Page 1 SONAR X3 Reference Guide...
Page 2 Information in this document is subject to change without notice and does not represent a commit- ment 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 accor- dance of the terms of the agreement.
Page 3: Getting Started
SONAR. If you are new to Cakewalk products, you may want to start at Tutorial 1. If you have used previous versions of Cakewalk, or you want to do a specific task, choose from the following tutorials: “Tutorial 1 –...
Page 4 Getting started...
Page 5: Table Of Contents
Table of contents Getting started............3 1 Introduction .
Page 6 Installing SONAR ............97 Starting to use SONAR .
Page 7 8 Tutorial 7 – Mixing and adding effects......... . . 151 Volume and pan .
Page 8 Changing track settings ..........209 Setting up output devices .
Page 9 Sony Wave-64 support ..........275 Setting the MIDI timing resolution.
Page 10 13 Arranging and editing............329 Arranging tracks .
Page 11 Comping ............391 Basic comping workflow .
Page 12 Erase tool ............495 Mute tool .
Page 13 17 Browser..............605 Docking/undocking and resizing the Browser window .
Page 14 19 Working with loops and Groove Clips ......... . . 697 The Loop Construction view .
Page 15 Selecting controllers ..........749 Select controllers within note duration .
Page 16 21 Drum maps and the Drum Grid pane..........807 The basics .
Page 17 Advanced audio processing ..........840 Removing silence .
Page 18 24 Mixing..............879 Preparing to mix .
Page 19 Applying MIDI effects ..........950 Using control groups .
Page 20 The Cakewalk SoundCloud interface........
Page 21 30 Automation ..............1101 Quick automation guide .
Page 22 34 Notation and lyrics ............1179 The Staff view .
Page 23 The Meter/Key view ..........1219 What Is meter? .
Page 24 Sysx echo ............1261 Sysx .ini file settings.
Page 25 Cakewalk Generic Surface plug-in ........
Page 26 Working with StudioWare..........1349 StudioWare panels .
Page 27 Cakewalk.ini ........
Page 28 SONAR X3 base program enhancements ........1424...
Page 29 49 Cyclone ..............1519 Cyclone toolbar.
Page 30 Edit > Undo ............1538 Edit >...
Page 31 Views > Matrix View ..........1546 Views >...
Page 32 Views > Screensets > Screenset 9 ........1553 Views >...
Page 33 Process > Apply Effect > Crossfade ........1562 Process >...
Page 34 Utilities > Cakewalk Plug-in Manager ........
Page 35 Set Snap-to = Current ..........1594 90 dB Range .
Page 36 Full Screen ............1600 Time Display Format >...
Page 37 Output Bus Meter Options > Hold Peaks ........1606 Output Bus Meter Options >...
Page 38 [Track view] View > Display > Display Clip Contents......1614 [Track view] View > Display > Show Audio Scale ......1614 [Track view] View >...
Page 39 [Track view] Options > Click Behavior > Left Click Sets Now ....1620 [Track view] Options > Click Behavior > Right Click Sets Now....1620 [Track view] Options >...
Page 40 [Track view] Options > Meter Options > Track Meter Options > Post Fader ..1626 [Track view] Options > Meter Options > Track Meter Options > -12 dB ... 1626 [Track view] Options >...
Page 41 [Track view] Tracks > Copy Track Name(s) to Clip Name(s) ....1633 [Track view] Tracks > Hide Track(s) ........1633 Track Manager .
Page 42 [Track view] Region FX > V-Vocal > Create Region FX ..... . . 1640 [Track view] Region FX > V-Vocal > Remove Region FX ..... . 1640 [Track view] Region FX >...
Page 43 [Staff view] View > Show/Hide Fret Pane ........1646 [Staff view] View >...
Page 44 [Event List view] View > Chords......... . 1652 [Event List view] Tracks >...
Page 45 51 Beginner’s guide to Cakewalk software........
Page 46 Automation Read/Write Parameters ........1699 Auto-Send Sysx dialog.
Page 47 Event Manager dialog ..........1724 Export Audio dialog .
Page 48 Migrate Cakewalk Preferences dialog ........
Page 49 Pick Track(s) dialog........... 1776 Preferences dialog .
Page 50 Retain Cakewalk Preferences dialog ........
Page 51 Video Export dialog ........... 1901 Video Properties dialog .
Page 52 Rows ............1942 Notes pane .
Page 53: Introduction
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.
Page 54: About Sonar
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.
Page 55: Game Sound Development
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.
Page 56: Publishing Music On The Internet
Publishing music on the Internet SoundCloud is an online music sharing service that allows you to upload and share your music with others online. The integrated Cakewalk SoundCloud application enables you to upload sounds, artwork, and metadata to the SoundCloud service directly from SONAR.
Page 57: Digital Audio
The MIDI language conveys information and instructions, both from the computer to the instrument and from the instrument to the computer. For example, if your computer wants your keyboard to play a note, it sends a MIDI “Note On” message and tells the keyboard which note to play. When your computer wants the keyboard to stop playing that note, it sends another message that stops the note from playing.
Page 58: Setup
To register anytime log onto www.cakewalk.com/register, or call 1.888.CAKEWALK (+1.617.423.9004 outside the U.S.) between 1 PM and 6 PM Eastern Standard Time. If you live outside of North America, please visit our distributor’s page at...
Page 59: Audio Connections
“all users” application data folders: Windows 7: C:\ProgramData\Cakewalk When you launch SONAR for the first time, all content files (such as track templates and project templates) will be copied from the global application data folder (All Users) to the user application data folder (User Account), before the program launches.
Page 60 The following table describes the various types of analog and digital connections you may encounter. Cable Type Description 1/4 inch TRS Balanced analog connection Balanced analog connection Microphones, professional audio equipment 1/4 inch TS Unbalanced analog connection Guitar cable, “Hi-Z” 1/8 inch “Mini”...
Page 61 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.
Page 62 To connect a microphone 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), and your microphone cable has a 1/4 inch plug on the end, plug the mic cable into a 1/8 inch stereo adapter, and then plug the 1/8 inch adapter into the microphone input jack on your computer sound card.
Page 63: Midi Connections
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.
Page 64: Changing I/O Devices
Figure 2. Joystick connector—use this if your MIDI interface is the joystick port on your sound card. 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.
Page 65 modes and the existing enabled devices will be remembered for the next time when you switch back to that mode. Loading a project after changing audio devices When loading a project after changing audio devices, SONAR will attempt to automatically remap any missing device to an equivalent new device.
Page 66 Remapping using friendly driver names When Use friendly names to represent audio drivers is selected in Edit > Preferences > Audio - Devices, SONAR can intelligently remap devices across different hardware configurations or driver models by using your assigned friendly driver names, even if the hardware names do not match. This can be very useful if you switch driver modes and load projects you worked on earlier in another driver mode, or if you collaborate with other people who have different hardware configurations.
Page 67 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: •...
Page 68: 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 X3 (Producer or Studio) > SONAR X3 (Producer or Studio).
Page 69 SONAR. Migrating preferences If you have a previous version of Cakewalk installed, SONAR will detect it and give you the option of migrating certain preferences from a single earlier version. When you choose to migrate preferences, SONAR migrates the following settings from an earlier Cakewalk version.
Page 70 Running Wave Profiler The first time you start SONAR, it automatically attempts to detect and configure any ASIO audio devices on your computer. If no ASIO devices are found, it next attempts to detect any MME audio devices, then automatically runs the Wave Profiler utility to determine the proper MIDI and Audio settings for your audio device.
Page 71 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.
Page 72: Sonar Basics
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.
Page 73: Sonar File Types
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.
Page 74: Opening A File
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.
Page 75: Views
Views SONAR displays your project in windows on the screen that are known as views. You can have many views open at once, all showing the same project. When you edit a project in one view, the other related views are updated automatically. The Track view Track view is the main window that you use to create, display, and work with a project.
Page 76 The Track pane lets you see and change the initial settings for each track. To change the current track, move the highlight using the mouse or the keyboard as follows. What it does Moves the highlight to the next or previous control. LEFT/RIGHT ARROW Moves to the same control in the adjacent track, or the next track of the same type UP/DOWN ARROW...
Page 77 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.
Page 78 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.
Page 79 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.
Page 80 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.
Page 81 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 player- piano roll.
Page 82 The Staff view displays the notes from one or more MIDI tracks using standard music notation, similar to the way the notation would appear on a printed page. You can add, edit, or delete notes; create percussion parts; add guitar chords and other notation markings; display guitar tablature; display the Fretboard pane;...
Page 83 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. Figure 14.
Page 84 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”...
Page 85 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. Zoom Clips pane out vertically B. Vertical Zoom fader for Clips pane C. Zoom Clips pane in vertically D.
Page 86 You can also zoom with the keyboard. What it does CTRL+UP ARROW Zoom out vertically CTRL+DOWN ARROW Zoom in vertically CTRL+RIGHT ARROW Zoom in horizontally CTRL+LEFT ARROW Zoom out horizontally Hold down Z Arm the Zoom tool ALT+Z Undo the current zoom ALT+SHIFT+Z Redo the previous zoom Fit tracks to window...
Page 87 To enable/disable Auto Zoom Do one of the following: • Click the Track view Views menu and select Auto Zoom. • Press SHIFT+Z. To specify the default Auto Zoom track height Resize the current track. Zooming and scrolling in the time ruler 1.
Page 88 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).
Page 89 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.
Page 90 To exclude a plug-in from X-Ray capability, follow these steps: 1. Open the Cakewalk Plug-in Manager: use the Utilities > Cakewalk Plug- in Manager command. 2. In the Plug-in Categories window, select the category that the plug-in you want to exclude is in.
Page 91 ; Cakewalk FxDelay XRayExclude13={985DAF67-589F-4B8D-8BBC-D7AD651B9022} If there was also a VST version of the Cakewalk FxDelay, you would 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.
Page 92: Working On A Project
Working on a project Every project has a current time, known as the Now time (see: “The Now time and how to use it” page 182). As you record or play back a project, the Now time shows your current location in the project.
Page 93 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 CTRL- click or SHIFT-click to select multiple elements. 3.
Page 94: Color Presets
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.
Page 95 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.
Page 96 To export all your color presets 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization - Colors. 2. Click the Export Colors button The Export Color Set dialog box appears. 3. Navigate to the folder where you want to store your the exported file. This file will contain all or your color presets.
Page 97: Installing Sonar
When you installed SONAR, the setup program placed an Uninstall icon in the Start menu. To uninstall SONAR, click the Start button and choose Programs > Cakewalk > SONAR X3 (Producer or Studio) > Uninstall SONAR X3 (Producer or Studio).
Page 98: Starting To Use Sonar
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 “SONAR basics”...
Page 99: Tutorial 1 - Creating, Playing, And Saving Projects
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.
Page 100: Creating A New 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.
Page 101 Note: The list of available project templates shown may vary depending on your version of SONAR (SONAR X3, SONAR X3 Studio, or SONAR X3 Producer). Name. Type the name of your project in the Name box. For this exercise, let’s name your project Tutorial 1.
Page 102: Opening Project Files
See: “Opening project files” on page 102 “Playing project files” on page 104 “Looping project files” on page 109 “Saving project files” on page 110 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: •...
Page 103 • For more detailed information about all the options and functions in this dialog box, click Help. For this tutorial we want to open one of the sample project files that are included with SONAR. Navigate to the Cakewalk Content folder (default location is C:\Cakewalk Content\SONAR X3 [Producer or Studio]\Tutorial Projects\Tutorial Projects) and locate the project named SONAR_AudioDemo.cwb.
Page 104: Playing Project Files
“Playing project files” on page 104 “Looping project files” on page 109 “Saving project files” on page 110 Playing project files For this next section we are going to configure the project named SONAR_AudioDemo.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”...
Page 105 If you are having trouble with any of the steps in the last section thus far, we have created a helpful set-up guide on our web site that provides step-by-step instructions for configuring your audio hardware. You can find it here: www.cakewalk.com/Support/hardwaresetup/ See: “Setting the track outputs”...
Page 106: Setting The Track Outputs
Setting the track outputs The next important step is telling SONAR which output on your sound device you would like audio tracks to play on. In some cases, it is desirable to have tracks playing different outputs (such as if you are using external hardware processing for effects).
Page 107 Control Description 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.
Page 108: Playing The Project
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.
Page 109: Looping Project Files
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.
Page 110: Saving Project Files
• Normal. This is the first option listed and the most common format used for saving project files. Choosing this will create a Cakewalk Project file with the .cwp file extension. It is important to remember that Cakewalk Project files do not actually store any audio data, but rather reference audio files from where they are saved on your computer’s hard drive.
Page 111 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. Cakewalk Bundle files are much larger in size than regular Cakewalk Project files because they contain all of the audio data for a project, so try to avoid using this format unless you need to move a project between computers.
Page 112 Tutorial 1 – Creating, playing, and saving projects Saving project files...
Page 113: Tutorial 2 - Using The Browser
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.
Page 114 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. Play is used to listen to the currently selected loop.
Page 115 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. To work with software instruments, click the Synth button to open the Synth Rack.
Page 116: Finding And Previewing Audio Loops
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”...
Page 117: Previewing Midi Groove Clips
4. Click the Media button , point to Synth Preview Output and select Cakewalk TTS-1 1 on the submenu. 5. Now that SONAR knows what synth to play MIDI groove clips through, select the groove clip named Bangin 10.mid just as you did with the audio loop previously.
Page 118: Adding Audio Loops To Your Project
recording software instruments” on page 125. See: “Adding audio loops to your project” on page 118 Adding audio loops to your project Once you have found an audio loop or MIDI groove clip that you would like to use in your project, the next important step is to add it to your project.
Page 119: Tutorial 3 - Recording Vocals And Musical Instruments
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.
Page 120 8. Click the Output drop-down menu to select the track’s output. The available outputs for the track are displayed. 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.
Page 121 • Click Use Audio Metronome, select the Recording check box and set Record Count-in to 2 Measures. For details about each metronome option, click Help. 13. Make sure the track has been record enabled by clicking the track’s Record Enable button. The Record Enable button on the track should be lit in red like this: 14.
Page 122: Troubleshooting
Troubleshooting If you weren't able to record successfully by following this tutorial, please check the following: I only get one side of my guitar or microphone recorded You may be recording a mono signal through a stereo input. Guitars and microphones produce mono signals.
Page 123 The Windows Mixer looks like this: When you open the Windows Mixer it may be labeled Playback or Recording. We want to see the recording controls. See also: “Tutorial 1 – Creating, playing, and saving projects” on page 99 “Tutorial 2 – Using the Browser” on page 113 “Tutorial 4 –...
Page 124 Tutorial 3 – Recording vocals and musical instruments...
Page 125: Tutorial 4 - Playing And Recording Software Instruments
MIDI messages to it from a software sequencer. That's how Cakewalk was born. Our first application was a DOS program that would allow a user to edit the MIDI data in detail, and play it out to a connected synth. You could also record the events from a performance into the computer.
Page 126: Adding An Instrument Track To Your Project
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.
Page 127 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 default.
Page 128: Recording Midi
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.
Page 129 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.
Page 130 Some instruments, such as the Cakewalk TTS-1 can output more than one type of sound. These instruments are known as multi-timbral synths. They know what notes are played through each sound based on the MIDI channel they are sent over.
Page 131 Press Play to play back the project. If you'd like to add your own track to play through the TTS-1, click Insert menu and select MIDI Track. On your new MIDI track, set the output to Cakewalk TTS- 1. Remember, it needs to be on its own discreet MIDI channel. In this project, MIDI channels 1-11 are already used, so let's assign this track to channel 12 in the Track Inspector or Console view.
Page 132 Tutorial 4 – Playing and recording software instruments...
Page 133: Tutorial 5 - Working With Music Notation
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.
Page 134 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. On the Project menu, click Insert Meter/Key Change. The Meter/Key Signature dialog box appears.
Page 135 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.
Page 136 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.
Page 137 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.
Page 138 Adding lyrics To add a lyric event below a note: 1. Select the Smart tool or the Freehand tool in the Control Bar. 2. Click the Lyric button in the Staff view. 3. Position the pointer just below the note and click. A box appears where lyrics can be typed.
Page 139 Adding expressions 1. Select the Smart tool or the Freehand tool in the Control Bar. 2. Click the Expression button in the Staff view. 3. Position the pointer just below a note and click. A box appears where expressions can be entered. Adding a crescendo or decrescendo/diminuendo 1.
Page 140: Printing Your Notation
Adding pedal marks 1. Select the Smart tool or the Freehand tool in the Control Bar. 2. Click the Pedal button in the Staff view. 3. Position the pointer below the staff and click. Pedal down and Pedal up marks are inserted. 4.
Page 141 See: “Notation and lyrics” on page 1179 See also: “Tutorial 1 – Creating, playing, and saving projects” on page 99 “Tutorial 2 – Using the Browser” on page 113 “Tutorial 3 – Recording vocals and musical instruments” on page 119 “Tutorial 4 –...
Page 142 Tutorial 5 – Working with music notation...
Page 143: Tutorial 6 - Editing Your Music
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.
Page 144: Selection
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: •...
Page 145 Method 1: 1. Select the track that you want to delete measure 1 through measure 6 from. For this tutorial, let’s use the track named GTR_Lead 1. Tip: Click in the Tracks pane on the left, not the Clips pane on the right. 2.
Page 146: Moving Clips
Moving clips 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.
Page 147: Cropping Clips
split one or more clips at the mousedown and mouseup points). 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.
Page 148 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.
Page 149 See also: “Tutorial 1 – Creating, playing, and saving projects” on page 99 “Tutorial 2 – Using the Browser” on page 113 “Tutorial 3 – Recording vocals and musical instruments” on page 119 “Tutorial 4 – Playing and recording software instruments” on page 125 “Tutorial 5 –...
Page 150 Tutorial 6 – Editing your music...
Page 151: Tutorial 7 - Mixing And Adding Effects
We'll start by opening the MixingTutorial project: 1. Go to File > Open and select the file named MixingTutorial.cwb. Note: Tutorial files are located in the C:\Cakewalk Content\SONAR X3 [Producer or Studio]\Tutorial Projects\Mixing Tutorial folder, by default. If you specified another location during installation, navigate to the tutorial folder you specified during installation.
Page 152: Volume And Pan
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”.
Page 153: Adding Effects (Fx)
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.
Page 154 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.
Page 155 ProChannel EQ module (Producer and Studio only). A. Equalizer graph Figure 28. Per-track EQ (SONAR X3 base version only). A. EQ plot One of the primary uses for EQ is to prevent different instruments from stepping on each other in the frequency spectrum.
Page 156 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.
Page 157 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.
Page 158: Using Automation
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.
Page 159 Be creative and listen closely to the mix details in your favorite songs and albums. It's sure to provide you with inspiration for your own projects. There are also many books available on the topic, as well as thousands of add-on plug-ins that can expand your arsenal of FX. For more information, visit www.cakewalk.com. Tips: www.cakewalk.com/Support Videos: www.cakewalk.com/CakeTV...
Page 160 Tutorial 7 – Mixing and adding effects...
Page 161: Tutorial 8 - Working With Video
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 –...
Page 162: Importing Video
Importing video Before you can start working with video, you first need to import a video file. Let’s try this out with a new project. 1. On the File menu, click New to open the New Project File dialog box. 2.
Page 163 For now, let’s leave the Import Audio Stream and Show file info check boxes selected. Just as you would with the Open dialog box, navigate to the following location: C:\Cakewalk\SONAR X3 [Producer or Studio]\Tutorial Projects\Video Tutorial Locate and import the file named Boarding.wmv. You can open it by either double-clicking on it or highlighting it and then clicking the Open button.
