not heard during playback. To move data without moving its clip 1. Do one of the following: • Using the Smart tool to edit. • Using the Edit tool to edit.
To move data and the clip edge 1. Select the Smart tool or Edit tool in the Control Bar. 2. Hold down ALT+SHIFT and move the cursor to the edge of the clip you want to edit. A clip handle appears at the edge of the clip you are editing. 3. Click and drag the edge of the clip to the desired location. The hidden information in the clip remains intact but is not heard during playback. To permanently delete slip-edited data 1. Select the clips that contain the slip-edited data you want to delete. 2.
Fades and crossfades Fades are a gradual increase or decrease in volume at the beginning (fade-in) or end (fade-out) of a clip. A crossfade is when one clip fades out while another fades in. There are two ways to create fades and crossfades in SONAR: offline (destructive) and real-time (non-destructive). To create fades and crossfades offline, see “Applying fades and crossfades offline” on page 794.
3. When your cursor changes and the filled red triangle appears, click and drag to the right until you reach your desired fade-in length. As you drag your mouse, a fade-in appears on your clip, and the red line moves with the mouse to mark the end of the fade-in. To edit a fade-in in a Clip • To move the entire fade-in to a later point in the clip, drag above the blue horizontal line located a quarter of the way up the blue vertical line . A B A. Cursor above horizontal blue line B.
To create an automatic crossfade (real-time) 1. Click the Track view Options menu and choose Auto Crossfade. 2. Click the Track view Options menu, point to Crossfade Type > Default Crossfade Curves and select the desired default crossfade curve types. 3. Select and drag an audio clip so that it overlaps another audio clip. You should overlap the clips by the length you want the crossfade. 4. When you have the clip positioned where you want it, release the mouse button to drop the clip.
To change an existing crossfade 1. Move your cursor over the region where the crossfade is. 2. Right-click and select the desired crossfade from the menu that appears. To edit or create fades from the Process menu 1. Select the clip or clips in which you want to create or edit fade-ins and/or fade-outs. 2. Select Process > Fade Selected Clips. 3. Click the Track view Clips menu and choose Fade Clips to open the Fade Selected Clips dialog box. 4. Adjust parameters according to the following table.
Enhanced editing with keyboard SONAR supports advanced editing via the numeric keypad on standard QWERTY keyboards.
To enable/disable editing with a QWERTY keyboard 1. On your QWERTY keyboard, press the NumLock key to enable NumLock mode. 2. On the numeric keypad, press 0. 3. Select the desired mode: • Zoom/Scroll mode. Press 1. • Select mode. Press 3. • Edit mode. Press 9. The keys on the numeric keypad are mapped as follows: Figure 96.
Key Function 0 Enable/disable keyboard editing (when NumLock is enabled) 1 Enable Zoom/Scroll mode 2 Down 3 Enable Select mode 4 Left 5 Center edit cursor 6 Right 7 -- 8 Up 9 Enable Edit mode Volume knob (if keyboard has a rotary encoder) Zoom/scroll/trim/crop depending on current mode PLUS (+) Crop or fade right in Edit mode MINUS (-) Crop or fade left in Edit mode Table 62.
Navigating with a keyboard Scroll and Zoom are part of the same mode, which makes it fast to navigate around a project. You can zoom both horizontally and vertically, in small or large steps. You can scroll fast or slow in any direction, in small or large steps. To zoom and scroll with a keyboard 1. On your QWERTY keyboard, press the NumLock key to enable NumLock mode. 2. On the numeric keypad, press 0 to enable keyboard editing. 3. On the numeric keypad, press 1 to enable Zoom/Scroll mode.
Key Function CTRL+ ALT+ SHIFT+ 9 Enable Edit mode -- -- -- Scroll vertically Scroll in small steps Zoom (based on selection) Scroll horizontally Volume knob (if keyboard has a rotary encoder) Table 63. The zooming behavior depends on the current Edit or Select mode: • Zoom around the selection. Will center and zoom on the mid-point of the selection. • Zoom around the edit cursor. Will center and zoom around the cursor.
To move the edit cursor • In Select mode, do one of the following: • To move to the left. • To move to the right. Press 4. Press 6. • To move to the previous lane or track. Press 8. • To move to the next lane or track. Press 2. • To center the edit cursor. Press 5. • To move to the previous clip. • To move to the next clip. Press CTRL+4. Press CTRL+6. • To move to the closest clip on the previous track. Press CTRL+8. • To move to the closest clip on the next track. Press CTRL+2.
To enable clip editing with a keyboard 1. On your QWERTY keyboard, press the NumLock key to enable NumLock mode. 2. On the numeric keypad, press 0 to enable keyboard editing. 3. On the numeric keypad, press 9 to enable Edit mode.
To crop clips with a keyboard 1. In Select mode, select the clips that you want to crop. 2. Press 9 to enable Edit mode. 3. Specify the clip edge that you want to crop: • Left clip edge. Press 4. • Right clip edge. Press 6. 4. Do one of the following to adjust the selected clip edge: • Turn the rotary encoder. • Press PLUS (+) or MINUS (-). Note: Crop obeys Snap to Grid.
Tools SONAR has several different global tools that allow you to edit content in your projects. The global tools live in the Tools module in the Control Bar, and allow you to edit content in the following views: • Track view • Piano Roll view • Staff view • Tempo view The selected tool applies to whichever editing view has focus. There are several ways to select tools: • From the Tools module in the Control Bar. For details, see “Using the Control Bar to select tools” on page 411.
SONAR provides the following global tools. Tool Button Shortcut Description How to use “Smart tool” on page 422 F5 The Smart tool is the default tool in SONAR. The Smart tool is a multifunction tool that combines functions from several other tools. The function is determined by where you click. Using the Smart tool on: • Audio clips • MIDI clips • PRV notes • Automation • AudioSnap transients “Select tool” on page 429 F6 The Select tool lets you select data.
Tool Button Shortcut Description How to use “Line tool” on page 451 The Line tool lets you draw straight F9 (cycle through all automation envelopes and “paint” Draw tools) MIDI notes. Using the Line tool on: • PRV notes • Automation “Sine tool” on page 454 The Sine Pattern tool lets you edit F9 (cycle through all automation envelopes by drawing Draw tools) sine shapes.
See: “Selecting tools” on page 410 “Selecting the data type to edit” on page 416 “Snap to Grid settings” on page 466 “Specifying note durations” on page 468 “Mouse cursors” on page 469 “Tools” on page 407 Selecting tools To select and use a tool 1. Do one of the following: • Click the desired tool in the Control Bar’s Tools module. For details, see “Using the Control Bar to select tools” on page 411. • Press T on your computer keyboard to display the Tools HUD, then select the desired tool.
Figure 98. Use the Edit Filter control to specify what type of data the global tools should operate on. A A. Edit Filter For details, see “Selecting the data type to edit” on page 416. For instructions about performing common tasks, see “Using tools to perform common tasks” on page 473. Note: Some tools can only be used on certain types of data. The mouse pointer indicates if the selected tool can be used at the current position. For details, see “Mouse cursors” on page 469.
Accessing grouped tools Related tools are grouped together in the Tools module. Several buttons in the Tools module display a small triangle in the bottom right corner. The triangle indicates that you can click and keep the mouse button pressed for a brief moment to access additional tools or options from a pop-up menu. You can also right-click the button and choose an option on the pop-up menu.
Figure 101. Tools module expanded view. A B C D H P E I Q F J R G K L M N O A. Smart tool B. Select tool C. Move tool D. Edit tools E. Edit tool F. Timing tool G. Split tool H. Draw tools I. Freehand tool J. Line Tool K. Sine Pattern tool L. Triangle Pattern tool M. Square Pattern tool N. Saw Pattern tool O. Random Pattern tool P. Erase tools Q. Erase tool R.
Using keyboard shortcuts to select tools Use the following keyboard shortcuts to select tools. Tools that belong to the same group share the same shortcut. Press a shortcut repeatedly to cycle through all tools in a group.
Tool Button Shortcut “Saw tool” on page 454 F9 “Random tool” on page 454 F9 Cycle through Erase tools (Erase/Mute) --- F10 “Erase tool” on page 456 F10 “Mute tool” on page 460 F10 Snap on/off --- N “Scrub tool” on page 464 --- J (hold to use) “Zoom tool” on page 465 --- Z (hold to use) Table 67. Tool keyboard shortcuts (Continued) To temporarily invoke a tool While using a specific tool, you can temporarily invoke another tool by holding down the new tool’s keyboard shortcut.
Selecting the data type to edit Use a track’s Edit Filter control to specify the type of data you want to edit. Figure 103. Use the Edit Filter control to specify what type of data the global tools should operate on. A A. Edit Filter The following data types can be selected: • Clips. The selected tool operates on clips. • Audio Transients. The selected tool operates on audio transients (only available for audio tracks). • Notes.
through the available data types. Tip: To set all tracks to the same Edit Filter setting, hold down the CTRL key when you change any non-selected track’s Edit Filter setting. To set all selected tracks to the same Edit Filter setting, hold down the CTRL when you change any selected track’s Edit Filter setting. Tip: You can quickly toggle between Track Volume and the last/previously shown data type on the current track. To do so, press the PLUS (+/=) key.
To enable/disable data type ghosting Click the Track view Options menu, point to Display and choose Display Ghosted Data on the submenu. To switch between editing clips and automation envelopes Hold down the SHIFT key and click the clip or envelope you want to edit.
• “Using the Mute tool on MIDI clips” on page 461 • “To split a clip” on page 483 • “To scrub a MIDI clip” on page 481 • “To crop a clip’s start/end” on page 480 • “To select MIDI clips” on page 481 • “To mute/unmute a clip” on page 482 • “To move a clip” on page 482 • “To erase a clip” on page 482 Editing notes in the Piano Roll • “Working with MIDI notes” on page 484 • “Using the Smart tool on PRV notes” on page 425 • “Using the Select tool on PRV notes” on page 430 • “Using the Move tool on PRV notes” on
Editing automation envelopes • “Working with automation envelopes” on page 487 • “Using the Smart tool on automation” on page 426 • “Using the Select tool on automation” on page 431 • “Using the Move tool on automation” on page 435 • “Using the Edit tool on automation” on page 440 • “Using the Freehand tool on automation” on page 450 • “Using the Line tool on automation” on page 453 • “Using the Pattern tools on automation” on page 455 • “Using the Erase tool on automation” on page 458 • “To select automati
• “To erase transient markers” on page 493 • “To add transient” on page 494 See: “Smart tool” on page 422 “Select tool” on page 429 “Move tool” on page 433 “Edit tool” on page 437 “Timing tool” on page 442 “Freehand tool” on page 448 “Line tool” on page 451 “Pattern tools” on page 454 “Erase tool” on page 456 “Split tool” on page 445 “Mute tool” on page 460 “Scrub tool” on page 464 “Zoom tool” on page 465 Tools 421
Smart tool The Smart tool is the default tool in SONAR. The Smart tool is a multi-function tool that combines functions from several other tools. The function is determined by where you click. To select the Smart tool Do one of the following: • Click the Smart tool button in the Control Bar. • Press T to display the Tools HUD, then select the Smart tool. • Press F5. Clip headers and the Smart tool Clips are drawn with a header, which can be clicked with the Smart tool to select and move the clip.
Hotspot Default action A Adjust fade in B Adjust fade out C +CTRL +ALT+SHIFT Crop clip start Note: If the clip contains a fade in, drag the top half to crop clip start and move the fade in, or or drag the bottom half to only crop the clip without moving the fade in. Stretch clip Crop clip start and also move clip data Note: If the clip contains a fade in, drag the top half to crop clip start and move the fade in, or or drag the bottom half to only crop the clip without moving the fade in.
Hotspot Default action +ALT F Click to select clip; drag to move clip or selection Split clip G Click to set the Now time and clear the selection; drag to select by time Note: Click the clip header to select the clip, or drag the header to move the clip. Split clip Table 68. +CTRL +ALT+SHIFT Right-click Move data within clip Adjust clip gain Move data within Drag to lasso clip select Using the Smart tool on audio clips (Continued) Using the Smart tool on MIDI clips Figure 106.
Hotspot Default action +ALT D Click to select clip; drag to move clip or selection Split clip E Split clip Click to set the Now time and clear the selection; drag to select by time Note: Click the clip header to select the clip, or drag the header to move the clip. Table 69.
DoubleRight-click click Hotspot Default action D Adjust note end E Insert a new note (before releasing mouse button, drag left/right to change duration, and up/down to change pitch) Table 70.
Hotspot Default action C Drag left/right to select nodes D Insert a node E Time select nodes Table 71. Double-click +CTRL +ALT Right-click Drag to lasso select Add new node Click or drag to insert new events (Piano Roll Controller Pane only) Drag to lasso select Using the Smart tool on automation (Continued) Using the Smart tool on AudioSnap transients Figure 109. Smart tool hotspots on AudioSnap transients.
See also: “Tools” on page 407 “Smart tool” on page 422 “Select tool” on page 429 “Move tool” on page 433 “Edit tool” on page 437 “Timing tool” on page 442 “Freehand tool” on page 448 “Line tool” on page 451 “Pattern tools” on page 454 “Erase tool” on page 456 “Split tool” on page 445 “Mute tool” on page 460 “Scrub tool” on page 464 “Zoom tool” on page 465 428 Tools Smart tool
Select tool The Select tool lets you select data. You can select a time range, or select entire clips, MIDI notes, envelope nodes and transients. To select the Select tool Do one of the following: • Click the Select tool button in the Control Bar. • Press T to display the Tools HUD, then select the Select tool. • Press F6. Using the Select tool on audio clips Figure 110. Select tool hotspots on audio clip.
Using the Select tool on MIDI clips Figure 111. Select tool hotspots on MIDI clip. A C B Hotspot Default action Right-click A Select by time Drag to lasso select B Click to select clip B Drag to select multiple clips C Select by time Table 74. Drag to lasso select Using the Select tool on MIDI clips Using the Select tool on PRV notes Figure 112. Select tool hotspots on PRV notes.
Hotspot Default action A Click to select note A Drag to lasso select B Lasso select Table 75. Using the Select tool on PRV notes Using the Select tool on automation Figure 113. Select tool hotspots on automation.
Using the Select tool on AudioSnap transients Figure 114. Select tool hotspots on AudioSnap transients. A B Hotspot Default action Double-click +CTRL +SHIFT A Select transient marker Select adjacent transient markers in other tracks Extend/toggle selection Extend selection B Drag left/right to select transient markers Table 77.
Move tool The Move tool lets you move selected data. You can move entire clips, partial clips, MIDI notes, envelope nodes, transient markers and clip tempo map markers. To select the Move tool Do one of the following: • Click the Move tool button in the Control Bar. • Press T to display the Tools HUD, then select the Move tool. • Press F7. Using the Move tool on audio clips Figure 115. Move tool hotspots on audio clip.
Using the Move tool on MIDI clips Figure 116. Move tool hotspots on MIDI clip. A Hotspot Default action A Drag clip to move clip A Drag selection to move selection Table 79. +ALT Using the Move tool on MIDI clips Using the Move tool on PRV notes Figure 117. Move tool hotspots on PRV notes. A Hotspot Default action +SHIFT A Move note freely Constrain movement vertically or horizontally Table 80.
Using the Move tool on automation Figure 118. Move tool hotspots on automation. A B C Hotspot Default action Double-click +CTRL +SHIFT A Move node Reset node Extend/toggle selection Extend selection B Move selected segments/nodes C Move segment Add new node Extend/toggle selection Extend selection Table 81.
Using the Move tool on AudioSnap transients Figure 119. Move tool hotspots on AudioSnap transients. A B Hotspot Default action Double-click A If no selection exists, move clicked transient marker; if selection exists, move selected transient markers Reset transient marker B Move selected transient markers Table 82.
Edit tool The Edit tool lets you adjust data. You can slip-edit (trim/crop) clips, adjust note start/end times, adjust fades, and raise/lower note velocity and automation envelopes. Note: The Edit tool does not work on AudioSnap transients. To select the Edit tool Do one of the following: • Click the Edit tool button in the Control Bar. • Press T to display the Tools HUD, then select the Edit tool. • Press F8. Note: The F8 shortcut key cycles through all Edit tools (Edit/Timing/Split).
Hotspot Default action C Stretch clip Crop clip start Note: If the clip contains a fade in, drag the top 75% to crop clip start and move the fade in, or or drag the bottom 25% to only crop the clip without moving the fade in. Crop clip start and also move clip data D Stretch clip Crop clip end Note: If the clip contains a fade out, drag the top 75% to crop clip end and move the fade out, or or drag the bottom 25% to only crop the clip without moving the fade out.
Hotspot Default action +ALT+SHIFT A Crop clip start and also move clip data Crop clip start Note: If the clip contains a fade in, drag the top 75% to crop clip start and move the fade in, or or drag the bottom 25% to only crop the clip without moving the fade in. B Crop clip end Note: If the clip contains a fade out, drag the top 75% to crop clip end and move the fade out, or or drag the bottom 25% to only crop the clip without moving the fade out. C Table 84.
Using the Edit tool on automation Figure 123. Edit tool hotspots on automation. A B C Hotspot Default action Double-click +CTRL +SHIFT A Drag to move node Click to select node Reset node Extend selection Extend selection B Drag up/down to adjust selected nodes C Drag to move line segment Double-click to add new node Table 86.
“Split tool” on page 445 “Mute tool” on page 460 “Scrub tool” on page 464 “Zoom tool” on page 465 Tools Edit tool 441
Timing tool The Timing tool lets you slip-stretch audio clips, drag-quantize MIDI notes, and stretch audio using transient markers Note: The Timing tool does not work on MIDI clips or automation. To select the Timing tool Do one of the following: • Click the Timing tool button in the Control Bar. • Press T to display the Tools HUD, then select the Timing tool. • Press F8. Note: The F8 shortcut key cycles through all Edit tools (Edit/Timing/Split).
Using the Timing tool on PRV notes Figure 125. Timing tool hotspots on PRV notes. A Hotspot Default action A Drag up/down to drag quantize selected notes Table 88. Using the Timing tool on PRV notes Using the Timing tool on AudioSnap transients Figure 126. Timing tool hotspots on AudioSnap transients.
See also: “Tools” on page 407 “Smart tool” on page 422 “Select tool” on page 429 “Move tool” on page 433 “Edit tool” on page 437 “Split tool” on page 445 “Freehand tool” on page 448 “Line tool” on page 451 “Pattern tools” on page 454 “Erase tool” on page 456 “Mute tool” on page 460 “Scrub tool” on page 464 “Zoom tool” on page 465 444 Tools Timing tool
Split tool The Split tool lets you split clips, cut clips, split MIDI notes, and split clips at transients. By splitting clips, you can copy, move, and delete individual sections. To select the Split tool Do one of the following: • Click the Split tool button in the Control Bar. • Press T to display the Tools HUD, then select the Split tool. • Press F8 Note: The F8 shortcut key cycles through all Edit tools (Edit/Timing/Split).
Using the Split tool on MIDI clips Figure 128. Split tool hotspots on MIDI clip. A B Hotspot Default action A Click to split clip A Drag to split selection B Lasso to split at lasso edges Table 91. Using the Split tool on MIDI clips Using the Split tool on PRV notes Figure 129. Split tool hotspots on PRV notes. A Hotspot Default action A Split note Table 92.
Using the Split tool on AudioSnap transients Figure 130. Split tool hotspots on AudioSnap transients. A B C Hotspot Default action A Split audio at transient marker B Drag over transient markers to split audio at transients C Lasso split at transient markers across clips and tracks Table 93.
Freehand tool The Freehand tool lets you draw MIDI notes and freehand automation envelopes. You can also create and promote transient markers. Note: The Freehand tool does not work on audio clips or MIDI clips. When using the Draw tools to draw note events, use the Value control to specify the duration (whole, half, etc.) of new note events. For details, see “Specifying note durations” on page 468. Figure 131. Use the Value control to specify the duration of new note events. A A.
Using the Freehand tool on PRV notes Figure 132. Freehand tool hotspots on PRV notes. A B Hotspot Default action +CTRL A Glue notes together Modify velocity (only when velocity is not shown in the Controller pane) B Draw a new note Table 94.
Using the Freehand tool on automation Figure 133. Freehand tool hotspots on automation. A Hotspot Default action +SHIFT A Draw nodes/segments Insert nodes at the Snap to Grid value without changing the value of the envelope segments (limited to the track the gesture is started on) Table 95. Using the Freehand tool on automation Using the Freehand tool on AudioSnap transients Figure 134. Freehand tool hotspots on AudioSnap transients.
See also: “Tools” on page 407 “Smart tool” on page 422 “Select tool” on page 429 “Move tool” on page 433 “Edit tool” on page 437 “Timing tool” on page 442 “Split tool” on page 445 “Line tool” on page 451 “Pattern tools” on page 454 “Erase tool” on page 456 “Mute tool” on page 460 “Scrub tool” on page 464 “Zoom tool” on page 465 Line tool The Line tool lets you draw straight automation envelopes and “paint” MIDI notes at defined resolutions and intervals.
Using the Line tool on PRV notes Figure 135. Line tool hotspots on PRV notes. A Hotspot Default action +CTRL +CTRL+SHIFT A Drag to paint multiple notes. Modify velocity (only when velocity is not shown in the Controller pane) Draw velocity linearly (only when velocity is not shown in the Controller pane) Table 97. Using the Line tool on PRV notes Note: Use the Value control to specify the duration of each note, and use the Snap resolution to specify the interval between each note.
Using the Line tool on automation Figure 136. Line tool hotspots on automation. A Hotspot Default action A Drag to add nodes at mousedown and mouseup points Insert nodes at the Snap to Grid value without changing the value of the envelope segments (limited to the track the gesture is started on) Table 98. +SHIFT Using the Line tool on automation Note: To draw a line, click anywhere to set the line start point, move the mouse, then release the mouse button to set the line end point.
Pattern tools The various pattern tools let you draw automation envelopes that have a specific shape. For additional draw settings, see “Specifying note durations” on page 468. To select a pattern tool Do one of the following: • Click the desired pattern tool button in the Control Bar. • Press T to display the Tools HUD, then select the desired pattern tool. • Press F9. Note: The F9 shortcut key cycles through all Draw tools (Freehand/Line/Sine/Triangle/Square/ Saw/Random).
Using the Pattern tools on automation Figure 137. Pattern tool hotspots on automation. A Hotspot Default action +SHIFT A Draw automation shapes Insert nodes at the Snap to Grid value without changing the value of the envelope segments (limited to the track the gesture is started on) Table 99. Using Pattern tools on automation Note: To draw automation shapes, set the Snap to Grid resolution to the desired length of each pattern cycle, then perform the following steps in one gesture: 1.
Erase tool The Erase tool lets you delete clips, partial clips, MIDI notes, automation envelope nodes, and transient markers. To select the Erase tool Do one of the following: • Click the Erase tool button in the Control Bar. • Press T to display the Tools HUD, then select the Erase tool. • Press F10. Note: The F10 shortcut key cycles through all Erase tools (Erase/Mute). If another Erase tool is selected, press F10 again until the Erase tool is selected. Using the Erase tool on audio clips Figure 138.
Using the Erase tool on MIDI clips Figure 139. Erase tool hotspots on MIDI clip. A C B Hotspot Default action A Drag to delete a time selection B Click clip to delete clip B Click a selection to delete the selection C Table 101. +ALT Lasso to delete clips Delete by time Using the Erase tool on MIDI clips Using the Erase tool on PRV notes Figure 140. Erase tool hotspots on PRV notes.
Hotspot Default action A Click to delete note A Drag to delete multiple notes B Lasso delete notes Table 102. Using the Erase tool on PRV notes Using the Erase tool on automation Figure 141. Erase tool hotspots on automation. B A C D Hotspot Default action A Delete node B Drag to lasso delete nodes across tracks C Delete envelope segment D Lasso delete nodes across tracks Table 103.
Using the Erase tool on AudioSnap transients Figure 142. Erase tool hotspots on AudioSnap transients. A B C Hotspot Default action A Delete clicked transient marker B Drag to delete multiple transient markers C Lasso delete transient markers across clips and tracks Table 104. Using the Erase tool on AudioSnap transients Note: You can only erase user created transient markers.
Mute tool The Mute tool lets you mute clips, mute partial clips, mute MIDI notes, and disable transient markers. Mute events to prevent them from playing back. Note: The Mute tool does not work on automation. To select the Mute tool Do one of the following: • Click the Mute tool button in the Control Bar. • Press T to display the Tools HUD, then select the Mute tool. • Press F10. Note: The F10 shortcut key cycles through all Erase tools (Erase/Mute).
Hotspot Default action B Drag to mute by time C Lasso to mute clips Table 105. +ALT +CTRL Drag to isolate by time Lasso to unmute clips Using the Mute tool on audio clips (Continued) Using the Mute tool on MIDI clips Figure 144. Mute tool hotspots on MIDI clip.
Using the Mute tool on PRV notes On PRV notes, the Mute tool functions as a toggle. Click once to mute and click again to unmute. Figure 145. Mute tool hotspots on PRV notes. A B Hotspot Default action A Click to mute/unmute A Drag to mute/unmute multiple notes B Lasso mute/unmute notes Table 107. Using the Mute tool on PRV notes Using the Mute tool on AudioSnap transients Figure 146. Mute tool hotspots on AudioSnap transients. A B C Hotspot A Disable transient marker Table 108.
Hotspot Default action B Disable transient markers C Lasso disable transient markers across clips and tracks Table 108.
Scrub tool The Scrub tool lets you audition all displayed tracks as you drag the mouse cursor forward or backward at the desired speed. You can scrub a single track by dragging over the track, or all displayed tracks by dragging in the Time Ruler. Note: The Scrub tool does not work on automation. To scrub a single track Hold down the J key to temporarily enable Scrub mode and drag over the track. To scrub all displayed tracks Hold down the J key to temporarily enable Scrub mode and drag in the Time Ruler.
Zoom tool The Zoom tool lets you change the vertical and horizontal scale of a view. You can use lasso to select a specific area to zoom into. Using the Zoom tool Hold down the Z key to temporarily enable Zoom mode, then lasso to select the region you want to zoom into. To revert to the previous zoom level, press ALT+Z. Note: The Zoom tool is invoked by pressing the Z key. There is no Zoom tool button in the Control Bar or Tools HUD.
Snap to Grid settings SONAR lets you define a snap grid that makes it easier to arrange clips, select time ranges, and control envelope shape drawing. To use the snap grid, enable the Snap to Grid button in the Snap module and set the grid resolution to an interval of musical time, such as a whole note, half note, or quarter note; a unit of absolute time: a number of frames, seconds or samples; an event; the start or end of a clip; a marker; or audio transients.
audio transients, MIDI notes, and automation envelope nodes. To select the desired landmarks, right-click the Snap to Grid button to open the Preferences dialog, then select the desired check boxes in the Landmarks section. SONAR will snap to landmarks on tracks/lanes that are currently visible in the Clips pane. Additional Snap to Grid settings To access additional snap settings, go to Edit > Preferences > Customization - Snap to Grid (or right-click the Snap to Grid button ).
Specifying note durations When using the Smart tool or Freehand tool to draw new note events, use the Value control in the Tools module to specify the note duration of new note events (whole, half, etc.). Figure 148. Use the Value control to specify the duration of new note events. A A. Draw resolution (note value) You can also use the following shortcuts to set the desired note duration.
Mouse cursors When using global tools, the mouse cursor indicates which operation will be performed when you click or drag. Valid operations depend on the selected tool, the Edit Filter setting, and where the pointer is positioned. The following table describes each cursor. Cursor Description Select clip. Lasso select. Select by time. Move. Fade in. Fade out. Crop clip start. Crop clip start, but don’t move fade in position. Crop clip start and move fade in position. Crop clip end. Table 110.
Cursor Description Crop clip end, but don’t move fade out position. Crop clip end and move fade out position. Mute event. Mute by time. Unmute by time. Isolate Take lane (mute all other overlapping Take lanes in same track). Erase clip. Lasso erase. Erase by time. Split. Scrub. Move a single envelope node. Move multiple selected envelope nodes. Table 110.
Cursor Description Move an envelope line segment. Adjust selected envelope region up/down. Draw. Draw line/pattern. Draw automation line. Draw automation sine pattern. Draw automation triangle pattern. Draw automation square pattern. Draw automation sawtooth pattern. Draw automation random pattern. Move selected automation. Lasso select automation. Split automation (add node). Table 110.
Cursor Description Erase automation. Insert transient marker. Lasso select transient markers. Stretch transient marker. Move transient marker. Erase transient marker. Disable transient marker. Split audio at transient marker. Glue MIDI note events together. Move MIDI note events. Adjust MIDI note velocity. Trim MIDI note event. Drag quantize selected MIDI note events. Table 110.
Cursor Description Move data within clip (ALT+SHIFT). Crop overlapping clips when showing Take lanes. Table 110. Tool cursors (Continued) See: “Tools” on page 407 Using tools to perform common tasks This section explains how to perform many common editing tasks.
Working with MIDI clips • “To crop a clip’s start/end” on page 480 • “To select MIDI clips” on page 481 • “To scrub a MIDI clip” on page 481 • “To mute/unmute a clip” on page 482 • “To move a clip” on page 482 • “To erase a clip” on page 482 • “To split a clip” on page 483 • “To raise/lower a MIDI Clip Velocity envelope” on page 483 Working with MIDI notes • “To adjust a MIDI note’s velocity” on page 484 • “To adjust a MIDI note’s start/end” on page 484 • “To select MIDI notes” on page 484 • “To scrub MIDI
Working with AudioSnap transients • “To select transient markers” on page 492 • “To move transient markers (without stretching audio)” on page 492 • “To stretch transients” on page 492 • “To promote transient markers” on page 493 • “To erase transient markers” on page 493 • “To split an audio clip at transient markers” on page 493 • “To add transient” on page 494 Working with audio clips To fade in/out an audio clip 1. Set the track’s Edit Filter control to Clips. 2.
To move data and the clip edge 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer over the clip’s start or end point, then hold ALT+SHIFT and drag to adjust the start/end position. • With the Edit tool , position the pointer over the clip’s start or end point, then hold ALT+SHIFT and drag to adjust the start/end position. To move data without moving its clip 1. Set the track’s Edit Filter control to Clips. 2.
• With the Select tool , position the pointer over the clip, then drag to make a time selection. • With the Select tool , drag with the right mouse button to lasso the clips you want to select. It is sufficient to simply touch the clips you want to select; there is no need to fully enclose the clips. Tip: To modify a selection, hold down the CTRL key and click clips to toggle their selection state. To scrub an audio clip 1. Set the track’s Edit Filter control to Clips. 2.
• With the Mute tool isolate. , hold down the CTRL key and drag across the region you want to • With the Mute tool lane. , hold down the CTRL key and click the clip to isolate the entire clip/ All other Take lanes in the same track are muted. To move a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer over the clip header, then drag the clip or selection to the desired location.
• With the Erase tool the entire clip. , position the pointer over the bottom half of the clip, then click to erase • With the Erase tool , position the pointer outside any clips, then drag over the clips you want to erase. Hold down the ALT key and drag to erase by time. To split a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer where you want to split the clip, then hold down ALT and click (or lasso to split a region).
Working with MIDI clips To crop a clip’s start/end 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer over the clip’s start or end point, then drag to adjust the start/end position. • With the Edit tool , position the pointer over the clip’s start or end point, then drag to adjust the start/end position. To move data and the clip edge 1. Set the track’s Edit Filter control to Clips. 2.
To select MIDI clips 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer over the clip, then click to select the clip. • With the Smart tool selection. , position the pointer below the clip header, then drag to make a time • With the Smart tool selection. , position the pointer outside any clips, then drag to make a time • With the Smart tool , drag with the right mouse button to lasso the clips you want to select.
To mute/unmute a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Mute tool , drag across the bottom half of the clip to mute a time region, and drag across the top half to unmute a time region. • With the Mute tool , click the bottom half of the clip to mute the entire clip, and click the top half of the clip to unmute the clip. • With the Mute tool to mute/unmute.
• With the Erase tool the entire clip. , position the pointer over the bottom half of the clip, then click to erase • With the Erase tool , position the pointer outside any clips, then drag over the clips you want to erase. Hold down the ALT key and drag to erase by time. To split a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer where you want to split the clip, then hold down ALT and click (or lasso to split a region).
Working with MIDI notes To adjust a MIDI note’s velocity 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool down. • With the Edit tool , position the pointer near the top center of the note, then drag up/ , position the pointer near the top center of the note, then drag up/down. To adjust a MIDI note’s start/end 1. Set the track’s Edit Filter control to Notes. 2.
1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , hold down the ALT key and right-click the note. • With the Mute tool , click the note to mute/unmute a single note, or drag over notes to mute/unmute multiple notes. To move a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , position the pointer over the bottom half center of the note, then drag the note to the desired location.
To drag-quantize MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Select the notes you want to quantize. 3. With the Timing tool all selected notes. , position the pointer over a selected note and drag up/down to quantize To glue MIDI notes together 1. Set the track’s Edit Filter control to Notes. 2.
To split a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , position the pointer where you want to split the note, then hold down ALT and click (or lasso to split a region). • With the Split tool , position the pointer where you want to split the note, then click (or lasso to split a region). To open the Note Properties dialog 1. Set the track’s Edit Filter control to Notes. 2. With the Smart tool , double-click the note.
To move automation 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Do one of the following: • With the Move tool , position the pointer over the envelope segment you want to move, then drag the segment to the desired location. • With the Edit tool , position the pointer over the envelope segment you want to move, then drag the segment to the desired location. To move envelope nodes 1.
• With the Smart tool down. • With the Edit tool down. , position the pointer near the top center of the track/clip, then drag up/ , position the pointer near the top center of the track/clip, then drag up/ To draw automation freehand 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. With the Freehand tool , drag to insert envelope nodes and segments. To draw a straight line 1.
6. Release the mouse button when done. The shape you selected appears, repeating according to the Snap to Grid setting. Tip: • To halve the cycle frequency (for example, if snap resolution = quarter note, make each cycle a half note), hold down the ALT key while you draw. • To double the cycle frequency (for example, if snap resolution = quarter note, make each cycle an eighth note), hold down the CTRL key while you draw.
node, then double-click. • With the Edit tool node, then click. , position the pointer over the envelope where you want to insert a new • With the Line tool , drag to add nodes at the mousedown and mouseup points. Hold down the SHIFT key and drag to add nodes at the Snap to Grid value. • With the Freehand tool Grid value. , hold down the SHIFT key and drag to add nodes at the Snap to • With any pattern draw tools (Sine tool or Random tool value.
Working with AudioSnap transients To select transient markers 1. Set the track’s Edit Filter control to Audio Transients. 2. Do one of the following: • With the Smart tool , click the transient marker or drag left/right to make a time selection. • With the Smart tool , position the pointer outside the clip, then drag to lasso select transients across clips or tracks. • With the Smart tool , double-click a transient marker to select all adjacent transient markers in other tracks.
To promote transient markers 1. Set the track’s Edit Filter control to Audio Transients. 2. With the Freehand tool , click the transient marker handle (diamond). To disable transient markers 1. Set the track’s Edit Filter control to Audio Transients. 2. With the Mute tool , click a transient marker handle (diamond) to disable a single transient marker, or drag across transient markers to disable multiple transient markers. To erase transient markers 1.
To add transient 1. Set the track’s Edit Filter control to Audio Transients. 2. With the Freehand tool , click on a clip where you want to add a new transient marker.
Control Bar overview Much of your time in SONAR is spent recording and listening to your project as it develops. The Control Bar contains the most important tools and other pieces of information you will need to record, edit and play back your project. The Control Bar consists of several modules that each contain various related controls. You can rearrange and show/hide each individual module, which allows you to only show the functions you need most often.
To show/hide the Control Bar Do one of the following: • On the Views menu, click Control Bar. • Press C on your computer keyboard. Control Bar modules Figure 150. Control Bar modules. A B C D E F G H I J K L A. Screenset module B. Tools module C. Snap module D. Transport module E. Punch module F. Loop module G. Select module H. Mix module I. ACT module J. Performance module K. Markers module L. Event Inspector module M.
events. For details, see “Event Inspector module” on page 519. • Sync module. The Sync module lets you configure synchronization settings. For details, see “Sync Module” on page 520. To show/hide modules Do one of the following: • To show/hide a specific module. Right-click the Control Bar and select module. • To hide a module. Right-click the module and select Hide Module. • To show all modules. Right-click the Control Bar and select Show All.
To dock/undock the Control Bar Right-click the Control Bar and select one of the following commands: • Dock Control Bar at Top. Select this option to dock the Control Bar above the Track view. • Dock Control Bar at Bottom. Select this option to dock the Control Bar below the Track view. • Undock Control Bar. Select this option to undock the Control Bar. Tip: You can click any blank area in the Control Bar and drag the Control Bar to the desired position.
Figure 152. If a button displays a small triangle in the bottom right corner, click and keep the mouse button pressed to access additional tools or options. To show/hide the Tools module Right-click the Control Bar and select Tools Module. Figure 153. Global tools are accessed from the Tools module in the Control Bar. A B C D E F G A. Smart tool B. Select tool C. Move tool D. Edit tools (Edit/Timing/Split) E. Draw tools (Freehand/Line/Sine/ Triangle/Square/Saw/Random) F. Erase tools (Erase/Mute) G.
• Split tool . The Split tool lets you split clips, cut clips, split MIDI notes, split clips at transients, and add envelope nodes. For details, see “Split tool” on page 445. • Freehand tool . The Freehand tool lets you draw MIDI notes and freehand automation envelopes. You can also create and promote transient markers. For details, see “Freehand tool” on page 448. • Line Draw . The Line tool lets you draw straight automation envelopes and “paint” MIDI notes. For details, see “Line tool” on page 451.
“Zoom controls” on page 86 “Editing audio” on page 773 “Editing MIDI events and continuous controllers (CC)” on page 673 “Automation” on page 1001 “AudioSnap (Producer and Studio only)” on page 589 “Selecting clips” on page 334 “Moving and copying clips” on page 335 “Splitting and combining clips” on page 365 “Slip-editing (non-destructive editing)” on page 392 “Fades and crossfades” on page 395 “Clip muting and isolating (clip soloing)” on page 375 “Scrubbing” on page 788 See also: “Snap module” on page 50
Snap module SONAR lets you define a snap grid that makes it easier to arrange clips and note events, select time ranges, and control envelope shape drawing. To use the snap grid, enable the Snap to Grid button in the Snap module and set the grid resolution to an interval of musical time, such as a whole note, half note, or quarter note; a unit of absolute time: a number of frames, seconds or samples; an event; the start or end of a clip; a marker; or audio transients.
duration. When Triplet is enabled, three note events fit in the space of two. • Dotted . Increase the duration of the selected Musical time resolution by half of its original value (150%). • Snap To. Align data to the snap grid. • Snap By. Move data by the grid resolution. • Landmark Events . Snap to the selected landmarks, including markers, Now Time, clips, audio transients, MIDI notes, and automation envelope nodes.
“Tools module” on page 498 “Transport module” on page 504 “Loop module” on page 507 “Mix module” on page 509 “ACT module” on page 511 “Screenset module” on page 512 “Performance module” on page 514 “Punch module” on page 516 “Select module” on page 517 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 Transport module The Transport module lets you control the transport and transport-related functions, such as Record , Return to Zero , Rewind , Stop , Play , and
• Play . Start/stop playback. • Pause . Pause/resume playback. • Fast Forward . Gradually fast forward the project. • Record . Start recording (requires at least one track to be armed for recording). Right-click to access global record options. Click and keep the mouse button pressed for a brief moment to enable step recording. • Step Record. Open the Step Record window. For details, see “Step recording” on page 291. • RTZ . Rewind to the start of the project. • Progress Bar • Go to End . .
signatures” on page 252. The Time Display section also shows the following information: • Horizontal progress bar when SONAR is performing certain operations. • “Waiting for Sync” message when synchronizing SONAR to an external clock source. When synchronized to an external clock source, the Time Display shows both the current Now time and the SMPTE source time. Figure 156. The display shows the current Now time, a progress bar or “Waiting for sync” message. A B C A. Now time B. Progress bar C.
“Setting the Metronome and Tempo settings” on page 253 See also: “Tools module” on page 498 “Snap module” on page 502 “Loop module” on page 507 “Mix module” on page 509 “ACT module” on page 511 “Screenset module” on page 512 “Performance module” on page 514 “Punch module” on page 516 “Select module” on page 517 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 Loop module The Loop module lets you control loop settings.
• Loop End Time. The current Loop End time. Click to modify. Tip: If a numeric time field has focus, you can press the G key to access a list of marker positions.
Mix module The Mix module lets you configure various playback settings. You can quickly mute/unmute, solo/ unsolo and arm/disarm all tracks. You can also configure automation settings and specify the solo behavior. To show/hide the Mix module Right-click the Control Bar and select Mix Module. Figure 158. The Mix module. A B C D E K F G H I J A. Mute B. Solo C. Arm D. Input Echo E. Live Input PDC Override F. Bypass All Effects G. Exclusive Solo H. Dim Solo I. Automation Read (playback) J.
track compensated as normal. For details, see “Live Input PDC override” on page 282. • Allow Automation Writing . Globally enable/disable the ability to write automation. • Global Automation Playback . Globally enable/disable all automation playback. • Offset mode . Enable/disable Offset mode. In Offset mode, you “offset” the current automation in a track using a parameter’s controls. For details, see “Envelope mode and Offset mode” on page 1031.
“Select module” on page 517 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 ACT module Active Controller Technology (ACT) allows you to use a control surface or MIDI controller to control the plug-in effect or soft synth that has focus. SONAR communicates with control surfaces via special control surface plug-ins (see “External devices” on page 1211). The ACT module lets you configure ACT settings for a specific control surface plug-in.
“Tools module” on page 498 “Snap module” on page 502 “Transport module” on page 504 “Loop module” on page 507 “Mix module” on page 509 “Screenset module” on page 512 “Performance module” on page 514 “Punch module” on page 516 “Select module” on page 517 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 Screenset module A screenset is a snapshot of the current layout of various views and windows in a project, including which windows are open, their size, position, z
• Lock/Unlock Current Screenset. Lock the current screenset to prevent any modifications. See “To prevent the current screenset from being modified” on page 1057. • Rename Current Screenset. Rename the current screenset. See “To name or rename the current screenset” on page 1057. • Duplicate Current Screenset to. Copy the current screenset to another screenset location (1 to 0). Select the target screenset location from the submenu. The selected target screenset becomes the current screenset.
Performance module The Performance module lets you monitor your computer’s performance, including CPU, disk and memory activity. To show/hide the Performance module Right-click the Control Bar and select Performance Module. Figure 161. The Performance module. B A C D A. CPU meters (one per core) B. Disk Activity indicator C. Disk Space meter D. Memory Usage meter The Performance module contains the following controls: • CPU meters.
by SONAR. Note: If you experience a dropout or your CPU or Disk meters are reading high, there are steps you can take to improve your audio performance. For more information, see “Audio dropouts or crashes during playback” on page 1256.
Punch module The Punch module lets you control auto-punch settings. To show/hide the Punch module Right-click the Control Bar and select Punch module. Figure 162. The Punch module. A C B D A. Auto-Punch On/Off B. Set Punch Time to Select C. Punch In Time D. Punch Out Time The Punch module contains the following controls: • Auto-Punch on/off . Enable/disable punch recording. Toggles punch recording on/off. • Set Punch Time to Selection .
“Performance module” on page 514 “Select module” on page 517 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 Select module The Select module lets you control the selection From and Thru times. To show/hide the Select module Right-click the Control Bar and select Select module. Figure 163. The Select module. A C B D A. Set Select From = Now B. Set Select Thru = Now C. Select From Time D.
“Tools module” on page 498 “Snap module” on page 502 “Transport module” on page 504 “Loop module” on page 507 “Mix module” on page 509 “ACT module” on page 511 “Screenset module” on page 512 “Performance module” on page 514 “Punch module” on page 516 “Markers module” on page 518 “Event Inspector module” on page 519 “Sync Module” on page 520 Markers module The Markers module lets you navigate by markers and insert new markers.
See: “Creating and using markers” on page 357 See also: “Tools module” on page 498 “Snap module” on page 502 “Transport module” on page 504 “Loop module” on page 507 “Mix module” on page 509 “ACT module” on page 511 “Screenset module” on page 512 “Performance module” on page 514 “Punch module” on page 516 “Select module” on page 517 “Event Inspector module” on page 519 “Sync Module” on page 520 Event Inspector module The Event Inspector module lets you view and modify settings for selected clips and MIDI N
• Time. Start time of the selected event(s), specified as a valid M:B:T time value. Separate values with a colon or a space. For example, measure 2, Beat 3, Tick 720 would be written as 2:3:720. • Duration. Duration of the selected event(s), specified as a PPQ value. You can also specify a percentage of the current duration value. For example, to double the duration, type 200% and press ENTER. • Pitch. Pitch of the selected event(s), specified as note names (C0 through G10) or note numbers (0 through 127).
Figure 166. The Sync module. A B C D E A. SMPTE/MTC format B. Incoming timecode C. Sync type D. Transmit MIDI Sync E. Transmit MTC Sync The Sync module contains the following controls: • SMPTE/MTC format. Select the time code format. The following frame rates are supported: • 23.976 frames per second (FPS). Typically used with H.264/MPEG-4 AVC video. • 24 frames per second (FPS). Used for theatrical film worldwide. Any film in North America or Japan uses this setting. • 25 FPS.
• Transmit MIDI Sync . Transmit MIDI Sync to external MIDI devices, such as drum machines, stand-alone MIDI hardware sequencers, and sequencers built into MIDI keyboards (only available when using the Internal or Audio clock). SONAR sends messages to all other devices to start and stop playback and to keep all the devices in sync. SONAR can send MIDI Sync on multiple MIDI output ports. For details, see “MIDI synchronization” on page 1158. • Transmit MTC Sync .
Inspectors When working on a project, you will frequently need to access track and clip parameters and mix controls. The Track Inspector and Properties Inspector provide easy access to relevant settings for the selected track(s) or clip(s). Figure 167. Use the Track Inspector and Properties Inspector to configure track and clip settings. A B A. Properties Inspector B. Track Inspector The Inspector pane appears to the left of the Track view, but can also be moved to the right side.
• Clip. The Clip Properties Inspector displays settings for the currently selected clip(s). For details, see “Properties Inspector - Clip Properties” on page 546. • Track. The Track Properties Inspector lets you type a track name, specify the automation write mode and time base, specify an audio track’s AudioSnap render modes, specify the default clip colors, and enter a text description. For details, see “Properties Inspector - Track Properties” on page 553. • Bus.
Figure 168. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. A B C D H E F G I A. Dock/undock Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track Properties Inspector D. Show/hide ProChannel E. Display area for Properties Inspector F. Display area for Track Inspectors G. Show/hide/configure Track Inspector modules H. Section header bars (click to show controls) I.
To show/hide the Inspector pane Do one of the following: • On the Views menu, click Inspector. • Press I on your computer keyboard. • Click the Docking Options button in the top right corner of the Inspector pane and select Collapse. To expand/collapse the Inspector pane When the Inspector is docked, do one of the following: • Click the Expand/Collapse button at the top of the Inspector pane. • Press I on your computer keyboard. Figure 169. Use the Expand/collapse button to expand/collapse the Inspector.
To dock/undock the Inspector Do one of the following: • To dock the Inspector on the right side. Right. Click the Docking Options button and select Dock • To dock the Inspector on the left side. Click the Docking Options button and select Dock Left. • To undock the Inspector. Click the Docking Options button and select Undock, or click to the left of the Dock/Undock button and drag the Inspector to the desired location.
To edit multiple tracks/clips simultaneously You can use the Track Properties and Clip Properties inspectors to modify multiple selected tracks or clips simultaneously. The following rules apply when modifying multiple tracks/clips: • If the selected tracks or clips share the same value for a parameter, that parameter will display normally. • If the selected tracks or clips have different values for a parameter, that parameter will display as (Multi).
Track Inspector overview The Track Inspector provides mixing controls for the currently selected audio track, MIDI track, Instrument track, bus or main. The Track Inspector is essentially identical to a channel strip in the Console view. Any changes you make in the Track Inspector are reflected in the corresponding Console view channel strip, and vice versa. The Track Inspector modules can be shown/hidden independently from the corresponding Console view modules. The Track Inspector is divided in two.
Figure 171. The content displayed in the Track Inspector depends on the current track type. Audio track A B MIDI track and Instrument track (MIDI tab) C D Instrument track (Audio tab) E F Bus G Main H I A. Current audio track B. Output of current audio track C. Current MIDI track or Instrument track D. Advanced MIDI settings for current MIDI track or Instrument track (MIDI tab) E. Current Instrument track F. Output of current Instrument track (Audio tab) G. Selected bus H.
To show a track/bus/main in the Track Inspector Do one of the following: • Click the desired track, bus or main in the Track view or Console view. • Click the Track Name control in the Track Inspector to select any available track, bus or main. To lock the Track Inspector to a specific track or bus Be default, the Track Inspector dynamically updates to show the current track. However, you can choose to always show a specific track or bus regardless of which track is current. 1.
Track Inspector controls The controls in the Track Inspector vary depending on the current track type. Control Description Audio MIDI track track Instrument Bus track Main Clip Show/hide the Clip Properties Inspector. -- -- -- -- -- Track Show/hide the Track Properties Inspector. -- -- -- -- -- Dock/Undock Dock/undock the Inspector pane. -- -- -- -- -- Docking Options The Docking Options menu lets you dock/ -undock/float/collapse the Inspector pane.
Audio MIDI track track Instrument Bus track Control Description Patch The instrument sound that will be used for playback. Phase Invert A switch that inverts the phase of the track. x Mono/Stereo A switch that determines whether a track’s x signal enters an effect or chain of effects as mono or stereo, regardless of the nature of the track. Read Automation Enable/disable automation playback. x x x x Write Automation Enable/disable automation writing.
Audio MIDI track track Instrument Bus track Main A name that you assign the track for easy reference. Note that if you do not assign a name to a track, the default name is the track number. This track number will change if you change the order of your tracks. You can click the Track Name control to select any available track, bus or main to display in the Track Inspector. x x x x x Input The input source for the track, used in recording.
Audio MIDI track track Instrument Bus track Control Description Input quantize Input quantizing allows you to automatically quantize MIDI input during recording. See “Input Quantize section” on page 540. x x Snap to scale When Snap to Scale is enabled, any notes that you draw or move in the Piano Roll view stay within the selected scale. See “Snap to Scale section” on page 540. x x Main Display The Display menu lets you show/hide modules in the Track Inspector.
Audio track controls Figure 172. Track Inspector controls for audio tracks. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Phase Invert, Stereo Interleave, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
Bus controls Figure 173. Track Inspector controls for buses. A B C D E F G H I J K L A. Input gain and pan B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Waveform preview, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Bus Icon J. Output K. Bus name L.
MIDI track and Instrument track controls When the current track is a MIDI track, the left strip shows mix controls and the right strip shows Snap to Scale, Input Quantize, Arpeggiator and other advanced MIDI settings. Instrument tracks can show either audio or MIDI controls in the right strip, depending on whether the Audio or MIDI tab is selected. Figure 174. Track Inspector controls for MIDI tracks and Instrument tracks. A L B M C N D E F O G H P I J Q R K S A. Velocity trim B. Effects bin C.
Figure 175. Instrument tracks can show audio output or MIDI controls by selecting the Audio tab or MIDI tab. A B Audio tab MIDI tab A. Audio output B. MIDI controls Advanced MIDI Controls section • Chorus. Adds MIDI chorus effect to the track. • Reverb. Adds MIDI reverb effect to the track. • Key+. The number of half steps by which the notes in the track are transposed on playback (e.g., 12 to transpose up one octave) • Time+.
instrument’s User’s Guide or the manufacturer’s web site. The four methods are as follows: • Normal. Use for instruments that respond to Controller 0 or Controller 32 bank select messages. • Controller 0 only. messages. • Controller 32 only. messages. Use for instruments that only respond to Controller 0 bank select Use for instruments that only respond to Controller 32 bank select • Patch 100...127. Use for instruments that let you change banks by sending patch changes between 100 and 127.
resolution determines the size note or time value that you want your MIDI data to conform to. • MIDI Event Start Times. Select this option to quantize MIDI event start times. • Note Durations. Select this option to quantize Note Event durations to the size of the Resolution value. • Only Quantize Notes. If selected, SONAR will not modify other events, such as controllers. • Strength. This value determines how closely SONAR moves the selected notes to the resolution value, or “grid”.
16th, or 32nd notes play back as swing notes instead of straight notes. The amount of swing ranges from 0 (no swing) to 100% (maximum swing). • Velocity. An offset control that scales the arpeggiated note’s velocity to a percentage of the original note velocity. • Duration. Controls whether the notes in the pattern are held to their full value, or are held for shorter or longer durations. • Pitch. A transposition control in half-steps, up or down a maximum of 2 octaves. Flam.
Main controls Figure 176. Track Inspector controls for mains A B C D E F G A. Mute B. Link channels C. Volume D. Meter E. Icon F. Mains name G. Display menu See also: “Track Inspector controls” on page 532 To show/hide modules Click the Display control at the bottom of the Track Inspector and select the modules you want to show/hide. The following modules are available: • Input Gain. Show/hide Input Trim/Gain/Pan controls. • ProChannel (Producer only).
Figure 177. Use the Display menu to configure modules in the Track Inspector.
Figure 178. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. A B C D A. Dock/undock and expand/collapse Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track/Bus Properties Inspector D.
Properties Inspector - Clip Properties The Clip Properties Inspector displays settings for the currently selected clip(s). The Clip Properties Inspector contains the following sections: • “Properties section” on page 547 • “Groove Clip section” on page 549 • “AudioSnap section” on page 550 • “Clip Effects section” on page 552 Figure 179. The Clip Properties Inspector displays settings for the currently selected clip(s). A B C D A. Clip Properties section B. Groove Clip Looping section C.
To show/hide the Clip Properties Inspector Click the Clip button at the top of the Inspector pane, or press SHIFT+I. Figure 180. Click the Clip button to show/hide the Clip Properties Inspector. To show/hide a section in the Clip Properties Inspector Click the section’s header bar in the inspector. The section expands and the previously-displayed section collapses. Figure 181. Click a section’s header bar to expand the section and show its controls. Properties section • Properties header bar.
• Snap Offset (audio clips only). The Snap Offset field is for audio clips only. Snap offsets allow you to set a point other than the beginning of a clip as the “snap” point used by the Snap to Grid. A snap offset is the number of samples from the beginning of the clip. Snap offsets affect all edits that obey the Snap to Grid setting. Clips without a snap offset always align at the very beginning of a clip. For more information, see “Snap offsets” on page 357.
Groove Clip section • Groove Clip header bar. Click to show/hide the Groove Clip section. • Looping. Convert the selected clip to a Groove Clip. You can drag the right edge of a Groove Clip to create loop repetitions. Groove Clips can also obey pitch markers. For more information about Groove Clips, see “Working with Groove Clip audio” on page 659 and “MIDI Groove Clips” on page 668. Note: If this control is not available, the selected clip is most likely an AudioSnap clip.
AudioSnap section • AudioSnap header bar. Click to show/hide the AudioSnap section. • Enable. Enables or disables AudioSnap on selected audio clips. Note: AudioSnap is automatically enabled on a clip if you stretch a transient marker on the clip. • Average Tempo. Shows the average tempo candidates: original, 0.5x and 2x. SONAR will do its best to detect the correct average tempo, but a clip can often have multiple potential tempos (60 BPM, 120 BPM, 240 BPM, etc.).
• Percussion. This mode works better than the Groove Clip render mode on percussive material, especially if the stretching is by more than a few beats per minute. Note: The Online render mode is for preview purposes only during playback. The final audio quality will be greatly improved after the Offline render mode is applied during mixdown/export. • Offline Render. This drop-down menu lets you choose the algorithm that is used when you export or freeze stretched audio.
Clip Effects section • Clip Effects header bar. Click to show/hide the Clip Effects section. This sections lets you add real-time effects to the selected clip. • Effects bin. Right-click to insert a plug-in, or drag a plug-in from the Browser. For more information about clip effects, see “Effects on clips” on page 870 and “Adding effects in the Track view” on page 381.
Properties Inspector - Track Properties The Track Properties Inspector lets you type a name, enter a text description, specify the AudioSnap track render mode for audio tracks, and specify the default clip colors for the selected track(s). Note: If the active channel strip is a bus, the Track Properties tab label shows Bus instead of Track. Figure 182. The Track Properties Inspector lets you specify settings for the selected track(s). A B C D E F G H A. Dock/undock Inspector B.
Properties section • Track Name. Assign a name to the selected track. AudioSnap section (audio tracks only) • Online Render. Specify the algorithm to use during real-time playback. For more information about render modes, see “Algorithms and rendering” on page 646. The options are as follows: • From Global. This uses the algorithm listed in the Online field in Edit > Preferences > Project - AudioSnap. • Groove clip. Works faster than Percussion render mode, using less processing power. • Percussion.
• Overwrite. Overwrite mode overwrites any existing automation data for the currently armed parameter while the transport is rolling, even if you don’t touch the parameter. • Latch. Latch Mode is similar to Touch mode; new automation data overwrites existing automation data when you move a control. However, when you release the parameter, it will remain “latched” into its current position and continue to overwrite any existing automation data until playback stops. Color section • Foreground.
Properties Inspector - Bus Properties The Bus Properties Inspector lets you type a name, specify the automation time base and write mode, and enter a text description for the bus(es). Figure 184. The Bus Properties Inspector lets you specify settings for the selected bus(es). A B C D E A. Dock/undock Inspector B. Show/hide Bus Properties Inspector C. Bus name D. Automation Time Base and write mode E.
• Musical (M:B:T). If the bus is set to the Musical time base, the automation’s M:B:T position stays constant, and its absolute position shifts. • Absolute. If the bus is set to the Absolute time base, its absolute position stays constant, and its M:B:T position shifts. • Write Mode (Producer and Studio only). automation write mode: This drop-down menu lets you choose the • Touch.
Inspectors Properties Inspector overview
Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI files, track and project templates, track icons, Effects Chain presets, effect plug-ins and instruments. You can drag content and plug-ins directly into tracks. The Browser consists of three sections: • Media Browser. Find audio, MIDI, video, projects, project templates, track templates, Effects Chain presets and track icons that you want to import into a project.
Figure 186. The Browser lets you import content into a project and manage effects and instruments. A B C D A. Media Browser B. Plug-in Browser C. Synth Rack Browser D. Header bar To show audio/MIDI content Click the Browse Media button . To show plug-ins Click the Browse Plug-ins button . To show the Synth Rack Click the Browse Synth Rack button .
“To insert an effect into a clip’s effects bin” on page 577 “To insert an instrument” on page 577 “To insert a ReWire device” on page 578 “Using the Synth Rack Browser” on page 581 “Managing instruments in a project” on page 586 “Keyboard navigation” on page 573 Docking/undocking and resizing the Browser window By default, the Browser is docked on the right side of the screen. You can undock the Browser, or dock it on the left side or at the bottom. You can also resize the width of the Browser.
To dock the Browser When the Browser is undocked, do one of the following: • Double-click the Browser header bar. • Click the Dock/Undock button in the Browser. • Click the Docking Options button, and select one of the following menu commands: • Dock at Left. Dock the Browser to the left of the Track view. • Dock at Right. Dock the Browser to the right of the Track view. • Dock in MultiDock. view by default.
See: “Using the Media Browser” on page 563 “Using the Plug-in Browser” on page 574 “Using the Synth Rack Browser” on page 581 “To import an audio or MIDI file” on page 566 “To import a video file” on page 569 “To import a track template” on page 567 “To insert an instrument” on page 577 “Keyboard navigation” on page 573 “Browser” on page 559 Using the Media Browser The Media Browser allows you to browse and import various file types that can be used in SONAR, including: • Audio files (.wav, .mp3, .wma, .
Media Browser interface Figure 189. Media Browser A B C DE F G J H K L I A. Show Media Browser B. Browser menu C. Content Location menu D. Dock/undock E. Docking options F. Expand/collapse G. Move up one level to the parent directory H. Search filter I. File list J. Play/Stop K. Delete content preset L. Save content preset Figure 190. Media Browser (undocked) A A. Folder pane • Show Media Browser . Show the Media Browser. • Browser menu.
small icons. • Details. When the Browser is undocked or docked at the bottom, Details view displays the file size, type and when the file was last modified. • Folders. When the Browser is undocked or docked at the bottom, this option lets you show/hide the Folders pane. • Auto-Preview. When Auto Preview is selected, you can automatically previews loops and files when you click on them in the Media Browser view. If the selected file is a Groove clip, it plays back in the project tempo and key.
“To import a video file” on page 569 “To assign a track/bus icon” on page 569 “Keyboard navigation” on page 573 “Browser” on page 559 Adding Browser objects to your project To show audio/MIDI content Click the Browse Media button . To import an audio or MIDI file 1. In the Browser, click the Browse Media button . 2. Navigate to the folder that contains the file you want to import. 3. Do one of the following: • To insert into an existing track as a new clip.
Valid destinations for MIDI files You can drag MIDI files to the following locations: • Audio track • Audio clip • MIDI track • MIDI clip • MIDI clip inspector • Empty Track view • Empty Console view • Instrument track To export audio or MIDI clips Drag the clip(s) to the desired location in the Media Browser. Note: The Media Browser will appear automatically if you drag a clip over the Plug-in Browser or Synth Rack Browser.
Valid destinations for track templates You can drag track templates to the following locations: • Audio track • Audio clip • MIDI track • MIDI clip • Audio track inspector • MIDI track inspector • Audio track effects bin • MIDI Track effects bin • Audio Console strip • Audio Console effects bin • MIDI Console strip • MIDI Console effects bin • Empty Track view • Empty Console view • Instrument track • Instrument track inspector • Instrument Console strip To import a project template 1.
3. Do one of the following: • To open a project. Double-click the desired cwp/cwb/wrk/bun file. • To import the project into existing tracks. Drag the desired cwp/cwb/wrk/bun file into an existing track. • To import the project as new tracks. Drag the desired cwp/cwb/wrk/bun file to an empty space in the Track view, below the last track. To import a video file 1. In the Browser, click the Browse Media button . 2. Navigate to the folder that contains the video file you want to import. 3.
To preview MIDI content 1. In the Browser, click the Browse Media button . 2. On the Browser menu, select Auto-Preview. 3. On the Browser menu, point to Synth Preview Output, then select the soft synth you want to preview MIDI through.Navigate to the folder that contains the MIDI content you want to preview, Note: If there are no synths in the project, go to Insert > Soft Synths and insert the desired soft synth. then click the file you want to preview. Note 1: Auto-Preview is enabled by default.
To enable/disable Auto-Preview 1. In the Browser, click the Browse Media button . 2. On the Browser menu, click Auto-Preview.
To select a Content Location preset 1. In the Browser, click the Browse Media button . 2. In the Content Location box, select the desired preset. The Media Browser automatically navigates to the appropriate folder location. To delete a Content Location preset 1. In the Browser, click the Browse Media button . 2. In the Content Location box, select the preset you want to delete. 3.
Keyboard navigation Standard key commands for navigating Windows Explorer also work in the SONAR Browser. The following table lists keys for navigating the SONAR Browser.
Using the Plug-in Browser The Plug-in Browser lets you insert effects, instruments and ReWire devices into your projects. The following plug-in types are supported: • DirectX and VST audio effects. • MFX MIDI effects • DXi and VSTi instruments • ReWire devices Plug-ins are displayed according to their organization in the selected Plug-in Layout. Custom plug-in layouts let you organize plug-ins any way you want: alphabetically, by vendor name, by effect type, etc.
The menu contains the following commands: • Manage Layouts. Opens Cakewalk Plug-in Manager, which lets you create, delete, and edit plug-in layouts. For more information about Cakewalk Plug-in Manager, see the Cakewalk Plug-in Manager online Help. • Default All Plug-ins. The default layout, which lists all plug-ins alphabetically. • Organized by Type. Select this layout to organize plug-ins by type (EQ, reverb, etc.). • .
To select a plug-in layout Click the PlugIn menu button and select the desired layout. Click Manage Layouts if you want to modify an existing layout or create a new layout. To insert an effect in a track or bus 1. In the Browser, click the PlugIn button to show the Plug-in Browser. 2. Click the button that corresponds to the plug-in type you want to show: • Audio FX • MIDI FX 3. Do one of the following: • To insert the effect in a specific location in the effects bin. position in a track/bus effects bin.
Valid destinations for MIDI effects You can drag MIDI effects to the following locations: • MIDI track • MIDI clip • MIDI track inspector • MIDI clip inspector • MIDI Track effects bin • MIDI Clip effects bin • MIDI Console strip • MIDI Console effects bin • Instrument track • Instrument track inspector • Instrument track effects bin • Instrument Console strip • Instrument Console effects bin To insert an effect into a clip’s effects bin 1.
• To insert an instrument as a track effect. Drag the instrument to the desired track’s effects bin, or drag the instrument to the desired track in the Clips pane. Note: When you drag an instrument to an audio track or MIDI track, the following happens automatically: • If dropped on an audio track or inspector: add to Synth Rack, set audio track input and Synth automation accordingly. • If dropped on a MIDI track or inspector: add to Synth Rack, set MIDI track output and Synth automation accordingly.
To rename a plug-in 1. In the Browser, click the PlugIn button to show the Plug-in Browser. 2. Select the plug-in, then click the plug-in name again and type a name. The plug-in is renamed and the plug-in layout is auto-saved. Note: You can only rename plug-ins in a custom menu layout, not in the default menu layout. See: “Using the Media Browser” on page 563 “Using the Plug-in Browser” on page 574 “Using the Synth Rack Browser” on page 581 “Using FX Chain presets (.
• Click the Browse Plug-ins button in the Browser, then drag the FX Chain container from the Track view to the Audio FX section in the Browser. The FX Chain is added to the FX Chain folder. Note: FX Chain presets are stored as FX Chain Preset files (*.fxc). For track and bus effects bins, the default name for the FX Chain preset is the track/bus name. For clip effects bins, the default name is the clip name.
Using the Synth Rack Browser The Synth Rack view lets you view, insert, delete, and configure your soft synths. You can also mute, solo, and freeze any active instruments in your projects. Each time you insert a soft synth into your project, a new row appears in the Synth Rack view with the name of the soft synth and its current preset. You can select different presets directly from the Synth Rack.
Figure 193. Synth control bar B A C D E F Docked A H B C D E F I J K Undocked G L M A. Connect/disconnect (only when floating or docked at top or bottom) B. Synth name C. Preset picker D. Mute E. Solo F. Freeze/unfreeze G. Automated knobs H. Synth icon I. Automation track J. Automation Read K. Automation Write L. Assign Controls M. Show/Hide Assigned Controls • Show Synth Rack Browser . Show the Synth Rack Browser. • Synth Settings menu.
• Delete Synth. Deletes the selected soft synth or ReWire device from the current project. Note 1: Always close any ReWire applications in their own interfaces before deleting them from SONAR. Note 2: Deleting a soft synth from the Synth Rack view does not delete the tracks associated with the soft synth, but does change the associated MIDI track’s output to the next lowernumbered output. • Enable MIDI Output.
• Synth Automation menu. The Synth Automation menu lets you specify on which track to display and record automation data for the selected soft synth.. By default, automation data is displayed and recorded on the track the soft synth was created with. • Audio Tracks. This submenu lets you choose any available track in the project to record and display the selected synth’s automation data on. • Instrument list.
• Write. Enable/disable automation write for the soft synth. This control is only available when the Synth Rack is undocked or docked at the bottom. • Assign Controls. Lets you choose which parameters in the synth’s interface to create control knobs for. This control is only available when the Synth Rack is undocked or docked at the bottom. • Show/Hide Assign Controls. Show/hide any automated knobs you have created with the Assign Controls command.
Managing instruments in a project To insert an instrument 1. In the Browser, click the Browse Synth Rack button . 2. Click the Synth Settings button menu, point to Insert Synths and select the desired soft synth. To remove an instrument 1. In the Browser, click the Browse Synth Rack button . 2. In the Synth Rack, click the soft synth you want to remove. 3. Do one of the following: • Click the Delete Synth button . • Click the Synth Settings button menu, then click Delete Synth.
To access assignable control knobs 1. Make sure the Browser is undocked or docked at the bottom of the screen. 2. In the Browser, click the Browse Synth Rack button . 3. Click the desired synth’s Show/Hide Assigned Controls button. To replace an instrument 1. In the Browser, click the Browse Synth Rack button . 2. Do one of the following: • Select the synth you want to replace, click the Browse Synth Rack button menu and choose Replace Synth.
Browser Using the Synth Rack Browser
AudioSnap (Producer and Studio only) SONAR’s AudioSnap engine and tempo analysis features give you unprecedented rhythmic and tempo control over your audio. Employing sophisticated transient detection technology, the AudioSnap engine automatically analyzes all recorded and imported audio files for rhythmic content to determine where the beats are in the music. AudioSnap is completely non-destructive, similar to Groove clips and V-Vocal clips. AudioSnap, V-Vocal, and Groove clips are mutually exclusive.
