SONAR X1 Reference Guide
Information in this document is subject to change without notice and does not represent a commitment on the part of Cakewalk, Inc. The software described in this document is furnished under a license agreement or nondisclosure agreement. The software may be used or copied only in accordance of the terms of the agreement. It is against the law to copy this software on any medium except as specifically allowed in the agreement.
Getting started If you want to get up and running quickly, please use the following tutorials, which are tailored to learning specific tasks in SONAR. If you are new to Cakewalk products, you may want to start at Tutorial 1.
Getting started
Table of contents Getting started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 About SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Publish . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Installing SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Starting to use SONAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 2 Tutorial 1 – Creating, playing, and saving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 Creating a new project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Opening project files . . . .
8 Tutorial 7 – Mixing and adding effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Volume and pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Adding effects (FX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Using Automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 9 Tutorial 8 – Working with video . . . . .
Assigning tracks to mono hardware outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Choosing the instrument sound (bank and patch) . . . . . . . . . . . . . . . . . . . . . . 215 Adding effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217 Adjusting volume and pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 Configuring panning laws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Auto arming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arming tracks during playback/recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Recording music from a MIDI instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Input quantizing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Track icons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Configuring Track view controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Arranging clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Displaying clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Using the Navigator view. . . . . . . .
Fades and crossfades. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Using fades and crossfades in real-time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Enhanced editing with keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Navigating with a keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Selecting with a keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Mix module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486 ACT module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 Screenset module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490 Performance module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 Punch module . . . . . . . . . . . . . . . . .
Fixing timing problems in audio clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting the timing of a solo performance . . . . . . . . . . . . . . . . . . . . . . . . . . . Adjusting the timing of a multi-track performance while maintaining phase relationships . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Synchronizing the rhythms of out-of-sync tracks . . . . . . . . . . . . . . . . . . . . . . .
Notes pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657 Controller pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657 Track List pane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 658 Opening the view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Event List display filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Editing events and event parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Additional event information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI effects (MIDI plug-ins) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI effects presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Managing audio data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Basic audio editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 757 Editing clip properties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 758 Moving, copying, pasting and deleting audio clips . . . . . . . . . . . . . . . . . . . . . . 759 Audio scaling . . . . . . . . . . . . . . . . . . . . . . .
ReWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ReWire instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inserting a ReWire instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Routing MIDI data to ReWire instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mixing down ReWire instruments . . . . . . . . . . . . . . . . . . . . . . . . .
Sidechaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842 Sidechainable Vintage Channel VC-64 plug-in (Producer only) . . . . . . . . . . . . 845 External Insert plug-in (Producer and Studio only) . . . . . . . . . . . . . . . . . . . . . . . . . 846 Effects chains. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 852 Using FX Chain presets. . . . . . . . . . . . . . . . . . . . . . .
Routing in surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Downmixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Panning in surround . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Controlling surround panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Automating surround panning . . . . . . . . . . . . . . . . . . . .
Locking views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 980 Tiling windows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 981 Screensets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 982 Using Screensets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 983 X-Ray . . . . . . .
Tablature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tablature settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Changing Fretboard texture and orientation . . . . . . . . . . . . . . . . . . . . . . . . . . Quick TAB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Regenerate TAB. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32 System exclusive data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065 What is System Exclusive? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066 Sysx events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1066 Using the System Exclusive view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1067 Sending Sysx banks at startup . . .
Deleting unused audio files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1103 35 Improving audio performance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1105 System configuration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Wave Profiler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Enabling and disabling audio devices . . . .
ACT MIDI Controller plug-in . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1144 Using the ACT MIDI Controller property page. . . . . . . . . . . . . . . . . . . . . . . . . 1145 ACT presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1145 Assigning controls on your controller/surface to cells in the ACT MIDI property page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
My MP3 encoder stopped working . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1182 When I play a file I don't hear anything (MIDI project) . . . . . . . . . . . . . . . . . . . . . 1183 I can't record from my MIDI device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1183 I can't record any audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1184 I hear an echo when I record . . . . . . . . . . . . . . . . . . . .
If you have problems playing MIDI files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1210 If you plan to publish your songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1211 41 Initialization files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1213 Initialization files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1214 Initialization file format . . .
46 Menu reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1317 File > New . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . File > Open . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . File > Revert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . File > Close .
Edit > Copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1325 Edit > Paste . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1325 Edit > Paste Special. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1326 Edit > Delete . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Views > Icons > Track View > Show in Header . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Icons > Track View > Show Custom in Header . . . . . . . . . . . . . . . . . . . . Views > Icons > Track View > Show in Strip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Icons > Track Inspector > Show Icons . . . . . . . . . . . . . . . . . . . . . . . . . . Views > Icons > Track Inspector > Show Large Icons . . . . . . . . . . . . . . . . . . . . .
Insert > Soft Synth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1341 Insert > Soft Synth > Plug-in Layouts > Manage Layouts . . . . . . . . . . . . . . . . . . . 1341 Insert > ReWire Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1341 Insert > Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1341 Insert > Track Folder . . . . . . . . . . . . . . . .
Process > Retrograde . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Process > Deglitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Process > Fit to Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Process > Fit Improvisation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Process > Run CAL . . . . . . . . . . . . . . . . . . . . .
Help > Troubleshooting > Problems with registration . . . . . . . . . . . . . . . . . . . . . . 1373 Help > Troubleshooting > Frequently asked questions . . . . . . . . . . . . . . . . . . . . . 1373 Help > View ReadMe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1373 Help > Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1373 Help > Usage Logger . . . . . . . . . . . . . . . . . . . . . . . . . .
Drag and Drop Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Associated Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mirror Fretboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rosewood Hi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rosewood Lo . . . . . . . . . . . . . . . . . . . . .
Record Meter Options > Peak . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Record Meter Options > RMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Record Meter Options > Peak + RMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Record Meter Options > Show Labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Record Meter Options > Hold Peaks . . . . . . . . . . . . . . . . . . .
Draw tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Open Clip Effects Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Insert New Track(s) or Bus(es) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Split tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mute tool . . . . . . . . . . . . . . . . .
[Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Fast In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1398 [Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Slow In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1398 [Track view] Options > Crossfade Type > Default Crossfade Curves > Fast Out - Linear In . . . . . . . . . . . . . . . . . . . . . . . .
[Track view] Options > Meter Options > Vertical Meters. . . . . . . . . . . . . . . . . . . . [Track view] Options > Meter Options > Show Numeric Peak Values . . . . . . . . . [Track view] Options > Meter Options > Show Track Peak Markers. . . . . . . . . . . [Track view] Options > Meter Options > Show Bus Peak Markers . . . . . . . . . . . . [Track view] Options > Meter Options > Reset All Meters . . . . . . . . . . . . . . . . . . [Track view] Options > Meter Options > Record Meter Options > Peak . . . .
[Track view] Options > Meter Options > Bus Meter Options > Pre Fader Post FX 1410 [Track view] Options > Meter Options > Bus Meter Options > -12 dB . . . . . . . . . . 1410 [Track view] Options > Meter Options > Bus Meter Options > -24 dB . . . . . . . . . . 1410 [Track view] Options > Meter Options > Bus Meter Options > -42 dB . . . . . . . . . . 1410 [Track view] Options > Meter Options > Bus Meter Options > -60 dB . . . . . . . . . .