Page 164: What If I Don't See The Video Thumbnail Pane Or Video View
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.
Page 165 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.
Page 166: Working With Markers
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.
Page 167 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.
Page 168: Exporting Your Video
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.
Page 169 3. Choose the desired video format by selecting it from the Save as type list. Clicking the Encoding Options button at the bottom will allow you to explore some advanced settings for your video. From this dialog box, you will be able to change the quality and size of your video.
Page 170 Tutorial 8 – Working with video Exporting your video...
Page 171: Tutorial 9 - Exporting, Cd Burning And Sharing
SONAR and your audio device are configured correctly. Cakewalk Project Files are different from the audio you hear on a CD in that they are often multi-track. In this example, you will notice that there are four audio tracks. In order to burn this mix to a CD or prepare it for distribution, we need to export or mix it down to a stereo track.
Page 172 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 99. This is used to navigate to locations on your computer’s hard drive and tell SONAR where you want to store the exported audio.
Page 173 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.
Page 174: Burning An Audio Cd
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.
Page 175: Uploading Audio To Soundcloud
SoundCloud. Tip: By default, Cakewalk SoundCloud lets you upload either a .wav file or an .mp3 file. If you want to upload a different audio format, first use the File > Export > Audio command to export to the desired format, then go to Utilities >...
Page 176 “Troubleshooting” on page 1087. Note: By default, Cakewalk SoundCloud lets you upload either a .wav file or an .mp3 file. If you want to upload a different audio format, first use the File > Export > Audio command to export to the desired format, then go to Utilities >...
Page 177 Note: You can not share a track on Facebook or Twitter if the track is private. Figure 29. Cakewalk SoundCloud sharing options A. Message B. Share on Facebook (click Setup to configure) C. Share on Twitter (click Setup to configure)
Page 178: Uploading Your Songs To Youtube
3. In the Files of type list, select YouTube Publish. 4. Enter a file name in the File name box. 5. Click Export. Cakewalk YouTube Publisher opens. 6. Enter the required settings in Cakewalk YouTube Publisher (see “Cakewalk YouTube Publisher interface” on page 179), then click Upload.
Page 179 Cakewalk YouTube Publisher interface Figure 30. Cakewalk YouTube Publisher Cakewalk YouTube Publisher contains the following controls: • Account (required). Enter your YouTube account name or e-mail address. • Password. Enter your YouTube account password. • Save Login Credentials. Select this check box to remember the Account and Password settings for future use.
Page 180 • Upload. Upload the video to YouTube. • Cancel. Cancel the operation and close Cakewalk YouTube Publisher. Note: If you use Google two-step verification, you may need to assign Cakewalk YouTube Publisher an “Application Specific Password”. For details, see https://support.google.com/mail/ answer/1173270?hl=en.
Page 181: Controlling Playback
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”...
Page 182: The Now Time And How To Use It
The Now time and how to use it Every project has a current time, known as the “Now time” on page 2055, 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”...
Page 183 external device’s start time. For more information, see “Synchronizing your gear” on page 1265. Here are some examples of times expressed in this format (assuming that zero is the start time): Time What it means 00:00:00:00 The beginning of the project 00:05:10:00 Five minutes and ten seconds from the beginning of the project 01:30:00:00...
Page 184: The Now Time Marker
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.
Page 185: The Track View Now Time Display
The Now Time marker changes appearance to indicate if playback is stopped, paused, running, or recording. Figure 33. The Now Time marker indicates the playback state A. Stopped B. Paused C. Playback D. 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).
Page 186: Displaying The Now Time In Large Print
• Samples. Example: 926100. 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.
Page 187 Other ways to set the Now time There are a variety of commands and keyboard shortcuts you can use to set the Now time: Shortcut What it does Lets you enter the Now time in the Position toolbar or in a dialog box SHIFT+G Sets the Now time to the From time (the start time of the current time selection) CTRL+HOME...
Page 188: The Time Ruler
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. •...
Page 189 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.
Page 190: Controlling The Transport
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.
Page 191 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 •...
Page 192 Stop at Project End option The Track view Options > Stop at Project End option determines whether or not playback is allowed beyond the last event in a project. This option is enabled by default. When enabled (default setting): • Playback will not engage if there is no data present in the project at all. •...
Page 193: Handling Stuck Notes
The Reset MIDI and Audio command also stops feedback from input monitoring. Note: You can control the MIDI messages that are sent by the Reset MIDI and Audio button by changing the Panic Strength variable in the Cakewalk.ini file. See “Initialization files”...
Page 194: Looping
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.
Page 195: Using The Transport, Markers, Punch And Loop Modules
The Rewind command operates slightly differently when looping is in effect. The first time you rewind, the Now time is set to the start of the loop. If the Now time is already at the start of the loop, Rewind takes you to the beginning of the project. From then on, Rewind switches back and forth between the loop start time and the start of measure 1.
Page 196 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: •...
Page 197 To use the Punch module Figure 41. The Punch module. 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. •...
Page 198 To use the Transport module The Transport module contains the following controls: • Rewind . Gradually rewind the project. • Stop . Stop playback. • Play . Start/stop playback. • Pause . Pause/resume playback. • Fast Forward . Gradually fast forward the project. •...
Page 199 • Metronome Playback on/off . Enable/disable the metronome during playback. Right-click to access Metronome settings. • Metronome settings . Click the metronome icon to open the metronome preferences. To use the Loop module Figure 42. The Loop module. 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: •...
Page 200: Track-By-Track Playback
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”...
Page 201: The Mix Module
While playback is in progress, you can mute and unmute tracks in any combination, which means you can hear only the tracks that you want. You can change the status of a track in the Track view, 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.
Page 202 • 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 205. • Exclusive Solo enable/disable .
Page 203: Silencing Tracks
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.
Page 204: Soloing Tracks
Soloing tracks 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.
Page 205: Dim Solo Mode
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.
Page 206: Exclusive Solo Mode
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.
Page 207: Solo Override
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.
Page 208: Changing Tracks' Mono/Stereo Status
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. The Mono/Stereo button in each track forces the track’s audio signal to enter any patched plug-ins as either mono or stereo, whether or not the tracks are mono or stereo.
Page 209: Changing Track Settings
A mono VST plug-in will work correctly if Enable Mono Processing is checked in the VST Plug-in Properties dialog box and the track interleave is set to mono. Note: Enable Mono Processing is enabled by default in SONAR. If you are playing back a legacy project in SONAR and notice the project does not sound the same, try to disable Enable Mono Processing for any mono plug-ins used in the project.
Page 210 Audio track parameters The following figures show the various parameters in audio track strips. The figures are of an audio track that is located in the Track view, however most of these parameters can also be adjusted in the Console view and Track Inspector. Some parameters are only available in the Console view or Track Inspector.
Page 211 Figure 50. Audio track effects bin, meter, and track scale A. Enable/disable plug-in B. Plug-in name C. Right-click to insert new plug-in Here is a summary table of the different audio track parameters and how they are used. Parameter What it means Number A sequential track number used for reference.
Page 212 Parameter What it means The stereo distribution of the output, ranging from 100% left (hard left) to 100% right (hard right); a value of “C” indicates sound that is centered left-to-right. On stereo tracks, pan acts as balance. Trim (volume trim) (Track Volume Trim is a pre-fader control which allows the fine tuning of a single Inspector and Console view track’s volume.
Page 213 Parameter What it means Meters The recording and playback levels are displayed in the Playback and Record meters. WAI display Shows a color-coded bar if the track is being controlled by a control surface. Track color Opens the Track Color palette, where you can specify a custom color for each track.
Page 214 MIDI track parameters The following pictures illustrate MIDI track parameters: Figure 51. MIDI track header controls A. Track color B. Track number C. Header icon D. Track name E. Maximize/restore F. Meter Note: MSR buttons may appear in the header bar if the Track pane is wide. Figure 52.
Page 215 Figure 53. MIDI track effects bin and track scale 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.
Page 216 Parameter What it means Velocity trim (Track Inspector The change in velocity (volume) that will be applied to notes in this track on and Console view only) 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...
Page 217 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.
Page 218 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.
Page 219: Setting Up Output Devices
You can change the value of a track parameter for several tracks at once by using Quick Groups: • To adjust the same control in all tracks, hold down the CTRL key and adjust a control in a non- selected track. •...
Page 220 Figure 55. The MIDI - Devices section 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.
Page 221: Assigning Inputs & Outputs
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.
Page 222 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.
Page 223 The Assign Series of Inputs dialog box opens, which lets you choose the first input port in the series. Figure 56. The Assign Series of Inputs dialog 4. Select the audio input port that should be assigned to the first selected track and click OK. SONAR will assign consecutive mono input ports to the selected audio tracks, beginning with the track that was clicked in step 2.
Page 224: Assigning Tracks To Mono Hardware Outputs
All track/bus gain and pan settings are applied prior to mono conversion. Backward compatibility Loading a SONAR X3 project with mono output assignments in an earlier version SONAR will cause the mono assignments to be lost. Controlling playback...
Page 225: Choosing The Instrument Sound (Bank And Patch)
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.
Page 226 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.
Page 227: Adding Effects
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: •...
Page 228: Adjusting Volume And Pan
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”...
Page 229: Configuring Panning Laws
If you have existing projects that use a non-default pan law (i.e. other than 0dB center sin/cos taper), the mix might sound louder in SONAR X3. To address backwards compatibility with projects that were mixed in previous versions of SONAR, the following Aud.ini variable is available to set the pan law compatibility mode: PanLawCompatMode=<0 or 1>...
Page 230: Adjusting Volume Trim
0dB center sin/cos taper law. When the value is 1, pan laws are applied at the clip level. It is not recommended that you use this value unless you need to retain backwards compatibility with pre-SONAR X3 projects that use a non-default pan law.
Page 231: Adjusting The Key/Transposing A Track (Key+)
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.
Page 232: Adjusting The Note Velocity (Vel+)
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.
Page 233: Other Midi Playback Settings
Figure 58. 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. Option How it works Zero Controllers When Play If this option is enabled, SONAR zeros (resets) the pitch wheel, the pedal Stops Controller, and the modulation wheel Controller on all 16 MIDI channels...
Page 234: Customizing Track/Bus Colors
Customizing track/bus colors Each channel strip in the Track view, Console view and Inspector can have a custom color tint, which allows you to color-code your tracks and clips for better project organization. When you change the track color, it affects the track strip in the Track view, Console view, Inspector, and clip foreground color (waveform or MIDI data).
Page 235 Figure 60. Track colors affect the Track view, Console view, Inspector and clip foreground color. Controlling playback Changing track settings...
Page 236 To select a track color 1. Click the track’s Track Color bar, which is located at the far left in the Track view and the bottom of the Console view. Track view Console view 2. In the track color palette, select the desired color. You can preview colors in real-time as you point to different color swatches.
Page 237 Figure 61. Default track colors are defined in the Preferences dialog box. Controlling playback Changing track settings...
Page 238 Bus strip colors If you assign a color to a bus strip, all non-colored tracks that are routed to that bus automatically inherit the same color by default. For example, in the following figure, all tracks are routed to the Master bus. Tracks 1 and 2 have custom track colors, while tracks 3-8 use default track colors.
Page 239 To disable track strip colors You can disable track strip colors if you only want to change the clip color (waveform or MIDI data), but not the track strip background. To do so, go to Edit > Preferences > Customization - Colors and clear the Show strip colors check box.
Page 240 To specify the default track and bus colors You can specify a default color for all new tracks and buses. To do so, go to Edit > Preferences > Customization - Colors and click the Track Defaults or Bus Defaults button. Figure 64.
Page 241: Controlling Live Midi Playback-Midi Echo
“Changing track settings” on page 209 “Track view” on page 1922 “Console view” on page 1971 “Properties Inspector - Clip Properties” on page 594 “Properties Inspector - Track Properties” on page 600 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.
Page 242 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.
Page 243 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.
Page 244: Local Control
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.
Page 245: Playing Files In Sequence With The Play List
Playing files in sequence with the Play List The Play List view allows you to automatically play multiple files in sequence. A Play List is a list of projects arranged in the desired playback order, from top to bottom. You can use this feature in live performance applications or just for fun.
Page 246: The Play List Interface
The Play List interface The Play List view contains a toolbar and a multi-column list. Each song occupies a single row in the list. Figure 67. Play List. A. Play List toolbar B. Status C. Play order D. Project name E. Path F. Tempo G. Key H. Meter I. Length J. Created date K. Modified date L. Delay M. Notes Figure 68.
Page 247 Toolbar The Play List toolbar contains the following controls. Button Command Description Shortcut Enable Play List Enable/disable the Play List. Next Song Skip to the next song. Repeat List Repeat the Play List continuously. Add Song Add one or more songs to the Play List. A or INSERT Remove Song Remove the selected song from the Play List.
Page 248: Using The Play List
• Meter. The song’s initial meter. • Length. The song’s duration. • Created. Date Created. • Modified. Date Modified. • Delay. The wait mode before the next song plays. The delay can be a fixed amount of time or to wait for a keystroke.
Page 249 2. Choose a file from the Add Song to Play List dialog box. 3. Click Open. You can use the CTRL and SHIFT modifier keys to add multiple songs in the Add Song to Play List dialog box. To specify a delay before playing the next song 1.
Page 250 To activate the Play List Click in the Play List view toolbar, or press E, so that the button is pressed. If this button is not pressed, only a single file will play when you start playback. To specify the starting song Double-click the file you want to start with.
Page 251: Video Playback, Import, And Export
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: •...
Page 252: Importing And Playing Back Videos
• 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.
Page 253 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 262 for more information. To play a video file in the Video view 1.
Page 254 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.
Page 255 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...
Page 256: Exporting Video
Exporting video After you’ve mixed your audio tracks the way you want them, you can export the inserted video file together with your audio tracks to create a new video file. When you export a video, any changes you’ve made to the Start, Trim-In, or Trim-Out times determine how long your new exported video is compared to the original video that you inserted into your SONAR project.
Page 257: Uploading Your Songs To Youtube
3. In the Files of type list, select YouTube Publish. 4. Enter a file name in the File name box. 5. Click Export. Cakewalk YouTube Publisher opens. 6. Enter the required settings in Cakewalk YouTube Publisher (see “Cakewalk YouTube Publisher interface” on page 258), then click Upload.
Page 258 Cakewalk YouTube Publisher interface Figure 69. Cakewalk YouTube Publisher Cakewalk YouTube Publisher contains the following controls: • Account (required). Enter your YouTube account name or e-mail address. • Password. Enter your YouTube account password. • Save Login Credentials. Select this check box to remember the Account and Password settings for future use.
Page 259: Optimizing Video Performance
• Upload. Upload the video to YouTube. • Cancel. Cancel the operation and close Cakewalk YouTube Publisher. Note: If you use Google two-step verification, you may need to assign Cakewalk YouTube Publisher an “Application Specific Password”. For details, see https://support.google.com/mail/ answer/1173270?hl=en.
Page 260: Using The Video Thumbnails Pane
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.
Page 261 • The Video Thumbnails pane zooms horizontally when you use the standard Track view 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:...
Page 262: Video Playback On A Firewire Dv Device
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).
Page 263 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 252). 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.
Page 264: Exporting A Project To A Firewire Dv Device
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.
Page 265: Locating Missing Audio
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”...
Page 266: Managing Shared And External Files
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.
Page 267: Recording
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).
Page 268: Creating A New Project
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 >...
Page 269: Creating A New Project File
Creating a new project file When you create a new project you are asked to choose a template to use for your new file. If you have per-project audio folders enabled (for more information, see “Using per-project audio folders” on page 268), you are also asked to specify a file name, the folder where you want to store the file, and the folder where you want to store the file’s audio.
Page 270: Setting The Meter And Key Signatures
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 2054 or key. These settings apply to all the tracks in a project.
Page 271 To Set the Meter and Key signature 1. Click the Views menu and choose Meter/Key. 2. Click to open the Meter/Key Signature dialog box. The Meter/Key Signature dialog box appears. Figure 72. The Meter/Key Signature dialog box 3. Enter the top and bottom meter values in the Beats per Measure and Beat Value fields. 4.
Page 272: Setting The Metronome And Tempo Settings
Setting the Metronome and Tempo settings The metronome counts off each beat in a measure, so you can hear the tempo of your project. You can choose to have the metronome sound during recording, during playback, both, or turned off. When you start recording, SONAR can play any number of beats or measures of metronome clicks before recording begins.
Page 273 5. Arm at least one track. 6. Press R or click to start recording. The count-in will play, and the Now time will start to advance. 7. If necessary, stop playback and adjust the tempo using the tempo control in the Transport module, the restart playback.
Page 274: Setting The Audio Sampling Rate And Bit Depth
3. Click OK. Your metronome settings will be saved with the project file. 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.
Page 275: Sony Wave-64 Support
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.
Page 276: Setting The Midi Timing Resolution
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). •...
Page 277: Preparing To Record
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. In some projects you may need a different timebase. For example, if you wanted to use eighth-note septuplets (7 eighth notes per quarter note) and represent them accurately, you would need to have a timebase that is divisible by 7, such as 168PPQ.
Page 278: Recording Modes
Recording modes Any material you record is stored in a new clip. If you record into several tracks at once, one clip is created in each track. If you record into a track that already contains clips, you can choose one of three recording modes to determine what happens to those clips.
Page 279: Choosing An Input
Choosing an input To record into a track, you must choose an input for the music or sound to be recorded. Usually, you choose All Inputs - Omni to record material from a MIDI instrument, or the left or right channel of a digital audio device (such as a sound card) to record audio material, or stereo if you want to record stereo audio in a single track.
Page 280 To choose an audio input in the Track view 1. Click the drop-down arrow of the Input field of an audio track. A drop-down menu of audio drivers appears. 2. Select the audio driver for the sound card you want to record with from these options: •...
Page 281: Arming Tracks For Recording
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.
Page 282: Auto Arming
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.
Page 283: Recording Music From A Midi Instrument
To only open active hardware input ports Go to Edit > Preferences > Project - Record and select the Only For Inputs In Project check box. Note: If this option is enabled, you will not be able to change inputs while recording. 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.