How does it work? AudioSnap works by finding the transients in audio clips. Transients are the areas in an audio clip where the level increases suddenly. These make good locations to shrink, stretch, or split a clip, without changing its sound quality too drastically. SONAR contains a variety of high-quality stretching algorithms for different kinds of material.
• Doubling existing sounds with other sounds (see “Extracting MIDI timing information from audio” on page 633). • Changing the tempo of existing projects (see “Changing a project’s tempo” on page 616). • Snapping both audio and MIDI edits to audio beats (see “Snapping edits to audio beats” on page 635). • Fixing timing errors in multi-track recordings while maintaining phase relationships (see “Adjusting the timing of a multi-track performance while maintaining phase relationships” on page 619).
Using global tools on AudioSnap transient markers At the heart of AudioSnap are transient markers. SONAR automatically detects transients for all audio clips in your project.Although you can also edit transient markers with the Select tool, Move tool, Timing tool, Split tool, Freehand tool, Erase tool and Mute tool, this chapter focuses on the Smart tool since it is the easiest way to edit transient markers.
Action On transient marker On clip Double-click -Selects transients from other tracks (from selected clips) that fall within a certain window of time of the transient the user is clicking on. If no clips are selected, only non-hidden tracks are affected. Drag Non-proportional stretch with selected transients. Note: You can drag a marker from either the head or the line of the marker. Drag the line to stretch a marker and drag the head to move a marker. Lasso selects transient markers.
Hotspot Default action Double-click A Drag transient marker line to stretch selected transients (nonproportional stretch) Select all adjacent transient markers in other tracks B Drag transient marker handle (diamond) to move transient marker (non-stretch) C Lasso select transients D Lasso select transients across clips and tracks Table 115.
locked. This will ensure that phase relationships are maintained when quantizing or moving clips across multiple tracks. When using the Smart tool to drag transient markers, all transient markers at exactly the same point in time on selected clips move together as a group. • Save as Groove. This command opens the Define Groove dialog box, which lets you save the groove to a file. The groove can then be applied to other audio or MIDI clips. • Copy as MIDI.
AudioSnap section in the Clip Inspector In addition to the AudioSnap palette, you can also edit a clip’s AudioSnap settings in the Clip Inspector. For details, see “Properties Inspector - Clip Properties” on page 546. Figure 198.
Editing transient markers Transient markers show where the transients of a clip are (areas where the level increases suddenly), and are used to edit the timing of audio clips. AudioSnap finds transients automatically, but the transient markers don’t always appear exactly where you might want them for the kind of editing you want to do. Most AudioSnap commands edit transient markers automatically as a result of an editing operation, but sometimes you achieve the best results by editing the markers manually.
“Transient marker appearance” on page 603 “Transient marker context menu” on page 604 To select a transient marker 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3. Click the desired transient marker. The marker is highlighted. To select/deselect all transient markers in a clip 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3.
All transient markers near the same position (within a defined time window) in all selected clips are selected. Note 1: If no clips are selected, transient markers from all clips are eligible to become selected. Note 2: To specify the size of the time window, click the AudioSnap Options button in the AudioSnap palette to open the AudioSnap Options dialog box, then specify the desired Pool Transient Window value.
To move a transient marker (without stretching audio) • Drag the marker handle (diamond). Figure 200. To move a transient marker, drag the marker head (diamond) To drag a transient marker and stretch audio • Drag the marker line. Figure 201. To stretch a transient, drag the marker line When you drag and drop the line of a marker, the marker moves to the place where you drop it, and the audio that is located between the dragged marker and the following marker stretches.
To reset transient markers 1. Select all transient markers you want to reset. 2. Right-click any selected transient marker and select Reset from the pop-up menu. To disable a transient marker • Right-click the marker you want to disable and select Disable from the pop-up menu. To delete a transient marker • Right-click the marker you want to reset and select Delete Marker from the pop-up menu. Note: You can only delete user-created transient markers. To insert a new transient marker 1.
To copy transient markers from one track to another track 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. The AudioSnap palette appears and all audio clips show transient markers. 3. Select the target clip (the clip that you want to copy markers to) and drag the Threshold slider in the AudioSnap palette until all transient markers are disabled. 4. Select both the source clip (the clip you want to copy markers from) and the target clip. 5.
To navigate to the next/previous transient (TAB to transients) • Do one of the following: • To move the Now Time to the next transient, press TAB. • To move the Now Time to the previous transient, press SHIFT+TAB. Note: TAB to transients is selection-based, which means tabbing will go to the next/previous transient amongst all selected clips. If there is no selection, tabbing operates on the current track. For more information, see “TAB to transients” on page 362.
Transient marker context menu The transient marker context menu appears when you right-click a transient marker. The command you choose from this menu acts on the marker that you right-click, and most commands also act on any markers that are selected. The following table describes each command. Command Description Reset Moves a marker back to its original position. Shortcut for selected markers is CTRL+ALT+R. Disable The marker is ignored. Shortcut for selected markers is CTRL+ALT+D.
“Synchronizing audio and the project tempo” on page 610 “Extracting MIDI timing information from audio” on page 633 “General editing” on page 635 “Using the Pool” on page 643 “Algorithms and rendering” on page 646 Enabling/disabling AudioSnap You can enable/disable AudioSnap processing on a clip-by-clip basis. Transient markers are always available to be edited, but AudioSnap is not active on a clip unless at least one transient marker has been stretched.
Using the AudioSnap palette The AudioSnap palette provides easy access to time stretching and tempo-related tools. Except for the AudioSnap enable/disable command, the AudioSnap palette’s controls apply to the currently selected audio clip or clips. To show the AudioSnap palette • Do one of the following: • On the Views menu, click AudioSnap Palette. • Press A. or 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3.
• Split Beats into Clips . This button splits a clip at each transient marker into multiple clips.Clip Timebase (Absolute or Musical) clip in SONAR: • Musical (default) Time (MIDI Tick). • Absolute (SMPTE). . . / . There are two timebase settings for a Musical Timebase means the clip start position will follow Musical Absolute Timebase means that the clip start time will follow Absolute Time • Average Tempo. This list shows the average tempo candidates: original, 0.5x and 2x.
• Edit Clip Tempo Map . Each audio clip has an internal tempo map. This button exposes controls that allow you to edit a clip’s tempo map. For details, see “Editing a clip’s tempo map” on page 613. Timing section • Quantize . This button opens the Quantize dialog box, which has options to quantize AudioSnap Beats and Audio Clip Start Times, and also to set automatic crossfade options. • Extract Groove .
• Default Settings. When selected, the Online and Offline render mode settings apply to the Default (track/global) render mode. • Online. This choice determines what stretch algorithm is used during real-time playback. The Percussion options works better than the Groove Clip option on percussive material, especially if the stretching is by more than a few beats per minute. For more information about render modes, see “Algorithms and rendering” on page 646.
Synchronizing audio and the project tempo There are many reasons why you may want to synchronize audio clips with the project tempo. The following list presents a few common examples. AudioSnap provides two ways to quickly synchronize audio and the project tempo map: • Applying an audio clip’s internal tempo map to the project’s global tempo map. Use this method if you want the project tempo to match an audio clip’s tempo and have audio beats aligned with the project’s time ruler.
How does it work? Each audio clip has an internal tempo map, which makes it possible to synchronize the audio clip with the project’s global tempo map (see “Editing a clip’s tempo map” on page 613). SONAR automatically creates a tempo map for each audio clip. In some cases, SONAR can detect the wrong tempo. For example, SONAR might detect a tempo of 120 BPM when the actual tempo is 240 BPM, or a beat may be mapped to the wrong transient. You can easily remap the tempo map, if necessary.
To copy the project tempo to an audio clip’s tempo map 1. Configure the project’s tempo as desired (either specify the tempo manually, or extract the tempo from another audio clip by using the Set Project Tempo from Clip button on the AudioSnap palette). 2. Select the audio clip(s) that you want to follow the project tempo. 3. Press A to open the AudioSnap palette. 4. Click the Average Tempo box on the AudioSnap palette and select Set Clip Tempo From Project on the drop-down menu.
Editing a clip’s tempo map Each audio clip has an internal tempo map, which makes it possible to synchronize the audio clip with the project’s global tempo map (see “Editing a clip’s tempo map” on page 613). SONAR automatically creates a tempo map for each audio clip. In some cases, SONAR can detect the wrong tempo. For example, SONAR might detect a tempo of 120 BPM when the actual tempo is 240 BPM, or a beat may be mapped to the wrong transient. You can easily remap the tempo map, if necessary.
To edit a clip’s tempo map 1. Select the clip or clips you want to edit. 2. Click the Edit clip tempo map button on the AudioSnap palette. A simple tempo map guide appears above the clip, indicating where SONAR has mapped the bars/beats of the clip. 3. If the Average Tempo list does not show the correct tempo, select the correct tempo. 4. If the Beats per measure box does not show the correct number of beats, specify the correct number of beats per measure. 5.
If a beat marker is dragged to a transient marker that is already assigned to a later beat marker, SONAR will automatically re-number all subsequent beat markers accordingly. A beat marker cannot be dragged to an earlier transient marker if that transient is already assigned to a beat marker. 6. To hide the tempo map guide, click the Edit clip tempo map button palette again. on the AudioSnap Tip: You can also enable/disable Edit clip tempo map from the transient marker context menu.
Changing a project’s tempo Changing a whole project’s tempo is simple with AudioSnap, if the tempo change is not drastic. Before you change the global tempo of a project that contains audio, you must first make sure the audio clips are configured to follow tempo changes. After you change the tempo, you may want to bounce some or all of the tracks to new tracks with the Radius algorithms to correct any unwanted change to each track’s sound. To change a project’s tempo 1.
Fixing timing problems in audio clips AudioSnap provides several ways to fix timing errors in audio clips: • You can drag individual beats or groups of beats to new positions. This gives you complete control over where each transient ends up. • You can quantize to a particular note resolution. This can be a very quick way to fix a clip, if your markers are fairly close to where you want them to end up. • You can quantize to another clip’s beats, making the clips share the same groove.
“Synchronizing the rhythms of out-of-sync tracks” on page 624 “Making multiple clips/tracks groove together” on page 624 “Quantizing audio” on page 625 “To quantize audio to the project’s time ruler” on page 625 “To Groove Quantize an audio clip” on page 626 “To quantize an audio clip to another audio clip (Quantize to Pool)” on page 627 Adjusting the timing of a solo performance When adjusting the timing of a solo performance (for example, a single instrument recorded with a single microphone, or a pre-re
Adjusting the timing of a multi-track performance while maintaining phase relationships Editing a multi-track instrument, such as a multi-microphone drum kit or a full band, requires a little more care than editing a solo performance. When stretching or quantizing multi-track audio, it is critical to maintain the phase relationships of the original recording. This can only be achieved if the tracks are stretched at the same exact points in time across all tracks.
As you can see, the drummer has rushed and is not in time with the piano. At the beginning of the measure, the drummer is in time with the piano. Over the course of the measure, the drummer is performing a fill and on the next three beats is way ahead of the piano player. You can see how the transient markers on the drum tracks are progressively earlier as the measure goes on (the drummer is rushing).
Figure 206. The Merge and Lock Markers command has copied the same transient markers to all three drum tracks. The drum tracks are now ready to be edited. We want to keep the feel of the piano track, so our goal is align the drum tracks with the piano track, while preserving the phase relationship between the three drum tracks.
Figure 207. The drum and piano hits are aligned The second drum and piano hits are close but not perfect, so we need to fix this single beat. 12. Hold down the CTRL key and double-click any drum transient marker on the second hit. All drum transient markers for the second hit are selected 13. Drag any selected transient markers until it aligns with the second piano hit. All three drum and piano hits are now aligned properly, and the phase relationships between all drum tracks have been preserved.
Figure 208. All three drum and piano hits are perfectly aligned For information about maintaining phase relationships without stretching audio, see “To quantize multi-tracked drums without stretching audio” on page 628.
Synchronizing the rhythms of out-of-sync tracks A common problem arises when two or more clips aren’t quite in sync with each other. You can fix this with AudioSnap if the sync errors aren’t huge. The AudioSnap command that is most helpful in this situation is the Quantize to Pool command. The way it works is you decide which clip has the correct rhythm, you add that clip’s transient markers to the Pool, and then you quantize the other clip’s transient markers to the Pool.
“Using global tools on AudioSnap transient markers” on page 592 “Editing transient markers” on page 597 Quantizing audio Quantizing audio is a quick way to tighten up the feel of an audio track. AudioSnap provides several ways to quantize audio: • You can quantize audio to the project’s time ruler. This is useful for tightening up a performance in a project that already has a fixed tempo or varying tempo map. For details, see “To quantize audio to the project’s time ruler” on page 625.
To Groove Quantize an audio clip The Groove Quantize command aligns transients with a groove that’s on the Clipboard or a preexisting groove file. If you want to copy the timing from another audio clip to the Clipboard, see “To extract MIDI timing from an audio clip” on page 633. 1. Select the audio clip you want to groove quantize. 2. Press A to open the AudioSnap palette. 3. On the Process menu, click Groove Quantize. The Groove Quantize dialog box appears. 4.
Note 2: When snapping audio transients, the following rules apply: • If a Pool exists, audio transients snap to the Pool. • If a Pool does not exists, audio transients snap to transients in the selected tracks. • If there are no selected tracks, audio transients snap to transients in the selected clip. 4. Select the audio tracks that you want to use as the rhythm guide. 5.
To quantize multi-tracked drums without stretching audio When you fix timing errors in multi-tracked drum parts, you will frequently need to adjust all the drum parts in exactly the same way, because drum parts often contain “bleed”—the sound of other drums in the track of the drum that you are trying to record.
The clip positions are no longer locked. 9. Select a drum track that has steady beats throughout the song. Tip: If there is not a single drum track that has steady beats throughout the song, you can create a temporary guide track by bouncing all the drum tracks to a single track (select all the tracks, use the Edit > Bounce to Tracks command, select Main Outputs in the Source Category field in the Bounce to Tracks dialog box, and click OK). 10.
Now we can quantize all the clips at the same time. Let’s quantize this example to eighth notes: 13. Select all the clips that you want to quantize. 14. Use the Process > Quantize command to open the Quantize dialog box. 15. In the Duration field, choose Eighth (for this example). 16. Configure the other settings as follows: • Make sure the AudioSnap Beats check box is cleared. • Make sure the Audio Clip Start Times is selected.
17. Click OK to close the Quantize dialog box. After some processing time, the clip start times move to the eighth note boundaries: Some clips now overlap, and some clips have small gaps between them. Because the Auto XFade Audio Clips check box was enabled, and the XFade and Max Gap values were set at their default values, crossfades have been automatically added between clips, and any gaps that were smaller than the Max Gap value have been filled in.
A A. Crossfades Now the clips line up with eighth note boundaries, no audio has been stretched, and phase relationships have been maintained. For information about maintaining phase relationships when stretching audio, see “Adjusting the timing of a multi-track performance while maintaining phase relationships” on page 619.
Extracting MIDI timing information from audio Extracting MIDI timing information from audio allows you to: • Double an audio rhythm with a MIDI instrument. • Replace sounds in an audio clip (commonly used for drum replacement). • Notate the rhythm of an audio clip. • Align lyrics with an audio rhythm. After you extract the timing information from an audio clip, the timing information is copied to the Clipboard as MIDI note events.
2. Move the Now Time to the measure where you want the data (we’ll use measure 1).Press Tip: If you want the MIDI notes to align perfectly with the audio data, press SHIFT+G to move the Now time to the beginning of the selected audio clip. CTRL+V to paste the data. A new MIDI clip is inserted in the track Note: All the new MIDI notes have the same pitch, and the tails of the preceding notes reach all the way to the following notes, so you can’t see the actual rhythm.
General editing If you want to snap edits in the Clips pane to transient markers, see “Snapping edits to audio beats” on page 635. If you want to split each beat into a separate clip, see “Splitting beats into clips” on page 637. If you want to stretch the duration of an audio clip, see “Slip-stretching audio” on page 642. If you want to automatically create envelope nodes that are aligned with transient markers, see “Adding automation” on page 642.
3. Disable Musical Time and all other Snap to Grid options. Figure 209. The Snap module. 4. In this example, we’re using the Inline Piano Roll view: to enable it, assign a MIDI track’s Edit Filter to Notes. Zoom in enough to see where the edits need to be. Make sure the Landmark Events button is enabled in the Control Bar’s Snap module.
5. Drag the misaligned MIDI notes so they line up with the audio beats. As you’re dragging notes, they will automatically snap to the nearest audio beat. Splitting beats into clips Clicking the Split Beats Into Clips button on the AudioSnap palette splits a selected AudioSnap-enabled clip into new clips starting at every enabled transient marker. The main reason you might want to do this is to align a clip with a new tempo or quantize it, without stretching the audio.
To add markers at Pool lines 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3. Make sure that the Pool contains markers from at least one clip, or from the Time Ruler. 4. Select the clips that you want to add markers to. 5. Right-click a selected clip, and choose Pool > Apply transient pool markers on the pop-up menu. Markers appear on the selected clips at Pool lines. To split a clip at beats 1. Select the clip(s) that you want to split. 2.
2. If we quantize it, the audio will stretch and we may or may not like the resulting sound. Let’s try splitting it, and quantizing the clips instead of the transients: click the Split Beats Into Clips button on the AudioSnap palette. The clip splits at the transients, and only the first new clip is still selected: 3. Let’s quantize the clips: drag through the clips to select them. 4. Click the Quantize button in the AudioSnap palette. The Quantize dialog box appears: 5.
6. The start of each clip now lines up where we want it to, but there are gaps between some of the clips. Let’s undo what we just did (press CTRL+Z), and quantize again. This time, however we will enable the Auto XFade Audio Clips option in the Quantize dialog box, and click OK: A A. Crossfades 7. Where the gaps were between clips, we now see crossfades.
Figure 210. The Fade Selected Clips dialog To fill in gaps with the Fade Selected Clips command 1. Select the clips that have gaps you want to fill. 2. Click the Track view Clips menu and choose Fade Clips to open the Fade Selected Clips dialog box. 3. Enable the XFade between Audio Clips radio button, and set any options you want in the XFade ms field, and Max Gap field. 4. Click OK.
Slip-stretching audio You can slip-stretch an audio clip in order to expand or compress its duration. Slip-stretching only works on regular audio clips, not Groove clips or REX loops. To slip-stretch an audio clip 1. Select the Smart tool in the Control Bar. 2. Hold down the CTRL key, move the mouse pointer over the end of the clip until the cursor changes into the slip-stretch icon , then drag the end of the clip to the desired position.
See: “Using global tools on AudioSnap transient markers” on page 592 “Editing transient markers” on page 597 “Using the AudioSnap palette” on page 606 “Synchronizing audio and the project tempo” on page 610 “Fixing timing problems in audio clips” on page 617 “Extracting MIDI timing information from audio” on page 633 “Using the Pool” on page 643 “Algorithms and rendering” on page 646 Using the Pool The Pool is a collection of transient markers that can be extracted as a groove, and also function as snap lo
To add a clip’s transients to the Pool 1. Select the an AudioSnap-enabled clip. 2. Right-click the clip and choose Pool > Add Clip to Pool on the pop-up menu. To hide or show the Pool 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3. Right-click a clip and choose Pool > Show pool lines on the pop-up menu. To add the Time ruler to the Pool 1.
Groove Quantize and Quantize to Pool You can use two kinds of groove quantizing on audio clips: the Groove Quantize command aligns transients with a groove that’s on the Clipboard, and the Quantize to pool command aligns transients with the Pool. When you use the Groove Quantize command, you can align a clip with a pre-existing groove, or you can extract a groove from another clip. For information about extracting a groove, see “To extract MIDI timing from an audio clip” on page 633.
Algorithms and rendering When you stretch an audio clip, AudioSnap uses a particular formula, or algorithm, to stretch the audio. The best algorithms take the most computing time and power to complete, so if AudioSnap always used the best available algorithms (the iZotope Radius algorithms), you would not be able to play back your clip in a reasonable amount of time to listen to the timing.
The following table describes the available algorithms. Algorithm Description GrooveClip Good all-around algorithm to use while stretching audio Percussion Gives a better sound on percussion clips while stretching audio iZotope Radius Mix Best all-around choice when bouncing to track with audio clips that contain a mix of different sounds iZotope Radius Mix Advanced This choice is similar to iZotope Radius Mix, but exposes two parameters: • Pitch coherence.
To choose default algorithms 1. Press A to open the AudioSnap palette. 2. In the Applies To list, select Default Settings. 3. Under Render Mode, select the desired Online and Offline render modes. Every AudioSnap-enabled clip that you stretch or bounce uses the settings you choose for default stretch algorithms, except clips that you choose individual settings for. To choose render algorithms for an individual clip 1. Select the clip or clips you want to edit. 2. Press A to open the AudioSnap palette.
To bounce an AudioSnap-enabled clip 1. Select the clip you want to bounce. 2. Click the Track view Tracks menu and choose Bounce to Track(s) to open the Bounce to Track(s) dialog box. 3. In the Destination field, choose the track where you want your new audio clip to go. 4. In the Source Category field, choose Tracks. 5. Choose the Channel Format and Dithering options you want. 6. Enable all the options in the Mix Enables section. 7. Click OK.
AudioSnap (Producer and Studio only) Algorithms and rendering
Working with loops and Groove Clips Loops are short digital audio clips which are often designed to be repeated over and over or “looped,” although some loops, called one-shots, are intended to play just once. Groove clips, often used as loops, are digital audio clips that “know” their tempo and pitch information. Groove clips automatically respond to changes in a project’s tempo and can have their root note pitch adjusted using pitch markers.
The Loop Construction view The Loop Construction view is where you create and edit Groove clips. Figure 212. The Loop Construction view The Loop Construction view toolbar has tools for editing slicing markers and controls for previewing loops.
• Loop On/Off. Groove Clip enable/disable. When enabled, loop clips in the Track view by dragging the right side of a clip with your mouse. When disabled, you are able to slip-edit the clip. • Stretch On/Off. Instructs SONAR to stretch or shrink the clip to fit the project’s tempo. The Beats in Clip and Original BPM parameters are in the Clip Inspector and Loop Properties dialog box are used to make the change. • Loop Properties. Opens the Loop Properties dialog box.
• 1/4 Note • 1/8 Note • 1/16 Note • 1/32 Note The automatic markers appear at the note resolutions according to the Resolution setting. At the eighth note setting, there are eight markers per measure. This control works well for slicing audio that has more subtle changes in volume with few dramatic transients. The markers in a loop clip preserve the timing of the audio at that moment. Too few or too many markers can cause unwanted “artifacts” when a loop clip is stretched. • Threshold.
Slicing markers There are two types of slicing markers in the Loop Construction view: automatic and manual. Automatic markers appear in red and are automatically generated by SONAR when you loop enable a clip. The one exception to this is if you import an ACIDized wave file into SONAR. ACIDized files always appear with manual slicing markers. Manual markers appear in purple. If you add a marker or move an automatic marker, it turns purple to show you that it has been edited.
• Zoom Factor. Shows audio scaling by a factor. For example, if the Zoom Factor reads 10, then the waveform is zoomed in by a factor of 10. See: “Using loops with the Browser” on page 656 “Working with loops” on page 658 “Working with Groove Clip audio” on page 659 “MIDI Groove Clips” on page 668 “Importing Project5 patterns” on page 672 Using loops with the Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI loops.
• To insert into an existing track as a new clip. Double-click the file to add it to the selected track at the current Now time, or drag the file to the desired location. Note: A new track is created if the file type is not compatible with the selected track. • To insert into a new track. Drag the file to en empty space in the Track view, below the last track. • To replace the selected clip. Drag the file to the Clip Inspector. • To insert into a cell in the Matrix view.
4. Navigate to the folder that contains the MIDI content you want to preview, then click the file you want to preview. Note 1: Auto-Preview is enabled by default. If you disable Auto-Preview, you must click the Play button each time you want to preview the selected audio file. Note 2: MIDI Groove Clips loop indefinitely, but standard MIDI files play only once and do not repeat. The Play button changes to a Stop button during preview. For more information about the Browser, see “Browser” on page 559.
To create partial repetitions of a loop 1. Move the cursor over the end of the loop-enabled clip until the cursor looks like this . 2. When the cursor changes, click the end or beginning of the clip and drag it to the right (if you are dragging out from the end) or left (if you are dragging from the beginning). If the Snap to Grid button is on, you can create a partial loop as small as the Snap to Grid setting allows.
Groove clips based on the clip’s root note reference pitch. If you insert no pitch markers in your project, there are no pitch changes in your Groove clips. The default project pitch is C. Note 1: When working with Groove clips, it is important to know the difference between key and pitch. Your project’s key signature has no effect on Groove clips. The pitch of your Follow Project Pitch-enabled Groove clips is dictated by pitch markers in the Time Ruler.
Setting the default project pitch Go to Project > Set Default Groove Clip Pitch and specify the default pitch. Your project now uses the root note of your clips to transpose to the project pitch. Use Pitch markers at different points in your project to change the pitch. For more information about Pitch markers, see “Using pitch markers in the Track view” on page 665. Creating and editing Groove Clips Any audio clip can be converted to a Groove clip.
To change the Loop Construction view Time ruler display You can display the Loop Construction view Time Ruler in measures or in samples. To toggle between the two modes, double-click the Time Ruler. To set the tempo of a Groove Clip When creating a new Groove clip, SONAR sets the clip’s tempo to the current project tempo. To ensure proper stretching behavior you must set the value in the BPM field to the tempo at which you recorded the clip.
To transpose a Groove Clip to match your project’s pitch Follow this procedure to force the Groove clip to follow the project’s default pitch. 1. Double-click the clip you want to transpose to the project’s pitch. The clip appears in the Loop Construction view. 2. Click the Pitch button. To transpose a Groove Clip by semitones Follow this procedure to transpose a Groove clip by any number of semitones. 1. Double-click the clip you want to transpose to the project’s pitch.
Editing slices Each slice (space between the slicing markers) can be adjusted in the Loop Construction view. You can adjust the following slice attributes: • Gain • Pan • Pitch To preview a Groove Clip slice 1. Double-click on a clip to open the Loop Construction view. 2. Click the Loop Construction view Options menu and select Auto Slice Preview On/Off. 3. Click a slice to hear it. To adjust a Groove Clip slice gain 1. In the Loop Construction view, select the slice on which you want to adjust the gain.
Saving Groove Clips as Wave files/ACIDized Wave files Once you have created a Groove clip in SONAR, you can save the clip as a Groove Clip/Wave file, compatible with ACIDized wave files. To save a Groove Clip as a Riff Wave file/ACIDized Wave file 1. If you have not already done so, create a Groove clip. See “Creating and editing Groove Clips” on page 661. 2. In the Loop Construction view, click the Clip menu and select Save Loop. The Save As dialog box appears. 3.
To enable a clip’s Follow Project Pitch option 1. Select the clip and open the Clip Inspector. 2. Select the Clip Inspector’s Groove Clip section and make sure that the Reference Note field is correct. When your project reaches a pitch marker, SONAR transposes each groove clip that has the Follow Project Pitch option enabled by the difference between the clip’s Reference Note and the current Project Pitch.
You can import REX files into a SONAR project. Once imported, you can work with REX files just as if they were regular Groove Clips (see “Working with Groove Clip audio” on page 659). Note: REX-based Groove Clips can be edited in the Loop Construction view, but certain Loop Construction view tools only apply to ACIDized Groove Clips.
For details, see Root Note and “Saving Groove Clips as Wave files/ACIDized Wave files” on page 665. See: “Creating and editing Groove Clips” on page 661 “MIDI Groove Clips” on page 668 MIDI Groove Clips MIDI Groove clips are MIDI clips that you can roll out like audio Groove clips, and you can also choose to have SONAR transpose MIDI Groove clips when your project reaches a pitch marker.
To enable or disable a MIDI clip’s Groove Clip function • Select the clip and press CTRL+L. Or • Right-click the clip and choose Groove Clip Looping from the pop-up menu. A MIDI clip that has its Groove clip feature activated appears with beveled edges in the Clips pane. To create repetitions of a MIDI Groove Clip 1. Set the Snap value if you want the clip to repeat at precise time boundaries. 2. Move the cursor over the end or beginning of the clip until the cursor looks like this .
Exporting and importing MIDI Groove clips You can not export MIDI Groove clips by saving your project as a Standard MIDI File—Standard MIDI Files do not contain MIDI Groove clip data, such as transposition value, etc. When you import MIDI Groove clips, you can preview them in the Import MIDI dialog box.
4. Navigate to a folder where you store MIDI Groove clips. Make sure that the Files of Type field is set to MIDI File. 5. Highlight the file you want to import—the File Info field displays the file’s MIDI Groove clip data, if any. 6. If you want to preview (listen to) the highlighted file, click the Play button in the Import MIDI dialog box. When you decide to import the highlighted file, click the Open button. To import MIDI Groove Clips from the Browser 1.
Importing Project5 patterns Project5 is Cakewalk’s pattern-based soft synth work station that has its own library (pattern bin) full of MIDI and audio patterns, stored on disk. If you have Project5 MIDI patterns on your hard disk, you can import them directly into SONAR. To import a Project5 pattern 1. Move the Now Time to the place where you want to import the pattern. 2. Highlight the track you want to import the pattern into. 3. Use the File > Import > MIDI command.
Editing MIDI events and continuous controllers (CC) SONAR lets you edit the events in your projects in dozens of different ways. The Piano Roll view lets you add and edit notes, controllers, and automation data interactively, using a graphic display. SONAR’s many editing commands can improve the quality of recorded performances, filter out certain types of events, and modify the tempos and dynamics of your projects. The Event List view lets you see and modify every detail of your project.
You can override the default editing view and assign a specific editing view to each MIDI clip. To do so, click the MIDI Editor indicator in the top right corner of the MIDI clip, then choose the desired editing view on the pop-up menu. Figure 215. Click the MIDI Editor indicator to assign a default ediitng view. The following table describes the various MIDI clip header indicators. Indicator Description Double-click the clip to open the Piano Roll view.
“Controllers, RPNs, NRPNs, and automation data” on page 739 “The Event List view” on page 742 “MIDI effects (MIDI plug-ins)” on page 749 “To sync the project tempo to freely played MIDI” on page 728 Event Inspector The Event Inspector module is available in the Control Bar. The Event Inspector has the following: • Time • Pitch • Velocity • Duration • Channel Figure 216. The Event Inspector module. A C B D E A. Time B. Duration C. Pitch D. Velocity E.
To change a note’s properties using the Event Inspector 1. Select a note. 2. In the appropriate Event Inspector field, change the value. See the following table for a description of valid value entries for each field in the Event Inspector. Event Inspector Field Valid Values Time Any valid M:B:T time value. Separate values with a colon or a space. For example, measure 2, Beat 3, Tick 720 would be written as 2:3:720.
The Piano Roll view The Piano Roll view displays all notes and other events from one or more MIDI tracks in a grid format that looks much like a player piano roll. Notes are displayed as horizontal bars, and drum notes as diamonds. Pitch runs from bottom to top, with the left vertical margin indicating the pitches as piano keys or note names. Time is displayed running left to right with vertical measure and beat boundaries. The Piano Roll view makes it easy to add, edit, and delete notes from a track.
“Displaying notes and controllers (Piano Roll view only)” on page 683 “Adding and editing notes in the Piano Roll” on page 684 “Piano Roll view snap resolution” on page 691 “Adding and editing controllers in the Piano Roll” on page 695 “Note Map pane” on page 678 “Drum Grid pane” on page 678 “Notes pane” on page 679 “Controller pane” on page 679 “Note names” on page 682 “Track List pane” on page 679 “Working with multiple tracks in the Piano Roll view” on page 680 Note Map pane This pane displays your drum
Notes pane In this pane you can add, edit, and delete notes in any MIDI track(s) not assigned to a drum map. You can also edit controllers in this pane if you choose to hide the Controller pane. Use the Edit Filter to select the MIDI event type you want to edit. See also: “Adding and editing notes in the Piano Roll” on page 684 Controller pane This pane displays controller events, which you can edit.
Opening the view There are several ways to open the Piano Roll view: • In the Track view, select the track you want to see, then choose Views > Piano Roll View or press ALT+3 • In the Track view, right-click on a track and choose Views > Piano Roll from the pop-up menu • Double-click on a MIDI clip in the Clips pane • In a soft synth’s property page, click the Open View button to open the default MIDI editing view. Each selected track is displayed.
To make a track the current track in the Track List pane, click on the track. When a thin dotted line surrounds the track, it is the current track. Tip: Clicking a note will make the note’s parent track the current track. The following is a list of ways to optimize the multiple track functionality in the Piano Roll view. Selecting tracks to view To assign tracks to the Track List pane, click the Piano Roll view Tracks menu and choose Pick Tracks. Click on a track name to select it.
The Invert Tracks button If you use the Show/Hide Track button to hide any tracks in the Track List pane, you can show all these tracks and hide the ones that are currently displayed by selecting Tracks > Invert Tracks. See: “Note names” on page 682 Note names You can change the instrument definition for the active track in the Piano Roll view. Right-click the piano keys in the Notes pane to open the Note Names dialog box where you can use note names that are defined as part of any instrument definition.
Displaying notes and controllers (Piano Roll view only) The menu across the top of the Piano Roll view lets you quickly hide or show any combination of the data in a MIDI track or in multiple MIDI tracks (see also “Displaying notes and controllers in the Inline Piano Roll view” on page 707). To hide or show data in the Piano Roll view 1.
Adding and editing notes in the Piano Roll You add notes in the Piano Roll view or Inline Piano Roll view by first choosing a note duration in the Control Bar’s Tools module and then dragging in the view with the Smart tool or Freehand tool at the pitch location and time location where you want the note to go. The pitch locations are marked by grey rows for the sharps or flats, and white rows for naturals.
of the Notes pane or the drum map rows in Note Map pane to select all notes of the desired pitch(es). • In the Inline Piano Roll view: SHIFT-click or SHIFT-drag the piano keys on the MIDI Scale to select all notes of the desired pitch(es). To select notes with the Select tool 1. Select the Select tool in the Control Bar. 2.
To select all notes of certain pitches (Inline Piano Roll view only) 1. Zoom the MIDI Scale in far enough to see the keys clearly (left-click and drag on the MIDI Scale). 2. SHIFT-click a piano key to select all the notes of that pitch, or SHIFT-drag through multiple notes to select them. CTRL-clicking to select multiple non-adjacent notes is not possible in the MIDI Scale.
To adjust a MIDI note’s velocity 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool down. • With the Edit tool , position the pointer near the top center of the note, then drag up/ , position the pointer near the top center of the note, then drag up/down. To adjust a MIDI note’s start/end 1. Set the track’s Edit Filter control to Notes. 2.
To mute/unmute a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , hold down the ALT key and right-click the note. • With the Mute tool , click the note to mute/unmute a single note, or drag over notes to mute/unmute multiple notes. A B C A. Event-Muted (hollow; the note outline uses the Clip Mute color) B. Unmuted events (track color) C. Muted using the Mute tool on the clip (Clip Mute color) To move a MIDI note 1.
• With the Freehand tool , click where you want to insert a new note. Note: Use the Value control in the Tools module to specify the duration for new note events. You can also click an existing Note event to inherit its duration and apply it to new Note events. For details, see “Use note duration value from last touched note” on page 468. To drag-quantize MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Select the notes you want to quantize. 3. With the Timing tool all selected notes.
To erase a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , right-click a note to erase a single note, or keep the right mouse button pressed and drag over notes to erase multiple notes. • With the Erase tool multiple notes. , click a note to erase a single note, or drag over notes to erase To split a MIDI note 1. Set the track’s Edit Filter control to Notes. 2.
Piano Roll lasso behavior By default, lasso selecting the top of velocity lines in the Piano Roll's Note pane also automatically selects the corresponding note events. If you don't want velocity lines to affect note selection, you can change the behavior by adding a switch to the Windows registry. Warning: Always back up the Windows registry before making any changes. Only edit the registry if you are comfortable doing so. 1. Click the Start button and select Run. 2.
To enable/disable independent Piano Roll view Snap resolution 1. In the Piano Roll view, click the Snap to Grid button menu bar. The Snap to Grid button is lit , which is located to the right of the and the following controls are exposed: • Musical time snap value • Snap to MIDI events • Snap to markers 2. Select the desired snap settings. If you do not select any Piano Roll snap settings within 5 seconds, the snap controls will hide automatically until you click the Snap to Grid button again.
To only show velocity for selected note events Click the Piano Roll view Notes menu and choose Show Velocity on Selected Notes Only. The state of the Show Velocity on Selected Notes option is saved with the project, and the setting is separate for the Piano Roll view and inline Piano Roll. See: “Editing notes with the global tools” on page 686 Selection sensitive velocity drawing If any Note events are selected, velocity painting will only affect those selected Note events.
Example 2. Painting velocity when no Note events are selected. All Note events are changed. See: “Editing notes with the global tools” on page 686 Hiding events in muted clips By default, events in muted MIDI clips are shown in the Piano Roll view. SONAR provides an option to exclude muted clips from displaying in the Piano Roll view. To show/hide events in muted clips Click the Piano Roll view View menu and choose Hide Muted Clips.
Adding and editing controllers in the Piano Roll Controller events (MIDI continuous controllers, pitch wheel, NRPN’s, and RPN’s) appear in either the Notes pane or the Controller pane, depending on whether you choose to display the Controller pane or not. Each controller event has an edit handle at the top, which you can drag to edit, and a tail under the edit handle, which graphically demonstrates the controller event’s current value.
Multiple automation controller lanes The Controller pane in the multi-track Piano Roll view (not the inline Piano Roll) is split up into multiple lanes—one lane for each unique event type in the track. You can freely create new lanes to display and edit MIDI data such as velocity, modulation, pitch bend and CCs (Continuous Controllers) and events can be moved and copied between lanes. To show the Controller pane, click the Piano Roll view View menu and choose Show/Hide Controller Pane, or press ALT+C.
Working with MIDI data lanes The Controller pane allows you to display and edit non-note MIDI data, such as velocity, modulation, pitch bend and continuous controllers (CCs), in multiple lanes at the bottom of the Piano Roll view. When you open the Piano Roll view, SONAR will automatically create a separate MIDI data lane for each unique data type that is present in the selected track(s).
To assign an Event Type to a lane 1. Click the lane’s Edit Filter. 2. Select an existing event type in the pop-up menu, or select New Value Type to specify a new event type. The name of the current edit type is displayed in the lane. See: “Displaying notes and controllers (Piano Roll view only)” on page 683 To copy events between lanes When you copy events from one lane to another lane, the MIDI data is transformed to match the edit type in the target lane. 1.
To move events between lanes When you move events from one lane to another lane, the MIDI data is transformed to match the edit type in the target lane. 1. Select the event types you want to move to another lane. See “Selecting controllers” on page 701 for more information. 2. In the Scale pane, right-click the lane you want to move the selected events to. The lane context menu appears. 3. Click Move selected events to this lane. The selected events are moved to the destination track.
• Depress the mouse at the point where you want your controller messages to start, and drag the Draw tool to draw the kind of curve you want your controller messages to follow. A tooltip appears when you depress the mouse, and constantly reports the controller name, channel, value, and location of the controller value that you are entering. Release the mouse where you want your curve to end. Tip: To draw a straight line, hold the SHIFT key down while you draw.
Selecting controllers To perform many editing procedures on controllers, you first need to select the controller events you want to edit. A selected controller event turns dark when it is selected. You can select a single controller event, multiple controller events of the same type, or all controller events. To select controller events of the same type 1. Click the Edit Filter and select the event type you want to show in the MIDI data lane. 2.
To enable/disable ‘Select Controllers within Note Duration’ Click the Piano Roll view Controllers menu and choose Select Controllers Along With Notes. Note: The state of the Select Controllers Along With Notes option is global and applies to both the Piano Roll view and inline Piano Roll. See: “Working with multiple tracks in the Piano Roll view” on page 680 Piano Roll Microscope mode The Piano Roll Microscope mode makes it much easier to edit MIDI data without constantly needing to change zoom settings.
Microscope mode also works with Drum Maps: To enable/disable Microscope mode To enable/disable Microscope mode, do one of the following: • Click the Piano Roll view View menu and choose MIDI Microscope. • Click the Track view View menu and choose MIDI Microscope. • Go to Edit > Preferences > Customization - Editing and select the Microscope check box. How Microscope mode works Position. The Microscope is always centered on the mouse position. Size. The size of the Microscope is configurable.
Configuring Microscope mode options There are several settings that let you configure the size and zoom level of the microscope. To Configure Microscope Mode Options Go to Edit > Preferences > Customization - Editing. The following options are available: Microscope. Use this check box to enable/disable Microscope mode (enabled by default). Diagonal Size. Use this numeric entry box to specify the diameter size in pixels of the microscope. The valid range is 20-250 and the default value is 100.
The Inline Piano Roll view The Inline Piano Roll view lets you edit note and continuous controller events for a single track directly in the Track view. To show a track’s Inline Piano Roll, click the track’s Edit Filter control and choose Notes. If a track uses a Drum Map, the Inline Piano Roll view for that track displays the Drum Map’s note names on the track’s MIDI Scale (see “The MIDI scale” on page 706 for more information).
To hide or show all tracks’ Inline Piano Roll views Hold down the CTRL key and assign any track’s Edit Filter control to Notes. See also: “The MIDI scale” on page 706 “Displaying notes and controllers in the Inline Piano Roll view” on page 707 The MIDI scale MIDI tracks have a control called the MIDI Scale. This control displays a vertical ruler labeled with MIDI values (in 7bit Values mode) or MIDI notes (in Notes mode), giving you a visual guide for editing notes and controllers.
To scroll vertically with the MIDI scale • Right-click the MIDI Scale and drag up or down to scroll. To fit a single track’s content into its Inline Piano Roll view • Right-click the MIDI Scale and choose Fit Content from the pop-up menu. Or • CTRL-double-click the MIDI Scale. To audition and select notes • To audition and select a note, SHIFT-click the note’s pitch in the MIDI Scale.
Drawing and editing notes and controllers in the Inline Piano Roll view is the same in the Piano Roll view, with a few minor exceptions (noted in the appropriate topics). To draw and edit notes and controllers in the Inline Piano Roll view, see “Selecting notes” on page 684, “Editing notes with the global tools” on page 686, “Adding controllers” on page 699, and “Selecting controllers” on page 701. You can zoom in to or out of individual MIDI Tracks by dragging the MIDI Scale up or down.
Selecting and editing events SONAR has many editing commands that you can use to modify the events that make up your project. Here are some of the things you can do: • Transpose events, clips, tracks, or an entire project to a different key • Shift events to an earlier or later time • Stretch or shrink material to a different length • Reverse the notes in a clip to create new arrangements • Modify the note velocities The following sections describe these editing commands and how to use them.
Transposing The Process > Transpose command transposes the pitches of selected note events up or down by a fixed number of steps. It does so by changing the MIDI key numbers of note events. Simply enter the number of half-steps—a negative number to transpose down, a positive number to transpose up. SONAR can also perform diatonic transposition, which shifts all the notes up and down the major scale of the current signature by the designated number of steps.
polyphonic), and how long you want to wait for processing to finish: better quality can take a long time if you're processing several tracks. • Formant scaling. Possible values range from -2.000 to 2.000 octaves. Formants give a voice its characteristic sound. You can use the Formant Scaling value to offset the pitch transposition you're applying. For example, if you're transposing the pitch down, you can raise the formant to try and maintain the characteristics of the sound. 6. Click OK when you are done.
To insert a single blank measure into a project 1. Press CTRL+SHIFT+A or select Edit > Select > None to make sure that no track or time range is selected. 2. Set the Now time to the place where you want to insert the measure. 3. Choose Project > Insert Time/Measures to display the Insert Time/Measures dialog box. Figure 223. The Insert Time/Measures dialog box 4. Verify that the settings are correct and click OK. SONAR inserts a blank measure at the Now time.
5. If necessary, change the length of time to insert by entering a number and choosing the units you want from the list. 6. Choose the types of events that should be shifted automatically from the Slide list. 7. Click OK when you are done. SONAR inserts the desired amount of blank time into the project.
2. In the Track view, select the clips you want to move. 3. Drag one of the selected clips to its proper destination—the Drag and Drop Options dialog box appears. 4. Choose options and click OK. All the selected clips move by the amount that you dragged the mouse. Stretching and shrinking events The Process > Length and Process > Fit to Time commands can be used to stretch or shrink a portion of a project.
To stretch or shrink using percentages 1. Select the events you want to change. 2. Choose Process > Length to display the Length dialog box. Figure 224. The Length dialog 3. Choose to change the Start Times and/or Durations of selected notes by checking the boxes. 4. If you want to stretch selected audio clips, check the Stretch Audio box. When this check box is enabled, the following two options become available: • Type. Choose the type of audio data you're stretching.
To stretch or shrink to a specific length 1. Select the events you want to change. 2. Choose Process > Fit to Time to display the Fit to Time dialog box. Figure 225. The Fit to Time dialog 3. Enter the desired end time in the New Thru box. Click Format to switch between MBT and SMPTE format. 4. Choose one of the following: • Tempo Map. Choose this option if you want the tempo to change but not the duration of notes and events.
6. Click OK when you are done. SONAR modifies the length of selected events or changes the tempo map, as you requested. High-resolution audio boosted by 6 dB when stretched using MPEX When using a sample rate of 88.2 kHz or higher and performing any operation that uses MPEX time/ pitch stretching, the stretched audio will be boosted by 6 dB. Reversing notes in a clip The Process > Retrograde command reverses the order of events in a selection.
Figure 226. The Scale Velocity dialog 3. Enter the starting and ending velocity values. 4. Check the Percentages box if the values are percentages. 5. Click OK when you are done. SONAR alters the velocity of selected events. Changing the timing of a recording When you record a performance, there may be problems you’d like to correct. For example, the note timing may not have been as accurate as you would like.
Quantizing Quantizing is one of the most important editing functions in SONAR. You use this feature to correct timing errors you make when recording from a MIDI instrument or to adjust the timing of audio clips. Very few musicians are capable of performing in perfect time. As you play, you are likely to strike some notes slightly before or after the beat or to hold some notes slightly longer than you intended. The Quantize commands can help to correct these types of timing mistakes.
Duration As an option, SONAR can adjust the duration of note events so that each note ends one clock tick before the start of the nearest resolution-sized note. This ensures that the notes do not overlap, which can cause problems on some synthesizers. The adjustment may lengthen the duration of some notes and shorten the duration of others. When you use Groove Quantize, the duration adjustment compares the note length to the duration of the sample note in the groove.
Swing = 50% Swing = 66% Swing = 33% Window When you quantize some portion of a project, you might not want to adjust notes that are very far from the grid. The window, or sensitivity, setting lets you choose how close to the resolution grid a note must be located for quantize to move it. A window of 100 percent includes all notes and guarantees that all notes will be shifted to lie exactly on the grid. The window extends half the resolution distance before and after the quantization point.
To use the Quantize command 1. Select the material you want to quantize using any of the selection tools and commands. 2. Choose Process > Quantize to display the Quantize dialog box. Figure 227. The Quantize dialog 3.
To use the Groove Quantize command 1. Select the track or clip you want to quantize, using any of the selection tools and commands. 2. Choose Process > Groove Quantize to display the Groove Quantize dialog box. Figure 228. The Groove Quantize dialog 3. Choose a groove file from the Groove File field. 4. Choose a groove pattern from the Groove Pattern field. 5.
6. Click Audition if you want to hear how the quantization will sound; press Stop to stop auditioning the change. 7. Make adjustments as necessary. 8. Optionally, type a name in the Preset field (located at the top of the dialog box) and click the Save button to save your settings. 9. Click OK when you are done. SONAR quantizes the selected MIDI information and audio clips. You can use Undo to restore the material to its original state.
4. Choose the Clipboard as the groove “Groove File.” 5. Click the Define button to display the Define Groove dialog box. Figure 229. The Define Groove dialog 6. Select an existing groove file, or enter the name for a new groove file. 7. Enter a pattern name, or choose an existing pattern to replace. 8. Click OK. 9. If you are replacing a groove, verify that you want to delete the existing version. 10. Click Close when you are done to return to the Groove Quantize dialog box.
4. Select the pattern name of the groove. 5. Click the Delete button, and confirm that you want to delete the groove pattern. 6. Repeat steps 3 to 5 for each groove you want to delete. 7. Click Close when you are done to return to the Groove Quantize dialog box. Groove Quantize tips Here are some tips to help you with groove quantizing: Aligning sloppy tracks with a good one. Select the portion of the “good” track that you want to apply to the “sloppy” tracks and copy it to the Clipboard.
SONAR lets you record music from a MIDI controller without requiring that you use a fixed tempo. In fact, if you record without using a metronome, you are very likely to end up with a recording that does not fit onto a fixed tempo grid. The Process > Fit Improvisation command lets you take a recording and create a tempo map (with measure and beat boundaries) that fits what you played.
To sync the project tempo to freely played MIDI If you have recorded a MIDI track without a metronome, you may want to align the project’s tempo map with the MIDI performance. The Set/Measure Beat At Now command allows you to create new bar lines to fit your project. This command does not stretch audio. It works by adjusting tempo so that measure lines line up with audio transients or MIDI data. The tempo will ramp up/down from the previous tempo change in order to arrive at the required tempo.
4. Choose Project > Set Measure/Beat at Now to open the Measure Beat/Meter dialog box. 5. Enter the desired measure and beat values, and click OK. Note: SONAR attempts to guess the correct measure/beat, so you usually can just click OK to accept the default values. 6. Move the Now Time to the next desired beat (click the start of the next note). Tip: Press TAB to jump to the next note, or SHIFT+TAB to jump to the previous note. 7.
Snap to Scale When Snap to Scale is enabled, any notes that you draw in the Piano Roll view (or Inline Piano Roll view) stay within the selected scale. Also, any notes that you move with the Select tool stay within the selected scale. When Snap to Scale is enabled, both Piano Roll views display grey rows at the pitch levels that are not in the selected scale. Also, both the Select tool and the Draw tool display a tuning fork icon when you create or modify notes to show that Snap to Scale is enabled.
To choose a scale for a single track • Do either or the following: • In the Track Inspector, click the drop-down arrow in a track’s Scale control, and choose a scale note from the menu that appears. The scale options in the menu contain both factorysupplied scales and ones that you create and/or edit. • In the Piano Roll view, right-click a track’s name in the Track List pane, and choose Scales > (kind of scale) > (name of scale) from the pop-up menu. To create a scale 1.
Figure 231. The Scale Manager dialog A B A. Keyboard display B. Scale degree buttons 6. When you’re through choosing scale degrees, click the Close button to save your changes. If you want to delete your scale, just highlight it in the Scale field, and click the Delete button . To edit or delete a scale 1. Open the Scale Manager dialog box (click the drop-down arrow in the Scale menu, and choose Scale Manager from the menu, or the right-click menu in the Track List pane of the Piano Roll view). 2.
A B A. Keyboard display B. Scale degree buttons 5. When you’re through choosing scale degrees, click the Close button to save your changes. To restore a scale or scales to factory settings 1. Open the Scale Manager dialog box. 2. If you want to restore a particular scale to factory settings, select it in the Scale field, click the Defaults button, and in the Scale Defaults dialog box, select Restore Current Scale (if factory), and click OK. 3.
Searching for events The events in a project have many different parameters. For example, all MIDI notes have a channel, starting time, pitch, velocity, and duration. Controllers have a controller number and value. SONAR makes it simple to find, select, and modify events that have certain values for specific attributes.
Figure 232. The Event Filter - Search dialog A B A. Check to include this type of event B.
The event filter only accepts events that meet all the specified ranges. This means that a note event must fall within the pitch range, the velocity range, and the duration range in order to be included. The event filter can also be used to accept events that occur in a range of channel numbers, beats, and clock ticks. You can choose either to include or exclude the events that meet the specified criteria.
To select events using the Event Filter 1. First, select an initial set of tracks, clips, or events. 2. Choose Edit > Select > By Filter to display the Event Filter dialog box. 3. Set up the event filter to find the events you want. 4. Click OK. SONAR searches the currently selected events and weeds out those that do not meet the requirements of the event filter.
Parameter Search range Replacement range Pitch (key) From C2 to C4 From C4 to C6 Transposes all notes in the search range up two octaves Pitch From E2 to E2 From Eb2 to Eb2 Converts all Es in octave 2 to Eb in the same octave Pitch From E? to E? From Eb? to Eb? Converts all Es in all octaves to Eb in the same octave Pitch From E? to E? From E? to Eb5 Converts all Es to Eb in octave 5 Pitch From C1 to C8 From C8 to C1 Inverts all the notes in the specified range Velocity From 0 to 127
Controllers, RPNs, NRPNs, and automation data SONAR projects contain a lot more information than the notes and digital audio files that are at the heart of your work. Controllers, RPNs, and NRPNs (xRPNs, for short) are special types of events used by MIDI software and hardware to control the details of how MIDI music is played. Automation data are used to adjust volume, pan, and other parameters of MIDI and audio tracks on the fly while playback is in progress.
Your computer can work the controllers on your electronic instrument by sending MIDI Controller messages. The MIDI specification allows for 128 different types of controllers, many of which are used for standard purposes. For example, controller 7 is normally used for volume events, and controller 10 is normally used for pan. Every controller can take on a value ranging from 0 to 127. The Piano Roll contains several drop-down lists that let you choose the controller you want to see and edit.
Automation data The Track and Console views allow you to record automation data that define changes in volume, pan and many other parameters throughout a project. The Track view allows you to create envelopes to adjust several parameters. For more about automation, see “Automation” on page 1001. Velocity, Pitch Wheel, and Aftertouch SONAR lets you display and edit several other types of data the same way you do controller data.
The Event List view The Event List view shows events in a list format. You can insert, delete, or modify any kind of event, including notes, pitch-wheel data, velocity, MIDI controllers, patch changes, Wave files, lyrics, text strings, MCI commands, System Exclusive meta-events, and more. To open the Event List view, do one of the following: • Select one or more tracks and choose Views > Event List • Right-click a clip in the Clips pane and choose Views > Event List on the pop-up menu. • Press ALT+8.
See: “Event List buttons and overview” on page 743 “Event List display filter” on page 745 “Editing events and event parameters” on page 746 “Additional event information” on page 747 Event List buttons and overview Each line of the Event List view shows a single event along with all of its parameters. There are many different types of events.
Short name Type of event Parameters Text Text Text Lyric Lyric Text (a single word or syllable) MCIcmd Windows Media Control Interface (MCI) command MCI command text Wave Audio Digital audio wave Name, velocity (0-127), and number of samples Shape Events Automation graph segments made up of a solid line between two nodes Change in values, kind of shape, and length in MBT format. Note: Shape events cannot be edited, only deleted.
• See “System exclusive data” on page 1139, for more information about System Exclusive banks. • See “Editing audio” on page 773, for more information about audio clips. Selecting events in the Event List view The following table describes how to select events in the Event List view. To do this Do this Select a single event Click on the event. Select multiple, contiguous events Select the first event, hold the SHIFT key down and click the last event.
Editing events and event parameters The Event List view lets you add, delete, or change events one by one. You can also print the list of events or audition the events one at a time to see how they sound. You can change the parameters of any event by moving the rectangular highlight to the cell you want to change and doing one of the following: • Type a new value and then press ENTER. • Press the - and + keys on the numeric keypad to decrease or increase values by a small amount.
To delete several events 1. Select the events you want to delete by clicking, dragging, or CTRL or SHIFT-clicking in the first column of the Event List view. 2. Choose Edit > Cut. SONAR deletes the selected events. To print the Event List 1. Choose File > Print Preview to display a preview of the printed event listing. 2. Click the Zoom button (or just click the page) to zoom in and out, and use the PAGE UP and PAGE DOWN to review the pages. 3.
SONAR uses the following notation to display flats and sharps in this and other views: Character Meaning b flat # sharp " double flat x double sharp Table 139. MCIcmd events Media Control Interface (MCI) commands are special events that let you control other multimedia hardware and software (e.g., CD-ROM drives, laserdiscs, sound cards, animations, video) during playback. MCI commands are part of the multimedia extensions in Windows.
MIDI effects (MIDI plug-ins) SONAR provides the ability to use plug-in MIDI effects. Using plug-in effects is similar to using the MIDI processing commands off-line. The overall procedure is as follows: • Select the MIDI data to be affected. • Right-click the selected clip(s) and choose Process Effect > MIDI Effects on the pop-up menu. • Set effect parameters (or select a preset if you’ve made one for this purpose). • Click Audition to preview the music with the effect applied.
“Analyzing chords” on page 755 “Changing velocities with the Velocity effect” on page 756 “Transposing MIDI notes with the Transpose MIDI effect” on page 757 MIDI effects presets The MIDI effects dialogs support the use of presets. For information about presets, see “Presets and property pages” on page 866. Quantizing Figure 234. MFX Quantize The Quantize command moves events to (or towards) an evenly-spaced timing grid.
Parameter/Option Meaning Offset (Ticks) The offset of the quantization grid from the start of measure boundaries. A value of 0 indicates perfect alignment. Values less than 0 shift the grid points earlier; values greater than 0 shift the grid later. Randomize Causes a random time offset to be added to or subtracted from each new event time. You must also specify the maximum offset, as a percentage of the quantization resolution. Table 141. To quantize MIDI data 1. Select the data to be affected. 2.
Parameter/Option Meaning Delay The delay between successive echo notes. Delay Units The units used to specify the delay. You may specify delay in ticks, in milliseconds, or as a note duration. Tap The delay you specify by tapping the control with the mouse. Swing (%) The distortion of timing used to produce a swing feel to the echo. A value of 0% indicates a straight rendition; negative and positive values produce distortion of the timing grid.
used by the Edit > Select > By Filter command. For more information, see “Event filters” on page 734. To apply an event filter to MIDI data 1. Select the data to be affected. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Event Filter on the pop-up menu. 3. Set the event filter parameters. 4. Click OK. SONAR applies the specified event filter to the selected data, removing all those events that do not meet the filter criteria. Adding Arpeggio Figure 237.
Parameter/Option Meaning Path The direction of the arpeggio. Options are Up, Up (arpeggios go up), Up, Down (arpeggios go up, then down), Down, Down (arpeggios go down), Down, Up (arpeggios go down, then up). Play thru The disposition of the notes you play to specify the arpeggio. Checked plays the original notes. Unchecked filters out the original notes. Specify output range The range over which the arpeggio plays.
Analyzing chords Figure 238. MFX Chord Analyzer The Chord Analyzer command analyzes chords. You select the notes to be analyzed in one of SONAR’s windows, then open the Chord analyzer and press the Audition button. The chord appears on the MIDI display and the staff, and its name with possible alternatives appears in the Chords recognized box. You can play the notes on your MIDI input device and have the Chord Analyzer identify the chords in real time. You do not have to set to playback.
Changing velocities with the Velocity effect Figure 239. MFX Velocity The Velocity effect lets you adjust velocities of MIDI notes. You can set velocity values, set scale values, add specific or random offsets, create smooth transitions, and limit the velocity range. The velocity effect options are as follows: Parameter/Option Meaning Set all velocities to X Sets all velocities to the specified value. Change velocities by X Adds a specified increment to all velocities.
Transposing MIDI notes with the Transpose MIDI effect Figure 240. MFX Transpose You can perform simple chromatic or diatonic transpositions, transpose from one key to another, or define your own custom transposition. The transpose options are as follows: Parameter/Option Meaning Interval Specifies chromatic transposition. Transposes notes by the specified number of steps. Diatonic Specifies diatonic transposition. Transposes notes by the specified number of scale steps within the specified scale.
To transpose MIDI data 1. Select the data to be affected. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Transpose on the pop-up menu. 3. Set the transposition options as described in the table above. 4. Click OK. SONAR transposes the selected data according to the options you specified.
Drum maps and the Drum Grid pane There are several panes in the Piano Roll view designed for use with MIDI drum tracks: the Note Map pane which lists the original pitch values and the mapped values for each note, and the Drum Grid pane which displays your drum tracks (any track assigned to a drum map) and where you can edit your drum tracks.
The basics Drum maps are virtual MIDI ports that you create and edit. Drum maps give you total control over all the MIDI drum sounds you have access to either in the form of software (soft synths) or hardware (external MIDI sound modules). Drum maps in SONAR allow you to do the following: • Re-map note events, for example, map a General MIDI drum kit to a non-General MIDI drum kit.
• Go to Edit > Preferences > MIDI - Drum Map Manager. Or • Click on the Output field of your MIDI drum track and select Drum Map Manager Figure 241. The Drum Map Manager section A B C D E F G A. New Drum Map button B. Delete Drum Map button C. Current Drum Map D. Click to create a new row E. Preset list F. Rows G.
Drum maps used in current project This field displays all the currently available drum maps. click the New button to create a new drum map and Delete to delete a drum map. Select a drum map to display the drum mappings in the Drum Map Manager. All drum maps in this field are saved with the current project. Presets Presets can be used to populate the fields in the Drum Map Manager. This field is also used to save new drum maps by entering a name in the field and clicking the Save button.
To do this Do this Change the Output Port for all rows with the same Channel/Port Press CTRL+SHIFT while changing the port. Undo an edit Press the Undo button Table 147. See: “The Drum Map Manager” on page 760 “Creating and editing a drum map” on page 760 “Working in the Drum Map Manager” on page 762 The Map Properties dialog The Map Properties dialog box lets you change all the settings for an individual mapped note in your drum map.
To open the Map Properties dialog • Double-click on a row in the Note Map pane. Or • Right-click on a row in the Note Map pane and select Map Properties from the menu that appears. See: “The Drum Map Manager” on page 760 “Working in the Drum Map Manager” on page 762 “Creating and editing a drum map” on page 760 Saving a drum map Use the following procedure to save a new or modified drum map: 1. In the Drum Map Manager, enter a name for the new drum map in the Preset field. 2. Click the Save button .
Using drum maps The following topics cover using drum-mapped tracks, including how to display drum tracks in the Drum Grid pane and how to edit note velocities.
To open all tracks assigned to a drum map 1. Select a single track assigned to the drum map. 2. Hold down CTRL+SHIFT while selecting Views > Piano Roll.
Velocity tails In the Drum Grid pane, you have the option of showing the velocity of each note as a series of bars. The higher the bars, the higher the velocity value. Figure 243. Velocity tails can be shown or hidden A B A. Notes with velocity showing B. Notes without velocity showing To display velocity tails in the Drum Grid pane Click the Piano Roll view Notes menu and choose Show Velocity Tails.
To edit multiple note velocities in the Drum Grid editor When you edit multiple notes that have different initial velocities, the velocities are adjusted on a relative basis, so if you reduce a velocity by 50%, all other selected notes have their velocities reduced by the same percentage. For example: you select three notes. The first has a velocity of 100, the second a velocity of 50, and the third a velocity of 30. You click and drag the velocity of the first note down to 50.
The Note Map pane The Note Map pane displays the current drum map. In the Note Map pane each row represents a pitch. The Note In pitch is the recorded pitch. You map the recorded pitch to whatever pitch you want using the Note Out pitch setting. You can also change the name of the mapped note and mute or solo the mapped note.
To change the Note Out setting The Note Out setting is the actual note you hear when the Note In value is played. To change the Note Out setting, use the following procedure: 1. In the Note Map pane, double-click on the appropriate row. The Map Properties dialog box appears. 2. In the Map Properties dialog box, enter a new value in the Note Out field and press the ENTER key, or use the +/- buttons to change the value and press the ENTER key. To change multiple Note Out settings 1.
The Drum Grid pane The Drum Grid pane is where you edit your drum tracks. The Drum Grid pane is the top pane in the Piano Roll view and opens automatically when you open a MIDI drum track. The Drum Grid pane is for MIDI drum tracks what the Note pane is for other MIDI tracks. In the Drum Grid pane you can add, delete and edit notes and note properties. You can edit controllers in this pane if you hide the Controller pane.
Drum maps and the Drum Grid pane The Drum Grid pane
Editing audio The Track view lets you edit and arrange audio clips. You can perform basic tasks such as cut, copy, paste, and move; apply simple audio processing such as gain change, fades, and equalization; and use sophisticated audio effects such as stereo chorus and reverb. The Track view lets you see your audio clips on a timeline, arranged by track, to help you visualize the organization of your project’s audio data.
Digital audio fundamentals Digital audio is a numeric representation of sound; it is sound stored as numbers. In order to understand what the numbers mean, you need to start with the basic principles of acoustics, the science of sound.
The actual distance the string moves is called its displacement. This is proportional to how hard the string is plucked. A greater displacement results in a louder sound.
Fundamental frequency (1f) 100% amplitude 2x fundamental (2f) 50% amplitude 3x fundamental (3f) 33% amplitude 4x fundamental (4f) 25% amplitude 5x fundamental (5f) 20% amplitude This composite waveform still doesn't account for the uniqueness of the sound of different instruments. For example, stringed instruments usually have a resonator. In the case of the guitar, the resonator is the big block of hollow wood to which the string is attached (the guitar body).
Waveforms A sound wave can be represented in many different ways: as a mathematical formula, as a series of numbers, or graphically as a waveform. A waveform displays the size, or amplitude, of the vibration as a function of time.
The three waveforms shown above are quite different from one another, both in appearance and sound. Each has its own characteristic shape, or envelope, and each has its own complex combination of frequency components, which can change across the duration of the sound. The center line of a waveform is the zero line; it corresponds to the rest position (displacement of 0) of the original vibrating object. (A waveform for perfect silence would be a horizontal line at zero.
Since humans can hear frequencies well above 10 kHz, most sound cards and digital recording systems are capable of sampling at much higher rates than that. Typical sampling rates used by modern musicians and audio engineers are 22 kHz, 44.1 kHz, and 48 kHz. The 44.1 kHz rate is called CD-quality, since it is the rate used by audio compact discs. The other important aspect of the measuring process is the sampling resolution.
• To indicate volume levels of audio tracks in the Track view, Track Inspector and Console view • To indicate the effects of filters and equalizers The reference level (0 dB) usually corresponds to the current loudness of the sound. A positive change in decibels makes the sound louder; a negative change makes the sound quieter.
See: “Digital audio fundamentals” on page 774 Basic audio editing The Track view lets you perform basic editing tasks such as cut, copy, paste, delete, drag-and-drop, split, and bounce. You can drag fade-ins and fade-outs onto a clip using your mouse or you can set complex envelopes on both clips and tracks. You can use envelopes to change settings for gain (volume), pan, mute, bus send level and bus send pan. The Scrub tool lets you audition portions of audio by dragging the mouse.
Editing clip properties Audio clips have several properties that you can change: Property Description Name The name of a clip is used in the Track view and Event List view. You can assign any name to help you remember the contents of the clip. Start The start determines when the sample is played. Length The length indicates the size of the clip. Snap Offset A value that represents the number of samples into the clip at which the clip snaps to. Display Color The clip’s color in the Track view.
A B C A. Track pane B. Clips pane C. Audio Scale Ruler Note: The Audio Scale Ruler does not appear on multi-layered tracks. There are three display options in the Audio Scale Ruler: • Percentage. Shows audio scaling by percentage. For example, if the highest percentage in the Audio Scale Ruler reads 2.0%, then only the parts of the waveform which are within 2% of the zero crossing appear in the clip. • dB. Shows audio scaling by dB.
To scale all audio tracks together To scale all audio tracks together, follow the instructions in the following table. To do this Do this Increase the scale for all tracks Press ALT+UP ARROW. Or Hold down the CTRL key and click the Vertical Zoom In button. When you hold down the CTRL key and position your cursor over the Vertical Zoom In button, your cursor looks like this: Decrease the scale for all tracks Press ALT+DOWN ARROW. Or Hold down the CTRL key and click the Vertical Zoom Out button.
To scale a single track or bus To scale a single audio track, follow the instructions in the following table. To do this Do this Increase/decrease the scale of individual stereo or mono tracks There are several ways to increase or decrease the size of an individual track’s or bus’s waveform: • Press CTRL+ALT+UP/DOWN ARROW keys • Click and drag vertically in the track’s Audio Scale Ruler.
To split clips with the Split tool 1. If necessary, zoom-in in the Track view and use the Scrub tool (hold down J) to determine where you want to make a split. 2. If you want the split to be made on a note or measure boundary, a marker, specify the desired snap settings in the Control Bar’s Snap module. 3. Select the Split tool in the Control Bar. 4. Click once to make a single split, or to make two splits, click where you want the first split, drag within a clip and release to make a second split.
Bouncing to clips Individual audio clips in the same track can be combined into a single clip with the Bounce to Clip(s) command. Note 1: Like any clips, slip-edited clips can be combined with other clips using the Bounce to Clip(s) command. When a slip-edited clip is combined with another clip, any slip-edited data (audio clips or MIDI events that are cropped from view) is overwritten.
To bounce multiple audio clips to a new track 1. Select the clips to be combined in the Track view. 2. Click the Track view Tracks menu and choose Bounce to Track(s). The Bounce to Track(s) dialog box appears. 3. Select the track you want to bounce to in the Destination field. 4. Select other options in the Mixdown Audio/Bounce to Track(s) dialog box and click OK. The clips are combined into a single clip on the destination track. Empty space between clips is filled with silence in the new clip.