[Track view] Clips > Select All Siblings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Track view] Clips > Unlink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Track view] Clips > Unlink Step Sequencer Clips . . . . . . . . . . . . . . . . . . . . . . . . [Track view] Clips > Convert MIDI Clip(s) to Step Sequencer . . . . . . . . . . . . . . . [Track view] Clips > Convert MIDI Controllers to Envelopes . . . . . . . . . . . . . . . . Show Notes. . .
[Piano Roll] View > Grid Resolution > 32nd Triplet . . . . . . . . . . . . . . . . . . . . . . . . 1423 [Piano Roll] View > Grid Resolution > 64th . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1423 [Piano Roll] View > Grid Resolution > Follow snap settings . . . . . . . . . . . . . . . . . 1423 Pick Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1423 Show Next Track(s) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[Event List view] View > Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Event List view] View > Patch Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Event List view] View > Channel Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Event List view] View > Pitch Wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . [Event List view] View > RPN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Horz Zoom Level 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1435 Horz Zoom Level 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1435 Horz Zoom to Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1435 Track Height Short . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1435 Track Height Medium . . . . .
Bank/Patch Change dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bounce to Track(s) dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Change Audio Format dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chord Fret Number dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chord Properties dialog . . . . . . . . . . . . . . . . . . . . . . . . .
Export OMF dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1506 Expression Text Properties dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1507 Export Track Template. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1507 Fade/Envelope dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1508 Fade Selected Clips dialog . . . . . . . .
Markers dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Measure Beat/Meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Meter/Key Signature dialog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Microsoft Media Format Encode Options dialog . . . . . . . . . . . . . . . . . . . . . . . . . . MIDI Envelope dialog . . . . . . . . . . . . . . . . . . . . . . . . . . .
File - Folder Locations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1581 File - Audio Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1585 File - VST Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1587 File - Initialization File (Advanced). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1590 File - Advanced (Advanced) . . . . . . . . . . . . . .
Set Default Velocities for Steps dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Select Fretboard Track dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Set Timecode at Now Time. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Slide dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SONAR Quick Start dialog . . . . . . . . . . . . . . . . . . . . .
Choose File Type dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1678 Usage Logging dialog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1679 49 View reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1681 Track view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Markers view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SYSX view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Big Time view . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Loop Construction view. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Browser . . . . . . . . . . . . . . . . . . .
Introduction SONAR is a professional tool for authoring sound and music on your personal computer. It’s designed for musicians, composers, arrangers, audio and production engineers, multimedia and game developers, and recording engineers. SONAR supports Wave, MP3, ACIDized waves, WMA, AIFF and other popular formats, providing all the tools you need to do professional-quality work rapidly and efficiently.
About SONAR SONAR is the flagship product of the Cakewalk line of integrated MIDI and digital audio sequencers for the Windows platform. SONAR has a comprehensive feature set that makes it the single most productive tool for sound and music authoring. Here are some of the ways you can use SONAR. Publish Publishing usually means printing your music; it’s one way to share your finished product with other performers.
Sound production and engineering If you want to produce music CDs or master tapes, SONAR has virtually everything you need from recording to mixing and mastering. Multichannel recording lets you capture studio or live performances track by track. Reconfigurable buses provide full control over your mix. Real-time stereo effects like chorus, flange, reverb, and delay/echo can be applied as track inserts, in effects loops, or to the master mix. SONAR supports 44.
Computers, sound and music This section provides some background on the different ways that computers store and play sound and music. Computers work with sound and music in two different forms: MIDI and digital audio. MIDI MIDI (short for Musical Instrument Digital Interface) is the way computers communicate with most sound cards, keyboards, and other electronic instruments.
Digital audio Digital audio (frequently referred to here as just “audio”) is a simple way to record and play sounds of any type. It works like a tape recorder—you record something, then later play it back. Digital audio stores the sound as a long series of numbers. To record audio in SONAR, you have to have an audio cable connecting the audio output of your electronic instrument to the audio input on your sound card or audio hardware.
Setup You can install SONAR on any computer that runs Windows Vista, Windows 7, Windows XP or x64 and has a sound card or built-in sound module. If you want to hook up other devices, like a MIDI keyboard, an electric guitar, or a microphone, you need the right cables, and you need to find the right connectors on your computer. Note: SONAR X1 Producer and Studio provide native Windows x64 support. SONAR X1 Essential runs as a 32-bit program on a Windows x64 system.
If you install a SONAR patch on top of the original installation, any updated content files in the patch will not overwrite existing content files in your personal user application data folder. However, you can force SONAR to update the default content files in your personal user data folder. Warning: The following action will overwrite any SONAR data files such as track templates and project templates that you may have customized. A message box will prompt you if you wish to continue or cancel.
The following table describes the various types of analog and digital connections you may encounter.
To connect an electric guitar or keyboard to your computer • If your sound card has a 1/8 inch input jack (built-in sound cards that come with your PC usually do), plug your 1/4 inch mono guitar or audio cable into a 1/8 inch stereo adapter, and then plug the 1/8 inch adapter into the microphone input or line input jack on your computer sound card. If you are connecting a keyboard, the audio cable must go from the keyboard’s audio out or line out jack to the sound card input jack.
Microphone input Microphone Computer Sound Card (or external audio interface) Headphones or Speakers USB connection USB Microphone Computer Sound Card (or external audio interface) Headphones or Speakers That's it! Now that your instruments are all set to go, you can restart your computer and turn on your keyboard, guitar, and microphone. For a complete description of audio input options, see the online help topic “Hardware Setup.
MIDI connections There are three types of MIDI cables in common use. Here’s how to connect each of the three types: • USB cable. This is extremely common. Many electronic keyboards and stand-alone MIDI interfaces use this type of connection. To use this type of connection, simply plug one end of the USB cable into the USB jack on your MDI keyboard or stand-alone MIDI interface, and plug the other end into your computer.
Figure 2. Joystick connector—use this if your MIDI interface is the joystick port on your sound card. A C B A. Insert this MIDI IN plug into the MIDI OUT port on your MIDI instrument B. Insert this MIIDI OUT plug into the MIDI IN port on your MIDI instrument C.
You can freely add or remove devices without impacting the current working set of enabled devices. Adding a device back will remember its last selected inputs and outputs. You can also switch driver 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.
Note: The Missing Audio Outputs dialog is not shown if there is only a single missing output port and only one available output port. In this case, SONAR will automatically assign the missing output port to the available output port.
Figure 3. The Missing MIDI Ports dialog lets you remap missing output devices Figure 4. A track’s Output control shows the name of the missing device Opening projects after MIDI configuration has changed If any assigned MIDI output devices are missing when you load a project, which is likely to happen if you transfer projects between different computers, SONAR will do the following: • MIDI tracks. The Missing MIDI Ports dialog appears and lets you remap the missing devices to available devices.
Starting SONAR There are many different ways to start SONAR. Here are a few: • Double-click the SONAR icon on your desktop. • Click the Start button, and choose Programs > Cakewalk > SONAR X1 (Producer, Studio or Essential) > SONAR X1 (Producer, Studio or Essential). • Click the Start button, point to Documents, and choose a SONAR project from the menu. • Double-click the SONAR program or any SONAR document from the Windows Explorer or the Find menu.