Page 284: Input Quantizing
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.
Page 285 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.
Page 286: Arpeggiator
Arpeggiator 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.
Page 287 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. •...
Page 288 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 –...
Page 289: Using The Arpeggiator
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 77. Arpeggiator controls are available in the Track Inspector Using patterns and presets Pre-authored patterns are used to apply rhythmic and melodic variations to the arpeggio.
Page 290 To load an Arpeggiator preset • Click the Preset control in the Arpeggiator, point to Presets and select the desired preset. 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.
Page 291 Using automation You can automate the following arpeggiator parameters: • Source Mix • Enable/Disable • Flam Amount • Duration • Latch • Octave Range • Pitch Offset • Rate • 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.
Page 292 To record automation with a MIDI controller 1. Right-click the desired arpeggiator parameter and select Remote Control on the context menu. The Remote Control dialog box appears. 2. Specify the MIDI message you want to use for MIDI remote control, then click OK to close the Remote Control dialog box.
Page 293: Recording Audio
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.
Page 294 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. SONAR automatically manages these audio files for you, making it easier for you to manage your projects.
Page 295: Confidence Recording And Waveform Preview
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. •...
Page 296: Input Monitoring
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.
Page 297 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.
Page 298 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.
Page 299 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. •...
Page 300: Live Input Pdc Override
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.
Page 301 Figure 78. 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.
Page 302: The Audio Engine Button
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 grayed-out during playback or recording because you can’t control the button at that time.
Page 303: Loop Recording
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.
Page 304 Figure 79. The Record section 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 Comping, Sound on Sound or Overwrite mode.
Page 305: Punch Recording
9. Play or perform the material you want to record. At the end of the loop, SONAR will return to the start of the loop and you can record the next take. 10. Click or press the SPACEBAR when you want to stop recording. The takes are stored in the manner you requested.
Page 306 You can also combine loop and punch recording to record several takes of a punch. Say you are working on that perfect take of a guitar solo and you need to hear a couple of bars of the project as “pre-roll”...
Page 307 • Select a range of time and click in the Punch module. • Select a range of time, then right-click in the Time Ruler and choose Set Punch Points 4. Right-click the Record button to access recording settings, then choose the desired recording mode: Comping, Sound on Sound or Overwrite.
Page 308: Step 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.
Page 309 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.
Page 310 Here’s a picture of Advanced mode: Figure 82. The Step Record - Advanced window 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.
Page 311 whole note or as small as a 64th note . You can increase the step size you choose by 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.
Page 312 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 do this Do this Randomize the note duration...
Page 313 To use other commands while step recording • Use the mouse to click the command you want to use. • 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.
Page 314: Step Record Keyboard Shortcuts
Step record keyboard Shortcuts The default keyboard shortcuts for step recording are on the NumPad, so that you can keep one hand on your MIDI keyboard to play notes with, and use the other hand on the NumPad to use shortcuts.
Page 315: Step Pattern Recording
See: “Step pattern recording” on page 315 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.
Page 316: Recording Specific Ports And Channels
8. Step record as before. From now on, after you record each step, SONAR automatically advances past all rests to the next step on which notes will be played. If you change step sizes while recording, the size of each rest changes also.
Page 317: Input Filtering
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.
Page 318: Importing Music And Sound
To filter event types 1. Go to Edit > Preferences > MIDI - Playback and Recording. 2. Check the message types you want recorded. 3. Click OK. From now on, SONAR records only the types of events you have chosen. 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.
Page 319 • Sound Designer II (extension .sd2) • Core Audio Format (extension .caf) The sampling rate and bit depth for a project is set based on your default settings in Edit > Preferences > Audio - Driver Settings. 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 and bit depth.
Page 320 Broadcast Wave files Broadcast Wave files are wave files with some additional information stored in them. Broadcast Wave files have the following information: • 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 “File Info dialog”...
Page 321: Importing Audio Cd Tracks
Importing audio CD Tracks The File > Import > Audio CD command lets you import tracks from audio CD’s into any track of a project. Audio tracks on a CD always have a bit depth of 16, but you can choose to import the tracks at a higher bit depth if desired.
Page 322: Importing Omf Projects
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.
Page 323 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.
Page 324: Importing Midi Files
You can also export SONAR projects as OMF files (File > Export > OMF command). “Exporting OMF files” on page 972. 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.
Page 325: Saving Your Work
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”...
Page 326 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.
Page 327: Labeling Your Projects
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;...
Page 328: File Statistics
Figure 83. 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.
Page 329: Arranging And Editing
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.
Page 330: Arranging Tracks
“Take lanes” on page 381 “Clip muting and isolating (clip soloing)” on page 388 “Comping” on page 391 “Track folders” on page 414 “Adding effects in the Track view” on page 417 “Changing tempos” on page 418 “Undo, redo, and the undo history” on page 425 “Slip-editing (non-destructive editing)”...
Page 331: Changing The Order Of Tracks
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.
Page 332 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. Drag the track to its new location, and release the mouse button. SONAR rearranges and renumbers the tracks.
Page 333: Inserting Tracks
Attribute How it works Selected If you choose this attribute, SONAR puts all the selected tracks at either the top or bottom of the Tracks window, depending on whether you choose descending (top) or ascending (bottom) in the Order list. Size If you choose this attribute, SONAR puts the tracks in order by size, either in descending or ascending order.
Page 334: Configuring The Display Of Tracks In The Track View
To insert multiple tracks 1. Use the Insert > Multiple Tracks command to open the Insert Tracks dialog box. 2. If you want to insert audio tracks, do the following: • Fill in the number of audio tracks you want to insert in the Audio section’s Track Count field. •...
Page 335 Command Description Shortcut Lock Height This command maintains the track’s height when you use a zoom or fit command. See “To lock or unlock the height of a track” on page 335. Show Only Selected This command hides all tracks which are not selected. The CTRL+SHIFT+H Tracks remaining tracks are adjusted in size vertically.
Page 336: Copying Tracks
Copying tracks When you copy one or more tracks using the Track view Tracks > Clone Track(s) command, you can choose any of the following options: • What to copy: events, properties, effects, sends • Repetitions: how many copies of each selected track •...
Page 337: Erasing Tracks
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.
Page 338: Track Icons
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.
Page 339 2. Save the image as a .bmp file in the Track Icons directory in your SONAR program folder. Track icon size(s) and transparency You can configure the size of small and large icons in Cakewalk.ini. By default, small icons are 32x32 pixels and large icons are 48x48 pixels. Use the following INI variables to change the default...
Page 340: Configuring Track View Controls
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 <new>, and type a name to create a new tab.
Page 341: Arranging Clips
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.
Page 342 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. Controller or automation data are also displayed To inspect the clip contents more closely, use the zoom tools to increase the size in which clips are displayed.
Page 343 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 85. Clip header indicators A.
Page 344 Audio clip MIDI clip Description The clip is a Region FX clip, which lets you perform pitch correction on notes and phrases, edit formants, and add vibrato to monophonic sounds. For details, “Using Region FX” on page 1043. The clip has been stretched from its original duration by the displayed percentage value.
Page 345 • 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. •...
Page 346 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.
Page 347 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 87. 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.
Page 348: Using The Navigator View
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.
Page 349: Opening Views By Double-Clicking Clips
To change the Now time in the Navigator view 1. Hold down the CTRL key. 2. Click where you want the Now Time to be. To change the track height in the Navigator view Right-click in the Navigator view and select one of the following options: •...
Page 350: Selecting Clips
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.
Page 351 To select by time or by clip You can use either the Smart tool or Select tool to select by time or by clip. When using the Smart tool or Select tool, a clip is divided into two vertical zones. The mouse pointer changes depending on which clip zone the pointer is over: •...
Page 352: Moving And Copying Clips
Moving and copying clips You can copy or move clips using drag-and-drop editing or the Cut, Copy, and Paste commands. If you copy or move clips into tracks that contain existing material, you need to let SONAR know how to combine the two. You have these options: Option How it works...
Page 353 To move clips using drag and drop 1. Select the clips you want to move. 2. If you want to move the clips by an exact amount of time, enable the snap grid (see “To change the snap options” on page 370 and “Aim Assist line”...
Page 354 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 90. The Cut dialog box 3. Choose the options you want and click OK. SONAR cuts the clips from the project and places them on the Clipboard.
Page 355 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: •...
Page 356 To copy clips using drag and drop 1. Select the clips you want to copy. 2. Enable the snap grid, if desired. 3. Select the Smart tool in the Control Bar. 4. Position the mouse over one of the selected clips. 5.
Page 357: Aim Assist Line
Aim Assist line Aim Assist is a vertical white line that shows the mouse pointer’s horizontal position in the Clips pane and Piano Roll. The mouse pointer’s time position is also shown in the time ruler. Aim Assist is a helpful guide when editing in the Clips pane and Piano Roll, making it easy to align the mouse pointer with events on different tracks or markers in the time ruler.
Page 358: Reverting Clip(S) To Original Time Stamp
To customize the Aim Assist color 1. Go to Edit > Preferences > Customization - Colors. 2. In the Color Category list, select Track View. 3. In the Screen Element list, select Aim Assist line. 4. Specify the desired color and click OK to close the Preferences dialog box. See: “Splitting and combining clips”...
Page 359: Locking Clips
To revert clip(s) to original time stamp To revert selected clips to their original SMPTE time stamp, do one of the following: • Right-click a clip and choose Revert Clip(s) to Original Time Stamp from the context menu. • In the Clip Inspector, select the Properties section, click the Original Time field and choose Revert to original time stamp on the pop-up menu.
Page 360: Auto Scroll Lock In Clips Pane
• 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”...
Page 361: Clip Groups
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.
Page 362 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. Arranging and editing Clip groups...
Page 363 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.
Page 364 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). •...
Page 365 1 = A new clip group is created for the pasted clips. This is the default behavior. To view and edit the Cakewalk.ini file, go to Edit > Preferences > File - Initialization File. For more information about the Cakewalk.ini file, see “Initialization files”...
Page 366: Nudge
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”...
Page 367 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.
Page 368: Working With Partial Clips
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. •...
Page 369: Markers And The Snap Grid
• 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.
Page 370: Defining And Using The Snap Grid
Edit > Preferences > Customization - Snap to Grid. Magnetic snap. Cakewalk’s snap grid has an option called magnetic snap. This means that when you’re dragging the boundary of an object, you can move the boundary freely until the boundary gets within a certain number of ticks from the snap target.
Page 371 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. •...
Page 372: Snap Offsets
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.
Page 373 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.
Page 374 Figure 97. The Marker dialog box 2. Enter a name for the marker in the Name box. 3. The time is set to the Now time. If you want, use the spinners to change the time or type in a new marker time.
Page 375 To lock or unlock several markers 1. In the Markers view, select one or more markers. Use the CTRL and SHIFT keys if necessary to modify the selection. 2. Select or deselect SONAR updates the markers. To move a marker •...
Page 376: Tab To Transients
• If punch recording is enabled, click to the right of the Punch In marker to select the punch region Tip: If you press TAB or right-click while holding down the left mouse button over the markers, you can toggle through which of the overlaid markers you'd like to move. For example, if the Now Time marker, a regular Marker, a Loop point, and a Punch point are all at measure 5, pressing Tab (while holding down the left mouse button) toggles through T (Now Time), M (regular), L (Loop), and P (Punch).
Page 377: Working With Linked Clips
Clip type TAB target MIDI Groove clips. Each Note event. Step Sequencer clips. Each step that contains a note. Table 53. TAB to transients landmarks (Continued) TAB to transients in the Piano Roll view In addition to the Track view inline Piano Roll, TAB to transients also works in the Piano Roll view. If multiple tracks are displayed in the Piano Roll view, tabbing only operates on the current track.
Page 378 6. Press and hold down the CTRL key. 7. Press and hold down the left mouse button. A rectangle is displayed around the selected clips. 8. Drag the clips to their new location, and release the mouse button. 9. If necessary, confirm the options in the Drag and Drop Options dialog box, and click OK. SONAR creates copies of the selected clips that are linked to the originals.
Page 379: Splitting And Combining Clips
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 •...
Page 380 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: •...
Page 381: Take Lanes
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.
Page 382: Take Lane Controls
• You use loop recording in Comping or 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”...
Page 383 • Edit Filter. Use a track’s Edit Filter control to specify the type of data you want to edit. • Clips. The selected tool operates on clips. • Audio Transients. The selected tool operates on audio transients (only available for audio tracks).
Page 384: Using Take Lanes
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 101.
Page 385 • 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. Click a track’s Expand/collapse Take Lanes button. 2. Click the Add Take Lane button in an existing Take lane.
Page 386 To solo or unsolo a Take lane Click the Take lane’s Solo button You can only solo one Take lane at a time. Note: When a Take lane is soloed, and clip mutes (partial clip mute) are ignored. 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.
Page 387 See: “Clip muting and isolating (clip soloing)” on page 388 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.
Page 388: Clip Muting And Isolating (Clip Soloing)
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.
Page 389: Toggling A Clip's Mute Status
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. See: “Audition (selection playback)”...
Page 390: Isolating (Clip Soloing)
Isolating (clip soloing) Isolating works by muting all the clips in a track in the same time region except the ones that you want to hear. To make it simpler to work with overlapping clips in the same track, click the track’s Expand/collapse Take Lanes button to show overlapping clips in separate lanes.
Page 391: Comping
Comping There are various methods you can use to record your best performance. Comping refers to the process of recording multiple takes, then assembling a final “composite” track by combining the best parts from each take. While some musicians can perform a flawless performance in a single take, most people typically record several takes so they have a few alternative versions of the same performance in case there are any mistakes they want to fix later.
Page 392 A. Comp clip B. Takes See: “Basic comping workflow” on page 393 “Recording takes” on page 394 “Auditioning takes” on page 396 “Comping methods” on page 397 “Comping with the Smart tool and Comping tool” on page 400 “Speed comping” on page 404 “Adjusting crossfades”...
Page 393: Basic Comping Workflow
Basic comping workflow When comping, you will typically use a workflow that looks similar to this: 1. Record multiple takes to separate Take lanes. You can manually record to one Take lane at a time, or set up loop recording to automatically create a new Take lane for each repetition. You can also import loops.
Page 394: Recording Takes
See also: “Take lanes” on page 381 Recording takes Before comping, you need to record multiple takes on a track. You can manually record to one Take lane at a time, or set up loop recording to automatically create a new Take lane for each repetition. A take is any new data brought into a track.
Page 395 9. Click the Record button in Control Bar’s Transport module. 10. When recording is complete, click the Stop button Each repetition appears in its own Take lane. Take lanes are named automatically. The first lane is named T1, the next lane is named T2, etc. The newest (chronologically youngest) take is shown on top.
Page 396: Auditioning Takes
See also: “Recording” on page 267 “Recording modes” on page 278 “Looping” on page 194 “Take lanes” on page 381 Auditioning takes There are several ways to audition takes in order to compare and find the best takes: • Click the Take lane’s Solo button Unlike track solo buttons, Take lane solo buttons are mutually exclusive, meaning you can only solo one Take lane on a track at a time.
Page 397: Comping Methods
See also: “Take lanes” on page 381 “Audition (selection playback)” on page 389 “Scrubbing” on page 836 “To solo or unsolo a Take lane” on page 386 “Looping” on page 194 Comping methods There are three primary methods you can use to comp in SONAR: •...
Page 398 6. Click the track’s Record button to arm the track for recording. Note: It is important that you arm the parent track, not an existing Take lane. 7. If you are loop recording multiple takes: a) Drag in the Track view time ruler to select the desired loop boundaries. b) Right-click the time ruler and select Set Loop Points on the pop-up menu (or press SHIFT+L).
Page 399 Create new Hear existing Time-mute Record Record Take lane for material while existing How it works mode button each pass when recording? material? loop recording? Comping When recording, (default) previously recorded material on the track is not heard. When a recording is done, the newly recorded material is heard and all other takes are...
Page 400 See also: “Loop recording multiple takes to a single track” on page 394. “Looping” on page 194 “Recording” on page 267 “Recording modes” on page 278 Comping with the Smart tool and Comping tool SONAR’s Smart tool or Comping tool have an isolate function that allows you to select a region on one Take lane and automatically mute the same region in all other Take lanes on the same track.
Page 401 focus on identifying the regions you want to hear (isolate), and SONAR will automatically split, mute/ unmute, and heal clips. Figure 105. Drag to select the region you want to isolate. Figure 106. SONAR splits and mutes takes in order to define the isolate/mute regions. Figure 107.
Page 402 Isolate gestures work on the surrounding “zone”, using the following order of priority: • Selection. If the clicked spot is within a selection region anywhere on that track, the entire selection is isolated. • Mute/Isolate regions. The boundaries of muted and unmuted regions are the zone boundaries. All mute/unmute regions across all Take lanes are used.
Page 403 Note: Only the Smart tool changes its functionality when editing in a Take lane. The other tools function in the exact same way as when Take lanes are hidden. The Comping tool only works when Take lanes are shown. See also: “Clip muting and isolating (clip soloing)”...
Page 404 Speed comping You can quickly audition each take by itself and select only the takes you want to keep. To do so: 1. Select a take you want to audition. 2. Press SHIFT+SPACEBAR to start audition playback. Audition will loop continuously. You will see temporary Loop markers in the time ruler.
Page 405 5. Press the LEFT ARROW or RIGHT ARROW key to move to other takes along the timeline. 6. Repeat steps 3-4 until you have completed the comping. Tip: If you want to audition takes in context with other tracks, enable Dim Solo mode in the Control Bar’s Mix module.
Page 406 The following table shows speed comping keyboard shortcuts. Command Shortcut Audition the selected take SHIFT+SPACEBAR Audition the next or previous take UP ARROW or DOWN ARROW Isolate the currently auditioned take ENTER Audition the next or previous take along the timeline RIGHT ARROW or LEFT ARROW Table 58.
Page 407: Adjusting Crossfades
Adjusting crossfades When splitting clips as a result of comping, SONAR automatically adds a short crossfade between abutting takes. In order to create a crossfade, clip boundaries must occur at the exact same position on the time line. You can manually adjust the duration of each crossfade by dragging the crossfade up/down in either the Comp clip or in a Take lane.
Page 408: Editing Comp Clips