Basic audio processing Audio processing commands let you modify audio data according to some rule or algorithm. The rule can be as simple as reversing the audio data or boosting it by a certain factor, or as complex as performing a Fourier analysis and selectively amplifying or attenuating sounds at certain frequencies. Audio processing commands can work on whole, partial and non-contiguous clips. For example, suppose you want to make certain words in a vocal passage softer.
Using the Normalize and Gain commands SONAR provides several commands to boost or cut the volume of audio data. The Process > Apply Effect > Normalize command, and the Process > Apply Effect > Gain commands are used to control the volume of selected audio data, in decibels. For more information about the decibel scale, see “The decibel scale” on page 779. The Normalize command “normalizes” the audio data: it boosts the volume until the maximum amplitude is reached somewhere in the data.
5. If you want to invert the left channel phase, click the Invert left-channel phase button . If you want to invert the right-channel phase, click the Invert right-channel phase button in the New Right Channel section. 6. If you want to remove center material (usually where the vocal track is), set the New Left Channel-From Left slider and the New Right Channel-From Right slider to 100%, and set the New Left Channel-From Right slider and the New Right Channel-From Left slider to -100% (negative 100%). 7.
Advanced audio processing SONAR provides a number of advanced audio processing commands for power users. Among these are commands to apply fades and crossfades. See: “Removing silence” on page 792 “Applying fades and crossfades offline” on page 794 “Removing DC offset” on page 794 Removing silence The Remove Silence command detects sections of audio that fall below a given loudness threshold, and replaces those sections with absolute silence.
Parameter Meaning Attack Time (ms) The value in this field is the interval of time after the volume reaches the Open Level for the gate to fully open. Opening the gate gradually produces a fade-in effect instead of an instant on-off sound. Hold Time (ms) The minimum time for the gate to stay open. Hold Time is useful when you’ve set high open and close levels, for example, when your source signal is very loud.
Removing DC offset Some models of audio hardware produce a DC offset while recording, which is caused by electrical mismatches between the audio hardware and the input device or instrument. Although imperceptible, DC offset may cause problems in further stages of sound processing. Note: An easy way to spot DC offset is to zoom in to a silent section of your sound file. If the silent waveform matches the centerline in the waveform display, your file does not contain DC offset.
Although the endpoints of the curve are fixed, you can move the intermediate points, and create new intermediate points, to change the shape of the curve. To do this Do this Move a point Click and drag it to a new location Insert a new point Click on the line between existing points Remove a point Drag it onto the next point Restart from the original curve Click Reset Table 155.
To crossfade two overlapping clips 1. Select two overlapping audio clips. They need not be on the same track, but they must overlap in time for the command to have any effect. 2. Choose Process > Apply Effect > Crossfade to open the Crossfade dialog box. 3. Select an envelope from the drop-down list. Figure 246. The Crossfade dialog 4. If desired, manipulate the curve as described in the table above.
Audio effects (audio plug-ins) SONAR provides the ability to use plug-in audio effects. Some audio plug-in effects are supplied with SONAR. Others can be purchased from third-party software manufacturers, and appear automatically in SONAR’s menus once they are installed on your system. If you need help when using a plug-in, press the F1 key on your computer keyboard to open the plug-in’s help file. Please note that third-party plug-ins may not have a help file.
To apply audio effects Add one or more audio effects to one or more tracks in either the Track view or the Console view, and then: 1. In the Track view, select the tracks you want to be affected. 2. Select Process > Apply Effect > Audio Effects from the menu. 3. If desired, select the option to delete the effects after applying them. 4. Click OK. If you do not delete the effects from each track after applying them, they remain active.
Software instruments SONAR’s Synth Rack (the Synth tab in the Browser) makes inserting a soft synth or ReWire instrument a one-step process, and makes viewing and configuring these instruments simple. In the Synth Rack you can insert and delete synths, create control knobs to control and/or automate parameters, scroll through patches and presets, mute, solo, freeze, and choose what track to display automation data on. You can easily control all of your soft synths from one view.
Synth Rack To open the Synth Rack, open the Browser and click the Synth button . The Synth Rack lets you view, insert, delete, and configure your soft synths. You can also mute, solo, and freeze any or all of them from this view. Each time you insert a soft synth into your project, a new row appears in the Synth Rack with the name of the soft synth and its current preset. You can select different presets from the view.
For more information about the Synth Rack, see “Using the Synth Rack Browser” on page 581.
Synth tracks Using a soft synth introduces a third kind of track to your project alongside audio and MIDI tracks. A synth track functions much like an audio track, but with a few differences: • A synth track’s input is always a synth or a ReWire device, which means you cannot record audio or enable input monitoring from another source on that track. • A synth track can display a waveform preview of its output.
In order to play a soft synth from a MIDI controller or with recorded MIDI data, you need to have at least one synth track that lists the soft synth in its Input field, and at least one MIDI track that lists the soft synth in its Output field. The data from the MIDI track feeds the synth track and plays the soft synth. If you’re playing the soft synth with a MIDI controller, the MIDI track that’s feeding the synth track must have the focus (lighter color).
• If you want to create separate synth tracks for each of the soft synth’s outputs, check the Create These Tracks: All Synth Audio Outputs check box. • If you want to use existing MIDI and audio tracks to play the soft synth, uncheck all of the Create These Tracks options. SONAR adds the soft synth to the audio track input and MIDI track Output menus.
Two things happen: the soft synth’s interface appears, and the soft synth’s name appears in the track’s or bus’s effects bin, with a Bypass button next to the name. 3. Set the soft synth’s parameters (choose sounds, effects, etc.), and drag its interface out of the way. 4. Click the Output field of a MIDI track to display the Output menu. 5. Select the name of the soft synth that you patched into the audio track or bus. 6. If the soft synth is multi-timbral, choose a MIDI channel for the MIDI track. 7.
Using instrument tracks SONAR has a track type called instrument track, which makes it very simple to work with soft synths. An instrument track is essentially two tracks—a MIDI track and an audio track, both associated with the same soft synth—contained in a single track strip. An instrument track allows you to control the MIDI data that is sent to a soft synth and the audio signal that is returned from the soft synth.
Figure 250. Instrument track strip Instrument track controls Because an instrument track is a hybrid between an audio and a MIDI track, an instrument track strip contains both audio and MIDI controls. The instrument track strip exposes MIDI input and audio output controls. Internally, the MIDI output is assigned to the soft synth’s MIDI input, and the audio input is assigned to the soft synth’s main output.
Control type Audio MIDI MIDI Channel X Bank X Patch X Time+ X Pitch+ X Sends X Snap to scale X Effects bin X Meter X Track scale (When track is frozen) X Table 156. Editing in the Clips pane By default, MIDI clips are displayed and can be edited in the Clips pane. MIDI track and clip envelopes are not available. If an instrument track is frozen, audio clips are displayed and can be edited in the Clips pane. Audio track and clip envelopes are also available.
Splitting an instrument track to separate audio and MIDI tracks You can split an instrument track into separate audio and MIDI tracks. The audio and MIDI tracks will remain assigned to the same soft synth. • Click the Track view Tracks menu and choose Split Instrument Track. The instrument track is converted to separate audio and MIDI tracks, both assigned to the soft synth.
Synth Rack icons Each Synth Rack strip displays a synth icon so that you can easily tell one synth from another when the rack contains multiple synths. Icons have the same image format and file location as track icons, and use the same commands to show or hide the icons. Synth Rack Icons are enabled in SONAR by default, and the default icon for each synth is track_icon_dxi_large.bmp. The Synth Rack only displays large format icons, fixed at 48x48 pixels.
• Some soft synths that use the DXi 2 format can send MIDI data, sometimes including MIDI notes, from their interfaces to SONAR. For example, some soft synths have MIDI keyboards built into their interfaces that you can click to send note on/off messages. See “Recording a soft synth’s MIDI output” on page 820 for more information. To play a soft synth with recorded MIDI data 1. Insert a soft synth into the project. 2. In the MIDI track that sends its output to the soft synth, choose a MIDI channel. 3.
When you play your MIDI controller you should hear the soft synth through your sound card’s outputs. If you don’t, make sure you’re playing in the right range; a bank, patch, and channel are selected; your monitor speakers or headphones are turned up; your controller is attached to your MIDI interface; and that none of the relevant tracks are muted.
Muting and soloing soft synth tracks SONAR automatically places any synth and MIDI tracks that use soft synths into a group that makes muting and soloing the tracks easy: • To mute or solo a MIDI track that is patched to a synth track, simply mute or solo the MIDI track— SONAR automatically mutes or solos the correct synth track. If another MIDI track uses the synth track as an output, SONAR leaves the synth track unmuted.
Multi-port soft synths A multi-port soft synth allows you the option of using a different synth track for every output that the soft synth has. This allows you to use different plug-in effects for each sound (or in some cases, group of sounds) that a soft synth produces. For example, if a soft synth can produce 16 sounds at the same time, and has 4 outputs, you can send any of the 16 sounds out through any of 4 different outputs, giving you a choice of 4 different plug-in configurations for that soft synth.
Converting your soft synth tracks to audio Once your project sounds the way you want it to, it’s extremely easy to convert your soft synth MIDI tracks to either new audio tracks, or Wave, MP3, or other exported files. You can also do a temporary conversion, called freezing. See “Freeze tracks and synths” on page 858 for more information. To convert your soft synth tracks to new audio tracks 1. Mute all tracks that you don’t want to convert. 2. Click the Track view Tracks menu and choose Bounce to Track(s).
To export your soft synth tracks as Wave, MP3, or other type files 1. Mute all tracks that you don’t want to export; make sure you don’t mute the synth track or the audio track that the soft synth is patched into, or the MIDI track(s) that you are using as a source. 2. Use the File > Export > Audio command. The Export Audio dialog box appears. 3. In the Look in field, choose the location where you want the new, exported file to be. 4. Type a file name in the File name field. 5.
Using the Assignable Controls feature You can create knobs on the Synth Rack to control any of a synth’s automatable parameters (each knob learns what parameter to control when you create the knob). This makes it easy to adjust the controls that you use most often on a particular synth, and also lets you record automation from the Synth Rack. After you create some control knobs, the next time you insert the same synth, you can choose to display the same control knobs that you used previously.
The Synth Rack displays knobs for the controls you selected, with the each knob’s name displayed below each knob. Now you can adjust some of the synth’s parameters by moving the appropriate knob in the Synth Rack. See also: “Recording a soft synth’s MIDI output” on page 820 “Automating controls from the Synth Rack” on page 818 “Displaying Synth Rack automation” on page 818 Automating controls from the Synth Rack Note: Your synth’s manufacturer determines which controls (if any) you can automate.
Remote control of the Synth Rack Once you create some control knobs on the Synth Rack, you can assign knobs or sliders on your MIDI controller to control the Synth Rack knobs. See “Using remote control” on page 919 for more information. Drawing soft synth automation in the Clips pane Some synths have controls that you can automate by drawing envelopes in the Track view.
Soft synth MIDI output support Some soft synths produce MIDI output as well as audio output. You can now record the MIDI output of both VST and DirectX instruments that have this feature. Recording a soft synth’s MIDI output SONAR allows you to record the MIDI output of a synth onto another MIDI track in your project. This can be convenient if your synth creates arpeggios, drum patterns, or other MIDI data that you want to edit as a MIDI clip.
ReWire SONAR can send MIDI events to any object in a ReWire client application on as many MIDI channels as the client application makes available.
• You can use SONAR’s automation functions on both synth and MIDI tracks that the ReWire application uses. • Muting or soloing a synth track that a ReWire device uses automatically mutes or solos the MIDI track that feeds that synth track. Muting or soloing a MIDI track that a ReWire device uses will mute or solo the corresponding synth track only if there is only one MIDI track feeding that synth track. • You must always close your ReWire application(s) before you close SONAR.
• If you want to create separate synth tracks for each of the ReWire Instrument’s outputs, check the Create These Tracks: All Synth Audio Outputs check box. • If you want to use existing MIDI and audio tracks to play the ReWire Instrument, uncheck all of the Create These Tracks options. SONAR adds the ReWire Instrument to the audio track Input and MIDI track Output menus.
2. In your ReWire application, assign the devices you want to use to the outputs or channels you want to use. For example, in Propellerheads Reason, you use the back panel of the mixer to drag cables from a device to the output channel you want to use for that instrument. 3. In SONAR, set the Output field of a MIDI track to the name of your ReWire application, and set the Channel field to the name of the ReWire device you want to play with this track. 4. Record some MIDI data in the track and play it.
Automating ReWire instruments You can automate audio and MIDI tracks that are patched to ReWire instruments the same ways you can automate any of SONAR’s audio and MIDI tracks.
ReWire tracks silent when using metronome record count-in When using a metronome count-in and recording, any ReWire tracks will be silent at the start of recording. The silence period will equal the count-in duration. To fix this issue, disable metronome count-in (go to Edit > Preferences > Project - Metronome and set Record Count-in to 0).
7. Record some MIDI data in the MIDI track, or play any MIDI controller that’s an input for the MIDI track. When you play your MIDI controller or play back the recorded MIDI data, you should hear the standalone synth through your sound card’s outputs. If you don’t, make sure you’re playing in the right range and that your monitor speakers or headphones are turned up, and that none of the relevant tracks are muted.
5. Open your sound card's mixer device. This is normally done by double-clicking the speaker icon on the Windows taskbar, or by choosing Start > Control Panel > Hardware and Sound > Volume Control in Windows 7.. Note: Some sound cards, such as the SoundBlaster Live, have their own proprietary mixer. If yours has one, please use it instead. 6. Click Adjust Volume For Recording, and make sure all boxes below are checked. 7. Click OK, and locate the slider marked MIDI, Synth, Mixed Input, or What You Hear.
Mixing SONAR lets you mix your projects with tremendous control and flexibility. The extensive bussing controls, support for DX and VST plug-ins, built-in EQ’s, automation, remote control, metering, grouping, and freeze features let you design your own style of mixing, with your own workflow. (Automation is covered in a separate chapter.) After you finish mixing a project, you can export the project in a variety of audio file formats to create a CD master or to publish your work on the Internet.
See: “Preparing to mix” on page 831 “Mixing MIDI” on page 836 “Signa l flow” on page 839 “Routing and mixing digital audio” on page 841 “Stereo buses” on page 842 “Insert Send Assistant” on page 846 “Metering” on page 849 “Waveform preview for buses and synth tracks” on page 857 “External Insert plug-in (Producer and Studio only)” on page 876 “Effects chains” on page 882 “Using real-time effects” on page 862 “Sidechaining” on page 872 “V-Vocal clips (Producer and Studio only)” on page 898 “Using control gro
Preparing to mix The Console view, Track view and Track Inspector contain all the controls you need to mix your project. To open the Console view, choose Views > Console or press ALT+2. To open the Inspector, choose Views > Inspector or press I. The Track view is always open. Note: You can control all sliders and knobs in the Console and Track Views by hovering over them with the mouse and manipulating the mouse wheel. Figure 252. The Console view B C A D E F A. Console view menu B.
contains main channel strips. You can drag the pane splitter bars to resize the panes. • Channel strips. Each track, bus and main in the project is represented by its own vertical channel strip. Use the channel strip controls to mix and process tracks, buses and mains. For details, see “Channel strips” on page 1839. • Modules. Controls in channel strips are grouped into modules that can be shown or hidden. For details, see “Modules” on page 1851.
Configuring the Console and Track views The Console and Track view can be reconfigured in a variety of ways. You can: • Choose the tracks that you want to see • Adjust the display of audio meters and clip indicators • Change the number of buses • Set control snap-to positions • Insert new tracks • Name tracks and buses Note: The Console view has additional controls to configure its appearance. See “Console view” on page 1836 for more information.
To choose the tracks that are displayed using the Track Manager 1. Click the Track view Tracks menu and choose Track Manager to open the Track Manager dialog box. 2. In the list, check those tracks you would like displayed in the view in which you are working, and uncheck the rest. You can use SHIFT-click, CTRL-click, or the quick select buttons to select multiple modules; press the SPACEBAR to check or uncheck all the selected modules at once.
To create a bus send in a track 1. Right-click in an empty part of the Track pane (Track view) or a track module (Console view). 2. Select Insert Send for a list of buses available. 3. Select a bus from the list. To set the snap-to position of a knob or fader 1. Set the control to the desired position. 2. Right-click on the control and choose Value > Set Snap-To=Current. From now on, the control returns to this position when double-clicked. To insert a new track 1.
Mixing MIDI SONAR gives you many tools to control your MIDI mix. When your MIDI tracks sound the way you want them to, there are several ways to convert them to audio (see “Converting MIDI to audio” on page 837). See: “Mixing a MIDI track” on page 836 “Converting MIDI to audio” on page 837 Mixing a MIDI track All MIDI track controls are available in the Track Inspector. A subset of all MIDI track controls are available in the Console view and Track view.
To do this Do this Set the Volume level Adjust the Volume fader Select the input Click the Input button and choose one from the list Table 158. The Volume fader displays the level from a scale of 0 (minimum) to 127 (maximum). The Pan knob displays the pan value on a scale that ranges from 100% Left to 100% Right with center represented by a C.
7. Click OK, and locate the slider marked MIDI, Synth, Mixed Input, or What You Hear. Check the Select box at the bottom, then close the window. 8. In SONAR, click the Record button. SONAR records all the MIDI tracks that are assigned to the sound card synth as a stereo audio track. After you finish recording, mute the MIDI tracks that you just recorded so you don’t hear them and the new audio track at the same time.
Signa l flow Clip Input Hardware input Audio clip Soft Synth input Clip mute V-Vocal region Clip fades Input meter (record) Clip envelopes/Clip Mute regions Clip effects bin Track Input Gain Phase/Interleave Playback Meter (pre fader/pre effects bin) ProChannel Effects bin Pre fader sends are affected by M-S buttons unless you change the LinkPFSendMute Aud.ini option.
You control the mixing and playback of an audio track as follows: To do this Do this Add a real-time audio effect to the track Right-click in the effects bin and select an effect from the list (for more information, see “Using real-time effects” on page 862“). Remove an effect Select the effect and press DELETE or right-click and select Delete.
Sidechaining signal flow Track 1 effects bin Track 1 FX Output Sidechainable FX Sidechain input Bus Hardware Output Track 2 Output / Send Sum Bus Output / Send See also: “Sidechaining” on page 872 “Signa l flow” on page 839 “External Insert signal flow” on page 878 Routing and mixing digital audio Any audio track can be tapped, before or after the track volume control, and sent to one or more buses. A bus can tap any number of audio tracks.
The audio in each bus is processed by the input gain and pan controls (main output buses don’t have these controls), then processed by any real-time effects you have patched, sent through the bus output level and pan controls, and then sent to the designated main out, in stereo. You can also insert a send control on a bus, and send the bus signal to another bus, or route the output of a bus to another bus.
To do this Do this Add a real-time audio effect to the bus Right-click in the effects bin and select an effect from the list (for more information, see “Using real-time effects” on page 862) Remove an effect Select the effect and press DELETE, or right-click and choose Delete Set the output level Adjust the Output volume Set the output panning Adjust the Pan setting Set the Send Pan to be the same as the bus that the bus feeds into Right-click the Send Pan control and choose Follow Bus Pan from t
8. In the bus, drag the Input Pan and Output Pan controls to the approximate positions you want. 9. Play your tracks and adjust the Send Level controls, the Pan controls, etc. To mute or solo a bus Each bus has a Mute button and a Solo button. These controls act like the Mute and Solo buttons in a track, but they affect all the signal routed through the bus. 1. Open the Track view, Track Inspector or Console view. 2. Click the Mute or Solo button in the bus you want to mute or solo.
Select tracks/buses that are assigned to a specific bus You can quickly select all tracks and buses that are routed to a specific bus (via outputs or sends). To do so, hold down the ALT key and click the bus’ Select control in the Track view or Console view. To display the audio waveform of a bus • Enable the bus’ Waveform Preview button flowing through the bus. . This displays the waveform of the audio that is Main outs Each enabled hardware channel has a main out channel strip in the Console view.
Insert Send Assistant The Insert Send Assistant makes it fast and easy to create headphone mixes, effect buses and insert sends to new or existing buses. To open the Insert Send Assistant • Right-click on a track or bus and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog box opens. Figure 255. The Insert Send Assistant dialog The Insert Send Assistant dialog box has the following options: Send to Existing Bus.
Pre Fader. When Pre Fader is selected, the send signal is before the channel volume fader. As a result, the send level going to the bus does not change when the channel fader changes. Pre Fader is preferred when you want to create separate mixes, such as unique headphone mixes for different performers. By default, the send signal is post fader and comes after the channel volume fader. As a result, the send level going to the bus changes when the channel fader changes.
To insert a send to a new stereo bus 1. Right-click on a track or bus and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog box opens. 2. Under New Bus Options, select Stereo and specify any other desired options (see “New bus options” on page 847). 3. Click OK to close the Insert Send Assistant dialog box. A new send is inserted and assigned to the new bus. To insert a send to a new surround bus 1.
To insert a send on multiple tracks simultaneously 1. Select all the tracks that you want to insert a send on. 2. Right-click any selected track and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog box opens. 3. Under New Bus Options, select Stereo or Surround and specify any other desired options (see “New bus options” on page 847). 4. Click OK to close the Insert Send Assistant dialog box.
What the meters measure The following table summarizes what each kind of meter measures.
To show or hide individual meters on tracks or buses • Right-click the track or bus to display the pop-up menu, and check or uncheck the appropriate show meter option. See also: “What the meters measure” on page 850 “Changing the meters’ display” on page 851 Changing the meters’ display You control the range and kind of units that the various meters display in the Track view, Track Inspector and Console view. The meters in each view can be configured independently.
Menu option What it does Show Bus Peak Markers (Track view only) See “Peak markers” on page 856) Reset All Meters If a track clips, its meter shows a red clipping indicator. Click this button to reset the clipping indicator to its non-clipping state. Peak Choosing this option causes the meter to display the highest amplitude in the signal that occurs in a complete cycle of a frequency.
Enabling mono on a bus/main will affect upstream meters If you make a bus or main out mono by toggling its Mono/Stereo switch, any “upstream” meters— that is, meters on any tracks or buses that are assigned to the mono bus/main out—from the bus/ main out will also display as mono. Note: This only affects the meter display, not any audio that is bounced or exported.
To display segmented or non-segmented meters 1. Go to Edit > Preferences > Customization - Audio Meters. 2. Under Segmented Meters, select Track view or Console view to show segmented meters, or clear the check boxes to show non-segmented meters. For more information, see “Customization - Colors” on page 1707. Changing the meters’ performance There are two major factors that determine the performance of meters in SONAR.
• Peak Fall = 1000 msec See also: “Customization - Audio Meter (Advanced)” on page 1734 MIDI activity indicators Each MIDI track displays a MIDI playback meter in the Track view, Track Inspector and Console view. The MIDI meter consists of two sections: • MIDI Activity Indicator. The MIDI Activity Indicator lights up whenever a MIDI event is encountered in the track. • MIDI Velocity Meter. The MIDI Velocity Meter shows the greatest current note velocity encountered during playback. A A B B A.
Peak markers Buses and audio tracks have a feature called Peak Markers. A Peak Marker in each audio track or bus moves along in the Clips pane just behind the Now Time cursor displaying the highest peak found during playback. Peak Markers appear in two different colors: one color if the peak is below 0 dB, and a different color if the peak is above 0dB. By default, peaks below 0dB will be green, and peaks above 0dB will be red.
Waveform preview for buses and synth tracks You can choose to display a waveform for the audio output of a bus or synth track. When you enable the display function, the amplitude of a bus’ or synth track’s audio signal is graphed in real time as a waveform. The waveform turns red wherever clipping is occurring. Waveform preview allows you to visualize a mix and verify levels over the duration of a project, easily detecting peaks and other level problems that may require attention.
Freeze tracks and synths The Freeze feature allows you to temporarily bounce your track, including soft synths and effects, to reduce the amount of CPU power needed. The Freeze feature also works for synths patched in the Synth Rack. The following are the available commands for track freezing: • Freeze Track. Bounces the audio in the track to a new audio clip or clips, applies any effects, and disables the effects bin. • Unfreeze Track.
To Freeze a track Do one of the following: • In the Track view, click the track’s Freeze button . • Right-click on a track and select Freeze > Freeze Track from the menu that appears. SONAR bounces the audio in the track to a new audio clip or clips, applies any effects, and disables the effects bin. To Unfreeze a track Do one of the following: • In the Track view, click the track’s Freeze button . • Right-click on a track and select Freeze > Unfreeze Track from the menu that appears.
To Freeze a soft synth Do one of the following: • In the Track view, click any associated track’s Freeze button . • Right-click a synth track or a synth’s MIDI track, and choose Freeze > Freeze Synth from the menu that appears. • In the Synth Rack (Synth tab in the Browser), click the Freeze/Unfreeze button . SONAR bounces the synth’s audio data to the synth track. SONAR disables the synth’s output, and disables the effects bin on the synth track.
To Quick Freeze a synth Do one of the following: • Click any associated track’s Freeze button . • Right-click a quick unfrozen synth track or synth MIDI track, and choose Freeze > Quick Freeze Synth from the menu that appears. • In the Synth Rack, click the Freeze/Unfreeze button Synth from the menu that appears.
Using real-time effects You can use plug-in effects non-destructively, in real time (to apply effects offline, see “Applying audio effects” on page 913), from the Track view, Track Inspector and Console view. You can also hear your plug-in effects in real time on any live instruments you are recording—just make sure Input Monitoring is enabled (see “Input monitoring” on page 278). You can also insert effects directly on clips (see “Effects on clips” on page 870).
“Applying MIDI effects” on page 913 “Bypassing effects globally” on page 869 “Using the Plug-in Browser” on page 574 “Effects chains” on page 882 Effects parameters Each effect in an effects patch point has its own independent set of parameter values. For example, you can apply a short reverb in one track and a long reverb in another track.
A B A. An effects bin in a track in the Console view B. An effects bin in a bus in the Console view Here’s how to insert and configure effects: To do this Do this Add a real-time effect to a MIDI track, audio track, synth track or bus. Right-click in the effects bin of the track or bus you want to add the effect to, and select an effect from the pop-up menu. Change the order in which effects are used. Drag an effect up or down in the effects bin. Edit an effect’s parameters.
When you place an effect in an effects bin, an abbreviated name is used to describe the effect. Sometimes the limited space makes it impossible to identify the effect. If this occurs, simply rest the cursor over the effect for a second or two, and a tooltip will pop up to display the full name of the effect. Effects in effects bins display “ticks” that tell you whether the effect is outputting a mono, stereo, or surround signal: A A. Mono indicator A A. Stereo indicator A A. Surround indicator (in 5.
Look-ahead processing at high latencies Some plug-ins, such as the Sonitus:fx Multiband and other dynamics processors, use a look-ahead buffer mechanism, which results in a short delay being introduced to the output signal when the plug-in is used in real-time. SONAR’s automatic delay compensation (ADC) takes care of any delays, but you may experience some anomalies when using such a plug-in to process the output of a DXi-especially if SONAR is configured to use a high mixing latency.
The following table tells you how to use presets. To do this Do this Load a preset Do either of the following: • Click the drop-down arrow on the right side of the Presets menu, and click the name of the preset in the drop-down menu. • Click the left or right side of the Prev/Next button to load the previous or next preset in the menu. You can click the button repeatedly to step through the menu. Save the current settings as a preset If you’re using: • A VST factory preset.
Plug-in property pages have a couple of other controls not related to presets: • Open View button. This button lets you open a MIDI editing view for a soft synth’s corresponding MIDI track. Click the small down arrow to specify the default editing view from the menu. The following views are available: • Step Sequencer (default) • Piano Roll View • Staff View • Event List • Automation read and write buttons. These buttons enable or disable automation playback and recording for the plug-in’s parameters.
Bypassing effects globally SONAR allows you to globally bypass all audio effects in a project. You can also choose to only bypass effects of a specific category (track, bus or clip). With global effects bypass, you can: • Quickly compare (A/B) a dry versus a wet mix. • Temporarily bypass all inline plug-in delay compensation (PDC) effects in order to avoid delay compensation induced latency while tracking virtual instruments or input monitored tracks. • Temporarily reduce CPU consumption.
To globally bypass all track, bus or clip effects 1. Determine which type of effects you want to bypass (track, bus or clip), and make sure at least one corresponding effects bin is visible. 2. Right-click the effects bin and select Bypass Bins Of This Type from the pop-up menu. All effects bins of the same type as the source effects bin are globally bypassed. To restore the bins to their original state, simply toggle the state of the Bypass Bins Of This Type option.
To open or close the effects bin on a clip • To open a clip’s effects bin, click the FX icon, or right-click the FX icon and select Open Clip Effects Bin from the pop-up menu. • To close a clip’s effects bin, click the X icon that’s in the upper left corner of the clip’s effects bin, or click anywhere outside of the effects bin. To delete, bypass, move, copy, or re-order a clip effect • To delete an effect, right-click the effect name and choose Delete from the pop-up menu.
Canceling changes made to real-time plug-ins EnablePluginCancelButton=<0 or 1>, default = 0 In SONAR 4.0.2 and earlier, opening the property page of a VST plug-in during playback could result in a slight disruption in playback. The cause for this problem has its roots in the little Cancel button that sits in the top right corner of the plug-in's property page.
Limiting the number of plug-in sidechain inputs By default, a multi-channel VST plug-in always exposes the maximum number of input channels it supports. You can limit the number of sidechain inputs that SONAR displays for any given VST plug-in. This is useful if you don’t need to use all the input channels and you want to limit the number of audio input channels that are displayed in SONAR. To limit the number of sidechain inputs 1.
To assign a track/bus/send output to a sidechain input 1. Insert the sidechain-capable plug-in in a track or bus effects bin (see “Adding effects” on page 222). The sidechain input is exposed in the list of available output destinations in all Track/Bus/Send Output controls (except for outputs that would result in a feedback loop). 2. Assign the desired audio track, bus or Send output to the plug-in’s sidechain input. For more information, see “Assigning Inputs & Outputs” on page 216.
Freeze and sidechain inputs Freeze does not consider sidechain inputs because Freeze only works on a single audio track at a time. To mix down sidechain inputs, use standard bounce with all sidechain sources selected in the mix.
Figure 258. Vintage Channel VC-64 C A B A. Sidechain Listen B. Enable/disable sidechaining for the current Compressor C. Enable/disable sidechaining for the current EQ For more information, see the Vintage Channel VC-64 online Help. External Insert plug-in (Producer and Studio only) The purpose of the External Insert plug-in is to route audio to and from existing I/O ports in SONAR, allowing an external audio device to be effectively patched into any effects bin.
Send VU Meter. This meter shows the signal level being delivered to the external send. Since this is feeding a sound card output, it is important to avoid clipping at this stage. Send Port Picker. This control lets you choose an audio output that currently has nothing routed to it. This is the port that you should connect to the input(s) of your external gear.
Figure 259. External Insert J I K E F G H A B C D A. Send Stereo Mode (Left, Right, Mono) B. Send Level C. Send VU Meter D. Send Port E. Return Phase F. Return Level G. Return VU Meter H. Return Port I. Delay Measurement J. Send section K. Return section Figure 260.
Automatable parameters The External Insert plug-in exposes the following automatable parameters: • Send Gain • Return Gain • Phase Invert • Left Mute • Right Mute • Mono See: “Automating effects” on page 1036 To use an external effect in a SONAR project 1. Make sure your external gear is connected to your audio interface and turned on.
6. Play back the project and adjust the Send and Return levels to obtain the desired mix. You may also need to adjust levels on your external gear. Tip: The Send and Return levels, Phase and I/O port settings can be saved as a preset. If you frequently use a specific external effect, save the settings as a preset that can be quickly recalled in other projects. Note: If you bounce audio in a project that uses the External Insert plug-in, the bounce operation must be performed in real-time.
In almost all cases, the sound will be quietest with no manual offset. In some rare circumstances, you may have hardware that requires an offset of a sample or two. If this is the case, you will want to always add that offset when you use the External Insert plug-in. If your hardware requires a manual offset, you will only need to adjust the offset once for any particular sound card. Tip: The manual offset can be saved in a preset for the External Insert plug-in.
If you bounce or freeze audio in a project that uses the External Insert plug-in, the bounce operation must be performed in real-time. When bouncing audio data, SONAR will automatically detect the presence of any External Insert plug-ins (see “External Insert plug-in (Producer and Studio only)” on page 876) in tracks or buses, and disallow the bounce operation if the Fast Bounce mix option is enabled.
Figure 261. An FX Chain is a container that can include multiple audio plug-ins. FX Chain container Audio effect 1 Audio effect 2 Audio effect 3, etc. Figure 262. FX Chain. A B A. FX Chain container in effects bin B.
Using FX Chain presets FX Chain presets can be used in track, clip and bus effects bins. One or many FX Chain containers can reside in a single effects bin, but you can not nest an FX Chain container inside other FX Chain containers. Figure 263. To create a new FX Chain, drag an FX Chain preset from the Browser’s Audio tab to an audio track or audio clip effects bin. Figure 264. Double-click an FX Chain container to open the FX Chain property page. A B A. FX Chain container in effects bin B.
To create a new FX Chain container 1. Right-click an effects bin and select FX Chain on the pop-up menu. A new FX Chain container is inserted and its property page appears. 2. Insert the desired plug-ins in the FX Chain container by doing one of the following: • Right-click the open FX Chain container and select the desired plug-ins from the pop-up menu. • Drag audio plug-ins from the Browser’s Plug-in tab to an FX Chain to append to it.
FX Chain property page controls Figure 266. FX Chain controls. B A C K D L E F G H I J A. Effects Chain name (double-click to edit) B. Bypass Effects Chain C. Input level D. Input meter E. Scroll plug-in list left F. Click button to bypass/un-bypass plug-in G. List of effects in chain (double-click to open plugin; drag to reorder) H. Assignable rotary (right-click to assign) I. Assignable button (right-click to assign) J. Scroll plug-in list right K. Output level L.
To rename an FX Chain container 1. Right-click the FX Chain container in an effects bin and choose Rename on the pop-up menu. 2. Type a new name and press ENTER. To save an FX Chain preset Do one of the following: • To save an effects bin as an FX Chain preset, right-click any blank space in the effects bin and choose Save as FX Chain Preset on the pop-up menu. Specify a preset name and location in the Save FX Chain Preset dialog box.
To delete an FX Chain container Do one of the following: • To delete an entire FX Chain container, select the FX Chain container in the effects bin and press the DELETE key. • To delete an entire FX Chain container, right-click the FX Chain container in an effects bin and choose Delete on the pop-up menu. • To delete an individual plug-in within the FX Chain, double-click the FX Chain container to open the FX Chain bin, then select the plug-in and press the DELETE key.
To automate FX Chain plug-ins Effects in an FX Chain can be automated just like other effects in an effects bin. Parameter names for plug-ins that reside within an FX Chain container are listed in submenu's prefixed by the associated FX Chain name. You can also use ACT to control the FX Chain’s input level, output level and assignable knobs and buttons. For details, see “ACT” on page 1234. For information about automating effects, see “Automating effects” on page 1036. To rename an FX Chain preset 1.
To add/remove an assignable knob or button (Producer only) Right-click the FX Chain property page and choose one of the following commands on the pop-up menu: • Add knob. Add a new assignable knob, up to a total of 6 knobs. • Add button. Add a new assignable button, up to a total of 6 knobs. • Remove control. Remove the assignable control. • Learn knob/button. The FX Chain is put into a learning mode and will 'listen' to controls touched on the plug-ins in the FX Chain.
The Control Properties dialog box contains the following settings: • Name. The name of the assignable control, shown as the label. • Position. The “slot” position of the control, from left to right. • Destination. Choose up to four automatable plug-in parameters to control with the assignable knob or button. • Start. The start value for the destination parameter, specified as a percentage (0.00% to 100.00%). • End. The end value for the destination parameter, specified as a percentage (0.00% to 100.00%).
When you double-click the knob or button, it returns to its default value. Note: If multiple parameters are assigned to the knob or button, the default value will be 0.5. To map an assignable knob or button to a plug-in parameter (Producer only) 1. Right-click an assignable knob or button in the FX Chain property page and choose Edit control on the pop-up menu to open the Control Properties dialog box. 2. Specify an automatable plug-in parameter in the Destination list.
Customizing the FX Chain UI (Producer and Studio only) You can change the colors and graphics that are displayed in each FX Chain. To do so, right-click the FX Chain property page and click Customize UI on the pop-up menu to open the Settings dialog box. Figure 270. Use the Settings dialog box to customize the appearance of the FX Chain property page. A B C D E F G A. Background image B. Preset background image C. Fader cap image D. Button image E. Rotary image F. Preset text color G.
Figure 271. FX Chain UI. A B C D D E F G A. Background image B. Display image C. Preset text color D. Fader cap image E. Rotary image F. Button image G. Label text color For details about the options in the Settings dialog, see “Settings dialog” on page 1781.
Organizing plug-ins Once you have more than a few plug-in effects and/or soft synths installed on your computer, you might want to organize the way they appear in the various plug-in and synth menus that you use. The Cakewalk Plug-in Manager is a powerful tool to organize your plug-in menus. Open the Plug-in Manager by using the Utilities > Cakewalk Plug-in Manager command, and display the Plug-in Manager’s help file by pressing F1.
To remove a folder from the VST Scan Folder(s) list 1. Go to Edit > Preferences > File - VST Settings. 2. Under VST Scan Folder(s), select the folder you want to remove, then click the Remove button. To set options for all plug-ins in a folder 1. Go to Edit > Preferences > File - VST Settings. 2. Under VST Scan Folder(s), select the folder you want to set options for, then click the Folder Defaults button. 3.
The only reason to enable Serialize Host Access would be for a plug-in that has thread safety problems leading to crashes or glitches when changing plug-in presets. • Enable mono processing. When enabled, this option replicates the audio signal from the first channel to the left and right channel, effectively forcing the output of VST to be mono. • Translate Bank/Program Changes. When enabled, this option translates MIDI program change messages into VST preset changes.
To set all VST plug-ins to folder defaults 1. Go to Edit > Preferences > File - VST Settings. 2. Under VST Scan, click the Reset All VST Plug-ins button. The next time you scan, SONAR will set all plug-ins in your VST Scan folders to your folder default settings. To set options for individual VST plug-ins 1. On the Utilities menu, click Cakewalk Plug-in Manager to open the Cakewalk Plug-in Manager. 2. In the Plug-in Categories list, select VST Audio Effects or VST Instruments. 3.
SONAR copies the selected audio data, inserts an instance of V-Vocal on the copied data, and displays the new V-Vocal clip (the copied audio data that contains an instance of V-Vocal) where the selected audio data was, and opens the V-Vocal interface. The V-Vocal icon appears on the V-Vocal clip. The original audio data is muted. No track data is moved or otherwise modified by creating a V-Vocal clip. You can drag the V-Vocal clip away from the original audio data if you want.
Using V-Vocal (Producer and Studio only) V-Vocal is a vocal processor that does pitch correction on notes and phrases, corrects timing, edits formants and dynamics, and can add vibrato. The following topics describe using the V-Vocal interface to process audio data. For information about inserting and managing V-Vocal in SONAR, see “V-Vocal clips (Producer and Studio only)” on page 898. Here’s a description of the interface: Figure 272. V-Vocal A B C D E F G H I J S R Q T K L P O N M A.
• Formant control. The Pitch Follow knob increases or decreases the formant according to pitch. The Shift knob increases or decreases the formant for the entire phrase. • Pitch Correction • Keyboard and Scale buttons. Assign the target notes with the Keyboard button; each key has a Bypass button (B) located under or over the key. The Scale button lets you assign the target notes by scale: click the Scale button, click Maj or Min, and click a note on the Keyboard button to choose the root of the scale.
Playing back V-Vocal clips You can play back V-Vocal clips by clicking the buttons at the top of the V-Vocal interface. Besides playing the V-Vocal clip, you can mute it, solo it, loop it, and rewind it. Clicking in the time ruler at the top of the graph moves the playback time. To play a V-Vocal clip • To play a V-Vocal clip, click the Play button in the V-Vocal interface, or press the SPACEBAR. • To stop playback, press the SPACEBAR, or click the Stop button.
• The red line is the original Pitch curve and this line cannot be edited. • The green dot is a Node. Nodes are automatically assigned to the start and end of the edited region. You can select the specific region between the nodes if you click the yellow line between the nodes. • The white horizontal line is called Center Pitch. Center Pitch is used as a baseline for increasing or decreasing vibrato or for pitch correction. To change the pitch of a selected region 1.
The above suggestion is just one example. Different types of audio might require different settings. In addition, try adjusting the Pitch Follow parameter in the Formant Control section as follows: • Set the value close to 100 if you'd like to do subtle pitch correction. • Set close to 0 if you'd like drastic rephrasing. To draw freehand pitch changes 1. Click the Pen tool. 2. Draw a shape on the graph. To draw straight line pitch changes 1. Click the Line tool. 2. Draw a line on the graph.
To restore original pitch • Use the Eraser tool to drag over a region. The region you drag over returns to original pitch. To add vibrato 1. Click the Vibrato/LFO tool. 2. Move the cursor to the place where you want the vibrato to start. The cursor displays a vibrato icon when it is ready to add new vibrato: . 3. Drag to the right for the length of the vibrato segment that you want to add. To edit vibrato 1. Move the Vibrato/LFO tool over the vibrato segment that you want to edit.
3. Now add new green lines between the existing ones. 4. Drag the new lines to the left or right to compress or expand each region. Tips: • Hold down the CTRL key while you move lines to move all the following lines by an equal amount. • To erase lines, drag a region with the eraser. Timing reverts to its original condition in the areas where you erase lines. See: “Editing formants” on page 906 Editing formants A rough definition of formants is that they are vowel sounds.
to the start and end of the selected region. • You can do freehand editing with the Pen tool. • You can add an LFO to a selected region by dragging the red line up or down with the Vibrato tool. Dragging left or right modifies the LFO frequency. • You can reset segments of the red line by dragging with the Eraser. • You can increase or decrease the formant for the entire phrase by adjusting the Shift knob.
Vibrato. After you select the region you want to redetect, choose from these options the following submenus. • Standard 1. Generally, you do not need to select this option, because it is used to detect pitch as soon as you create a V-Vocal clip. If you decide to use another method, but change your mind and want to use this method, you can select this method to recreate the original data. • Standard 2. This is a general pitch detection setting that often performs better on styles with deeper vibratos.
Keyboard shortcuts The following table lists the V-Vocal keyboard shortcuts.
Command Shortcut Redo CTRL+SHIFT+Z Cancel drag gesture ESC Select All CTRL+A Select None CTRL+SHIFT+A Return selection to default settings DELETE Solo track / Show/hide waveform in Pitch edit mode SHIFT+W Go to/Center cursor G Scroll up/down UP/DOWN ARROW keys; PAGE UP/PAGE DOWN Scroll left/right LEFT/RIGHT ARROW keys Table 167.
Using the per-track EQ (Studio and Essential only) SONAR has a 4-band EQ patched into each audio track by default. You can adjust these EQ’s in the Console view and the Track Inspector. You can show or hide the EQ plot, and open the EQ interface to access all EQ controls. The EQ Plot module lets you adjust the per-track equalization curve. To access additional equalizer controls, double-click the EQ plot. Figure 273. EQ Plot module. A B A. EQ on/off B. EQ plot Figure 274.
To show or hide the EQ in all audio tracks • In the Console view, click the Modules menu and choose EQ Plot. • In the Track Inspector, click the Display button and choose EQ Plot. To enable or disable the EQ in a track or bus • Double-click the EQ plot to open the EQ interface, then enable/disable the desired bands. To configure the EQ • Double-click the track’s EQ plot to open the Sonitus fx: EQ property page. Please see the Sonitus fx: EQ online Help for detailed information.
Applying audio effects You can destructively apply audio effects for one or more tracks. When you are pleased with the audio effects you have patched into a track, you can apply the effects to the track. Applying effects to a track saves resources, allowing you to include additional tracks and/or effects Note: When applied effects are undone, they are not re-patched in the effects bin(s). To apply multiple audio effects offline 1.
Using control groups SONAR lets you link faders, knobs, or buttons in the Track view, Track Inspector and Console view into groups. Groups are collections of controls whose movements are linked together. For example: • Two Volume faders or controls can be grouped so that when you increase or decrease the volume of one track, the volume of the other track changes in exactly the same way.
Custom groups let you set the range of motion for each control in the group by entering a starting and ending value. As any one control in the group is moved from its starting position to its ending position, the other controls in the group exercise their full range of motion. When you have defined a custom group, you can adjust the starting and ending position of each control using the Group Settings dialog box or using pop-up menus on the controls in the group.
Figure 275. The Group Manager dialog 2. Choose Absolute or Relative as the group type and click OK. SONAR uses the type to determine the range of motion for the group’s controls. To create a custom group 1. Right-click on any control in the group and choose Group Manager to display the Group Manager dialog box. 2. Choose Custom as the group type. The starting and ending values for each control are displayed. 3.
3. Choose Value > Set End = Current. SONAR sets the end value of the control. The Set Start = Current and Set End = Current commands set the range of motion that a grouped control moves through as the other members of the group move through their starting and ending values. You don’t have to designate a group as a custom group to create a custom group—just group some controls and set their starting and ending values.
• Input • Output • Trim/Vel+ • Pan • Phase Invert • Mono/Stereo Interleave • Volume • FX insert • Send insert • Send controls • Send destination • Clear peak meter • Input pan • Channel • Bank • Patch • Expand/collapse Take lanes • Expand/collapse Automation lanes • Meter scale • ProChannel: • Expand/collapse • Pre/Post • Bypass • Insert module • Remove module • Replace module • Collapse all modules in a track See: “Using control groups” on page 914 918 Mixing Using control groups
Using remote control This section explains how to assign knobs or sliders on a MIDI controller to control specific parameters on specific tracks. If you have a control surface with groups of faders such as a Tascam US-428 or CM Labs MotorMix, see “External devices” on page 1211. SONAR‘s Remote Control function lets you use a MIDI device to remotely control knobs, buttons, and sliders in the Track and Console views.
To set up remote control for a knob, button, or fader 1. Right-click on the control and choose Remote Control from the pop-up menu. 2. Choose the remote control type, as described in the table above. 3. Set the note or controller number if applicable. 4. Set the MIDI Channel field to the channel that your controller sends out. 5. Click OK. You can now work the control from your MIDI device.
Bouncing tracks The Track view Tracks > Bounce to Track(s) command lets you combine one or more audio tracks into a submix. A submix can be a mono track, a stereo track or several mono tracks that contain the mixture of the original tracks, preserving the volume, pan, and effects for each track.
Figure 276. The Bounce to Track(s) dialog 5. Select the first destination track for the mixdown. 6. If you’ve saved a preset configuration for the Bounce to Tracks(s) dialog box, select it now in the Preset window. 7. In the Source Category field, select the source you want to use for your bounced track(s) from the following options: • Tracks. Choosing this option creates new separate tracks for each track you highlight in the Source Buses/Tracks field.
• In the Mix Enables field, choose the elements you want to include in the mixdown. If you want to exclude muted tracks and/or include only soloed tracks, make sure Track Mute/Solo is checked. Make sure Fast Bounce is checked, otherwise the bounce process will take as long as it takes to play your selected track data in real time. Usually, you also want to check 64-bit Mix Engine. This option lets you turn on the 64-bit mix engine temporarily while you bounce your tracks.
When Fast Bounce is disabled When Fast Bounce is disabled, the bounce is performed in real-time by actually playing back the project audibly in similar fashion to standard playback. In real-time bounce mode, all audio hardware inputs and outputs are active in order to allow I/O to external hardware inserts. If you manually stop playback during the bounce operation, SONAR will prompt you if you want to keep or cancel the bounce.
tracks that contribute to the plug-in’s sidechain input, and do a bounce with Fast Bounce disabled and the Source Category set to “Tracks”. Note: Freezing a track with sidechain inputs will not include the sidechain input. If you need to free up CPU on a track that includes a sidechain, use the bounce command with all sidechain sources explicitly selected in the mix.
Preparing audio for distribution The File > Export Audio command exports your project as a new file or files that you can burn to a CD, or distribute via the Web or email. In addition, SONAR Producer allows you to export surroundencoded files (see “Exporting surround mixes” on page 962).
Format Definition RAW Rarely used, a RAW file can contain audio in any codec but is usually used with PCM audio data. OMF The Open Media Format, created by AVID Technology, is designed to port a project to other applications or platforms. OMF files preserve tracks, clip positions, slip edits and some other project attributes depending on which application is writing or reading the OMF file. Table 169.
8. In the Source Category field, select one of the following options: • Tracks. Choosing this option creates a separate file for each track that you select in the Source Buses/Tracks field. • Buses. Choosing this option creates a separate file for each bus that you select in the Source Buses/Tracks field. • Main Outputs. Choosing this option creates a separate file for each main output that you select in the Source Buses/Tracks field. • Entire Mix.
If you chose Broadcast Wave as the export format, the following information is stored in the file(s): • Description. A brief description of the contents of the Broadcast wave. Limited to 256 characters. • Originator. The author of the Broadcast wave. This information is taken from the Author field in the “File Info dialog” on page 1608. • Originator Reference. A unique reference identifier created by SONAR. • Origination Date. The date the file was created. • Origination Time.
12. Select the bit depth that you want the exported file to use. If your source file is 16 and you export to 24, you get more precision for any audio effects in the mix (and a larger file). If your source file is 24 and you export to 16, you lose some sound definition, but you get some of it back if the Dithering option is on in the Edit > Preferences > Audio - Playback and Recording dialog box (see “Dithering” on page 936 for more information). 13.
select in the Source Buses/Tracks field. • Entire Mix. Choosing this option creates one file for your entire mix. 9. In the Source Buses/Tracks field, choose the buses or tracks you want to use as a source to create your mix. If you chose Tracks in the Source Category field, only tracks will show up as choices in this field. 10. In the Channel Format field, select one of the following options: • Stereo. • Mono. All exported tracks and clips are mixed down to a stereo file or files.
Exporting tracks with no selection If the source category is Tracks when you bounce or export audio with no selection in, each wave file will be exactly the same duration as the original source track. Encoding options After clicking the Export button, an additional dialog box will appear showing Extra Encoding Options. These options typically determine the bit depth, endian-ness (the byte ordering in memory used to represent the data), and an encoding type within the major file format. Figure 277.
AIFF (Apple/SGI) (extension “aif”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • GSM 6.
• U-Law • A-Law FLAC (FLAC Lossless Audio Codec) (extension “flac”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM RAW (Headerless audio file) (extension “raw”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law SD2 (Sound Designer II) (extension “sd2”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM W64 (Sony Wave-64) (extension “w64”) • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32
WAV (Microsoft) (extension “wav”) • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • Microsoft ADPCM • GSM 6.10 • 32kbs G721 ADPCM Exporting OMF files OMF (Open Media Format) files are designed for cross-platform compatibility. For more information about the OMF format, see “Importing OMF projects” on page 304.
has to do a separate export operation for each Groove Clip in the track, which is very timeconsuming. If you only have one Groove Clip in a track, and you have rolled out numerous repetitions of the clip, SONAR exports a single clip that is the length of the original clip and all the repetitions, which is not a time-consuming operation. 7. Audio Format. Ask your engineer what format the studio uses, Windows (RIFF Wave) or Mac (AIFC). 8. Click the Save button. 9. SONAR exports the project as an OMF file.
• Triangular. Higher level than rectangular, no noise shaping. Advantages: low CPU-intensive dither, superior to Rectangular as it does not suffer from modulation noise effects. Preferable to shaped (Pow-r) dither when successive dithering can occur (e.g. bouncing, freezing). Disadvantages: higher perceived loudness than Pow-r dither. • Pow-r 1. Noise-shaped dither. Advantages: less CPU-intensive than Pow-r types 2 and 3, lower perceived loudness than Rectangular or Triangular.
Cakewalk Publisher You can use Publisher to create a customized streaming music player with a playlist of your music, upload the player to your personal or band's web site, and embed it in any other web site. You can also update your playlist with album art, links (URLs), and artist, track, & album information. Publisher works by connecting to your web host's FTP account (usually provided when you sign up with a web hosting company and create a web site) and uploading files to a location of your choosing.
Surround Mixing (Producer and Studio only) SONAR fully supports surround mixing (SONAR Essential can open surround projects created in Producer and Studio, converting them to stereo). SONAR can create finished surround mixes in all popular surround formats, including Windows Media 9 Pro. You can use a joystick to control surround panning if you want. Note: It’s always advisable to know the required sampling rate and audio driver bit depth for the target medium that your surround project will be used in.
Surround basics Surround sound is a common name for various techniques for positioning audio in reference to the listener. Whereas regular stereo is limited to left/right positioning, within a relatively narrow field, surround sound opens possibilities of positioning an audio source anywhere around the listener. Surround sound comes in many formats. The differences between the formats are in three areas: • The number of speakers. This varies from 3.2 all the way to 8.1. • The angles of the speakers.
Configuring SONAR for surround mixing This section covers setting up SONAR for surround sound. See: “Using surround format templates” on page 941 “Choosing a surround format” on page 944 “Surround buses” on page 945 “Routing in surround” on page 945 “Downmixing” on page 946 Using surround format templates A Surround Format template specifies the number of speakers and the order in which the speakers are arranged. There are several different surround formats, including LCRS, 5.1, 6.1, and 7.1, with 5.
The speaker positions, moving clockwise from center, are identified as: Label Speaker C Center (directly in front of listener) Rc Right of Center R Right (standard Stereo placement) Sr Side right—directly to the right of the listener Rs Right Surround Cs Surround (rear center) Ls Left Surround Sl Side Left—directly to the left of the listener L Left (standard Stereo placement) Lc Left of center LFE Low Frequency Effect speaker(s)—placed according to room acoustics Table 171.
• Surround (SMPTE/ITU) • Surround Media • LCRS+LFE • 5.1 (Standard 3/2) • 5.1 (Film/Alternative) • 5.1 (Music/Alternative) • 5.1 (SMPTE/ITU) • 6.0 (Hexagon) • 6.0 (Film/Alternative) • 6.0 (Music/Alternative) • 6.1 (Film/Alternative) • 6.1 (Music/Alternative) • 6.1 (SMPTE/ITU) • 7.0 (Heptagon) • 7.0 (Film/Alternative) • 7.0 (Music/Alternative) • 7.1 (Film/Alternative) • 7.1 (Music/Alternative) • 7.1 (SMPTE/ITU) • 8.0 (Octagon) • 8.0 (Film/Alternative) • 8.0 (Music/Alternative) • 8.1 (Film/Alternative) • 8.
Choosing a surround format Go to Edit > Preferences > Project - Surround to select a surround format. Choosing a surround format sets the number of speakers your project is using, and lets you choose a specific sound card output for each speaker. Here you can also choose parameters for bass management, and for downmixing, which means converting a surround mix into a stereo mix. The group of sound card outputs that you choose in Edit > Preferences > Project - Surround make up the “Surround Main.
Surround buses You have to have at least one surround bus in your project to use surround sound. A surround bus differs from a stereo bus in that it simply has more channels. For example, if a project is set to 7.1, then the bus has 8 channels: 7 directional channels and one LFE channel. To insert a surround bus 1. In the Bus Pane of the Track view or the Console view, right-click to display a pop-up menu of bus options. 2. Select Insert Surround Bus from the pop-up menu.
Signal Flow Result Stereo bus to surround bus or the Surround Main Stereo left channel is routed to Left channel of surround format; stereo right channel is routed to Right channel of surround format. You can change the routing to other surround channels by using the surround panner on the stereo bus. Stereo bus to hardware output No change Surround bus to stereo bus Surround channels are downmixed to stereo Surround bus to surround bus or the Surround Main No change Table 172.
The following table lists the downmixing settings in Edit > Preferences > Project - Surround and gives a brief description of what the setting does. You can also manually enter other values besides these preset ones. Downmixing Setting Options Center Downmix Level (dB) These options determine how much of the center is mixed to the left and right. • -3 dB. Maintains the same level of center channel sound when you listen in a typically reverberant room • -4.5 dB.
Panning in surround Unlike stereo panning which sends sound to left and right speakers, surround panning means sending sound to multiple speakers at points along a circle. When a track/bus/send is assigned to a surround bus, the Pan control turns into a multi-dimensional surround panner. The surround panner comes in four sizes: • Micro. This is found in the Track view. • Small. This is found on sends. • Medium. This is the surround panner which is displayed in the Track Inspector and Console view.
Note 2: If the track/bus/send is reassigned to a stereo bus, any surround automation will be orphaned, but will automatically reconnect if the track/bus/send is later assigned back to a surround bus. See: “Controlling surround panning” on page 949 Controlling surround panning Here are pictures of the large surround panner and medium surround panner: Figure 280. Large Surround Panner A C B A. Angle and focus marker B. Width markers C.
Figure 281. Medium Surround Panner The large surround panner has some sliders at the bottom that the medium surround panner doesn’t have, except for the LFE Send slider, which the medium panner has. Except for the sliders, the large and medium surround panners have the following controls: • Angle and Focus marker. A small sphere that you can drag in any direction to both control and display the following two parameters: • Angle.
To open the large surround panner • Right-click the small surround panner or the pan control in a track, and choose Open Surround Panner from the pop-up menu. Or • Select a track and choose Views > Surround Panner, or press ALT+SHIFT+9. Or • Double-click outside the Surround Panner circle. Or • Press ENTER when the panner has focus. To change the angle • In either the large or small surround panner, drag the Angle and Focus marker to the left or right.
To change the front/rear balance • In the large surround panner, drag the FrntRrBl slider left to reduce front level, or right to reduce rear level. To change the LFE send level • In either the large or small surround panner, drag the LFE slider. Note: Double-clicking any surround panner control will reset the control to its default value, which for the LFE control is -INF. To solo or unsolo the LFE channel • In the large surround panner, click the LFE Solo button.
Keyboard shortcuts The following shortcuts allow you to control a surround panner from the keyboard: Shortcut Function ALT+drag Constrains to angle ALT+SHIFT+drag Constrains to angle at 100% focus CTRL+SHIFT+drag Constrains to focus only SHIFT+click Sets panner point to the point that you click (large and medium panners only) SHIFT+drag controls (Angle, Width, etc.
Automating surround panning You can arm or disarm for automation all the controls in a surround panner by clicking any control in the surround panner (except LFE Solo), and choosing Write Enable from the pop-up menu. Potential 'pops' when using surround automation (SONAR Producer only) If you record Angle surround pan automation, please note that a pop may occur as the angle parameter jumps from 0 degrees to 180 degrees.
4. In the Control Bar’s ACT module, select Joystick Panner in the drop-down menu, then click the Controller/Surface Properties button . 5. In the Joystick Panner dialog box, select button 1 in the Buttons field, and then select Engage Pan Mode in the Button Actions field. 6. Now select Button 2, and select Engage Pan Nav Mode in the Button Actions field. 7.
Bass management A bass management system takes all the frequencies below a certain frequency (normally 80Hz) from the main channels, and the signal from the LFE channel, and mixes them together into the speaker that is best equipped to handle them. This is usually a subwoofer, but sometimes the left and right front speakers are used if a subwoofer isn’t available.
Surround effects SONAR lets you use your existing stereo or mono effects as surround effects. SONAR does this through the SurroundBridge, which automatically sets up your existing mono & stereo plug-ins so you can patch them into surround buses (buses, not tracks).
Effect property pages A single property page controls all instances of an effect that is patched into a surround bus. The effect’s property page displays a different tab for each instance of the effect. By default, when you change an automatable parameter on one tab of the property page, that change is duplicated on all the tabs of the property page.
To change channel assignments for a patched effect 1. If the effect’s property page is not open, display it by double-clicking the name of the effect in the surround bus’s effects bin. 2. On the SurroundBridge tab of the effect’s property page, use the drop-down menus in the Left Input and Right Input columns to assign individual surround channels to instances of the effect. Your assignments take effect immediately, and the names of the tabs in the property page change to reflect the new assignments.
To unlink all of an instance’s parameters from other instances 1. In the property page of an effect that’s patched into a surround bus, click the SurroundBridge tab. 2. Find the instance you want to unlink in the Plug-in # column, and uncheck its Controls Linked to Group check box. The parameters you unlinked appear in the Unlinked Controls field, with the instance number listed in the Plug-in # column of the Unlinked Controls field.
Importing surround mixes SONAR imports multi-channel (surround) files as a group of mono files. If the files contain information that labels the speaker location of each channel in the file, SONAR copies these labels to the clips in your audio tracks, but does not pan the tracks according to these labels. This is because you may not have your SONAR project set to the same multi-channel format as the imported project.
Exporting surround mixes You can export your surround mixes as multi-channel PCM wave files, or as Windows Media Pro files. To export a surround multi-channel file 1. Use the File > Export > Audio command to open the Export Audio dialog box. 2. Type a name for your file. 3. In the Files of Type field, choose one of the following: • If you want to create a multi-channel wave file, choose RIFF Wave. • If you want to create a multi-channel Windows Media file, choose Windows Media Advanced Streaming Format. 4.
ProChannel (Producer only) ProChannel features a collection of audio processing modules that can be dynamically added, removed, and reordered per audio track, Instrument track and bus in the Inspector and Console view. Combining compression, equalization, and tube saturation modeling in one convenient processor, ProChannel is designed to make it fast and easy to enhance any track or bus. Figure 283. ProChannel provides compressor, equalizer and tube saturation processing for each channel.
SONAR includes two different compressor modules: • PC76 U-Type Channel Compressor. This is the default mode when using ProChannel on a track. This mode is meticulously modelled after one of the most renowned and famous solidstate (F.E.T.) compressors that is used in professional studios and recordings. Known to bring out the brightness and presence of a sound. Commonly used on vocal tracks, but also recommended for stereo drum buses and guitar tracks.
includes both VST and ProChannel versions of BREVERB SONAR. For details, click the Help button in the BREVERB SONAR VST version. Additional modules will be available in the future from Cakewalk and third party vendors. For help with external ProChannel modules, select a module and press F1 to open its online Help. To show/hide ProChannel To show/hide ProChannel in the Console view, click the Modules menu, then click ProChannel.
“Console Emulator module” on page 988 “FX Chain module” on page 992 See also: “Track Inspector overview” on page 529 “Console view” on page 1836 “Mixing” on page 829 Using ProChannel To enable/disable a module In the expanded ProChannel, click the module’s enable/disable button . Note: The more ProChannel modules you enable, the more CPU resources are required from your computer.
To remove a module Right-click the module header and select Remove Module on the pop-up menu. To replace a module Right-click a module header or blank space in ProChannel and select Replace Module on the popup menu. To reorder a module The signal flows from top to bottom. Click a module’s gripper and drag the module up/down to the desired position. Figure 285. Drag a module’s gripper up/down to reorder the signal chain. To select a module Click a module to make it the active module.
To interact with the QuadCurve Equalizer graph The QuadCurve Equalizer graph is divided into four sections, which correspond to the Low, LowMid, Mid-High and High bands. When you move the mouse pointer over the graph, the current band is highlighted. Note: The High Pass filter and Low Pass filter can not be edited from the graph. To adjust a band’s gain, drag up/down. To adjust a band’s frequency, drag left/right. To adjust a band’s Q, hold down the ALT key and drag up/down.
To sidechain the ProChannel compressor 1. Add the PC4K S-Type Bus Compressor module. 2. Under Side Chain, click the On/Off toggle. Figure 287. Add the PC4K S-Type Bus Compressor module in order to use sidechaining. See also: “Sidechaining” on page 872 To use presets Do one of the following: • To load an existing preset, click the Load Preset button file. and navigate to the desired preset • To save a new preset or overwrite the current preset, click the Save Preset button name, then click Save.
To lock ProChannel in the Inspector pane By default, the Track Inspector dynamically updates to show the current track. However, you can choose to always show a specific instance of ProChannel regardless of which track is current. 1. Click the track or bus you want to show in the Track Inspector. 2. Click the ProCh button at the top of the Inspector. ProChannel is displayed in the Inspector pane. 3.
Loading X2 projects in SONAR X1c or earlier • SONAR X1c and earlier only support a single compressor module per channel. If you are using multiple compressor modules on a channel in a SONAR X2 project, SONAR X1c (or earlier) will only load one of the compressors. • SONAR X1c and earlier always shows the Compressor, Equalizer and Tube Saturation modules on all channels. If you load a SONAR X2 project that doesn’t use all the default modules, SONAR X1c will automatically recreate the missing modules.
Figure 289. ProChannel can be displayed collapsed or expanded in the Inspector and Console view. Collapsed Expanded Inspector ProChannel controls (collapsed) Figure 290. ProChannel (collapsed) B C D A E F A. Pre/Post B. Global input meter C. Expand/collapse ProChannel D. Preset E. Global On/Off F.
By default, ProChannel is collapsed and only shows a subset of all available controls. When collapsed, ProChannel shows the following controls: • Expand/Collapse . Expands/collapses the ProChannel module. • Preset. Shows selected preset name. Hover the mouse over the Preset control to access Load Preset and Save Preset controls. For details, see “Presets” on page 975. • Pre/Post . Specifies if the ProChannel signal is routed prior to the channel’s effects bin (pre) or after the effects bin (post).
When expanded, ProChannel exposes the following controls: • Collapse . Collapses the ProChannel module. • Preset. Shows selected preset name. For details, see “Presets” on page 975. • Insert Module (Inspector only). Lets you insert a new module from a pop-up menu. See also “To replace a module” on page 967. • Gripper. Drag up/down to reorder the module. • Icon. Each module category has its own unique icon. For details, see “Module categories” on page 976. • Name. Module name. • Clipping LED.
Presets ProChannel includes several presets to get you started. However, because all audio material is different, the real power and fun is to experiment with the controls to come up with settings that suit the audio material you are working with. ProChannel presets are saved to disk as *.pcp files. By default, presets are stored in the \ProChannel presets folder. To change to the default preset folder, go to Edit > Preferences > File - Folder Locations. Figure 293.
Module categories Modules are arranged by category in the Insert Module pop-up menu, and each module displays its category icon. The following categories are available: Category Module icon Type of processor Frequency EQ, pitch shift, etc. Dynamics Compressor, gate, expander, etc. Simulation Tape saturation, etc. Distortion Distortion, drive, etc. Time Delay, reverb, etc. Modulation Chorus, flanger, phaser, vibrato, tremolo, etc. Imaging Stereo spread, etc. Analysis Spectrum analyzer, etc.
PC76 U-Type Channel Compressor module Figure 294. PC76 U-Type Channel Compressor. A B C G D H E I F A. Clipping LED B. Compressor enable/disable C. VU meter D. Release E. Output level F. Dry/Wet level G. Attack H. Input level I. Ratio This is the default compressor module when using ProChannel on a track. This module is meticulously modelled after one of the most renowned and famous solid-state (F.E.T.) compressors that is used in professional studios and recordings.
• Attack. Adjusts the time it takes the compressor to respond to the input signal after the threshold level has been reached. A fast attack setting means that compression will be more or less instant. Using a slower attack setting results in the compression being gradually increased, allowing for more variations in the signal than the fast setting. Attack should be adjusted according to the nature of the audio material. The valid range is 0.0 to 1.2 milliseconds, and the default value is 0.4 milliseconds.
“QuadCurve Equalizer module” on page 981 “Tube Saturation module” on page 987 “Console Emulator module” on page 988 “FX Chain module” on page 992 PC4K S-Type Bus Compressor module Figure 295. PC4K S-Type Bus Compressor. A B C F D G E H I J K A. Clipping LED B. Compressor enable/disable C. VU meter D. Release E. Make-up gain F. Attack G. Threshold H. Sidechain High Pass filter I. Sidechain enable/disable J. Ratio K.
• Attack. Adjusts the time it takes the compressor to respond to the input signal after the threshold level has been reached. A fast attack setting means that compression will be more or less instant. Using a slower attack setting results in the compression being gradually increased, allowing for more variations in the signal than the fast setting. Attack should be adjusted according to the nature of the audio material. The valid range is 0.1 to 30 milliseconds, and the default value is 0.8 milliseconds.
• Dry/Wet. Adjusts the balance between the unprocessed (dry) and processed (wet) audio signal. The range is 0 to 100% and the default value is 100%.
Figure 296. QuadCurve Equalizer module. Full size Compact size A B C D E F G H K I L J M N O P Q A. Clipping LED B. QuadCurve Equalizer enable/disable C. Style (Hybrid, Pure, E-Type or G-Type) D. Graph E. Band enable/disable (Low, Low-Mid, Mid-High, High) F. Frequency G. Q H. Level I. High band filter type J. Low Pass filter frequency K. Low band filter type L. High Pass filter frequency M. High Pass filter enable/ disable N. High Pass filter slope (Q) O. Gloss enable/disable P.