Option How to use it Online Videos and more Click this link to view our tutorial videos online. An active Internet connection is needed in order to access this content. Getting Started Click here to view the “Getting started” on page 3 topic in the Help file. This topic has links to a glossary of terms, as well as some basic procedures. Table 1. If you don’t want to see the Quick Start dialog box in the future, uncheck the box at the bottom of the dialog box, and click Close.
SONAR refers to when using the card. Wave Profiler does not change the sound card’s DMA, IRQ, or port address settings. Wave Profiler detects the make and model of your sound card, which determine the card’s audio characteristics. If Wave Profiler finds a card that has a WDM driver, it only profiles that card. If you want to use more than one sound card at a time, and they don’t both have WDM drivers, you must force the one with the WDM driver to use that driver as an older, MME driver.
Figure 6. The MIDI - Devices section 2. 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. 3. Look at the window on the bottom. Notice that it shows devices on MIDI Outputs. SONAR numbers its MIDI Outputs by the order of the devices in this window. The device on top is on Output 1, the one below it is on Output 2, and so on. 4.
you run the program. Any other devices you had selected using the Edit > Preferences > MIDI Devices command will remain selected. • If you add a driver through the Control Panel, SONAR does not automatically use it. You must use the Edit > Preferences > MIDI - Devices command to enable the new driver in SONAR’s list. Note: After you add or remove a driver with the Drivers icon in the Windows Control Panel, you must restart Windows for the change to take effect.
SONAR basics SONAR’s menus and tools give you quick access to all the features of SONAR. Some menu choices and tools display dialog boxes that let you choose among various options, or type in the values you want. If you click in most views, in time rulers, or on certain other items with the right mouse button, you see a pop-up menu that provides quick access to many common operations. The project is the center of your work in SONAR.
SONAR file types Projects in SONAR can be saved as a project file with the extension .cwp or as a Bundle file with the extension .cwb. For a complete description of the differences between project files and bundle files, see the online help topic “Project files and bundle Files” on page 1097. Other types of files SONAR lets you create and work with several other types of files, in addition to project (.cwp) and bundle (.cwb) files that store your projects: File type Description MIDI files (extension .
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. When you open a project file, SONAR displays the Track view for the project. When you close the Track view for a project, SONAR closes the file.
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 Key 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 if the control only applies to a specific track type (for example, the Patch control only applies to MIDI tracks). UP/DOWN ARROW Displays the next page of tracks.
Inspector pane When working on a project, you will frequently need to access track and clip parameters and mix controls. The Track Inspector and Properties Inspector provide easy access to relevant settings for the selected track(s) or clip(s). Figure 8. Use the Track Inspector and Properties Inspector to configure track and clip settings. A B C D H E F G I A. Dock/undock Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track Properties Inspector D. Show/hide ProChannel E.
The Inspector pane appears to the left of the Track view, but can also be moved to the right side. There are three separate inspectors: • Track Inspector. The Track Inspector shows mix settings for the current track, bus, or main, and is essentially identical to a channel strip in the Console view. Advanced MIDI settings are also available for MIDI tracks and Instrument tracks. For details, see “Track Inspector overview” on page 508. • Properties Inspector.
Figure 9. The Control Bar. For more information about the Control Bar, see “Control Bar overview” on page 473. 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.
Figure 10. The Console view B C A D E F A. Console view menu B. ProChannel (Producer only) C. Pane splitter bars D. Track channel strips E. Bus channel strips F. Main channel strips As in the Track view, you can change track settings or record new music or sound in the Console view. You may choose to use one view or the other, or the choice you make may depend on which project you are working on. Other views SONAR has a number of other views you can use to display and work on your project.
Figure 11. The Piano Roll view C A B A. Piano Roll view menu B. Key/Pitch pane C. Note pane 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; and print whole scores or individual parts to share with other musicians. Figure 12.
The Loop Construction view allows you to create and edit Groove clips (SONAR loops that “know” the tempo and key in which they were recorded), and export these clips as ACIDized files. For more information, see “Loop Construction view” on page 1767. Figure 13. The Loop Construction view 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.
Figure 15. The Event List view SONAR has several other views that are used for very specific purposes: View How you use it Meter/Key To change the meter (time signature) or key signature, or to insert changes in the meter or key signature at specific times in a project. For more information, see “Meter/Key view” on page 1766. Big Time To display the Now time in a large, resizable font that you can read more easily. For more information, see “Big Time view” on page 1767.
View How you use it Step Sequencer Lets you compose patterns by clicking cells in a grid to turn notes on or off. For more information, see “Step Sequencer view” on page 1696. Matrix Lets you trigger multiple audio and MIDI patterns, either with a mouse or via MIDI remote control. For more information, see “Matrix view” on page 1772. Table 5. Zoom controls Many of the views contain Zoom tools that let you change the horizontal and vertical scale of the view. Figure 16.
You can also zoom with the keyboard: Key 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 G Go to (center) the Now time, without zooming Hold down Z Arm the Zoom tool U Undo the current zoom F Fit tracks to window A Show all tracks SHIFT+F Fit project to window SHIFT+double-click a clip Maximize track height Table 7.
Docking views in the MultiDock You can dock any view other than the Console view in the MultiDock by enabling a view’s Dock in MultiDock option. You can have as many views open in tabbed format as you want. You can toggle through the different views by clicking the tab of the view you want to see (or use the CTRL+SHIFT+LEFT/RIGHT ARROW shortcut). You can also maximize the pane to do detailed work in a view, or drag the splitter bar at the top of the view to enlarge the tabbed view area. Figure 18.
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.
To use X-Ray windows 1. Use the Edit > Preferences command to open the Preferences dialog, click Customization Display and make sure the Enable X-Ray check box is selected. 2. Make sure that the view windows you want to X-Ray are in the Floating-enabled state: to check this, click the view or fx icon that’s in the upper left corner of a window, and select Enable Floating from the drop-down menu. If Disable Floating is in the menu, then the Floating option is already enabled.
To exclude a plug-in from X-Ray capablity, 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. 3. In the Registered Plug-ins window, select the plug-in that you want to exclude. 4. If the plug-in is a DirectX effect or an MFX, write down (or select and copy) the CLSID value that’s in the CLSID field at the bottom of the dialog. 5.
Screensets You may spend a lot of time making sure that all the views are laid out on the screen just the way you want. When you save your work, SONAR automatically saves the screen layout along with it. You can create up to 10 screensets per project and freely switch between screensets at any time. For more information, see “Screensets” on page 982. Working on a project Every project has a current time, known as the Now time (see: “The Now time and how to use it” on page 172).
To restore the default colors 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. In the Screen Elements window, select the elements that you want to restore; you can CTRLclick or SHIFT-click to select multiple elements. 3. Click the Defaults button. 4. Click OK. SONAR uses the default colors for all selected screen elements. To change the wallpaper 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2.
Color presets Once you create a color arrangement that you like, you can save it as a preset, and then load it whenever you want to use that arrangement. You can also load any of the many factory presets, some of which duplicate the colors of earlier versions of SONAR. You can also import and export color arrangements in the form of .clr files so that SONAR users can share color layouts.