“Removing all unused takes and empty Take lanes” on page 413 “Comping” on page 391 See also: “Take lanes” on page 381 “Fades and crossfades” on page 430 Editing Comp clips When showing multiple Take lanes, the parent track shows a Comp clip that is a visual representation of all overlapping unmuted takes in the track, but no audio or MIDI data actually exists in a Comp clip.
Page 409 Figure 109. A Comp clip can contain multiple regions. A. Isolated take region B. Empty region (no unmuted takes) C. Crossfade region D. Multiclip region E. Isolated take F. Muted take G. Crossfade H. Comp clip unified header (click to select or move all takes as a group) I.
Page 410 Edit Isolated clip region Multiclip region Crossfade region operation Select Selects the Selects the corresponding Only selects the crossfade corresponding time time region in all takes. clip. region in all takes. Delete Deletes region on all Deletes region on all takes. Only deletes crossfade clip. takes.
Page 411: Finalizing The Comp
“Finalizing the comp” on page 411 “Removing all unused takes and empty Take lanes” on page 413 “Comping” on page 391 See also: “Take lanes” on page 381 Finalizing the comp After you have completed a comp, you might want to mix all the unmuted takes down to a new Take lane as a single continuous take.
Page 412 Figure 111. The flattened comp is mixed down to a new soloed Take lane See: “Basic comping workflow” on page 393 “Recording takes” on page 394 “Auditioning takes” on page 396 “Comping methods” on page 397 “Comping with the Smart tool and Comping tool” on page 400 “Speed comping”...
Page 413: Removing All Unused Takes And Empty Take Lanes
Removing all unused takes and empty Take lanes During, or after finishing a comp, you might want to permanently remove all muted takes or empty Take lanes if you are certain that you will not need them. SONAR has several convenient commands to automate this process.
Page 414: Track Folders
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: •...
Page 415 To create a track folder • Right-click in the Track pane of the Track view, and choose Insert Track Folder from the pop-up menu. • Use the Insert > Track Folder menu command. • Right-click a track that’s not in a track folder and select Move to Folder > New Track Folder from the pop-up menu.
Page 416 To remove multiple tracks from a track folder 1. Select the tracks you want to remove. 2. Right-click a selected track and choose Remove From Folder from the pop-up menu. To delete a track folder 1. In the Track view, right-click and select Delete Track Folder from the menu that appears. 2.
Page 417: Adding Effects In The Track View
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.
Page 418: Changing Tempos
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.
Page 419: Using The 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 112. The Transport module. 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.
Page 420 Figure 113. The Tempo dialog 3. Check the Insert a New Tempo box. 4. Enter a new tempo in one of the following ways: • Type a value in the Tempo field. • Click the arrows to change the value. •...
Page 421: Using The Tempo View
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. Audio clips which you want to follow tempo changes can also be converted to Groove clips in the Loop Construction view.
Page 422 The Control Bar contains several tools you can use to add or modify tempo changes: Tool Name What it’s for Select Drag the Select tool in either the Tempo list or graphic display to select tempos to edit Freehand Draw a custom curve indicating changes in tempo Line Draw a straight line indicating a steady increase or decrease in tempo Erase...
Page 423 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. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu.
Page 424 4. Release the mouse button. SONAR deletes all tempo changes in the area you marked. The last tempo setting prior to the erased region is now in effect in that region. To insert a tempo change in the Tempo list in the Tempo view 1.
Page 425: Undo, Redo, And The Undo History
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.
Page 426: Slip-Editing (Non-Destructive Editing)
By default, SONAR keeps a history of up to 128 editing actions for each open project. Once that limit is reached, each new action pushes out the oldest item from the History list. You can raise or lower that number in the Undo History dialog box. 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.
Page 427: Using Slip-Editing
Using slip-editing SONAR makes it easy to edit audio and MIDI clips by way of prominent clip handles that appear as your cursor comes close to the edges of clips. The clip handles are easy to see and are equipped with broad functionality for fade-ins, fade-outs, and crossfades, as well as non-destructive editing of the beginning and end of clips.
Page 428 To move data without moving its clip 1. Do one of the following: • Using the Smart tool , hold ALT+SHIFT move the pointer over the middle of the clip you want to edit. • Using the Edit tool , hold ALT+SHIFT move the pointer over the top third of the clip you want to edit.
Page 429: Slip-Editing Multiple Clips
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.
Page 430: Fades And Crossfades
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).
Page 431 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.
Page 432 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.
Page 433 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.
Page 434: Enhanced Editing With Keyboard
Enhanced editing with keyboard SONAR supports advanced editing via the numeric keypad on standard QWERTY keyboards. You can perform the following operations: • Navigate (see “Navigating with a keyboard” on page 436): • Scroll • Zoom • Select (see “Selecting with a keyboard” on page 438): •...
Page 435 Figure 117. Numeric keypad (NumLock mode) CROP OR FADE LEFT EDIT MODE CROP OR FADE RIGHT CENTER LEFT RIGHT EDIT CURSOR ZOOM/ SELECT DOWN SCROLL MODE MODE ENABLE EDITING Function Enable/disable keyboard editing (when NumLock is enabled) Enable Zoom/Scroll mode Down Enable Select mode Left...
Page 436: Navigating With A Keyboard
Function Volume knob (if Zoom/scroll/trim/crop depending on current mode keyboard has a rotary encoder) PLUS (+) Crop or fade right in Edit mode MINUS (-) Crop or fade left in Edit mode Table 63. See: “Navigating with a keyboard” on page 436 “Selecting with a keyboard”...
Page 437 Function CTRL+ ALT+ SHIFT+ Scroll left in large steps Zoom in horizontally in large steps (based on selection) Center edit cursor Scroll right in large steps Zoom out horizontally in large steps (based on selection) Scroll up in large steps Zoom in vertically in large steps (based on...
Page 438: Selecting With A Keyboard
Selecting with a keyboard In Select mode, you can select either clips or time. To enable selecting 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.
Page 439: Editing With A Keyboard
To select clips with a keyboard • In Select mode, do one of the following: • To select and edit clip under the edit cursor. Press 9 to select clip and enable Edit mode. • To extend the current selection. Hold down SHIFT+ALT and press 2, 4, 6 or 8. Editing with a keyboard Edit mode lets you fade and crop all selected clips.
Page 440 To fade clips with a keyboard 1. In Select mode, select the clips that you want to fade. 2. Press 9 to enable Edit mode. 3. Specify the clip property that you want to edit: • Fade in. Press 8. •...
Page 441: Tools
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 •...
Page 442 Tool Button Shortcut Description How to use “Smart tool” The Smart tool is the default tool in Using the Smart tool on: on page 456 SONAR. The Smart tool is a multi- • Audio clips function tool that combines functions •...
Page 443 Tool Button Shortcut Description How to use “Freehand F9 (cycle The Freehand tool lets you draw MIDI Using the Freehand tool on: tool” on page through all notes and freehand automation • PRV notes Draw tools) envelopes. You can also create and •...
Page 444 Tool Button Shortcut Description How to use “Scrub tool” None The Scrub tool lets you play all To scrub: on page 503 displayed tracks as you drag the • A single track mouse pointer forward or backward • All displayed tracks at the desired speed.
Page 445: Selecting Tools
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 446. • Press T on your computer keyboard to display the Tools HUD, then select the desired tool. For details, see “Using the Tools HUD to select tools”...
Page 446 Using the Control Bar to select tools Figure 120. Global tools are accessed from the Tools module in the Control Bar. A. Smart tool B. Select tool C. Move tool D. Edit tools (Edit/Timing/Comping/Split) E. Draw tools (Freehand/ Line/Sine/Triangle/Square/Saw/Random) F. Erase tools (Erase/Mute) G. Draw resolution To show/hide the Tools module Right-click the Control Bar and select Tools Module.
Page 447 If the tool you are looking for isn’t visible in the Tools module, chances are that another tool in the same group is selected. To access the hidden tool, click the group the tool belongs to, then select the tool from the pop-up menu. Figure Figure 122 on page 447 shows an expanded view of all tool groups.
Page 448 Using the Tools HUD to select tools Press the T to open the Tools HUD (Heads Up Display) at the current pointer position, then select the desired tool. Tip: You can press the middle mouse button to open the Tools HUD. While the Tools HUD is open, use the mouse wheel to open the Edit Filter menu.
Page 449 Tool Button Shortcut “Split tool” on page 482 Cycle through Draw tools (Freehand/Line/Sine/Triangle/ Square/Saw/Random) “Freehand tool” on page 486 “Line tool” on page 490 “Sine tool” on page 492 “Triangle tool” on page 492 “Square tool” on page 492 “Saw tool” on page 492 “Random tool”...
Page 450: Selecting The Data Type To Edit
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. Release the shortcut to switch back to the previously selected tool. For example, if you are using the Move tool and need to select some notes, press and hold down the F6 key (shortcut for the Select tool), make a selection, then release the F6 key to return to the Move tool.
Page 451 indicate existing envelopes. • Clip Automation. The selected tool operates on clip automation envelopes. Select the desired automation parameter from the submenu. Color-coded squares and bold text are used to indicate existing envelopes. To change the current Edit Filter setting Do one of the following: •...
Page 452 Data type ghosting Although you can only edit one data type at a time, you can choose to always show clips and automation envelopes simultaneously. 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. You can also hold down the SHIFT key and click any ghosted object to switch a track’s current Edit Filter setting.
Page 453 Editing audio clips • “Working with audio clips” on page 515 • “Using the Smart tool on audio clips” on page 457 • “Using the Select tool on audio clips” on page 464 • “Using the Move tool on audio clips” on page 469 •...
Page 454 • “To move a clip” on page 522 • “To erase a clip” on page 523 Editing notes in the Piano Roll • “Working with MIDI notes” on page 525 • “Using the Smart tool on PRV notes” on page 461 •...
Page 455 • “Using the Line tool on automation” on page 491 • “Using the Pattern tools on automation” on page 493 • “Using the Erase tool on automation” on page 497 • “To select automation” on page 529 • “To move automation” on page 529 •...
Page 456: Smart Tool
“Edit tool” on page 473 “Timing tool” on page 478 “Freehand tool” on page 486 “Line tool” on page 490 “Pattern tools” on page 492 “Erase tool” on page 495 “Split tool” on page 482 “Mute tool” on page 499 “Scrub tool”...
Page 457 Using the Smart tool on audio clips Figure 127. Smart tool hotspots on audio clips. Hotspot Default action +ALT +CTRL +ALT+SHIFT Right-click Adjust fade in Adjust fade out Crop clip start Stretch clip Crop clip start Note: If the clip contains and also move a fade in, drag the top clip data...
Page 458 Hotspot Default action +ALT +CTRL +ALT+SHIFT Right-click Crop clip end Stretch clip Crop clip end Note: If the clip contains and also move a fade out, drag the top clip data half to crop clip end and Note: If the clip move the fade out, or contains a fade drag the bottom half to...
Page 459 Using the Smart tool in Take lanes Figure 128. Smart tool hotspots in Take lanes (two split clips shown). Clip 1 Clip 2 Hotspot Default action +ALT +CTRL +ALT+SHIFT Right-click Adjust fade in Adjust fade out Crop clip start Stretch clip Crop clip start and also move clip data...
Page 460 Using the Smart tool on MIDI clips Figure 129. Smart tool hotspots on MIDI clip. Hotspot Default action +ALT +CTRL +ALT+SHIFT Right-click Crop clip start Crop clip start and also move clip data Crop clip end Crop clip end and also move clip data Select by time...
Page 461 Using the Smart tool on PRV notes Figure 130. Smart tool hotspots on PRV notes. ALT+R CTRL+ALT+ Double- CTRL+Rig Hotspot Default action Right-click +ALT +SHIFT ight- SHIFT+Right click ht-click click -click Drag up/down to adjust note velocity Adjust note start Click to select Open Erase note...
Page 462 Using the Smart tool on automation Figure 131. Smart tool hotspots on automation. Hotspot Default action Double-click +CTRL +ALT Right-click Move node Reset node Drag up/down to adjust Insert nodes selected nodes at the selection points Drag left/right to select nodes Drag to lasso select Insert a node...
Page 463 Using the Smart tool on AudioSnap transients Figure 132. Smart tool hotspots on AudioSnap transients. Hotspot Default action Double-click +ALT +CTRL Drag transient marker Select all adjacent transient Drag transient marker line to stretch selected markers in other tracks line to stretch selected transients (non- transients proportionally proportional stretch)
Page 464: Select Tool
“Erase tool” on page 495 “Split tool” on page 482 “Mute tool” on page 499 “Scrub tool” on page 503 “Zoom tool” on page 504 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.
Page 465 Using the Select tool on MIDI clips Figure 134. Select tool hotspots on MIDI clip. Hotspot Default action Right-click Select by time Drag to lasso select Click to select clip Drag to select multiple clips Select by time Drag to lasso select Table 76.
Page 466 Using the Select tool on PRV notes Figure 135. Select tool hotspots on PRV notes. Hotspot Default action Click to select note Drag to lasso select Lasso select Table 77. Using the Select tool on PRV notes Tools Select tool...
Page 467 Using the Select tool on automation Figure 136. Select tool hotspots on automation. Hotspot Default action Double-click +CTRL +SHIFT Right-click Select node Extend/toggle Extend Drag to lasso select selection selection Time select nodes Extend/toggle Extend Drag to lasso select selection selection nodes across tracks Select segment...
Page 468 Using the Select tool on AudioSnap transients Figure 137. Select tool hotspots on AudioSnap transients. Hotspot Default action Double-click +CTRL +SHIFT Select transient marker Select adjacent transient Extend/toggle Extend selection markers in other tracks selection Drag left/right to select transient markers Table 79.
Page 469: Move Tool
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.
Page 470 Using the Move tool on MIDI clips Figure 139. Move tool hotspots on MIDI clip. Hotspot Default action +ALT Drag clip to move clip Drag selection to move selection Table 81. Using the Move tool on MIDI clips Using the Move tool on PRV notes Figure 140.
Page 471 Using the Move tool on automation Figure 141. Move tool hotspots on automation. Hotspot Default action Double-click +CTRL +SHIFT Move node Reset node Extend/toggle Extend selection selection Move selected segments/nodes Move segment Add new node Extend/toggle Extend selection selection Table 83. Using the Move tool on automation Tools Move tool...
Page 472 Using the Move tool on AudioSnap transients Figure 142. Move tool hotspots on AudioSnap transients. Hotspot Default action Double-click If no selection exists, move clicked transient Reset transient marker marker; if selection exists, move selected transient markers Move selected transient markers Table 84.
Page 473: Edit Tool
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: •...
Page 474 Using the Edit tool on audio clips Figure 143. Edit tool hotspots on audio clip. Hotspot Default action +CTRL +ALT+SHIFT Adjust fade in Adjust fade out Crop clip start Stretch clip Crop clip start and also Note: If the clip contains a move clip data fade in, drag the top 75% to crop clip start and move the...
Page 475 Using the Edit tool on MIDI clips Figure 144. Edit tool hotspots on MIDI clip. Hotspot Default action +ALT+SHIFT Crop clip start Crop clip start and also move clip data Note: If the clip contains a fade in, drag the top 75% to crop clip start and move the fade in, or drag the bottom 25% to only crop the clip without moving the fade in.
Page 476 Using the Edit tool on PRV notes Figure 145. Edit tool hotspots on PRV notes. Hotspot Default action Drag up/down to adjust note velocity Adjust note start Adjust note end Table 87. Using the Edit tool on PRV notes Using the Edit tool on automation Figure 146.
Page 477 Hotspot Default action Double-click +CTRL +SHIFT Drag to move node Reset node Extend selection Extend selection Click to select node Drag up/down to adjust selected nodes Drag to move line Drag up/down to cycle segment through the line’s Double-click to add available curve types new node (Fast, Current, Slow,...
Page 478: Timing Tool
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: •...
Page 479 Using the Timing tool on PRV notes Figure 148. Timing tool hotspots on PRV notes. Hotspot Default action Drag up/down to drag quantize selected notes Table 90. Using the Timing tool on PRV notes Using the Timing tool on AudioSnap transients Figure 149.
Page 480: Comping Tool
See also: “Tools” on page 441 “Smart tool” on page 456 “Select tool” on page 464 “Move tool” on page 469 “Edit tool” on page 473 “Split tool” on page 482 “Freehand tool” on page 486 “Line tool” on page 490 “Pattern tools”...
Page 481 Using the Comping tool in Take lanes Figure 150. Comping tool hotspots in Take lanes (two split clips shown). Clip 1 Clip 2 Hotspot Default action +CTRL +ALT+SHIFT Crop clip start Stretch clip Crop clip start and also move clip data Note: If the clip contains a fade in, Note: If the clip contains a fade in, drag the drag the top half to crop clip start...
Page 482: Split Tool
See also: “Tools” on page 441 “Smart tool” on page 456 “Select tool” on page 464 “Move tool” on page 469 “Timing tool” on page 478 “Freehand tool” on page 486 “Line tool” on page 490 “Pattern tools” on page 492 “Erase tool”...
Page 483 Using the Split tool on audio clips Figure 151. Split tool hotspots on audio clip. Hotspot Default action Click to split clip Drag to split selection Lasso to split at lasso edges Table 93. Using the Split tool on audio clips Using the Split tool on MIDI clips Figure 152.
Page 484 Using the Split tool on PRV notes Figure 153. Split tool hotspots on PRV notes. Hotspot Default action Split note Table 95. Using the Split tool on PRV notes Using the Split tool on AudioSnap transients Figure 154. Split tool hotspots on AudioSnap transients. Hotspot Default action Split audio at transient marker...
Page 485 See also: “Tools” on page 441 “Smart tool” on page 456 “Select tool” on page 464 “Move tool” on page 469 “Edit tool” on page 473 “Timing tool” on page 478 “Freehand tool” on page 486 “Line tool” on page 490 “Pattern tools”...
Page 486: Freehand Tool
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.
Page 487 Using the Freehand tool on PRV notes Figure 156. Freehand tool hotspots on PRV notes. Hotspot Default action +CTRL +ALT +CTRL+SHIFT Glue notes together Modify velocity (only Draw velocity linearly when velocity is not (only when velocity is shown in the Controller not shown in the pane) Controller pane)
Page 488 Using the Freehand tool on automation Figure 157. Freehand tool hotspots on automation. Hotspot Default action Draw nodes/segments Table 98. Using the Freehand tool on automation Using the Freehand tool on AudioSnap transients Figure 158. Freehand tool hotspots on AudioSnap transients. Hotspot Default action Promote transient marker...
Page 489 See also: “Tools” on page 441 “Smart tool” on page 456 “Select tool” on page 464 “Move tool” on page 469 “Edit tool” on page 473 “Timing tool” on page 478 “Split tool” on page 482 “Line tool” on page 490 “Pattern tools”...
Page 490: Line Tool
Line tool The Line tool lets you draw straight automation envelopes and “paint” MIDI notes at defined resolutions and intervals. Note: The Line tool does not work on audio clips, MIDI clips or AudioSnap transients. For additional draw settings, see “Specifying note durations”...
Page 491 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 160. Line tool hotspots on automation. Hotspot Default action +SHIFT Drag to add nodes at mousedown and mouseup points Insert nodes at the Snap to Grid value without changing the value of the...
Page 492: Pattern Tools
“Erase tool” on page 495 “Mute tool” on page 499 “Scrub tool” on page 503 “Zoom tool” on page 504 Pattern tools The various pattern tools let you draw automation envelopes that have a specific shape. For additional draw settings, see “Specifying note durations”...
Page 493 Random tool The Random Pattern tool lets you edit automation envelopes by drawing random shapes. Note: The pattern tools do not work on audio clips, MIDI clips, PRV notes or AudioSnap transients. For information about drawing shapes, see “To draw automation shapes” on page 531.
Page 494 See also: “Tools” on page 441 “Smart tool” on page 456 “Select tool” on page 464 “Move tool” on page 469 “Edit tool” on page 473 “Timing tool” on page 478 “Split tool” on page 482 “Freehand tool” on page 486 “Line tool”...
Page 495: Erase Tool
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. •...
Page 496 Using the Erase tool on MIDI clips Figure 163. Erase tool hotspots on MIDI clip. Hotspot Default action +ALT Drag to delete a time selection Click clip to delete clip Click a selection to delete the selection Lasso to delete clips Delete by time Table 104.
Page 497 Using the Erase tool on PRV notes Figure 164. Erase tool hotspots on PRV notes. Hotspot Default action Click to delete note Drag to delete multiple notes Lasso delete notes Table 105. Using the Erase tool on PRV notes Using the Erase tool on automation Figure 165.
Page 498 Using the Erase tool on AudioSnap transients Figure 166. Erase tool hotspots on AudioSnap transients. Hotspot Default action Delete clicked transient marker Drag to delete multiple transient markers Lasso delete transient markers across clips and tracks Table 107. Using the Erase tool on AudioSnap transients Note: You can only erase user created transient markers.
Page 499: Mute Tool
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: •...
Page 500 Using the Mute tool on MIDI clips Figure 168. Mute tool hotspots on MIDI clip. Hotspot Default action +ALT +CTRL Click to unmute clip Click to isolate Take lane Drag to unmute by time Drag to isolate by time Click to mute clip Click to isolate Take lane Drag to mute by time Drag to isolate by time...
Page 501 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 169. Mute tool hotspots on PRV notes. Hotspot Default action Click to mute/unmute Drag to mute/unmute multiple notes Lasso mute/unmute notes Table 110.
Page 502 Using the Mute tool on AudioSnap transients Figure 170. Mute tool hotspots on AudioSnap transients. Hotspot Default action Disable transient marker Disable transient markers Lasso disable transient markers across clips and tracks Table 111. Using the Mute tool on AudioSnap transients See also: “Tools”...
Page 503: Scrub Tool
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.
Page 504: Zoom Tool
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.
Page 505: Snap To Grid Settings
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;...
Page 506 • Landmark Events . Snap to the selected landmarks, including markers, Now Time, clips, 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.