Figure 297. The equalizer has six bands. A B E C D F A. Low band (red) B. Low-Mid band (yellow) C. Mid-High band (green) D. High band (blue) E. High Pass filter (black) F. Low Pass filter (black) The QuadCurve Equalizer module contains the following controls: • Clipping LED. Shows if the input signal to the QuadCurve Equalizer module is clipping. If there is any distortion in the ProChannel signal chain, the clipping LEDs let you identify where the clipping occurs.
interaction between Q and Level settings. The styles are as follows: Style Description Recommended for Hybrid Provides an unsymmetrical curve that • is very versatile. The curve is similar to E-Type when boosting frequencies, but • has constant Q response in when cutting frequencies. Suitable for gentle fill EQ when boosting, while also accurately modifying troublesome resonance frequencies when cutting.
• To adjust parameters with finer precision, hold down the SHIFT key while dragging. • To enable/disable a band, click the band’s region in the graph. • To change the plot resolution globally, right-click any small QuadCurve Equalizer graph in the Console view and choose the desired resolution on the pop-up menu. The resolutions are as follows: • Auto (graph scales dynamically) • 6 dB • 12 dB • 18 dB • Band enable/disable. Enables/disables the Low , Low-Mid , Mid-High and High bands.
the Low band boosts or attenuates a range of frequencies around a central point in a bell shape. In Low Shelf mode, the Low band boosts or attenuates the set frequency and all frequencies below it. • High band filter type. Toggles the High band between Bell and High Shelf mode. In Bell mode, the High band boosts or attenuates a range of frequencies around a central point in a bell shape. In High Shelf mode, the High band boosts or attenuates the set frequency and all frequencies above it.
Tube Saturation module Figure 298. Tube Saturation module. A B C D E F G A. Clipping LED B. Tube saturation enable/disable C. Activity indicator D. Input gain E. Drive (level) F. Output gain G. Saturation type The Tube Saturation module contains the following controls: • Saturation type. • Type 1. Select the desired type of tube saturation: Type 1 provides pure tube emulation. • Type 2. Type 2 is a dual-tube emulation.
“QuadCurve Equalizer module” on page 981 “Console Emulator module” on page 988 “FX Chain module” on page 992 Console Emulator module Figure 299. Console Emulator module. A B S-Type N-Type A-Type C H D E F G A. Clipping LED B. Console Emulator enable/disable C. Emulation mode D. Output VU meters (left and right channels) E. Trim (not available in bus module) F. Drive G. Tolerance H. RMS/Peak meter toggle When recording to analog tape, the mixing console is the centerpiece of the studio.
Just like an analog console, the overall sound character is the sum of all the separate processing stages. Depending on the console type and settings, some of the benefits you may experience include: • A wider sound stage. • Increased sense of sense of spatial cohesion. • More depth and definition. • A bit more warmth and aggression. • Easier to balance levels across tracks. Controls There are two versions of the Console Emulator module: • Console Emulator Channel.
any distortion in the ProChannel signal chain, the clipping LEDs let you identify where the clipping occurs. • Console Emulator enable/disable . Enables/disables the Console Emulator module. • Output VU meters. These meters are calibrated to function responsively, just like real-world meters. These meters fully support proper gain-staging needed for professional mixing situations and let the user make a better judgment of the volume needed for a particular track. • RMS/Peak.
How to use the Console Emulator To get the full benefit of console emulation, you typically want to add the Console Emulator module to all audio tracks and buses across your project. The audible results may appear subtle when first using the Console Emulator module. In fact, you may not hear any difference at all at first. This is especially true if you insert the Console Emulator module after you have already mixed a song. The effect is subtle when listening to individual tracks or buses.
FX Chain module The FX Chain module allows you to use FX Chains (see “Effects chains” on page 882) and individual audio effects within the ProChannel signal flow. The FX Chain module can be used as an effects bin that can be inserted between other ProChannel modules. An FX Chain is a container that can include multiple audio plug-ins. Assignable knobs and buttons can control automatable plug-in parameters in the FX Chain. An FX Chain preset can store up to six assignable knobs and six assignable buttons.
• Effects page. The Effects page shows a list of all plug-ins that are included in the current FX Chain preset. The signal flows from top to bottom. Drag to reorder plug-ins, and right-click to add/ remove plug-ins. You can bypass individual plug-ins by clicking the small bypass toggle to the left of the plug-in name. Note: Unlike the FX Chain plug-in (see “Effects chains” on page 882), all buttons and knobs in the ProChannel FX Chain module are always visible when showing the Controls page.
Figure 302. To create a new FX Chain, drag an FX Chain preset from the Browser’s Audio tab to an audio track or audio clip effects bin. To add an effect to the current FX Chain Do one of the following: • On the Effects page, right-click the effects bin, point to Audio FX and choose the desired audio effect on the pop-up menu. • From the Plug-in tab of the Browser, under Audio FX, drag the desired effect the FX Chain module’s Effects page.
To enable a knob or button for automation writing Right-click the control and choose Write Enable Automation on the pop-up menu. To enable a knob or button for automation playback Right-click the control and choose Read Enable Control on the pop-up menu. To reset a knob or button to its default value Double-click the control. To open an effect’s property page Double-click the effect name on the Effects page.
The Control Properties dialog box contains the following settings: • Name. The name of the assignable control, shown as the label. • Position. The “slot” position of the control, from left to right. • Destination. Choose up to four automatable plug-in parameters to control with the assignable knob or button. • Start. The start value for the destination parameter, specified as a percentage (0.00% to 100.00%). • End. The end value for the destination parameter, specified as a percentage (0.00% to 100.00%).
To set the default parameter value 1. Adjust a knob or button in the FX Chain module to the desired default position. 2. Right-click the knob or button and choose Set Default Value on the pop-up menu. When you double-click the knob or button, it returns to its default value. Note: If multiple parameters are assigned to the knob or button, the default value will be 0.5. To map an assignable knob or button to a plug-in parameter 1.
Customizing the FX Chain UI You can change the colors and graphics that are displayed in each FX Chain. To do so, right-click the FX Chain module and click Customize UI on the pop-up menu to open the Settings dialog box. Figure 305. Use the Settings dialog box to customize the appearance of the FX Chain module. A B C D A. Background image B. Preset background image C. Preset text color D. Label text color The Settings dialog box contains the following settings: • Background Image.
Figure 306. FX Chain UI. A B C D A. Preset Background Image B. Preset Text Color C. Label Text Color D. Background Image Note: The Fader Cap, Button Image, and Rotary Image settings can not be customized from the FX Chain module. To customize all images, create the FX Chain preset in a track’s effects bin (see “Effects chains” on page 882 and “Customizing the FX Chain UI (Producer and Studio only)” on page 893), then load the FX Chain preset into ProChannel. See also: “Using FX Chain presets (.
ProChannel (Producer only)
Automation SONAR has a very sophisticated automation system that lets you record fader moves and parameter changes with a mouse or control surface during playback in real time, or edit automation graphically offline. Automation means to record the movement of a fader, knob, or other control so that the next time you play your project, that control moves automatically. This allows you to dynamically change parameters over the course of a project’s timeline.
Below are some examples of when you may want to use automation: • If you want a track to slowly fade in or out, automate the tracks Volume control. • If a particular plug-in is only required during a specific section in a song, automate the plug-in’s Bypass parameter during the parts of the track where the plug-in is not required. • If you want a certain sound to pan across speakers at given points during a song, “record” the panning movements.
Quick automation guide The following table summarizes Console and Track view automation. What you can automate Parameters you can automate How you can automate them Individual tracks Gain, pan, mute, bus send gain, bus send balance, MIDI controllers, MIDI chorus and reverb, pitch wheel, channel aftertouch, RPN and NRPN. Draw envelopes in the Clips pane, record the fader movements, or take a snapshot. Buses Input gain and pan, output gain and pan.
“Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Automation methods There are several ways to automate controls in the Track view, Track Inspector and Console view: • Recording the movements of individual faders, knobs, or contro
“Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Automation write modes (Producer and Studio only) There are three modes available when writing automation: Overwrite, Touch, and Latch. The following table describes each mode. Mode Description Parameters affected Overwrite Overwrite mode overwrites any existing automation data for the currently armed parameter while the transport is rolling, even if you don’t touch the parameter.
Note 2: All automation write modes obey the Auto Punch region. For details, see “Punch recording” on page 288. To specify a track’s automation write mode Select the track. Click the Track button at the top of the Inspector pane, or press CTRL+SHIFT+I. In the Track Inspector’s Automation section, click Write Mode and select Overwrite, Touch, or Latch. For details, see “Automation section” on page 554. Tip: You can use a Quick Group to assign multiple selected tracks to the same automation write mode.
To specify a track’s automation time base 1. Click the track or bus you want to show in the Track Inspector. 2. Click the Track button at the top of the Inspector pane, or press CTRL+SHIFT+I. 3. In the Track Properties Inspector’s Automation section, click the Time Base item and select Musical (M:B:T) or Absolute.
The Automation Read button enables playback of automation envelopes for all automatable parameters in the track, bus, or plug-in that the button is on, and is a handy way to temporarily turn off envelopes for a particular track or bus while mixing. The Automation Write button bus, or plug-in to be recorded.
“Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Recording individual fader or knob movements Recording automation for knobs and faders works in the Track view, the Console view, and Synth Rack. You can record automation during both playback and recording operations. To record individual fader or knob movements 1.
“Automation time base” on page 1006 “Automation Read and Automation Write buttons” on page 1007 “Automation lanes” on page 1010 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Automation lanes Automation lanes are an alternative
Automation lanes provide many benefits, including: • Better visibility of automation data. • Less screen clutter on track strips. • Choose to only show the data you’re interested in. • Easier to work with individual automation envelopes. • Easy to copy and paste specific automation data. • Ability to quickly bypass individual automation parameters. • Slider to control automation parameters. To show a track’s Automation lanes, click the track’s Expand/collapse Automation lanes button .
See: “Automation lane controls” on page 1013 “Using Automation lanes” on page 1015 See also: “Automation” on page 1001 “Quick automation guide” on page 1003 “Automation methods” on page 1004 “Automation write modes (Producer and Studio only)” on page 1005 “Automation time base” on page 1006 “Automation Read and Automation Write buttons” on page 1007 “Recording individual fader or knob movements” on page 1009 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 103
Automation lane controls Most of the controls in Automation lanes are identical to the controls found in tracks. Figure 309. Automation lane controls. A B C D E F G H A. Expand/collapse Automation lanes B. Select lane C. Remove lane D. Insert new lane E. Read Automation enable/disable F. Write Automation enable/disable G. Edit Filter H. Parameter slider The following controls are shown in each Automation lane: • Remove lane . Remove lane, but keep any existing automation envelopes.
5. Expression 6. Chorus 7. Reverb 8. Arpeggiator; first parameter to last 9. MIDI envelope selection dialog An automatable parameter can be visible in an Automation lane, or in the parent track, but not in both locations simultaneously. If you choose to display an envelope in an Automation lane, that envelope will no longer be shown in the parent track, and vice versa. To open all existing automation envelopes in separate Automation lanes, hold down the ALT key when you click the PLUS button. • Select.
“Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Using Automation lanes To show/hide a track’s Automation lanes Click a track’s Expand/collapse Automation lanes button . The Expand/collapse Automation lanes button is a toggle and only shows automation parameters that have previously been assigned to lanes. Any other existing automation parameters are displayed in the parent track.
The Expand/collapse Automation Lanes button has three states: • Collapsed, with no existing lanes. The button is not highlighted . • Collapsed, with at least one existing lane. The button has a soft blue glow • Expanded. The button is solid blue . . To insert a new Automation lane 1. Click a track’s Expand/collapse Automation lanes button. 2. Do one of the following: • Click the Insert new lane button . • Press SHIFT+PLUS (+).
To assign a parameter to an Automation lane Do one of the following: • Click the Automation lane’s Edit Filter, point to Automation, and select the desired track automation parameter. Created envelopes are displayed in bold text at the top of the menu, and automation parameters that are assigned to other Automation lanes are dimmed. • Hold down the SHIFT key and select a track parameter in the parent track’s Edit Filter.
To resize lanes Move the mouse pointer over the gap below a lane until the cursor looks like this down to resize the lane to your liking. , then drag up or When you resize a lane, all other lanes in the same track/bus automatically inherit the same height. Figure 311. Drag the splitter bar up/down to resize lanes. To edit track automation in a lane 1. Click a track’s Expand/collapse Automation lanes button. 2.
“Recording individual fader or knob movements” on page 1009 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Creating and editing automation envelopes You can create automation envelopes for tracks, buses, clips and plug-ins.
See: “To insert a new automation envelope” on page 1021 “To select automation” on page 1021 “To move automation” on page 1022 “To add envelope nodes” on page 1022 “To move envelope nodes” on page 1023 “To snap nodes vertically” on page 1023 “To reset envelope nodes” on page 1023 “To raise/lower selected envelope nodes” on page 1024 “To raise/lower an envelope across a time range” on page 1024 “To raise/lower an audio Clip Gain envelope” on page 1024 “To draw automation freehand” on page 1025 “To draw a stra
To insert a new automation envelope In the Track view, click the track’s Edit Filter control and select the desired parameter on the pop-up menu. The envelope appears in the Clips pane as a straight, dotted line in the envelope’s individual color, with a node (very small circle) at the beginning. When you move the cursor over the envelope, a vertical, double-ended arrow appears under it with the name and current value of the envelope in a box next to the cursor.
To move automation 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Do one of the following: • With the Move tool , position the pointer over the envelope segment you want to move, then drag the segment to the desired location. • With the Edit tool , position the pointer over the envelope segment you want to move, then drag the segment to the desired location. To add envelope nodes 1.
To move envelope nodes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Do one of the following: • With the Smart tool , drag the node to the desired location. • With the Move tool , drag the node to the desired location. • With the Edit tool , drag the node to the desired location. When dragging an envelope node, the tooltip shows the current value and the delta value for the change.
To reset an envelope to the current value 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Move the Now time to where the envelope’s value is to your liking. 3. Right-click the envelope and choose Clear All on the pop-up menu. SONAR resets the envelope to the current value. To raise/lower selected envelope nodes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
3. Position the mouse pointer over the top half of the clip until the pointer looks like this down the CTRL key and drag up/down. , hold Tip: For greater control over clip gain envelopes, set the Event Filter to Clip Automation > Gain. Note: Clip envelopes can be adjusted in the parent track or in a Take lane. To draw automation freehand 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
• Slow Curve. This choice draws a curve between the two nodes that changes value slowly at first, but more rapidly toward the end of the curve. Tip: You can also change an envelope segment’s shape with the Edit tool . To do so, select the envelope segment you want to change, then hold down the CTRL key and drag the selected envelope segment up/down. To draw automation patterns 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
To draw MIDI continuous controller envelopes 1. Click the track’s Edit Filter control, point to Track Automation and choose MIDI to open the MIDI Envelope dialog box. 2. Specify the desired MIDI envelope parameter settings: • In the Type field, choose what kind of MIDI event you want to control with your envelope. • In the Value field, choose the name of the controller you want to edit. • In the Channel field, choose the MIDI channel that you want the envelope to send data on.
3. Choose Delete Envelope from the menu. SONAR deletes the envelope. To delete several or all envelopes 1. Select the data that contains the envelopes you want to delete—you can select parts of tracks, one or more whole tracks, or all tracks. 2. Do one of the following: • Use the Edit > Delete Special command to open the Delete dialog box. • Press CTRL+ALT+X or use the Edit > Cut Special command to open the Cut dialog box. 3. Select Track/Bus Automation if it’s listed. 4.
To paste an envelope 1. Select the track(s) and location (Now Time) you want to paste the data to. 2. Press CTRL+ALT+V or use the Edit > Paste Special command. The Paste dialog box appears. 3. Choose a track and location to paste to, if you haven’t already. 4. Click OK. SONAR pastes the automation data and any other types of data you chose in the box into the track and location you selected. You can reassign an envelope to control a different parameter from the one it originally controlled.
For a list of all global tool mouse cursors, see “Mouse cursors” on page 469.
To record a Mute button’s movement 1. Right-click the Mute button you want to automate and choose Switch to Automated Mute from the pop-up menu. 2. Make sure the Mute button or its whole track is write-enabled. 3. Start playback or recording, and click the Mute button on and off where appropriate. 4. Click the Stop button press the SPACEBAR when the track has been muted in the appropriate places. SONAR draws an automated mute envelope in the track you recorded on.
mode to 100% right, then the pan parameter is now set to hard right. Setting the pan in offset mode to 50% right would set the pan to the center. Note: Any position that you set a fader to in Offset mode remains in effect when you switch back to Envelope mode. For example, if you set a volume fader to -INF while in Offset mode, switch to Envelope mode and drag the fader to its maximum level, you will not hear anything.
The following MIDI controls support both Envelope and Offset modes: Control Envelope Mode Range Offset Mode Range Volume 0 to 127, default is 101 0 to 127, default is 101 Pan 100% L to 100% R, default is C 100% L to 100% R, default is C Chorus 0 to 127, default is 0 -127 to 127, default is 100 Reverb 0 to 127, default is 0 -127 to 127, default is 100 Table 183.
“Automating track and bus mute” on page 1030 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Converting MIDI controllers to envelopes MIDI controllers you edit in the Piano Roll view and MIDI envelopes you create in the Track view Clips pane are actually separate data, even if they control the same parameter.
“Recording individual fader or knob movements” on page 1009 “Automation lanes” on page 1010 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Snapshots” on page 1035 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Snapshots A snapshot is a setting or group of settings that SONAR’s controls snap to when your project reaches a certain Now Time.
“Automation Read and Automation Write buttons” on page 1007 “Recording individual fader or knob movements” on page 1009 “Automation lanes” on page 1010 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Automating effects” on page 1036 “Recording automation data from an external controller” on page 1038 Automating effects SONAR allows you to automate plug-
3. If you opened the Clips pane pop-up menu, choose Envelopes > Create Track Envelope > (name of the effect you patched). If you opened the Bus pane pop-up menu, choose Create Bus Envelope > (name of the effect you patched). The effect’s envelope dialog box appears, listing all the parameters you can automate in the Envelope Exists list. 4.
Recording automation data from an external controller You can record automation data from an external controller or a MIDI keyboard. To record automation data from an external controller 1. In either the Track view or Console view, right-click the control or knob that you want to control externally, and choose Remote Control from the pop-up menu. The Remote Control dialog box appears. 2.
“Automation time base” on page 1006 “Automation Read and Automation Write buttons” on page 1007 “Recording individual fader or knob movements” on page 1009 “Automation lanes” on page 1010 “Creating and editing automation envelopes” on page 1019 “Automating track and bus mute” on page 1030 “Envelope mode and Offset mode” on page 1031 “Converting MIDI controllers to envelopes” on page 1034 “Snapshots” on page 1035 “Automating effects” on page 1036 Automation Recording automation data from an external control
Automation Recording automation data from an external controller
Window management SONAR offers a lot of flexibility in the way you can arrange windows on your screen. This allows you to adjust the viewing and editing space to suit your own needs. The following options are just some of the ways you can arrange windows: • Dock the Control Bar, Inspector and Browser to one of SONAR’s edges. For details, see “Docking windows” on page 1042. • Dock windows in the MultiDock. You can have as many views open in tabbed format as you want.
“Locking views” on page 1052 “Tiling windows” on page 1053 “Screensets” on page 1054 “X-Ray” on page 1059 “View reference” on page 1789 See also: “Zoom controls” on page 86 Docking windows By docking windows, you can keep frequently-used windows open but out of the way while working on a project. You can dock windows and panes in two different areas in SONAR: • Top/bottom/left/right edge. SONAR’s edges. The Control Bar, Inspector and Browser can be docked along • MultiDock.
• Left edge: • Inspector (default) • Browser Figure 314. You can dock most windows and panes at the top, bottom, left and right of SONAR’s interface. A E B C D A. Control Bar B. Track and Clip Inspectors C. MultiDock (Piano Roll view shown) D. Track view E. Browser When dragging the Control Bar, Inspector, Browser, MultiDock and other views towards any edge, a colored rectangle indicates a valid drop location. Figure 315. A colored rectangle indicates a valid drop location.
To dock/undock the Control Bar Right-click the Control Bar and select one of the following commands: • Dock Control Bar at Top. Select this option to dock the Control Bar above the Track view. • Dock Control Bar at Bottom. Select this option to dock the Control Bar below the Track view. • Undock Control Bar. Select this option to undock the Control Bar. Tip: You can click any blank area in the Control Bar and drag the Control Bar to the desired position.
To dock/undock the Browser To dock, do one of the following: • Click the Docking Options button and select Dock at Right, Dock at Left or Dock in MultiDock. • Click any blank space at the top of the Browser and drag the Browser to the desired position. To undock, do one of the following: • Click the Dock/Undock button . • Click the Docking Options button and select Undock. • Click any blank space at the top of the Browser and drag the Browser to the desired position. Figure 317.
MultiDock The MultiDock is a container that can host one or more views. The MultiDock allows you to have frequently-used windows open in a centralized location, without obscuring the Track view. Instead of placing each view in its own window, you can group views by docking them in the MultiDock. In the MultiDock, each docked window is in its own tab with its own close button. The MultiDock appears automatically when you dock a view below the Track view.
The MultiDock is only visible when at least one view is docked there. By default, the MultiDock is displayed at the bottom of the screen, below the Track view, but you can also float the MultiDock and even position it on a second video monitor. You can also maximize the MultiDock to do detailed work in a docked window, or drag the splitter bar at the top of the MultiDock to enlarge the tabbed view area.
To undock a window Do one of the following: • Drag the window’s tab out of the MultiDock. • Click the view’s Docking Options menu, and choose Undock. • Right-click the window’s tab, and choose Undock from the pop-up menu. Note: When you undock a window, the window will be float enabled. If you do not want to float the window, click the window’s icon menu in the top left corner and choose Disable Floating. To close a window in the MultiDock Do one of the following: • Click the tab’s X button.
To resize the MultiDock Drag the splitter bar up/down. Figure 323. To resize the MultiDock vertically, drag the splitter bar up/down. To expand a docked window To expand a docked window so it fills the Track view, double-click the window’s tab or press SHIFT+D. To restore the view to it’s original docked size, double-click the tab again. To expand/collapse the MultiDock Click the Expand/Collapse button in the bottom right corner. Figure 324. MultiDock docking controls. A B C A. Dock/undock B.
To dock/undock the MultiDock To dock, do one of the following: • Click the Dock/Undock button . • Click the Docking Options menu and choose Dock at Top or Dock at Bottom. • Drag the MultiDock to the top or bottom of the screen. The MultiDock can be docked in four different positions, depending on where you release the mouse button. By default, the Inspector and Browser extend the full height of the screen. However, you can choose to extend the MultiDock all the way to the left and/or right edge.
Floating views and using dual video monitors When a view is float enabled, you can move it outside of the confines of SONAR. This is particularly useful if you take advantage of SONAR’s dual monitor support, which allows you to float most of your views to a second monitor and increase the number of views that you can have open at one time. Important: Dual monitor support requires that you have a supported video card. Follow your hardware manufacturer’s instructions for using dual monitors.
“Locking views” on page 1052 “Tiling windows” on page 1053 “Screensets” on page 1054 “X-Ray” on page 1059 “View reference” on page 1789 Locking views By default SONAR allows only one instance of each view, but you can lock the contents of most views, preserving the current view by forcing a new instance of the view to appear if necessary. Locking views is the only way you can have multiple instances of the same view open. Only the Track and Console views cannot be locked.
Tiling windows If you want to view more than one project or window at a time, you can tile the windows. To tile windows 1. If the window you want to tile is docked in the MultiDock, drag the tab out of the MultiDock to undock the window. 2. Disable floating for any windows you want to tile (click the icon located in the upper left corner of the window and select Disable Floating). 3. Do one of the following: • Choose Window > Cascade. • Choose Window > Tile in Rows. • Choose Window > Tile in Columns.
Screensets A screenset is a snapshot of the current layout of various views and windows in a project, including which windows are open, their size, position, zoom level and whether they are docked or floating. You can create up to 10 screensets per project and freely switch between screensets at any time. Figure 325. Screensets allow you to instantly switch between different window layouts. Screenset 1 Screenset 2 Screenset 3... One of the 10 available screensets is always active.
Screensets are saved per project, and you can import screensets from other projects. Screensets can be updated, renamed, duplicated and locked to prevent further changes. By default, SONAR has 10 custom window layouts assigned to screensets 1-10, but you can update and rename the default screensets to suit your own work style.
• Lock/Unlock Current Screenset. Lock the current screenset to prevent any modifications. See “To prevent the current screenset from being modified” on page 1057. • Rename Current Screenset. Rename the current screenset. See “To name or rename the current screenset” on page 1057. • Duplicate Current Screenset to. Copy the current screenset to another screenset location (1 to 0). Select the target screenset location from the submenu. The selected target screenset becomes the current screenset.
To name or rename the current screenset 1. Make sure the Screenset module is visible in the Control Bar. 2. Click the Screenset menu and select Rename Current Screenset. The Rename Screenset dialog box opens. 3. Type a new name and click OK. Note: You can not rename a locked screenset. To prevent the current screenset from being modified 1. Make sure the Screenset module is visible in the Control Bar. 2. Click the Screenset menu and select Lock/Unlock Current Screenset.
• Hold down the CTRL key and press the number key that corresponds to the target screenset location (1 through 0). The current screenset is copied to the specified location, and the selected location becomes the current screenset. Note: You can not copy a screenset to a locked screenset location. To revert the current screenset to its last saved state When you switch to another screenset, SONAR automatically saves any changes to the current screenset (unless the screenset is locked).
X-Ray The X-Ray Windows feature eliminates the need to constantly minimize, move, or close windows in order to work in other windows. It works by decreasing the opacity of the current window enough so that you can see and work with the window that’s behind the current window. You activate the feature by pressing SHIFT+X when the mouse cursor is over a window you want to x-ray.
2. Make sure that the view windows you want to X-Ray are in the Floating-enabled state. To check this, click the view or fx icon that’s in the upper left corner of a window, and select Enable Floating from the drop-down menu. If Disable Floating is in the menu, then the Floating option is already enabled. Note: All FX/Synth/Control surface property pages are float-enabled by default. 3. To X-Ray or un-X-Ray a single window, move the mouse cursor over the window, and press SHIFT+X for the X-Ray command.
If VST or VSTi, write down the VST ID value that’s in the VST ID field at the bottom of the dialog box. 5. Close the Plug-in Manager dialog box. 6. Open the Xrayexclude.ini file that’s in your SONAR program folder (use Notepad). 7. At the end of the file, find the [EffectProps View] section. You will see entries such as the following: ; Waves SSL EQ Stereo XRayExclude11=1397510483 XRayExclude12={E451379E-F7E1-4E82-98D9-BEB87AC45E90} 8.
Window management X-Ray
Templates and key bindings A template is a special file that is used as a pattern to create similar project files. You might create a template file that defines a particular musical ensemble (say, a string quartet) or a particular studio configuration (MIDI instruments, audio outputs, and so on). Templates make it fast and easy to create and configure new projects. A key binding lets you associate SONAR commands with keys on your MIDI or computer keyboard.
Templates Template files make it easy to create new projects with certain predefined settings. To create a template file, create a new project file and arrange the project settings the way you want, then save the project as a template file. Template files have a file extension of .cwt. When you create a new project, you can use the template as the basis for the new project. SONAR looks for template files in a particular folder on your hard disk. By default, this folder is the program folder.
To create a template 1. Create a new file using the File > New command. 2. Add tracks. 3. Set one or more parameters to be the way you want. 4. Choose File > Save As to display the Save As dialog box. 5. Choose Template from the Save as Type list. 6. Enter a template file name and click Save. SONAR saves the template file. To create a new project from a template 1. Choose File > New to display the New Project File dialog box. The list contains the names of all existing templates. 2.
4. The second synthesizer responds to channels 1 through 8. These can be placed on tracks 1 through 8. For each track, enter the corresponding channel number using the Ch drop-down menu for each track. You should now have tracks 1 through 8 set to channels 1 through 8. 5. The third synthesizer can respond to 16 MIDI channels, but the only channels left are 9 and 11 through 16. Enter these numbers in the corresponding tracks.
Rather than tie up all the notes on your MIDI keyboard with key bindings, SONAR lets you define a key binding shift key on your MIDI keyboard that indicates when you want to use a key binding. For example, you could designate the lowest note on your MIDI keyboard as the key binding shift key, and then assign different notes to specific commands (for example, C4 to Process > Quantize, C5 to Process > Groove Quantize, and so on). If you press the C4 key by itself, the note plays normally.
9. If you want to save these key bindings for other sessions, make sure that the Save Changes for Next Session check box is checked. 10. Click OK when you are done. SONAR assigns the key(s) you chose. To create a key binding using a MIDI keyboard 1. Go to Edit > Preferences > Keyboard Shortcuts. 2. Check MIDI in the Type of Keys list. 3. Check the Enable box to make sure MIDI key bindings are enabled. 4.
Importing key bindings SONAR can use key bindings from other sequencer applications. Clicking the Import button in the Key Bindings dialog box allows you to choose a new set of key bindings. After you import new key bindings, you can edit and save them the way you do with the default key bindings. To import key bindings 1. Go to Edit > Preferences > Keyboard Shortcuts. 2. Click the Import button to open the Import Key Bindings dialog box. 3.
Templates and key bindings Key bindings
Notation and lyrics This section describes three SONAR views that are used to edit the music notation and lyrics of your project. • SONAR’s Staff view lets you work with your composition in a standard musical staff, guitar tablature and a virtual guitar fretboard. You can add, move, and delete notes with your mouse or with your computer keyboard. You can add chord names, guitar chord grids, expression marks, hairpin symbols, pedal marks, and lyrics.
The Staff view The Staff view is composed of a Staff pane and a Fretboard. When you first open the Staff view, you may see only the Staff and not the Fretboard. Resize the Staff view by dragging its edges until you can see everything easily. When you save your file, whatever size the Staff view is will be the way it appears the next time you open the file. The Staff pane displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work.
Opening the Staff view There are several ways to open the Staff view: • In the Track view, select the MIDI tracks you want to see, then choose Views > Staff View, or press ALT+7. • Right-click on a track in the Clips pane and choose Views > Staff View on the pop-up menu. You can always change the tracks that are displayed: in the Staff view, click the Track menu, choose Pick Tracks and select the tracks you want. You can display one or more tracks.
The Staff pane right-click menu The Staff pane right-click menu offers the following editing options: Menu command Result MIDI Effects Opens the MIDI Effects submenu. See “MIDI effects (MIDI plug-ins)” on page 749 for more information. Layout Opens the Staff View Layout dialog box. Regenerate Tablature Opens the Regenerate Tablature dialog box. “Regenerate TAB” on page 1099 for more information. Export to ASCII TAB Saves the track in TAB format with the extension .TXT.
3. Select a new clef from the list. 4. If you select Treble/Bass, select a Split point. 5. If you select one of the Percussion options, click Percussion Settings to set up the appearance of percussion notes. 6. Repeat steps 2-5 for other tracks. 7. Click Close when you are done. SONAR displays tracks using the new staff settings. Tip: If a piano part’s left-hand and right-hand parts overlap, a split point will not correctly separate the two parts into treble and bass staves.
“To display notes on the Fretboard using their MIDI channels” on page 1089 “To edit a chord symbol” on page 1091 “Tablature settings” on page 1097 “Changing Fretboard texture and orientation” on page 1098 “Quick TAB” on page 1099 “Regenerate TAB” on page 1099 “Entering notes from the TAB staff” on page 1100 “Single note editing from the TAB staff” on page 1100 “Editing chords or groups of notes from the TAB Staff” on page 1100 Fretboard pop-up menu When you right-click the Fretboard in the Staff view, the
To change the Staff view layout 1. Click the Staff view Edit menu and choose Layout to open the Staff View Layout dialog box. Figure 328. The Staff View Layout dialog 2. Select a track from the list (if the track you want to edit is not in the list, click the Tracks menu and choose Pick Tracks, then select the desired track). The Clef option shows the track’s clef. 3. Select a new clef from the list. 4. If you select Treble/Bass, select a Split point. C5 represents middle C. 5.
Basic musical editing The global tools let you edit a project by manipulating the elements of standard music notation. Using these tools, you can create and edit notes, chord symbols (guitar fretboards), pedal marks, expression marks, hairpins, and lyrics. When drawing events in the Staff view, the staff is shaded to indicate where the current event type can be drawn. Events can only be drawn where the background is white. Figure 329. The selected event type can only be drawn where the background is white.
See: “Inserting notes on the staff” on page 1079 “Inserting notes with the Fretboard” on page 1080 “Selecting notes” on page 1080 “Moving, copying, and deleting notes on the staff” on page 1081 “Moving notes from within the Fretboard” on page 1082 “Auditioning” on page 1083 “Changing note properties” on page 1084 “Deglitch dialog” on page 1085 “Working with triplets” on page 1085 “Beaming of rests” on page 1086 “Changing the way notes are displayed” on page 1086 “Using enharmonic spellings” on page 1087 “MI
To insert a note on the staff 1. Disable the View > Fill Durations and View > Trim Durations options in the Staff view menu, if desired (this is usually the best way when you’re entering notes). 2. Click the Staff view View menu and choose Display Resolution, then choose a resolution that’s as small or slightly smaller than the smallest note you plan to enter. 3. Select the Draw Freehand tool in the Control Bar. 4. Select a note duration in the Control Bar’s Tools module.
Use the Select tool in the Control Bar to make selections. Selection methods in the Staff view are similar to those in other views.
To move a single note in the Staff view 1. Select the Select tool or Draw tool in the Control Bar. 2. Click the note to be moved. 3. Drag the note to a new time, pitch, or staff. SONAR moves the note to the new location. To move several notes in the Staff view 1. Select the Select tool in the Control Bar. 2. Select the notes to be moved. 3. Click one of the selected notes. 4. Drag the notes to a new time, pitch, or staff. SONAR moves the notes to the new location.
To change the pitch of a chord in the Fretboard 1. Click in the Time Ruler to set the Now time to the time of the chord you want to change. 2. Select the Select tool in the Control Bar. 3. While pressing SHIFT, click each of the notes you would like to change. 4. While continuing to press SHIFT, drag the notes along the strings. SONAR moves the notes you selected to the new pitches. Tip: You can also move the Now time pointer to the exact note by using the Step Play buttons.
Changing note properties The Staff view lets you edit all the MIDI parameters for a note, including those not normally portrayed by standard musical notation.
Deglitch dialog When recording MIDI guitar, even the best players occasionally play unintended notes. The Deglitch feature allows you to filter out the softest, shortest, and highest notes in the file. There are three filters in the Deglitch dialog: Pitch With the Pitch filter you can set the maximum pitch allowed in the track. If a MIDI event has a higher pitch than the maximum you set, it is removed. Velocity With the Velocity filter you can set a minimum velocity allowed in the track.
To enter a triplet 1. Enable Snap to Grid in the Control Bar’s Snap module. 2. Select the Draw tool in the Control Bar. 3. Select a triplet note duration in the Tools module. 4. Enter the first note at the desired location in the staff. SONAR inserts all three triplet notes at the same pitch. You can then drag the second and third notes to their correct pitch locations. Beaming of rests The Staff view supports beaming of rests, a practice that is popular with rhythmically complex music.
Here’s what the Staff view looks like with and without these options: Figure 331. Fill and Trim off Figure 332. Fill and Trim on On the other hand, if you are entering notes into the Staff view with the mouse, Fill Durations and Trim Durations may produce confusing results. For example, with Fill Durations, an inserted eighth note in 4/4 time would look like a quarter note until you insert another eighth note immediately following it.
Accidental Character Example Flat b Cb5 Sharp # C#5 Double flat “ C”5 Double sharp x Cx5 Displays as Table 190. To change a note’s enharmonic spelling 1. Select the Smart tool in the Control Bar and double-click the note to open the Note Properties dialog box. 2. In the Pitch textbox, type a new spelling for the note. 3. Click OK. SONAR displays the note with the new enharmonic spelling.
You can also use the Process > Find/Change command to change enharmonic spellings—for example, to change multiple occurrences of Eb5 to D#5, or even all Ebs to D#s. See “Process > Find/Change” on page 737 for more information. MIDI Channels and the Fretboard You can display notes on the fretboard based on the note event’s MIDI channel. (Do not confuse this with the Track MIDI channel.) A single track can hold events on many different MIDI channels.
Chords and marks The Staff view lets you add and edit chord symbols, dynamic markings, hairpin symbols, and pedal events. Like notes, these symbols are placed in the score with the Draw Freehand tool. They can be selected, cut, copied, pasted, deleted, and dragged and dropped. With the exception of pedal marks, though, these symbols have no audible effect; they serve only to enhance and clarify the printed score.
To add a chord symbol 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Chords button in the Staff view. 3. Position the pointer above the staff (the pointer changes to a pencil when you are in a legal position). 4. Click to place a chord symbol. SONAR inserts a copy of the most recently added chord (by default, C). You can then edit the symbol to display the chord you want. To move a chord symbol 1. Select the Draw Freehand tool in the Control Bar. 2.
Figure 333. The Chord Properties dialog 4. Click OK. The Staff view displays the chord with the new properties, moving it to a new time if necessary. To add a guitar chord grid 1. Right-click the chord symbol to open the Chord Properties dialog box. 2.
To manage the chord library 1. Right-click the chord symbol to open the Chord Properties dialog box. 2. Follow the instructions in the table: To do this Do this Add a chord to the library Select a group, enter a name in the Name box, enter a guitar grid (if desired), and click Save. Delete a chord from the current group Select the chord from the list and click Delete. Add a new group Type a name for the group in the Group textbox and click Save.
To add an expression mark 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Expression button in the Staff view. 3. Position the pointer below the lowest note in the staff. (The pointer changes to a pencil when you are in a legal position.) 4. Click to open an insertion box. 5. Type the expression mark text. Press ESC to abort the operation. 6. Press ENTER, or press TAB or SHIFT+TAB to move to the next or previous mark, respectively. SONAR inserts the new expression mark below the staff.
To add a hairpin symbol 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Hairpin button in the Staff view. 3. Position the pointer below the staff (the pointer changes to a pencil when you are in a legal position). 4. Click to place a hairpin symbol. SONAR inserts a copy of the most recently added hairpin symbol, which you can edit as desired. To edit a hairpin symbol 1. Right-click on the hairpin symbol you want to edit. The Hairpin Properties dialog box appears. 2.
To add a pedal mark 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Pedal button in the Staff view. 3. Position the pointer below the staff (the pointer changes to a pencil when you are in a legal position). 4. Click to place a pedal mark. SONAR inserts a pair of pedal symbols (a pedal down and a pedal up). You can click and drag either symbol to a new time. To edit a pedal event 1. Right-click the pedal symbol (pedal down or pedal up) to open the Pedal Event Parameters dialog box.
Tablature The Staff view can display guitar or bass MIDI tracks as tablature. You can generate and edit tablature or enter notes on either the fretboard or on the tablature staff to create a new track. You can export tablature to an ASCII file for printing or distribution on the Web.
display changes to reflect the settings in these two parameters. • MIDI Channel. This uses the event's MIDI channel to determine which string the note should be displayed on. When MIDI Channel is selected, the user chooses which series of MIDI Channels should be considered. This is useful for MIDI guitarists that record parts in MONO mode, where each string transmits on a different MIDI channel. (Values: 1 - 11).
Quick TAB SONAR quickly creates a tablature based on standard fingering patterns. After you try the quick version, you can customize the tablature to your liking. To create a quick TAB 1. Open a file that contains a MIDI guitar track. 2. In the Track view, select the track number of the track you want to display tablature for. 3. Select Views > Staff View. The Staff view appears, displaying a fretboard and the notation of your MIDI track.
Entering notes from the TAB staff You can enter notes or chords directly from the TAB staff. To enter notes from the TAB staff 1. Open the Staff View. 2. Click the Staff view Edit menu and choose Quick TAB. 3. Press CTRL+HOME to move the Now Time to the start of the project. 4. Select the desired note duration in the Control Bar’s Tools module. 5. Select the Draw Freehand tool in the Control Bar. 6. Enter a note by clicking a line in the TAB staff. 7.
To export to an ASCII TAB file 1. Select the track you want to export. 2. Open the Staff view. 3. Click the Staff view Print menu and choose Export to ASCII TAB. The Save As dialog box appears. 4. Enter a file name in the File name field. 5. Click OK. SONAR saves the track with the file extension .txt. Editing notes and chords from the Fretboard You can transpose single notes or chords from the Fretboard. To transpose single notes 1.
You can delete a note right after you enter it by pressing CTRL+Z, or at any time by selecting the Erase tool in the Control Bar and clicking the note in the notation or TAB staffs. SONAR gives you several options to play and hear the notes in your track: • Scrubbing enables you to click each note in the Fretboard and hear it play. Hold down the J key to activate the Scrub tool, then click the note. • Scrub strumming enables you to “strum” chords by dragging the Scrub tool through a chord.
Setting up a percussion track Before you use the percussion capabilities of the Staff view, your percussion track should be set up correctly. This will allow you to hear the proper sounds when placing notes and during playback, and will allow you to see the correct percussion instrument names rather than generic note names in the Piano Roll view, Event List view, and Percussion Notation dialog box. To set up a percussion track 1. Select the track so it appears in the Track Inspector. 2.
To assign a percussion staff or line to a track 1. Click the Staff view Edit menu and choose Layout to open the Staff View Layout dialog box. 2. Select your percussion track from the list. 3. Select Percussion Staff or Percussion Line from the Clef drop-down list. 4. Click Percussion Settings to set up the appearance of percussion notes (see “To set up a track’s percussion notation key” on page 1104). 5. Click Close. SONAR changes the track’s clef to the selected percussion clef.
5. Click OK to close the Percussion Notation Key dialog box. 6. Click Close to close the Staff View Layout dialog box. The Staff view shows the percussion clef with the note bindings and noteheads you assigned. Ghost strokes In percussion notation, parentheses around a note mean that it is a ghost stroke, played very lightly and barely heard. SONAR supports ghost strokes by displaying parentheses around any percussion note event with velocity less than 32 (a fixed, arbitrary threshold).
Printing The Staff view provides printing support of standard musical notation in nine staff sizes. The Staff view prints general project information from the File Info dialog box (see “Labeling your projects” on page 309) at the beginning of the score, including the song's title (or file name), subtitle (dedication), playing instructions, author/composer, and copyright. In addition, SONAR identifies the tracks by number and name, and numbers each measure and each page.
Can't print if Staff view is floating It is not possible to print the Staff view if the Staff view is float-enabled. If necessary, temporarily disable floating if you need to print from the Staff view. Export to MusicXML (Producer only) SONAR lets you export notation to the MusicXML format, which can be used in other notation programs such as Finale and Sibelius. MusicXML serves as a functional standard for saving notation data in a better way than MIDI.
The Meter/Key view The Meter/Key view lets you enter meter and key changes at measure boundaries. Meter and key changes affect all tracks. See: “What Is meter?” on page 1108 “What Is key?” on page 1109 “Opening the Meter/Key view” on page 1109 “Adding and editing meter/key changes” on page 1110 “Music notation for non-concert-key instruments” on page 1111 What Is meter? The meter—also known as the time signature—describes how to divide time into rhythmic pulses.
What Is key? In musical terms, a key is a system of related notes based on the tonic (the base pitch) of a major or minor scale. A key signature is a group of sharps or flats placed immediately to the right of the clef sign. The key signature tells a performer that certain notes are to be systematically raised or lowered. There are fifteen different key signatures—seven with sharps, seven with flats, and one without either.
Property Meaning At Measure The measure where the meter/key change takes place. Beats per Measure The number of beats per measure, the upper number in the time signature. Beat Value The note length of a beat, the lower number in the time signature. 2 corresponds to a half note, 4 to a quarter note, 8 to an eighth note, etc. Key Signature The key signature. Table 198. Adding and editing meter/key changes The Meter/Key view displays a list of all the meter/key changes in the project.
To delete a meter/key change 1. Select the meter/key change to be deleted from the list. 2. Select additional meter/key changes by using SHIFT-click and CTRL-click. 3. Click Delete . SONAR removes the meter/key change from the project. You cannot delete the first meter/key change from measure 1 of a project. To move a meter/key change 1. Select the meter/key change to be moved. 2. Click Add . 3. Edit the Measure parameter to the meter/key change’s new measure. 4. Click OK. 5.
To notate a Bb trumpet part 1. Record or enter the notes using the pitches that the musician who will be reading the part needs to see. For example, if the non-transposing instruments are playing in the key of C, a Bb trumpet player needs to see the notes a whole step higher—the key of D. The instrument itself sounds a whole step lower than concert pitch, so when a Bb trumpet plays in the key of D, it sounds in the key of C.
along. You can make the font size in the Lyrics view as large as desired, so that the lyrics can be read at a distance from the monitor. During playback, the current line in the lyrics is enclosed in a box and the current word is highlighted. Lyric events are similar to text events. Like any other event, they occur at a particular time. They contain text, just like general-purpose text events, but generally they contain only a single word (or syllable of a word).
To edit lyrics 1. Select the Draw Freehand tool in the Control Bar. 2. Click the word you want to change. 3. Edit the word as desired. 4. Press ENTER. SONAR replaces the old word with the new one.
To enter lyrics in the Lyrics view 1. Click in the upper left corner of the view to position the cursor at the start of the text. 2. Follow the instructions in the table: To do this Do this Enter a word or syllable Type it End a word or syllable and move to the next note Type a space or hyphen Break a line for easier viewing Press ENTER Table 200.
Notation and lyrics Working with lyrics
Instrument definitions Instrument definitions are a powerful feature of SONAR that makes it easier for you to find the banks, patches, and controllers of your MIDI instruments. An instrument definition is a file that contains the names of the banks, patches, note names, bank select method, and controllers of an instrument. Instrument definitions for many popular MIDI instruments are included with SONAR or are available on the Cakewalk web site (www.cakewalk.com).
“Assigning the Bank Select method” on page 1127 “Assigning patch names” on page 1129 “Assigning note names” on page 1130 “Assigning controller, RPN, and NRPN names” on page 1132 Assigning instruments SONAR lets you assign a MIDI instrument definition to each available MIDI output and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names that you see during your SONAR session.
To assign instrument definitions to MIDI outputs and channels 1. Go to Edit > Preferences > MIDI - Instruments. Figure 337. The Instruments section 2. Select one or more MIDI outputs and channels from the Output/Channel list (use SHIFT-click and CTRL-click to select multiple outputs and channels). You can also drag through a bunch of channels to select them.
To clear instrument assignments 1. Go to Edit > Preferences > MIDI - Instruments. 2. Select the MIDI outputs and channels whose assignments you want to remove from the Output/ Channel list. 3. Choose from the Uses Instrument list. A black line connects the two lists. 4. Click OK when you are done. You don’t really clear instrument assignments—you reassign them to use the default (General MIDI) instrument definition.
Importing instrument definitions When you install SONAR, a few common instrument definitions are already set up for you and ready to use. SONAR also includes several hundred additional instrument definitions that you can import. These instrument definitions are stored in text files in your SONAR folder, organized largely by manufacturer. For example, all the instrument definitions for Roland gear are stored in the Roland.ins file; all the instrument definitions for Yamaha gear are stored in the Yamaha.
Creating instrument definitions SONAR lets you create and edit instrument definitions.
Figure 338. The Define Instruments and Names dialog A B A. The Instruments tree B. The Names tree The Define Instruments and Names dialog box contains two trees: • The Instruments tree in the left half of the dialog box lists all defined instruments and their characteristics • The Names tree in the right half of the dialog box shows all the resources you use to define an instrument You expand or collapse the folders and lists in each tree by clicking on the + or - key shown to the left of each item.
• Names for Non-Registered Parameter Numbers (NRPNs) The instrument definitions organize all names (patches, notes, controllers, RPNs, and NRPNs) into lists. You may be able to define a new instrument using existing name lists. For example, two models of synthesizers made by a particular manufacturer may have identical patch name lists but use different NRPNs.
To export an instrument definition 1. In the Define Instruments and Names dialog box, right-click an Instrument name in the Instrument tree and choose Export from the menu to display the Export Instrument Definition dialog box. 2. If you don’t want to save the file in the folder that’s listed in the Save In field, navigate to the folder in which you do want to save the file. 3. Enter a file name and click Save. SONAR saves the file, with the filename extension .ins.
Names dialog box, and follow the directions in the following table. To do this Do this Create a new name list Duplicate an existing Patch Names or other list by doing one of the following: expand the folder that contains the name list, highlight the name list and press the Ins (Insert) key; highlight the folder and press SHIFT+INSERT; or right-click any folder or name list and choose Add Names List from the menu. Then type a name for the list and press ENTER.
Copying name lists You can easily create new lists that are similar to other lists. For example, suppose you want to create a new patch name list called NewList that is almost identical to the General MIDI patch list, but with one or two small changes. Here’s how you proceed: • Create a new patch name list in the Patch Names folder of the Names tree called, for example, NewList. • Drag the new list onto the General MIDI list in the Names tree.
The bank select method you choose affects the bank numbers that you assign to each patch list, as described in the following section. Here’s how you compute the bank numbers: Bank select method To compute the bank number Normal Take the value of Controller 0, multiply it by 128, and add the value of Controller 32 to derive the bank number. Note: A synthesizer manufacturer may refer to Controller 0 as the MSB (Most Significant Byte) and to Controller 32 as the LSB (Least Significant Byte).
Assigning patch names A MIDI instrument can have up to 16,384 banks of 128 patches each. Patches can have names, like “Piano” for patch number 0, “Bass” for patch number 1, and so on. Normally, each bank contains a different set of patches, so each bank needs a separate patch name list. Most synthesizers start with a patch number of 0. You can assign a patch name list to each bank.
To remove a bank or patch name list 1. In the Instrument tree in the Patch Names for Banks folder of the instrument you’re editing, highlight the bank and patch names list. 2. Press the DELETE key, or right-click on the bank name and choose Delete from the pop-up menu. To set or clear the Drum flag • Right-click on the bank in the Instrument tree, and choose Drums from the pop-up menu.
To see the assignment of note name lists to patches 1. Expand the instrument definition by clicking the + sign next to the instrument name. 2. Expand the Patch Names for Banks folder by clicking the + sign. 3. Continue expanding the tree by clicking the + sign, until the tree is fully expanded. D C B A E A. This is the name of a note name list B. The * indicates that this note name list is the default C. Bank D. Instrument name E.
To set or clear the Drum flag • Right-click on the patch in the Instrument tree, and choose Drums from the menu. See also: “Creating and editing patch name and other lists” on page 1125 “Copying name lists” on page 1127 “Assigning the Bank Select method” on page 1127 “Assigning patch names” on page 1129 “Assigning controller, RPN, and NRPN names” on page 1132 Assigning controller, RPN, and NRPN names SONAR lets each instrument have its own lists of controller names, RPN names, and NRPN names.
See also: “Creating and editing patch name and other lists” on page 1125 “Copying name lists” on page 1127 “Assigning the Bank Select method” on page 1127 “Assigning patch names” on page 1129 “Assigning note names” on page 1130 SONAR flags in instrument definitions SONAR has several flags that you can use in instrument definition files for use with specific instrument definitions.
Instrument definition tutorial The following tutorial takes you through the process of setting up an instrument definition for a Roland keyboard so that the bank and patch names, including any self-created sounds, read the same in SONAR as they do on the display screen of your keyboard instrument.
instrument definitions currently loaded into SONAR, and determines the list of instruments that appears in the Assign Instruments dialog box. Next topic: “Start of tutorial” on page 1135 Start of tutorial Let’s say you have a Roland XP-10 and you want SONAR to display all of its patch names from all of its banks, including any self-created sounds you add to it. Let’s start by importing the names of the built-in banks and patches that the XP-10 has. To import a Roland instrument definition 1.
Let’s check some of our bank and patch lists to see if they match up with what we see on the screen of the XP-10. On the XP-10, let’s look at the Vari 1 bank: if we look at tone (tone means the same as patch) #005 in the Vari 1 bank on the XP-10, we see that it is called Detuned EP1.
Checking bank numbers You can calculate bank numbers by using the methods described in “Assigning the Bank Select method” on page 1127, but you might find it easier to use the following method: To check the bank numbers 1. Set up a MIDI track to record from your MIDI keyboard or module. 2. Click the Record button to start recording, and change banks on your keyboard. 3. Stop recording, and open the Event List view. 4.
Instrument definitions Instrument definition tutorial
System exclusive data SONAR’s System Exclusive (Sysx) librarian provides you with 8192 banks in which to hold MIDI System Exclusive messages. A bank is a storage area plus some associated parameters such as a destination output and an optional description. Each bank can hold any number of messages; the amount of data it can hold is limited only by available memory. The banks are saved in the SONAR project file. Each bank can also be saved as a .syx file. Figure 339.
What is System Exclusive? System Exclusive data is MIDI’s way of letting each synthesizer manufacturer transmit private data about its products. A System Exclusive message has a manufacturer ID; the rest of the message is completely proprietary and varies for each manufacturer, even for each of its products. SONAR does not understand what this data means; it simply can hold onto it for you.
“Real-time recording of System Exclusive messages” on page 1149 “Sysx echo” on page 1149 “Sending Sysx banks at startup” on page 1142 “Sysx .ini file settings” on page 1150 “Troubleshooting” on page 1151 Using the System Exclusive view The System Exclusive view has a list box for a maximum of 256 Sysx banks, plus a toolbar of buttons. Most of the buttons affect whatever bank you have selected in the list. Certain buttons will be disabled if the selected bank is empty.
Sending Sysx banks at startup You can tell SONAR to send certain Sysx banks to your instrument(s) each time you open the project file that the banks are in. To send Sysx banks at startup 1. In the Sysx view, select a bank that you want to send to an instrument when you open the current project. SONAR highlights the bank you select. 2. Click the Sysx view Settings menu and choose Auto Send on/off. A checkmark appears next to the bank name in the Auto column to show that the bank is marked for auto-sending.
Importing, creating, and dumping Sysx banks There are several ways to get a sysx bank into SONAR: • You can import (load) an external .syx file. • You can edit an empty bank to create a new bank from scratch. • You can dump a bank into SONAR from the synthesizer itself. To import a Sysx bank into a project 1. In the Sysx view, select an empty bank to import the new bank into (unless you want to add to or overwrite an existing bank). 2. Click the Sysx view File menu and choose Open.
To dump a Sysx bank into SONAR 1. Go to Edit > Preferences > MIDI - Playback and Recording and make sure the System Exclusive check box is selected. If it isn’t, SONAR won’t receive System Exclusive messages. 2. In the Sysx view, select an empty bank to dump the new bank into (unless you want to add to or overwrite an existing bank). 3. Click the Sysx view File menu and choose Receive. The Receive System Exclusive dialog box appears, which contains a list of Dump Request Macros (DRMs).
When your instrument starts sending the bank, the Sysx Receive window counts the bytes as SONAR receives them. If the count stays at zero for more than a couple of seconds, something is wrong. The synthesizer may not be hooked up to the MIDI interface in both directions, or you may have answered a DRM prompt incorrectly. Click Cancel. If any data were received, you will see the number of bytes in the bank list. 6.
Editing Sysx banks Editing a Sysx bank is very similar to creating one. To edit a Sysx bank 1. In the Sysx view, select the bank you want to edit, and click Edit > Edit Data (or double-click the selected bank). The Edit System Exclusive Bytes dialog box appears. 2. Edit your message(s). Each message in the window must begin with F0 and end with F7 (that’s F zero and F seven). See your instrument’s manual for the messages you can create. 3.
then load the bank again. This is also a good way to copy one bank to another in the same project file. • Clear. Delete the selected Sysx bank. Edit menu • Edit Data. Although SONAR’s Sysx features are designed mainly to store System Exclusive data for you, you can edit the bytes of shorter messages in hex format (many of the more popular synthesizers have special patch-editing programs available that let you edit data using sliders and other tools rather than raw hex data).
Transmitting banks during playback SONAR has a special meta-event, Sysx Bank, that lets you play a System Exclusive bank at a specified time in your project. You can use a Sysx meta-event to send any of the 8192 available Sysx banks at any time in a sequence. To do this, you have to insert a new event in the Event List using the INSERT key on the computer keyboard. Next you have to double-click Event Kind and change it to System Exclusive.
Real-time recording of System Exclusive messages You can record short System Exclusive messages in real time. These will end up in the track as the new Sysx Data types of events, which can hold System Exclusive messages up to 255 bytes long. Before you record any Sysx messages, go to Edit > Preferences > MIDI - Playback and Recording and make sure the System Exclusive check box is selected. To record Sysx messages in real-time 1.
Sysx .ini file settings The TTSseq.ini initialization file contains settings that govern the sending and receiving of System Exclusive information. If you are experiencing difficulties using Sysx, you will probably be able to correct the problem by adjusting these settings. The options described below occur in the [Options] section of the TTSseq.ini file. You can edit this file using the Windows Notepad. Every time you add or change one or more lines in TTSseq.
Troubleshooting SONAR is not receiving Sysx messages • Make sure all your devices are connected correctly. • Make sure you have the right MIDI Input selected in Edit > Preferences > MIDI - Devices. • Make sure that your instrument is set up to transmit System Exclusive data. Sysx bank names don't show when I open a file Sysx bank names are only saved in .cwp and .cwb files (not in .mid files).
The line in TTSseq.ini that reads SysxDelayAfterF7=n enables SONAR to introduce a delay between each Sysx message so that the instrument has some time to respond to the message. Setting n to be 1 enables the delay. The line SysxSendDelayMsecs=n lets you control how many milliseconds the delay is, where n is the number of milliseconds that the delay lasts. Roland equipment Some Roland equipment—notably, the GR-1 and GR-50 Guitar Synthesizers—have problems receiving Sysx packets in fast succession.
Synchronizing your gear Your computer is often used with other equipment: sound cards, MIDI equipment, and digital tape decks or other digital recording tools. All these devices can have their own built-in clocks or timing mechanisms. When several pieces of equipment are used together, it’s important that they operate in synchronization. For this to happen, all the equipment must rely on the same source of clock or timing information.
Synchronization overview SONAR supports several different types of synchronization, which rely on a variety of different clock sources: Clock source Timing is determined by Internal The clock on the computer motherboard Audio The clock on the computer’s sound card MIDI Sync The clock on an external MIDI device SMPTE/MIDI Time Code (MTC) A time code signal (in SMPTE or some other format) recorded on some external medium or generated and sent by SONAR Table 205.
The Sync module in the Control Bar lets you change back and forth quickly between the different clock settings. Figure 340. The Sync module. A B C D E A. SMPTE/MTC format B. Incoming timecode C. Sync type D. Transmit MIDI Sync E. Transmit MTC Sync The Sync module contains the following controls: • SMPTE/MTC format. Select the time code format. The following frame rates are supported: • 23.976 frames per second (FPS). Typically used with H.264/MPEG-4 AVC video. • 24 frames per second (FPS).
• Incoming timecode. Shows the current time of incoming time code when synchronizing to an external device. • Sync type. Select the sync type; right-click to show synchronization settings. The following sync types are supported: • Internal Sync. Timing is determined by the clock on the computer motherboard. • MIDI Sync. Timing is determined by the clock on an external MIDI device. • SMPTE/MTC Sync.
Choosing clock sources: SONAR as master When SONAR is used alone, or with an external device that does not have its own clock or timing signal, you use one of two clock sources: Internal or Audio. When the clock source is set to Internal, SONAR uses the clock built into the computer or the computer’s MIDI interface as its timing source. If your projects contain only MIDI (no audio), this is the most efficient method of playback.
MIDI synchronization MIDI Synchronization, or MIDI Sync, is usually used to synchronize SONAR with drum machines, stand-alone MIDI hardware sequencers, and sequencers built into MIDI keyboards. SONAR can slave to MIDI Sync, and can send MIDI Sync on multiple output ports. When MIDI devices are synched, the master device sends messages to all other devices to start and stop playback and to keep all the devices in sync. To change the tempo of a project, you adjust the tempo on the master device.
SONAR as the slave When SONAR is slaved to an external MIDI device, the following changes occur: • When you click the Play or Record button, a message (Waiting for MIDI Sync) is displayed in the status bar. When you start your external device, SONAR will follow. • If you change the tempo using an external device, the SMPTE time code display in SONAR will be incorrect. • SONAR will not transmit MIDI Start, Continue, Stop, and Clock messages. • Digital audio will play back, but not necessarily in sync.
SONAR as the master There are several options, found in Edit > Preferences > Project - MIDI, which you can use when SONAR is the MIDI Sync master device: Option What it’s for Transmit MIDI Start/Continue/ Stop/Clock Choosing this option causes SONAR to tell the slave when to start, when to continue, when to stop, and what timing data to go by (SONAR’s).
Using MIDI Sync with drum machines The most flexible way to use a MIDI drum machine is to record the notes it generates into SONAR, then use that machine as a MIDI playback device. This lets you edit, cut, paste, and copy your drum parts like any other clip. You can use MIDI Sync to record the notes from the drum machine into SONAR as follows: 1. Use the drum machine’s pattern-composing facilities to compose your drum part. 2. Configure the drum machine to be a slave device that receives MIDI Sync messages.
SMPTE/MIDI time code synchronization SMPTE/MIDI Time Code Sync (SMPTE/MTC) is another method of synchronization that lets SONAR act as a master or slave to external devices. SONAR can send or receive SMPTE/MTC messages to or from external devices that can generate or receive MTC. SONAR can send MTC on multiple output ports simultaneously. SMPTE/MTC is a position and timing reference that indicates the current location in the project and how quickly the project should be playing.
Frame rates Seven time code frame rates are supported in SONAR, which are normally used for the following types of applications: External Timecodes Cakewalk Setting Description 23.976 frames per second 23.976 FPS Typically used with H.264/MPEG-4 AVC video. 24 frames per second 24 FPS Used for theatrical film worldwide. Any film in North America or Japan uses this setting.
To use SONAR as the master MTC generator 1. Configure the clocks on each external device that you want to synchronize to receive SMPTE/ MTC. Make sure they’re connected to MIDI outputs from your computer or MIDI interface. 2. In the Control Bar’s Sync module, click the Sync Type button and choose Internal Sync or Audio Sync on the pop-up menu. 3. Go to Edit > Preferences > Project - MIDI. 4. Select the Transmit MTC check box (you can also click the Transmit MTC Sync button the Sync module). in 5.
6. Click the MIDI - Devices page (Edit > Preferences > MIDI - Devices). 7. Make sure that your MIDI interface is highlighted in the Inputs list. If your interface also has a Sync driver, highlight that as well, then click OK. When SONAR is the slave, here’s how things work: • SONAR monitors for a SMPTE/MTC signal. You are able to perform other action in SONAR while waiting for the signal. • Start playback on the external device.
Some digital sound cards (such as the Frontier Design Wavecenter or the Antex Studio Card) have external clock inputs. If you are using one of these cards, and an external clock source like a digital tape deck is the master timing source for the project, choose the Trigger and Freewheel option. The clock input on the audio card guarantees that there is no drift between the time code and audio playback. To set the audio playback option 1. Go to Edit > Preferences > Audio - Sync and Caching. 2.
Troubleshooting SMPTE/MTC sync The most common problems with SMPTE/MTC Sync, and ways to correct or avoid them, are shown in the following table. Problem What to do The tape is striped incorrectly Check the tape stripe using your time code generator and, if necessary, restripe the tape. The MIDI interface isn’t producing MIDI Time Code Use utility programs that come with your MIDI interface to make sure that the time code stripe is being received (sometimes you must enable a Time Code Sync option).
MIDI Machine Control (MMC) MIDI Machine Control (MMC) is a protocol that controls an MMC-equipped remote device via MIDI. SONAR lets you use MMC to start and stop playback and recording on remote MIDI devices such as tape decks, video recorders, and even other software packages. If you have several MMCcontrollable devices in your studio, assign each a unique Unit ID so that MMC commands can be addressed to a particular device. MMC is very powerful when used with MIDI Time Code sync.
Synchronizing your gear MIDI Machine Control (MMC) 1169
Synchronizing your gear MIDI Machine Control (MMC)
Audio file management Project files in SONAR do not contain the digital audio itself. A SONAR project file (.cwp) references the audio contained in the project, so care must be taken when backing up your digital audio projects. This section covers file management, including backing up your projects.
The Project Files dialog SONAR projects, extension .cwp, contain all your project information with the exception of your digital audio data. This data is stored in a separate folder or folders. You can opt to save the audio data for all of your projects in a single audio folder, or create multiple folders. The Project Files dialog box lists all of your project’s audio files and their location. This dialog box is a valuable tool for managing your audio files.
Project files and bundle Files SONAR project files contain various project settings, any MIDI data, and references which "point" to audio clip data. The audio data (and video data) itself is not saved in a project file. To save audio as well, save your project as a Bundle file (extension .cwb). Bundle files contain everything that a project file contains in addition to the digital audio. Bundle files are useful for backing up projects and for burning onto removable media, like a blank CD or DVD.
project, or to create a new folder, enter a new folder pathname in the Location field. • Use the Browse button to the right of the Audio Path field to select a destination folder for the project’s audio data, or to create a new folder, enter a new folder pathname in the Audio Path field. OR If you want to store the project in the Cakewalk Projects folder, and its audio in the Global Audio Folder, uncheck the Store Project Audio in its Own Folder option. 5. Click OK.
3. Click OK when you are done. 4. Use the Windows Explorer or some other program to move all audio files from the old Global Audio Folder to the new Global Audio Folder. All new audio files will be stored in the new Global Audio Folder, unless you decide to use perproject audio. Tip: It is safer, but more time-consuming, to first save the all projects as bundle files, change the Global Audio Folder, then open the bundle files.
To save an existing project using per-project audio You may have older files that are not using per-project audio folders. If you want to save these files using a per-project audio folder, use the following procedure: 1. Make sure the User Per-Project Audio Folders option is selected in Edit > Preferences > File - Audio Data. 2. Open the project whose audio you want to store using per-project audio. 3. Select File > Save As. The Save As dialog box appears. 4. If you want, change the name of your project. 5.
Uncheck the Always Copy Imported Audio Files option to reference imported audio from its current location. Note: You can override this setting when importing audio by checking or unchecking the Copy Audio to Project Folder option in the Import Audio dialog box. 3. Click OK when you are done. Imported files will be handled based on the settings you have chosen.
To backup projects using per-project audio folders Use this procedure to create a backup of a project that has its own project folder. 1. Open the project you want to backup. 2. Select Project > Audio Files. The Project Files dialog box appears. 3. In the Project Files dialog box, check the Path column to make sure that every audio file is stored in the project’s audio folder.
Deleting unused audio files The Utilities > Clean Audio Folder command is used to delete digital audio files in an audio folder if they are no longer used by any of your projects. You should use this command from time to time to free up disk space. This command searches your entire system for project files, and then compiles a list of all the audio files in a specified folder that are not in use by any of these projects. You can then choose to delete these audio files.
Audio file management Deleting unused audio files
Improving audio performance Digital audio presents several challenges: it is large, using enormous amounts of disk space, especially at higher sampling rates and bit-depths, and it is CPU-intensive. Added to this mix is the wide variety of audio hardware available today. This section covers some common problems with recording and playback and how to configure your computer and audio hardware for optimum performance.
System configuration This section covers optimizing your system configuration to work with SONAR. See: “The Wave Profiler” on page 1182 “Enabling and disabling audio devices” on page 1183 “Sampling rates” on page 1184 “Bit depths and float resolution” on page 1184 The Wave Profiler The Wave Profiler is a utility that analyzes the sound cards in your computer and determines the best DMA (Direct Memory Access) settings for communicating with SONAR.
To manually run the Wave Profiler 1. Go to Edit > Preferences > Audio - Driver Settings. 2. Click Wave Profiler. The Wave Profiler examines each of your sound cards in turn, makes default settings in the Preferences dialog box, and displays the name of each sound card and the sample rates that each card supports. Enabling and disabling audio devices Your computer may have several installed devices like FAX modems and software synthesizers that Windows recognizes as sound cards containing audio drivers.
Sampling rates SONAR supports all common sampling rates. Only one sampling rate is allowed per project. It’s usually better not to change the sampling rate of a project, because this involves exporting your tracks one at a time, and then importing them at the new sampling rate. During this process you lose clip boundaries, envelopes, and other separate data that is mixed into the exported tracks. To set the sampling rate for new projects 1.
• 64-bit files can now be imported at their native 64-bit depth. • At playback time 64-bit files are streamed at full 64-bit resolution when the Double Precision engine is turned on. • At playback time 64-bit files are converted to 32-bit when the Double Precision engine is turned off. • 64-bit is a choice in the File Import dialog box. • 64-bit is a choice in the Edit > Preferences > File - Audio Data file bit depth fields. • Bounce-to-track now renders at 64-bit if the render bit depth is set to 64.
To change playback bit depth 1. Go to Edit > Preferences > Audio - Playback and Recording and choose the bit depth you want to use in the Audio Driver Bit Depth field. 2. Click OK. Note: • If you choose to play back at greater than 16 bits, you may need to pick a bit format for your data in Edit > Preferences > Audio - Audio Profiles in the Stream > 16 Bit Data As field. You may need to consult your sound card’s documentation to find the optimum setting.
Bit depths for importing audio You can choose the bit depth of imported files in SONAR, and you can also import files at their current bit depth. You can import files at bit depths as high as 64. Because SONAR can play projects that contain files of different bit depths, you don’t have to convert 16-bit files to 24 bits to play them with other 24-bit files, saving significant storage space.