To load a color preset 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. Click the drop-down arrow on the Presets menu to display the list of presets, then click the name of the preset you want to load. To save a color preset 1. Choose Edit > Preferences to display the Preferences dialog box, then click Customization Colors. 2. Adjust the color settings you want to save. 3. Type a name for your preset in the Presets menu. 4.
To 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 appears. 3. Navigate to the folder where you want to store your the exported file. This file will contain all or your color presets. 4. Type a name for your file in the File Name field. Use a file name that you will recognize as a collection of presets, rather than as a single color arrangement. 5.
You can also install SONAR by choosing Start > Run and running the application named SETUP.EXE from the DVD. Uninstalling 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 X1 (Producer, Studio or Essential) > Uninstall SONAR X1 (Producer, Studio or Essential).
Introduction Starting to use SONAR
Tutorial 1 – Creating, playing, and saving projects Understanding and managing project files is central to your work flow in SONAR. In this tutorial, we are going to cover the basics of getting started with project files and some of the operations that can be performed with them. Whenever you write or record music in SONAR, you are writing it to be saved into a project.
Creating a new project There are several ways to get started with a project in SONAR. When SONAR is opened, you will be greeted with the Quick Start dialog. Let’s take a look at the options available in this dialog. Open a Project. want to open. Opens a standard File Open dialog, which lets you select the project that you Open a Recent Project. The drop-down list shows the most recent projects that have been opened in SONAR.
The New Project File dialog appears. Whenever you create a new project, you will be presented with this dialog. Let’s explore some of the things you can do in this window. Note: The list of available project templates shown may vary depending on your version of SONAR (Producer, Studio or Essential). Name. Type the name of your project in the Name box. For this exercise, let’s name your project Tutorial 1. Location. Use the Location box to specify where the project should be saved.
See: “Opening project files” on page 98 “Playing project files” on page 100 “Looping project files” on page 104 “Saving project files” on page 105 Opening project files Next, we are going to cover how to open existing project files. There are two ways this can be done in SONAR: • Click the Open a Project button in the Quick Start dialog that is first presented when SONAR starts. • Select File > Open from the menu bar across the top of SONAR’s screen. Let’s go ahead and try one of the above methods.
• The Go to Folder drop-down list allows you to quickly move to commonly used folders for project files in SONAR. Typically, you can get to your projects by selecting Project Files. • For more detailed information about all of the options and functions in this dialog, click Help. For this tutorial we want to open one of the sample project files that are included with SONAR.
Playing project files For this next section we are going to configure the project named SONAR_AudioDemo1.cwb for playback in SONAR. If you have not opened the project yet using the steps from the previous section Opening project files, do so before continuing. Configuring your sound device Before we can get any sound, we need to ensure that SONAR is communicating with your computer’s sound card or audio interface.
After you have selected the desired Input and Output devices that you plan to use with SONAR, click the Audio - Driver Settings page. In the Playback Timing Master list, select the audio output device that you want SONAR to treat as the default or main output device. This should be the output on your sound card that has either speakers or headphones connected to it.
Control Description This is the Mute button. It is used to silence a track during playback. Any tracks that are muted will not be heard. This is the Solo button. It is used to silence every track except the one that is soloed. This can be handy for isolating a particular performance or recording for monitoring or mixing purposes. SONAR allows you to solo multiple tracks simultaneously. This is the Arm or Record Enable button, which must be enabled on any track that you want to record onto.
Next, you will want to repeat the above process for all of the tracks in your project. Tip: If you need to change multiple outputs simultaneously, select the tracks, then hold down the CTRL key while you change the Output setting in any selected track. You can also click a track’s Output control and choose Selected Track Outputs, which opens a dialog that allows you to change the Audio and MIDI outputs of all selected tracks.
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 for many reasons, such as to rehearse a part or phase or to listen closely to a specific section. Perhaps you might set up a loop just because it’s your favorite part of the song and you want to hear it over and over again. For all of the above, you will need to loop a section of the song. You may have noticed this demo file is an example of rock music.
Saving project files SONAR offers you many options for saving your work. To investigate these options, click on the File menu and choose Save As. This opens the Save As dialog. Before doing anything in this window, the first thing you should do is select Project Files in the Go to Folder list. Even if it already says Project Files, click it anyway. You will notice this window looks very familiar to the Open dialog we looked at earlier in this tutorial.
• Cakewalk Bundle. This format is typically only used when transferring projects to other people or other computers. Cakewalk Bundle files use the .cwb file extension and are similar to Cakewalk Project files. The main difference is that Cakewalk Bundle files actually contain all of a project’s audio data.
Tutorial 2 – Using the Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI files, track and project templates, track icons, FX Chain presets, effect plug-ins and instruments. You can drag content and plug-ins directly into tracks. By default, the Browser is docked on the right side of the screen. To show or hide the Browser, click the Views menu and choose Browser, or press B.
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. Allows you to save and recall presets to quickly access your favorite folders. The Content Location drop down box shown below allows you to quickly jump to popular locations on your hard drive. Figure 20.
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 Rack contains the following controls: Figure 21. to open the Synth Rack. The Synth Synth Rack Browser A B C D E FGH J I A. Insert Synth B. Delete Synth C. Insert Synth Options D. Show Synth Rack Browser E. Synth Settings menu F. Dock/undock G.
The Browser should look something like the image below. 9. Click the Play button in the Browser. The selected file is previewed. If you don’t hear anything, revisit the settings of your Audio Preview Bus, as discussed above, and ensure that it is set to the audio device that your headphones or speakers are connected to. If you need to preview a lot of loops quickly, click the Media button and enable the AutoPreview option. When enabled, an audio loop will start playing as soon as you select it.
3. Clear all of the check boxes except for Single Track Instrument, Recall Assignable Controls, and Ask This Every Time. 4. Click OK. Cakewalk TTS-1 is added to your project. Now that we have a synth in our project that we can preview MIDI groove clips with, let’s find some and give them a listen. 1. Click the Media button to show the Media Browser. 2. In the Browser, click the Content Location drop-down list and select MIDI Library. 3.
Adding 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. Adding loops is easy with SONAR’s intuitive drag and drop interface. To add a loop to your project, do the following: 1. In the Browser, locate the loop you would like to use in your project. 2. Drag the loop to a track. If you are selecting an audio loop, you must drag it to an audio track.
Tutorial 3 – Recording vocals and musical instruments One of the most important aspects of creating music in SONAR is digital audio recording. This is the process of taking the sound from a microphone or an instrument and recording it to an audio track. Once this step is completed you can edit and mix the song to prepare it to share with the world. This tutorial will walk you through the steps involved and provide you with some insight on how to get the best possible audio recordings.
5. Click the Output drop-down menu to select the track’s output. The available outputs for the track are displayed. 6. Select the output port that you want the audio track to play through during playback. This is how you ultimately route the audio to your speakers. You will usually choose 1 and 2, because these are most commonly the outputs that speakers or audio monitors are connected to. 7. Click the track's Record Enable button .