Page 507: Specifying Note Durations
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 172. Use the Value control to specify the duration of new note events. A.
Page 508: Mouse Cursors
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.
Page 509 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.
Page 510 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.
Page 511 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.
Page 512 Cursor Description Move data within clip (ALT+SHIFT). Isolate a clip or region when comping in Take lanes. Crossfade abutting clips in Take lanes. Table 113. Tool cursors (Continued) See: “Tools” on page 441 Tools Mouse cursors...
Page 513: Using Tools To Perform Common Tasks
Using tools to perform common tasks This section explains how to perform many common editing tasks. See: Working with audio clips • “To fade in/out an audio clip” on page 515 • “To crop a clip’s start/end” on page 515 •...
Page 514 Working with MIDI notes • “To adjust a MIDI note’s velocity” on page 525 • “To adjust a MIDI note’s start/end” on page 525 • “To select MIDI notes” on page 525 • “To scrub MIDI notes” on page 525 •...
Page 515: Working With Audio Clips
Working with audio clips To fade in/out an audio clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer in the top left (fade in) or top right (fade out) corner of the clip, then drag to adjust the fade duration.
Page 516 To move data without moving its clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , position the pointer within the clip, then hold ALT+SHIFT and drag left/right to move the data within the clip boundaries. •...
Page 517 To scrub an audio clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • To scrub a single track, hold down the J key and drag across the track. • To scrub all visible tracks, hold down the J key and drag in the time ruler. To mute/unmute a clip 1.
Page 518 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. •...
Page 519 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). •...
Page 520: Working With Midi Clips
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.
Page 521 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 , position the pointer below the clip header, then drag to make a time selection.
Page 522 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.
Page 523 To erase a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Erase tool , position the pointer over the top half of the clip, then drag to erase a time selection.
Page 524 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). •...
Page 525: Working With Midi Notes
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 , position the pointer near the top center of the note, then drag up/ down.
Page 526 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.
Page 527 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 , position the pointer over a selected note and drag up/down to quantize all selected notes. To glue MIDI notes together 1.
Page 528 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). •...
Page 529: Working With Automation Envelopes
Working with automation envelopes To select 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 Smart tool or Select tool , drag left/right to make a time selection. •...
Page 530 To reset 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 , double-click the node. • With the Move tool , double-click the node.
Page 531 To draw automation shapes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Select the desired pattern tool: Sine Pattern tool , Triangle Pattern tool , Square Pattern tool , Saw Pattern tool , or Random Pattern tool 3.
Page 532 To erase 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 Erase tool , click a node to erase a single node, or drag over nodes to erase multiple nodes.
Page 533 or Random tool ), hold down the SHIFT key and drag to add nodes at the Snap to Grid value. 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.
Page 534: Working With Audiosnap Transients
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. •...
Page 535 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.
Page 536 See: “Working with audio clips” on page 515 “Working with MIDI clips” on page 520 “Working with MIDI notes” on page 525 “Working with automation envelopes” on page 529 “Working with AudioSnap transients” on page 534 “Tools” on page 441 See also: “Comping”...
Page 537: Control Bar Overview
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.
Page 538 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 174. Control Bar modules. A. Screenset module B. Tools module C. Snap module D. Transport module E. Punch module F. Loop module G.
Page 539 events. For details, see “Event Inspector module” on page 564. • Sync module. The Sync module lets you configure synchronization settings. For details, see “Sync Module” on page 566. • Gobbler module. The Gobbler module lets you back up and share projects via the cloud-based Gobbler service.
Page 540 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. •...
Page 541: Tools Module
Tools module The Tools module contains various tools that allow you to edit content in your projects. The current tool applies to whichever editing view has focus. Using menu buttons 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.
Page 542 clips, MIDI notes, envelope nodes, transient markers and clip tempo map markers. For details, “Move tool” on page 469. • Edit tool . The Edit tool lets you adjust data. You can slip-edit clips, adjust note start/end times, adjust fades, raise/lower clip volume envelope, and raise/lower note velocity and automation envelopes.
Page 543 access the note value menu. For details, see “Specifying note durations” on page 507. Tip: You can quickly access the various tools from the Tools HUD by pressing T on your computer keyboard. See: “Tools” on page 441 “Nudge” on page 366 “Zoom controls”...
Page 544: Snap Module
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;...
Page 545 • Triplet . Reduces the duration of the selected Musical time resolution by 2/3 of its original 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%).
Page 546 See also: “Tools module” on page 541 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module” on page 556 “Performance module” on page 558 “Punch module” on page 560 “Select module”...
Page 547: Transport Module
Transport module The Transport module lets you control the transport and transport-related functions, such as Record , Return to Zero , Rewind , Stop , Play , and Fast Forward To show/hide the Transport module Right-click the Control Bar and select Transport Module. Figure 179.
Page 548 • 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. •...
Page 549 signatures” on page 270. 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.
Page 550: Loop Module
See also: “Tools module” on page 541 “Snap module” on page 544 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module” on page 556 “Performance module” on page 558 “Punch module” on page 560 “Select module”...
Page 551 • 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. See: “Loop recording” on page 303 “Looping” on page 194 See also: “Tools module”...
Page 552: Mix Module
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 182.
Page 553 • Live Input PDC Override . Enable/disable delay compensation on live tracks, thereby removing the latency during playback and recording of such tracks. Because it's a toggle, you can quickly turn it on to complete your tracking at low latency, and turn it off when finished to hear the track compensated as normal.
Page 554: Act Module
“Screenset module” on page 556 “Performance module” on page 558 “Punch module” on page 560 “Select module” on page 561 “Markers module” on page 562 “Event Inspector module” on page 564 “Sync Module” on page 566 “Gobbler module” on page 568 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.
Page 555 See: “ACT” on page 1346 See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “Screenset module” on page 556 “Performance module” on page 558 “Punch module”...
Page 556: Screenset Module
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, 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. Screensets can be selected and edited from the Screenset module in the Control Bar, or with number keys 1-0 on your computer keyboard.
Page 557 See: “Screensets” on page 1154 See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Performance module” on page 558 “Punch module”...
Page 558: Performance Module
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 185. The Performance module. 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: •...
Page 559 • Memory Usage (RAM) meter. Shows the total memory (RAM) usage by your computer, not just 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”...
Page 560: Punch Module
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 186. The Punch module. 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: •...
Page 561: Select Module
“Performance module” on page 558 “Select module” on page 561 “Markers module” on page 562 “Event Inspector module” on page 564 “Sync Module” on page 566 “Gobbler module” on page 568 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.
Page 562: Markers Module
See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module” on page 556 “Performance module” on page 558 “Punch module”...
Page 563 See: “Creating and using markers” on page 372 See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module”...
Page 564: Event Inspector Module
Event Inspector module The Event Inspector module lets you view and modify settings for selected clips and MIDI Note events. If you select multiple notes, the Event Inspector module displays the note value if all selected note values are the same. If the note values are different, the Event Inspector does not display anything.
Page 565 See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module” on page 556 “Performance module” on page 558 “Punch module”...
Page 566: Sync Module
Sync Module The Sync module lets you configure synchronization settings. To show/hide the Sync module Right-click the Control Bar and select Sync Module. Figure 190. The Sync module. 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: •...
Page 567 • Sync type. Select the sync type. 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. •...
Page 568: Gobbler Module
Gobbler module The Gobbler module lets you back up and share projects on the cloud-based Gobbler service. To show/hide the Gobbler module Right-click the Control Bar and select Gobbler Module. Figure 191. The Gobbler module. A. Connect to Gobbler B. Auto Backup current project C. Storage indicator D. Send project or files E.
Page 569 See: “Sharing and backing up your projects on Gobbler” on page 1089 See also: “Tools module” on page 541 “Snap module” on page 544 “Transport module” on page 547 “Loop module” on page 550 “Mix module” on page 552 “ACT module” on page 554 “Screenset module”...
Page 570 Control Bar overview...
Page 571: Inspectors
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 192. Use the Track Inspector and Properties Inspector to configure track and clip settings. A.
Page 572 • Clip. The Clip Properties Inspector displays settings for the currently selected clip(s). For details, see “Properties Inspector - Clip Properties” on page 594. • 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.
Page 573 Figure 193. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. 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.
Page 574 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.
Page 575 To dock/undock the Inspector Do one of the following: • To dock the Inspector on the right side. Click the Docking Options button and select Dock Right. • To dock the Inspector on the left side. Click the Docking Options button and select Dock Left.
Page 576: Track Inspector Overview
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.
Page 577 Current track type Left strip Right strip Selected bus Output of selected bus or send Main Selected main Blank Table 114. Track inspector controls (Continued) Showing both the current track and its output destination side-by-side makes it fast and easy to configure the desired audio routing.
Page 578 Note: When the current track is an Instrument track, you can show either audio output controls or advanced MIDI settings in the right strip by selecting the Audio tab or MIDI tab at the bottom of the Track Inspector. To show a track/bus/main in the Track Inspector Do one of the following: •...
Page 579: Track Inspector Controls
“Inspectors” on page 571 Track Inspector controls The controls in the Track Inspector vary depending on the current track type. Audio MIDI Instrument Control Description Main track track track Clip Show/hide the Clip Properties Inspector. Track Show/hide the Track Properties Inspector. Dock/Undock Dock/undock the Inspector pane.
Page 580 Audio MIDI Instrument Control Description Main track track track Bank The set of patch names available for the track. 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 signal enters an effect or chain of effects as...
Page 581 Audio MIDI Instrument Control Description Main track track track 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.
Page 582 Audio MIDI Instrument Control Description Main track track track Input Input quantizing allows you to automatically quantize quantize MIDI input during recording. See “Input Quantize section” on page 588. 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.
Page 583 Audio track controls Figure 197. Track Inspector controls for audio tracks. 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.
Page 584 Bus controls Figure 198. Track Inspector controls for buses. 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.
Page 585 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.
Page 586 Figure 200. Instrument tracks can show audio output or MIDI controls by selecting the Audio tab or MIDI tab. Audio tab MIDI tab A. Audio output B. MIDI controls Advanced MIDI Controls section • Chorus. Adds MIDI chorus effect to the track. •...
Page 587 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. Use for instruments that only respond to Controller 0 bank select messages.
Page 588 Input Quantize section • Input Quantize On/Off. Enables/disables Input Quantize on the selected track. • Preset. Save or select settings that you use often in the drop-down menu. To save a new group of settings, click the Preset list and choose Quantize Settings to open the Input Quantize dialog box, then type a name in the Preset field and click the Save button.
Page 589 Arpeggiator section • Arpeggiator On/Off. Enables/disables the Arpeggiator on the selected track. This control can be assigned to MIDI remote control and modified in real-time during project playback. • Preset. You can create and edit Arpeggiator presets; all user parameters are stored in the preset.
Page 590 • Rhythm (implicit rhythm mode) • Forward • Reverse • Forward Circle 1 • Reverse Circle 1 • Forward Circle 2 • Reverse Circle 2 • Inward • Outward • Inward Circle • Outward Circle • As Played • As Played Circle •...
Page 591 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). Show/hide ProChannel controls, which includes Equalizer, Compressor and Tube Saturation.
Page 592: Properties Inspector Overview
Properties Inspector overview The Properties Inspector shows properties for the selected clip(s) or track(s), depending on whether the Clip or Track button is pressed: • Clip. The Clip Properties Inspector displays settings for the currently selected clip(s). For details, see “Properties Inspector - Clip Properties”...
Page 593 Figure 203. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. A. Dock/undock and expand/collapse Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track/Bus Properties Inspector D. Show/hide ProChannel See: “Properties Inspector - Clip Properties”...
Page 594: Properties Inspector - Clip Properties
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 595 • “Groove Clip section” on page 597 • “AudioSnap section” on page 598 •...
Page 595 To show/hide the Clip Properties Inspector Click the Clip button at the top of the Inspector pane, or press SHIFT+I. Figure 205. 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.
Page 596 • 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.
Page 597 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”...
Page 598 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.).
Page 599 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. •...
Page 600: Properties Inspector - Track Properties
See also: “Editing clip properties” on page 830 “Arranging clips” on page 341 “Effects on clips” on page 921 “Adding effects in the Track view” on page 417 “Working with loops and Groove Clips” on page 697 “AudioSnap (Producer and Studio only)” on page 635 “MIDI effects (MIDI plug-ins)”...
Page 601 To show/hide the Track Properties Inspector Click the Track button at the top of the Inspector pane, or press CTRL+SHIFT+I. Figure 208. Click the Track button to show/hide the Track Properties Inspector. The Track Properties Inspector contains the following sections: Properties section •...
Page 602 Automation section • Time Base. Choose one of the two options in this section to control what happens to automation when you change the tempo: • Musical (M:B:T). If the track is set to the Musical time base, the automation’s M:B:T position stays constant, and its absolute position shifts.
Page 603: Properties Inspector - Bus Properties
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 209. The Bus Properties Inspector lets you specify settings for the selected bus(es). A.
Page 604 Automation section • Time Base. Choose one of the two options in this section to control what happens to automation when you change the tempo: • 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.
Page 605: Browser
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: •...
Page 606 By default, the Browser is docked on the right side of the screen. More detailed information is shown in the Media Browser and Synth Rack Browser when the SONAR Browser is floating or docked at the bottom of the screen. For more information, see “Docking/undocking and resizing the Browser window”...
Page 607 “To assign a track/bus icon” on page 616 “Using the Plug-in Browser” on page 620 “Adding effects and instruments to a project” on page 622 “To insert an effect in a track or bus” on page 622 “To insert an effect into a clip’s effects bin” on page 624 “To insert an instrument”...
Page 608: Docking/Undocking And Resizing The Browser Window
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. More detailed information is shown in the Media Browser and Synth Rack Browser when the SONAR Browser is floating or docked at the bottom of the screen.
Page 609 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: •...
Page 610: Using The Media Browser
To show the Browser Select Views > Browser. See: “Using the Media Browser” on page 610 “Using the Plug-in Browser” on page 620 “Using the Synth Rack Browser” on page 628 “To import an audio or MIDI file” on page 613 “To import a video file”...
Page 611 Media Browser interface Figure 214. Media Browser 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.
Page 612 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.
Page 613: Adding Browser Objects To Your Project
“To import a video file” on page 616 “To assign a track/bus icon” on page 616 “Keyboard navigation” on page 619 “Browser” on page 605 Adding Browser objects to your project To show audio/MIDI content Click the Browse Media button To import an audio or MIDI file 1.
Page 614 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.
Page 615 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 •...
Page 616 To open or import a project file 1. In the Browser, click the Browse Media button 2. Navigate to the folder that contains the project you want to import tracks from. 3. Do one of the following: • To open a project. Double-click the desired cwp/cwb/wrk/bun file. •...
Page 617 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. Note: If there are no synths in the project, go to Insert >...
Page 618: Using Content Location Presets
See: “Using the Media Browser” on page 610 “Using the Plug-in Browser” on page 620 “Using the Synth Rack Browser” on page 628 “Using Content Location presets” on page 618 “Keyboard navigation” on page 619 “Browser” on page 605 See also: “To load an FX Chain preset”...
Page 619: Keyboard Navigation
In addition to navigating the Media Browser folder tree to go to a specific folder, you can also type in any arbitrary folder path to instantly jump to a folder. To do so, double-click the Content Location box and type a folder name, including the full path (for example, C:\Cakewalk Content). See: “Using the Media Browser”...
Page 620: Using The Plug-In Browser
See: “Using the Media Browser” on page 610 “Using the Plug-in Browser” on page 620 “Using the Synth Rack Browser” on page 628 “To import an audio or MIDI file” on page 613 “To import a video file” on page 616 “To import a track template”...
Page 621 • Plug-in Layout menu. The Plug-in Layout menu lets you specify how plug-ins are organized. 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.
Page 622: Adding Effects And Instruments To A Project
• <list of layouts>. The Plug-in Layout menu lists all layouts stored by Cakewalk Plug-in Manager. Select a layout to change the plug-in list. • Search filter. The search filter allows you to only show plug-in names that includes a specific text string.
Page 623 • Audio FX • MIDI FX 3. Do one of the following: • To insert the effect in a specific location in the effects bin. Drag the effect to the desired position in a track/bus effects bin. • To insert the effect at the end of the effects bin. Drag the effect to an empty track space in the Clips pane, or double-click the effect (only if the selected track type matches the effect type).
Page 624 • 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. In the Browser, click the PlugIn button to show the Plug-in Browser. 2.
Page 625 • Audio Console strip • MIDI Console strip • Empty Track view • Empty Console view • Instrument track • Instrument track inspector • Instrument Console strip To insert a ReWire device 1. In the Browser, click the PlugIn button to show the Plug-in Browser.
Page 626: Using Fx Chain Presets (.Fxc)
“To extract plug-ins from an FX Chain container” on page 937. Caution: If you load a SONAR X3 project in an older version of SONAR, SONAR will report the FX Chain as a missing plug-in and the contents of the FX Chain will be unavailable. Resaving the project will permanently remove the FX Chain.
Page 627 To rename an FX Chain preset 1. In the Browser, click the PlugIn button to show the Plug-in Browser. 2. Under Audio, expand the FX Chain branch. 3. Select the FX Chain, then click the FX Chain name again and type a name. See: “Effects chains”...
Page 628: Using The Synth Rack Browser
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.
Page 629 • Insert Synths > Plug-in Layouts > <list of layouts>. The Plug-in Layout menu lists all layouts stored by Cakewalk Plug-in Manager. Select a layout to change the plug-in list. • Insert Synths. This submenu lists all available soft synths. Click the desired soft synth to insert it in the current project and add an Instrument track.
Page 630 • 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 lower- numbered output.
Page 631 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. Each inserted instrument in a project appears in the Instrument list, and shows the following controls: Note: Certain controls in the Instrument list are only available when the Synth Rack is undocked or docked at the bottom of the screen.
Page 632: Managing Instruments In A Project
• Automated knobs. These are knobs you create by using the Assigned Controls button. The knobs are displayed below the synth’s control bar in the Synth Rack. Automated knobs are only available when the Synth Rack is undocked or docked at the bottom. See: “Managing instruments in a project”...