To choose a rendering bit depth 1. Go to Edit > Preferences > File - Audio Data. 2. Under File Bit Depths, change the Render Bit Depth field to the desired number. 3. Click OK. Preparing higher-quality audio for CD burning If your project uses a different sampling rate from 44,100, or contains files that are not 16-bit, use this procedure to prepare your project for CD-burning: To prepare higher-quality audio for CD burning 1. Use the File > Export > Audio command to open the Export Audio dialog box.
• 32 bit audio clips. • Audio clips that are not all of the same bit depth. SONAR X2 project files may contain new features that will be missing if opened in SONAR 4, including: • Clip effects and clip automation: • Effects are removed. • Automation envelopes are orphaned. • Groups: • SONAR X2 groups are preserved but will not be completely functional in SONAR 4. • Controls may be removed from groups. • Groups can’t be added to or changed. • Group names will be truncated.
There are a variety of things you can do to increase the number of audio tracks and effects you can play on your computer, as outlined in the following table. Approach How it works Avoid compressed disks If you use DoubleSpace, Stacker, or some other disk compression system, it will slow down playback of audio tremendously. Configure your system so that the Data directory is on a hard disk that is not compressed.
Approach How it works Enable read and write caching By default, SONAR bypasses all disk caching, which typically results in better performance with audio data. If your computer has an older IDE disk controller, or a disk controller that does not use DMA transfers, enabling caching may improve SONAR's audio performance. Note: Changes to these settings only take effect when you restart SONAR.
“Queue buffers” on page 1193 “CPU meter/Disk meter/Dropout indicator” on page 1194 Mixing latency SONAR has a Buffer Size slider in Edit > Preferences > Audio - Driver Settings to set mixing latency. Mixing latency is the amount of time SONAR allocates to prepare a buffer full of audio data for playback. Lower latency settings add processing time because of the need to refill the smaller data buffers more often.
ASIO sample position UseHardwareSamplePosition=<0, 1>, default = 0 This variable applies to ASIO mode only and controls whether SONAR internally compute the sample position based on buffer switch calls or uses the ASIOGetSamplePosition reported value to retrieve the driver reported value.
default setting is 2. For more information, see “Mixing latency” on page 1192, and “Dropouts and other audio problems” on page 1197. CPU meter/Disk meter/Dropout indicator SONAR has several tools to help you identify and correct audio problems, including the CPU meter and Disk meter in the Control Bar’s Performance module, and the Dropout indicator in the Transport module. Figure 343. The Transport module.
• Disk Activity indicator . Measures how much of the available time SONAR is using to perform input/output functions on your hard disk. The size of your setup’s I/O buffer size (listed under File System in Edit > Preferences > Audio - Sync and Caching) determines how much time is allowed to perform disk operations and maintain uninterrupted playback.
Reduce GUI updates to improve playback performance SONAR has a CPU conservation mode that reduces the number of GUI updates with no effect on actual playback quality and rendering. This maximizes CPU resources for the audio engine and can be useful while playing projects that consume a lot of CPU, to help avoid dropouts. Like the Scroll Lock key, the Pause key now works as a special GUI throttle toggle key.
came with your sound card. You should also check the web page www.cakewalk.com/Support/ Docs/sound cardTips.html to see if any information is available there regarding configuration of your particular sound card in Cakewalk. When in doubt, leave these settings disabled. (These settings are only relevant when working with sound cards at >16 bits-per-sample. You can ignore them when operating at normal 16-bit depth.
from that point). It is possible to experience a dropout while working exclusively with MIDI (i.e., no audio data in the project), but this is a different matter and is not covered here. All of these audio problems are the result of audio information not being sent to or received from your sound card fast enough or reliably enough. During recording, the sound card sends incoming audio data to the sound card driver, which in turn sends audio data to SONAR to store on hard disk.
dropout or glitch. If possible, you should disconnect your computer from a local area network, and/or disconnect from any dial-up telecommunications while recording or playing back audio in SONAR. • Turn off your screen saver (if present). • Turn off the Auto-Notification option for your CD-ROM drive. If it is turned on, the insertion of a CD-ROM can interrupt audio processing.
• If you have an older, slower computer or an older, slower hard disk, you should try increasing the buffer size; decreasing is not advised on slower hardware. However, increasing this setting uses more of your computer's RAM. If you have a smaller amount of RAM in your computer, increasing the buffer size may not help. If problem(s) persist, restore this value to its default and continue with the next step.
2. Save it as a Cakewalk Bundle (.cwb) file by selecting Save As from the File menu and selecting Cakewalk Bundle from the Save As Type drop-down list and clicking the Save button. 3. Close the project. 4. Open the Cakewalk Bundle you just closed Saving then re-opening the bundle file automatically defragments the audio data used by the project, reducing the chances of a dropout or other audio problem. When you are ready to save the file again, you may want to save it as a normal (.cwp) file.
STB’s site) to see if they offer a driver update for the STB card. Computer vendors often will customize drivers to their specific needs and you should use their driver updates. • Try reducing the number of colors used by your video card. 16-, 24-, or 32-bit true color display settings can severely hamper real-time audio performance on some computers; using fewer colors allows your computer to spend more of its processing time on audio and MIDI.
Your sound card may have a conflict with another device in your computer Try resolving this device conflict as follows: • Ensure that your sound card is not sharing IRQs with any other device. Although some sound cards claim that they work properly on a shared IRQ, this is usually not the case and it is advisable to avoid such sharing. To do this, right click on My Computer and select Properties from the pop-up menu.
Your project may simply be too "complex" for your computer Your computer may not have enough processing power to deal with all of the tracks, clips, and realtime effects used in your project. You can upgrade your computer hardware (see “Upgrade your computer hardware: more RAM, a faster CPU, and a faster disk drive” on page 1204) or you can simplify your project’s content so it demands less processing power.
Help is available on the Microsoft Technical Support Web page at www.microsoft.com/Support. Click on the Support Online link and search for the phrase Troubleshooting MS-DOS Compatibility Mode on Hard Disks. This problem can arise when installing a new hard disk in your computer; if Windows cannot find a suitable driver for the disk, it installs a generic driver and operates in Compatibility Mode.
This option allows waveform pictures to be computed in the background while audio playback is in progress. Most modern computers should be able to handle this load with no problems. Note that work is only done while new pictures are actually being computed—once the pictures are finished rendering there is no overhead. • In Cakewalk.ini: In the [WinCake] section: ProgressiveWavePictures=1 [default] This option enables progressive display of waveform pictures.
Using audio devices in Windows 7 SONAR introduces several enhancements for communicating with audio devices in Windows 7, including: • Support for WASAPI, which is the new standard for audio in Windows 7 and future Windows operating systems. • MMCSS task profile support. • Optimized WaveRT streaming.
Exclusive mode requires exclusive access to the audio device. Another program will not be able to use the audio device simultaneously with SONAR. Tip: If you select Share Drivers With Other Programs in Edit > Preferences > Audio Playback and Recording, SONAR will relinquish control of the audio device when the program loses Windows focus. To enable WASAPI mode in SONAR 1. Go to Edit > Preferences > Audio - Playback and Recording. 2. In the Driver Mode list, select WASAPI. 3.
To use a custom MMCSS task profile in SONAR 1. Determine the name of the MMCSS task profile that you want to use. MMCSS task profiles are listed in the Windows registry under HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Multimedia\SystemProfile\Tasks. Ensure that the registry entry exists for the profile you want to use. 2. If you have added any new profiles, reboot your computer to allow the MMCSS service to see the new profiles. 3.
Improving audio performance Using audio devices in Windows 7
External devices SONAR can be controlled by a wide range of MIDI controllers and external MIDI devices. SONAR also contains two generic controller/surface plug-ins (the ACT MIDI Controller plug-in, and the Cakewalk Generic Surface Plug-in), which allow you to use almost any MIDI controller or controller/ surface with SONAR. You can also control certain external devices from SONAR by using StudioWare or OPT (Open Plug-in Technology) panels. SONAR allows you to control soft synths as well as effect plug-ins.
Roland A-PRO controllers SONAR has a custom controller/surface plug-in that allows a Roland A-PRO controller to control SONAR track, bus, and plug-in parameters (both effects and synths). This includes support for ACT (Active Controller Technology), which lets you use your controller to adjust plug-in parameters on whatever plug-in currently has focus. Figure 346.
To enable the Roland A-PRO MIDI drivers 1. Follow your A-PRO MIDI keyboard controller’s instructions for physically connecting the surface to your computer. 2. Go to Edit > Preferences > MIDI - Devices. 3. Select A-PRO 2 in both the Inputs and Outputs lists. 4. Click OK. To connect a Roland A-PRO to SONAR 1. Follow your A-PRO MIDI keyboard controller’s instructions for physically connecting the surface to your computer. 2. Go to Edit > Preferences > MIDI - Control Surfaces. 3.
Now that your Roland A-PRO is connected, you can see which tracks and/or buses are being controlled by it by looking at the colored markings (the WAI display; see “The WAI display” on page 1232 for more information) in SONAR’s interface. Open the A-PRO property page by double-clicking the WAI display or by choosing A-PRO from the Utilities menu. Once the Roland A-PRO property page is open, press F1 on your computer keyboard to open the Help file for the property page.
5. In the Input Port and Output Port fields, select which MIDI input and output ports the controller/ surface uses. Note 1: You may need to read the documentation for your controller/surface to find out which MIDI input driver your controller/surface uses to control software applications.
Figure 348. The Control Surfaces section. See also: “To use ACT with the ACT MIDI Controller plug-in” on page 1234 To disconnect a controller/surface from SONAR 1. Go to Edit > Preferences > MIDI - Control Surfaces. 2. In the Controller/Surface column, click the name of the controller/surface that you want to disconnect. 3. Click the Delete button , which deletes the name of the controller/surface that you selected. 4. Click Close.
Control surface refresh rate Control surfaces are refreshed by posting a windows message every 75 milliseconds. CtrlSurfaceRefreshMS=<50 - 5000> (default=75) You may want to increase the value of this Cakewalk.ini variable if you are experiencing sluggish UI responsiveness when using a control surface and playing back high CPU projects. Also, if you are using a control surface that is not bi-directional, the surface does not need to be refreshed at all and you can safely increase the value.
ACT MIDI Controller plug-in The ACT MIDI Controller plug-in can be configured to support any generic MIDI controller (controller/surface), such as the JL Cooper FaderMaster, Peavey PC-1600, and Kenton Control Freak. Generic controllers/surfaces typically have 8-16 strips of faders/knobs/buttons, are nonmotorized, and can often be configured to transmit any MIDI message (continuous controllers, NRPNs, Sysx, etc.). The ACT MIDI Controller supports ACT.
You can press F1 when the property page is open to get a description of all the fields and controls. To load default mappings • In the Presets list, select the name of your controller/surface. If your controller/surface does not have a preset, select the Default preset, and see “Assigning controls on your controller/surface to cells in the ACT MIDI property page” on page 1219.
MIDI property page Each cell or field on the Controllers tab of the ACT MIDI Controller property page lists the SONAR or plug-in parameter that is currently controlled by that cell. However, if your controller/surface does not have a preset, no knobs or sliders on your controller/surface will be assigned to that cell, or the knobs may be assigned in a pattern that you don’t prefer.
Cakewalk Generic Surface plug-in The Cakewalk Generic Surface Plug-in supports both ACT and WAI. See “The WAI display” on page 1232, and “ACT” on page 1234 for more information.
See: “Assigning faders and knobs to control SONAR parameters” on page 1222 “ACT” on page 1234 Assigning faders and knobs to control SONAR parameters The Cakewalk Generic Surface property page has separate sections that control track parameters (the Track Parameters section), plug-in parameters (the ACT Controls section), and global parameters (the Global Parameters section). To configure track parameters 1.
To Use ACT with the Cakewalk Generic Surface 1. Make sure you have completed the following preliminary steps: • Successfully connected your controller/surface to SONAR (if necessary, see “Setting up control surfaces” on page 1214). • Opened the Cakewalk Generic Surface property page (if necessary, see “To open the Cakewalk Generic Surface property page” on page 1221). 2. In the ACT Controls section of the Cakewalk Generic Surface property page are radio buttons 1-9 and A-G.
Assigning Forward and Rewind buttons The Forward and Rewind assignments are special cases in the Cakewalk Generic Surface property page. When you click select either of these parameters, notice that Literally/Toggle field becomes greyed-out, and the On/Off fields become available. This is because the Forward and Rewind commands both require two different MIDI messages to function: one MIDI message to turn the operation on, and a different message to turn the operation off.
Controlling different tracks or groups of tracks The Cakewalk Generic Surface plug-in can control anywhere from 1-32 tracks simultaneously, as specified by whatever number you fill in the Number of Track Strips field in the Cakewalk Generic Surface property page. There is always at least one track being controlled, referred to as the Base Track. The Number of Track Strips value refers to the base track plus ‘n’ number of additional tracks.
The Cakewalk Generic Surface property page The Cakewalk Generic Surface property page appears when you click the Open Control Surface Plug-in button in the ACT module while Cakewalk Generic Surface appears in the drop-down menu. The Cakewalk Generic Control controller/surface plug-in must be enabled first, however (see “Setting up control surfaces” on page 1214, if necessary). The property page contains the following sections: BaseTrack This section contains 2 buttons on either side of a number field.
Use ACT or Strip Params This section lets you decide whether your controller/surface is controlling track parameters, plug-in parameters, or both. Note: It’s possible to use the same control on your controller/surface to control both a track parameter and a plug-in parameter. It’s not usually a good idea to control both at the same time. This section has the following controls: • ACT Enable radio button. Lets you assign a control on your controller/surface to enable or disable the ACT Enable check box.
MIDI Message for the Current SONAR Parameter This section is where you can choose a specific kind of MIDI message to control whatever parameter is selected in the Track Parameters, ACT Controls (including the ACT Enable check box), or Global Parameters sections. Most of the time you don’t need to choose, because the Learn button fills in the fields automatically. Choose from the following options: • None. Click this button to disable control of the selected parameter. • Learn.
• Sysx Low Byte First. Selecting this option tells SONAR that the significant data in the incoming Sysx message is in the form of two bytes, with the low byte first. The Sysx Low Byte First option has the following structure: F0 ? LO HI ? F7. • Starts With. Fill in the string that your controller/surface sends in Sysx messages that precedes the significant data. • Ends With. Fill in the string that your controller/surface sends in Sysx messages that follows the significant data. • Sysx Trigger.
Global Parameters This section let's you assign buttons and knobs to control SONAR’s transport. The parameters you can control are: • Play • Stop • Forward >> • Rewind << • Record • Write Automation • Jog <- (previous measure) • Jog -> (next measure) • Move 1 Left. This parameter changes the currently-controlled track to the next lower-numbered track. • Move Bank Left. This parameter changes the currently-controlled bank of tracks to the next lower-numbered bank of tracks. • Move 1 Right.
Euphonix EuCon control surface support SONAR supports the Euphonix EuCon protocol, which allows SONAR to be controlled by Euphonix surfaces such as the MC and CM408 series. To enable EuCon support in SONAR 1. Follow your Euphonix surface’s instructions for physically connecting the Euphonix surface to your computer and configure the Euphonix software. 2. In SONAR, go to Edit > Preferences > MIDI - Control Surfaces. 3. Click the Add Controller/Surface button dialog box.
The WAI display The WAI display (short for Where Am I) is a group of colored markers to show you which tracks and/ or buses are currently being controlled by which controller/surface. Each controller/surface uses different colored markers. In the following picture controller/surface 1 (blue markers) is controlling tracks 2-5, and controller/ surface 2 (red markers) is controlling tracks 7-14.
A B A. Red markers B. Blue markers The following table describes how you can use WAI markers. To do this Do this Change the group of tracks or buses that a controller/surface controls Drag the WAI markers from one group of tracks to another group, or from one group of buses to another group. Or Right-click in the WAI strip, and choose Move > [name of controller/surface] > here from the pop-up menu.
ACT Active Controller Technology (ACT) allows you to control whatever plug-in effect or soft synth currently has focus. The controller/surface mappings for a particular plug-in work the same on each instance of that plug-in, whenever that instance has focus. You can change the focus to a particular plug-in by clicking either the plug-in’s interface, or its name in an effects bin.
5. If you want to control only this instance of the plug-in with your controller/surface, enable the Lock check box in the ACT MIDI Controller property page, or enable the ACT Lock button in the Control Bar’s ACT module. 6. If you are not locking the controller/surface to a single instance of a plug-in, put the focus on another plug-in, if desired, and adjust its parameters. To edit the default ACT mappings 1.
To import ACT data 1. Go to Edit > Preferences > MIDI - Control Surfaces. 2. Click the Import ACT Data button to open the Import dialog box. 3. Navigate to an XML file that contains ACT Learn data, select the file, and click Open. If duplicate plug-in entries are encountered during import, SONAR will ask if you want to overwrite the existing plug-in settings. The options are: Yes, Yes All, No, No All. Select one of the answers. SONAR imports the ACT data you requested.
StudioWare panels SONAR comes with a variety of StudioWare panels. Some are designed to control a specific external MIDI device, while others are useful with a variety of devices. Here is a listing of some of the panels that are included with SONAR: Panel name What it’s for Line 6 POD Provides control for the Line 6 POD 2.0/Pro amp modeler. Line 6 POD Provides control for the Line 6 Bass POD amp modeler. Fender Cyber Twin Provides control for the Fender Cyber Twin amp modeler.
To open a StudioWare panel 1. Choose File > Open to display the Open File dialog box. 2. Choose StudioWare from the Files of Type list. 3. Choose a StudioWare file and click Open. SONAR opens and displays the StudioWare panel. Using StudioWare panels Every StudioWare panel is made up of a collection of controls and other information displays. The controls are software representations of the knobs, buttons, and sliders on an external MIDI device.
MMC General MIDI External devices Working with StudioWare 1239
There are a variety of ways to adjust the values of buttons, sliders, and knobs: To change this Do this The status of a button Click on the button The value of a slider Click on the desired slider position to move the slider to that position, or drag the slider to the desired position The value of a knob Click along the outer edge of the knob to move the knob to that position, or drag the outer edge of the knob in a circular motion to set the desired position Table 218.
The initial range for each control is set based on the position of the controls at the time you group them. You can adjust the range for any individual control, even if it is part of a group, simply by holding the SHIFT key while you move the control. When you adjust an individual control by holding the SHIFT key, its maximum or minimum is adjusted, depending on whether the entire group is closer to its minimum or maximum value. To create a group of controls 1.
The minimum and maximum values of the faders look like this: Fader Starting value Ending value #1 0 127 #2 127 0 Table 219. To set faders that are always the same distance apart, set the ranges something like this: Fader Starting value Ending value #1 0 63 #2 64 127 Table 220. To set faders to move over different ranges of values, set them something like this: Fader Starting value Ending value #1 0 127 #2 0 100 Table 221.
Recording control movements You can move the controls in a StudioWare panel while playing back a project to adjust the levels or other MIDI activity that the panel is designed to accommodate. In addition, you can record changes that you make to the controls in a panel so that these changes become a part of your project. Recording changes so that they play back automatically is known as automation. There are two general approaches to recording control movements, as indicated in the following table.
There are three tools in the StudioWare toolbar that are used to control recording and automation: Icon Tool What it’s for Update Makes the controls in the panel update automatically during playback or when MIDI data is received by the panel Snapshot Records a snapshot of the current position of all controls Record Activates real-time recording of all control movements Table 223. Most StudioWare panels are designed to both send and receive MIDI data.
To record a snapshot while playback is stopped 1. Set the Now time to the point in the project where you want the settings to take effect. 2. Move the controls to the settings you desire. 3. Click . SONAR records a snapshot of the current control settings. If the Now time is the very beginning of the project, then the snapshot will change the track parameters to match the controls in the panel instead of recording automation events. To record a snapshot while playback is in progress 1.
Control settings The controls in a StudioWare panel are designed to send and receive various types of MIDI information. This information can be transmitted to two possible destinations: • A specific track in your project • A MIDI output When you want to record the movements of controls within a panel, you must make sure that MIDI data from the control are directed to a MIDI track. StudioWare Panel drawing speed Some StudioWare panels use bitmap graphics to enhance their appearance.
Using CAL Cakewalk Application Language (CAL) is an event-processing language that you use to extend SONAR with custom editing commands.
Running CAL programs To interrupt a CAL program while it is running, press the ESC (Escape) key. Press OK to confirm that you want to interrupt the CAL program. As a rule, you shouldn’t interrupt a CAL program in this way unless you suspect it is stuck in an infinite loop. To open a CAL program 1. Select the MIDI data you want to edit. 2. Choose Process > Run CAL. The Open dialog box appears. 3. Navigate to the folder that contains the CAL program you want to run. 4.
SPLIT NOTE TO TRACKS.cal This program splits individual notes to separate tracks. It is useful if you have one drum track but want to split each drum to a separate track (for more flexible editing). SPLIT CHANNEL TO TRACKS.cal This program splits a track by channel into 16 new tracks. This can be useful for Type 0 MIDI files, which may have data recorded on many channels but only one track. To use the program 1. Select only one track. 2.
THIN CHANNEL AFTERTOUCH.cal This works almost exactly like the previous program, but it thins channel aftertouch (ChanAft) events. It asks you for the thinning factor. THIN PITCH WHEEL.cal This works almost exactly like the previous two programs, but it thins pitch-wheel events. It asks you for the thinning factor. This program never deletes wheel events with these special values: -8192, 0, and 8191. MAJOR CHORD.cal, MINOR CHORD.
Troubleshooting If you’re having a problem with SONAR, don’t panic. This chapter lists some common problems and how to solve them. If you don’t find an answer here, there are two other important places to look for help: • Check the ReadMe file that came with your software. It contains additional information that wasn’t available when this online Help was written. To view the Readme file, select Help > View README.RTF. • Visit our support Web site at www.cakewalk.
“Bouncing tracks takes a long time” on page 1265 “The Now time is not smooth during playback or scrolls out of view” on page 1266 “Plug-in windows flicker or don't display properly” on page 1266 “I get a Burn Error or No Drive is Detected error when burning a CD directly from SONAR” on page 1267 See also: “Known issues” on page 1268 1252 Troubleshooting
Installation Error: DeleteFile Failed; code 5 Access Denied If you are using Windows 7 and your user account has limited privileges, you may see the following error message when installing SONAR: “DeleteFile failed; code 5 access denied”. To resolve the issue, restart your computer, and log in with another administrative user account, then install SONAR. If you are already logged in as the Administrator, you will need to run the SONAR installer manually as Admin: 1.
Setting up an internal audio card Some internal audio cards need to have a cable connected to their audio input in order for the drivers to work properly. If this applies to your internal audio card and you don’t have access to a microphone with an 1/8 inch cable, then you can use any 1/8 inch connection to force the audio card into displaying the drivers correctly. If the drivers are not available in SONAR, try plugging a simple pair of headphones into the mic or line input before starting SONAR.
Configuring an audio interface Before configuring your audio interface, make sure you have installed the latest drivers (can normally be obtained from the manufacturer's Web site). If you are using a USB Interface, ensure that it is plugged directly to the computer and not into a USB hub or external hard drive. You can find setup guides for many popular audio devices at www.cakewalk.com/support/ hardwaresetup.
Audio dropouts or crashes during playback Symptom: After several seconds of playback, the audio begins to cut out, although the transport appears to keep rolling. Solutions: • Go to Edit > Preferences > Audio - Driver Settings and increase the value of the Buffer Size slider, or adjust the hardware buffer size in the ASIO Panel. • Go to Edit > Preferences > Audio - Sync and Caching and increase the Playback I/O Buffer Size (KB) and Record I/O Buffer Size (KB) values. Try settings of 512, 1024, or 2048 KB.
When I play a file I don't hear anything (MIDI project) Symptom: When you attempt to play back a project (.cwp) or a MIDI file (.mid), the playback meters move and the timeline scrolls, but there is no sound from the speakers or headphones. Solution: The project only contains MIDI data and needs to be routed to a software synth (Insert > Soft Synths), a hardware synthesizer, or the Microsoft GS Wavetable Synth.
4. Navigate to the desired instrument definition file (.ins) and click Open. Note: By default, instrument definition files are stored in SONAR’s Sample Content folder. 5. Select one or more instrument definitions from the Import Instrument Definitions dialog box and click OK. 6. Click Close to return to the Assign Instruments dialog box. You can now assign your new instruments definition(s) to the proper port and channel assignments.
I hear an echo when I record If you have input monitoring enabled, when you play an instrument that is plugged into your sound card, you hear the direct signal that goes straight through your sound card, and then an instant later you hear the sound that is processed by SONAR, including any plug-in effects you may be using. You can eliminate the echo in either of two ways: • Mute the direct signal so you only hear the sound that is processed by SONAR.
Patching an effect into SONAR causes a dropout You may have simply reached the maximum number of tracks and effects your CPU can handle. If this is the case, there are several things you can try: • Freeze tracks and synths that you presently don’t need to edit. For details, see “Freeze tracks and synths” on page 858. • Use the Bounce to clips command to mix down clips that contain a lot of edits (clip effects, automation, AudioSnap, etc).
I can’t open my project / File Recovery mode SONAR 5 introduced a special diagnostic mode called Safe Mode to fix problems with project files that would not open. Safe mode is activated when you open a file while the SHIFT key is pressed. In certain rare circumstances, on attempting to open a project file you may see the following error message: “This file you are trying to open is not compatible with this version of SONAR”.
• Opens only the Track view, skipping all other opened views in the project including effects windows, Console View etc. • Prompts you to open the plug-ins saved with your project. Each plug-in gets a prompt, so you can open some and not open others. Important: If you choose to not open a plug-in, that plug-in is stripped out of the project, so resaving the file will cause a loss of any project specific settings for that plug-in.
No sound from my software instrument/synth Symptom: I have inserted a soft synth but when I play notes on my MIDI keyboard I don't hear anything. Solutions: • Make sure that the Instrument track, MIDI track, or audio track are not muted. • Make sure the MIDI notes are in the right range for the synth's patch. • Make sure that SONAR’s audio engine is engaged. The Audio Engine button in the Control Bar (Transport module) is lit when the audio engine is engaged.
2. Under VST Scan Folder(s), click the Add button and browse to the folder where the new plug-in is installed. Note: VST scanner looks for dll files. So for example, the file PerfectSpace.dll is found under C:\Program Files\Cakewalk\VstPlugins. You will probably notice that this directory has already been added by default and thus Perfect Space appears automatically. 3. When you have selected the folder that contains your new plug-in's dll file, click OK. 4. Click Scan VST Folders. 5.
I get an error message when I change a project to 24-bit audio Some audio devices, especially USB devices that use WDM drivers, can not operate in 24-bit mode unless a variable in SONAR’s Aud.ini file is set to 1. The variable is Use24BitExtensible=<0 or 1>, which goes in the [name of your audio device (‘n’ in, ‘n’ out)] section. To access the Aud.ini file from within SONAR, go to Edit > Preferences > Audio - Configuration File and click Edit Config File. After you update and save the Aud.
The Now time is not smooth during playback or scrolls out of view If the Now Time does not update smoothly during playback, press the PAUSE (or BREAK) key on your keyboard to make sure you didn't inadvertently put SONAR in CPU conservation mode. If the PAUSE key has been pressed, SONAR displays the letter P in the status bar. If the Now Marker scrolls out of view or off of the screen, press the SCROLL LOCK button on your keyboard so that SONAR follows the Now Marker.
XRayExclude11=1397510483 XRayExclude12={E451379E-F7E1-4E82-98D9-BEB87AC45E90} If you want to exclude the Cakewalk FxDelay from the X-Ray Windows feature, after creating a blank line, type: ; Cakewalk FxDelay XRayExclude13={985DAF67-589F-4B8D-8BBC-D7AD651B9022} If there is also a VST version of the Cakewalk FxDelay, add another line: XRayExclude14=[some VST ID number, with no brackets] 10. Save and close the XRayExclude.ini file, and restart SONAR to implement your changes.
Known issues The following topics cover known issues in SONAR. “Session Drummer 3 performance (Producer only)” on page 1268 “Session Drummer 2 issues (Studio only)” on page 1268 “HLP files cannot be opened in Windows 7” on page 1269 “TTS-1 DXi does not support 88.
To fix this, open the Session Drummer 2 property page, click the VST Preset Options button next to the preset controls, then select Plug-in Properties. Finally, enable Do not intercept NRPNs and click OK. See: “Known issues” on page 1268 “Troubleshooting” on page 1251 HLP files cannot be opened in Windows 7 Windows 7 does not ship with the Windows Help (WinHlp32.exe) help program, which is required in order to open 32-bit help content files that have the .HLP file extension.
Plug-in delay compensation re-sync Some plug-ins such as iZotope Ozone 4 and various UAD plug-ins, change their internal delay (PDC) dynamically when certain parameters are modified, presets are changed or internal plug-in routing is changed. When a plug-in changes its internal delay, SONAR X2 will detect this and resync all tracks in the project to this new delay value. While this is done you may hear a momentary interruption in playing audio.
Backwards compatibility SONAR X2 can load projects from any previous versions of SONAR, but projects that are saved in SONAR X2 cannot be re-opened in SONAR 1.x or SONAR 2.x. In case you need to open a preSONAR X2 project in an earlier version of SONAR, it is recommended that you always create a backup copy of the original project before you re-save the project in SONAR X2.
• Groups: • SONAR 7 groups are preserved but will not be completely functional in SONAR 4. • Controls may be removed from groups. • Groups can't be added to or changed. • Group names will be truncated. • SONAR 4 may add extra groups to the project. Re-saving a SONAR X2 project file in an older version may permanently remove the project data described above. Template files saved from SONAR X2 will not load in earlier versions of SONAR.
Hardware setup This appendix contains additional details on configuring your equipment for use with SONAR.
Connect your MIDI equipment If you are using a MIDI interface (such as an MPU-401 or Sound Blaster MIDI option) with an external MIDI keyboard, you need to connect the equipment using MIDI cables. It is possible to connect your equipment in some rather complex ways that may cause problems.
If you are using a 15-pin joystick adapter cable that splits into two MIDI cables: • Connect the 15-pin jack to your computer’s joystick port. • Connect the In cable to your instrument’s MIDI Out jack. • Connect the Out cable to your instrument’s MIDI In jack. Here’s a checklist: Connect this To this Master keyboard Out MIDI interface In MIDI interface Out Master keyboard In Master keyboard Thru Another MIDI module’s In That MIDI module’s Thru Yet another MIDI module’s In Table 224.
If your keyboard doesn’t have a MIDI Thru jack If your keyboard has only two MIDI jacks—In and Out—or if you have only one keyboard, use the following diagrams instead: Each MIDI device should be set to a unique MIDI channel or range of channels to avoid notedoubling. Refer to the manuals for your MIDI devices for information on how to set their MIDI channels.
Set up to record digital audio In general, the inputs of sound cards take 1/8 inch stereo mini-jacks. Sound cards usually have two inputs—one for line level inputs and the other for microphones (at mic level). The line level input is stereo; the mic input could be either stereo or mono. If your final output does not terminate in a 1/8 inch jack (and it probably doesn’t), you will need an adapter to plug it into your sound card.
Rack effects units Rack FX Rack FX Rack FX To sound card line input (stereo) Rack FX 1/4 inch instrument cable RCA to 1/8 inch adapter (stereo) 1/4 inch to RCA adapter (x2) This diagram assumes that the output of the rack is at line level. If it is at pro level instead (+4 dB), and your card does not accept a +4 db input, you will need to attenuate (lower) the F/X rack’s signal. To do this, use a mixer between the rack’s output and the Y-adapter.
Home Stereo, CD player, radio tuner, preamp output The output of a stereo component can be connected to the sound card’s line in, using a dual RCA to 1/8 inch stereo mini Y-adapter. Many portable cassette players come with this kind of adapter, or even with a single cable with all the necessary jacks.
Hardware setup Set up to record digital audio
MIDI files The Standard MIDI file format is a file interchange format defined by the MIDI Manufacturers Association (MMA). The purpose of the format is to allow for the exchange of MIDI data between different programs. Any program that can read and write MIDI files has a common language with which to talk to other MIDI software. The compact size of MIDI music files makes them particularly useful for delivering music online.
SONAR supports two different MIDI file formats, MIDI Format 0 and MIDI Format 1. Format 0 MIDI files contain a single track, with all events stored in that track. Format 1 MIDI files can store up to 7256 tracks, just like SONAR project files. When you load a MIDI Format 0 file, SONAR splits it into 16 separate tracks, based on the MIDI channels assigned to each event. When you save a project to a MIDI Format 0 file, SONAR collapses MIDI information from all of its tracks into one single track.
Supported MIDI file meta-events MIDI files can contain meta-events. The types of meta-events that SONAR supports are listed in the following table. MIDI File Meta-event How it is represented in SONAR Meter and key signature Meter/key signature map entry Tempo Tempo change General text Track name General text in the conductor track of a Format 1 file Markers view markers Track name Track name Port number (format 1) Port assignments are maintained.
Special handling of GM, GS, and XG MIDI files General MIDI compatibility of a song file is indicated by the presence of a special System Exclusive message at the beginning of the song. When SONAR finds a GM, GS or XG reset message, it assumes that you would like to work within the GM Score Production guidelines. This causes SONAR to use special timing for program change information when writing MIDI Files, and allows it to search more aggressively for track parameters when reading MIDI files.
If you plan to publish your songs If you plan to publish your own songs, we encourage you to follow the General MIDI authoring guidelines. These guidelines are quite detailed about the exact layout of many types of song data, and a complete discussion of them can be found on the World Wide Web at www.midi.org. However, SONAR can help you to conform with the GM guidelines if you follow these practices: • Always save your master copy of any work in progress in SONAR project (.cwp) file format.
MIDI files
Initialization files Many Windows applications, as well as Windows itself, use files to store information about your preferences and configuration. Often applications store values to these files when you make selections in the program using menus or dialog boxes. However, you can also change these files directly. In some cases, there is no way to change the settings in the application, and changing the file directly is the only way.
Initialization files This appendix documents three initialization files, which are stored in the SONAR program folder (by default, C:\Program Files\Cakewalk\SONAR X2. • Cakewalk.ini • TTSseq.ini • Aud.ini To view and edit the Cakewalk.ini file, choose Edit > Preferences > File - Initialization File. To view and edit the Audi.ini file, choose Edit > Preferences > Audio - Configuration File. You can use Windows Notepad to open and alter any of the three files. There are several other .
Initialization file format Initialization files all follow a common format. They are divided into sections whose names appear in the file in brackets, like this: [Section Name] Within each section, variables are of the form: = For example, the DrawPlayingAudio variable belongs in the [Wincake] section in Cakewalk.ini, and determines whether the audio waveform is redrawn or not when the display is scrolling during playback. If the value is 0 (FALSE), then the waveforms are not redrawn.
The following section lists the different variables you can change in Cakewalk.ini. Variable Type Default value There are two variables that control the behavior of using a control surface jog wheel to change SONAR’s Now time: JogPosTimer is the period of the now time throttle. When a jog message comes in, SONAR sets the transport time immediately but will not set the transport time again for this length of time. During the time, SONAR just remembers the latest jog time received.
Variable Type Default value What it does WavePreviewInputBuffers=< 1-4> ) Integer 4 This variable allows control of the number of Waveform preview input buffers. The input buffers allow more efficient access to the recorded meter history on disk, and greatly speeds up performance access to previews while zooming and scrolling the clips view when waveform preview is active. You can control the actual number of history page buffers with this variable.
Variable Type Default value What it does PanicStrength=<0 or 1> Boolean 0 (controller 123 only) The Panic/Reset button stops playback and turns off any stuck notes. There are two ways a MIDI note can be turned off: By a note-off message (n=1) or by MIDI controller number 123 (all notes off). By default, Panic uses controller 123 only (n=0).
Variable Type Default value What it does VelocityAsBargraph= <0 or 1> Boolean 0 By default, note velocity tails are displayed as thin vertical lines in the Piano Roll view, and the color is the same as note events. If “Notes/ Velocity” is not the current edit type, this color will be slightly lightened.
Variable Type Default value What it does ShowClipShadow= <0 or 1> Boolean 0 By default, a drop shadow is not displayed on clips in the Track view. To always display a drop shadow on clips, add this to the [Wincake] section: ShowClipShadow=1 PauseDuringSave= <0 or 1> f Boolean 0 By default, when saving a project file during playback, SONAR saves the file asynchronously while playback continues.
Variable Type Default value What it does CtrlSurfaceRefreshMS= <50 - 5000> Integer 75 You may want to increase the value of this Cakewalk.ini variable if you are experiencing sluggish UI responsiveness when using a control surface and playing back high CPU projects. Also, if you are using a control surface that is not bi-directional, the surface does not need to be refreshed at all and you can safely increase the value.
Variable Type Default value What it does TransparentClipNames= <0 or 1> Boolean 0 SONAR can write Clip Names with an alpha channel such that the waveform behind the clip name can be seen. To enable this effect, set the value to 1. SmallIconHeight Integer 32 This variable specifies the small track icon size. By default, small icons are 32x32 pixels. LargeIconHeight Integer 48 This variable specifies the large track icon size. By default, large icons are 48x48 pixels.
Variable Type Default value What it does EnablePluginCancelButton= <0 or 1> Boolean 0 In SONAR 4.0.2 and earlier, opening the property page of a VST plug-in during playback could result in a slight disruption in playback. The cause for this problem has its roots in the little Cancel button that sits in the top right corner of the plug-in's property page.
Variables in the [Options] section Variable Type Default value What it does ChaseDelay= Integer 20 (2 seconds) This line specifies the sync chase delay in 1/10 seconds. During SMPTE/MTC sync, when the position is determined, playback begins at a later time to allow for setup. This line specifies the delay amount. If this value is too long, you always have to wait after starting playback before SONAR locks.
Variable Type Default value What it does MMCDelayMsecs= Integer 100 This setting specifies the minimum amount of time that must elapse between any two MMC commands. Some MMC gear, including the Fostex MTC-1 and the Tascam SY-88, can get confused unless there is at least a 10-millisecond delay after every MMC command. This can cause intermittent problems on fast machines. SONAR corrects this problem with the MMCDelayMsecs= line.
Variable Type Default value What it does IgnoreMidiInTimeStamps= <0 or 1> Boolean 0 (disable) This line determines whether or not SONAR ignores any MIDI time stamping that a MIDI driver does. If you’re experiencing increasing delays between the time you play a MIDI note on a controller and the time you hear SONAR echo it, setting this line to 1 may help. Also, if you find that SONAR is recording MIDI data at a different time from when the data was played, setting this line to 1 may help.
Variable Type Default value What it does SysxSendPacketSize= Integer 1024 This line specifies the number of bytes between Sysx transmit delays. Sysx bytes are transmitted in packets, with a 1/18 second delay between each packet. Setting this value smaller will help slower MIDI devices (synthesizers, etc.) avoid overflowing their internal buffers.
Variables in AUD.ini Variable Type Default Value What it does MeterFrameSizeMS= <10-200> Integer 40 Meters in SONAR show peak (or RMS) values at a given instant in time. The actual peak value displayed by a meter is the highest peak recorded in an interval of time referred to as a "Meter Frame." The default size for a meter frame is 40 milliseconds, which is an accuracy of 25 FPS. The MeterFrameSizeMS variable allows you to change the size of this interval. It goes in the [Wave] section.
Variable Type Default Value What it does FlushWriteBeforeRead= <1 or 0> Boolean 0 The default setting causes SONAR to perform disk reads (for audio playback) before attempting any disk writes (for audio recording). Overriding this value by setting it to 1 causes SONAR to attempt disk writes first. This yields the best results when you are attempting to record a large number of tracks at high latency.
Variable Type Default Value What it does GapDezipperUsec=<0-1000> Integer 500 The audio engine will now render a smooth fade in whenever audio playback is interrupted and there is a abrupt transition in gain. The purpose of doing this is to dezipper (smooth out) the gain transition due to the discontinuity. For example, if you click on the time ruler to jump to a new time location during playback, the engine will smoothly render the transition to the new gain level as a fade in.
Variable Type Default Value What it does DefaultEqPosition=<0 or 1> Boolean 0 The integrated channel EQ is pre effects bin by default, but you can change the position of any channel EQ by right-clicking the EQ plot and choosing the desired position from the context menu. The DefaultEqPosition Aud.ini variable lets you specify the default EQ position for all new tracks/buses. This variable lives in the [Aud] section of Aud.ini, and legal values are: 0 (pre FX) or 1 (post FX).
Variable Type Default Value What it does ShowMultiChannelInputs = <0 or 1> Boolean 1 This is a line in the Wave section of the Aud.ini file that specifies whether SONAR uses multichannel audio devices as multiple stereo pairs or just a single stereo pair. ShowMultiChannelOutputs= <0 or 1> Boolean 1 This is a line in the Wave section of the Aud.ini file that specifies whether SONAR uses multichannel audio devices as multiple stereo pairs or just a single stereo pair.
Variable Type Default Value What it does ThreadSchedulingModel= <0 - 2> Integer 1 This variable goes in the [Wave] section and controls the interaction of the main audio thread and worker threads on multiprocessor systems when the Use Multiprocessing Engine option is enabled. Depending on the system, a particular model may result in less glitching and better overall performance. The values are as follows: 0 = Same as previous versions of SONAR. 1 = (default) Better thread balance.
Initialization files Initialization file format
New features in SONAR X2 SONAR X2 has many new features (some features are in SONAR Producer and Studio only).
“Edit” on page 1321 • “Tools enhancements” on page 1321 • “Snap to Grid enhancements” on page 1321 • “Zooming enhancements” on page 1322 • “Scrolling enhancements” on page 1322 • “Selection enhancements” on page 1322 • “Grouping enhancements” on page 1322 • “Key binding enhancements” on page 1323 “Mix” on page 1324 • “Automation enhancements” on page 1324 • “R-MIX SONAR (Producer only)” on page 1325 • “ProChannel enhancements (Producer only)” on page 1326 • “ProChannel Console Emulator module (Producer only
Skylight Figure 351. Skylight. C A D B E A. Control Bar B. Inspector C. Track view D. Browser E. MultiDock Take Lanes Take lanes provide an alternative method of viewing and editing overlapping clips on tracks. Overlapping clips can occur when you record multiple takes on the same track. Take lanes can be expanded or collapsed on each track. When expanded, Take lanes are indented below the parent track.
Figure 352. Take lanes collapsed. Figure 353. Take lanes expanded. A B A. Parent track B. Take lanes For details, see “Take lanes and comping takes” on page 367. Automation Lanes Automation lanes are an alternative method of viewing automation envelopes on tracks and buses. Automation envelopes can be displayed in the parent track, or in indented lanes below the parent track. Figure 354. Automation lanes. A B A. Parent track B.
• Easier to work with individual automation envelopes. • Easy to copy and paste specific automation data. • Ability to quickly bypass individual automation parameters. • Slider to control automation parameters. To show a track’s Automation lanes, click the track’s Expand/collapse Automation lanes button . For details, see “Automation lanes” on page 1010.
Figure 355. The Now Time marker indicates the playback state A B C A. Paused B. Playback C. Recording Piano Roll enhancements • Controller lanes. • Edit Filter UI is similar to the Track view Edit Filter. • Horizontal and vertical Aim Assist line. Enabled via the global Aim Assist option in the Track view. • Drag duration when inserting notes via the Smart Tool. • Controller pane size is remembered when you close and reopen the Piano Roll view. • Updated time ruler similar to the Track view time ruler.
• Rename media files, plug-ins and FX Chains. For details, see “To rename media files in the Media Browser” on page 570, “To rename a plug-in” on page 579 and “To rename an FX Chain preset” on page 580. • Delete media files directly from the Browser. For details, see “To delete media files in the Media Browser” on page 570. • Multi-folder search filter. • Send MIDI data to external MIDI output when previewing MIDI data. • Browser preview stays synchronized with the Matrix.
• Mix module updates: • Offset mode button. For details, see “Inspectors” on page 523. Full Screen mode You can expand SONAR’s interface by using the new Full Screen mode. To do so, click the Window menu and choose Full Screen, or press F11. Other user interface and usability enhancements • Easier to use default plug-in layouts. • Open the Step Sequencer, Piano Roll view, Staff view, or Event List view directly from a soft synth’s property page. For details, see “Presets and property pages” on page 866.
Perform Matrix enhancements • Updated UI. • Improved playback for rock-solid sync for both MIDI and audio cells. • Improved MIDI routing. MIDI rows can be routed through tracks and apply processing such as MIDI FX, Arpeggiator, volume, pan, etc. Output tracks to MIDI hardware devices or soft synths, or route MIDI rows directly to synths. • Per-cell trigger resolution. Each cell can be set to a custom trigger resolution.
Overloud TH2 Producer amp simulator (Producer only) Figure 356. TH2 Producer TH2 Producer by Overloud provides realistic guitar amp models from clean to crushing distortion. This special edition includes 10 amplifier models, 10 cabinet models, 10 stomp box effects models, 3 microphone models, delay and reverb master effects and dozens of presets. Easily build or modify your own signal path. For more information, see the TH2 Producer online Help. Overloud TH2 SONAR amp simulator (Studio only) Figure 357.
TH2 SONAR by Overloud provides realistic guitar amp models from clean to crushing distortion. This special edition includes 10 amplifier models, 10 cabinet models, 3 microphone models, and dozens of presets. Easily build or modify your own signal path. For more information, see the TH2 SONAR online Help. Rapture (Producer only) Combining power, elegance, control, and unbeatable sounds, Rapture is one of the most exciting synthesizers available.
Record Recording enhancements • Use Take lanes to easily manage overlapping clips when recording multiple takes on the same track. For details, see “Take lanes and comping takes” on page 367. • Loop record to separate Take lanes. • When recording to a track that contains existing data, specify whether or not you want to hear the previously recorded material. For details, see “To hear previously recorded material on track while recording” on page 276.
Edit Tools enhancements • Improved Smart tool and Edit tool with added functionality (Note: the Trim tool has been renamed to the Edit tool). • Clips are drawn with a header, which can be clicked with the Smart tool to select and move the clip. • Select envelope curve types (Fast, Current, Slow, Jump) with the Edit tool. For details, see “To change an envelope segment’s shape” on page 1025. • Draw envelope lines at mousedown and mouseup points with the Line Draw tool.
Zooming enhancements • More zoom levels and overall smoother zooming. • Auto zoom the current track for faster workflow . For details, see “Auto Zoom the current track” on page 87. • Enhanced zooming in the time ruler. Point the mouse pointer at the top half of the Clips pane or Piano Roll view time ruler until the mouse pointer looks like , then drag up/down to zoom horizontally, or drag up/down with the right mouse button to zoom vertically.
• Clip groups: • Selection group has been renamed to Clip group. • New keyboard shortcuts for working with clip groups. For details, see “Clip shortcuts” on page 1464. • For details, see “Clip groups” on page 345. • Quick Group support for: • Create/Delete/Reassign sends in the Track view and Console view. • Insert/Remove/Replace ProChannel modules (Producer only). • Up/down scrolling in Send clusters in the Console view and Inspector.
Mix Automation enhancements • Display and edit automation envelopes in discrete Automation lanes. For details, see “Automation Lanes” on page 1312. • Refined automation write modes, including Touch, Overwrite, and Latch (Producer and Studio only). For details, see “Automation write modes (Producer and Studio only)” on page 1005. • Automation recording obeys the Auto Punch region. • Specify if track automation should be locked to Absolute or Musical time. For details, see “Automation time base” on page 1006.
R-MIX SONAR (Producer only) Figure 359. R-MIX SONAR. R-MIX SONAR allows you to visually manipulate an audio mix. Powered by Roland’s V-Remastering technology, R-MIX SONAR lets you see the components of a stereo mix as color-coded clouds of energy and harmonic matter as the song plays. Visualizing the sound allows you to use not only your ears but also your eyes to understand the layout and placement of the instruments. You can select any components of the mix, and freely edit them.
• Transcribe and learn parts by isolating any desired instrument within a mix. • Solo an individual part and analyze it for study; slow down a fast guitar solo, for example, and learn how to play it. • Mute or extract specific regions of the visualized sound. • Add effects only to any specific part of a mix, such as vocals. • Clean up old recordings and master stereo mixes by adjusting individual instrument levels and applying noise reduction and effects.
ProChannel FX Chain module (Producer only) The FX Chain module lets you save and load audio effect plug-in chain presets called FX Chain. The FX Chain module can be used as an effects bin that can be inserted between other ProChannel modules. For details, see “FX Chain module” on page 992. ProChannel QuadCurve Equalizer module (Producer only) The QuadCurve EQ has many enhancements: • New Hybrid type.
ProChannel PC4K S-Type Expander/Gate module (Producer only) PC4K S-Type Expander/Gate is based on the legendary channel strip gate in one the world's most successful analog studio production mixing consoles. For more information, see the PC4K S-Type Expander/Gate online Help.
Figure 361. BREVERB ProChannel module BREVERB SONAR by Overloud provides world-class studio reverb. Dozens of professional presets are included, covering a wide range of applications from mixing to post-production. SONAR includes both VST and ProChannel versions of BREVERB SONAR. For details, click the Help button in the BREVERB SONAR VST version. FX Chains 2.0 • Redesigned and streamlined FX Chain container and pre/post meters.
“Record” on page 1320 “Edit” on page 1321 “Master” on page 1330 “Deliver” on page 1331 “Misc. enhancements” on page 1332 Master Improved LP-64 EQ (Producer only) Smooth performance and no glitching when adjusting parameters during playback. Improved LP-64 Multiband Compressor (Producer only) Smooth performance and no glitching when adjusting parameters during playback.
Deliver MusicXML export Export notation data as MusicXML for use in other notation programs. MusicXML is the universal digital sheet music interchange and distribution format. For details, see “Export to MusicXML (Producer only)” on page 1107. SoundCloud export SoundCloud is an online music sharing service that allows you to upload and share your music with others online. SONAR has integrated support for uploading audio to the SoundCloud service.
Misc. enhancements Online product documentation By default, SONAR opens the online HTML Help in your default Web browser. The latest documentation is always available from the Cakewalk Web site. Online help offers many benefits, including: • Portability (e.g. Mobile phones) • Searchability (e.g. Google) • Google Translate support If you do not have an Internet connection, SONAR will instead launch an offline version of the online Help.
“Edit” on page 1321 “Mix” on page 1324 “Master” on page 1330 “Deliver” on page 1331 New features in SONAR X2 Misc.
New features in SONAR X2 Misc.
Comparison The following table highlights the key differences between SONAR X2 Producer, SONAR X2 Studio, and SONAR X2 Essential.
SONAR X2 Studio SONAR X2 Producer FX Chain UI customizing x x External Insert x x AudioSnap 2.0 x x V-Vocal 1.
Product Comparison SONAR X2 Essential SONAR X2 Studio SONAR X2 Producer FX2 AmpSim x x x FX2 TapeSim x x x HF Exciter x x x Modfilter x x x Multivoice Chorus/Flanger x x x Parametric EQ x x x Para-Q x x x Pitch x x x Reverb x x x SpectraFX x x x Stereo Delay (32-bit Only) x x x Stereo Reverb x x x Tempo Delay x x x Sonitus fx: EQ x x x Sonitus fx: Reverb x x x Sonitus fx: Compressor x x Sonitus fx: Delay x x Sonitus fx: Gate x x Sonitu
Product Comparison SONAR X2 Essential SONAR X2 Studio SONAR X2 Producer TH2 Producer x BREVERB SONAR x LP-64 EQ x LP-64 Multiband x Perfect Space (32-bit Only) x PX-64 Percussion Strip x TL-64 Tube Leveler x TS-64 Transient Shaper x Vintage Channel x VX-64 Vocal Strip x MIDI plug-in effects MFX Arpeggiator x x x MFX Change Velocity x x x MFX Chord Analyzer x x x MFX Echo/Delay x x x MFX Event Filter x x x MFX Quantize x x x MFX Transpose x x x Cakewalk Sou
SONAR X2 Studio SONAR X2 Producer Cyclone x x Pentagon I x x PSYN II x x Rapture LE x Product Comparison SONAR X2 Essential Rapture x Roland Groove Synth x x x RXP REX Player x x SFZ Sound Font Player x x Z3ta+ x x Session Drummer 3 x True Pianos Amber (x86, x64) x Expansion Packs for Dimension Pro Digital Sound Factory V2 Classic Keys x Hollywood Edge FX x Dimension Pro Expansion Pack 1 x Dimension Pro Expansion Pack 2 x Classic Sounds for Dimension Pro x Audio L
See: “Getting started” on page 3 “Introduction” on page 53 “About SONAR” on page 54 “New features in SONAR X2” on page 1309 1340 Comparison
Included plug-ins The following is a list of audio, MIDI and instrument plug-ins that are included with SONAR. For detailed informaiton about a specific plug-in, see the plug-in’s online Help.
“TS-64 Transient Shaper (Producer and Studio only)” on page 1376 “VC-64 Vintage Channel (Producer only)” on page 1376 “VX-64 Vocal Strip (Producer only)” on page 1377 Channel strips, stereo & panning “Channel Tools” on page 1348 “ProChannel (Producer only)” on page 1363 “PX-64 Percussion Strip (Producer only)” on page 1364 “VC-64 Vintage Channel (Producer only)” on page 1376 “VX-64 Vocal Strip (Producer only)” on page 1377 Delays & modulation “Chorus” on page 1349 “Chorus (mono)” on page 1350 “Classic Pha
“VC-64 Vintage Channel (Producer only)” on page 1376 Mastering “Analyst” on page 1346 “Boost 11 Peak Limiter” on page 1347 “Channel Tools” on page 1348 “LP-64 EQ (Producer only)” on page 1359 “LP-64 Multiband (Producer only)” on page 1360 “Sonitus fx: Multiband” on page 1369 “Sonitus fx:Phase” on page 1370 “TL-64 Tube Leveler (Producer and Studio only)” on page 1375 Reverbs “BREVERB SONAR (Producer only)” on page 1348 “DSP-FX Studioverb (32-bit Only)” on page 1354 “Perfect Space (32-bit Only) (Producer on
MIDI effects “MFX Arpeggiator” on page 1378 “MFX Change Velocity” on page 1378 “MFX Chord Analyzer” on page 1378 “MFX Echo/Delay” on page 1379 “MFX Event Filter” on page 1379 “MFX Quantize” on page 1380 “MFX Transpose” on page 1380 Instruments “Cakewalk Sound Center” on page 1381 “Cakewalk TTS-1” on page 1382 “Cyclone” on page 1382 “Dimension LE Synth with Garritan Pocket Orchestra (Studio only)” on page 1383 “Dimension Pro (Producer only)” on page 1383 “DreamStation DXi2 (32-bit only)” on page 1384 “DropZ
See: “Audio effects” on page 1345 “MIDI effects” on page 1378 “Instruments” on page 1381 Audio effects 2-band EQ Figure 362. 2-band EQ The 2-Band EQ lets you choose the frequencies affected by equalization, and then choose how much to cut or boost each frequency. For more information, see the 2-band EQ online Help. Alias Factor Figure 363.
Analyst Figure 364. Analyst Analyst is a spectrum analyzer, and can also generate automation envelopes. You can operate Analyst in either one of two modes: • Spectrum mode. Vertical axis represents dB, horizontal axis represents frequency (as pictured above). • Sonograph mode. This mode displays a color-coded historical representation of the audio. Level is indicated by color; vertical axis represents frequency.
Boost 11 Peak Limiter Figure 366. Boost 11 Peak Limiter The Boost 11 Peak Limiter is a transparent peak limiting and volume maximizing plug-in for mixing and mastering purposes; it is designed to reduce peak levels without coloring the sound. Boost 11 uses a “look-ahead” limiter algorithm to prevent output clipping and PDR (Program Dependent Release) to minimize pumping (audible fluctuations of the volume) and maximize the loudness.
BREVERB SONAR (Producer only) Figure 367. BREVERB SONAR BREVERB SONAR by Overloud provides world-class studio reverb. Dozens of professional presets are included, covering a wide range of applications from mixing to post-production. SONAR includes both VST and ProChannel versions of BREVERB SONAR. For details, click the Help button in the BREVERB SONAR VST version. Channel Tools Figure 368.
space. • Automatically decode Mid-Side channel recordings. • Enhance the spatial characteristics of your mixes. • Adjust for phase problems due to microphone placement. • Swap the left and right channels. • Invert the polarity (phase) of each channel. • Fine-tune the timing of recordings by delaying the left and/or right channel by a specific number of samples or milliseconds. For more information, see the Channel Tools online Help. Chorus Figure 369.
Chorus (mono) Figure 370. Chorus (mono) For more information, see the Chorus (mono) online Help. Classic Phaser Figure 371. Classic Phaser This is a classic phaser effect that uses a modulating notch filter with a feedback loop. The “Quadra” mode provides extra wide imaging and animation. For more information, see the Classic Phaser online Help. Compressor/Gate Figure 372.
Delay Figure 373. Delay FX Delay (Stereo) creates a series of repeating signals from the original signal. You vary the amount of this delay or echo by changing the Delay Time and the Feedback Mix. Use the modulation parameters to detune the processed signal. For more information, see the Delay online Help. Delay/Echo (mono) Figure 374. Delay/Echo (mono) Delay/Echo creates a series of repeating signals from the original signal.
DSP-FX Chorus (32-bit Only) Figure 375. DSP-FX Chorus The FxChorus gives you a wide variety of ways to fatten up your recordings, providing both sound and intonation variables from small and large groups of singers or instruments. You can set each of the four voices independently, giving you the power of four different chorus processors at the same time. For more information, see the DSP-FX Chorus online Help. DSP-FX Delay (32-bit Only) Figure 376.
DSP-FX EQ (32-bit Only) Figure 377. DSP-FX EQ FxEq is an extremely flexible EQ. It is highly customizable, offering 8 user-defined bands. For more information, see the DSP-FX EQ online Help. DSP-FX Flange (32-bit Only) Figure 378. DSP-FX Flange The FxFlange is the first digital flanger to accurately model tape-based analog flanging, right down to the engineer's thumb applying pressure on one of the tape reels.
both flanging individual instrument tracks or for flanging multiple tracks or the entire mix for a dramatic swirling sound. For more information, see the DSP-FX Flange online Help. DSP-FX Studioverb (32-bit Only) Figure 379. DSP-FX Studioverb The FXReverb provides very dense and warm reverberation with 32-bit floating point implementation.
Flanger (mono) Figure 381. Flanger (mono) Flanging consists of two signals, one delayed slightly so that the signals are out of phase. This creates a spacey, ethereal sound. For more information, see the Flanger (mono) online Help. FX Compressor/Gate Figure 382. FX Compressor/Gate A compressor takes the loudest parts of an input signal and reduces their volume.
For example, if a vocalist moves closer in and further away from a microphone while making a recording, the recorded volume levels may be uneven. A compressor can smooth out theses variations. • During mixdown, you can use a compressor to adjust the dynamic range of individual tracks. This is one way to balance the tracks, and can even reduce the need to use a lot of equalization. • Compressors can be used to increase an instrument’s sustain, by using a release time longer than the instruments decay.
FX Expander/Gate Figure 384. FX Expander/Gate The stereo expander expands the dynamic range of the portion of an audio signal which falls below a given threshold. For more information, see the FX Expander/Gate online Help. FX Limiter Figure 385. FX Limiter The purpose of the limiter is to prevent the audio signal from exceeding a threshold value. A limiter may be seen as an extreme case of compressing For more information, see the FX Limiter online Help.
FX2 AmpSim Figure 386. FX2 AmpSim The AmpSim plug-in allows you to simulate processing your audio through a guitar amplifier and/or speaker cabinet, providing authentic distortion and speaker modeling characteristics. For more information, see the FX2 AmpSim online Help. FX2 TapeSim Figure 387.
HF Exciter Figure 388. HF Exciter HF Exciter lets you enhance the higher end of the frequency spectrum. This produces the psychoacoustic affect that the signal is brighter and clearer. This is done by adding harmonic content that is not present in the original signal. For more information, see the HF Exciter online Help. LP-64 EQ (Producer only) Figure 389.
LP-64 Multiband (Producer only) Figure 390. LP-64 Multiband Compressor The LP-64 Multiband Compressor consists of five high-quality compressors, each operating on a single adjustable frequency band. Unlike typical limiters, the filters that split up the frequency bands in the LP-64 Multiband Compressor plug-in are of the Linear Phase variety. This allows you to split up the spectrum into bands and then sum them back together with no phase errors or colorations.
Multivoice Chorus/Flanger Figure 392. Multivoice Chorus/Flanger Chorus/Flanger lets you add depth and thickness to the signal. The EQ section in the feedback path allows you to create some truly unique sounds. For more information, see the Multivoice Chorus/Flanger online Help. Parametric EQ Figure 393. Parametric EQ The FX EQ (Stereo) is a parametric equalizer consisting of four bands which you can control using both the interactive graph and controls adjacent to it.
Perfect Space (32-bit Only) (Producer only) Figure 395. Perfect Space convolution reverb The Perfect Space convolution reverb is a stereo convolution processor. The process of convolution allows you to apply the acoustic characteristics of any space (or sound) to any input signal. Perfect Space can work with a latency as low as 64 samples (1.5 ms at 44.1kHz), making it possible to use it during tracking.
Pitch Shifter Figure 396. Pitch Shifter The Cakewalk FX Pitch Shifter raises or lowers the pitch of an audio signal, while leaving the duration of the audio event unchanged. This is a fast pitch shifter that uses minimal computation time. For more information, see the Pitch Shifter online Help. ProChannel (Producer only) ProChannel is an extended channel strip that provides high-quality compressor, equalizer, and tube saturation processing for each audio track, Instrument track and bus.
PX-64 Percussion Strip (Producer only) Figure 398. PX-64 Percussion Strip PX-64 Percussion Strip is a multi-functional plug-in that combines a series of effects specifically optimized and streamlined for drum and percussion processing. Combining transient shaping, compression, expansion, equalization, delay and tube saturation in one convenient plug-in, PX-64 Percussion Strip is designed to make it fast and easy to enhance any drum or percussion track.
Reverb (mono) Figure 400. Reverb (mono) Reverberation, or reverb, adds many small echoes to a signal to create spaciousness. For more information, see the Reverb (mono) online Help. Sonitus fx: Compressor Figure 401. Sonitus fx: Compressor fx:compressor is a variable-knee compressor with built-in peak limiting. The purpose of a compressor is to limit the dynamic range of music or sound. Compression will make the loud parts of the signal more quiet, resulting in a more or less even level.
Sonitus fx: Surround Compressor Figure 402. Sonitus fx: Surround Compressor The Sonitus Surround Compressor is an enhanced, surround-capable version of the Sonitus:fx Compressor plug-in. The Surround Compressor is comprised of four stereo compressors. After you patch the compressor into a surround bus, you can direct any combination of the bus's input channels to any of the four compressors, sending any combination of stereo channel pairs, the center channel, and the LFE to the compressor(s) you choose.
Sonitus fx: Delay Figure 403. Sonitus fx: Delay fx:delay is an advanced stereo delay with tempo sync. For more information, see the Sonitus fx: Delay online Help. Sonitus fx: EQ Figure 404. Sonitus fx: EQ fx:equalizer is a 6-band parametric equalizer with selectable filter types for each band and frequency response graph.
music and sound. They let you use different filtering techniques to attenuate, cut or boost a specific frequency or a range of frequencies, allowing you the shape the overall characteristics of the audio signal. For more information, see the Sonitus fx: EQ online Help. Sonitus fx: Gate Figure 405. Sonitus fx: Gate fx:gate is a dynamic gate with side-chain filtering and lookahead. The fx:gate plug-in has wide variety of uses.
Sonitus fx: Modulator Figure 406. Sonitus fx: Modulator fx:modulator combines six time-varying modulation effects into one integrated plug-in. For more information, see the Sonitus fx: Modulator online Help. Sonitus fx: Multiband Figure 407. Sonitus fx: Multiband fx:multiband is a 5 band variable knee compressor with both normal and vintage compression modes and output limiter.
Using a multiband compressor has many advantages over using a traditional ("single band") compressor when it is used on audio signals containing complex harmonic material like a complete music mix. • "Pumping" is virtually eliminated. "Pumping" is a phenomenon that is noticed when music with a heavy bass beat is run through a standard compressor; the mids and highs seem to vary in amplitude or "pump" to the beat.
Sonitus fx: Reverb Figure 409. Sonitus fx: Reverb Reverb or reverberation is the effect of resounding echos in a room or other enclosed acoustic environment. Reverb can be seen as a series of echos so dense that they can't be told apart from each other. fx:reverb emulates the phenomenon of sound being reflected off walls in a virtual room, and allows you to add reverb that resembles the character, decay and frequency response of various environments.
Sonitus fx: Surround Figure 410. Sonitus fx: Surround fx:surround is a surround sound panner with built-in doppler and attenuation rendering for distance and velocity effects, joystick control and graphical path editing. For more information, see the Sonitus fx: Surround online Help. Sonitus fx: WahWah Figure 411. Sonitus fx: WahWah fx:wahwah is a guitar effect emulator. A classic guitar effect, the wahwah stomp box became an instant hit when it was introduced in 1966.
fx:wahwah is a digital adaptation of the analog designs, and is modeled after real-life wahwah stomp boxes like the Morley Pro Series Distortion Wah, Jim Dunlop Crybaby Model GCB-95 and Model JH1 (Jimi Hendrix). For more information, see the Sonitus fx: Wah Wah online Help. SpectraFX Figure 412. SpectraFX The SpectraFX lets you modulate (change the settings of) a wide variety of powerful effects in real time, using a mouse, joystick, or the SpectraFX's LFO (Low Frequency Oscilator) feature.
Tempo Delay Figure 414. Tempo Delay Stereo Delay produces a tempo-synchronized echo on whichever channel it is patched to. The three-band EQ section in the feedback path allows you to create some truly unique sounds. For more information, see the Tempo Delay online Help. TH2 Producer amp simulator (Producer only) Figure 415. TH2 Producer TH2 Producer by Overloud provides realistic guitar amp models from clean to crusing distortion.
TH2 SONAR amp simulator (Studio and Essential only) Figure 416. TH2 SONAR TH2 SONAR by Overloud provides realistic guitar amp models from clean to crusing distortion. This special edition includes 10 amplifier models, 10 cabinet models, 3 microphone models, and dozens of presets. Easily build or modify your own signal path. For more information, see the TH2 SONAR online Help. TL-64 Tube Leveler (Producer and Studio only) Figure 417.
TS-64 Transient Shaper (Producer and Studio only) Figure 418. TS-64 Transient Shaper The TS-64 Transient Shaper plug-in provides powerful control over the dynamics of audio tracks and mixes. In a musical context, the term transient refers to a sudden increase in sound output that occurs for a short period of time. For example, the attack portion of a drum hit is a transient.
VX-64 Vocal Strip (Producer only) Figure 420. VX-64 Vocal Strip VX-64 Vocal Strip is a multi-functional plug-in that combines a series of effects specifically optimized and streamlined for vocal processing. Combining compression, expansion, equalization, deessing, doubling, delay and tube saturation in one convenient plug-in, VX-64 Vocal Strip is designed to make it fast an easy to enhance any vocal track.
MIDI effects MFX Arpeggiator Figure 421. MFX Arpeggiator The Arpeggiator command applies an arpeggio to its input and plays it back in real time. You can make it arpeggiate with a swing feel, or straight and staccato or legato, vary its speed and direction, and specify its range. MFX Change Velocity Figure 422. MFX Velocity The Velocity effect lets you adjust velocities of MIDI notes.
appears on the MIDI display and the staff, and its name with possible alternatives appears in the Chords recognized box. You can play the notes on your MIDI input device and have the Chord Analyzer identify the chords in real time. You do not have to set to playback. You can open the Chord Analyzer in the Track and Console views, press Playback and have the Chord Analyzer identify the chords in real time. MFX Echo/Delay Figure 424.
MFX Quantize Figure 426. MFX Quantize The Quantize command moves events to (or towards) an evenly-spaced timing grid. The Quantize effect is similar to the Process > MIDI Effects > Cakewalk FX > Quantize command. For more information, see “Other settings” on page 721. MFX Transpose Figure 427. MFX Transpose The Process > MIDI Effects > Cakewalk FX > Transpose command is a flexible transposition feature.
Instruments Cakewalk Sound Center Figure 428. Cakewalk Sound Center Cakewalk Sound Center is a simple and intuitive playback synth that lets you quickly find, preview and play sound programs. You can browse programs by categories and subcategories, and even search for patches by name. Finding the right sounds for your songs has never been easier. You can also rate your favorite programs and sort programs by rating. For more information, see the Cakewalk Sound Center online Help.
Cakewalk TTS-1 Figure 429. Cakewalk TTS-1 Cakewalk TTS-1 is a GM2 (General MIDI 2) compatible, multi-timbral, multi-output, software synthesizer featuring a newly developed software synthesis engine, with 256 sounds and 9 drum sets built in. For more information, see the Cakewalk TTS-1 online Help. Cyclone Figure 430.