Recording your performance Now that everything is set up, let's record something! 1. Go to Edit > Preferences > Project - Metronome to access metronome settings. You can also right-click the Playback Metronome on/off button or Record Metronome on/off button in the Control Bar’s Transport module to access metronome settings. 2. Set the metronome for a 2 measure count-in. • Click Use Audio Metronome, select the Recording check box and set Record Count-in to 2 Measures.
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/microphone recorded You may be recording a mono signal through a stereo input. Guitars and microphones produce mono signals. Click the tracks Input control and select the appropriate side of your stereo pair, either left or right as opposed to stereo.
The Windows Mixer controls the volume levels of your sound card inputs and can also mute any input or output device. The Windows Mixer looks like this: When you open the Windows Mixer it may be labeled Play Control or Recording Control. We want to see the recording controls. To view the recording controls in Windows XP: 1. On the Options menu, click Properties. The Properties dialog appears. 2. In the Adjust Volume For section, click Recording. 3.
Tutorial 3 – Recording vocals and musical instruments
Tutorial 4 – Playing and recording software instruments Software instruments, which are also referred to as soft synths, are a major part of computer music. Our goal in this tutorial is to add a software instrument to a project. We'll explore a few different ways they can be used with SONAR and look at some options to really make the most of them. A brief history Note: Feel free to skip to the next section if you want to start using synths right away.
Adding an instrument track to your project Adding instrument tracks to your project is easy and something you’ll find yourself doing often, so let’s explore some of the basics. For this exercise, we'll start with a blank project: 1. On the File menu, click New. 2. Select the Blank (no tracks or buses) template and click OK. A new project opens. 3. Click Insert >Soft-Synths. A menu lists all available software synths that are installed on your computer. 4. Click DropZone.
Let's take a quick look at DropZone. One of the first things you'll typically need to do is choose a sound. In DropZone and most other Cakewalk synths, a sound preset is referred to as a program. 1. In DropZone's Program window, click Empty Program. The Program Browser appears. Note: It may take a minute the first time the Program Browser opens. This is because DropZone is building a list of all available sounds. Once the list has been built, the Program Browser will open faster the next time. 2.
Recording MIDI First, we'll try recording. This only works if you have a MIDI controller. If you do not have a MIDI controller, skip ahead to the next section of this tutorial. For recording, you don't need the DropZone window open. You can close an instrument by clicking in the upper right corner. This doesn't cause the synth to stop functioning—it will continue to work in the background. Note: If you need to see the DropZone window again, just double-click the track icon.
The ruler at the top of this view represents musical measures and beats. The keyboard image on the left represents what notes are being played. Click on the Smart tool in the Control Bar. You can also enable this tool by pressing the F5 key on your computer keyboard. To draw a note with the Smart tool, hold down the ALT key and click on the grid. Tip: You can also draw notes with the Freehand tool (press F9),without having to hold down the ALT key. To create a note, click on the grid at measure 1.
Try to create a melody using this technique. You might find that you can only create 16th notes or longer. If you want 32nd notes or triplets, specify the desired Musical Time resolution in the Control Bar’s Snap module. Figure 23. The Snap to Grid module. You can now draw notes at shorter distances from each other. To specify the duration of new notes, select the desired duration in the Control Bar’s Tools module. Figure 24. The Tools module.
Let's insert the Cakewalk TTS-1: 1. Go to Insert > Soft Synths > Cakewalk TTS-1. The Insert Synth Options dialog appears. 2. In the Create These Tracks area, click First Synth Audio Output. 3. In the Open These Windows area, click Synth Property Page. Note: If you would like a detailed explanation of each option, click Help. 4. Click OK. A new synth track is inserted in your project. On some computers, the tracks may play back through the TTS-1 at this point.
Tutorial 4 – Playing and recording software instruments
Tutorial 5 – Working with music notation A great way to compose in SONAR is by using the Staff view. The Staff pane displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work. The Staff pane provides many features that make it easy for you to compose, edit, and print music. You can add notes to your composition with simple point-and-click techniques.
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 appears. 2. Change Beats per Measure to 3 and Key Signature to 1 Sharp (G), then click OK to close the Meter/Key Signature dialog. 3. Click the Staff view Edit menu and choose Layout. The Staff View Layout dialog appears. 4.
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. For more in depth information about all the features and functionality of the Staff view, including using the Fretboard and the Lyrics view, see “Notation and lyrics” on page 999.
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, click outside the first note you want to select and drag the mouse to draw a rectangle around the desired notes. • To select discontiguous notes, hold down the CTRL key and click the desired notes. Moving Notes - Change timing or pitch To move notes: 1.
Changing the duration of a note 1. Right click the note head to open the Note Properties dialog. 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. 1. Select the Smart tool or the Trim tool .in the Control Bar. 2. Do one of the following: • With the Trim tool , position the pointer over the note’s start or end point, then drag left/right to adjust the start/end position.
Deleting a note 1. Select the Smart tool or the Erase tool .in the Control Bar. 2. Do one of the following: • With the Smart tool , right-click a note to erase a single note, or keep the right mouse button pressed and drag over notes to erase multiple notes. • With the Erase tool notes. , click a note to erase a single note, or drag over notes to erase multiple Adding lyrics To add a lyric event below a note: 1. Select the Freehand tool 2. Click the Lyric button in the Control Bar. in the Staff view.
Adding chord symbols To add a chord symbol above a note: 1. Select the Freehand tool 2. Click the Chord button in the Control Bar. in the Staff view. 3. Position the pointer above the note you want to add the chord to and click. A chord symbol is added above the note. 4. To change the chord properties or show a guitar chord grid, right-click the chord name. The Chord Properties dialog appears. Adding expressions 1. Select the Freehand tool 2. Click the Expression button in the Control Bar.
Adding a crescendo or decrescendo/diminuendo 1. Select the Freehand tool in the Control Bar. 2. Click the Hairpin button in the Staff view. 3. Position the pointer just below a note and click. A hairpin event (crescendo or decrescendo) is inserted. 4. To change the hairpin type and duration, right-click the hairpin event. The Hairpin Properties dialog appears. Note: Hairpin events are ornamental only and do not affect playback. Adding pedal marks (sustain) 1.
Printing your notation Once you are finished entering and editing notes you can print out the score or individual parts. 1. Select the MIDI track or tracks you want to print the notation for. 2. On the Views menu, click Staff View. The Staff view opens. 3. On the File menu, click Print Preview. The Print Preview window opens, allowing you to see how the printed score will look. 4. To change the rastral size of the score, click Configure. The Staff View Print Configure dialog appears.
Tutorial 5 – Working with music notation
Tutorial 6 – Editing your music While working on your music, you are likely to find that editing is a major part of the song creation process. Before people started making music on computers, all of the editing was done by cutting tape with a razor blade and piecing it together. You can imagine how difficult it could become. In SONAR, you can actually select a part of your music with the mouse and delete/copy/paste/move it all very easily.
Selection Let's start by opening the tutorial project Cakewalk Audio Demo.cwb that we used in earlier tutorials. One of the most important things to understand in order to edit your music successfully is selection. Once you become familiar with selecting, the rest is easy. You typically need to have the appropriate parts selected in order to make edits on them. There are two aspects of selection: • Time Range • Tracks Let's say you'd like to delete the second measure of a certain track.