Page 633 To mute/solo/freeze an instrument 1. In the Browser, click the Browse Synth Rack button 2. Click the desired synths Mute, Solo, or Freeze button. To select an instrument preset 1. In the Browser, click the Browse Synth Rack button 2. Click the desired synth’s preset picker. To access assignable control knobs 1.
Page 634 See: “Using the Media Browser” on page 610 “Using the Plug-in Browser” on page 620 “Using the Synth Rack Browser” on page 628 “To import an audio or MIDI file” on page 613 “To import a video file” on page 616 “To import a track template”...
Page 635: Audiosnap (Producer And Studio Only)
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.
Page 636 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.
Page 637 Why would I use it? Here are some common uses for AudioSnap: • Aligning measure lines and tempo to audio or MIDI tracks that were recorded without a metronome (see “Synchronizing audio and the project tempo” on page 656). • Fixing timing errors (see “Fixing timing problems in audio clips”...
Page 638: Using Global Tools On Audiosnap Transient Markers
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.
Page 639 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.
Page 640 Hotspot Default action Double-click +ALT +CTRL Drag transient marker Select all adjacent transient Drag transient marker line to stretch selected markers in other tracks line to stretch selected transients (non- transients proportionally proportional stretch) Drag transient marker handle (diamond) to move transient marker (non-stretch) Lasso select transients...
Page 641 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. •...
Page 642 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 594. Figure 223. The AudioSnap section in the Clip Inspector See: “Editing transient markers”...
Page 643: Editing Transient Markers
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.
Page 644 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.
Page 645 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.
Page 646 To move a transient marker (without stretching audio) • Drag the marker handle (diamond). Figure 225. To move a transient marker, drag the marker head (diamond) To drag a transient marker and stretch audio • Drag the marker line. Figure 226. 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.
Page 647 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 •...
Page 648 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.
Page 649 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.
Page 650 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...
Page 651: Enabling/Disabling Audiosnap
“Synchronizing audio and the project tempo” on page 656 “Extracting MIDI timing information from audio” on page 679 “General editing” on page 681 “Using the Pool” on page 689 “Algorithms and rendering” on page 692 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.
Page 652: Using The Audiosnap Palette
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 •...
Page 653 • Split Beats into Clips . This button splits a clip at each transient marker into multiple clips. • Clip Timebase (Absolute or Musical) . There are two timebase settings for a clip in SONAR: • Musical (default) . Musical Timebase means the clip start position will follow Musical Time (MIDI Tick).
Page 654 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 . This button adds the selected clip’s transients to the Pool (see “Using the Pool”...
Page 655 By default, the AudioSnap palette appears automatically whenever you enable AudioSnap on a clip. If you prefer to never auto-show the AudioSnap palette, you can change this behavior by adding a variable to the Cakewalk.ini file. This variable should be set in the [WinCake] section. For example:...
Page 656: Synchronizing Audio And The Project Tempo
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: •...
Page 657 To sync the project tempo to an audio clip 1. Select the audio clip(s) that has the desired tempo map. 2. Press A to open the AudioSnap palette. 3. Click the Set Project Tempo From Clip button on the AudioSnap palette. The clip tempo map is copied to the project tempo map so the tempo maps are identical.
Page 658 The global project tempo map is copied to the clip tempo map so the tempo maps are identical. Note: AudioSnap will always attempt to find the tempo of any clip recorded or imported into SONAR. While several possible tempos are normally generated, in some cases AudioSnap may be unable to detect the correct tempo or may not detect a tempo at all.
Page 659: Editing A Clip's Tempo Map
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. SONAR automatically creates a tempo map for each audio clip. In some cases, SONAR can detect the wrong tempo.
Page 660 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.
Page 661 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.
Page 662: Changing A Project's Tempo
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.
Page 663: Fixing Timing Problems In Audio Clips
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. •...
Page 664: Adjusting The Timing Of A Solo Performance
“Synchronizing the rhythms of out-of-sync tracks” on page 670 “Making multiple clips/tracks groove together” on page 670 “Quantizing audio” on page 671 “To quantize audio to the project’s time ruler” on page 671 “To Groove Quantize an audio clip” on page 672 “To quantize an audio clip to another audio clip (Quantize to Pool)”...
Page 665: Adjusting The Timing Of A Multi-Track Performance While Maintaining Phase Relationships
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.
Page 666 Our job is to align the drum hits with the piano hits so that the drum and piano tracks in time all the way through the measure. 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. Audio clips display transient markers and the AudioSnap palette appears.
Page 667 Figure 231. 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.
Page 668 Figure 232. 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.
Page 669 Figure 233. 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 674. See: “Adjusting the timing of a solo performance” on page 664 “Synchronizing the rhythms of out-of-sync tracks”...
Page 670: Synchronizing The Rhythms Of Out-Of-Sync Tracks
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.
Page 671: Quantizing Audio
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.
Page 672 To Groove Quantize an audio clip The Groove Quantize command aligns transients with a groove that’s on the Clipboard or a pre- existing 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”...
Page 673 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.
Page 674 See also: “To extract the groove from one clip and apply it to another clip” on page 672 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.
Page 675 6. Right-click any selected drum track and select Merge and Lock Markers on the pop-up menu. 7. All transient markers on all selected tracks are copied to each drum track, so all drum tracks share identical transient markers. The clip positions are also locked. 8.
Page 676 12. Click the Split Beats into Clips button on the AudioSnap palette. Each beat is split into a separate clip. 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.
Page 677 values are set at their default values. 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.
Page 678 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 665.
Page 679: Extracting Midi Timing Information From Audio
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. •...
Page 680 To paste the extracted MIDI timing to a MIDI track 1. Click the track number of a MIDI track to select it. 2. Move the Now Time to the measure where you want the data (we’ll use measure 1). 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.
Page 681: General Editing
General editing If you want to snap edits in the Clips pane to transient markers, see “Snapping edits to audio beats” on page 681. If you want to split each beat into a separate clip, see “Splitting beats into clips” on page 683.
Page 682 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. Note: If events do not appear to snap to audio transients, go to Edit >...
Page 683: Splitting Beats Into Clips
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.
Page 684 To split a clip, quantize it, and fill in the gaps 1. The following picture shows a clip whose transient markers don’t line up with the measure lines: 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.
Page 685 5. Make sure that Audio Clip Start Times is selected, and that (for this example) Sixteenth is selected in the Duration field. Leave the Auto XFade Audio Clips option unchecked for now, and click OK. Let’s zoom in and look at the quantized clips: 6.
Page 686 7. Where the gaps were between clips, we now see crossfades. The default length of the crossfade is 20 milliseconds, but you can change that by entering a number in the XFade <number goes here> ms field in the dialog box. 8.
Page 687: Slip-Stretching Audio
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.
Page 688: Adding Automation
Adding automation If you have an automation envelope on a track, AudioSnap can automatically add nodes to the envelope that align with a selected clip’s transient markers. This makes it easy to add special processing at transient locations. To add nodes at transients 1.
Page 689: Using The Pool
Using the Pool The Pool is a collection of transient markers that can be extracted as a groove, and also function as snap locations. A transient marker that belongs to the pool is displayed in the Clips pane as a solid line within the parent track, and as a dotted line outside the parent track.
Page 690: Groove Quantize And Quantize To Pool
To add the Time ruler to the Pool 1. In the Control Bar’s Snap module, set the Musical Time value to the resolution you would like to add to the Pool. 2. Select the Smart tool in the Control Bar. 3.
Page 691 For information about groove quantizing an audio clip, see “To Groove Quantize an audio clip” page 672. For information about quantizing to the Pool, see “To quantize an audio clip to another audio clip (Quantize to Pool)” on page 673. See: “Using global tools on AudioSnap transient markers”...
Page 692: Algorithms And Rendering
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.
Page 693 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...
Page 694 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. The AudioSnap palette displays the current render mode of the selected clip. If you select multiple clips that have different render modes, the Online and Offline lists display (Multi).
Page 695 See: “Freeze tracks and synths” on page 909 “To bounce multiple audio clips to a new track” on page 836 “To bounce to clips” on page 835 “Using global tools on AudioSnap transient markers” on page 638 “Editing transient markers” on page 643 “Using the AudioSnap palette”...
Page 696 AudioSnap (Producer and Studio only) Algorithms and rendering...
Page 697: Working With Loops And Groove Clips
Groove clips. You can also record your own audio and create Groove clips. To download more Groove clips and loops, visit www.cakewalk.com. Note: Groove clips and ACIDized loops are loaded into RAM, and can take up a lot of memory.
Page 698: The Loop Construction View
The Loop Construction view The Loop Construction view is where you create and edit Groove clips. Figure 237. The Loop Construction view The Loop Construction view toolbar has tools for editing slicing markers and controls for previewing loops. See: “Loop Construction controls” on page 699 See also: “Working with loops”...
Page 699: Loop Construction Controls
Loop Construction controls The following is a list of the controls in the Loop Construction view, followed by a description. For step-by-step instructions, see the links at the end of this section. Clip menu The Clip menu contains the following commands: •...
Page 700 Controls • Preview . Plays the current loop repeatedly. Click again to stop preview. • Loop. Click the Loop button to loop clips in the Track view by dragging the right side of a clip with your mouse. When Loop is not on, you are able to slip-edit the clip. •...
Page 701 (semitone) field adjusts the pitch from C. If you enter “-1” the pitch would be transposed down by one additional semitone to B. Another example: The clip pitch is E. The desired clip pitch is D. If the Follow Project Pitch option is not checked, and a value of “2”...
Page 702 Audio scaling Audio scaling is the increase or decrease in the size (scale) of the waveform in clip. Audio scaling allows you to make detailed edits by zooming in on the parts of the waveform closest to the zero crossing (silence) while preserving the track size. By showing just the quietest parts of a clip, you can make very precise edits.
Page 703: Using Loops With The Browser
Using loops with the Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI loops. The Browser’s Media tab makes it easy to find and import loops. You can preview audio and MIDI files before you import them into your project. If you preview a Groove clip, it plays back at the tempo and in the key of your current project.
Page 704 To preview audio 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 Audio Preview Bus, then select the bus you want to preview audio through. 4.
Page 705: Working With Loops
See: “Working with loops” on page 705 “Working with Groove Clip audio” on page 706 “MIDI Groove Clips” on page 715 “Importing Project5 patterns” on page 719 Working with loops You can make any audio clip into a loop by selecting the Looping check box in the Clip Inspector’s Groove Clip section.
Page 706: Working With Groove Clip Audio
Working with Groove Clip audio Groove clips are .wav files that behave similarly to Sony Media Software’s ACIDized loops (SONAR also has MIDI Groove clips—see “MIDI Groove Clips” on page 715). Groove clips contain information about the audio content, including the original tempo, original reference pitch, number of beats in the loop, and audio transient information.
Page 707: Using Groove Clips
Using Groove Clips Groove clips are easy to use because they automatically adjust to your project’s pitch markers and tempo. You can import existing loops or create your own, using the Loop Construction view. To import a Groove Clip into your project 1.
Page 708: Creating And Editing Groove Clips
Creating and editing Groove Clips Any audio clip can be converted to a Groove clip. Groove clips contain tempo, beat, and pitch information which SONAR uses to stretch and transpose the clips to match the project. Most Groove clips are loop-enabled, meaning that you can use the mouse to drag clip repetitions in the Track view.
Page 709 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.
Page 710 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. The clip appears in the Loop Construction view. 2.
Page 711: Editing Slices
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.
Page 712: Saving Groove Clips As Wave Files/Acidized Wave Files
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.
Page 713 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.
Page 714: Working With Rex Files
Working with REX files SONAR supports two types of Groove Clips: • ACIDized Groove Clip • REX-based Groove Clip Like ACIDized WAVE files, REX files are audio files that are designed to be looped and follow the project’s tempo. The time stretching technology that REX files use is well suited for percussive sounds, such as drums.
Page 715: Midi Groove Clips
To use pitch markers with REX-based Groove Clips Unlike ACIDized audio loops, REX files do not store the original pitch (root note) value. If you want a pitched REX file to properly follow your project’s pitch markers, you must manually specify the original root note for each REX clip.
Page 716 For step-by-step information, see the following procedures, and also “Exporting and importing MIDI Groove clips” on page 717. See: “To enable or disable a MIDI clip’s Groove Clip function” on page 716 “To create repetitions of a MIDI Groove Clip” on page 716 “To transpose MIDI Groove Clip”...
Page 717: Exporting And Importing Midi Groove Clips
To transpose a MIDI Groove Clip with pitch markers Use the same method you use for audio Groove clips: see “Using pitch markers in the Track view” on page 712. See also: “Exporting and importing MIDI Groove clips” on page 717 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.
Page 718 To import MIDI Groove Clips with the File command 1. Move the Now Time to the place where you want to import the clip. 2. Highlight the track you want to import the clip into. 3. Use the File > Import > MIDI command. The Import MIDI dialog box appears, 4.
Page 719: Importing Project5 Patterns
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.
Page 720 Working with loops and Groove Clips Importing Project5 patterns...
Page 721: Editing Midi Events And Continuous Controllers (Cc)
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.
Page 722 The following table describes the various MIDI clip header indicators. Indicator Description Double-click the clip to open the Piano Roll view. For details, see “The Piano Roll view” on page 724. Double-click the clip to open the Step Sequencer view. For details, see “Step Sequencer view”...
Page 723: Event Inspector
Event Inspector The Event Inspector module is available in the Control Bar. The Event Inspector has the following: • Time • Pitch • Velocity • Duration • Channel Figure 241. The Event Inspector module. A. Time B. Duration C. Pitch D. Velocity E. Channel To display a note’s properties in the Event Inspector •...
Page 724: The Piano Roll View
Event Inspector Field Valid Values Velocity A velocity value or modifier value are valid in this field. Valid velocity values are 0 through 127. Valid modifier values are +/- 0 through 127. Duration A PPQ value. Channel 1 through 16. Table 125.
Page 725 Figure 242. The Piano Roll view A. Menu B. Drum Grid pane C. Notes pane D. Controller pane E. Key/Pitch pane F. Edit Filter G. Track List pane H. Selected track See: “Opening the view” on page 727 “Displaying notes and controllers (Piano Roll view only)” on page 731 “Adding and editing notes in the Piano Roll”...
Page 726: Note Map Pane
Note Map pane This pane displays your drum map settings. You can mute or solo individual pitches, and preview individual pitch sounds. For more information about the Note Map Pane, see “The Note Map pane” on page 817. See also: “Drum maps and the Drum Grid pane”...
Page 727: Track List Pane
Track List pane The Track List pane is home to a list of all tracks currently displayed in the Piano Roll view. In this pane you can enable and disable editing of a track’s data; mute, solo and arm a track; and show or hide the track’s data in the Notes pane or Drum Grid pane.
Page 728: Working With Multiple Tracks In The Piano Roll View
Working with multiple tracks in the Piano Roll view You can view as many tracks as you want in the Piano Roll view. When you display several tracks at the same time in the Piano Roll view, you control which track(s) you can see and/or edit by using the buttons in the Track List pane.
Page 729 Display If the notes of two tracks overlap, the notes of the topmost track in the Track List pane appear over the notes of the other track. You can move a track up or down by in the Track List pane by clicking and holding on the track and moving the track to the desired position.
Page 730: Note Names
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. For more information about instrument definitions, see “Instrument definitions”...
Page 731: Displaying Notes And Controllers (Piano Roll View Only)
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”...
Page 732: Adding And Editing Notes In The Piano Roll
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.
Page 733 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.
Page 734: Editing Notes With The Global Tools
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.
Page 735 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 , position the pointer near the top center of the note, then drag up/ down.
Page 736 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.
Page 737 To draw a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , drag where you want to insert a new note. • With the Freehand tool , click where you want to insert a new note.
Page 738 MIDI note colors are tinted depending on their velocities. Notes will appear darker for higher velocities and lighter for lower velocities. This feature may be enabled (1) or disabled (0) in the [WinCake] section of the Cakewalk.ini file. For example:...
Page 739 1. Click the Start button and select Run. 2. Type regedit and click OK to open the Registry Editor. 3. Navigate to HKEY_CURRENT_USER\Software\Cakewalk Music Software\SONAR Producer\X3. 4. Add a new DWORD value called AllowLassoVelInNotesPane (click Edit > New > DWORD Value).
Page 740: Piano Roll View Snap Resolution
Piano Roll view snap resolution The Piano Roll view can use its own optional and independent Snap to Grid resolution, separate from the global Snap to Grid resolution. This allows you, for example, to use a specific resolution when working with clips in the Track view, and a different resolution when working with note events in the Piano Roll view.
Page 741: Show Velocity On Selected Notes (Optional)
Figure 245. Independent Piano Roll Snap resolution enabled A. Piano Roll view Snap resolution (musical time) B. Snap to MIDI events C. Snap to markers D. Enable/ disable independent Snap resolution in the Piano Roll view Show velocity on selected notes (optional) SONAR has an option to show velocities for selected Note events.
Page 742: Selection Sensitive Velocity Drawing
Selection sensitive velocity drawing If any Note events are selected, velocity painting will only affect those selected Note events. If no Note events are selected, then velocity painting will affect all Note events. Example 1. Painting velocity when some Note events are selected. Only those Note events are changed. Example 2.
Page 743: Adding And Editing Controllers In The Piano Roll
See: “Clip muting and isolating (clip soloing)” on page 388 “Adding and editing controllers in the Piano Roll” on page 743 Adding and editing controllers in the Piano Roll Controller events (MIDI continuous controllers, pitch wheel, NRPNs, and RPNs) appear in either the Notes pane or the Controller pane, depending on whether you choose to display the Controller pane or not.
Page 744: Multiple Automation Controller Lanes
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.
Page 745 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).
Page 746 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)”...
Page 747: Adding Controllers
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”...
Page 748 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. •...
Page 749: Selecting Controllers
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.
Page 750: Piano Roll Microscope Mode
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”...
Page 751 With Microscope mode turned on, the area under the mouse looks like this: 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. •...
Page 752 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...
Page 753: The Inline Piano Roll View
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.
Page 754: The Midi Scale
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 754 “Displaying notes and controllers in the Inline Piano Roll view” on page 755 The MIDI scale MIDI tracks have a control called the MIDI Scale.
Page 755: Displaying Notes And Controllers In The Inline Piano Roll View
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. •...
Page 756 749. You can zoom in to or out of individual MIDI Tracks by dragging the MIDI Scale up or down. See “The MIDI scale” on page 754 for more information. To edit controller events in the Inline Piano Roll view 1.
Page 757: Selecting And Editing Events
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 •...
Page 758: Transposing
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.
Page 759 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.
Page 760: Inserting Time Or Measures Into A Project