The Cyclone DXi is a 16-part phrase sampler with beat-matching and extensive loop editing capabilities. With Cyclone you can trigger different loops of different tempos and Cyclone will automatically play them back at the same tempo, in sync with little or no signal degradation. Cyclone is similar to a software-based sampler in that you can trigger the pads from the mouse, a MIDI keyboard, or from MIDI data in a track; the difference is that is works with entire loops or phrases, similar to Dr.
At Dimension's core is a powerful sample-playback engine paired with advanced synthesis capabilities. It draws on a comprehensive library of sounds covering every aspect of contemporary music. Dimension is also expandable, meaning more sounds can be added to the instrument via expansion packs, or user multisamples based on standard PCM wave files. Besides sample-playback, Dimension is capable of Wavetable synthesis, and Physical Modeling (Waveguide) synthesis.
DropZone Figure 434. DropZone There’s no easier way to add your own style to a track. Just drag and drop a sample into DropZone, and make it part of your beat. It is the ideal synth for creating remixes or for building the perfect hook for your song. DropZone includes real instrument sounds, drums, vocals, REX-format loops and more. For more information, see the DropZone online Help. Pentagon I (Producer and Studio only) Figure 435.
PSYN II (Producer and Studio only) Figure 436. PSYN II PSYN is a very powerful virtual analog synthesizer, which recreates sounds of old analog and vintage synthesizers. Four oscillators with up to four waveforms each plus noise, a sub oscillator, several modulation capabilities, two filters, five envelope generators, three low frequency oscillators and a very flexible modulation array are the resources PSYN offers, combined with full automation and a powerful MIDI Learn mode.
Rapture is perfect for performing and designing the modern synthesized sounds igniting today’s pop, dance, and electronic music. Rapture is a wavetable synthesizer with advanced sound manipulation capabilities, well suited for electronica-related music styles. A comprehensive Modulation Matrix provides expressive control and a unique Step Generator provides an intuitive interface for the creation of rhythmic parameter changes. For more information, see the Rapture online Help.
RXP REX Player (Producer and Studio only) Figure 440. RXP RXP DXi is a virtual instrument that plays REX files. The REX file format stipulates that audio slices play back individually, usually via MIDI. This allows arbitrary playback of slices and conformation of loops to the host tempo map. For more information, see the RXP online Help. Session Drummer 3 (Producer only) Figure 441. Session Drummer 3 Session Drummer 3 is a professional drum sampler and pattern player.
Samples can be of any bit depth (8 to 32-bit), any sample rate, and either mono or stereo. Each sample in a multisample can be a standard PCM Windows Wave file (.wav), an Apple audio format (.aiff) or a compressed file in the standard, high-quality, open and royalty-free ogg-vorbis format (.ogg). Alternatively, it is possible to open multisample definition files (.sfz) or individual samples by dragging them to an instrument pad. Session Drummer 3 features include: • MIDI pattern playback.
Square I Figure 443. Square I The warmness and classic sound of the vintage analog synthesizers, combined with the fidelity and precision of a VST instrument. For more information, see the Square I online Help. Studio Instruments Bass Guitar Figure 444. Studio Instruments Bass Guitar Bass Guitar accurately replicates the sound of a classic electric bass guitar sound and features a highly-detailed user interface as well as simple but powerful controls.
Studio Instruments Drum Kit Figure 445. Studio Instruments Drum Kit Drum Kit accurately replicates the sound of its real-world counterpart and features a highly-detailed user interface as well as simple but powerful controls. It uses Cakewalk’s patented and acclaimed Expression Engine technology, an anti-aliased, real-time sound production system for multi-sample audio playback. For more information, see the Studio Instruments Drum Kit online Help.
Studio Instruments Electric Piano Figure 446. Studio Instruments Electric Piano Electric Piano accurately recreates the classic Fender Rhodes electric piano sound and features a highly-detailed user interface as well as simple but powerful controls. It uses Cakewalk’s patented and acclaimed Expression Engine technology, an anti-aliased, real-time sound production system for multi-sample audio playback. For more information, see the Studio Instruments Electric Piano online Help.
patented and acclaimed Expression Engine technology, an anti-aliased, real-time sound production system for multi-sample audio playback. For more information, see the Studio Instruments String Section online Help. True Pianos (x86, x64) (Producer only) Figure 448.
Z3ta+ (Producer only) Figure 449. Z3TA+ Z3TA+ is an award-winning analog-style synthesizer with incredible sound shaping capabilities. The exclusive bandlimited Waveshaping technology makes Z3TA+ one the best and most respected synths in the industry. Whether you’re looking for lush, warm pads, slowly evolving atmospheres, searing leads or sparkling FM sounds, Z3TA+ delivers the goods, and includes hundreds of professional presets. For more information, see the Z3TA+ online Help.
Cyclone The following figure illustrates the Cyclone DXi views and controls. Figure 450. Cyclone D E F G H I A J K L B M N C O P Q A. Import Sound Bank B. Loops C. Key Map view tab D. Export Sound Bank E. Trash button F. Play button G. Stop button H. Auto Preview button I. Pad J. Pad Group K. Volume knob L. Pan knob M. Sync button N. Loop button O. Track handles P. Selected pad Q.
See: “Cyclone toolbar” on page 1396 “Pad groups” on page 1397 “Pad inspector” on page 1398 “Loop view and Key Map view” on page 1399 “Pad editor” on page 1400 “Slice inspector” on page 1400 “Using Cyclone” on page 1401 Cyclone toolbar The following graphic shows each of Cyclone’s toolbar buttons: A B C D E F A. Import Sound Bank B. Export Sound Bank C. Trash D. Auto Preview E. Stop F. Preview The following table describes each of Cyclone’s buttons.
Pad groups The following graphic shows a close-up of a Cyclone pad group: A B G C H D E F A. Pad B. Volume C. Load D. Mute E. Solo F. Sync G. Pan H. Loop A Pad Group in Cyclone has the following controls: Control Description Pad The trigger for playing a loop. Volume knob Adjusts the volume of the Pad Group. The volume value is displayed in the Pad Inspector. Pan knob Adjusts the pan of the Pad Group. The pan value is displayed in the Pad Inspector.
Pad inspector The Pad Inspector has additional pad group controls: C A D B A. Click to enable tails for current track B. Click to force Cyclone to follow SONAR’s Pitch markers C. Select an audio output D. Click to toggle on/off Latch mode In the Pad Inspector there are the following controls: Control Description Output You can select from one of 16 audio outputs or use the Mix Only setting to use the Master out. MIDI In You can set which MIDI channel the pad group responds to.
Control Description Tails The tails feature extends the “tail” or decay of a slice which may otherwise have ended prematurely, drowned out by the next slice. This is particularly useful when you substitute a longer slice with a shorter one leaving room for a tail to sound. Latch The Latch option gives you a second mode for triggering pads. In Latch mode, a Groove Clip plays continuously when triggered until it is triggered again.
Figure 451. Loop view A B A. Click to open the Key Map view B. Slices The Key Map view shares the same space in Cyclone as the Loop view. You toggle between the two views by clicking on one of the tabs to the left of whichever view is displayed. The keyboard in the Key Map view shows the Unity note (in orange) and the range of notes that trigger the pad group (in blue). Drag the Unity note to change its value. Drag the white triangles to extend the range of MIDI note values that trigger the pad group.
Using Cyclone Cyclone is a multi-output synth, and you launch it the same way you launch other synth’s: by inserting it into a SONAR project. There are two basic ways to insert synths in SONAR: • You can insert synths from the Synth Rack view or with the Insert > Soft Synths command. If you use this method, you can choose to have SONAR create the necessary audio and MIDI tracks, and patch them together correctly.
• Drag a loop into Cyclone from SONAR‘s Clips pane or Media Browser view. Note: ACIDized and Riff Wave files imported into Cyclone can not be more than 64 beats long. Regular wave files are limited to 30 seconds. Cyclone does not support 8-bit files. To audition loops • Select a loop in the Loop bin, and then click Cyclone’s Play button. To play loops 1. Assign a loop to a pad or pads (see “To assign a loop to a pad” on page 1402). 2. Select the pad or pads you want to play by clicking on them. 3.
To synchronize a loop to SONAR’s tempo • Click the Sync button that’s on the Pad that the loop is assigned to. The Sync button lights up when it’s engaged. To set a Loop to Follow SONAR pitch markers 1. In the Pad Editor, select the track you want to follow pitch markers. 2. In the Pad Inspector, click the Pitch Markers control. The Pitch Markers control appears green when enabled. To assign MIDI keys to a pad 1. Click the Pad that you want to trigger. 2.
To play a pad with recorded MIDI data 1. Record some MIDI data into a SONAR MIDI track. 2. In the MIDI track’s Output field, choose Cyclone. Cyclone must have been already inserted into the project in order for it to appear as a choice in the Output field. 3. In the MIDI track’s Ch field, choose the number of the Cyclone Pad that you want to trigger with this MIDI track.
To import a sound bank 1. Click the Import Sound Bank button on the Cyclone toolbar. The Open dialog box appears. 2. Navigate to the directory where you saved your Sound Bank, select it and click OK. Cyclone loads the loops and associated settings that make up the Sound Bank you loaded. To clear the contents of a project • Click the Trash icon in the Cyclone toolbar. Cyclone deletes all loops from your project. Mixing down Cyclone You mix down a Cyclone session the same ways you mix down any synth.
To change the length of a track • Drag the Track Length marker to the right or left to lengthen or shorten the track, respectively. You can include empty space in your track. If you depress the Loop button for that Pad (track), the track loops continuously between the beginning of the track and the Track Length marker. To set the number of divisions for a slice You can set the number of divisions in each slice. This controls how exact the placement of your slices is within the Pad Editor.
Undo and redo You can undo any edit you make in Cyclone. If you decide, after you have used Undo, that you want the edit after all, you can Redo the edit. The number of edits you can Undo and Redo in Cyclone is unlimited. To undo an edit Do one of the following: • Click the Edit menu and choose Undo. • Press CTRL+Z. To redo an edit Do one of the following: • Click the Edit menu and choose Redo. • Press SHIFT+CTRL+Z.
Cyclone Using Cyclone
Menu reference Use the Contents or Search tabs to find the menu command topic you are looking for. File > New The File > New command opens the “New Project File dialog” on page 1639 box where you choose a template for a new file. See “New Project File dialog” on page 1639 for more information. See also: “You can create your own template files and use them as the basis for other new projects. For more information, see “Templates” on page 1064.
File > Close The File > Close command closes the current project. If multiple projects are open, the project with focus is closed. File > Save The File > Save command saves the current project. If multiple projects are open, the project with the focus is saved. For more information, see “Saving your work” on page 307. File > Save As The File > Save As command opens the Save As dialog box where you can save a project with the name, directory, and format you specify. The formats available are: • Normal.
File > Import > Audio The File > Import > Audio command lets you import “Digital audio” on page 1911 information stored in wave file format into any track (or, for stereo, two tracks) of a project. The File > Import > Audio command supports the following digital audio file types: • Wave (extension .wav) • MPEG (extensions .mpeg, .mpg, .mp2, and .mp3) • Windows Media files (extension .wma) • Apple AIFF (extensions .aif and .aiff) • MS Streaming Format (extension .ams) • Audio files (extensions .au and .
File > Import > Video SONAR's File > Import > Video command lets you include an AVI, MPEG, or QuickTime video in your project. This video is shown in real time as your project plays. The Video view displays the current time (as in the Big Time view) and the video itself. The display in the Video view is synchronized with the Now time, giving you convenient random access to the video stream. This makes it easy to align music and digitized sound to the video.
File > Export > Video Use the File > Export > Video command to combine the audio data and any video data in your SONAR project into an .avi file, Windows Media Video file, or QuickTime file. The audio in your project is mixed down automatically and saved with the video in the new file. Note: It is presently only possible to export QuickTime videos on a 32-bit system.
File > Print Preview The File > Print Preview command opens the SONAR Print window, where you can view your document before you print it. File > Print Setup The File > Print Setup command opens your system’s Print Setup dialog box. File > Send The File > Send command opens a blank email message and attaches the current project. Note: If you send a project file (extension .cwp) and your project contains audio data, the audio data is not attached along with the project file.
Edit > Redo The Edit > Redo command cancels a just-previous Undo command. Edit > History The Edit > History command opens the “Undo History dialog” on page 1766, which displays a history of your editing actions. You can set how many editing actions you want the Undo History dialog box to store by changing the number in the Maximum Undo Steps field. The default value is 128.
Edit > Select > All AudioSnap/Stretched Clips The Edit > Select > All AudioSnap/Stretched Clips command selects all AudioSnap and stretched audio clips. See: “AudioSnap (Producer and Studio only)” on page 589 “Selecting clips” on page 334 Edit > Select > By Filter The Edit > Select > By Filter command lets you change a selection to keep only events with the criteria you specify. For more information, see “Searching for events” on page 734.
Edit > Select > Thru = Now The Edit > Select > Thru = Now command lets you specify the Now time as the time through which a selection extends. The From and Thru times you select appear in the Control Bar’s Select module in the From and Thru fields. If you select a whole measure, the Thru time is the start of the next measure, which actually makes it a “to” time and not a “through” time.
Edit > Cut The Edit > Cut command lets you remove from the project and put on the Clipboard any selected objects. If you want to specify what to cut, use the Edit > Cut Special command instead to open the “Cut dialog” on page 1587. You can paste the contents of the Clipboard elsewhere. See “Edit > Paste” on page 1419.
Edit > Copy Special The Edit > Copy Special command lets you put on the Clipboard any selected objects. You can specify the kinds of objects to copy in the “Copy dialog” on page 1585. You can paste the contents of the Clipboard elsewhere. See “Edit > Paste” on page 1419. To remove rather than copy objects, see “Edit > Cut” on page 1418. To make copies of linked clips, see “Splitting and combining clips” on page 365.
Edit > Delete The Edit > Delete command removes selected objects from the project. It doesn't put them on the Clipboard, so they can not be subsequently pasted. If you want to specify what to delete, use the Edit > Delete Special command instead to open the “Delete dialog” on page 1591. For more information, see “To delete clips” on page 340.
Groove Clip Looping The Groove Clip Looping command enables a selected audio clip’s looping capabilities. When you enable these capabilities, you can make unlimited copies of the clip by dragging its start or end points to the left or right, respectively. When a clip’s looping capabilities are enabled, the clip’s corners are beveled instead of sharp. If the clip’s looping capabilities are already enabled, the same command turns them off.
Views > Control Bar The Views > Control Bar command shows/hides the Control Bar. See also: “Control Bar overview” on page 495 Views > Track View The Views > Track View command displays the Track view. See also: “Track view” on page 1790 Views > Browser Select Views > Browser to open the Browser view. You can preview and import files using the Browser view, without having to leave your work environment. For more information, see “Browser” on page 1876.
Views > Console View To open the Console view, use the Views > Console View command. The Console view contains all the controls you need to mix your project. For more information about the Console view, see “Console view” on page 1836. See also: “Preparing to mix” on page 831 Views > Piano Roll View Open the Piano Roll view with the Views > Piano Roll View command. The Piano Roll view displays all MIDI notes and events from one or more tracks in a grid format that looks much like a player piano roll.
Views > Matrix View Select Views > Matrix View to open the Matrix view. The Matrix view lets you trigger individual or multiple audio and MIDI patterns, either with a computer keyboard, mouse or via MIDI remote control. For more information, see “Matrix view” on page 1876. Views > Staff Open the Staff view by using the Views > Staff View command. The Staff view contains the Staff pane and the Fretboard.
Views > Event List Open the Event List view with the Views > Event List command. The Event List view shows events in a list format. You can insert, delete, or modify any kind of event, including notes, pitch-wheel data, velocity, MIDI controllers, patch changes, wave files, lyrics, text strings, MCI commands, System Exclusive meta-events, and more. See: “The Event List view” on page 742 Views > Lyrics Open the Lyrics view by using the Views > Lyrics command. The Lyric view lets you edit a track's lyrics.
Views > Markers Open the Markers view with the Views > Markers command. The Markers view lets you add, move, rename, or delete “Marker” on page 1915 (labels) for places in your song. The markers make it easier to move from one point to another. For more information about the Markers view, see “Markers view” on page 1871. See “Creating and using markers” on page 357. Views > Tempo Open the Tempo view by using the Views > Tempo command. The Tempo view provides a graphic display of the tempo.
Views > Surround Panner Open the Surround Panner by using the Views > Surround Panner command. The Surround Panner allows you to control the output levels for each of your outputs. For more information, see “Panning in surround” on page 948. Views > Icons > Show Icons This global command hides or shows icons in all applicable views. Views > Icons > Track View > Show Icons This command hides or shows icons in the Track view, if the global command to show icons is not enabled.
Views > Icons > Track View > Show in Strip This command hides or shows icons in the track strips of the Track view. Views > Icons > Track Inspector > Show Icons This command hides or shows icons in the Track Inspector. Views > Icons > Track Inspector > Show Large Icons This command displays icons in the Track Inspector in large format. Views > Icons > Track Inspector > Show Small Icons This command displays icons in the Track Inspector in small format.
Views > Icons > Synth Rack > Show Large Icons This command hides or shows icons in the Synth Rack in large format. Views > Screensets > Screenset 1 Select screenset 1. See also: “Screensets” on page 1054 Views > Screensets > Screenset 2 Select screenset 2. See also: “Screensets” on page 1054 Views > Screensets > Screenset 3 Select screenset 3. See also: “Screensets” on page 1054 Views > Screensets > Screenset 4 Select screenset 4.
Views > Screensets > Screenset 5 Select screenset 5. See also: “Screensets” on page 1054 Views > Screensets > Screenset 6 Select screenset 6. See also: “Screensets” on page 1054 Views > Screensets > Screenset 7 Select screenset 7. See also: “Screensets” on page 1054 Views > Screensets > Screenset 8 Select screenset 8. See also: “Screensets” on page 1054 Views > Screensets > Screenset 9 Select screenset 9.
Views > Screensets > Screenset 10 Select screenset 10. See also: “Screensets” on page 1054 Views > Screensets > Revert Current Screenset Revert the current screenset to its last saved state before the project was saved. See “To revert the current screenset to its last saved state” on page 1058. See also: “Screensets” on page 1054 Views > Screensets > Lock/Unlock Current Screenset Lock the current screenset to prevent any modifications.
Views > Screensets > Duplicate Current Screenset to > Screenset 1 Duplicate the current screenset to screenset 1. See also: “Screensets” on page 1054 Views > Screensets > Duplicate Current Screenset to > Screenset 2 Duplicate the current screenset to screenset 2. See also: “Screensets” on page 1054 Views > Screensets > Duplicate Current Screenset to > Screenset 3 Duplicate the current screenset to screenset 3.
Views > Screensets > Duplicate Current Screenset to > Screenset 5 Duplicate the current screenset to screenset 5. See also: “Screensets” on page 1054 Views > Screensets > Duplicate Current Screenset to > Screenset 6 Duplicate the current screenset to screenset 6. See also: “Screensets” on page 1054 Views > Screensets > Duplicate Current Screenset to > Screenset 7 Duplicate the current screenset to screenset 7.
Views > Screensets > Duplicate Current Screenset to > Screenset 9 Duplicate the current screenset to screenset 9. See also: “Screensets” on page 1054 Views > Screensets > Duplicate Current Screenset to > Screenset 10 Duplicate the current screenset to screenset 10. See also: “Screensets” on page 1054 Views > Screensets > Import Screensets Import screensets from another open project. Any locked screensets in the current project are not overwritten.
Insert > Soft Synth The Insert > Soft Synth command displays a submenu of all installed soft synths. Clicking the name of one of the synths either displays the Insert Synth Options dialog box, or inserts a synth into your project if you unchecked the dialog’s Ask This Every Time option previously. See: “Inserting soft synths” on page 802 Insert > Soft Synth > Plug-in Layouts > Manage Layouts The Insert > Soft Synth > Plug-in Layouts > Manage Layouts command opens the Cakewalk Plug-in Manager.
Insert > Track Template The Insert > Track Template command opens the Import Track Templates dialog box. For more information about track templates, see “Working with track templates” on page 321. Insert > Stereo Bus The Insert > Stereo Bus command, which you can also find by right-clicking an empty area of the Bus pane in the Track view or Console view, inserts a stereo bus into the empty space of the Bus pane.
Process > Apply Effect > Audio Effects The Process > Apply Effect > Audio Effects command (which is greyed-out if you’re not currently using any audio effects) opens the Apply Audio Effects dialog box. Applying an audio effect means that the audio data that you apply the effect to is permanently altered to sound like it would if it was flowing through an effects processor in real time. Applying an effect saves a lot of your processor’s power for other tasks that must be done in real time.
Process > Apply Effect > Extract Timing Use the Process > Apply Effect > Extract Timing command to extract the timing from selected clips. The clip’s groove is extracted and vertical Pool lines are displayed to indicate the extracted transients.
Process > Apply Effect > Fade/Envelope The Process > Apply Effect > Fade/Envelope command lets you specify accurately the shape of a fade for a selection, clip, or track. You can specify one of the following curves, which the “Fade/ Envelope dialog” on page 1606 displays for you: • Exponential Fade In • Exponential Fade Out • Inverse Exponential Fade In • Inverse Exponential Fade Out • Linear Fade In • Linear Fade Out Alternately you can manipulate any curve in the dialog box to look exactly as you want.
Process > Apply Effect > Reverse The Process > Apply Effect > Reverse command reverses audio data, making it play backwards. You may want to do this to obtain unusual sounds for special effects. See also: “Reversing audio data” on page 791 Process > Quantize The Process > Quantize command opens the “Quantize dialog” on page 1740. This command adjusts the start time and duration of selected notes so that they line up with a fixed size grid.
Process > Groove Quantize The Process > Groove Quantize command opens the “Groove Quantize dialog” on page 1615. This command adjusts the start time and duration of selected notes using a music piece as a pattern. In the Quantize dialog box, you assign the groove pattern you want to use (extension .GRV), adjust the resolution of the grid (note size) and specify which track properties you want to allow the command to change.
Process > Slide The Process > Slide command opens the “Slide dialog” on page 1754. You can move a selected track and/or its markers by a set amount of measures, ticks, seconds or frames. Positive numbers move the track to the right (forward) and negative numbers move the track to the left (backward).
Process > Nudge > Left 3 The Process > Nudge > Left 3 command moves a selected clip to the left by any of three increments that you set in the Nudge 3 section in Edit > Preferences > Customization - Nudge. You can assign a hotkey shortcut for this command. For more information, see “Nudge” on page 350.
Process > Find/Change The Process > Find/Change command is an extremely flexible way of manipulating the data parameters of events. It works something like the search-and-replace function in a word processor but with scaling rather than simple replacement. See: “Searching for events” on page 734 Process > Length The Process > Length command can be used to stretch or shrink a portion of a project.
Process > Retrograde The Process > Retrograde command reverses the order of events in a selection. If one or more clips are selected, then the events within each clip are reversed. If several clips are selected from the same track, then the order of the clips is also reversed. You could use this command, for example, to take a scale or other long run of notes and reverse the order in which they are played. The Process > Retrograde command does not reverse the contents of audio clips.
Process > Fit Improvisation SONAR lets you record music from a MIDI controller without requiring that you use a fixed tempo. But if you record without using a metronome, you are very likely to end up with a recording that does not fit onto a fixed tempo grid. The Process > Fit Improvisation command lets you take a recording and create a tempo map (with measure and beat boundaries) that fits what you played.
Project > Insert Meter/Key Change Use the Project > Insert Meter/Key Change command to insert a meter change and/or a key change. See “Adding and editing meter/key changes” on page 1110. Project > Insert Tempo Change The Project > Insert Tempo Change command opens the “Tempo dialog” on page 1763. For more information, see “Changing tempos” on page 382. See: “To insert a tempo change” on page 384.
Project > Set Default Groove Clip Pitch The Project > Set Default Groove Clip Pitch submenu lets you specify the default pitch that Groove Clips should follow when the clip’s Follow Project Pitch option is enabled. Groove clips do not follow your project's key. Groove Clips follow the project pitch that is specified in the Default Groove Clip Pitch dialog box, in addition to any pitch markers in the Time Ruler.
Utilities > Clean Audio Folder Use the Utilities > Clean Audio Folder command to delete digital audio files from an audio data directory that are no longer used by any of your projects. You should use this command from time to time to free up disk space. Important: Make sure that all of your important project (.cwp and .wrk) files are stored in your local hard disk(s) before using this command.
Figure 453. Cakewalk Publisher For more information about the Utilities > Cakewalk Publisher command, see the Cakewalk Publisher online Help. Utilities > Share with SoundCloud The Utilities > Share with SoundCloud command opens the Cakewalk SoundCloud interface, which lets you share your music with others online.
Utilities > CWAF Tool The Utilities > CWAF Tool command opens the Cakewalk Audio Finder Tool, which lets you locate audio files that are used in your SONAR projects. For more information about Cakewalk Audio Finder Tool, see the Cakewalk Audio Finder Tool online Help.
Time Ruler Format > Samples The Time Ruler Format > Samples command, which is also available from the Clips pane pop-up menu, changes the unit of measurement in the time ruler to samples. Time Ruler Format > Milliseconds The Time Ruler Format > Milliseconds command, which is also available from the Clips pane popup menu, changes the unit of measurement in the time ruler to milliseconds. Window > Full Screen The Window > Full Screen command lets you view SONAR in full screen mode.
Help > Keyboard Shortcuts Note: A plus sign (+) indicates that both keys must be held down at the same time. For example, CTRL+F6.
Basic shortcuts Command Shortcut Show Track view ALT+1 Show/hide Control Bar C Show/hide Inspector I Show/hide Clip Properties Inspector SHIFT+I Show/hide Track Properties Inspector CTRL+SHIFT+I Show/hide ProChannel CTRL+I Show/hide Browser B Expand/collapse MultiDock D Maximize/restore MultiDock SHIFT+D Close current floating window CTRL+F4 Show Tools HUD T Show AudioSnap Palette A Zoom in horizontally CTRL+RIGHT ARROW Zoom out horizontally CTRL+LEFT ARROW Full Screen mode on
Menu command shortcuts Command Shortcut Online Help F1 File > New CTRL+N File > Open CTRL+O File > Save CTRL+S File > Print CTRL+P Edit > Undo CTRL+Z Edit > Redo CTRL+SHIFT+Z Edit > Select > All CTRL+A Edit > Select > None CTRL+SHIFT+A Edit > Cut CTRL+X Edit > Cut Special CTRL+ALT+X Edit > Copy CTRL+C or CTRL+INSERT Edit > Copy Special CTRL+ALT+C Edit > Paste CTRL+V or SHIFT+INSERT Edit > Paste Special CTRL+ALT+V Project > Insert Marker M View Undo (zoom) ALT+Z View Redo
View shortcuts Command Shortcut Control Bar C Inspector I Browser B Track view ALT+1 Console view ALT+2 Piano Roll view ALT+3 Step Sequencer ALT+4 Matrix view ALT+5 Staff view ALT+6 Loop Construction view ALT+7 Event List view ALT+8 Lyrics view ALT+SHIFT+1 Video view ALT+SHIFT+2 Big Time view ALT+SHIFT+3 Markers view ALT+SHIFT+4 Tempo view ALT+SHIFT+5 Meter/Key view ALT+SHIFT+6 Sysx view ALT+SHIFT+7 Navigator view ALT+SHIFT+8 Surround Panner ALT+SHIFT+9 Table 238.
Track view shortcuts Command Shortcut Show Track view ALT+1 Insert new track INSERT Show/hide Bus pane SHIFT+B Show/hide Video Thumbnail pane V Show/hide Navigator pane ALT+N Show/hide Aim Assist line X Resize all tracks vertically to fit in window F Resize and zoom tracks to see entire project SHIFT+F Show and fit selection CTRL+ALT+H Fit content CTRL+F Manage track visibility H Show only selected tracks CTRL+SHIFT+H Hide selected tracks CTRL+H Show all tracks SHIFT+H Open/Cl
Command Shortcut Zoom in on current track’s audio waveforms CTRL+ALT+UP ARROW Zoom out on current track’s audio waveforms CTRL+ALT+DOWN ARROW Zoom current track in vertically CTRL+SHIFT+DOWN ARROW Zoom current track out vertically CTRL+SHIFT+UP ARROW Zoom in on all audio waveforms and MIDI notes ALT+UP ARROW Increase current track height CTRL+SHIFT+DOWN ARROW Decrease current track height CTRL+SHIFT+UP ARROW Scale audio waveform in all audio tracks and MIDI notes in all MIDI tracks ALT+UP/D
Transport shortcuts Command Shortcut Record R Step Record on/off SHIFT+R RTZ W Play/Stop SPACEBAR Stop with Now marker CTRL+SPACEBAR Toggle ‘On stop, rewind to Now marker’ on/off CTRL+W Audition selection SHIFT+SPACEBAR Go to time G Go to selection start (From time) SHIFT+G Go to next marker CTRL+SHIFT+PAGE DOWN Go to previous marker CTRL+SHIFT+PAGE UP Record metronome on/off F3 Playback metronome on/off CTRL+F3 Open Metronome settings SHIFT+F3 Loop on/off L Set Measure/Beat
Record shortcuts Command Shortcut Record R Step Record on/off SHIFT+R Arm all tracks for recording CTRL+R Toggle Track Arm for selected track ALT+R Record metronome on/off F3 Table 241.
Command Shortcut Set half note duration CTRL+SHIFT+2 Set quarter note duration CTRL+SHIFT+4 Set eight note duration CTRL+SHIFT+8 Set sixteenth note duration CTRL+SHIFT+6 Set thirty-second note duration CTRL+SHIFT+3 Table 242.
Nudge shortcuts Command Shortcut Nudge Left 1 Numeric Keypad 1 Nudge Down Numeric Keypad 2 Nudge Right 1 Numeric Keypad 3 Nudge Left 2 Numeric Keypad 4 Nudge Settings Numeric Keypad 5 Nudge Right 2 Numeric Keypad 6 Nudge Left 3 Numeric Keypad 7 Nudge Right 3 Numeric Keypad 8 Table 245.
Command Shortcut Copy current Screenset to Screenset 3 CTRL+3 Copy current Screenset to Screenset 4 CTRL+4 Copy current Screenset to Screenset 5 CTRL+5 Copy current Screenset to Screenset 6 CTRL+6 Copy current Screenset to Screenset 7 CTRL+7 Copy current Screenset to Screenset 8 CTRL+8 Copy current Screenset to Screenset 9 CTRL+9 Copy current Screenset to Screenset 10 CTRL+0 Table 246.
Clip shortcuts Command Shortcut Mute clip K Groove Clip looping enable/disable CTRL+L Open Associated Audio Files dialog SHIFT+K Lock Clip Position and Data CTRL+K Open clip effects bin ALT+K Add selected clips to new clip group [ Remove selected clips from clip group SHIFT+[ Table 249.
Quantize shortcuts Command Shortcut Open Quantize dialog Q Open Input Quantize settings SHIFT+Q Input Quantize on/off CTRL+Q Table 252. Quantize keyboard shortcuts V-Vocal shortcuts Command Shortcut Open V-Vocal Editor SHIFT+V Create V-Vocal clip SHIFT+V Note: All V-Vocal shortcuts in the Editor itself are listed in the V-Vocal help file. Table 253.
Command Shortcut When focus is on a control in the strips pane, move focus to the steps pane CTRL+RIGHT ARROW When focus is either on the steps or strips pane, move focus to the toolbar CTRL+UP ARROW When focus is on the toolbar, move focus to the strips pane CTRL+DOWN ARROW When focus is on steps, toggle step or tie on/off; for buttons, turn on/off ENTER When focus is on a step, allow velocity adjustment SHIFT+ENTER For spinner controls, increase/decrease value; fine adjust for knobs + / - (pl
Command Shortcut Speaker mutes CTRL+NumPad 0-9 Jumps to speaker angle at 100% focus NumPad 0-9 n/a NumPad 0 Ls NumPad 1 Cs NumPad 2 Rs NumPad 3 Sl NumPad 4 n/a NumPad 5 Sr NumPad 6 L NumPad 7 C NumPad 8 R NumPad 9 Lc / Rc * Table 255. Surround panner keyboard shortcuts Help > SONAR Online > Support The Help > SONAR Online > Support command opens your web browser to the SONAR Support Web page.
Help > Audio > Configuring your audio interface The Help > Audio > Configuring your audio interface command opens your web browser to the Audio Interface Setup Guide page on the Cakewalk Web site. Help > Troubleshooting > Problems with registration The Help > Troubleshooting > Problems with registration command opens your web browser to the Product Registration FAQ page on the Cakewalk Web site.
Help > Usage Logger The Help > Usage Logger command opens the Usage Logging dialog box, which lets you log useful information that may assist Cakewalk Technical Support in troubleshooting potential problems with your system when using SONAR. For more information about the Help > Usage Logger command, see “Usage Logging dialog” on page 1777. Help > Register Online The Help > Register Online command opens Cakewalk's online form so you can register your new product.
Remove From Group This command, which you find by right-clicking a fader, button, or knob in the Track or Console views, lets you remove a control or button from its group. For more information about grouping controls, see “Using control groups” on page 914. Set Start = Current This command, which you find by right-clicking a fader, button, or knob in the Track or Console views, lets you adjust the start value of a control.
Insert MIDI Track This command, which you find by right-clicking in the Console view in the grey area to the right of the final module, adds a MIDI track to the console. For more information about adding tracks, see “Changing track settings” on page 205. Hide Module This command allows you to hide track and bus modules in the Console view. You find the command by right-clicking in the Console view in three different areas: • For track modules, right-click in the grey area above a track’s Phase button.
60 dB Range This command, which you find by right-clicking any audio meter in the Track view or Console view, changes the range that the meter measures to 60 dB. For more information about meters, see “Metering” on page 849. 42 dB Range This command, which you find by right-clicking any audio meter in the Track view or Console view, changes the range that the meter measures to 42 dB. For more information about meters, see “Metering” on page 849.
Delete This command, which you find by right-clicking the name of an effect in the Console view, deletes that effect from its patch point. For more information about effects, see “Audio effects (audio plug-ins)” on page 797 and “MIDI effects (MIDI plug-ins)” on page 749. Set Loop Points This command, which you find by right-clicking in the “Time ruler” on page 1920, sets the Loop From time to the start time of the selection, and the Loop Thru time to the end time of the selection.
Set Punch Points Sets the borders of a selected area as punch points. Select Punch Region This command, which you find by right-clicking in the “Time ruler” on page 1920, sets the selection start and end times to the Punch In and Punch Out times. For more information about punch recording, see “Punch recording” on page 288. Jump This command causes an automation envelope to make a 90 degree “jump” when it reaches the next node.
Slow Curve This command creates a curve between two nodes which changes slowly at first, then rapidly as it nears the second node. See: “Creating and editing automation envelopes” on page 1019 Drag and Drop Options The Drag and Drop Options command opens the “Customization - Editing (Advanced)” on page 1728 section in the Preferences dialog box. Associated Audio Files This command opens the Associated Audio Files dialog box. For more information, see “Associated Audio Files dialog” on page 1581.
Ebony Hi This command changes the fretboard to appear as if made of ebony in high resolution. Ebony Lo This command changes the fretboard to appear as if made of ebony in low resolution. Maple Hi This command changes the fretboard to appear as if made of maple in high resolution. Maple Lo This command changes the fretboard to appear as if made of maple in low resolution. Animate This command, which you find by right-clicking in the Video view, enables or disables video playback.
Delete This command, which you find by right-clicking in the Video view, deletes a video file from a project. For more information about deleting video files, see “To delete the video from the project” on page 238. See also: “Video playback, import, and export” on page 236 Original Size This command, which you find by right-clicking in the Video view, displays the video in its original size. For more information about video, see “Video playback, import, and export” on page 236.
Full Screen This command, which you find by right-clicking in the Video view, stretches the video to fill the screen. For more information about video, see “Video playback, import, and export” on page 236. Time Display Format > M:B:T This command, which you find by right-clicking in the Video view, changes the video view’s time display to “MBT” on page 1915 (measure:beat:tick). For more information about video, see “Video playback, import, and export” on page 236.
Background Color > Black This command, which you find by right-clicking in the Video view, changes the background color of the Video view to black. For more information about video, see “Video playback, import, and export” on page 236. Background Color > White This command, which you find by right-clicking in the Video view, changes the background color of the Video view to white. For more information about video, see “Video playback, import, and export” on page 236.
Lock Contents This command forces SONAR to open a new instance of the current view (the view you are locking) rather than using the current view. This allows you to keep multiple copies of the same view open at one time. See: “Locking views” on page 89 Enable Floating This command allows you to “float” a view (move it beyond the boundaries of SONAR. This is especially useful when using dual monitors. See: “Floating views” on page 89 Zoom tool This command enables the Zoom tool feature.
Record Meters When selected with a check mark, record meters are displayed. When unchecked, record meters are not displayed. Playback Meters When selected with a check mark, playback meters are displayed. When unchecked, playback meters are not displayed. Output Bus Meters When selected with a check mark, output bus meters are displayed. When unchecked, output bus meters are not displayed.
Record Meter Options > Show Labels This command toggles on/off the meter labels. Record Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time. The peak volume level recorded by the meter is marked by a small white line which remains for a moment if lock peaks is not checked or until the end of playback or recording if Lock Peaks is checked.
Playback Meter Options > Show Labels This command toggles on/off the meter labels. Playback Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time. The peak volume level recorded by the meter is marked by a small white line which remains for a moment if lock peaks is not checked or until the end of playback or recording if Lock Peaks is checked.
Output Bus Meter Options > Show Labels This command toggles on/off the meter labels. Output Bus Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time. The peak volume level recorded by the meter is marked by a small white line which remains for a moment if lock peaks is not checked or until the end of playback or recording if Lock Peaks is checked.
Output Bus Meter Options > Pre Fader Post FX This command sets the meter to measure the volume level in the signal path after the effects bin and prior to the fader. Percentage This command sets the Audio Scaling ruler to display the percentage of the waveform being shown. dB This command sets the Audio Scaling ruler to display the dB level of the waveform being shown. Zoom Factor This command sets the Audio Scaling ruler to display the zoom factor (a multiple of the default zoom level, i.e.
Show All Tracks and Buses Shows all tracks and buses in your project. Undo View Change Reverts the following parameters to their previous state: • Individual track sizes • Height factors • Scaling There are 16 levels of undo for this command. Redo View Change Negates the last Undo View Change command. Create Track Envelopes Using Linear Shapes This command, when checked, causes newly inserted envelopes to have a node at both the beginning and end of the track.
Erase tool Use this to erase data. Draw tool Use this to draw data or events. Open Clip Effects Bin This command opens the clip effects bin. See: “Effects on clips” on page 870 Insert New Track(s) or Bus(es) Click this button to choose from a variety of insertion options. You can insert a single audio or MIDI track, multiple tracks, a track folder, a track template, or a single stereo or surround (SONAR Producer only) bus.
Mute tool This button activates the Mute tool, which allows you to mute an umute individual clips. Set options for this tool by clicking the small down arrow to the right of the button. The Mute tool allows you to edit multiple clips simultaneously, including clips in clip groups. See: “Clip muting and isolating (clip soloing)” on page 375 Exclusive Solo This button enables Exclusive Solo mode. When you solo a track or bus in Exclusive Solo mode, all other soloed tracks or buses are automatically unsoloed.
Add MBT to Pool This command adds the time ruler to the Pool. Tip: In the Control Bar’s Snap module, set the Musical Time value to the resolution you would like to add to the Pool. See: “Using the Pool” on page 643 “AudioSnap (Producer and Studio only)” on page 589 Quantize to Pool This command opens the Quantize to AudioSnap Pool dialog box, which lets you quantize audio beats to the Pool.
Menu reference Quantize to Pool
[Track view] View > Navigator Show/Hide Use this command to show or hide the Navigator pane in the Track view. The keyboard shortcut for hiding or showing the Navigator pane is ALT+N. See: “Using the Navigator view” on page 332 [Track view] View > Video Thumbnail Show/Hide This command toggles on or off the display of the Video Thumbnails track. The Video Thumbnails track can be displayed even if there is no video in your project. You can also show or hide the this track by pressing V on your keyboard.
[Track view] View > Display > Display Ghosted Data Use this command to show or hide all data types, regardless of which data type is selected in a track’s Edit Filter control. All but the selected data type will be shaded, or “ghosted”. This allows you to see all data types in context while editing a specific data type. [Track view] View > Display > Display Track Separators Enabling this option causes SONAR to display a horizontal line in the Clips pane between each track.
[Track view] View > Display > Vertical Grid Lines > None Enabling this option causes SONAR to not display vertical grid lines in the Clips pane. [Track view] View > Display > Vertical Grid Lines > Behind Clips Enabling this option causes SONAR to display vertical lines in the Clips pane that are one measure apart. Vertical grid lines are displayed, but clips will draw on top of them, so clip contents will not be obstructed.
View > MIDI Microscope This command activates Piano Roll Microscope mode. When Microscope mode is enabled, a transparent rounded square centered on the mouse cursor shows a zoomed in region of the Piano Roll data underneath it. See: “Piano Roll Microscope mode” on page 702 [Track view] View > View Undo This command returns the Track view to the previous zoom level (undo zoom). For more information about displaying tracks, see “Configuring the Console and Track views” on page 833.
Fade-In Curve > Linear This command sets as a default a linear, or steady fade-in curve when dragging the beginning of a clip. For more information about crossfades, see “Fades and crossfades” on page 395. [Track view] Options > Crossfade Type > Default Fade-In Curve > Slow Curve This command sets as a default a slow fade-in curve when dragging the beginning of a clip. For more information about crossfades, see “Fades and crossfades” on page 395.
Fade-Out Curve > Fast Curve This command sets as a default a fast fade-out curve when dragging the end of a clip. For more information about crossfades, see “Fades and crossfades” on page 395. [Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Linear In This command sets as default a crossfade in which the first clip fades out at a steady rate and the second clip fades in at a steady rate. For more information about crossfades, see “Fades and crossfades” on page 395.
[Track view] Options > Crossfade Type > Default Crossfade Curves > Slow Out - Fast In This command sets as default a crossfade in which the first clip fades out slowly and the second clip fades in fast. For more information about crossfades, see “Fades and crossfades” on page 395. [Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Fast In This command sets as default a crossfade in which the first clip fades out at a steady rate and the second clip fades in fast.
[Track view] Options > Click Behavior > Left Click Sets Now Enabling this option allows you to set the Now Time by left-clicking a location in the Clips pane. [Track view] Options > Click Behavior > Right Click Sets Now Enabling this option allows you to set the Now Time by right-clicking a location in the Clips pane. [Track view] Options > Click Behavior > Left Click Locks Scroll Enabling this option prevents the Clips pane from scrolling horizontally during playback while you edit data.
[Track view] Options > Click Behavior > DoubleClick > MIDI Clips > Piano Roll View Enabling this option causes the Piano Roll view to open when you double-click a MIDI clip. [Track view] Options > Click Behavior > DoubleClick > MIDI Clips > Inline Piano Roll View Enabling this option causes the Inline Piano Roll view to open when you double-click a MIDI clip.
[Track view] Options > Meter Options > Bus Meters Show or hide bus meters. [Track view] Options > Meter Options > Horizontal Meters Show horizontal meters in the Track view. [Track view] Options > Meter Options > Vertical Meters Show vertical meters in the Track view. [Track view] Options > Meter Options > Show Numeric Peak Values Show or hide peak values in each track’s header. [Track view] Options > Meter Options > Show Track Peak Markers Show or hide peak markers for tracks.
[Track view] Options > Meter Options > Reset All Meters Reset all meters and clear any clipping indicators. [Track view] Options > Meter Options > Record Meter Options > Peak This command sets the meter to Peak. For more information about Peak meter display, see “Metering” on page 849. [Track view] Options > Meter Options > Record Meter Options > RMS This command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 849.
Meter Options > -24 dB This command changes the range that record meters measure to 24 dB. For more information about meters, see “Metering” on page 849. [Track view] Options > Meter Options > Record Meter Options > -42 dB This command changes the range that record meters measure to 42 dB. For more information about meters, see “Metering” on page 849. [Track view] Options > Meter Options > Record Meter Options > -60 dB This command changes the range that record meters measure to 60 dB.
[Track view] Options > Meter Options > Record Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time. The peak volume level recorded by the meter is marked by a small white line which remains for a moment if lock peaks is not checked or until the end of playback or recording if Lock Peaks is checked.
Options > Pre Fader This command sets the meter to measure the volume level in the signal path prior to entering the fader. [Track view] Options > Meter Options > Track Meter Options > Post Fader This command sets the meter to measure the volume level in the signal path after exiting the fader. [Track view] Options > Meter Options > Track Meter Options > -12 dB This command changes the range that track playback meters measure to 12 dB. For more information about meters, see “Metering” on page 849.
[Track view] Options > Meter Options > Track Meter Options > -78 dB This command changes the range that track playback meters measure to 78 dB. For more information about meters, see “Metering” on page 849. [Track view] Options > Meter Options > Track Meter Options > -90 dB This command changes the range that track playback meters measure to 90 dB. For more information about meters, see “Metering” on page 849.
Options > Peak This command sets the meter to Peak. For more information about Peak meter display, see “Metering” on page 849. [Track view] Options > Meter Options > Bus Meter Options > RMS This command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 849. [Track view] Options > Meter Options > Bus Meter Options > Peak + RMS This command sets the meter to Peak + RMS. For more information about Peak + RMS meter display, see “Metering” on page 849.
[Track view] Options > Meter Options > Bus Meter Options > -12 dB This command changes the range that bus meters measure to 12 dB. For more information about meters, see “Metering” on page 849. [Track view] Options > Meter Options > Bus Meter Options > -24 dB This command changes the range that bus meters measure to 24 dB. For more information about meters, see “Metering” on page 849.
Options > -90 dB This command changes the range that bus meters measure to 90 dB. For more information about meters, see “Metering” on page 849. [Track view] Options > Meter Options > Bus Meter Options > Show Labels This command toggles on/off labels on bus meters. [Track view] Options > Meter Options > Bus Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time.
[Track view] Options > On Stop, Rewind to Now Marker When this check box is enabled, the Now Time jumps back to the Now Time Marker whenever playback stops. You can also toggle this option on/off by pressing CTRL+W. [Track view] Options > Set Now Time With Full Restart When this option is checked, when you change the Now Time during playback, the Transport comes to a full stop, and then restarts playback.
[Track view] Tracks > Clone Track(s) This command copies one or more tracks. You can choose to include events, properties, sends, and/ or effects in the copied track(s). You can specify a destination. For more information about the Clone Track(s) command, see “Copying tracks” on page 320. Delete Track(s) This command deletes one or more tracks entirely, including all its track properties and all its clips and events. SONAR does not put deleted information on the Clipboard for later copying.
[Track view] Tracks > Sort Tracks The Sort Tracks command lets you arrange tracks in order according to any of several criteria. For more information about rearranging tracks, see “To sort the tracks” on page 317, “To drag a track to a new position” on page 316, and “To insert a single track” on page 318. [Track view] Tracks > Selected Track Input Series The Selected Track Input Series command opens the Assign Series of Inputs dialog box.
[Track view] Clips > Bounce to Clip(s) This command lets you combine selected audio clips into a single clip. Note: Like any clips, slip-edited clips can be combined with other clips using the Bounce to Clip(s) command. When a slip-edited clip is combined with another clip, any slip-edited data (audio or MIDI events that are cropped from view) is overwritten. For more information, see “Splitting and combining clips” on page 365, and “Bouncing to clips” on page 787.
[Track view] Clips > Remove from Clip Group This command removes all selected clips from any clip group they may belong to. Tip: To select only a single clip in a group, hold down the SHIFT key and click the clip that you want to remove from the group. See: “Clip groups” on page 345: [Track view] Clips > Revert Original Time Stamp This command moves all selected clips back to their original SMPTE time position.
[Track view] Clips > Unlink Step Sequencer Clips This command unlinks the selected step sequencer clips, allowing each clip to be edited separately from each other. See: “To unlink copied Step Sequencer clips” on page 1831 [Track view] Clips > Convert MIDI Clip(s) to Step Sequencer This command lets you convert any selected MIDI clip to a step sequencer clip.
Show/Hide Velocity Tails Show or hide the velocity tails on MIDI notes in all tracks that are using Drum Maps. Show Velocity on Selected Notes Only This option lets you show velocities for selected Note events only. This makes it easier to see and edit velocities when many Note events are present. It also makes it easier to change the velocity for individual Note events that are stacked (such as chords). Show All Controllers Show all controllers in all displayed tracks.
Hide Muted Clips By default, events in muted MIDI clips are shown in the Piano Roll view. SONAR provides an option to exclude muted clips from displaying in the Piano Roll view. [Track view] V-Vocal > Create V-Vocal Clip This command creates a V-Vocal clip on top of selected audio data. For more information about V-Vocal clips, see “V-Vocal clips (Producer and Studio only)” on page 898. [Track view] V-Vocal > Remove V-Vocal This command removes the V-Vocal processor from the V-Vocal clip.
[Track view] V-Vocal > Bypass all V-Vocal Clips This command bypasses or unbypasses all V-Vocal clips in the project. For more information about V-Vocal clips, see “V-Vocal clips (Producer and Studio only)” on page 898. Save as groove This command opens the Define Groove dialog box, which lets you save the groove to a file. The groove can then be applied to other audio or MIDI clips.
Clip follows project tempo This command forces the selected audio clips to follow the project’s global tempo map. See: “Synchronizing audio and the project tempo” on page 610 “AudioSnap (Producer and Studio only)” on page 589 Edit clip tempo map This command shows/hides controls that allow you to edit a clip’s tempo map. See: “Editing a clip’s tempo map” on page 613 “AudioSnap (Producer and Studio only)” on page 589 Show/Hide Track Pane Use this command to show or hide the Track pane.
[Piano Roll] View > Grid Resolution > Quarter The Quarter option creates grid lines in the Drum Grid pane at quarter note intervals. [Piano Roll] View > Grid Resolution > Quarter Triplet The Quarter Triplet option creates grid lines in the Drum Grid pane at quarter note triplet intervals (three lines per half note). [Piano Roll] View > Grid Resolution > Eight The Eighth option creates grid lines in the Drum Grid pane at eighth note intervals.
[Piano Roll] View > Grid Resolution > 32nd Triplet The 32nd Triplet option creates grid lines in the Drum Grid pane at 16th note triplet intervals (three lines per 32nd note). [Piano Roll] View > Grid Resolution > 64th The 64th option creates grid lines in the Drum Grid pane at 64th note intervals. [Piano Roll] View > Grid Resolution > Follow snap settings The Follow Snap settings option sets the grid lines to match the current Snap to Grid setting.
Hide All Tracks Hide all tracks that are open in the current view. Invert Tracks Invert the visibility state of all tracks that are open in the current view. [Staff view] Print > Export to ASCII Tab This command opens the “Save As dialog” on page 1749, where you can set the name and location for an ASCII text file of a track’s tablature. [Staff view] Print > Export to MusicXML This command opens the “Save As dialog” on page 1749, where you can export the displayed notation as MusicXML.
[Staff view] Edit > Regenerate TAB The Regenerate TAB command generates a new TAB staff in the Staff pane. For details, see “Regenerate TAB” on page 1099. [Staff view] Edit > Play Previous Clicking this button plays the previous note from the Now time. [Staff view] Edit > Play Next Clicking this button plays the next note from the Now time. [Staff view] View > Show/Hide Fret Pane Show or hide the guitar fretboard display.
[Staff view] View > Display Resolution > 1/32 This option sets 32nd notes as the smallest note duration that will display in the Staff view. Any note events that are smaller than a 32nd note will automatically display as a 32nd note. [Staff view] View > Fill Durations Visually rounds up notes to the next note or beat, whichever comes first—useful for displaying recorded MIDI notes, but not for entering notes with the Draw tool.
[Console view] Strips > MIDI Show/hide MIDI tracks. [Console view] Strips > Instrument Show/hide Instrument tracks. [Console view] Strips > Muted Show/hide muted tracks. [Console view] Strips > Archived Show/hide archived tracks. [Console view] Strips > Frozen Show/hide frozen tracks. [Console view] Strips > Widen All Strips Show wide channel strips. [Console view] Strips > Narrow All Strips Show narrow channel strips.
[Event List view] View > Event Manager To open the “Event Manager dialog” on page 1596: • Right-click in the Event List view and choose Event Manager from the pop-up menu. OR • Click the Event List view View menu and choose Event Manager. In the Event Manager you select which types of event to display in the Event List view. Check the events you want to see in the Events List view. For more information about the Event List view, see “Event List view” on page 1832.
[Event List view] View > Channel Aftertouch This option shows or hides all channel aftertouch events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] View > Pitch Wheel This option shows or hides all pitch wheel events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] View > RPN This option shows or hides all RPN events.
[Event List view] View > Text This option shows or hides all text events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] View > Lyrics This option shows or hides all lyric events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] View > MCI This option shows or hides all MCI commands. For more information about the Event List view, see “Event List view” on page 1832.
[Event List view] View > Hairpin This option shows or hides all hairpin events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] View > Chords This option shows or hides all chord events. For more information about the Event List view, see “Event List view” on page 1832. [Event List view] Tracks > Show cropped This option allows you to show or hide events that are outside of slip-edited clip boundaries.
[Lyrics view] Tracks > Pick Track This command opens the Pick Track dialog box, which lets you choose which track to display in the Lyrics view. [Sysx view] File > Open Load a .syx file into the selected Sysx bank. [Sysx view] File > Send Transmit the current bank’s System Exclusive message. If nothing seems to happen, make sure you have correctly set the output. This command is disabled if the current bank is empty. [Sysx view] File > Send All Transmit all non-empty Sysx banks.
[Sysx view] File > Clear Delete the selected Sysx bank. [Sysx view] Edit > Edit Data Although SONAR’s Sysx features are designed mainly to store System Exclusive data for you, you can edit the bytes of shorter messages in hex format (many of the more popular synthesizers have special patch-editing programs available that let you edit data using sliders and other tools rather than raw hex data).
Left Click Positions Rectangle When Left Click Positions Rectangle is selected, clicking in the Navigator view re-positions the track rectangle. See: “Using the Navigator view” on page 332 Horz Zoom Level 1 The Horz Zoom Level 1 command selects horizontal zoom level 1 in the Navigator view. See: “Using the Navigator view” on page 332 Horz Zoom Level 2 The Horz Zoom Level 2 command selects horizontal zoom level 2 in the Navigator view.
Horz Zoom Level 4 The Horz Zoom Level 4 command selects horizontal zoom level 4 in the Navigator view. See: “Using the Navigator view” on page 332 Horz Zoom Level 5 The Horz Zoom Level 5 command selects horizontal zoom level 5 in the Navigator view. See: “Using the Navigator view” on page 332 Horz Zoom to Project The Horz Zoom to Project command shows the entire project in the Navigator view.
Track Height Medium The Track Height Short command makes track heights appear medium size in the Navigator view. See: “Using the Navigator view” on page 332 Track Height Tall The Track Height Short command makes track heights appear tall in the Navigator view. See: “Using the Navigator view” on page 332 Insert Module The Insert Module command inserts a new module in the channel’s ProChannel.
Replace Module The Replace Module command lets you replace the selected ProChannel module with another module. See: “To replace a module” on page 967 Post-FX bin The Post-FX Bin toggle switches the ProChannel’s signal from prior to the channel’s effects bin or after the channel’s effects bin.
Add knob The Add knob command adds a new assignable knob in the FX Chain’s property page. See: “To add/remove an assignable knob or button (Producer only)” on page 890 Add button The Add button command adds a new assignable button in the FX Chain’s property page. See: “To add/remove an assignable knob or button (Producer only)” on page 890 Edit control The Edit control command opens the Control Properties dialog box, which lets you configure the selected control.
Write Enable Automation The Write Enable Automation command toggles the automation write state for the FX Chain knob or button. See: “To automate FX Chain plug-ins” on page 889 Set Default Value The Set Default Value command sets the default value for the FX Chain knob or button. When you double-click the knob or button, it returns to its default value.
Learn Knobs The Learn Knobs command puts the FX Chain into a learning mode and will 'listen' to controls touched on the plug-ins in the FX Chain. When you select Learn Knobs again, the touched controls are assigned and displayed in the FX Chain property page. Learn mode is automatically ended if the limit of 6 knobs is reached.
Customize UI
Beginner’s guide to Cakewalk software If you have little or no experience using music software to play and record music, this guide is for you. This guide explains the terms and concepts you need to know to use music software. You can get much more help in every Cakewalk program by using the Help menu, or by pressing F1 when you have any view or dialog box open. All Cakewalk programs have very basic tutorials in the online Help that cover recording and playback.
To record, for example, an electric guitar into the computer, you plug one end of your guitar cable into your guitar, and plug the other end into the Line input of your sound card. Then you would click the Record button in your Cakewalk software, start playing your instrument, and then click the Stop button (or press the SPACEBAR). The Line input has a little icon next to it, which is very hard to recognize, so it usually helps to look at the documentation that came with your sound card or computer.
MIDI Besides introducing MIDI in this section, we’ll explain the following MIDI topics: • “MIDI channels, interfaces, inputs, and outputs” on page 1542 • “MIDI drivers” on page 1544 • “MIDI files, projects, tracks, and clips” on page 1545 • “Controlling which sounds you hear” on page 1547 Short for Musical Instrument Digital Interface, MIDI is a system that lets an electronic instrument or computer control other instruments.
“MIDI drivers” on page 1544 “MIDI files, projects, tracks, and clips” on page 1545 “Controlling which sounds you hear” on page 1547 “MIDI” on page 1541 “Audio” on page 1549 “Audio hardware (sound cards) and drivers” on page 1564 MIDI channels, interfaces, inputs, and outputs Most MIDI instruments can play at least 16 different sounds at the same time—instruments that can play more than one sound at a time are called multi-timbral (pronounced multi-tambral).
Figure 455. Standard MIDI cable—use this if your MIDI interface has standard 5-pin input and output ports A B A. Connect one end to an OUT on your MIDI interface B. Connect the other end to an IN on your MIDI instrument MIDI instruments have inputs and outputs labeled MIDI IN and MIDI OUT. You connect a MIDI cable from one of your MIDI interface’s MIDI OUTs to a MIDI IN on an instrument.
“Controlling which sounds you hear” on page 1547 “MIDI” on page 1541 “Audio” on page 1549 “Audio hardware (sound cards) and drivers” on page 1564 “MIDI channels, interfaces, inputs, and outputs” on page 1542 MIDI drivers Your MIDI interface needs a driver to function. A driver is a small software program that controls input and output for a peripheral device. To use a MIDI interface in SONAR, you need to make sure that your interface’s driver is installed, and that you have told SONAR to use it.
MIDI files, projects, tracks, and clips In Cakewalk programs, the file that you use to store usually a single song’s data is called a project. This is the file you use to record, play back, and edit your song. The file extension for a project is .wrk in older Cakewalk programs and .cwp in newer ones. Projects that use only the MIDI format (no digital audio) can be saved in a format called a Standard MIDI File, and can then be played back in any program or machine that plays MIDI files.
Tracks 3, 4, and 5 contain recorded data. Also notice that Track 3 is a different color from the other tracks, meaning that it has the focus, and will make the bass sound when you play your MIDI keyboard (controller). If you click one of the other MIDI tracks to change the focus, the sound that’s selected for that track will sound when you play your controller. Figure 457.
Controlling which sounds you hear Because each MIDI instrument can probably play many different sounds at the same time, you need a way to tell each instrument which tracks are meant for which sounds. You do this by assigning a MIDI channel to each track, and by assigning a specific sound, called a patch or program, to each track.
If your interface only has one output, and you chain several instruments to that output by using the MIDI THRU ports on the instruments, you can use the individual instruments’ own control panels to choose what MIDI channels they will respond to. That way, an instrument can ignore any notes or other messages that are meant for a different instrument on the chain. This setting is usually called MIDI Receive, and might be abbreviated on an instrument’s control panel as MIDI RX.
Audio The audio format works by converting any sound that’s recorded into a long series of numbers, storing and usually editing the numbers, and then converting the numbers back into sound. When you record sound using this format, the microphone you use causes the voltage in its cable to change rapidly as the mic’s diaphragm vibrates. These rapid changes in voltage are measured and recorded by an analog-to-digital converter, and these measurements make up what we call digital audio.
Audio playback in SONAR To use digital audio in SONAR, you first have to make sure that your sound card and its driver are properly installed. For information about sound card and driver installation, see your sound card’s documentation, and also “Audio hardware (sound cards) and drivers” on page 1564. After you’ve successfully tested your sound card and driver, you should play back one of the sample files that came with your Cakewalk software.
Possible problem What to do Your tracks’ initial volume settings are too low, or the tracks are muted. See “Track-by-track playback” on page 1554. Your audio tracks are assigned to the wrong playback device. Check the playback device assignment for an audio track by clicking the track’s Output button or Out field. If the name of your sound card (the one you have connected to an amp and speakers) is not selected on the pop-up menu, select it.
Tracks A track is represented by a horizontal strip in the Track view that has a name and number on the left side (each track is also represented by a vertical module in the Console view). A track is a container you usually use to keep the sound from each instrument separate from the others—you usually keep the sound from each instrument on a separate track.
For more information, see: “Clips” on page 1553 “Track-by-track playback” on page 1554 “Connecting an instrument, home stereo, or microphone to your sound card” on page 1556 “Choosing inputs” on page 1561 “Audio recording” on page 1556 “Audio hardware (sound cards) and drivers” on page 1564 “MIDI” on page 1541 Clips A clip is a portion of the audio or MIDI data in a track that is bounded by a vertical line on each end of the clip. You can click a clip to select it—a selected clip becomes highlighted.
You can rearrange the sound in both audio and MIDI tracks by dragging and/or copying clips. The precision of the clips’ movement is governed by the Snap to Grid button , which you can configure in the Control Bar’s Snap module. Additional snap settings are available in Edit > Preferences > Customization - Snap to Grid. In the following picture, the clips in Track 1 have been moved around to reverse their order, so instead of the first three notes of Three Blind Mice, we now have Mice Blind Three.
B C D A E A. Track volume fader—drag left or right to change B. Mute button C. Solo button D. Arm button E. Archived track The following table summarizes muting, soloing, and archiving. Track status What it means Normal The track plays unless one or more of your other tracks is soloed. Muted The track is not played, but you can turn it on while playback is in progress. Archived The track is not played, and you must stop playback to re-enable it.
Audio recording If your sound card and driver are properly installed, recording audio data is mostly a matter of accomplishing two tasks: • Connecting an instrument, home stereo, or microphone to an input on your sound card • Choosing that same input in SONAR, your sound card’s software, and/or Windows For more information, see: “Connecting an instrument, home stereo, or microphone to your sound card” on page 1556 “Choosing inputs” on page 1561 “Audio recording” on page 1556 “Audio hardware (sound cards) an
The following table summarizes the possible sound card inputs, types of cables required, and the inputs to plug into. Type of sound card inputs Cables and adapters needed Inputs to plug into 1/8 inch Mic and Line For most electric instruments: 1/4 inch balanced cable connected to 1/4 inch-to-1/8 inch adapter. For mics that have an XLR plug on their cable: XLR-to-1/4 inch adapter connected to 1/4 inch-to-1/8 inch adapter. Plug instruments into the Line input; plug microphones into the Mic input.
Electric guitar direct-in You can connect an electric guitar directly to your sound card using a 1/4 inch mono to 1/8 inch stereo adapter. The following diagram shows this setup: Figure 458. Electric guitar direct in To sound card microphone input (mono) 1/4 inch instrument cable 1/4 inch to 1/8 inch adapter The 1/8 inch plug should be plugged into the sound card’s Line input, although plugging into the Mic input will also work.
Figure 459. Electric guitar through effects rack Rack effects units Rack FX Rack FX Rack FX To sound card line input (stereo) Rack FX RCA to 1/8 inch adapter (stereo) 1/4 inch to RCA adapter (x2) 1/4 inch instrument cable This diagram assumes that the output of the rack is at line level (consult your rack’s documentation). If it is at pro level instead (+4 dB), and your sound card does not accept a +4 db input, you will need to attenuate (lower) the F/X rack’s signal.
Home stereo, CD player, radio tuner, preamp output The output of a stereo component can be connected to the sound card’s Line input, using a dual RCA to 1/8 inch stereo mini Y-adapter. Many portable cassette players come with this kind of adapter, or even with a single cable with all the necessary plugs. In the following diagram, a stereo component is connected to the Y-adapter using standard RCA cables: Figure 461.
1. Your pre-recorded tracks flow out of the sound card’s outputs into mixer inputs #1 and 2. 2. Both the pre-recorded tracks and the live guitar’s sound flow into the main mixer outs, where you can hear them (monitor them) through the stereo amplifier and speakers. 3. If you turn up the bus send #1 on the guitar input (mixer input #3), the guitar sound flows into a sound card line input out of bus #1.
To record with SONAR and the Windows Mixer 1. Open the Windows Mixer—double-click the Speaker icon that’s on your Windows taskbar to open the Play Control dialog box. If you don’t see the Speaker icon on your taskbar, you can open the Windows Mixer by using the following command: • Windows 7: Start > Control Panel > Hardware and Sound > Volume Control 2. In the Play Control dialog box, use the Options > Properties command, and select Recording (under Adjust Volume For). 3.
Possible problem Solution Your instrument is not turned up or its cable is bad. Turn up the instrument and try different cables. You’re using an adapter that doesn’t quite fit the sound card input. Try moving the adapter in or out slightly, and make sure the cable is plugged all the way into it. Table 259. If your sound card has multiple inputs and has its own mixer software, you probably don’t need to select inputs in the Windows Mixer.
Audio hardware (sound cards) and drivers There are many different brands of sound cards on the market today. This section aims to help you get the best out of yours. See: “Consumer and professional” on page 1564 Consumer and professional There are many sound cards to choose from. Nearly every computer comes with one. Some are nationally known brands and others are proprietary sound cards that are made specifically for a single manufacturer. These sound cards are called “consumer” cards.
RCA inputs rather than the eighth inch jacks found on consumer grade sound cards. Some cards also have digital inputs and/or outputs like S/PDIF and ADAT. • Higher bit-depths and sampling rates. Most newer professional sound cards allow you to record at 20, 22 or 24-bit, and at a sampling rate of up to 96 KHz. • Onboard DSP. Some sound cards have effects processors for things like reverb and delay built into the sound card. These can take a big load off of your computer.
Installing a driver on Windows 98 and Windows Me You sound card should come with software, too. Some manufacturers provide a driver setup program that takes you through the driver installation. Always use the manufacturer’s software installation program if one is provided. If one is not provided, follow this procedure: 1. Click the Start button and select Settings > Control Panel. 2. In the Control Panel, double-click on Add New Hardware. 3. In the Add New Hardware wizard, click the Next button. 4.
IRQs An IRQ (Interrupt Request) is an assigned location where the CPU expects to be interrupted by a device when it has completed a task. There are 16 IRQs on a computer. Usually, three or four are taken by the system, leaving 12 or 13 for other devices, like printers, USB devices, hard disks, floppy disk drives, keyboard and sound card.
Resolving IRQ conflicts on an ACPI system If you are experiencing an IRQ conflict on an ACPI system, you may want to turn off ACPI. This varies depending on your OS, BIOS and motherboard. Consult your computer manufacturer’s documentation or technical support for instructions on how to do this. SONAR and audio hardware The following tips will help you get the most out of your sound card and Cakewalk software: • Use SONAR’s Wave Profiler anytime your install a new sound card.
Dialog box reference Use the Contents tab, Index or Search tab to find the dialog box you are looking for. About SONAR dialog When you use the Help > About SONAR command, the Cakewalk logo appears, with the version number of your Cakewalk product listed below it. Apply Audio Effects dialog This dialog box gives you several options when applying audio effects: Delete the effects from the track effects bin.
Apply MIDI Effects dialog When you select Process > Apply Effect > MIDI Effects, the Apply MIDI Effects dialog box appears. This dialog box lets you select options for applying MIDI effects to selected MIDI data. You can choose to delete the effect from the patch point after it is applied, so that it will not be reapplied on playback.
• Bit depth must be 16. The Audio CD Burner dialog box has the following controls: • Track List. The main area of the window is the track list. The tracks comprise the sounds that will be written (burned) to an audio CD. Each track is contained on its own line. • Add Track. Browse to your local file system and add a new track to the list. All Audio Tracks must be stereo .wav files with a sample rate of 44,100 Hz, and a bit depth of 16. New tracks will go at the end of the list but can be moved anywhere.
Audio Mixdown Options dialog Clicking the Mixdown Options button in the Export Video dialog box opens the Audio Mixdown Options dialog box. This dialog box lets you control the characteristics of the audio file you export when you export a video from SONAR. This dialog box has the following fields: • Preset. You can name and save a preset which includes the source bus and all mix enable selections. • Channel Format. Choose Mono, Stereo, or Multichannel. • Sample Rate.
Parameter Write Enabled Parameter “n” check box. The enabled check boxes in this list show what parameters of the plug-in are automation write-enabled. You can check or uncheck each of these check boxes. Enable All Click this button to enable all check boxes. Disable All Click this button to disable all check boxes. Auto-Send Sysx dialog The Auto-Send Sysx dialog box appears when you open a project that contains Sysx data.