Method 1: 1. Select the track that you want to delete measure two 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. Drag in the time ruler from measure 1 through measure 6. The selected time range is highlighted. 3. Press DELETE or select Edit > Delete. Measure two is deleted from the selected track. Method 2: 1. Select the Select tool in the Control Bar. 2.
Moving clips From time to time, you may need to move clips around. If you understand selection, you're half way there already. 1. Select the section you want to move. Let's go back to the track named GR_Lead 1 and select measures 6 through 10. 2. With the Smart tool, click the bottom half of the selection and drag the clip to the desired location. For this tutorial, let’s drag the selection to the bottom of the project and create a new Audio track that contains the selected clip.
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.
Tip: When cropping clips, you can choose to also move clip fades proportionally, or retain the original fade position. To move the fade position, click the top three quarters of the clip edge when cropping. To retain the clip fade position, click the bottom quarter of the clip edge when cropping. You can also hold down the ALT key while cropping in order to move a clip fade. Fading Clips You can fade individual clips by using the Smart tool or Trim tool .
Undo and Redo While editing a project, you might make mistakes or experiment with an idea that doesn't produce the desired results. SONAR has unlimited Undo for such occasions. You can undo one step at a time by selecting Edit > Undo or by pressing CTRL+Z. You can also look at your edit history and select a time to go back to. To do so, go to Edit > History, choose the edit you'd like to return to and click OK. Note: When you close a project, the undo history is erased.
Tutorial 6 – Editing your music
Tutorial 7 – Mixing and adding effects Mixing is an important part of recording that can really help the music you create in SONAR sound its best. Mixing involves placing different instruments and sounds in layers of the frequency spectrum, adjusting levels so that tracks blend nicely, spreading them across the stereo field and adding effects where appropriate. There are many important decisions to make when mixing; things that are sometimes not considered while writing a song.
Volume and pan Adjusting volume and pan is always a good place to start when mixing. One of the biggest benefits of SONAR's Console view is that you can easily see the volume and pan controls for many tracks simultaneously, in addition to large meters. Some people also enjoy working in the Console view because it doesn't offer a graphical representation of what the music “looks like”.
Note: You can find the Mains meters on the far right side in the Console view. If you don’t see the Mains meters, click the Console view Strips menu and make sure Mains is selected. The next thing we'll try is panning. As with mixing in general, there are no rules when it comes to panning. Be creative, trying different ideas to see how they sound. One important thing to consider is that when you pan two tracks that share the same frequency range away from each other they will become clearer.
3. Point to Audio FX, then point to Cakewalk or Sonitus:fx and choose any one of the available effects. The selected effect is inserted into the track’s effects bin. 4. Experiment with the controls on the plug-in while the music is playing back. You will hear noticeable changes to the sound. 5. Right-click on the effect and choose Delete to remove the effect. Each of the effect plug-ins listed is designed to change the sound in some specific way.
Now, we can apply some EQ. One of the primary uses for EQ is to prevent different instruments from stepping on each other in the frequency spectrum. One instrument might be intended for a certain frequency range, but extends into another instrument's frequency range. If you turn down the overlapping frequency range for one of the instruments, it will allow the other instrument to stand out better in the mix. Let's give it a try: 1. Solo the tracks named Tension Climbing and Chirppy Synth. 2.
Follow these steps to create your reverb send from the Console view: 1. We want to add this send to all tracks, so go to Edit > Select > All to select all tracks. 2. Right-click on one of your tracks in the Sends section of the strip and choose Insert Send Assistant. If you don’t see the Sends section in your Console view, click the Console view Modules menu and make sure Sends/Bank/Patch is selected. The Insert Send Assistant appears. 3. Configure the Send Assistant as follows: • Click New Bus.
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.
Using Automation Another feature that is important to mixing is automation. Automation lets you record changes to almost any parameter in SONAR, including track parameters, effects, synths and buses. SONAR makes this very easy. 1. Click a track's Write Automation button 2. Press Play to enable automation recording for that track. to start playback. 3. During playback, simply make the changes to the parameters in realtime, using either your mouse or a control surface. 4.
Tutorial 8 – Working with video SONAR allows you to add music and sound to your videos. This tutorial will guide you through the basics of working with video inside SONAR. If you are new to SONAR, it is highly recommended you review “Tutorial 1 – Creating, playing, and saving projects” on page 95 before going any further.
Let’s explore some of the options in the Import Video dialog. The first thing you will notice is that this dialog is very similar to the Open dialog that was discussed in Tutorial 1. The Import Video dialog functions in very much the same way with the exception of two sections. First, outlined in the image above is the drop down box Files of type. Making a selection here will determine which video formats are displayed in the dialog. SONAR supports the following digital video formats: • Windows Media (.
Next, outlined in the above image you will see the File info area on the left and three options on the right. Let’s review what each of these options do. Option What it does Show file info When selected, this tells SONAR to display video information about the selected file in the File info area of the dialog. Import Audio Stream Select this option if you want to import the video file’s embedded audio into a new audio track in SONAR.
What if I don’t see the Video Thumbnail pane or Video view? To show or hide the Video Thumbnail pane, drag the splitter bar that separates the Video Thumbnail pane from the Clips pane. To restore the Video Thumbnail pane, point the mouse pointer over the splitter bar (the mouse pointer will look like ), then drag the splitter bar down to restore and resize the Video Thumbnail pane to your liking. You can also press the V key to show or hide the Video Thumbnail pane.
There are three options on this tab that are very important to understand and extremely helpful when working with video. Let's take a closer look at them Option What it does Start Time The time in your SONAR project at which you want the video file to start playing. Trim-in Time The time in the video file at which you want video playback to start, this is useful if you don’t want to see the opening credits or the first few scenes. This is expressed in SMPTE time code.
Working with markers When syncing up audio events to film cues or video, it is common to use markers. Markers are a powerful feature in SONAR that helps to simplify the task of identifying major events in a song or video. They can be used to clarify where a verse or chorus begins in a rock tune or, in the case of film scoring, they can be used to identify hit points (points in the film where you want a musical event to synchronize with a visual event).
From this dialog you can do a lot of very important things. First let’s name this marker by typing Intro in the Name field. Next, select the Lock to SMPTE (Real World) Time check box. This option is very important when working with video. If a marker is not locked to SMPTE time, its position in relation to events on the video will change with tempo and meter changes in the project. You might also notice that the Time value changes to the SMPTE format after you selected the check box.
See: “Importing video” on page 153 “Exporting your video” on page 160 Exporting your video Once you have finished with all of your music and have your video synced up as you would like it, you’ll want to mix it down to a video file that you can share with the world. 1. Select everything in the project that you want to export. If you want to export the entire project, simply select Edit > Select > All or press CTRL+A. 2. On the File menu, point to Export and click Video. The Export Video dialog opens.
4. 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 you will be able to change the quality and size of your video. This is particularly important if you plan to upload your video to the web. Some codecs work better than others and are more appropriate for different scenarios.
Tutorial 8 – Working with video Exporting your video
T u t o r ia l 9 – E x p o r t in g , C D b u r n in g a n d s h a r in g Once your SONAR project is complete, you will want to share it with the world or burn a CD. SONAR offers many tools to help you do this. In this tutorial, we are going to explore some of the basics of these tools. Before we get started, let’s open one of the example audio projects included with SONAR. If you have your own project that already contains audio, you can load that instead.