Inserting time or measures into a project The Project > Insert Time/Measures command lets you insert any number of blank measures, ticks, seconds, or frames into a project. You can insert the blank measures (or other period of time) into all tracks or into one or more selected tracks. If you insert the blank time into the entire project, all events in each track—markers, meter and key settings, and tempo changes—are shifted automatically by default.
Page 761 To insert blank time or measures into selected tracks 1. Select the range of time you want to insert by dragging in the Time Ruler. 2. Select one or more tracks by CTRL-clicking on the track numbers. 3. Choose Project > Insert Time/Measures to display the Insert Time/Measures dialog box. 4.
Page 762: Stretching And Shrinking Events
SONAR deletes the time or measures you selected. To delete time when there is no audio or MIDI data in the area you want to delete (or if there is data, but you like to drag and drop): 1. Set the Snap to Grid value to the unit of time you want to delete. For example, if you want to delete whole measures, set the Snap to Grid value to a whole measure.
Page 763 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 249. The Length dialog 3. Choose to change the Start Times and/or Durations of selected notes by checking the boxes. 4.
Page 764 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 250. 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.
Page 765: Reversing Notes In A Clip
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 >...
Page 766: Changing The Timing Of A Recording
To scale velocities 1. Select the events whose velocity data you want to change. 2. Choose Process > Scale Velocity to display the Scale Velocity dialog box. Figure 251. The Scale Velocity dialog 3. Enter the starting and ending velocity values. 4.
Page 767: Quantizing
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.
Page 768 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.
Page 769 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.
Page 770 Other settings If you want, you can restrict the types of events that are affected by the Quantize commands to only notes, lyrics, and audio clips. If you choose this option, SONAR will not modify other events, like controllers. To use the Quantize command 1.
Page 771 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 253. The Groove Quantize dialog 3.
Page 772 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.
Page 773 To save a groove pattern 1. Select the music that defines the groove using any of the selection tools and commands. 2. Choose Edit > Copy to place the music onto the Clipboard. 3. Choose Process > Groove Quantize to display the Groove Quantize dialog box. 4.
Page 774 To delete a groove 1. Choose Process > Groove Quantize to display the Groove Quantize dialog box. 2. Click the Define button to display the Define Groove dialog box. 3. Select the file containing the groove to delete. 4. Select the pattern name of the groove. 5.
Page 775: Fit Improvisation
Fixing a bad verse. Copy a good verse to the Clipboard. Then change the selected range to cover only the bad verse. Perform a groove quantize using the Clipboard contents as the groove source. The rhythms of the two verses then match. Fit Improvisation SONAR lets you record music from a MIDI controller without requiring that you use a fixed tempo.
Page 776 You can also use the Set/Measure Beat At Now command to align a freely played MIDI performance with the Time Ruler. 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.
Page 777 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.
Page 778: Snap To Scale
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.
Page 779 • 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 factory- supplied scales and ones that you create and/or edit. •...
Page 780 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.
Page 781: Searching For Events
To choose how SONAR handles non-scale notes 1. Open the Snap Settings dialog by clicking the drop-down arrow in the Scale menu, and choosing Snap Settings from the menu that appears. 2. Choose one of the following options: • Adjust to Next, Higher Note. If you choose this option, SONAR moves any non-scale note that you move to the next higher note in the selected scale.
Page 782: Event Filters
Event filters When you select individual clips, or select portions of clips by dragging the Time Ruler, you automatically select all the events that fall within the designated time range. Sometimes you need finer control over which events are selected. For example, you might want to: •...
Page 783 Different types of events have different parameters, as shown in the table: This event type Has these parameters Note Pitch, velocity, and duration Key Aftertouch Pitch and pressure value Controller Controller number and value RPN/NRPN RPN/NRPN number and value Patch Change Bank and patch numbers Channel Aftertouch Pressure value...
Page 784 Selecting events The Edit > Select > By Filter command is used to refine a selection by applying an event filter to an initial selection. You can use this command any number of times to refine the selection even further. Before using this command, use any of the selection commands and tools to create an initial set of selected event.
Page 785 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. This command uses two event filters. The first event filter lets you set up your search criteria. The second event filter is used to define the replacement value ranges.
Page 786: Controllers, Rpns, Nrpns, And Automation Data
Replacement Parameter Search range Effect range Channel From 1 to 1 From 2 to 2 Changes all events on MIDI channel 1 to MIDI channel 2 Channel From 1 to 16 From 4 to 4 Reassigns all events to MIDI channel 4 Table 137.
Page 787 Controllers Controllers are the MIDI events such as volume, sustain pedal, and pan that you use to change the sound while you're playing. You can enter controller data from within SONAR, or record them from external devices such as MIDI keyboards. Controllers let you control the detail and character of your music.
Page 788: The Event List View
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”...
Page 789 Figure 258. The Event List view A. Menu B. Track C. This event is selected D. Event time E. Event channel F. Event type The events in the selected tracks are listed one per line, from top to bottom. As you move the highlight through the event list, SONAR updates the Now marker (time display).
Page 790: Event List Buttons And Overview
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. All share the following parameters: • The time of the event, displayed in SMPTE (hours:minutes:seconds:frames) format •...
Page 791 Short name Type of event Parameters Shape Events Automation graph Change in values, kind of shape, and length in MBT segments made up of a format. solid line between two Note: Shape events cannot be edited, only deleted. nodes Expression Staff view expression Text of expression mark marking...
Page 792: Selecting Events In The Event List View
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.
Page 793: Editing Events And Event Parameters
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: •...
Page 794: Additional Event Information
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.
Page 795 SONAR uses the following notation to display flats and sharps in this and other views: Character Meaning flat sharp " double flat double sharp Table 142. 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.
Page 796: Midi Effects (Midi Plug-Ins)
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. •...
Page 797: Midi Effects Presets
MIDI effects presets The MIDI effects dialogs support the use of presets. For information about presets, see “Presets and property pages” on page 917. Quantizing Figure 259. MFX Quantize The Quantize command moves events to (or towards) an evenly-spaced timing grid. The quantize effect parameters are as follows: Parameter/Option Meaning...
Page 798: Adding Echo/Delay
To quantize MIDI data 1. Select the data to be affected. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Quantize on the pop-up menu. 3. Set the quantization parameters, as described in the table above.
Page 799 To apply Echo/Delay 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 > Echo/Delay on the pop-up menu. 3. Set the echo/delay parameters, as described in the table above.
Page 800: Filtering Events
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.
Page 801: Adding Arpeggio
Adding Arpeggio Figure 262. 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.
Page 802 To apply the Arpeggiator 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 > Arpeggiator on the pop-up menu. 3. Set the arpeggiator parameters, as described in the table above.
Page 803: Analyzing Chords
Table 147. To analyze a chord 1. Select the notes to be analyzed. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Chord Analyzer on the pop-up menu. 3. Click the Audition key.
Page 804: Changing Velocities With The Velocity Effect
To change note velocities 1. Select the data to be affected. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Velocity on the pop-up menu. 3. Select options as described in the table above.
Page 805: Transposing Midi Notes With The Transpose Midi Effect
Transposing MIDI notes with the Transpose MIDI effect Figure 265. 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.
Page 806 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.
Page 807: Drum Maps And The Drum Grid Pane
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.
Page 808: The Basics
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: •...
Page 809 • Go to Edit > Preferences > MIDI - Drum Map Manager. • Click on the Output field of your MIDI drum track and select Drum Map Manager Figure 266. The Drum Map Manager section A. New Drum Map button B. Delete Drum Map button C. Current Drum Map D. Click to create a new row E.
Page 810 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. Settings The Settings section is where you map the following for each In Note (source): •...
Page 811: Working In The Drum Map Manager
Working in the Drum Map Manager The following table lists several ways of editing settings in the Drum Map Manager. To do this Do this Sort rows Drag and drop a row to a new location Select multiple rows Click a row, hold down the CTRL key while selecting additional rows Change the Output Port for all rows Press CTRL+SHIFT while changing the port.
Page 812: Saving A Drum Map
To open the Map Properties dialog • Double-click on a row in the Note Map pane. • 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 808 “Working in the Drum Map Manager”...
Page 813: Using Drum Maps
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. See: “Assigning a MIDI track to a drum map” on page 813 “Opening a drum map” on page 814 “Displaying tracks in the Drum Grid pane”...
Page 814: Opening A Drum Map
Opening a drum map Use the following procedure to open a drum map in the Drum pane: To open a drum map 1. In the Track view, assign the drum map you want to open to a MIDI track. See “Assigning a MIDI track to a drum map”...
Page 815: Velocity Tails
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 268. Velocity tails can be shown or hidden A.
Page 816: Previewing A Mapped Sound
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.
Page 817: The Note Map Pane
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.
Page 818 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.
Page 819: The Drum Grid Pane
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.
Page 820 Drum maps and the Drum Grid pane The Drum Grid pane...
Page 821: Editing Audio
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.
Page 822: Digital Audio Fundamentals
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. See: “Basic acoustics”...
Page 823: Example—A Guitar String
Example—a guitar string To understand the process better, let's take a closer look at a guitar string. When a finger picks a guitar string, the entire string starts to move back and forth at a certain rate. This rate is called the frequency of the vibration. Because a single back and forth motion is called a cycle, we use a measure of frequency called cycles per second, or cps.
Page 824 of course; the laws of physics are not quite so simple. In fact, the string vibrates not only at its entire length, but at one-half its length, one-third, one-fourth, one-fifth, and so on. These additional vibrations (overtones) occur at a rate faster than the rate of the original vibration (the fundamental frequency), but are usually weaker in strength.
Page 825: Waveforms
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. For example, the waveform of the sound of the plucked guitar string might look like this: The waveform of a trumpet blast might look like this: And the waveform of a spoken word might look like this:...
Page 826 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;...
Page 827: Recording A Sound
Recording a sound To record digital audio, your computer monitors the electrical signal generated by a microphone (or some other electroacoustical device). Because the signal is caused by a sound, the signal strength varies in direct proportion to the sound’s waveform. The computer measures and saves the strength of the electrical signal from the microphone, thus recording the waveform.
Page 828: The Decibel Scale
The decibel scale In acoustics, the decibel (dB) scale is a scale for measuring the relative loudness of two sounds. For example, environmental noise is often measured as follows: L = 20 log (p/p0) where L is the sound pressure level (in dB), p is the sound pressure amplitude, and p0 is a reference amplitude of 20 micropascals (less than one billionth of atmospheric pressure).
Page 829: Managing Audio Data
Managing audio data Because of the great size of audio data, SONAR uses an intelligent scheme for storing audio clips on disk to conserve disk space and minimize the time it takes to load and save data. Audio data is not stored directly in your project file, but rather in separate files in a special directory.
Page 830: Editing Clip Properties
To do this Do this Select clips between two markers Click between the markers Remove all selections Click in an empty area outside of any clip Table 151. See: “Editing clip properties” on page 830 “Moving, copying, pasting and deleting audio clips” on page 831 “Splitting audio clips”...
Page 831: Moving, Copying, Pasting And Deleting Audio Clips
Moving, copying, pasting and deleting audio clips Clips can be cut, copied, pasted, and deleted with Edit menu commands, or moved and copied with drag-and-drop techniques. For more information, see “Arranging and editing” on page 329. Audio scaling Audio scaling is the increase or decrease in the size (scale) of the waveform in a track or bus. Audio scaling allows you to make detailed edits by zooming in on the parts of the waveform closest to the zero crossing (silence) while preserving the track or bus size.
Page 832 the waveform is zoomed in by a factor of 10. Note: The Audio Scale Ruler display reflects the type of audio clip directly beneath it. If it is a stereo waveform, the Audio Scale Ruler appears in stereo (one for each channel). If it is a mono clip it appears in mono.
Page 833 To do this Do this Increase to maximum scale Hold down the CTRL and SHIFT keys and click the Vertical Zoom In button. When you hold down the SHIFT and CTRL keys and position your cursor over the Vertical Zoom In button, your cursor looks like this: Decrease to minimum scale Hold down the CTRL and SHIFT keys and click the Vertical Zoom Out button.
Page 834: Splitting Audio Clips
To scale a single track or bus using the Audio Scale ruler • In the track in which you want to change the audio scale, click in the Audio Scale Ruler and drag. Drag up to increase the audio scaling. Drag down to decrease the audio scaling. To show or hide the Audio Scale ruler Click the Track view View menu, point to Display and choose Show Audio Scale.
Page 835: Bouncing To Clips
SONAR splits the audio clip according to your specifications. Each new clip has the same name as the original clip. Note: A shortcut to split a selected clip is to move the Now time to where you want to split it, and press S on your computer keyboard.
Page 836: Scrubbing
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.
Page 837: Basic Audio Processing
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.
Page 838: Using The Normalize And Gain Commands
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, “The decibel scale”...
Page 839: Reversing Audio 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 -INF.
Page 840: Advanced Audio Processing
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 840 “Applying fades and crossfades offline” on page 843 “Removing DC offset” on page 842 Removing silence The Remove Silence command detects sections of audio that fall below a given loudness...
Page 841 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.
Page 842: Removing Dc Offset
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.
Page 843: Applying Fades And Crossfades Offline
Applying fades and crossfades offline SONAR provides several commands for applying gradual volume changes to audio data. The first command, Fade/Envelope, lets you fade-in or fade-out, and lets you choose an envelope, a curve that governs the rate of the fade. The starting envelope can be linear (straight line), exponential, or inverse exponential.
Page 844 To apply a fade to audio data 1. Select the audio data to be affected. 2. Choose Process > Apply Effect > Fade/Envelope to open the Fade/Envelope dialog box. 3. Select an envelope from the drop-down list. Figure 270. The Fade/Envelope dialog 4.
Page 845 Figure 271. The Crossfade dialog 4. If desired, manipulate the curve as described in the table above. You can manipulate only the curve pertaining to the first of the two overlapping clips; the second curve is automatically adjusted so that the two curves constantly add up to 100%. 5.
Page 846: Audio Effects (Audio Plug-Ins)
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.
Page 847: Destructive Audio Effects Processing
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. Note: Applying effects can be undone, but the effects are not then re-patched in the effects bin. See also: “Destructive audio effects processing”...
Page 848 Editing audio Audio effects (audio plug-ins)
Page 849: Software Instruments
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.
Page 850: Synth Rack
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.
Page 851 For more information about the Synth Rack, see “Using the Synth Rack Browser” on page 628. For step by step instructions, see: “Inserting soft synths” on page 853 “Playing a soft synth” on page 861 “Synth Rack icons” on page 860 “Recording a soft synth’s MIDI output”...
Page 852: Synth Tracks
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.
Page 853: Inserting Soft Synths
Inserting soft synths 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.
Page 854 These Tracks: MIDI Source check box. • If you want to create a single synth track that acts as an output for Output 1 of the soft synth, check the Create These Tracks: First Synth Audio Output check box. • 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.
Page 855 To insert a soft synth in an effects bin 1. In either the Track view, Track Inspector or Console view, right-click the effects bin of an unused audio track or bus. Note: If you patch a soft synth into a bus that has no audio track assigned to it, the soft synth does not sound.
Page 856: Using Instrument Tracks
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.
Page 857 Figure 275. 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.
Page 858 Control type Audio MIDI MIDI Channel Bank Patch Time+ Pitch+ Sends Snap to scale Effects bin Meter Track scale (When track is frozen) Table 159. 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.
Page 859: Opening A Soft Synth's Property
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.
Page 860: Synth Rack Icons
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.
Page 861: Playing A Soft Synth
Playing a soft synth There are several ways to play a soft synth: • You can record MIDI data and use the soft synth as a playback device. Note: WDM or ASIO drivers do not improve performance when you play back recorded MIDI data—the improvement comes only when you play a soft synth in real time from an external MIDI controller or keyboard.
Page 862 To play a soft synth from a MIDI controller 1. Make sure your controller is set to local off. 2. Make sure that the Audio Engine button in the Control Bar’s Transport module is enabled. 3. Insert a soft synth into your project (see “Inserting soft synths”...
Page 863: Muting And Soloing Soft Synth Tracks
lower-numbered option. SONAR does not delete the affected tracks. Note: If you’re using a ReWire instrument and not a soft synth, always close the ReWire instrument’s interface before you delete the instrument from SONAR, or before you close SONAR. See: “Playing a stand-alone synth”...
Page 864: Multi-Port Soft Synths
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.
Page 865 3. In the Destination field, choose a new or pre-existing track to put the new audio data on. 4. If you’ve saved presets from previous bounce operations, you can choose a preset from the Preset field. 5. In the Source Category field, choose Tracks. 6.
Page 866: Using The Assignable Controls Feature
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.
Page 867: Automating Controls From The Synth Rack
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 869 “Automating controls from the Synth Rack”...
Page 868: Remote Control Of The Synth Rack
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. “Using remote control” on page 956 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.
Page 869: Soft Synth Midi Output Support
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.
Page 870: Rewire
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. See: “ReWire instruments” on page 870 “Inserting a ReWire instrument” on page 871 “Routing MIDI data to ReWire instruments” on page 873 “Mixing down ReWire instruments”...
Page 871: Inserting A Rewire Instrument
• 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.
Page 872 • 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.
Page 873: Routing Midi Data To Rewire Instruments
To use separate synth tracks for each ReWire device 1. Open SONAR, insert a ReWire instrument, and choose the All Synth Audio Outputs option in the Create These Tracks field of the Insert Soft Synth Options dialog box. Make sure you choose to open the Synth window, and click OK.
Page 874: Mixing Down Rewire Instruments
Mixing down ReWire instruments To either mix down or bounce ReWire instruments to new audio tracks, use the same procedures as for synths. See also: “Automating ReWire instruments” on page 874 “ReWire troubleshooting guide” on page 874 “Inserting a ReWire instrument” on page 871 Automating ReWire instruments You can automate audio and MIDI tracks that are patched to ReWire instruments the same ways...
Page 875 MIDI - Devices, and then select that MIDI Input from whatever menu your ReWire application has for that purpose. If you have multiple inputs on your MIDI interface, simply select different ones for SONAR and your ReWire application. ReWire and fast forwarding in SONAR When there is a ReWire application loaded into a SONAR project, the SONAR Fast Forward button/ command only works if there is a clip at the end of the SONAR project or if Stop at Project End is not checked.
Page 876: Stand-Alone Synths
Stand-alone synths Some soft synths can be run independently of SONAR and do not need to be inserted to the Synth Rack or an effects bin to use. After you install this kind of synth and restart your computer, the name of the synth’s MIDI driver appears in SONAR’s MIDI Devices dialog box under Outputs.
Page 877: Recording A Stand-Alone Synth