• Intel I.263 • Cinepak Codec by Radius • Microsoft Video 1 • Microsoft RLE • These codecs have been found not to work: • H.261 • H.263 • Intel 4:2:0 Video V2.50 • MSScreen 9 encoder • MSScreen encoder • WMVideo Encoder DMO • WM9Video Encoder DMO Audio Codec Note: If you’re exporting an AVI file to either a 24-bit audio format or to a multi-channel (surround sound) format, set the Audio Codec to No Compression.
Data Rate This field is greyed-out if you choose the Default Codec in the Video field. If you are compressing a file to be played over the Internet, use a data rate that doesn’t exceed the capacity of the media players you expect will be used to play your file. Quality Lower quality values provide faster transmission and vice versa. Change AVI settings Checking this box causes another dialog box to appear after you click the Save button.
• Controller 0 • Controller 32 • Patch 100...127 For more information see “Assigning the Bank Select method” on page 1127. Bank: Select the Bank you want to use. Patch: Select the Patch you want to use. If you want to use the “Patch Browser dialog” on page 1644, click the Patch Browser icon.
The dialog box has the following fields: Destination Assign the track to which you want to mixdown. If you are creating more than one track of audio, the destination track must be the first of consecutive blank or unwanted tracks. Preset You can create a preset out of your bounce settings, in case you use the same settings regularly. When the dialog box is set the way you want it, type a name in the Preset box and click the floppy disk icon that’s next to it to save the preset.
• Pow-r 2 • Pow-r 3 For more information, see “Dithering” on page 936. Mix Enables As default, each of the Mix Enables options is checked, meaning that your mixdown will sound the same as playback. You can check or uncheck each of the following settings to include or exclude them from the mix: • Track Mute/Solo. If you check this option, tracks that are currently muted are not mixed down. Also with this option checked, if any tracks are soloed, only those tracks are included in the mixdown.
For more information, see: “To mix down (bounce) audio tracks” on page 921 “To convert your soft synth tracks to new audio tracks” on page 815 Change Audio Format dialog Use the Utilities > Change Audio Format command if you want to rewrite the audio in a project to a different bit depth.
Choose Track Type dialog Using the INSERT key in the Track view inserts a new track of the same type as the current track, unless you use it in an empty project that has no tracks yet. In that case, the Choose Track Type dialog box appears, offering you the choice to insert either an audio or MIDI track. See also: “Arranging and editing” on page 313 Clean Audio Folder dialog The Utilities > Clean Audio Folder command opens the Clean Audio Folder dialog box.
File window The file window lists all the unused audio files that SONAR finds. Find button Click this button to find all unused audio files and list them in the file window. Play button Click this button to play the audio file that is highlighted in the file window. Delete button Click this button to delete the audio file that is highlighted in the file window. Delete All button Click this button to delete all the audio files that are listed in the file window.
track(s). • Link to Original Clip(s). Check this check box if you want the clips in the new track(s) to become linked clips with the identical clips in the original track(s). • Clone Properties. Check this check box if you want to copy the properties of the highlighted track(s), such as the name, output, channel, etc. • Clone Effects. Check this check box if you want the new track(s) to use the same real-time effects that are patched into the original track. • Clone Sends.
If you are logged in with Administrative privileges, you will be prompted to raise privileges to Administrator to complete product registration. If you are logged in with an account that does not have Administrator privileges, please contact your network administrator or refer to your operating system help. Register Later allows you to close this dialogue and continue to load SONAR. Note: All Cakewalk software must be registered within 30 days of installation.
Convert MIDI To Shapes dialog Use the Track view Clips > Convert MIDI Controllers to Envelopes command to open the Convert MIDI To Shapes dialog box. This command lets you convert a controller envelope created in the Piano Roll view to a Track view envelope, or shape. Note: If two clips overlap, the command converts the controller envelopes in both clips, in whatever parts of the clips lie in the selected time range.
Copy dialog The Edit > Copy Special command opens the Copy dialog box, which lets you put on the Clipboard any selected objects. You can paste the contents of the Clipboard elsewhere. See “Paste dialog” on page 1642. To remove rather than copy objects, see “Cut dialog” on page 1587. To make copies of linked clips, see “Splitting and combining clips” on page 365.
Create Fx Envelopes dialog If you have already patched an automatable effect into a track, you can right-click in the Clips pane and choose Envelopes > Create > (name of the effect you patched) to open a dialog box containing a list of the effect’s automatable parameters. You can create or delete an envelope for each parameter by checking or unchecking its check box.
• Inverse Exponential Crossfade. This option causes the selected audio to change volume slowly at first, but much faster toward the end of the crossfade. • Linear Crossfade. This option causes the selected audio to change volume at a constant rate throughout the crossfade. Crossfade graph The crossfade graph illustrates any type of crossfade you choose in the Name field, but you can also drag points on the graph to create any shape you want.
Track/Bus Automation If you check this check box, SONAR removes all Track and Bus automation from the selection. Tempo Changes If you check this check box, SONAR removes all tempo changes in the selected object. Meter/Key Changes If you check this check box, SONAR removes all meter and key changes in the selected object. Markers If you check this check box, SONAR removes all markers in the selected object.
Delete button Click this button if you want to delete the groove pattern that is listed in the Pattern field. See also: “To save a groove pattern” on page 724 “Changing the timing of a recording” on page 718 Define Instruments and Names dialog Use the Edit > Preferences > MIDI - Instruments command, then click the Define button to open the Define Instruments and Names dialog box.
Deglitch dialog The Process > Deglitch command opens the Deglitch dialog box. When recording MIDI guitar, even the best players occasionally play unintended notes. The Deglitch feature allows you to filter out many of these unintended notes. There are three filters in the Deglitch dialog: Pitch With the Pitch filter you can set the maximum pitch allowed in the track. If a MIDI event has a higher pitch than the maximum you set, it is removed.
Delete dialog The Edit > Delete Special command opens the Delete dialog box, which allows you to remove selected objects from the project. It doesn't put them on the Clipboard, so they can not be subsequently pasted. You can specify the following objects to remove: Events in Tracks Removes all events in the selected clip(s). Clip Automation Removes any clip envelopes in the selected clip(s). Track/Bus Automation Removes any track or bus automation from the selected clip(s).
Current Effect Check this box if you want to delete the selected effect. Drag and Drop Options dialog If you right-click in the Clips pane and choose Drag and Drop Options from the pop-up menu, the Drag and Drop dialog box appears, which you use to control how clips behave when you drag them.
Dump Request Macro needs your input—Channel/ Unit Number When you click the Receive button in the Sysx view, and choose to receive sysx data from a synthesizer your system has trouble identifying, the Dump Request Macro needs your input dialog box appears. This dialog box, which appears if the system needs more information and you have two or more of the same synthesizer, lets you specify which channel or unit number you want dumped.
• Seconds Then change the value in the Time field as desired. Change the level by using the + or - keys to the left of the Level field or by clicking and dragging up or down. Edit System Exclusive Bytes dialog When you select a bank in the Sysx view and click the Edit button, the Edit System Exclusive Bytes dialog box appears. This dialog box lets you edit your bytes in hex.
Include Click the Include check box for each row of data types you want to include in your selection. Note Click the Note check box to search for notes of a specific type. You can specify pitch, velocity and duration data to narrow your search. Click any of the exc check boxes to exclude data from your search. For example, if you click the exc check box under Key, you can exclude notes within the pitch range specified in the Min and Max fields.
• Shape. Include shapes in your selection. • Text. Include text boxes in the event list in your selection. • Expression. Include expression marks in your selection. • SysxBank. Include system exclusive bank events. • Lyric. Include lyrics in your selection. • Chord. Include chord symbols in your selection. • SysxData. Include system exclusive data events. • MCI. Include Media Control Interface commands • Hairpin. Include crescendo or decrescendo marks in your selection.
All/None buttons Click an All/None button under the column of event types that you want to display all of or none of. Clicking the button toggles the display between each extreme. See also: “Event filters” on page 734 “Selecting events” on page 736 “The Event List view” on page 742 Export Audio dialog Select File > Export > Audio to open the Export Audio dialog box. This command lets you export your projects as Wave, MP3 files, and other types of formats.
• Originator. The author of the Broadcast wave. This information is taken from the Author field in the “File Info dialog” on page 1608. • Originator Reference. A unique reference identifier created by SONAR. • Origination Date. The date the file was created. • Origination Time. The time the file was created. • Time Reference. The SMPTE time stamp for the beginning of broadcast wave. • Windows Media Advanced Streaming Format.
Channel Format Select from one of the following options: • Mono. All exported tracks are mixed down to a mono file or separate mono files, depending on how many tracks or buses you select in the Source Buses/Tracks field. • Stereo. All exported tracks are mixed down to a stereo file or separate stereo files, depending on how many tracks or buses you select in the Source Buses/Tracks field • Split Mono.
Mix Enables As default, each of the Mix Enables options is checked, meaning that your mixdown will sound the same as playback. You can check or uncheck each of the following items to include or exclude them from your mix: • Track Mute/Solo. If you check this option, tracks that are currently muted are not mixed down. Also with this option checked, if any tracks are soloed, only those tracks are included in the mixdown. • Bus Mute/Solo.
Add to Audio CD Track List Check the Add to Audio CD Track List option when you export audio as a 16-bit, 44,100 Hz stereo Wave file (.wav). The Audio CD Burner dialog box appears with the Wave file pre-loaded in the Track list. Add to Cakewalk Publisher Check the Add to Cakewalk Publisher option when you export audio as an MP3 file. Publisher launches automatically and the MP3 file is pre-loaded.
Duration dialog When you use the Transport-Step Record command, the Step Record dialog box appears, which contains two Other buttons. Clicking the one on the Duration side of the dialog box opens the Duration dialog box. In the Duration field, enter the actual duration of the note you want to enter in ticks. See also: “Step recording” on page 291 Edit Node dialog Open the Edit Node dialog by right-clicking on a node and selecting Properties from the menu that appears.
Event Manager dialog You can open the Event Manager dialog box in two ways: • Right-click in the Event List view and choose Event Manager from the pop-up menu. • Click the Event Manager button in the Event List view Use the Event Manager dialog box to select which types of events to display in the Event List view. The Event Manager dialog box has the following fields: MIDI Check the different kinds of MIDI events you want to display. Special Check the different kinds of special events you want to display.
Save as type Select the type of file you want to open. Export Current Color Set Enable this check box if you want to export the current color arrangement as a color set file (.clr). Export Color Preset Enable this check box if you want to export all the presets in the Presets menu as a color set file (.clr). Export MIDI Groove Clip dialog The File > Export > MIDI Groove Clip command opens the Export MIDI Groove Clip dialog box.
File name Enter a name for the file you are creating. File of type Select from one of the following OMF file formats: • OMF version 1. Compatible with older applications. • OMF version 2. Compatible with newer applications. Audio Packaging • Embed Audio Within OMF. Saves all audio in the OMF file. • Reference Audio Externally. Saves all audio in a subdirectory of the directory where you save the OMF file. Audio Format • Write RIFF Wave. Export audio as WAV files. • Write AIFC.
Export Track Template The File > Export > Track Template and Save As Track Template commands open the Export Track Preset dialog box. You must first select a track before the command becomes available. The Export Track Template dialog box has the following fields: Save In Use this field to navigate to the folder where you want to store the track template. File Name Type a name in this field for the template you want to save (export). Save as Type The only option in this field is Track Template Files (.
Fade Selected Clips dialog The Track view Clips > Fade Clips command opens the Fade Selected Clips dialog box where you can create or edit one or more clip fades. The Fade Selected Clips dialog box has the following options: Fade Select Fade if you want to create a fade-in and fade-out on the selected clips. Fade In The number of milliseconds the fade-in lasts. Fade Out The number of milliseconds the fade-out lasts.
Only Show if Pressing Shift Select if you want to apply previous dialog box settings without opening the dialog box. Hold shift when selecting command to override. File Info dialog The Project > Info command opens the File Info dialog box. In the File Info dialog box, you can document the following information for your project: Title Your song’s title. Subtitle Your song’s subtitle. Instructions Specific instructions about for playing your song. Author The author of the song.
File Statistics dialog The File Statistics dialog box displays the following information about the contents of the project file: Statistic What it means Created The date the project was first saved. Editing time The total time you’ve had the project open, from the time it was created to the last time it was saved. This does not include time spent editing the project since you last saved it. If you want to update this value, save the project.
Skip All. Click this button to skip all missing audio files. When you skip all missing audio files, you project opens without those pieces of missing audio. Search. Click this button to begin a search of all available hard drives for your missing audio file. After locating the file Options. You can choose to either move an audio file to the project’s audio data folder, copy an audio file to the project’s audio data folder, or leave an audio file in its current folder.
finish: better quality can take a long time if you’re processing several tracks. • Formant Scaling (disabled unless Stretch Audio is checked). (this is a SONAR Producer feature only) possible values range from -2.000 to 2.000 octaves. Formants give a voice its characteristic sound. If you find that changing the length of your audio changes the timbre too much, you can raise or lower the formant to try and maintain the characteristics of the sound.
Freeze Tail Duration n seconds This value allows for a reverb or delay tail (the reverberations or signal delay that continue once the source has stopped). Set this value at a high enough value to allow for any delay or reverb or other effect that you may have patched into a track. Audible bounce When Fast bounce is disabled, the real-time bounce operation can be performed either silently or audibly. To hear the bounce operation while freezing a track, select the Audible bounce check box.
• Preset window. use this window and the Save and Delete buttons that are next to it to save and manage any Gain presets you decide to store. Go dialog Press G to open the Go dialog box, which allows you to jump to a new Now Time. Additionally, the Go dialog box opens when you right-click a transient marker on a track with AudioSnap enabled and choose Move to or Stretch to.
Dialog box reference Go dialog
Groove Quantize dialog The Process > Groove Quantize command opens the Groove Quantize dialog box. Groove Quantizing is a way to edit a track so that its rhythmic feeling and, optionally, controller data are similar to some other piece of music. The other piece of music forms a groove pattern that you store in a groove file, which has an extension of .GRV.
Window This field determines what SONAR does to notes that are far from the quantization points. See “Window” on page 721. The Window fields include the following: • Sensitivity. This value determines how far from the quantization grid SONAR looks to find notes to quantize. A value of 100 percent quantizes every note. See “Window” on page 721. • If Outside Window. This field offers the following choices: • Do not change. Choosing this option means that SONAR leaves notes alone that lie outside the window.
The following options can be specified: • XFade. This value determines the duration of the crossfade. • Max Gap. This value specifies the widest gap that will be filled with an automatic crossfade.
Delete Group button Just to the right of the Create New Group button is the Delete Group button deletes the group that appears in the Group field. . Clicking this button Name column This column is not active unless the group is a custom group. The Name column lists all the controls in the group of the control you right-clicked. Start Value column This column is not active unless the group is a custom group. The Start Value column lists the beginning values of all the controls in the selected group.
Group Color This field displays the color of the group that’s displayed in the Group field. Attributes button This button allows you to edit the name and color of any permanent group that’s displayed in the Group field. See also: “Using control groups” on page 914 Hairpin Properties dialog In the Staff view, right-click on a hairpin (crescendo or decrescendo) to open the Hairpin Properties dialog box. Use these fields to edit the hairpin that you right-clicked: • Time.
• Sound Designer II (extension .sd2) • ReCycle (extensions .rcy, .rex, .rx2) • All Files The sampling rate for a project is set based on your default sampling rate. If the sampling rate from the wave file does not match the sampling rate in your project, then it will be converted to the current project’s sampling rate. The Import Audio dialog box has the following controls: • Look In field. import. Use this field to navigate to the folder that contains the audio file you want to • File name window.
Import Audio CD Tracks dialog The File > Import > Audio CD command opens the Import Audio CD Tracks dialog box. Use this command to import an audio CD track (extension .cda) into your project. The Import Audio CD Tracks dialog box has the following controls: • Track List. The main area of the window is the track list. Each track represents an audio track located on the CD. The tracks are automatically named and numbered in order. Any number of CD Tracks can be selected for importing. • Source Drive.
Import Color Set dialog The Import Color Set dialog box appears when you click the Import Colors button in Edit > Preferences > Customization - Colors. This dialog box has the following fields: Look in Select the directory in which SONAR stores the file that you want to open. File and folder window This large window under the Look in field lists the files and folders that are inside the current folder. File name Type or select the filename you want to open.
Import MIDI dialog The File > Import > MIDI command opens the Import MIDI dialog box. Use this dialog box to import MIDI files or Project5 patterns. The Import MIDI dialog box has the following fields: Look In Use this field to navigate to the folder that contains the MIDI file or Project5 pattern that you want to import. File Name This field lists the name of the file you’ve selected to import. Files of Type Use this field to choose whether you want to display MIDI files or Project5 patterns.
Commands in the Video view's pop-up menu let you set the time display format, the size and stretch options for the video display, the video start and trim times, and other options. Your project's video and digital audio data can be saved together in a new AVI file with File > Export Video command. For more information, see Preparing Audio for Distribution. Note: The project's video file is saved in the project by reference only; the actual video data remains in the original file.
Insert Pitch Change dialog Right-clicking in the time ruler and choosing Insert Pitch Change from the pop-up menu opens the Insert Pitch Change dialog box. This command changes the pitch of a Groove clip at the Now time at which you insert the command. For more information, see: “Creating and editing Groove Clips” on page 661 “Using pitch markers in the Track view” on page 665 Insert Series of Controllers dialog Select Insert > Series of Controllers to open the Insert Series of Controllers dialog box.
Insert Series of Tempos dialog This command lets you change tempo smoothly over a specified time range by inserting a series of tempo changes. Tempo Range • Begin–enter the tempo you want to start the tempo range at. • End– enter the tempo you want to end the tempo range at. • Step–enter a value in beats and clock ticks for how often you want SONAR to insert a tempo change into your tempo range. Time Range • From–enter the time location in your project where you want the tempo range to start.
• All Synth Audio Outputs: Stereo. If you select this option, one new stereo synth track appears for each stereo audio output that the synth you chose has. Each of the new tracks uses a different one of the synth’s outputs as an audio input. • All Synth Audio Outputs: Mono. If you select this option, two new mono synth tracks (one Left and one Right) appear for each stereo audio output that the synth you chose has. Each pair of new synth tracks uses a different one of the synth’s outputs as an audio input.
Insert Time/Measures dialog Select Project > Insert Time/Measures to open the Insert Time Measures dialog box. This dialog box lets you insert the amount of time you specify at the point you indicate in the music. You can specify what events to slide over to make room for the new amount of time. At Time: The time at which you want to insert time, seconds, ticks or frames.
output that is listed in the Main Destination field. • Send. If you choose an option besides None in this field, each new audio track that you insert will contain a Send module whose output is the bus that you choose in this field. MIDI • Track Count. Set the number of MIDI tracks you want to insert. • Port. Set the output port that you want the new MIDI tracks to use. • Channel. Set the output channel that you want the new MIDI tracks to use.
This command offers the option to stretch audio clips along with the MIDI information. Sometimes you don't want to adjust the speed of your audio. Audio can be stretched or condensed up to a factor of 4 (e.g., it can be shrunk to as little as 25 percent of its original length, or expanded to as much as 400 percent of its original length). You can also use the Process > Length command to alter only the start times or the durations of notes.
Load Pattern dialog To open the Load Pattern dialog box, do one of the following: • Right-click in the Step Sequencer toolbar and select Load Pattern from the pop-up menu. • Open the Step Sequencer and press press CTRL+ALT+L. Use the Load Pattern dialog box to load an existing step sequencer pattern into a project. Look in Select the directory in which SONAR stores the pattern that you want to load. File name Type or select the filename of the pattern that you want to load.
Out Note The specific note to which the In Note is mapped. The range is from C0 to G10 or 0 to 127. Raise or lower values one half-step at a time using the +/- keys or by an octave at a time by using the open and close braked keys ([ and ]). Vel+ Sets a velocity offset to a mapped drum note. Values range from -127 through 127. Use the +/- keys to increase or decrease the value. Vel% Multiplies the velocity of the note by the percentage you enter. Values range from 10 to 200.
Time: Enter the time at which you want to place the marker. Groove Clip Pitch If you want the marker to change the project pitch, select the pitch you want from the Groove Clip Pitch drop-down menu. See also: “Creating and using markers” on page 357 Markers dialog This dialog box lets you choose any marker. Closing the box and the associated Go dialog box moves the Now time to the specified marker.
Beats per Measure: Select the number of beats per measure. Beat Value: Select the value of each beat (i.e. 1 = whole note, 2 = half note, etc.) Key Signature: Select the key signature. For step by step instructions, see “Setting the Meter and Key signatures” on page 252. Microsoft Media Format Encode Options dialog You can create settings and a description for your Windows Media Advanced Streaming Format file in the Microsoft Audio Encode Options dialog box.
MIDI Envelope dialog When you click a MIDI track’s Edit Filter control and choose Track Automation > MIDI in the dropdown menu, the MIDI Envelope dialog box appears. The MIDI Envelope dialog box has the following fields: • Type. • Value. Use this field to choose what kind of MIDI event you want to control with your envelope. Use this field to choose the name of the controller you want to edit. • Channel. Use this field to choose the MIDI channel that you want the envelope to send data on.
Preset Window The first window in the dialog box lists the currently selected preset for the active track. When you want to create a new preset, type a name for it in this field when you’ve finished choosing channels and ports, and click the Save button (disk icon). Input Port The list of available MIDI input ports is listed vertically in this field.
MP3 Export Options dialog The following is a description of the options in the MP3 Export Options dialog: Bit Rate Choose a bit rate from the drop-down list. A higher bit rate creates larger, higher quality files. The Bit Rate allows you to select the trade-off between the size and the sound quality of the compressed file. Compressing to higher bit rates will provide better sound quality, but will also create larger files. Bit rate is specified in bits per second.
Variable Bit Rate Encoding Instead of producing a constant bit rate throughout the file, the Variable Bit Rate option optimizes the bit rate in different parts of the file to use a higher bit rate where it will make a difference, and a lower one where it won’t. This option generally produces a better quality file than constant bit rate encoding, but doesn’t produce the predictable file size you might need for downloadable files.
New Project File dialog Open the New Project File dialog by selecting File > New from the menu. In the New Project File dialog box you choose the name of your project, where the project’s data is stored and which template you want to use to create the file. Name Enter a file name for your project. This option is only available if you have Use Per-Project Audio Folders selected in Edit > Preferences > File - Audio Data. Location Select a folder in which your project file is saved.
No MIDI Outputs—SONAR dialog The No MIDI Outputs - SONAR dialog box appears the first time you run SONAR, if no MIDI output devices are selected in Edit > Preferences > MIDI - Devices, or when another program is using your system’s MIDI outputs. This dialog box lets you choose, or decide not to choose, an output. For more information, see “To choose MIDI devices” on page 216 Normalize dialog The Normalize dialog box appears when you use the Process > Apply Effect > Normalize command.
Note Properties dialog In the Staff view or Piano Roll view, when you right-click on a note, the Note Properties dialog box appears. This dialog box lets you edit the note's time, pitch, velocity, and other MIDI properties. See also: “Selecting notes” on page 684 Online Registration dialog The Online Registration dialog box appears when you start SONAR. You have three options in this dialog: • Register Now. This option opens your default Internet browser on Cakewalk’s registration page.
Open Groove File dialog The Open Groove File dialog box appears when you click the Open button that’s at the right end of the Groove File field in the Groove Quantize dialog box. The Open Groove File dialog box has the following fields: • Look In. This field lists the name of the folder whose contents are displayed in the window below it. Use this field to navigate to a folder that contains the groove file you need. • File Name.
Paste to One Track This option is greyed out unless you copy data from more than one track at a time. Checking this check box causes SONAR to paste multiple tracks’ data into a single track. Linked Repetitions Checking the Link Repetitions check box causes all the new clips to be linked clips with the clip you copied. Link to Original Clip(s) Checking the Link to Original Clip(s) check box creates a linked clip.
• Track/Bus Automation. If you have track or bus envelopes in the selection you are pasting, you can check this option to paste it to its new location. • Tempo Changes. If you check this check box, SONAR pastes all tempo changes from the copied data. • Meter/Key Changes. If you check this check box, SONAR pastes all meter and key changes from the copied data. • Markers. If you check this check box, SONAR pastes all markers from the copied data.
Pedal Properties dialog In the Staff view, when you right-click on a pedal mark, the Pedal Properties dialog box appears. Use these fields to edit the sustain pedal mark that you clicked: Time Use this field to change the location of your pedal mark. Channel Use this field to set the MIDI channel of your pedal mark. Value Enter 0 to turn off the pedal (no sustain), or 127 to turn on the pedal (sustain).
Default This tiny window displays the default note—the note that all unbound MIDI notes display as. Recommended for window When you click a note in the MIDI Note field, the Recommended for window displays some standard display pitches for that MIDI note. Notehead Type When you click a note in the MIDI Note field, you can select a type of notehead for it, For example, cymbals usually use an X for a notehead. The Notehead Circled field allows you to add a circle around any MIDI note’s notehead.
Pick Track(s) dialog Choosing the Pick Tracks command in the Piano Roll, Event List, Staff, or Lyrics views opens the Pick Tracks dialog box, which allows you to choose which tracks’ data you want to display in any of the above views. To choose tracks to display, simply highlight the names of the ones you want to display. You can select non-adjacent track names by CTRL-clicking, and you can select adjacent track names by SHIFT-clicking or dragging.
• “Project - MIDI” on page 1693 • “Project - Metronome” on page 1696 • “Project - AudioSnap” on page 1698 • “Project - Clock (Advanced)” on page 1700 • “Project - Surround (Advanced)” on page 1702 • Customization.
“File - Folder Locations” on page 1676 “File - Audio Data” on page 1681 “File - VST Settings” on page 1683 “File - Initialization File (Advanced)” on page 1686 “File - Advanced (Advanced)” on page 1688 “Project - Record” on page 1690 “Project - MIDI” on page 1693 “Project - Metronome” on page 1696 “Project - AudioSnap” on page 1698 “Project - Clock (Advanced)” on page 1700 “Project - Surround (Advanced)” on page 1702 “Customization - Display” on page 1706 “Customization - Colors” on page 1707 “Customization
Audio - Devices Figure 466. The (audio) Devices section The Devices section displays a two-column list of available audio drivers. You can click the corresponding check box to enable/disable a driver. Select the drivers you want to make available for recording and playback. You can change the driver name by clicking the name in the first column and typing in your preferred name, or friendly name, for the driver. The Devices section contains the following settings: • Input Drivers.
• Show Mono Outputs. Select this option if you want to assign audio track and bus outputs to individual (mono) hardware outputs in addition to stereo pairs. This is very useful, for example, if you record in SONAR but want to use an external mixing console to mix. When enabled, mono hardware outputs are available in all locations that display audio output ports, with the exception of the Media Browser view, Loop Construction view and Import Audio dialog box.
Audio - Driver Settings Figure 467. The Driver Settings section The Driver Settings section lets you specify the audio timing master devices, default sampling rate and other audio settings. The Driver Settings section contains the following settings: • Playback Timing Master. If you’re using multiple wave drivers for playback, this list lets you specify which audio device should control the playback timing.
• Record Timing Master. If you’re using multiple wave drivers for playback, this list lets you specify which audio device should control the recording timing. Note: Every sound card’s clock crystal is slightly different, which causes minor differences in the actual playback rate on each card. These differences may lead to slight synchronization problems if you use one card for recording and a different one for playback. Multiple wave drivers on the same card will not have sync problems.
• Dim Solo Gain. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. The default gain reduction is -6dB, but can also be configured for -12dB and 18dB. For more information about Dim Solo, see “Dim Solo mode” on page 200. Default Settings for New Projects • Sampling Rate. The Sampling Rate list allows you to enter or select an audio sampling rate for a new project.
ASIO Panel (ASIO drivers only) This button opens a dialog box where you can set the buffer size for your ASIO driver and change the driver configuration. See your sound card’s documentation for more information.
Audio - Playback and Recording Figure 468. The (audio) Playback and Recording section The Playback and Recording section lets you specify various settings that affect playback and recording. The Playback and Recording section contains the following settings: • Driver Mode. Select from WASAPI, WDM/KS, ASIO or MME. Consult your hardware documentation to determine which driver your hardware uses. WDM/KS drivers are the latest available and typically have very low latency.
adding low-level random noise or “dither” to the audio signal. Different mathematical calculations are used to generate dither, each method has advantages and disadvantages depending on the particular operation. SONAR features the Pow-r dithering process, short for Psycho-acoustically Optimized Wordlength Reduction, which can produce lower-bit files that sound indistinguishable from higher-bit source files.
any tracks feeding them stream silence, but are still ready for use. So if you then change a track's output assignment on the fly SONAR doesn’t have to reopen a device, which can cause gaps in playback. • Remove DC Offset During Record. With this option enabled, SONAR filters out any DC Offset disturbances that may be present during recording. See “Removing DC offset” on page 794 for more information. • Disable Input Monitoring During Playback. This option is off by default.
Audio - Audio Profiles (Advanced) Figure 469. The Audio Profiles section The Audio Profiles section shows the sound card buffer settings that the Wave Profiler has come up with. Note: The Audio Profiles section is only available when in MME or WDM/KS driver mode. • Show Profile for. This list shows the name of the sound card driver that the displayed settings are for. • Stream >16 bit data as.
DMA Buffer Sizes These fields list the buffer characteristics for each sound card that the Wave Device profiler has come up with. In general, it is better not to change these settings without consulting SONAR technical support. For more information, see “Improving audio performance” on page 1181.
Audio - Configuration File (Advanced) Figure 470. The Configuration File section Configuration Settings SONAR’s audio configuration settings are stored in a file named Aud.ini. SONAR provides a convenient way to edit, reload and reset the audio configuration settings.
• Edit Config File. Click to open Aud.ini in the default Windows text editor. Make any necessary changes in Aud.ini, then save and close Aud.ini. You must click Reload Config Settings to apply any external changes to Aud.ini. Warning: You should only change items in Aud.ini that are documented in the online Help or if you are instructed to by Cakewalk tech support. Undesirable changes to Aud.ini can result in loss of performance or malfunction of SONAR. • Reload Config Settings.
Audio - Sync and Caching (Advanced) Figure 471. The Sync and Caching section The Sync and Caching section lets you specify audio synchronization and hard disk cache settings.
Synchronization SONAR gives you two choices for synchronizing your audio tracks to SMPTE or MIDI Time Code: • Trigger and Freewheel. With this option audio playback starts (or triggers) at the exact timecode, but then the audio plays at its own internal rate. The audio can gradually drift away from SMPTE time due to variations in the timecode signal. • Full Chase Lock. With this option the speed of audio playback is continuously adjusted to stay with the timecode. • Timing Offset (msec).
File System • Enable Read Caching and Enable Write Caching. Choosing either of these options lets SONAR use the Windows disk cache while reading or writing audio data. SONAR will usually perform best with all caching disabled, which is the default setting. If your computer has an older IDE disk controller, or a disk controller that does not use DMA transfers, enabling caching may improve SONAR’s audio performance. Note: Changes to these settings only take effect when you restart SONAR. • I/O Buffer Size.
“Audio - Devices” on page 1650 “Audio - Driver Settings” on page 1652 “Audio - Playback and Recording” on page 1656 “Audio - Audio Profiles (Advanced)” on page 1659 “Audio - Configuration File (Advanced)” on page 1661 MIDI - Devices Figure 472. The (MIDI) Devices section The Devices section lets you choose the MIDI inputs and outputs you want to use. The selection in the Output menu for a track determines which piece of hardware will be used to produce the sound stored in your project.
You can make up your own friendly names for the MIDI input and output devices listed in this dialog box. The friendly name for a MIDI device is the name you will see in MIDI track Input and Output menus, if you enable the Use Friendly Names To Represent MIDI Devices check box at the bottom of this dialog box. To make up a friendly name, double-click the name of a device in the Friendly Name column, type a new name, and press ENTER.
MIDI - Instruments Figure 473. The Instruments section The Instruments section lets you choose one or more output/channel configurations and assign an instrument to it or them. SONAR lets you assign a MIDI instrument definition to each available MIDI output and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names that you see during your SONAR session. Suppose that you have a Roland GS compatible synthesizer attached to MIDI output 1.
through 16, but you would most likely want to assign the Roland GS Drumsets instrument definition to channel 10. If you have several MIDI outputs, with a different instrument attached to each one, you would normally assign a different instrument to each MIDI output. For convenience, you can assign a block of channels to one instrument, and then change the assignment of one or more of those channels without changing the others.
“MIDI - Control Surfaces” on page 1670 “MIDI - Playback and Recording” on page 1673 “MIDI - Drum Map Manager (Advanced)” on page 1675 MIDI - Control Surfaces Figure 474. The Control Surfaces section The Control Surfaces section allows you to enable as many control surfaces as you want to control with SONAR, and configure the control surfaces’ interfaces. You can also configure the WAI display (Where Am I display) and ACT indicators.
Import ACT Data You can use ACT with any automatable plug-in. You can create your own mappings by using the ACT Learn button, but because ACT Learn mappings are stored in XML files, you can also import XML data that contains predefined parameter mappings for certain plug-ins.
Refresh Frequency (milliseconds) If you are experiencing sluggish UI responsiveness when using a control surface and playing back high CPU projects, you may want to reduce the control surface refresh frequency (increase the number of milliseconds). The valid range is 50-5000 milliseconds and the default value is 75. Also, if you are using a control surface that is not bi-directional, the surface does not need to be refreshed at all and you can safely increase the value.
MIDI - Playback and Recording Figure 475. The (MIDI) Playback and Recording section The Playback and Recording (MIDI) section lets you specify MIDI echo settings, MIDI playback buffer size, and which MIDI events should be recorded. The Playback and Recording section contains the following settings: Record Use the fields in this section to choose what MIDI events you want to record. Choose any or all of these options: • Allow MIDI Recording without an Armed Track. track before recording.
• Key Aftertouch. Select this check box if you want to record Key Aftertouch events. • Controller events. Select this check box if you want to record Controller events. • Patch Changes. Select this check box if you want to record Patch Change events. • Channel Aftertouch. Select this check box if you want to record Channel Aftertouch events. • Pitch Wheel. Select this check box if you want to record Pitch Wheel events. • System Exclusive. Select this check box if you want to record Sysx data.
See also: “Preferences dialog” on page 1647 “MIDI - Devices” on page 1666 “MIDI - Instruments” on page 1668 “MIDI - Control Surfaces” on page 1670 “MIDI - Drum Map Manager (Advanced)” on page 1675 MIDI - Drum Map Manager (Advanced) Figure 476. The Drum Map Manager section The Drum Map Manager section lets you create and save drum maps for use with hardware or software samplers. You can customize drum maps to select specific sounds on any of your samplers.
The Drum Map Manager section contains the following settings: Drum Maps Used in Current Project This field displays all the currently available drum maps. click the New button to create a new drum map and Delete to delete a drum map. Select a drum map to display the drum mappings in the Drum Map Manager. All drum maps in this field are saved with the current project. Presets Presets can be used to populate the fields in the Drum Map Manager.
Figure 477. The Folder Locations section The Folder Locations section lets you specify default folders for different kinds of SONAR files. The default locations for all of these file types usually work well. However, if you find that this folder gets cluttered, changing the locations of the file types won’t hurt anything, as long as you remember where you put things.
You can change the folder for a file type by typing a new path name in the particular file type’s edit box, or by clicking the Browse button and navigating to the folder that you want to store that file type in. You can set different locations for the following file types: Project Files (.cwp, .mid, .cwb) .cwp and .cwb files are your standard SONAR project files. The default directory for your project files is \Cakewalk Projects, located in the root directory. .
Sysx Files (.SYX) When you create and save a .syx file. The default directory for sysx files is the \Sample Content folder located in: Windows 7: C:\ProgramData\Cakewalk\SONAR X2 Play List (.SET) The default directory for play list files is C:\Cakewalk Content\SONAR X2 \PlayList Files. Groove Quantize (.GRV) When you create and save a .grv file.
FX Chain Presets When you create and save a .fxc file. You can save and load FX Chain preset file in any effects bin. The default directory for FX Chain presets is C:\Cakewalk Content\SONAR X2 \FX Chain Presets.
File - Audio Data Figure 478. The Audio Data section The Audio Data section lets you specify settings for recording, rendering and importing audio data. The Audio Data section contains the following settings: All Projects • Global Audio Folder. The Global Audio Folder is where audio files are stored for all projects when per-project audio is not turned on.
location, always keep this option checked. • Always Import Broadcast Waves at Their Timestamp. Forces SONAR to ignore the Now Time when importing Broadcast Wave files. When this option is checked, Broadcast Waves begin at their SMPTE timestamp in your project. • Export Broadcast Waves By Default. Check this option if you want the Broadcast Waves option to appear by default in the Export Audio dialog box. • Apply SMPTE Offset to Broadcast Wave Timestamps.
File - VST Settings Figure 479. The VST Settings section The VST Settings section lets you manage VST effect and instrument plug-ins. The VST Settings section contains the following settings: VST Scan Folders This window lists the folders that are scanned for VST plug-ins. “Scanning” a VST plug-in means adapting the plug-in’s file format so that the plug-in works in SONAR.
To add folders, remove folders, or set defaults for the listed folders, use the following buttons: • Add. This button opens the Browse for Folder dialog box, which allows you to select a new folder to be scanned. • Remove. To remove a folder from the to-be-scanned list, first select the folder, and then click the Remove button. • Folder defaults. Click this button to open a dialog box of folder options.
32-bit VST effects and instruments are loaded into “servers”, and each server can address up to 4GB of RAM. BitBridge supports up to 32 independent plug-in servers, and each server can address up to 4GB of RAM, allowing access to a massive 128GB of RAM. This allows SONAR x64 to address all available RAM in your computer. By default, SONAR manages memory automatically, and will allocate and allow access to all available RAM dynamically as plug-in's are used.
File - Initialization File (Advanced) Figure 480. The Initialization File section The Initialization File section lets you view and edit the Cakewalk.ini file, which allows you to store information about your preferences and configuration. Note: There are two other initialization files stored in the SONAR program folder: • TTSseq.ini • Aud.ini You can edit these files with a text editor, such as Windows Notepad.
Warning: There are several other .ini files in the SONAR folder, but you should not attempt to edit or modify these files in any way. Changes to these other files could cause SONAR to stop operating properly. Before making any changes to any of the .ini files, you should make a backup copy in case you make a mistake. After you have made your changes, save the file and close Notepad. SONAR reads the settings in these files only when it first starts up.
“File - Folder Locations” on page 1676 “File - Audio Data” on page 1681 “File - VST Settings” on page 1683 “File - Advanced (Advanced)” on page 1688 File - Advanced (Advanced) Figure 481. The Advanced (File) section The Advanced section lets you specify auto-save, file versioning and other project file settings. The Advanced section contains the following settings: • Auto-save Every “N” Minutes or “N” Changes. automatic saves. Choose how many minutes or edits between • Enable Versioning of Project (.
successive versions of a project with the date the project was saved in the file name. The most recent version has no date in the name. • Number of versions to keep. If you enable the versioning option, you can use this field to choose how many versions to keep. When the maximum number of files is reached, the oldest file is deleted. • Load Non-SONAR Files in Offset Mode. This option causes .smf, .mid, .rmi, .wrk and .cwb/ bun files to open in Offset mode (see “Envelope mode and Offset mode” on page 1031).
Project - Record Figure 482. The Record section The Record section lets you specify how SONAR records clips into tracks that already contain other clips. If you use loop recording, you can also specify whether to record takes in sequential tracks or stacked in a single track. Note: SONAR saves the recording options you choose with each project, so you can save a different recording mode with each of your projects.
Recording Mode Choose one of the following options: • Sound on Sound (Blend). Choose this option to add sound to any pre-existing sound in the track. • Overwrite (Replace). Choose this option to overwrite any pre-existing sound in the part of the track you are recording into. • Allow Arm Changes During Playback/Record. Select this option if you want to arm and disarm tracks during playback and recording.
Loop Recording Choose one of the following loop recording options: • Store Takes in a Single Track. Choosing this option causes SONAR to merge every new take with the previous takes, unless you choose Overwrite mode, which mutes each take except the newest one. • Store Takes in Separate Tracks. Choosing this option causes SONAR to place each new take in the next available track. This method can quickly overwhelm your computer if you are recording audio data. Lanes • Create New Lane On Overlap.
Project - MIDI Figure 483. The MIDI section The MIDI section lets you specify MIDI Sync and MIDI Machine Control (MMC) settings.
MIDI Machine Control (MMC) This section allows you to control MMC devices from SONAR, and has the following options; • Transmit MMC. Choosing this option causes SONAR to send standard MMC commands such as start, stop, rewind, etc., to any MMC devices that are connected to your computer. • Timecode Master’s Unit ID. If you have several MMC devices connected to your computer, for example three ADAT machines, one of them will be the timing master, and SONAR and the other MMC devices will slave to its timing.
Send MIDI Time Code When SONAR is the timing master in a master/slave synchronized setup, use these options to send and configure MIDI Time Code (MTC): • Transmit MTC. Check this box if you want SONAR to transmit MTC. You can also turn this option on or off at the Sync toolbar. • Frame Rate. Use this drop-down menu to choose the frame rate for your project (see “Frame rates” on page 1163, if necessary). • MTC Output Ports. Check off the output ports that you want SONAR to send MTC out of.
Project - Metronome Figure 484. The Metronome section The Metronome section lets you specify metronome settings for playback and recording. The Metronome section contains the following settings: General • Record count In. Specifies the number of count-in measures or beats. • Measures. Choosing this option sets the Count-In units to measures. • Beats. Choosing this option sets the Count-In units to beats.
• Playback. Choosing this option cause the metronome to sound during playback. • Recording. Choosing this option cause the metronome to sound during recording. • Beat subdivision. Select the desired subdivision value in the Beat subdivision list. The selected value is the subdivision for non-accented audible clicks. Audio Metronome • Use Audio Metronome. Choosing this option causes the metronome to use audio. • First Beat. Select an audio sound for the first beat. • Other Beats.
Project - AudioSnap Figure 485. The AudioSnap section The AudioSnap section lets you specify various AudioSnap settings. The AudioSnap section contains the following settings: Quantize • Pool Transient Window (ms). When you double-click a marker, not only does the marker become selected, but all markers to the right of the marker become selected if they are located less than this field’s value away from the original marker.
MIDI Extraction • Convert to MIDI Note. be converted to. This field lets you choose what MIDI note all the transients in the clip will • Note Velocities: • Vary with Pulse Level. This option causes the velocities of the notes in the MIDI clip to vary with the level of the transients in the audio clip. • Set All to Same Value. This field lets you enter a velocity that all the MIDI notes in the clip will use. Split Beats • Auto Fade Split Clips.
Project - Clock (Advanced) Figure 486. The Clock section The Clock section lets you specify synchronization settings and the number of subdivisions of the beat (parts per quarter note).
Source This section lets you choose what device SONAR uses as a timing source, and has the following options: • Internal. Choose this option to use the clock on the computer’s motherboard. • MIDI Sync. Choose this option to sync SONAR to an external MIDI device. • SMPTE/MTC. Choose this option to sync SONAR to an external device that generates either SMPTE time code or MIDI time code. • Audio. Choose this option to use the clock on the computer’s sound card.
Project - Surround (Advanced) Figure 487. The Surround section The Surround section lets you specify the surround format, speaker assignments, bass management and downmixing settings.
Presets You can save your current settings as a preset. This allows you to easily move between different surround configurations. Output Assignments field Set a hardware output for each channel. Surround Format drop-down Select a surround format from the drop-down: • 2.1 • LCR • LRC+LFE • LRS • LRS+LFE • Matrix UHJ • QUAD • 4.1 (SMPTE/ITU) • Quad+LFE • PanAmbio 4.1 • LCRS • Surround (SMPTE/ITU) • Surround Media • LCRS+LFE • 5.1 (Standard 3/2) • 5.1 (Film/Alternative) • 5.1 (Music/Alternative) • 5.
• 7.1 (Film/Alternative) • 7.1 (Music/Alternative) • 7.1 (SMPTE/ITU) • 8.0 (Octagon) • 8.0 (Film/Alternative) • 8.0 (Music/Alternative) • 8.1 (Film/Alternative) • 8.1 (Music/Alternative) • 8.1 (SMPTE/ITU) 5.1 (SMPTE/ITU) should be the default template.
• Surround Level. Surround Downmix Level is the amount of Left Surround to mix into Left, and Right Surround to Right, when mixing down from any surround-equipped format to 2 channel. The available options are: • -3 dB. The amount by which mono surround information, from many movie mixes before discrete 5.1 was available, mixes down to maintain the same level as the original. • -6 dB.
Customization - Display Figure 488. The Display section The Display section lets you configure X-ray and other display settings. The Display section contains the following settings: • Show Tooltips. Checking this option causes SONAR to show tooltips. Tooltips are small text names or explanations that appear when you hold the mouse over a tool. • Show MIDI Activity on Windows Taskbar. Check this option to display the MIDI Input/Output Activity icon on the Windows taskbar. • Display All Times as SMPTE.
• Display Envelopes on a Percentage Scale. This option, when checked, causes new envelopes to be placed in the clip based on a range where 0 dB is in the middle of the clip. If the current volume is other than 0 dB, a new envelope is created at that location. For example a new envelope created at 6 dB would appear at the very top of the clip where a new envelope created at -20 dB would appear near the bottom of the clip. • Display Waveform Preview While Recording.
Figure 489. The Colors section The Colors section lets you customize colors of various screen elements. The Colors section contains the following settings: Presets You can create lots of different color schemes and save each one as a preset. After you create a color scheme that you like, type a name for it in the Presets window, and then click the floppy disk icon to save the preset. When you want to load the preset, just select it in the Presets window.
Color Category This list shows different areas where color can be adjusted. Choosing one of these categories helps filter out screen elements you may not want to deal with at the moment. The categories also provide a convenient way to adjust brightness, hue, and saturation of a related collection of screen elements without hunting through a long list. Screen Element This list shows all the items in SONAR you can set the color of. Highlight the one you want to change.
Save Changes for Next Session Check this check box if you want SONAR to use any new color assignments the next time you open SONAR. Wallpaper The options in this field allow you to set the color and design of SONAR’s background area. The options are: • Default. Choosing this option causes SONAR to use its original color and design for the background. • None. Choosing this option causes SONAR to use a flat, grey color for the background. • Custom.
Screen element Explanation Drawing Colors used to show your drawing in the Piano Roll and Tempo views Erasing Color used to show your erasing in the Tempo views Lasso select Color of lasso select highlight Markers Color of markers in time rulers Pitch Markers Color of pitch markers in the Time Ruler Loop Markers Color of loop point markers Punch Record Markers Color of punch recording markers Now Time Marker Color of the Now Time Marker in the Track view Track View Time Ruler Digits Color
Screen element Explanation Folder Clip Text Color of text label on a folder clip Folder Line Color of the line on the left side of the Track pane connecting a track folder to the tracks that are contained in the folder Record Preview Clip Background The background color in the Clips pane of an armed track Recording Waveform Previews Color of the waveform in a clip during preview while recording Bus Waveform Preview Color of the waveform that a bus’s or synth track’s output generates Waveform Pre
Screen element Explanation Audio Tracks 3, 13, 23...Background Background color of all audio tracks that end in the number “3” (3, 13, 23, etc.) Audio Tracks 4, 14, 24...Foreground Foreground color of all audio tracks that end in the number “4” (4, 14, 24, etc.) Audio Tracks 4, 14, 24...Background Background color of all audio tracks that end in the number “4” (4, 14, 24, etc.) Audio Tracks 5, 15, 25...Foreground Foreground color of all audio tracks that end in the number “5” (5, 15, 25, etc.
Screen element Explanation MIDI Tracks 2, 12, 22...Foreground Foreground color of all MIDI tracks that end in the number “2” (2, 12, 22, etc.) MIDI Tracks 2, 12, 22...Background Background color of all MIDI tracks that end in the number “2” (2, 12, 22, etc.) MIDI Tracks 3, 13, 23...Foreground Foreground color of all MIDI tracks that end in the number “3” (3, 13, 23, etc.) MIDI Tracks 3, 13, 23...Background Background color of all MIDI tracks that end in the number “3” (3, 13, 23, etc.
Screen element Explanation MIDI Tracks 10, 20, 30...Background Background color of all MIDI tracks that end in the number “0” (10, 20, 30, etc.) Track View Active Outline Color of the border around the active pane in the Track view: if the Bus pane is active, it displays this color; if the Track pane is active, it displays this color.
Screen element Explanation View Background (even) The Clips pane background color for even-numbered tracks/buses AudioSnap Marker Color of active AudioSnap transient markers Disabled AudioSnap Marker Color of disabled AudioSnap transient markers Selected AudioSnap Marker Color of selected AudioSnap transient markers Maximum stretched AudioSnap Marker Color of maximum stretched AudioSnap transient markers AudioSnap Pool Memeber Marker Color of AudioSnap transient markers that belong to the Pool
Screen element Explanation Track View Control Outline Color of the control outlines Track View Control Borders Color of Track view control’s borders Track View Current Control Outline Color of current Track view control outlines Track View Strip Under Color of empty space in the Track pane First controller/surface color choice Highlight color of any SONAR controls being controlled by the first control surface listed in Edit >Preferences > MIDI - Control Surfaces.
Screen element Explanation Front/Rear Balance Envelope Color of automation envelope for surround front/rear balance Track View Bus Send Level 1, 9 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 2, 10 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 3, 11 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send 4, 12 Level Control / Envelope Sets the color of
Screen element Explanation Bus Send Angle 1, 9 Envelope Sets the color of this parameter’s automation envelope Bus Send Angle 2, 10 Envelope Sets the color of this parameter’s automation envelope Bus Send Angle 3, 11 Envelope Sets the color of this parameter’s automation envelope Bus Send Angle 4, 12 Envelope Sets the color of this parameter’s automation envelope Bus Send Angle 5, 13 Envelope Sets the color of this parameter’s automation envelope Bus Send Angle 6, 14 Envelope Sets the color of
Screen element Explanation Bus Send Width 3, 11 Envelope Sets the color of this parameter’s automation envelope Bus Send Width 4, 12 Envelope Sets the color of this parameter’s automation envelope Bus Send Width 5, 13 Envelope Sets the color of this parameter’s automation envelope Bus Send Width 6, 14 Envelope Sets the color of this parameter’s automation envelope Bus Send Width 7, 15 Envelope Sets the color of this parameter’s automation envelope Bus Send Width 8, 16 Envelope Sets the color of
Screen element Explanation PRV Drag Contents The color that a MIDI event becomes while you’re dragging the event Snap to Scale Excluded Rows Color of pitch rows in Piano Roll view (or Inline PRV) that become unavailable when Snap to Scale is enabled.
Screen element Explanation Console View Slider Color of Console view fields controlled by sliders Console View Slider Background Color of border area of Console view fields controlled by sliders Console View Strip Background Color of empty space in Console view Console Audio Track Name Background Color of background of audio track names in Console view Console Audio Track Name Text Color of text of audio track names in Console view Console MIDI Track Name Background Color of background of MIDI
For more information, see: “Screen colors and wallpaper” on page 93 See also: “Preferences dialog” on page 1647 “Customization - Display” on page 1706 “Customization - Nudge” on page 1724 “Customization - Snap to Grid” on page 1726 “Customization - Editing (Advanced)” on page 1728 “Customization - Keyboard Shortcuts (Advanced)” on page 1732 “Customization - Audio Meter (Advanced)” on page 1734 1723 Preferences dialog
Customization - Nudge Figure 490. The Nudge section The Nudge section lets you specify three different nudge resolutions. The Nudge section contains the following settings: • Musical Time. Select a note length setting. • Absolute Time. Select one of the following absolute time options and a number in the first field: Absolute time setting Description Seconds Whole seconds. Milliseconds Thousands of a second. Table 265.
Absolute time setting Description Frames Number of frames. There are 30 frames per second. Samples A very small amount of time. For CD-quality audio there are 44,100 samples per second, so a value of 1 here would not move a clip by a perceptible amount. Ticks The number of ticks per quarter note varies depending on the setting in Edit > Preferences > Project - Clock. The default setting is 960. Table 265. • Follow Snap Settings. Moves the clip or note by the current snap setting.
Customization - Snap to Grid Figure 491. The Snap to Grid section The Snap to Grid section lets you specify global snap settings. The Snap to Grid section contains the following settings: • Snap Intensity. Specify the magnetic strength when snapping, which determines how quickly moved events are pulled towards the snap grid. • Magnetic Test. Drag the event to test the current Snap Intensity setting. • Snap to Nearest Audio Zero Crossings.
• Markers. Snap to any marker. • Now Time. Snap to the current Now Time. • Clips. Snap to the start or end of any clip. • Audio Transients. Snap to transient markers in audio clips. • MIDI Notes. Snap to note events in MIDI clips. • Automation Nodes. Snap to automation envelope nodes.
Customization - Editing (Advanced) Figure 492. The Editing section The Editing section lets you specify drag & drop behavior, auto-crossfade settings, MIDI editing options and Microscope settings. The Editing section contains the following settings: Drag and Drop Choose from the following drag and drop options: • Copy Entire Clips as Linked Clips. When you copy an entire clip, choosing this option causes the new clip and the clip that you copied it from to be “Linked clips” on page 1914.
What to do with existing material The fields in this section deal with the situation that occurs when you try to drag some data to a place in a track that already has some data. • Blend Old and New. the following option: Choosing this option tells SONAR to mix the new data with the old, with • Replace Old with New. Choosing this option tells SONAR to delete the old data, with the following option: • Delete Whole Measures.
in which the first clip fades out fast and the second clip fades in fast. • Default Crossfade Curves > Slow Out - Slow In. This command sets as default a crossfade in which the first clip fades out slowly and the second clip fades in slowly. • Default Crossfade Curves > Fast Out - Slow In. This command sets as default a crossfade in which the first clip fades out fast and the second clip fades in slowly. • Default Crossfade Curves > Slow Out - Fast In.
• Magnifying Time. Use this check box to enable/disable horizontal magnification when the Piano Roll view zoom is such that notes become very narrow. In addition to these options, there are some other parameters that can be configured by adding the following INI variables to the WinCake section of Cakewalk.ini (see “Cakewalk.ini” on page 1289): Variable Type Default value MicroscopeHZoomThreshold=<1..
Customization - Keyboard Shortcuts (Advanced) Figure 493. The Keyboard Shortcuts section Key bindings let you associate SONAR commands with keys on your MIDI or computer keyboard. This makes it easy for you to access specific features more quickly and efficiently. The Keyboard Shortcuts section lets you specify which keys and key combinations to use for specific SONAR commands.
must be checked for MIDI keys to function. MIDI ‘Shift’ Options You can designate a MIDI Key or Controller (usually a pedal) to act as a key binding shift key. That way you can require that the key binding shift key be depressed before any command is triggered, so you only lose one note or pedal from its regular function. Use these options to choose what acts as the key binding shift key: • Key. Clicking this option makes a key on your MIDI keyboard act as a key binding shift key.
Zap All Click this button to remove all key bindings. Import Click this button to import a different set of key bindings that you’ve created or that are identical to some other sequencer application’s. Export Click this button to export your currently-loaded set of key bindings so that you can reload them if you want.
Figure 494. The Audio Meter section SONAR’s meters are extremely adjustable. The Audio Meter section lets you specify the appearance and behavior of audio meters. These settings control meter ballistics globally for all types of meters in SONAR. The Audio Meter section contains the following settings: Refresh Rate (msec) This field determines how often the meters are updated. Valid values range from 25 msec (forty times per second) to 250 msec (four times per second).
Peak Hold • Decay Rate (msec/dB). When Hold Peaks is enabled (see “Changing the meters’ display” on page 851), this setting describes how fast the peaks fall after the established Hold Time. • Hold Time (msecec). When Hold Peaks is enabled (see “Changing the meters’ display” on page 851), this setting describes for how long peaks will sit still before dropping Rise/Fall Times (times to change 20dB) • RMS • Rise (msecec). The time it takes for an RMS meter to register a 20dB rise in signal.
Print dialog The Print dialog box specifies the parameters of your print job, including the printer destination, the number of copies and properties. The following is a description of the Print dialog: Printer This is the active printer and printer connection. Choose the Setup option to change the printer and printer connection. Print Range Specify the pages you want to print: All Prints the entire document. Pages Prints the range of pages you specify in the From and To boxes.
Next Page The Next Page button displays the next page of the print preview. Prev Page The Prev Page button displays the previous page of the print preview. Two Page/One Page The Two Page button displays two pages at a time in the print preview. When you display two pages, the One Page button appears. The One Page button Zoom In The Zoom In button zooms the page display in the Print Preview dialog box. If two pages are displayed, zooming may reduce the preview to just one page.
Collate Prints copies in page number order, instead of separated multiple copies of each page. Properties button Opens a dialog box that lets you specify whatever your printer allows. Project Files dialog Open the Project Files dialog by selecting Project Audio Files from the File menu. The Project Files dialog box provides the following information: Project File Name File name and location of the project file. Project Audio Folder The directory in which the project’s audio files are stored.
• Global. The file is stored in the Global Audio Data directory. The Global Audio Data directory can be changed in Edit > Preferences > File - Audio Data. • Local. The file is stored in the local wave data directory, a per-project data directory which is a subdirectory in the directory where the project file is stored. • External. The file is stored in a directory other than the Global Audio Data directory or in a Local audio data directory. • Missing. The file is not to be found.
• Audio Clip Start Times. Select this option if you want the beginnings of audio clips to move. • Only Notes, Lyrics, and Audio. like controllers. If you select this option, SONAR will not modify other events, Options: • Strength. This value determines how closely SONAR moves the selected notes to the resolution value, or “grid.” See “Strength” on page 720. • Swing.
Fast Zoom Options The Fast Zoom feature allows you to use your mouse wheel to control Zoom functions. Zoom Factor Set the intensity of the zoom. Horizontal and vertical zoom intensity can be adjusted independent of one another using the spinners or by manual entry. Zoom In Select whether the Zoom in action is centered at the cursor or the Now Time in horizontal Zoom, and select whether the Zoom in action is centered at the cursor or the Active Track in vertical Zoom.
Receive System Exclusive dialog In the Sysx view, clicking the Receive Bank button opens the Receive System Exclusive dialog box. Use this dialog box to tell a synthesizer to start sending system exclusive data—clicking the OK button in this dialog box opens the Sysx Receive dialog box and starts the transmission of Sysx data. This dialog box displays how many bytes have been received. When the number stops increasing, click Done.
• MIDI Channel. This style uses the event’s MIDI channel to determine which string the note should be displayed on. When MIDI Channel is selected, the user chooses which series of MIDI Channels SONAR receives on. This is useful for MIDI guitarists who record parts in MONO mode, where each string transmits on a different MIDI channel. (Values: 1 - 11). Selecting “1” will cause it to use MIDI channels 1 - 6, selecting 2, 2 - 7, and so on.
Remote Control dialog When you right-click a control in the Console or Track views and choose Remote Control from the pop-up menu, the Remote Control dialog box appears. This dialog box lets you use a MIDI device as a remote control for knobs, buttons, and sliders in SONAR, and has the following fields: Channel Messages The buttons in this section control command that are specific to individual MIDI channels. The options are: • Note On.
• High byte first. Checking this option tells SONAR that the significant data in the incoming sysx message is in the form of two bytes, with the high byte first. • Low byte first. Checking this option tells SONAR that the significant data in the incoming sysx message is in the form of two bytes, with the low byte first. • Starts with. Fill in the string that your device sends in sysx messages that precedes the significant data. • Ends with.
Preset field (only appears with Process Audio command) Use this field to choose and enter presets. Click the Save button to save any group of new settings after you enter a name in the Preset field. Click the Delete button to delete any selected group from the Preset field. Open Level (db) The value in this field is how loud the sound must get (the loudness threshold) before SONAR stops silencing the sound.
Retain Cakewalk Preferences dialog If you choose to retain or migrate your preferences from a previous version of Cakewalk, the SONAR installer finds the existing Cakewalk.ini files on your system. The list of Cakewalk.ini files appears in the Retain Cakewalk Preferences dialog box. You may choose one from this list. The preferences and settings stored in the older version's Cakewalk.ini and TTSseq.ini files are then transferred to the identically named configuration files for Cakewalk.
“I can’t open my project / File Recovery mode” on page 1261 Save As dialog The File > Save As command opens the Save As dialog box, which lets you save a project with the name, directory, and format you specify. The Save As dialog box can also be used to save Groove clips as Riff Wave files from the Loop Construction view. Use the following fields to control your options: Save in Select the directory in which you want to store the file. File name Type or select the filename you want to open.
Go to Folder (Project saves only) The Go to folder drop-down lets you quickly go to the default save location for different types of projects. Copy all audio with project (Project saves only) When selected, this check box creates a copy of every audio file your project references, regardless of where they are located, and stores them in a folder called Audio Data. The Audio Data folder is created in the folder where you save your project.
File name Type or select the filename you want to open. Save as type A step sequencer pattern is always saved as a Step Sequencer Patterns file type, which has the extension .ssp. Scale Defaults dialog In the Track Inspector, click the Scale control in the Snap to Scale section and choose Scale Manager to open the Scale Manager dialog box, then click the Defaults button to open the Scale Defaults dialog box. This dialog box has the following fields: • Restore Current Scale (if factory). settings.
• New button. Click this button to create a new scale. When you click this button, the Scale Manager displays a default name (New Scale “n”) for the new scale, and automatically selects C as the root note of the scale. Note: All scales in the Scale Manager dialog box use C as the root note. • Delete button. Click this button to delete any scale that is highlighted in the Scale field.
Search for Missing Audio dialog Open the Search for Missing Audio dialog by clicking the Search button in the Find Missing Audio dialog box. The Search for Missing Audio dialog box searches your entire computer for a file that has the same name as the missing file in your project. If the file is found, select it and click OK. If multiple copies of the same file name are found, you may select only one. If no files are found, manually search your Recycle Bin.
Select Fretboard Track dialog Open the Pick Fretboard Track dialog box by right-clicking in the Fretboard pane and selecting Select Track from the Fretboard pop-up menu. From the Pick Fretboard Track dialog box you select the track you want to see displayed in the fretboard pane if multiple tracks are displayed in the Staff pane. To select a track, click the track in the Pick Fretboard Track dialog box and click OK.
• Seconds. If you choose Seconds, the selected data moves by a number of whole seconds. • Frames. If you choose Frames, the selected data moves by a number of frames, which are the smallest units of SMPTE time. See also: “Shifting events in time” on page 711 SONAR Quick Start dialog The SONAR Quick Start dialog box appears when you launch SONAR (unless you disable this option, see “Show this at Startup check box” on page 1755).
Sort Tracks dialog The Track view Tracks > Sort Tracks command opens the Sort Tracks dialog box. This command lets you arrange tracks in order according to any of several criteria. You can sort in ascending or descending order. There are several ways you can change the order of tracks in the Track view: • Drag a track to a new position in the Track view (see “To drag a track to a new position” on page 316). • Insert new, blank tracks between existing tracks (see “To insert a single track” on page 318).
Split Clips dialog When you right-click one or more selected clips and choose Split from the pop-up menu, the Split Clips dialog box appears. Use this command to split one or more clips into smaller clips. The Split Clips dialog box has the following fields: Split At Time Choosing this option splits the clip(s) at the location you fill in. By default, this filed lists the Now time, but you can choose any time you want. Time Format.
Staff View Layout dialog The Staff View Layout dialog box appears when you click the Staff view Edit menu and choose Layout, or choose Layout from either the Staff pane or Fretboard right-click menus. Use these fields in the Staff View Layout dialog box to control staff layout options: Track This field lists the tracks that the Staff view currently displays. Highlight the name of the track that you want to set display options for.
Staff View Print Configure dialog When you use the File > Print Preview command, the Print Preview window appears. In the Print Preview window is the Configure button. Click the Configure button to open the Staff View Print Configure dialog box, which has the Rastral Size field that you control rastral size with. Rastral size is the vertical distance between the lines of each staff.
Note Properties (Advanced Mode Only) If you don’t check the Use Input check box for a particular note property, you can specify any or all of a note’s pitch, velocity, and channel characteristics. Navigation • Auto Advance. If this option is checked, the insertion point moves ahead automatically when you release a note. • Link to Now Time (Advanced mode only). duplicates the Now Time. If this option is checked, the insertion point • Delete on Back Step.
Step Size dialog The Step Record dialog box contains two Other buttons. Clicking the one on the Step Size side of the dialog box opens the Step Size dialog box. In the Step Size field, enter the size of the note you want to enter in “Ticks” on page 1920. See also: “Step recording” on page 291 SurroundBridge Plug-in Linker The SoundBridge Plugin Linker allows you to use stereo plug-ins in a surround bus that has more than two channels. The Plugin Linker creates multiple instances of the plug-in.
Sysx Bank Name This dialog box lets you specify the name of the bank you want. Tablature Settings dialog In the Staff View Layout dialog box you can choose a preset style of tablature by choosing from the Preset pop-up menu, or you can define your own style by clicking the Define button in the Staff View Layout dialog box to open the Tablature Settings dialog box.
• String Tuning. Choose the instrument from the drop-down list and number of strings from the Number of Strings field. The open string pitches for the instrument you choose automatically appear in the string number fields at the bottom of the dialog box. Customize any of the open string pitches by using the + or - buttons on the String Number fields. Fretboard The Fretboard tab has these fields: • Texture. Choose a texture from the drop-down list. • Orientation.
Track Inputs dialog The Select Track Inputs command opens the Track Inputs dialog box. This command lets you specify inputs for all of your project’s tracks for recording and MIDI echoing purposes. Use these fields in the dialog box to choose inputs for your tracks: Track Column Use the Track column to choose which track or tracks you want to choose an input for. Click the name of a track to select it or CTRL-click to select several at once.
• Display window. This window lists all the track and bus modules. A checkmark next to a module means it is visible. • Toggle buttons. These buttons select all of the type of module that is listed on the button. You can check or uncheck all selected modules by clicking one of the selected modules.
As an option, you can choose to transpose selected audio clips along with any selected MIDI clips. SONAR uses pitch-shifting to perform the transposition. You can transpose audio only a single octave in either direction (-12 to +12), and you cannot transpose audio when you are using diatonic transposition.
History list The History list displays a list of all the editing actions you did to this project, up to the number of actions in the Maximum Undo Steps field. To revert to an earlier version of a project, highlight the entry in the History list that represents the point to which you'd like to return, and click OK. SONAR performs the necessary undo or redo actions to take you to that point. Once you make any new edits, SONAR clears the History list of all the edits you made after the edit you jumped back to.
Project Name Enter a file name for your project. The default name is the same as the bundle filename but with the .cwp extension. Location Select a folder in which your project file is saved. Audio Path Select a folder in which your project’s audio data is stored. Store Project Audio in its own Folder Check this option to use per-project audio. If you uncheck this option, the project audio is stored in the default audio data folder.
Initial Tempo Set the initial tempo of the file. Store Project Audio in its own Folder If you want to use a unique folder for this project’s audio data, check this option and fill out the Project Name, Location and Audio Path fields. If you deselect this option, the project is saved with the same file name to the default directory using the default audio directory. The file’s new extension is .cwp. Project Name The Project filename.
• Save As Type. Choose Video for Windows (AVI), Windows Media Video, or QuickTime. If you have an external FireWire device connected, you can choose AVC Compliant Device, or whatever your device is named. See “Exporting a project to a FireWire DV device” on page 246 for more information. • Video Export Settings: • Encoding Options button. Clicking this button opens an encoding options dialog box for the kind of file you chose in the Save As Type field. • Audio Mixdown Options button.
• Preview check box. Check this check box to cause the video in SONAR to display at a slightly lower quality: “preview” quality. This can cause slightly smoother playback. • Frame Rate (FPS). Use this field to change the frame rate. Lower frame rates free some of your computer’s resources for playing back music and other tasks. • Video Size, X and Y. The X field sets the video’s width, in pixels; the Y field sets height. • Restore Defaults.
New Click this button to create a new preset with all check boxes enabled. You can name the new preset in the preset field. Restore Defaults Click this button to restore all controls to factory defaults. This will delete any new presets you have created. Select All Controls Click this button to select all the check boxes in the Strip columns.
Format Select a format from the drop-down list. The higher the kbps setting, the higher the quality of the file. For more information, see: “Routing and mixing digital audio” on page 841 WMV Encoder Options dialog Clicking the Encoding Options button in the Video Export dialog box after you’ve selected Windows Media Video in the Save As Type field opens the WMV Encoder Options dialog box. This dialog box has the following fields: • Profile. This field has a list of common WMV video file formats.
Insert Send Assistant dialog When you right-click an audio track or bus and choose Insert Send > Insert Send Assistant from the pop-up menu, the Insert Send Assistant dialog box appears. This dialog box lets you create effect buses and insert sends to new or existing buses. The Insert Send Assistant dialog box has the following options: Send to Existing Bus. This option lets you assign a new send to an existing bus in the current project. Select the desired bus from the drop-down list.