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 95. This is used to navigate to locations on your computer’s hard drive and tell SONAR where you want to store the exported audio. For this Tutorial, we are only going to explore some of the more common settings. If you would like to read about all of the options and settings click the Help button.
Control Function Bit-Depth Allows you to set the bit-depth of your export. 16-bit is used for CD quality and 24-bit is often used for DVD quality audio. Add to Cakewalk Publisher Select this option to send your file to Cakewalk Publisher, which is used to put your music on the Internet. Table 12. If you would like to burn an audio CD of your music 1. Click File > Export > Audio to open the Export Audio dialog. 2. In the Channel Format list, select Stereo. 3. In the Sample Rate list, select 44100. 4.
Burning an audio CD Select Utilities > Burn Audio CD to open the Audio CD Burner dialog. Simply browse to the audio files you wish to burn and click the Add Track button. You can also drag audio files into the Burner tracklist. Note: Any files that are not in 16 bit, 44.1kHz wav files will automatically be converted to the proper CD format. Depending on the type of blank CD you are using, you can fit up to 80 minutes of audio on one CD.
If you would like to share your music on the Internet Note: Due to licensing restrictions, your Cakewalk software only includes a 30 day free trial of the MP3 encoder. If your 30 day trial period has expired, a full license can be purchased for unlimited use from the Cakewalk web store. 1. Click the Export Audio button to open the Export Audio dialog. 2. In the Channel Format list, select Stereo. 3. In the Sample Rate list, select 44100. 4. In the Bit-Depth list, select 16. 5.
Cakewalk Publisher SONAR includes Cakewalk Publisher, which is a powerful tool to share your music, artwork and playlists on the Internet. A detailed description of Publisher is beyond the scope of this tutorial, but let’s take a quick look at its basic features and how it integrates with SONAR. To open Publisher, select Utilities > Publish to Web. Notice that your recently exported project is already listed in the Track list.
The following table describes a few of the buttons in the publisher interface. If you would like to explore all of the features in Publisher, click the button labeled HELP in the upper right corner of the Publisher window. Control Function Used to configure the player and generate the HTML code for pasting into your web site. Lets you associate an image with the selected track. This is useful if you want to include album artwork when you upload your music. Adds new tracks to the current playlist.
Tutorial 9 – Exporting, CD burning and sharing
Controlling playback When you play your SONAR project, you have full control over the tempo or speed of playback, which tracks are played, which sound cards or other devices are used to produce the sound, and what the tracks sound like. You can access all of the playback functions from the Control Bar (see “Control Bar overview” on page 473).
The Now time and how to use it Every project has a current time, known as the Now time, which keeps track of where you are in a project. The Now time appears as a vertical line in the Track view and is displayed in the Transport module in the Control Bar (see “Transport module” on page 482). Figure 28. The Transport module in the Control Bar. A B C A. Current Now time (click to cycle through the available display formats) B. Position C.
SONAR with an external device whose start time is not 0, you must offset SONAR to match the external device’s start time. For more information, see “Synchronizing your gear” on page 1079.
When entering a time in SMPTE format, you can enter a single number (hour), two numbers (hour and minutes), three numbers (hour, minutes, and seconds), or all four numbers. 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.
The Now time marker In the Track view, the Now time appears as a black vertical line. When you set the Now time in the Track view a green triangle called the Now time marker appears in the Time Ruler. This marker represents the point at which the Now time will snap back to after you stop playback or recording. Figure 29. The Now Time marker You can drag the Now Time marker during playback. When the mouse button is released, the transport immediately jumps to the new location.
The Track view Now time display The Track view displays the Now Time above the track strips in a large and configurable format. Figure 30. The Track view Now time display Click the display to display the following time formats: • M:B:T (Measure:Beat:Tick). Example: 8:01:000. • SMPTE (Hours:Minutes:Seconds:Frames). Example: 00:00:21:00. • Frames. Example: 629 (only available if project contains video). • Milliseconds (Hours:Minutes:Seconds:Milliseconds). Example: 00:00:21:000. • Samples. Example: 926100.
Displaying the Now time in large print SONAR can display the Now time in large print so that it’s easier to see when you are far from your monitor (for example, when you’re at your keyboard or another instrument) or when several people need to read the Now time from a distance. Here’s how: To display the Big Time view 1. Choose Views > Big Time to display the Big Time view. Figure 31. The Big Time view 2.
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 G 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+G Sets the Now time to the Thru time (the end time of the current time selection) CTRL+HOME Sets the Now time to the beginning of the project CTRL+END Sets the Now time to the end of the proje
The Time ruler The Time ruler appears in the Track view, Tempo view, Staff view and Piano Roll view. It has several functions, including: • Making a time selection. The Time ruler follows the Snap to Grid settings, if enabled. • Changing the Now time • Adding loop, punch, and pitch markers. You can right-click in the Time ruler to add markers.
To switch the Time ruler format to milliseconds 1. Right-click in the Track view Time Ruler. 2. In the menu that appears, select Time Ruler Format > Milliseconds. Additionally, you can add or remove Time ruler formats using the Plus/Minus buttons located just outside the right edge of the Time ruler. Note: If only one Time ruler format is being used, only the Plus button is displayed.
Controlling the transport To control playback, you have your choice of tools, menu commands, and shortcut keys for most common operations. When you start playback, the Now time updates continuously to show the current time. When you stop playback, the Now time rewinds to the Now Time Marker. When you start playback again, it continues from the same point. If the Now time is advancing but you don’t hear any sound, see Troubleshooting.
Note: The default behavior for the Now time when you click the Stop button is for it to return to the Now time marker where playback began. If you want the Now time to remain where it is when you stop playback, you can use the keyboard shortcut CTRL+SPACEBAR. If you want to change the default behavior, clear the On Stop, Rewind to Now Marker option on the Track view Options menu. To pause playback • Click the Pause button . Playback stops, but the Now Time cursor and the Now Time marker do not move.
On the Track view Options menu, make sure Stop at Project End is not selected.
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. • Playback will stop when no more data is present going forward. When disabled: • Playback will engage if there is no data present in the project at all.
To clear stuck notes Click the Reset MIDI and Audio button in the Transport module. See: “Transport module” on page 482 Looping Sometimes you want to listen to one portion of a project over and over, either so you can play along and rehearse or because you want to edit that section of the project while it is playing and hear the results as you make changes. SONAR has a playback looping feature that makes this simple. Looping is defined in the Loop module in the Control Bar. Figure 34. The Loop module.
To move a loop in the Time ruler 1. Click the yellow bar that connects the two loop markers The cursor becomes a horizontal double-headed arrow. 2. Drag the loop to the desired location in the Time ruler. With the default option settings, SONAR will play the loop over and over again, continuously. If you start playback before the loop start time, SONAR will play until the loop end time is reached, then jump back to the loop start time.
Using the Transport, Markers, Punch and Loop modules The Control Bar contains various modules that provide powerful control over playback. To show the Control Bar, click the Views menu and choose Control Bar, or press the C key. For controlling playback, the most important Control Bar modules are the Transport, Markers, Punch and Loop modules. For detailed information about all Control Bar modules, see “Control Bar overview” on page 473. Figure 35. The Transport module.