Recording a stand-alone synth There are several ways to record a stand-alone synth: • You can use the synth’s wave capture function, if it has one. See your synth’s documentation for a procedure. Make a note of where the resulting captured Wave file is stored, and then you can import the file into SONAR by using the File >...
Page 878 Software instruments Stand-alone synths...
Page 879: Mixing
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.
Page 880 “Preparing audio for distribution” on page 963 “Burning audio CDs” on page 974 “Freeze tracks and synths” on page 909 See also: “ProChannel (Producer and Studio only)” on page 999 Mixing...
Page 881: Preparing To Mix
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.
Page 882 contains track channel strips, the middle pane contains bus channel strips, and the right pane 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.
Page 883: Configuring The Console And Track Views
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 •...
Page 884 To hide a bus or track • Right-click on the module and choose Hide Track or Hide Bus. To show or hide meters in the Track view • Click the Track view Options menu, point to Meter Options and select one of the following options: •...
Page 885 To insert a new track 1. Right-click in the Console view or on the header of a track in the Track view. 2. Choose Insert Audio Track or Insert MIDI Track. SONAR adds a new track to the project. To rename a track or bus 1.
Page 886: Mixing Midi
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” page 887). See: “Mixing a MIDI track”...
Page 887: Converting Midi To Audio
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. Converting MIDI to audio The following options cover three basic MIDI setups: •...
Page 888: Signal Flow
Signal flow Clip Input Audio clip Soft Synth input Hardware input Clip mute Clip fades Clip envelopes/ Input meter Clip Mute regions (record) Region FX 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.
Page 889 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 Right-click in the effects bin and select an effect from the list (for more track information, see “Using real-time effects”...
Page 890: Sidechaining Signal Flow
Sidechaining signal flow Track 1 effects bin Hardware Sidechainable FX Track 1 Output Output Sidechain input Track 2 Output / Send Output / Send See also: “Sidechaining” on page 923 “Signal flow” on page 888 “External Insert signal flow” on page 928 Mixing Signal flow...
Page 891: Routing And Mixing Digital Audio
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. Each track’s data passes through the track’s send level knob on its way to the bus.
Page 892: Stereo Buses
Stereo buses Buses are useful for mixing together different audio tracks (in stereo) and applying effects to the mix. You can mix the tracks at different volume levels by adjusting each track’s bus send level. Buses output to either other buses or to a main out. You control the bus as follows: To do this Do this...
Page 893: Surround Buses
For more information about using buses and sends, see www.cakewalk.com/Tips/MixMast/ AuxBus.aspx. Surround buses Surround buses are useful for mixing and adding effects to create a surround mix. To patch a track through a bus 1. Open the Console view (Views > Console View) or the Track Inspector (Views > Inspector).
Page 894 Track selection controls are labeled with track numbers, while bus selection controls are labeled with letters (A-Z, AA-AZ, etc.). Figure 278. Bus selection control A. Bus letter To do this Do this Select a bus Click the bus letter in the Track view or Console view. The bus is selected, and all other buses—except the current bus—are deselected.
Page 895: Main Outs
Main outs Each enabled hardware channel has a main out channel strip in the Console view. Main outs are the final destination for all of your audio in SONAR. Main outs accept input from both tracks and buses. Main outs contain both a left channel and a right channel Volume fader, which allows you to adjust the level of each channel independently.
Page 896: Insert Send Assistant
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.
Page 897 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.
Page 898 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”...
Page 899: Metering
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.
Page 900: What The Meters Measure
What the meters measure The following table summarizes what each kind of meter measures. Kind of meter What it measures Record The level of the instrument listed as an input for the track you are monitoring—the track must be armed to enable the meter Playback A playback meter measures the playback level of any pre-existing data in the track you are monitoring, either before or after the track faders, depending on what...
Page 901: Changing The Meters' Display
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 900 “Changing the meters’ display” on page 901 Changing the meters’...
Page 902 Menu option What it does Show Bus Peak Markers (Track “Peak markers” on page 906) view only) 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.
Page 903 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.
Page 904: Segmented And Non-Segmented Meters
Segmented and non-segmented meters You can display meters as segmented (the default) or non-segmented meters. A. Segmented meter B. Non-segmented meter 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.
Page 905 To adjust the meter performance, go to Edit > Preferences > Customization - Audio Meters and follow these guidelines: To do this Do this Increase or decrease meter refresh rates Adjust the Refresh rate field. Valid values are from 25 to 250 milliseconds.
Page 906: Midi Activity Indicators
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.
Page 907 To hide or show peak markers globally • Click the Track view Options menu, point to Meter Options and select Show Track Peak Markers or Show Bus Peak Markers. To hide or show peak markers on an individual track or bus •...
Page 908: Waveform Preview For Buses And Synth Tracks
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.
Page 909: Freeze Tracks And Synths
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: •...
Page 910 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.
Page 911 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. Note 1: If a soft synth has been inserted to an audio track’s effects bin, the Freeze/Unfreeze button is not present in the Synth Rack for that synth.
Page 912 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. •...
Page 913: Using Real-Time Effects
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 950), 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”...
Page 914: Effects Parameters
“Applying MIDI effects” on page 950 “Bypassing effects globally” on page 920 “Using the Plug-in Browser” on page 620 “Effects chains” on page 932 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.
Page 915 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, Right-click in the effects bin of the track or bus you want to add the audio track, synth track or bus.
Page 916 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.
Page 917: Presets And Property
• VST factory presets. Any VST factory presets appear below the Most Recently Used section, and are also followed by a horizontal separator line. • Cakewalk and user presets. These appear at the bottom of the Presets menu. Mixing Using real-time effects...
Page 918 Note: VST presets can be stored by saving a .fxp file (see the following instructions). • A Cakewalk or user preset Either save these under a new name: double-click the name, enter a new name, and click the Save button, or just click the Save button to overwrite the preset with current values.
Page 919 • Event List • Automation read and write buttons. These buttons enable or disable automation playback and recording for the plug-in’s parameters. See “Automation” on page 1101 for more information. • Keystrokes button. Enabling this button sends all keystrokes to a particular instance of a plug- in when the plug-in’s property page has focus.
Page 920: Bypassing Effects Globally
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. •...
Page 921: Effects On Clips
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.
Page 922 To address this issue, SONAR 4.0.3 (and later) does not take a snapshot of the plug-in's state by default, and the Cancel button is not available. There is a new Cakewalk.ini variable to bring back the Cancel button if desired, but be aware that this may also result in hiccups when opening VST plug-ins during playback.
Page 923: Sidechaining
SONAR. To limit the number of sidechain inputs 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 (VST). 3. In the Registered Plug-ins list, select the desired plug-in.
Page 924 Sidechaining signal flow Track 1 effects bin Hardware Sidechainable FX Track 1 Output Output Sidechain input Track 2 Output / Send Output / Send See also: “Signal flow” on page 888 To assign a track/bus/send output to a sidechain input 1.
Page 925 Bouncing audio with sidechain plug-ins In order to render a sidechain input as part of a mix when bouncing audio, you must select all tracks that contribute to the sidechain input. See: “Bouncing/freezing with sidechain plug-ins” on page 962 “Bouncing audio with sidechain plug-ins” on page 925 “Bouncing tracks”...
Page 926: External Insert Plug-In
External Insert plug-in 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. This allows you to seamlessly incorporate your favorite outboard gear in a SONAR project. The External Insert plug-in is able to measure and automatically compensate for the round-trip delay through your audio hardware (the time it takes for the audio to exit you computer, be processed by your external audio hardware and finally returned to the computer).
Page 927 Delay Measurement. This control shows the last measured round-trip delay through your audio hardware. Click the control to initiate a new measurement. Manual Delay Offset. The center control displays and resets the manual delay offset. The buttons to the left decrease the manual offset by 1 or 10 samples.
Page 928 Figure 284. External Insert signal flow External Insert plug-in Track/Bus output (mono or stereo) Hardware input Hardware output Send Return External FX Automatable parameters The External Insert plug-in exposes the following automatable parameters: • Send Gain • Return Gain • Phase Invert •...
Page 929 The round-trip time for the signal to return is measured and displayed on the button. This is the delay that will be compensated for in SONAR to keep the track in sync with the rest of the project. For information about testing the delay measurement, see “Testing the delay measurement”...
Page 930 The round-trip time for the signal to return is measured and displayed on the button. 10. Press Play in SONAR again. You should hear the track play significantly quieter and thinner sounding. 11. To confirm if the delay is measured as accurately as possible, adjust the manual offset by one sample in either direction.
Page 931 • If you collaborate with other SONAR users, it will be impossible for other users to get the same sound as you unless they have the exact same outboard gear with exactly the same settings. • You may want to use that outboard gear for something else - either in an External Insert on another track, or for any other use in your studio.
Page 932: Effects Chains
Effects chains SONAR lets you save and load audio effect plug-in chain presets called FX Chain. An FX Chain can be nested within effects bins, renamed, moved between tracks, buses and clip effects bins or saved to disk as FX Chain presets. Figure 285.
Page 933: Using Fx Chain Presets
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.
Page 934 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: •...
Page 935 FX Chain property page controls Figure 290. FX Chain controls. 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 plug- in;...
Page 936 “To extract plug-ins from an FX Chain container” on page 937. Caution: If you load a SONAR X3 project in an older version of SONAR, SONAR will report the FX Chain as a missing plug-in and the contents of the FX Chain will be unavailable. Resaving the project will permanently remove the FX Chain.
Page 937 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.
Page 938: Using Assignable Controls
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.
Page 939 To add/remove an assignable knob or button 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. •...
Page 940 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%). You can also set Start and End values automatically. For details, see “To set parameter value range automatically”...
Page 941 To map an assignable knob or button to a plug-in parameter 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. You can specify up to four parameters for each knob and button.
Page 942: Customizing The Fx Chain Ui
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 property page and click Customize UI on the pop-up menu to open the Settings dialog box.
Page 943 Figure 295. FX Chain UI. 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 1914.
Page 944: Organizing Plug-Ins
Plug-in Manager to set options on individual plug-ins (use the Utilities > Cakewalk Plug-in Manager command to open the Plug-in Manager). The following procedures explain how to use the settings in Edit > Preferences > File - VST Settings. The Cakewalk Plug-in Manager has its own help.
Page 945 3. In the dialog box that appears, choose from the following options (options that control properties for individual plug-ins are grayed-out: use the Cakewalk Plug-in Manager to set those options): • Enable as plug-in. Enable this option if you want to use the plug-ins in this folder as audio effects.
Page 946 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.
Page 947 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.
Page 948: Using The Per-Track Eq
Using the per-track EQ Note: The per-track EQ is only available in the base version of SONAR X3. SONAR X3 Studio and SONAR X3 Producer include the ProChannel QuadCurve Equalizer (see “QuadCurve Equalizer module” on page 1019). 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.
Page 949 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 •...
Page 950: Applying Audio Effects
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).
Page 951: Using Control Groups
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.
Page 952 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.
Page 953 To set the group type to Relative or Absolute 1. Right-click on any control in the group and choose Group Manager to display the Group Manager dialog box. Figure 298. 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.
Page 954: Quick Groups
To adjust the End Value of a control 1. Set the control to the desired ending value. 2. Right click on the control. 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.
Page 955 • Input Monitor/Echo • Automation Read • Automation Write • Input • Output • Trim/Vel+ • Pan • Phase Invert • Mono/Stereo Interleave • Volume • FX insert • Send insert • Send controls • Send destination • Clear peak meter •...
Page 956: Using Remote Control
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”...
Page 957: Using The Learn Option
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.
Page 958: Bouncing Tracks
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. If you’re bouncing tracks that are routed to a surround bus (SONAR Producer only), you can bounce them to as many mono tracks as you have surround channels, by choosing the Split Mono option in the Channel Format field of the Bounce to Tracks dialog box, and also choosing a surround bus in the...
Page 959 Figure 299. 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: •...
Page 960: Real-Time Bounce
• 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.
Page 961 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.
Page 962: Preparing To Create An Audio Cd
Bouncing/freezing with sidechain plug-ins Sidechain inputs are not automatically included when you bounce a selection. If you want to bounce the output of a single track that contains a sidechain plug-in, the easiest solution is to also select all 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”.
Page 963: Preparing Audio For Distribution
.mp3. The MP3 encoder that comes with SONAR is a trial version which will time-out. The full version is available for download at www.cakewalk.com. Apple AIFF Audio Interchange File Format, co-developed by Apple Inc., is most commonly used on Apple Macintosh computer systems.
Page 964 Encoder Config' utility allows you to add the encoder to SONAR's list of available file formats when exporting audio (File > Export > Audio). To use the utility, start SONAR and go to Utilities > Cakewalk Ext Encoder Config, then specify the proper settings or the encoder you want to use.
Page 965 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.
Page 966 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 “File Info dialog”...
Page 967 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 >...
Page 968 Preset window and then click the floppy disk icon that’s next to the window. 15. Click Export. The Cakewalk MP3 Encoder dialog box appears. 16. Choose options and click OK. The audio is compacted and exported to a file or files with the extension .mp3.
Page 969 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.
Page 970 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 •...
Page 971 • 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 •...
Page 972: Exporting Omf Files
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 •...
Page 973: Dithering
has to do a separate export operation for each Groove Clip in the track, which is very time- consuming. 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.
Page 974: Burning Audio Cds
• Pow-r 1. Noise-shaped dither. Advantages: less CPU-intensive than Pow-r types 2 and 3, lower perceived loudness than Rectangular or Triangular. Disadvantages: less noise shaping than Pow-r types 2 and 3, not recommended for operations where dither will be applied successively (e.g.
Page 975: Surround Mixing (Producer And Studio Only)
Surround Mixing (Producer and Studio only) SONAR fully supports surround mixing (the base version of SONAR 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.
Page 976: Surround Basics
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.
Page 977: Using Surround Format Templates
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 5.1 being most common. The number after the decimal point refers to the number of Low Frequency Effect (LFE) speakers.
Page 978 A project can include multiple surround buses, but all surround buses in a project use the same surround format (5.1, 7.1, etc.). The project’s surround format is based on one of the following Surround Format templates: • 2.0 • 2.1 •...
Page 979: Choosing A Surround Format
• 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) is the default template. The Surround Format templates are hard-coded, and cannot be deleted. However, you can freely assign any enabled audio output port to any surround channel, and save the configuration as a preset.
Page 980: Surround Buses
To choose a surround format and set sound card outputs 1. Go to Edit > Preferences > Project - Surround. 2. Select a format from the Surround Format drop-down. The diagram to the right of the Surround Format menu changes to illustrate the speaker placement of the format that you chose.
Page 981: Routing In Surround
Routing in surround Tracks can send output to a surround bus, the Surround Main, or a hardware output. If a track is routed to a surround bus or the Surround Main, it has surround meters and a surround panner. You can route any track or bus to another bus, the Surround Main or a hardware out.
Page 982: Downmixing
Downmixing Downmixing is a way of previewing your surround project in stereo only. There are various cases where surround is not available and it may be that someone plays your project in stereo only. A radio broadcast is a good example. Downmixing is a valuable tool for determining if your project will sound good in stereo.
Page 983: Panning In Surround
5. If you want to export your stereo mix, use the File > Export > Audio command. This command obeys your downmix settings. See: “Panning in surround” on page 983 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.
Page 984: Controlling Surround Panning
The small and large panners are always synchronized; the large panner simply provides increased resolution when you adjust the surround pan position. Note 1: Surround panning is not available for tracks/sends that are routed to non-surround buses. 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.
Page 985 Figure 303. 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: •...
Page 986 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. • Select a track and choose Views > Surround Panner, or press ALT+SHIFT+9. •...
Page 987 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 •...
Page 988 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, Fine resolution Width, etc.)
Page 989: Automating Surround Panning
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.
Page 990: Surround Metering
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.
Page 991: Bass Management
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.
Page 992: Surround Effects
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). See: “The SurroundBridge”...
Page 993: Effect Property
Figure 305. Surround Bridge tab A. Surround Bridge tab B. Link Automation Controls See: “Effect property pages” on page 993 “Effect presets” on page 994 “How to patch and configure surround effects” on page 994 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.
Page 994: Effect Presets
Effect presets You can use existing (non-surround) effects presets when you patch an effect to a surround bus— selecting a non-surround preset sets all of a plug-in’s instances to the settings of the preset; selecting a surround preset sets each instance’s parameters individually, according to the information stored in the preset.
Page 995 To unlink individual effect parameters from other effect instances 1. In the property page of an effect that’s patched into a surround bus, click the Link Automation controls button so it is disabled. 2. Make some adjustments to the automatable parameters you want to unlink (non-automatable parameters are not linked together).
Page 996 To disable an instance • On the SurroundBridge tab of the effect’s property page, uncheck the Enable check box of the plug-in you want to disable. The instance’s tab becomes grayed-out when you do this. You can re- enable the instance by rechecking the check box. The Enable check box is a separate bypass system from the Bypass button that is on the instance’s individual property tab.
Page 997: Importing Surround Mixes
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.
Page 998: Exporting Surround Mixes
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.
Page 999: Prochannel (Producer And Studio Only)
ProChannel (Producer and Studio 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.
Page 1000 SONAR X3 includes the following ProChannel modules: • Compressor (Producer only). The Compressor modules let you limit the dynamic range and balance the overall level. Compression makes the loud parts of the signal quieter, resulting in a more even level. SONAR includes two different compressor modules: •...

CAKEWALK sonar x3 Reference Manual

Introduction

Tutorial 1 - Creating, Playing, and Saving Projects

Tutorial 2 - Using the Browser

Tutorial 3 - Recording Vocals and Musical Instruments

Tutorial 4 - Playing and Recording Software Instruments

Tutorial 5 - Working with Music Notation

Tutorial 6 - Editing Your Music

Tutorial 7 - Mixing and Adding Effects

Tutorial 8 - Working with Video

Tutorial 9 - Exporting, CD Burning and Sharing

Controlling Playback

Recording

Arranging and Editing

Tools

Control Bar Overview

Inspectors

Browser

Audiosnap (Producer and Studio Only)

Quick Links

Troubleshooting

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Summary of Contents for CAKEWALK sonar x3