Bus Output. Specify the desired output for the new bus. The drop-down list shows all available output destinations.
Rename Cell dialog When you right-click a cell in the Matrix view and choose Rename Cell from the pop-up menu, the Rename Cell dialog box appears. This dialog box lets you rename the cell. See: “Matrix view” on page 1876 Adjust Velocity Multiplier dialog When you right-click an audio track or bus and choose Adjust Velocity Multiplier from the pop-up menu, the Adjust Velocity Multiplier dialog box appears.
Quantize to AudioSnap Pool dialog When you click the Quantize to pool command on the Transient tool pop-up menu, the Quantize to AudioSnap Pool dialog box appears. This dialog box lets you configure various settings that affect how audio beats are quantized to the Pool. The options are as follows: • Max Distance From Pool. The value in this menu determines which notes are affected by the Quantize to Pool command.
• Comment. • Include SONAR .INI Files. • Include Current SONAR Project File. • Attachments. Click Browse to find and attach any helpful files to the log (screenshots, etc.). • Package Files. Package all the specified files into a single archive that you can send to Cakewalk Technical Support. The file is saved to your Desktop. Loop Properties dialog—Audio Stretching You have two different (and independent) ways to stretch clips: by using either Groove clips or AudioSnap.
that, if the Follow Project Pitch option is checked, the clip follows the project’s pitch, so any transposition changes you make using this option are changes to the project pitch, not the clip pitch. An example: The project key is C. The clip key is D. If the Follow Project Pitch option is checked, the clip is transposed down by two semitones. A value entered into the Pitch (semitone) field adjusts the pitch from C. If you enter -1 the pitch would be transposed down by one additional semitone to B.
• Online Algorithm. Choose the algorithm you want to use to stretch the clip: Algorithm Description Default This means the algorithm that is listed in the Online field of the AudioSnap Options dialog box. Groove clip This choice works faster, using less processing power. Percussion This is the best choice for percussive sounds. Table 267. • Offline Algorithm.
Control Properties dialog The Control Properties dialog box appears when you right-click an assignable knob or button in an FX Chain property page and select Edit control on the pop-up menu. This dialog box lets you configure assignable knobs and buttons. The Control Properties dialog box contains the following settings: • Name. The name of the assignable control, shown as the label • Position. The “slot” position of the control, from left to right. • Destination.
Fault Reporter dialog The Fault Reporter dialog box appears if there is a problem and SONAR needs to close unexpectedly. If this happens, you have the option of sending a crash report directly to Cakewalk so we can better investigate the source of the problem. Rename Effect dialog The Rename Effect dialog box appears when you right-click an FX Chain and select Rename on the pop-up menu. The Rename Effect dialog box lets you rename the FX Chain.
• 16 bit DWVW • 24 bit DWVW AIFF (Apple/SGI) (extension “aif”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • GSM 6.
• 32 bit float • 64 bit float • U-Law • A-Law FLAC (FLAC Lossless Audio Codec) (extension “flac”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM RAW (Headerless audio file) (extension “raw”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law SD2 (Sound Designer II) (extension “sd2”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM W64 (Sony Wave-64) (extension “w64”) • Signed 16 bit PCM •
• GSM 6.10 WAV (Microsoft) (extension “wav”) • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • Microsoft ADPCM • GSM 6.
Input Quantize dialog The Input Quantize dialog box appears after selecting Quantize Settings in the Input Quantize section in the Inspector. The Input Quantize dialog box contains the following settings: • Resolution. Set the note resolution in either standard note duration or tick value. The resolution determines the size note or time value that you want your MIDI data to conform to. • MIDI Event Start Times. Select this option to quantize MIDI event start times. • Note Durations.
Snap Scale Settings dialog
Snap Scale Settings dialog
View reference “Track view” on page 1790 “Console view” on page 1836 “Loop Construction view” on page 1872 “Browser” on page 1876 “Matrix view” on page 1876 “Piano Roll view” on page 1798 “Step Sequencer view” on page 1803 “Event List view” on page 1832 “Staff view” on page 1833 “Big Time view” on page 1872 “Lyrics view” on page 1835 “Video view” on page 1868 “Tempo view” on page 1869 “Meter/Key view” on page 1871 “Markers view” on page 1871 “SYSX view” on page 1871 “Using the Synth Rack Browser” on page 5
Track view The Track view is always visible. It is the main window that you use to create, display, and work with a project. When you open a project file, the Track view is displayed for the project. Closing the Track view closes the project. The Track view is divided into several sections: toolbars (at the top), the Navigator pane, the Video Thumbnails pane, the Track pane, the Clips pane, and the Bus pane.
View menu The View menu contains the following commands: • Navigator Show/Hide. Show or hide the Navigator pane. • Video Thumbnail Track Show/Hide. Show or hide the Video Thumbnails track. The Video Thumbnails track can be displayed even if there is no video in your project. • Fit Tracks and Buses to Window. Adjust the vertical track heights to fit all tracks in your project in the Track view. • Fit Project to Window. Fit the entire project, or as many tracks as possible, into the Track view.
• In Front of Clips. Vertical grid lines are displayed and drawn on top of clips, always visible. • Click Behavior. Use the submenu to specify the behavior when clicking in the Clips pane: • Left Click Sets Now. Set the Now Time by left-clicking a location in the Clips pane. • Right Click Sets Now. Set the Now Time by right-clicking a location in the Clips pane. • Left Click Locks Scroll. Prevent the Clips pane from scrolling horizontally during playback while you edit data.
Tracks menu The Tracks menu contains the following commands: • Make Instrument Track. If an existing audio track and MIDI track are assigned to the same software instrument, this command converts the two tracks into a single instrument track (only available for MIDI tracks). • Split Instrument Track. Split an instrument track into separate audio and MIDI tracks. The audio and MIDI tracks will remain assigned to the same software instrument (only available for Instrument tracks). • Bounce to Track(s).
the very beginning of a clip. • Select All Siblings. Select all clips that are linked to the selected clip. • Unlink. Open the “Unlink Clips dialog” on page 1767. • Unlink Step Sequencer Clips. Unlink the selected step sequencer clips, allowing each clip to be edited separately from each other. • Convert MIDI Clip(s) to Step Sequencer. Convert any selected MIDI clip to a step sequencer clip. • Convert MIDI Controllers to Envelopes.
Track pane The Track pane lets you see and change the settings for each track. Selected tracks always appear in a different color. The controls for an individual track are grouped together to form that track’s track strip. To change the current track, move the highlight using the mouse or the keyboard as follows: Key What it does UP ARROW and DOWN ARROW Moves the selection to the adjacent track.
The Track view makes it easy to select tracks, clips, and ranges of time in a project.
The Navigator pane has a green rectangle in it that is an outline of what the Clips pane is currently displaying. If you drag the center of the rectangle around in the pane, it scrolls the Clips pane to the same view. You can drag any of the nodes on the rectangle to zoom the Clips pane in or out. If you click in the Navigator pane, the left border of the rectangle jumps to the spot you clicked, and scrolls the Clips pane to that spot also.
SONAR empty view To start working on a new or pre-existing project, choose File > New (to start a new project) or File > Open (to open a project). See: “You can create your own template files and use them as the basis for other new projects. For more information, see “Templates” on page 1064.” on page 251 Piano Roll view You can open the Piano Roll view by any of these methods: • Select the track you want to edit and use the Views > Piano Roll View command or press ALT+3.
“Working with multiple tracks in the Piano Roll view” on page 680 “Piano Roll view menu” on page 1799 “Note Map pane” on page 1800 “Drum Grid pane” on page 1801 “Notes pane” on page 1802 “Controller pane” on page 1802 “Track List pane” on page 1802 Piano Roll view menu View menu The View menu contains the following commands: • Show/Hide Track Pane. Show or hide the Track pane. • Show/Hide Controller Pane. Show or hide the Controller pane. • Show/Hide Drum Pane. Show or hide the Drum pane.
Controllers menu The Controllers menu contains the following commands: • Select Controllers Along with Notes. When enabled, selecting a Note event or a range of Note events will also automatically select any Controller events that exist within the time range of the Note event(s). • Show Controller Handles. • Show All Controllers. Show or hide edit handles on controller events. Show all controllers in all displayed tracks. Tracks menu The Tracks menu contains the following commands: • Pick Tracks.
• Out Note. The Out Note column specifies the mapped pitch. The format can be either C0 through G10 or 0 through 127. There can be up to 128 entries in this column and each must be unique. • Mute. Mutes the note. • Solo. Solos the note.
Notes pane In this pane you can add, edit, and delete notes for a track or tracks. You can also edit controllers in this pane if you choose to hide the Controller pane.
To show or hide the Track List pane, click the Piano Roll view View menu and choose Show/Hide Track Pane. The Track List pane is home to a list of all tracks currently displayed in the Piano Roll view. The track numbers and names appear in the Track List pane. Click the button again to hide the Track List pane. For more information, see “The Piano Roll view” on page 677.
Step sequencer interface The Step Sequencer interface consists of five sections: • Menu. Use the menu to load, save and clear patterns and specify various editing options. For details, see “Step Sequencer view menu” on page 1805. • Toolbar. The toolbar contains transport controls and lets you specify the pattern length and behavior when inputting new notes. For details, see “Toolbar” on page 1806. • Rows. Each row represents a unique pitch, and has its own independent group of controls.
See: “Step Sequencer view menu” on page 1805 “Toolbar” on page 1806 “Rows” on page 1808 “Notes pane” on page 1811 “Controllers pane” on page 1812 Step Sequencer view menu Row menu The Row menu contains the following commands: • Insert Row. Click to insert a new row. For details, see “To insert a row” on page 1815. • Delete Row. Click to delete a row. For details, see “To delete a row” on page 1816. • Rename Row. This command lets you rename a row. • Cut Row Steps. Click to cut a row’s steps.
Options menu The Options menu contains the following commands: • Use fixed/default pattern velocity for step record. This option lets you specify whether step recording should use the recorded velocity or a fixed velocity value for new notes. For information about setting a fixed velocity, see “To specify the default velocity value for new notes” on page 1821. • Preserve pattern for step sizes. This option lets you specify how existing notes are affected when changing Steps per Beat value in the toolbar.
and the default value is 4 steps. Changes are undoable. Note: When changing the number of steps per beat, you can configure how existing notes are affected. By default, SONAR will preserve the original pattern whenever possible as you add or remove beats. Doing so ensures that notes retain their original position within each beat. If you prefer, you can instruct SONAR to instead append additional steps at the end of each beat.
“Working with steps” on page 1817 “Working with Controller events” on page 1824 “Working with patterns” on page 1827 “Working with Step Sequencer clips” on page 1830 “Keyboard shortcuts” on page 1813 Rows Figure 500. Per-row controls A B C D E F I G H P J K L M N O A. Drag to reorder rows B. Select row (and show Controllers pane) C. Note name (click to audition pitch) D. Note number E. Mute F. Solo G. Incoming MIDI activity indicator H. Shared MIDI channel indicator I. Output J.
• Mute. This button mutes the row/note/pitch. • Solo. This button solos the row/note/pitch. • Incoming MIDI activity indicator. This indicator lights up if the row is receiving MIDI input. • Shared MIDI channel indicator. This indicator lights up if a selected row shares the same MIDI channel as any other row. This is a convenient reminder that any controller events you insert in the row will also affect all other rows that share the same MIDI channel. • Output.
Row context menu You can right-click any row to access the following commands: • Insert Row. Click to insert a new row. For details, see “To insert a row” on page 1815. • Delete Row. Click to delete a row. For details, see “To delete a row” on page 1816. • Cut Row Steps. Click to cut a row’s steps. The cut steps are placed on the Clipboard and can be pasted into another row. For details, see “To cut/copy/paste all notes in a row” on page 1819. • Copy Row Steps. Click to copy a row’s steps.
Notes pane The Notes pane consists of the following controls: Rows. Each row represents a specific pitch. Similar to the Drum Editor in the Piano Roll view (in some ways, you can think of a row as a different way of looking at the Drum Map Manager in “MIDI Drum Map Manager (Advanced)” on page 1675), the controls for each row are located at the left side of the row and has the following controls: • Note Cells (steps). Notes are enabled by clicking in a cell and disabled by right-clicking.
Controllers pane The Controllers pane in the Step Sequencer is similar to the Controllers pane in the Piano Roll view and allows you to include Controller, Pitch Wheel, Channel Aftertouch, RPN and NRPN events in your sequences. You can also edit velocity values in the Controllers pane. To display the Controllers pane, click a row’s Select button. Any edits performed in the Controllers pane apply to all selected rows.
Keyboard shortcuts You can use the keyboard to navigate around the Step Sequencer interface and adjust settings. A focus rectangle indicates the step/control that is selected.
Action Key Save the current pattern CTRL+ALT+S Enable/disable MIDI step recording ALT+R Go to previous step when step recording COMMA (,) Go to next step when step recording PERIOD (.) Table 270. Note: You can also use a mouse wheel to adjust the value of the control that has focus. When adjusting note velocities, hold down the SHIFT key for fine control. If a knob has focus, you can press ENTER or F2 and type the desired value in an edit box.
The Step Sequencer window appears. Note 1: You can also open an existing pattern in the Step Sequencer by double-clicking an existing Step Sequencer clip. Note 2: The Views > Step Sequencer command is disabled if multiple Step Sequencer clips are selected.
To delete a row • Right-click a row and select Delete Row from the pop-up menu. Or 1. Click the row you want to delete (so it has focus). 2. Do one of the following: • Click the Delete Row button . • Press the DELETE key. Note: By default, the Step Sequencer opens with 12 rows. If you delete any rows in a pattern that contains no note events—or the track is not assigned to a drum map—the Step Sequencer will revert to 12 rows the next time it is opened. To reorder a row 1.
• To select discontiguous rows or to toggle a row’s select state, hold down the CTRL key while you click the desired row’s Select button. The Controllers pane is displayed below the selected row. If multiple rows are selected, the Controllers pane is displayed below the top-most selected row. If no rows are selected, the Controllers pane is hidden. Editing in the Controllers pane affects all selected rows.
“To specify the likelihood that a note will play (randomize)” on page 1822 “To step record notes from a MIDI device” on page 1823 “To edit the drum map properties of a note” on page 1829 A B C D E A. Disabled step B. Enabled step (double-click to create a flam) C. Current step (yellow) D. Merged steps E. Flammed step To enable a note Do one of the following: • To enable a single note. Click on the note that you want to enable. • To enable multiple notes of the same pitch.
To automatically enable notes every “n” steps You can quickly enable notes every 2, 3, 4, 5 or 6 steps: 1. Click on the step where you want the first note to be enabled. If a step is not selected, the first step in the row will be used. 2. Do one of the following: • Right-click the row you would like to enable the notes on, point to Fill Every, then select 2, 3, 4, 5, or 6, depending on the desired interval. • Press CTRL+2, CTRL+3, CTRL+4, CTRL+5, CTRL+6, depending on the desired interval.
To shift all notes in a row to the left or right You can easily move all notes in a row to the left or right by one step: 1. Right-click to the right of the row that contains the notes you want to move. A pop-up menu appears. 2. Select Shift Steps Forward or Shift Steps Backward from the pop-up menu. Or 1. Click a row to give it focus. 2. Press ALT+LEFT ARROW or ALT+RIGHT ARROW. All notes in the row are moved by one step.
To edit a note’s velocity A note’s velocity is shown inside the note cell (step). To edit a note’s velocity value, do one of the following: • Click a row’s Select button to show the Controllers pane, select Velocity in the Step Editor list, then draw velocity changes in the Controllers pane. • Hold down the SHIFT key and drag the note up/down. • Hold down the CTRL key, double-click a note and enter the desired velocity value.
To compress or expand all note velocities in a row 1. Right-click a row and select Adjust Velocity Multiplier from the pop-up menu. The Adjust Velocity Multiplier dialog box appears. 2. Do one of the following: • To compress the note velocities, specify a value below 1.00. • To expand the note velocities, specify a value above 1.00. To add/remove a flam • Double-click the desired step. Flammed steps are drawn with a dividing marker halfway through the step.
To step record notes from a MIDI device In addition to entering note events with the mouse, you can also use a MIDI input device to enter notes. 1. To enable MIDI step recording, do one of the following: • Click the Record button • Right-click the Play button in the Step Sequencer. in the Step Sequencer. • Make sure the Step Sequencer window has focus and press CTRL+R.
Step Record Shortcuts Action Key Enable/disable MIDI step recording CTRL+R Move the current step backward by one step COMMA (,) Move the current step forward by one step PERIOD (.) Undo the most recent step entry and move the current position backward by one step CTRL+Z Table 271. Tip: To insert a rest, simply move the step forward or backward without pressing a key on your MIDI controller.
To edit controller events on a single row 1. Click a row’s Select button. The Controllers pane appears below the row. The Controllers pane contains a series of columns that correspond to the steps in the selected row. Note: The Shared MIDI Channel indicator lights up if a selected row shares the same MIDI channel as any other row. This is a convenient reminder that any controller events you edit in the row will also affect all other rows that share the same MIDI channel. 2.
To edit controller events on multiple rows simultaneously 1. Select all the rows you want to edit. For details, see “To select rows” on page 1816. The Controllers pane appears below the top-most selected row. 2. Click the Step Editor control and select a parameter name from the drop-down menu. If the desired parameter is not listed, select New Value Type to open the MIDI Event Type dialog box and specify the following options: • Type.
Working with patterns “To create a brand new pattern” on page 1827 “To edit an existing pattern” on page 1827 “To save a pattern” on page 1828 “To load a pattern” on page 1828 “To preview a pattern” on page 1828 “To step record a pattern” on page 1828 To create a brand new pattern 1. Click the MIDI track in which you want to create the new pattern. The MIDI track then becomes the active track. Make sure that no MIDI clips are selected. 2. Select Views > Step Sequencer.
To save a pattern Do one of the following: • Click the Step Sequencer view Pattern menu and select Save Pattern As. • Right-click in the Step Sequencer toolbar and select Save Pattern from the pop-up menu. • Press CTRL+ALT+S. To specify the default folder for patterns: 1. On the Edit menu, click Preferences and then click File - Folder Locations. 2. Specify the folder location for Step Sequences.
Using the Step Sequencer with drum maps By default, all rows in a Step Sequencer clip are assigned to the track’s output port, which could be a hardware MIDI port, a software instrument, or a drum map. If you re-assign rows to different output ports, the Step Sequencer will automatically assign the rows to a new drum map. The following diagram illustrates how the Drum Editor in the Piano Roll view, the Step Sequencer and the Drum Map Properties dialog box are all interconnected when using a drum map.
See: “Using drum maps” on page 765 “The Map Properties dialog” on page 763 “Step sequencer interface” on page 1804 “Working with rows” on page 1815 “Working with steps” on page 1817 “Working with Controller events” on page 1824 “Working with patterns” on page 1827 “Working with Step Sequencer clips” on page 1830 “Keyboard shortcuts” on page 1813 Working with Step Sequencer clips When you create a sequence in the Step Sequencer, SONAR creates a new Step Sequencer clip.
4. Specify the desired resolution value and click OK. Note: The resolution value should correspond to the shortest note value that you expect. For example, if you specify Sixteenth notes, you will get four steps per beat.
Event List view Open the Event List view by: • Selecting one or more tracks and choosing Views > Event List. • Right-clicking a track in the Clips pane and choosing Views > Event List. • Pressing ALT+8. The Events List view hides or displays all the events in a project in a list. To filter which events are shown in the Event List view, click Event List view View menu and select the desired event types.
Staff view Open the Staff view by any of these methods: • Use the Views > Staff View command. • Select Staff from the Clips pane right-click pop-up menu. • Press ALT+6. The Staff view displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work. The Staff view provides many features that make it possible for you to compose, edit, and print music.
Edit menu The Edit menu contains the following commands: • Layout. Open the Staff View Layout dialog box. • Quick TAB. Create tablature based on standard fingering patterns. After you try the quick version, you can customize the tablature to your liking. • Regenerate TAB. Generate a new TAB staff in the Staff pane. • Play Previous. Play the previous note from the Now time. • Play Next. Play the next note from the Now time. View menu The View menu contains the following commands: • Show/Hide Track Pane.
• Pedal. Use the Draw tool to insert Pedal events. Click below a staff to enter a pedal down marker and a pedal up marker. You can drag both markers to reposition them. • Cursor position. This field shows the cursor’s current position in both project time and pitch level. The pitch level is listed in both letter and number formats.
Console view The Console view contains all the controls you need to mix your project. Tracks, buses and mains appear as vertical channel strips, similar to a hardware mixing console. By default, the Console view is docked in the MultiDock, below the Track view. This allows you to simultaneously arrange in the Track view and mix in the Console view. Figure 502. The Console view B C A D E F A. Console view menu B. ProChannel (Producer only) C. Pane splitter bars D. Track channel strips E.
“The Console view interface” on page 1837 “Channel strips” on page 1839 “Modules” on page 1851 “Console view menu” on page 1857 “Customizing the Console view” on page 1859 “Using the Console view” on page 1862 The Console view interface The Console view contains the following main elements: • Menu. Use the menu to configure channel strips. You can filter the display of specific channel strip types and modules within channel strips.
Figure 503. The Console view B C A D E F A. Console view menu B. ProChannel (Producer only) C. Pane splitter bars D. Track channel strips E. Bus channel strips F.
Channel strips The Console view can show the following channel strip types: • Audio track. Use to control tracks that contain digital audio data, which is routed to your hardware audio interface. For details, see “Audio track controls” on page 1845. • MIDI track. Use to control tracks that contain MIDI data. MIDI tracks can control external MIDI devices or software instruments. For details, see “MIDI track controls” on page 1846. • Instrument track. Use to control software instruments.
To show/hide a channel strip type Click the Strips menu in the Console view and choose the desired channel strip type. Figure 505. Console view Strips menu. Channel strip controls The controls displayed in a channel strip vary according to the channel strip type. Channel strip controls are grouped into various modules that can be shown or hidden. The following modules and controls are available.
Audio MIDI track track Instrument Bus track Activates a send module, which sends a copy of the track signal to a bus. x x x Send Level Controls volume of audio data sent by the send module. x x x Send Pan x Adjusts the send pan setting. Note: The Send Pan control is not visible in narrow channel strips. x x Send Pre/ Post switch Sends the signal to the bus prior to the track’s volume fader; post means the Send signal goes to the bus after the volume fader.
Audio MIDI track track Instrument Bus track Module Control Description MSR Phase Invert A switch that inverts the phase of the track. x Note: The Phase Invert control is not visible in narrow channel strips. Mono/Stereo A switch that determines whether a track’s x signal enters an effect or chain of effects as mono or stereo, regardless of the nature of the track. Note: The Mono/Stereo control is not visible in narrow channel strips. Read Automation Enable/disable automation playback.
Module Control Description Volume Volume The current volume level for the track, ranging from -INF (silent) to +6 dB (maximum volume). The recording and playback levels are displayed in the Playback and Record meters. Link Main out faders can be linked using the Audio MIDI track track Instrument Bus track Main x x x x x x Link button . This allows you to adjust both the left and right channel at the same time.
Audio MIDI track track Instrument Bus track Main A name that you assign the track for easy reference. Note that if you do not assign a name to a track, the default name is the track number. This track number will change if you change the order of your tracks. You can click the Track Name control to select any available track, bus or main to display in the Track Inspector. x x x x x The colored WAI bar shows which tracks and/or buses are currently being controlled by a controller/surface.
Audio track controls Figure 506. Audio track controls in the Console view. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Phase Invert, Stereo Interleave, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
MIDI track controls Figure 507. MIDI track controls in the Console view. A B C D E F G H I J K A. Velocity trim B. Effects bin C. Channel/Bank/Patch D. Mute, Solo, Arm, Input Echo, Read Automation, Write Automation E. Pan F. Volume G. Meter H. Track icon I. Input and output J. Track name and number K.
Instrument track controls Figure 508. Instrument track controls in the Console view. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
Bus controls Figure 509. Bus controls in the Console view. A B C D E F G H I J K L A. Input gain and pan B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Bus Icon J. Output K. Bus name and letter L.
Main controls Figure 510. Main controls in the Console view. A B C D E F G A. Mute B. Link channels C. Volume D. Meter E. Icon F. Mains name G. WAI display Status indicators The Console view shows if a control is grouped with one or more other controls, armed for automation, and if automation exists for the control. Grouped control indicator Small color-coded squares are displayed when knobs, faders, or buttons are grouped. Figure 511. Grouped control indicator.
A red rectangle outlines any controls that are armed for automation writing. You can write enable the entire channel strip, or individual controls. Figure 512. Armed for automation indicator. For details, see “To arm a channel strip for automation writing” on page 1864. Automation present indicator A small automation icon appears next to any controls that have existing automation data. Figure 513. Automation present indicator.
“Main controls” on page 1849 “Console view menu” on page 1857 “The Console view interface” on page 1837 “Customizing the Console view” on page 1859 “Using the Console view” on page 1862 “Console view” on page 1836 Modules Channel strip controls are grouped into various modules that can be shown/hidden.
Input Gain module The Input Gain module lets you adjust the pre-volume input gain and pan (buses only). Figure 515. Input Gain module. Track A Bus A B A. Input gain/trim B. Input pan For information about using input gain, see “Adjusting volume trim” on page 225. ProChannel module (Producer only) The ProChannel module lets you apply compression, equalization, and tube saturation modeling to each audio track, Instrument track and bus. Figure 516. ProChannel module (Producer only). B C D E A F A.
For information about using the per-track Sonitus EQ in SONAR X2 Studio or Essential, see “Using the per-track EQ (Studio and Essential only)” on page 911. FX Bin module The FX Bin module let’s you insert real-time plug-in effects in tracks and buses. Figure 518. FX Bin module. A C B E D F A. Scroll up B. Scroll down C. Insert plug-in D. Enable/disable plug-in E. Plug-in name F. Effect output interleave indicator (mono, stereo or surround) .
MSR module The MSR module lets you set various track states, including mute, solo and arm for recording. Figure 520. MSR module. Audio track MIDI track and Bus A B C D E F G H E F C D G H Main E I E A. Mono/Stereo B. Phase Invert C. Read Automation D. Write Automation E. Mute F. Solo G. Arm for recording H. Input Echo I. Link left and right channel faders (mains only) For information about track states, see “Track-by-track playback” on page 195.
Volume module The Volume module lets you adjust the channel strip’s playback or monitoring level. The meter lets you monitor the channel strip’s playback or recording level. The peak meter value updates during playback to show the highest peak level reached. Figure 522. Volume module (also showing MSR and Pan Control modules). C A A B B Track/Bus Main A. Volume fader B. Peak value C.
Icon module The Icons module lets you assign a graphic icon to the channel strip. This makes it easy to identify tracks and buses visually. Figure 523. Icon module. A A. Track/bus icon For information about using track icons, see “Track icons” on page 322. In / Out module The In / Out module lets you assign an input and output to the channel strip. The Input device is used for recording and the Output device is used for playback. Figure 524. In / Out module. Track Bus A B B A. Input B.
Console view menu The menu across the top of the Console view lets you configure the appearance and behavior of the Console view. Figure 525. Console view menu. Modules menu The Modules menu contains the following commands: • Input Gain. Show/hide Input Gain and Trim controls. • ProChannel. Show/hide ProChannel (Producer only) • EQ Plot. Show/hide the EQ plot (Studio and Essential only) • FX Bin. Show/hide effects bins. • Sends / Bank / Patch. Show/hide Send, Bank and Patch controls. • MSR.
• Track Manager. Open the Track Manager dialog box. • Widen All Strips. Show wide channel strips. • Narrow All Strips. Show narrow channel strips. Track menu The Track menu contains the following commands: • Insert Audio Track. Insert a new audio track. • Insert MIDI Track. Insert a new MIDI track. • Insert Track from Template. Insert new tracks from a track template. • Make Instrument Track.
• Meters. Use the submenu to specify various options for track, bus and mains meters. The submenu contains the following options: • Track Record Meters. Show/hide track record meters. • Track Playback Meters. Show/hide track playback meters. • Bus Meters. Show/hide bus meters. • Mains Meters. Show/hide mains meters. • Reset All Meters. Clear any clipping indicators from all meters. • Record Meter Options.
• Show wide or narrow channel strips (see “To set the width of channel strips” on page 1860). • Resize the Track, Bus and Mains panes (see “To resize the Track, Bus and Mains panes” on page 1862). To show/hide specific channel strip types Click the Strips menu in the Console view and choose the desired channel strips.
Module Hidden controls in narrow channel strips Sends/Bank/Patch Send Pan MSR Phase Invert, Mono/Stereo Interleave, Read Automation and Write Automation Volume Table 273. dB scale HIdden channel strip controls in Narrow mode (Continued) Figure 527. You can show all or individual channel strips in Narrow mode in order to see more channel strips simultaneously.
To resize the Track, Bus and Mains panes Drag the vertical splitter bars to the left or right. The splitter bars snap to channel strip boundaries. Figure 528. Drag the vertical splitter bars to resize the Track, Bus and Mains panes. C A.
“To show which channel strips are controlled by a control surface” on page 1865 “To specify meter options” on page 1866 “To dock the Console view in the MultiDock” on page 1866 “To synchronize the Track view and Console view” on page 1867 “To group controls” on page 1867 “To temporarily override a group” on page 1867 “To link left and right faders in a Main channel strip” on page 1867 To insert a new track Right-click a track channel strip and choose Insert Audio Track or Insert MIDI Track on the pop-up me
Adjusting channel strip parameters To adjust Console view controls The Console view contains buttons, sliders, and knobs. Faders and knobs can be adjusted in several ways: • Click the center of a knob and drag up or down. • Point to a control and scroll the mouse wheel. • Double-click the center of a knob and type the desired value. • Double-click the value display below a volume fader and type the desired value. • Double-click the bottom of a knob to reset it to its snap-to position.
Figure 529. The Read Automation and Write Automation buttons indicate if the entire channel strip is affected, or only a subset of its controls. All controls Individual controls To insert a plug-in effect Do one of the following: • Click the Insert FX button in the FX Bin module and choose a plug-in on the pop-up menu. • Right-click the effects bin and choose a plug-in on the pop-up menu. To show which channel strips are controlled by a control surface 1.
To show/hide a channel strip type Click the Strips menu in the Console view and choose the desired channel strip type. Figure 531. Console view Strips menu. To show wide or narrow channel strips To set all channel strips to wide mode, click the Strips menu and choose Widen All Strips. To set all channel strips to narrow mode, click the Strips menu and choose Narrow All Strips.
To synchronize the Track view and Console view By default, the Track view and Console view show the same sets of tracks and buses. However, you can choose to show different sets of tracks and buses. To do so: 1. Click the Strips menu in the Console view and choose Track Manager to open the Track Manager dialog box. 2. Clear the Keep track/console visibility states in sync check box and click OK.
Video view Open the Video view by using the Views > Video command or by pressing ALT+SHIFT+2. In addition to the Video view, there is also a Video Thumbnails pane in the Track view (see “Using the Video Thumbnails pane” on page 242). The File > Import > Video command lets you include an AVI, MPEG, or QuickTime video in your project. This video is shown in the Video view in real time as your project plays. The Video view displays the current time (as in the Big Time view) and the video itself.
For step by step instructions: “Video playback, import, and export” on page 236 “To load a video file into a project” on page 237 “To delete the video from the project” on page 238 “To enable or disable video playback” on page 238 “To set the Time display format” on page 238 “To set the background color” on page 239 “To set the Start and Trim times” on page 240 See Also: “Optimizing video performance” on page 241 Tempo view Open the Tempo view by using the Views > Tempo command, or by pressing ALT+SHIFT+5.
Tool Name What It’s for Line Draw a straight line indicating a steady increase or decrease in tempo. Erase Eliminate tempo changes already in place for some portion of a project. Snap grid When the Snap to Grid button is depressed, any new tempo changes will only be entered as often as the duration value in the Control Bar’s Snap module. Table 274. If you make a mistake using any of these tools, you can use Undo to correct the error.
Meter/Key view Open the Meter/Key view by using the Views > Meter/Key command, or by pressing ALT+SHIFT+6. The Meter/Key view lets you enter meter and key changes on measure boundaries. Meter and key changes affect all tracks. The Meter/Key view lets you set and change the meter and key signature for any project or part of a project, over all its tracks. For more information, see “The Meter/Key view” on page 1108.
Big Time view Open the Big Time view by using the Views > Big Time command, or by pressing ALT+SHIFT+3. The Big Time view lets you see the “Now time” on page 1916 from a distance while recording. Clicking the time display changes the units of time that the time display uses—the choices are MBT time and SMPTE. Loop Construction view Figure 532. The Loop Construction view D E F G H I J K L A B M N O C A. Menu B. Preview loop C. Audio scale (drag to zoom vertically) D. Loop on/off E. Resolution F.
• Loop On/Off. Groove Clip enable/disable. When enabled, loop clips in the Track view by dragging the right side of a clip with your mouse. When disabled, you are able to slip-edit the clip. • Stretch On/Off. Instructs SONAR to stretch or shrink the clip to fit the project’s tempo. The Beats in Clip and Original BPM parameters are in the Clip Inspector and Loop Properties dialog box are used to make the change. • Loop Properties. Opens the Loop Properties dialog box.
• 1/4 Note • 1/8 Note • 1/16 Note • 1/32 Note The automatic markers appear at the note resolutions according to the Resolution setting. At the eighth note setting, there are eight markers per measure. This control works well for slicing audio that has more subtle changes in volume with few dramatic transients. The markers in a loop clip preserve the timing of the audio at that moment. Too few or too many markers can cause unwanted “artifacts” when a loop clip is stretched. • Threshold.
Slicing markers There are two types of slicing markers in the Loop Construction view: automatic and manual. Automatic markers appear in red and are automatically generated by SONAR when you loop enable a clip. The one exception to this is if you import an ACIDized wave file into SONAR. ACIDized files always appear with manual slicing markers. Manual markers appear in purple. If you add a marker or move an automatic marker, it turns purple to show you that it has been edited.
• Zoom Factor. Shows audio scaling by a factor. For example, if the Zoom Factor reads 10, then the waveform is zoomed in by a factor of 10.
The Matrix view can be used as a stand-alone pattern trigger, or it can be synchronized with your project during playback. There are many uses for the Matrix view, including: • Experiment with different arrangements or combinations of loops, then record the performance into the Clips pane. • Trigger any combination of loops in real-time Figure 535.
Matrix view user interface Figure 536. The Matrix view B A C D A. Rows B. Toolbar C. Cells D. Columns The Matrix view consists of four sections: • Toolbar. The toolbar contains controls that let you specify how patterns are triggered. For details, see “Toolbar” on page 1879. • Rows. Each row is assigned to a track and can play one pattern at a time. A row can be routed to any track in your project. For details, see “Rows” on page 1881. • Columns. Each column contains one cell for each row.
Toolbar Figure 537. Matrix view toolbar A B C D E F G H I J A. Stop All Cells B. Capture Matrix Performance (arm Matrix for recording) C. Follow Transport D. Global Trigger Resolution E. Global Loop Mode F. Global Latch Mode G. Retrigger Mode H. Cell Start I. Cell MIDI Trigger J. Options The Matrix view toolbar contains the following controls: • Stop All Cells . When the Stop All Cells button is enabled, all playing cells stop.
• Global Loop Mode / . This toggle lets you specify if a triggered cell should repeat indefinitely, or stop when it reaches the end. When Loop is enabled indefinitely. When Global Loop Mode is disabled This option is enabled by default. , a triggered cell loops , a triggered cell plays once then stops. • Global Latch Mode / . This toggle lets you specify if a triggered cell should stop or keep playing after you release the mouse button or MIDI key.
• Options . Click the Options button to open the Matrix Options dialog box. The following options are available: • Empty cells stop active cells when triggered. This option determines how playing cells are affected when triggering an empty cell in the same row. If Empty cells stop active cells when triggered is disabled (default), triggering an empty cell has no effect on other cells.
A row contains the following controls: • Row number . Sequential number to identify each row. / . The icon indicates if the row contains audio data or MIDI data . • Data type icon Rows that are assigned to audio tracks can only contain cells with audio data. Likewise, rows that are routed to MIDI or Instrument tracks can only contain cells with MIDI data. The Audio or MIDI identity of a row is established when the first pattern is dragged into the row. • Direct Mode (MIDI rows only) .
See: “To assign multiple patterns to subsequent rows” on page 1889 “To mute/unmute a row” on page 1897 “To solo/unsolo a row” on page 1897 “To reassign a row to a different track” on page 1898 Columns Figure 540. Matrix view columns A B C D A. Column 1 trigger B. Column 1 C. Column 2 trigger D. Column 2 A column is a vertical collection of cells, with one cell per row. Above each column is a Column Trigger, which lets you simultaneously trigger all cells in a column.
• MIDI Learn. Use this command to assign a MIDI event to a Column Trigger, which allows you to trigger all cells in the column via MIDI remote control. The MIDI Learn command shows an orange outline around the Column Trigger if it is already in MIDI Learn mode, and shows a small MIDI icon if there is already a MIDI event assigned to the Column Trigger. • Clear MIDI Learn. Use this command to remove any MIDI assignment from the Column Trigger. The column will no longer be triggered via MIDI remote control.
Figure 542. Matrix view cell A B C D E F G A. MIDI Learn indicator B. Trigger area C. Cell name D. Progress indicator E. Loop mode F. Latch mode G. Trigger mode (blank if Follow Global is enabled) • Cell name. The name of the cell. By default, a cell displays the name of the assigned pattern, but the cell can be renamed. For details, see “To rename a cell” on page 1898. • Progress indicator.
• Trigger Resolution. By default, a cell follows the Global Trigger Resolution, as specified in the Matrix view toolbar. You can also assign a custom trigger resolution to each cell, instead of following the global trigger resolution. For details, see “To use a per-cell trigger resolution” on page 1892. Figure 543. Per-cell trigger resolution Follow Global Trigger Resolution A Per-cell Trigger Resolution B A. Follow Global Trigger Resolution (no resolution is displayed) B.
In addition to a mouse, you can use the computer keyboard to navigate between cells: • Use the ARROW keys to move focus to another cell that contains data. • Press ENTER to trigger the cell that has focus. • Press DELETE to clear the cell that has focus.
“To start a pattern from its beginning” on page 1890 “To synchronize a pattern with the project’s Now time” on page 1891 “To synchronize the Matrix with SONAR’s transport” on page 1891 “To trigger a cell” on page 1891 “To use a per-cell trigger resolution” on page 1892 “To trigger all cells in a column simultaneously” on page 1893 “To trigger a cell or column via MIDI remote control” on page 1894 “To disable MIDI remote control” on page 1894 “To clear MIDI event assignments” on page 1894 “To retrigger a pla
To assign a pattern to a cell You can drag audio, MIDI Groove Clips, Step Sequencer patterns and Project5 patterns from the Media Browser view or from the Clips pane into the Matrix view. Do one of the following: • To assign a pattern to a cell in an existing row. Do one of the following: • Drag a pattern to the desired cell in an existing row. • Right-click a cell and select Import File on the context menu. • To assign a pattern to a cell in an empty row.
To assign multiple patterns to subsequent columns 1. Select multiple patterns in the Media Browser view or the Clips pane. 2. Hold down the SHIFT key and drag the selected patterns to the desired target cell. The first pattern is assigned to the target cell, and any additional patterns are assigned to subsequent columns the right of the target cell. To remove a pattern from a cell • Do one of the following: • Click the cell then press the DELETE key.
To configure a cell as “one-shot” • Right-click the cell and select One-Shot Trigger on the context menu. The Loop Mode and Latch Mode buttons in the cell are hidden. When One-Shot Trigger mode is enabled, loop and latch settings are ignored, and the cell only plays one repetition from beginning to end. To disable One-Shot Trigger mode, right-click the cell and select One-Shot Trigger on the context menu.
During playback, the cell displays a “play” icon and a circular progress indicator to show the position of the loop as it is playing. Patterns repeat themselves until you stop playback or until another pattern in the same row starts to play (non-looped content play as one-shots, meaning the patterns play only once). Note 1: Only one cell per row can be triggered at a time. You can trigger multiple cells simultaneously as long as they are located in different rows.
2. Do one of the following: • Click the desired cell’s trigger area. • Use the ARROW keys on your computer keyboard to navigate to the desired cell, then press ENTER. • If the cell has been assigned to a MIDI event, press the appropriate key, pad or button on your MIDI controller. For details, see “To trigger a cell or column via MIDI remote control” on page 1894. • After the cell has been triggered, the cell blinks until the cell’s assigned trigger resolution is reached, at which time playback starts.
To trigger a cell or column via MIDI remote control You can trigger a cell or column via MIDI remote control, but you must first specify the MIDI message that should trigger the cell or column. 1. Right-click the cell or Column Trigger that you would like to trigger via MIDI remote control, and select MIDI Learn from the pop-up menu. The cell has an orange outline. The next MIDI event the Matrix receives will be assigned to all cells that are in MIDI Learn mode.
• To clear MIDI assignments for a single cell. Right-click the desired cell and select Clear MIDI Learn on the pop-up menu. • To clear MIDI assignments for a single Column Trigger. Right-click the desired cell and select Clear MIDI Learn on the pop-up menu. • To clear MIDI assignments for all cells and Column Triggers. Click the arrow next to the Stop All Cells button the drop-down menu. in the Matrix view toolbar and select Clear All MIDI Learn from To retrigger a playing cell 1.
To duplicate an existing column • Right-click a column header and select Duplicate Column on the context menu. A copy of the clicked column is created. To rename a column header 1. Right-click a column header and select Rename Column on the context menu. The Rename Column dialog box appears. 2. Type the desired name and click OK. The name is displayed in the column header. To stop playing all cells • Click the Stop All Cells button in the Matrix view toolbar.
To mute/unmute a row • Click the row’s Mute button . A A. Click the row’s Mute button to mute/unmute a row To solo/unsolo a row • Click the row’s Solo button . A A. Click the row’s Solo button to solo/unsolo a row To route a MIDI row directly to a soft synth or hardware output • Click the row’s Direct Mode button . Doing so will bypass the assigned track’s MIDI processing, such as MIDI FX, Arpeggiator, volume, etc., and send the row directly to the assigned soft synth or hardware output. A A.
To reassign a row to a different track • Click the arrow next to the track name and select a track from the drop-down menu. Rows that contain audio patterns can be assigned to any available audio track, and rows that contain MIDI patterns can be assigned to MIDI tracks. A A. Click arrow to reassign a row to a different track To rename a cell 1. Right-click a cell and select Rename Cell from the pop-up menu. The Rename Cell dialog box appears. 2. Type a new name and click OK.
5. Press Play in SONAR to start playback. As cells are triggered in the Matrix view, the Clips pane displays corresponding preview clips. If SONAR’s transport is looping, captured Matrix performance data will overwrite itself. 6. When you want to stop recording, press Stop in SONAR or press the SPACEBAR key. SONAR records the output of all unmuted rows to their respective target tracks. The new clips inherit their colors from the triggered cells.
Matrix view shortcuts Shortcut Focus in cell Focus in header ENTER Trigger cell Trigger header HOME Go to first occupied cell on the current row. Go to first column trigger END Go to last occupied cell on the current row. Go to last column trigger CTRL+DOWN ARROW --- Move focus to the cells at the same column on the last focused row if possible, otherwise tries to find nearest row CTRL +UP ARROW Move focus to the column buttons at the same column.
Play List view Open the Play List view by using the File > New command to open the New Project dialog box, and choosing Play List set from the list of files (it’s near the top of the list). This view lets you set up a series of songs to play sequentially. The Play List view lets you create, edit, and save a play list (or set) of up to 128 SONAR projects. Once you’ve created the list, you can play back the entire sequence automatically.
Surround panner The large surround panner has the following controls: • Angle and Focus marker. A small sphere that you can drag in any direction to both control and display the following two parameters: • Angle. This is the perceived angle of the sound source as it differs from the position directly in front of the listener. The scale is 0 to 180 degrees on the listener’s right, and 0 to -180 degrees on the listener’s left.
Figure 545. Large Surround Panner A C B A. Angle and focus marker B. Width markers C. Right speaker icon For more information about surround mixing, see “Surround Mixing (Producer and Studio only)” on page 939.
View reference Surround panner
Glossary “Aftertouch” on page 1909 “AIFF” on page 1909 “Archive” on page 1909 “Arm” on page 1909 “Audio clip” on page 1909 “Audio track” on page 1909 “Audition” on page 1909 “Automation” on page 1910 “Bank” on page 1910 “Bit depth” on page 1910 “Broadcast wave” on page 1910 “Bundle file” on page 1910 “Cakewalk Application Language (CAL)” on page 1910 “Channel” on page 1910 “Channel aftertouch (ChanAft)” on page 1910 “Chord” on page 1910 “Chord symbol” on page 1910 “Clip” on page 1911 “Clone” on page 1911 “
“Decrescendo” on page 1911 “Digital audio” on page 1911 “DMA” on page 1911 “DRM (Dump Request Macro)” on page 1912 “Duration” on page 1912 “Echo” on page 1912 “Effects (audio effects)” on page 1912 “Envelopes” on page 1912 “Event” on page 1912 “Expression” on page 1912 “Expression marks” on page 1912 “Fade” on page 1912 “Fade-in” on page 1912 “Fade-out” on page 1912 “Frame” on page 1913 “Frame rate” on page 1913 “From time” on page 1913 “Full-duplex” on page 1913 “Groove clip” on page 1913 “Groove pattern”
“Live mode” on page 1914 “Locked (SMPTE) time” on page 1914 “Looping” on page 1915 “Loops” on page 1915 “Lyrics” on page 1915 “Marker” on page 1915 “MBT” on page 1915 “MCI command (Media Control Interface command)” on page 1915 “Meter” on page 1915 “Metronome” on page 1915 “MIDI” on page 1915 “Mixdown” on page 1915 “MMC (MIDI Machine Control)” on page 1915 “MME” on page 1916 “MTC Sync” on page 1916 “Mute” on page 1916 “Normal template” on page 1916 “Now time” on page 1916 “NRPN” on page 1916 “Offline” on pa
“Quantize resolution” on page 1917 “Quantize strength” on page 1918 “Record” on page 1918 “RIFF wave” on page 1918 “RMS” on page 1918 “RPN” on page 1918 “Ruler” on page 1918 “Sampling rate” on page 1918 “Screenset” on page 1918 “Scrub” on page 1918 “Sensitivity (window)” on page 1918 “Shape” on page 1918 “Size” on page 1918 “Slip editing” on page 1919 “SMPTE” on page 1919 “Snapshot” on page 1919 “Solo” on page 1919 “Split point” on page 1919 “Staff” on page 1919 “Striping” on page 1919 “Submix” on page 1919
“Track” on page 1921 “Transients” on page 1921 “Vector” on page 1921 “Velocity” on page 1921 “Volume” on page 1921 “WASAPI” on page 1921 “WDM” on page 1921 “Widget” on page 1921 “Wipe” on page 1921 “xRPN” on page 1921 Aftertouch MIDI property controlling how much pressure is applied after sending a Note On message. See “Channel aftertouch (ChanAft)” on page 1910 and “Key aftertouch (KeyAft)” on page 1914. AIFF Short for Audio Interchange File Format, the audio file format on the Macintosh platform.
Automation Ability to change controllable parameters over the length of a track. This is achieved by referencing “snapshots” or “nodes” assigned to specific parameter values in relation to their position on the timeline and is achieved with envelopes. See “Quick automation guide” on page 1003. Bank A means of categorizing sounds. A “bank” can store up to 128 “patches”. Bit depth The amount of data allocated to reproducing a sound wave of digital audio file.
Clip A reference to a portion or entire audio or MIDI file stored on your computer. Clips can be edited, moved, linked, copied etc. as a means of creating your project. Clone A command that allows you to copy a track along with its properties. You can choose to copy the clips or events or both. You can choose the destination track for the copy. Controllers Pedals, knobs, and wheels on your electronic instrument that you can use to change the sound while you're playing.
DRM (Dump Request Macro) Utility for getting synthesizer data into a bank. Duration In SONAR’s Step Record dialog box, duration means the actual length of time that a note sounds, as opposed to the notated value of the note, which could be different. If you check the Follow Step Size option in the dialog box, the notated value and the duration are the same. Echo Enables real-time monitoring of the associated track's inputs through the outputs of your sound device.
Frame One of the many single photographic images in a motion picture or video. It is the smallest unit used for SMPTE synchronization. See “SMPTE/MIDI time code synchronization” on page 1162. Frame rate Indicates the number of frames displayed per second. From time The beginning of a selection. Set it in the Control Bar’s Select module. See “Now time” on page 1916. Full-duplex The ability to stream data in two directions simultaneously.
Input The selection for which channel of a device you want to receive signal from. See “Choosing an input” on page 261. Input monitoring Hearing real-time playback of a track's input as it is being sent to, or recorded, in SONAR. You can enable input monitoring with a track’s Input Echo button. Inspector menu (same as context menu) Menu appropriate for a particular location or item. Display a context menu by right-clicking on the location or item.
Looping Repetition of a part of the whole piece of music. Loops Small pieces of audio data, suitable for being repeated back to back, such as a single drum beat or measure. Lyrics Words to go along with music. See “Working with lyrics” on page 1112. Marker Flag marking a specific time in the music. MBT Short for Measure, Beat and Tick number which is the time format used for beats. 9:04:0060 is the 60th tick of the fourth beat of the ninth measure.
MME Multi Media Extensions—the name of Windows’ built-in audio and multmedia software that was originally developed for Windows 3.0, and is still used by many sound card drivers. WDM drivers offer much better performance. MTC Sync MIDI Time Code sync. Messages are received in SMPTE/MTC format from an external MIDI device and generate MTC. See “SMPTE” on page 1919. Mute Silences a track to not be heard during playback or recording.
Pedal mark Expression mark indicating when the player should hold down the pedal and release it. Phase Frequency dependent time delay. All frequencies experience phase, but as a whole this is not noticeable as they are affected uniformly. If frequencies fall out of phase, however, they interfere with each other constructively or destructively. This can be measured by calculating the period length, as well as amplitude and magnitude values of a recorded wave form.
Quantize strength Measure of how close you want quantized notes to be in relation to the quantize resolution. See “To use the Groove Quantize command” on page 723 Record To capture audio to a digital audio file or store incoming MIDI data in a MIDI track. RIFF wave The standard digital audio format used under Windows and for CD’s, with a file extension of .wav. RMS Short for Root Mean Square. A method of measuring an average of the amplitudes that occur in a complete cycle of a frequency.
Slip editing Non-destructive editing process that allows the start and/or end time of an audio or MIDI clip to be trimmed by simply dragging the front or back end of the clip. SMPTE Society of Motion Picture and Television Engineers. SMPTE format measures time in hours, minutes, seconds, and frames. Snapshot Collection of automation settings that become active at a specific time. When the Now Time reaches that time, all of those particular settings take effect.
hold is limited only by available memory. The banks are saved in the Cakewalk song file. Each bank can also be saved as a .syx file in the format used by the public domain MIDIEX utility. Take A single pass of recording a part or a song. Multiple “takes” are often used in the studio as a means of editing the best of each take for the final production. Template A file which stores specific project layouts, such as numbers of tracks and/or plug-in assignments, but does not store any audio or MIDI data.
Track Cakewalk's representation of one or more lines of music with shared properties, for example, music played by one instrument. Transients Peaks of loudness in an audio clip. Used to determine where the beats lie in audio clips. Vector The graph of the change of a parameter’s value. In audio programs, some parameters can be changed by drawing vectors; means the same as drawing “Envelopes” on page 1912. Velocity A measurement taken when recording MIDI note events of how fast a key is struck.
Glossary
Index Symbols .clr 95 .cwb files 307 .cwp files 73 .cwt files 1064 .cwx file extension 322 .mid files 307 .syx files 1139 .
Arpeggiator 269 controls 270 enable/disable 272 how to use 272 using patterns and presets 272 ASCII TAB exporting to 1101 saving as 1101 ASIO drivers enabling 1192 Audible Bounce 924 Audio 1549 auditioning with scrub tool 788 basic editing 781 connecting instruments to sound card 1556 digital 58, 774 distortion 275 effects 797 exporting 926 finding missing 247 importing 301, 303 metronome 253 mixing 841 playback troubleshooting 1550 plug-ins 797 recording See Recording audio routing 841 scrubbing 788 under
Audio processing playing backward 791 removing silence 792–793 See also Volume Audio scaling 782 Loop Construction view 655, 1875 Audio Snap See AudioSnap Audio Track inserting 1434 Audio tracks parameters 205 AudioSnap adding automation 642 adding markers at Pool lines 638 algorithms and rendering 646 enabling 605 groove quantizing audio 645 iZotope Radius algorithms 646 quantizing to Pool 645 Audition 376 Auto arming 264 Auto punch 261 See also Punch recording Auto save changing settings 308 Auto save, se
Bounce Fast Bounce mix option 923 real-time 923 audible 924 Bounce to Clip(s) 787 Bounce to Track(s) combining tracks using 788 Bounce to Track(s) dialog 1576 Bounce to tracks how to 921 Bouncing tracks 921 takes too long 1265 Broadcast wave files description of 929 how to export 925, 927 Browser 559 media 563 plug-in 574 synth rack 581 Bundle files 64-bit CWB files 258 creating 1173 opening 1173 unpacking 1173 Burn audio CDs 937 Burning a CD 925 Bus choosing a default bus for inserted tracks 318 Bus pane d
Chords 744, 1090–1093 editing from the fretboard 1101 properties of 1090 Clean Audio Folder 1179, 1449 Clear All 1024 Clip groups 345 Clip Inspector 523 Clip lock 343 Clip muting 375 Clip Properties Inspector 546 Clip soloing 375, 376 Clips 73 arranging 325–340, 354 arranging audio 773 audio 780 changing colors of 331 choosing a specific length 338 combining 365–366, 787 copying 335 copying using copy and paste 339 copying using drag and drop 339 crossfading 796 cutting and pasting 337 defined 1553 deleting
Console view adjusting knobs in 832 automating controls in 1009 choosing inputs in 262, 263 linking controls in 914–917 overview 81 Consolidate Project Audio 1448 Content location presets 571 Contollers pane 679, 1802 Control Bar 495 ACT module 511 dock/undock 498 Event Inspector module 519 Loop module 507 Markers module 518 Mix module 509 modules 496 Performance module 514 Punch module 516 Screenset module 512 Select module 517 Sync module 520 Tools module 498 Transport module 504 Control event 743 Control
Current track MIDI echo turning off 230 Curves types in fades and crossfades 395 Cut dialog 1587 Cycle 774 Cycles per second 774 Cyclone editing loops in 1405 Key Map view 1399 keyboard shortcuts in 1406 loading loops in 1401 Loop bin 1399 Loop view 1399 Pad Editor 1400 pad groups 1397 Pad Inspector 1398 Slice Inspector 1400 toolbar 1396 using 1401 Cyclone Soft Synth 1395 D D/A 1549 Data sysx 1139–1152 dB audio scaling by 655, 783 DC offset removing 794 Decibel scale 779–780 Decrescendos 717 creating using
Drag and Drop 363 Drivers MIDI 1544 using ASIO 1192 Dropout indicator 1194 Dropouts fixing 1197 Drum editing 759 E Echo adding 751 eliminating during recording 1259 Echoing MIDI 1543 Edit Config File 1662 Edit tool 437 Drum Grid pane 771 Edit-Apply Trimming 1511 changing grid line display in 771 displaying tracks in 766 displaying velocity tails in 767 editing note velocities in 767 Drum machines 1161 Drum Map Manager opening 760 working in 762 Drum Map Manager 760 Drum maps assigning a MIDI track to 76
Edit-Split 1421 Edit-Undo 260, 321, 1414 Effect chains 882 Effect chains See Effects Chain presets Effects adding 222 adding in the Track view 381 adding to clips in real time 870 audio 797 automating 1036 CPU usage of 913 increasing number of 1190 MIDI 749 mono/stereo/surround indicator 865 presets 866 real-time audio 862 relinking surround parameters 959 unlinking surround parameters 959 Effects bin global bypass 869 mono/stereo/surround indicator 865 Effects Chain presets 579 Effects tail defined 797 Eff
stretch using percentages 715 stretching and shrinking 714 transposing selected 710 xRPN 735 Exclusive Solo mode 201 Export Audio dialog 1597 Export Broadcast Waves By Default 1682 Export OMF dialog 1604 Exporting audio 925, 926, 927 encoding options 932 MP3s 930 projects as OMF files 935 Windows Media Format files 929 Exporting key bindings 1069 Exporting MIDI Groove clips 670 Exporting surround mixes 962 Exporting video 240 Expression event 744 Expression marks 744, 1093–1094 editing 1094 External Insert
bundle, creating 1173 CAL 1248–1250 digital audio 1182 GM 1284 groove 724 GS 1284 importing MIDI 306 instrument definitions 1121–1135 managing audio 1171 MIDI 233, 1281 project 233 RIFF MIDI 1282 sequencing, for playback 233 song 1284 statistics 311, 1609 StudioWare 74 SYSX.
saving and backing up presets 1219, 1230 Trigger Value 1228 Generic controller/surface property page 1221 Generic controller/surfaces dialog explained 1226 Generic controllers/surfaces working with 1221 Ghost strokes 1105 Global Audio Folder 1174, 1681 Global Audio folder changing 1174 Global effects bypass 869 Global Options autosave 308 GM 1237, 1284 Go dialog 1613 Go menu Next Marker 361 Previous Marker 361 Gridlines, displaying 354 Groove Quantize correcting a bad verse with 726 Grooves See Groove Patt
I Icons for soft synths 810 track icons 322 Importing audio files 301, 303 from a Cakewalk project 303–306 music 301–310 preview bus 302 Importing different sampling rates 1184 Importing key bindings 1069 Importing MIDI Groove clips 670 Importing OMF 304 Importing surround mixes 961 Initialization files 1288 Inline Piano Roll view 705 auditioning and selecting notes 707 zooming 706 Input 211 Input Echo button 229 Input filtering 300 Input levels checking 275 Input monitoring 278 disable during playback 282
Interface picture and description 900 Interleave indicator effects bins 865 Interpolate 227, 737 Interpolate, see Find/Change Interrupt request (IRQ) settings 71 Isolating 376 J Joystick support 954 Jump 1025 K Key 1109 adjusting 226 aftertouch 735 signature 252, 1109 Key bindings 1066 creating using MIDI keyboard 1068 exporting 1069 importing 1069 Key+ 211 KeyAft event 743 Keyboard connecting MIDI 64 connecting to computer 62 editing with 399 Local Control setting 232 parameters 744 patches 220–221 recor
Looping delays 228 enabling loops for 658 setting up 189 using punch-in while 290 Loops 651 ACIDized 659 converting to Groove clips 661 creating repetitions of 658 enabling looping of 658 working with 658 Lyric event 744 Lyrics 1112–1115 hyphenating 1115 in Lyrics View 1114–1115 in Staff View 1113–1114 Lyrics view 85 adding lyrics in 1113 editing lyrics in 1113 syllable 1114 M Magnetic snap 355 MAJOR CHORD.
Meters changing color and segmentation option 851 configuring display of 851 improving performance 854 MIDI activity indicators 855 MIDI velocity meters 855 playback and record 833 segmented 853 Metronome 253 audio 253 changing settings 255 setting for new project 254 setting the 253–256 using 253 Microphone connecting 62, 1278, 1559 Microscope Mode 702 adjust microscope size 704, 1730 configure options 704 enable/disable 703 enable/disable time magnification 704, 1731 using 703 Microsoft Sound Recorder 155
MIDI data applying an event filter to 753 applying echo/delay to 752 applying the arpeggiator to 754 quantizing 751 MIDI data lanes 696 assign event type to 698 copy events between lanes 698 create a new lane 697 delete a lane 697 move events between lanes 699 working with 697 MIDI definition 1542 MIDI drivers changing 73 MIDI echo controlling 229 Input Echo button 229 multi-channels on one track 231 turning on or off for all tracks 231 MIDI effects 749 presets 750 MIDI equipment, connecting 1274 MIDI File
Mono/Stereo buttons 203 Most Recently Used menu presets 866 Mouse wheel 81, 153, 831, 911, 1836, 1838, 1849, 1850, 1852, 1853, 1854, 1855, 1856, 1862 zooming with 330 Move tool 433 MP3 files, creating and exporting 930 MPEG Video, importing 236 MRU menu presets 866 MTC sending and receiving 1162 Multi-channel MIDI recording 299 MultiDock 1046 Multi-MIDI input 229 Multi-port soft synths 814 multi-timbral definition 1542 Musical Editing rests 1086 MusicXML exporting to 1107 Mute button showing automated mute
selecting 685, 1080 selecting all of certain pitches 685, 686 selecting in Piano Roll view 684 size of 722 splitting 1249 stuck 188, 228 transposing 226 using enharmonic spellings 1087–1089 Now time 93, 178, 183 changing 179 keyboard shortcuts 182 large print 182 rewind on stop 181 NRPN (Non-Registered Parameter Number) 739, 740, 743 assigning, to instruments 1132 event 743 Nudge 350 moving clips left or right 350 moving clips up or down 350 settings 350 numeric peak values showing 856 O Offset mode 1031 O
event 743 names 1129–1130 numbers 735 Patch Browser dialog 1644 Patch/Controller Searchback Before Play Starts 228 Patches downloading 1251 Pattern tools 454 Pattern-based Step Recording 298 Patterns importing from Project5 672 Pause key 1196 PDC override 282 Peak limiter 977 Peak Markers 856 clearing from a track 856 Pedal events 1090 editing 1096 parameters 1095 Pedal marks adding 1095 Percentage audio scaling by 655, 783 Percussion channel 227 ghost strokes 1105 line 1103–1105 staff 1103–1105 Percussion
Pitch wheel 741 polyphony 1542 events, thinning 1250 parameters 743 Play List 233, 235 Port Address settings 71 Ports assign different input ports to multiple audio tracks 218 assign same input port to multiple audio tracks 217 assign same output port to all buses 218 assign same output port to multiple audio tracks 218 assigning instruments to 1119–1120 Pow-r dithering 936 to play files from 235 Play List view 1901 Playback 1182–1183 allow playback with no data 187 audio drop-out during 1189 controllin
Process-Audio-Crossfade 1439 creating a destructive crossfade using 796 Process-Audio-Fade/Envelope 1439 creating a destructive fade using 795 Process-Audio-Normalize 1438 Process-Audio-Remove Silence 1437 Process-Audio-Reverse 1440 Process-Deglitch 1445 filtering MIDI data with 1085 Process-Find/Change 737 Process-Fit Improvisation 382, 726–727 Process-Fit Improvisation 1446 Process-Fit to Time 714 Process-Fit to Time 382, 1445 Process-Groove Quantize using 723 Process-Groove Quantize 1441 Process-Interpol
Properties Inspector bus properties 556 clip properties 546 overview 544 track properties 553 Publisher 172, 938 Punch recording 192, 288 looping 290 using 288 Q QuadCurve Equalizer 981 Quantize effect 750 offset option 722 synchronizing rhythm and solo tracks with 726 using 722 Window setting 721 Quantize 718, 719, 1085 Quantizing input quantizing 267 Queue buffers 1193 Quick freeze 858 Quick Groups 917 Quick TAB creating 1099 Quick unfreeze 858 QuickTime video, importing 236 R Radio tuner connecting to
Recording Options create new lane on overlap 1692 Redo 390 Relink surround effect 959 Reload Config Settings 1662 Remote control 919 Remove Silence Attack time 792 Remove Silence 792 assigning, to instruments 1132 S Sample rate definition 778 setting 256, 257 Sample rates 1184 Resolution, quantizing parameter 719 converting 1184 setting for new projects 1184 Sampling rate setting 257 Sampling rates importing audio at different rates 1184 Sampling resolution 779 Rests, beaming of 1086 Save options 307
revert to last saved state 1058 select 1056 using 1054 Screensets 1054 Scroll Lock key 1196 limit number of inputs 873 Signal flow diagram 839 Silence removing 792–793 Silencing tracks 198 Scrub tool 464, 788 Sine tool 454 auditioning with 781 Select All Siblings 363, 364 Slaving to SMPTE/MTC 1164 Select by Filter 734 Slide dialog 1754 Select by Filter 734, 736–737 Slip editing 392 Select by Time 352 to permanently delete slip-edited data 394 using 392 Slip-editing multiple clips 394 Smart Grid 3
Soft synth MIDI output enabling and recording 820 Soft synth property pages opening from minimized tracks 809 Soft synth property pages (interfaces) how to open 809 Soft synths 810 converting soft synth tracks to audio 815 drawing automation in the Clips pane 819 icons 810 MIDI output support 820 multi-port 814 muting and soloing 813 removing from a project 812 soft synths recording output 815 Software synthesizers and WDM drivers 810 playing a soft synth 810 recording a hardware-emulating synth 827 removin
beats per measure 1806 clear all steps 1820 clips 1829 Controllers pane 1812 convert MIDI clip to step sequencer clip 1830 duration 1809 edit drum map properties 1829 Entry mode 1807 Fit to Quarters 1807 flam 1809 interface 1804 keyboard shortcuts 1813 Notes pane 1811 open 1814 patterns adjust length 1806 create 1827 edit 1827 load 1828 preview 1828 save 1828 step record 1828 position indicator 1807 Preserve Pattern for Step Sizes 1807 rows 1808, 1811 cut, copy and paste 1819 delete 1816 insert 1815 rename
StudioWare panels devices supported by 1237 drawing speed 1246 MIDI data in 1244 See also StudioWare Controls; Widgets Surround effects 957 Surround front/rear balance slider 950 Surround Main 944 Surround mixes exporting 962 importing 961 Surround mixing 939 Surround panner controls grouping 952 Surround panning 948 automating 954 SurroundBridge 957 Swing 720, 722 Synchronization 1153–1168 problems 1182–1183 SMPTE/MTC sync 1162 types of 1154 Synth Rack automating controls 818 hiding or showing control knob
exporting as an ASCII text file 1101 generating 1099 Quick TAB 1099 regenerating 1099 saving as an ASCII text file 1101 settings 1097 Take lanes 367 controls 368 using 370 Take management 367 Templates 1063, 1064–1066 creating 1065 track templates 321 Tempo changing 382, 383, 718 correcting 726 decreasing steadily 387 drawing tempo changes 386 editing a change 389 erasing changes 388 error 727 increasing steadily 387 inserting a change 384, 387 inserting a series 384 modifying the most recent change 385 set
Tips--24-bit 1196 Track Inspector 523 Tools 407 controls 532 lock to a specific track/bus 531 overview 529 Track inspector 1796 Track menu Clone 1510 Delete 1510 Hide 1510 Sort 316 Track name 206, 210 edit 437 erase 456 freehand 448 how to perform common tasks 473 HUD 413 keyboard shortcuts 414 line 451 mouse cursors 469 move 433 mute 460 patterns 454 random 454 saw 454 scrub 464 select 429 select event type to edit 416 selecting 410 sine 454 smart 422 split 445 square 454 timing 442 triangle 454 zoom 4
audio track definition 1552 bouncing 921 changing the order of 316 changing velocity of copying 314 copying or cloning 320 correcting off-tempo 726 defined 1552 deleting 314 dragging to a new position 316 erasing 321 increasing number of 833, 1190 inserting blank 318 inserting single or multiple 318 maximum number of audio 1189 MIDI definition 1545 mixing 1190 multi-lane 367 muting 198, 840 output devices of 214–216 parameters of 210–214 patch change in 220–221 percussion 1103–1105 recording in separate 299
Tutorial 1 Creating, playing, and saving projects 101 Tutorial 2 Using the Media Browser 115 Tutorial 3 Recording vocals and musical instruments 121 Tutorial 4 Playing and recording software instruments 125 Tutorial 5 Working with Music Notation 133 Tutorial 6 Editing your music 143 Tutorial 7 Mixing and adding effects 149 Tutorial 8 Working with video 159 Tutorial 9 Exporting, CD burning and sharing 169 Twitter 176 U Unarchiving tracks 198 Undo 390 Undo History 390 Undo History dialog 1766 Unfreeze 858 Un
locking 1052 Loop Construction 652 Lyrics 85, 1071, 1114 Markers 85 Matrix view 1876 Meter/Key 85, 1071, 1108–1111 Piano Roll view 1798 PianoRoll 677, 1423 Play List 233 Play List view 1901 Staff 1072 Synth Rack 800 Sysx 85, 1141 Tempo 85 Track view 1790 using multiple instances 1052 Video 236 Vocal track removing 790 Volume adjusting 223 changing audio data 796 faders 914 recording 275 setting 840 track settings 210 V-Remastering 1325 VST Configuration 895 VST MIDI output 820 VST plug-ins organizing in men
Wipe 1510 World Wide Web authoring 55 publishing audio on 926 X XG 1284 X-Ray Windows 90, 1059 Y Yamaha OPT panels 1236 Z Zero Controllers When Play Stops 228 Zero-crossings 778 Zoom keyboard shortcuts 86 Zoom Controls 86 Zoom factor audio scaling by 656, 783 Zoom tool 465 Zooming configuring the display of tracks in the Track view 319 entire project 319 Zooming in the Inline Piano Roll view 706 1956