Figure 36. A The Markers module. B C D A. Jump to previous marker B. Jump to next marker C. Insert marker D. Current marker To set options for punch and loop recording 1. Right-click the Record button in the Transport module to open recording settings. 2. Specify how newly recorded data should affect existing data. Choose either Sound in Sound (Blend) or Overwrite (Replace). 3. Select between storing looped takes in a single track or storing looped takes in separate tracks.
To punch record: 1. Click the Auto-Punch Toggle button in the Punch module to activate Auto Punch. 2. To set the auto punch region, do one of the following: • Drag in the time ruler to make a time selection, then click the Set Punch Time to Selection button in the Punch module. • Click the Punch In TIme field in the Punch module and specify the desired punch in location, then click the Punch Out Time field and specify the punch out location. 3.
• MBT. Display time as Measure:Beat:Tick. • HMSF. Display time as Hour:Minute:Second:Frame. This format is also referred to as SMPTE time. • Milliseconds. Display time in milliseconds. • Samples. Display time in samples. • Current Tempo. tempo. The current tempo at the Now time. Double-click to change the current • Current Meter. The number of beats per measure and the note value of each beat at the current Now time. Click to change the meter.
Track-by-track playback SONAR lets you play back any combination of tracks at one time by changing each track’s status. You can control the status of each track with the individual controls that are on every track, or with the global controls in the Control Bar’s Mix module. For more information about the Mix module, see “Mix module” on page 486. Figure 39. The Mix module. A B C D G H I J E F A. Mute B. Solo C. Arm D. Input Echo E. Live Input PDC Override F. Bypass All Effects G. Exclusive Solo H.
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. Mute has precedence. The track status is saved with the SONAR project file.
The Mix module contains the following controls: • Mute / Unmute All Tracks track is muted. . Click to mute/unmute all tracks. The button is lit if at least one • Solo / Unsolo All Tracks track is soloed. . Click to solo/unsolo all tracks. The button is lit if at least one • Dim Solo enable/disable . Enable/disable Dim Solo mode. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. For details, see “Dim Solo mode” on page 196.
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.
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. Any number of tracks at one time can be marked as solo. All these tracks will play together.
Dim Solo mode Normally when you solo a track/bus in SONAR, the tracks or buses which are not soloed are essentially muted. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. The default gain reduction is -6dB, but can also be configured for -12dB and -18dB. Dim Solo is useful when you want to focus on a specific track but you still want to edit/mix the track in context with the entire mix.
Exclusive Solo mode By default, SONAR allows you to solo multiple tracks and buses simultaneously. With Exclusive Solo mode, you can only solo one track and one bus at a time. When you solo a track or bus in Exclusive Solo mode, all other soloed tracks or buses are automatically unsoloed. This allows you to quickly listen to individual tracks and buses in isolation without having to manually unsolo other tracks or buses. To enable/disable Exclusive Solo mode Click the Exclusive Solo button Figure 42.
Solo Override When you enable Solo Override on a track or bus, that track/bus will never be muted as a result of soloing any other track/bus. This is a very useful feature when you want to always hear a particular track regardless of which other tracks are soloed. For example, you may want to always hear the vocal track while you solo other instrument tracks. This can be accomplished easily by using Exclusive Solo mode (see “Exclusive Solo mode” on page 197) and enabling Solo Override on the vocal track.
Changing tracks’ mono/stereo status SONAR has a Mono/Stereo button in each track module in the Track Inspector and Console views. 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 plugins as either mono or stereo, whether or not the tracks are mono or stereo.
A mono VST plug-in will work correctly if Enable Mono Processing is checked in the VST Plug-in Properties dialog 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.
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. Figure 43. Audio track Figure 44. Audio track header controls A B C D E F G A. Track number B. Header icon C. Track name D. Peak value E. Show layers button F.
Figure 46. A Audio track effects bin, meter, and track scale C B D E A. Scroll up B. Scroll down C. Insert plug-in D. Enable/disable plug-in E. Plug-in name 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 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.
Parameter What it means Trim (volume trim) (Track Inspector and Console view only) Volume Trim is a pre-fader control which allows the fine tuning of a single track’s volume. For example, let’s say you have four tracks, three tracks have their volume fader set to 0 dB while the fourth track’s fader is set to +10 dB.
For more information about audio track controls in the Track Inspector, see “Audio track controls” on page 515. For more information about audio track controls in the Console view, see “Audio track controls” on page 1739. MIDI track parameters The following pictures illustrate MIDI track parameters: Figure 47. A MIDI track header controls B C D E F A. Track number B. Header icon C. Track name D. Show layers button E. Maximize/restore F.
Figure 49. MIDI track effects bin and track scale A B A. Track scale B. MIDI effects bin Here is a summary table of the different MIDI track parameters and how they are used: Parameter What it means Track number A sequential track number used for reference Track name A name that you assign the track for easy reference. Note that if you do not assign a name to a track, the default name is the track number. This track number will change if you change the order of your tracks.
Parameter What it means Input The input source for the track, used in recording Output The output device through which the track is played Ch (channel) (Track Inspector and Console view only) The MIDI channel through which the notes will be played Bank (Track Inspector and Console view only) The set of patch names available for the track Patch (Track Inspector and Console view only) The instrument sound that will be used for playback.
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.
Changing track settings in the Track pane You can change the values in the Track pane in a number of ways: Control How to change the setting Volume and Pan Click on the control and move your cursor left or right to adjust values, or press ENTER and type a value. Input and Output Click on the black arrow on the right of the control and select a driver from the menu that appears, or double-click on the control and select a driver from the menu. Buttons Click to enable or disable Table 26.
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 nonselected track. • To adjust the same control in all selected tracks of the same type, hold down the CTRL key and adjust a control in any selected channel strip.
Figure 51. The MIDI - Devices section A A A. These devices are not selected When you first run SONAR it asks you to select MIDI devices. You may want to change these selections in the future. You can do so by selecting different devices in Edit > Preferences > MIDI Devices. Your computer is usually equipped with at least one audio device—your computer sound card.
While you need to choose the MIDI output devices you want to use before you assign them to tracks, all of your audio devices can be assigned to tracks freely. You do not need to configure them the way you do MIDI devices. If you have a voice modem or speakerphone in your computer, however, you might want to set up SONAR so that it won’t use those devices. Also, note that some dedicated audio equipment has specific setup requirements. For more information, see “Improving audio performance” on page 1105.
Assigning Inputs & Outputs You assign each track to a MIDI or an audio output using the Output drop-down in the Track view. From then on, material on that track will be sent to the appropriate output device. Note: If you rearrange your MIDI output devices after making output assignments, you may find MIDI information being sent to different instruments than you expect. Also, SONAR allows you to define instruments that are associated with certain outputs and channels.
To assign the same audio input port to multiple tracks 1. In the Track view, select the tracks whose audio input port you wish to assign. 2. Click the small drop-down arrow in any selected track’s Input control . The Input Port menu appears. 3. Choose Selected Track Inputs from the context menu. The Track Inputs dialog opens with the selected tracks initially highlighted. You can modify the track selection from within the Track Inputs dialog. For more information, see “Track Inputs dialog” on page 1664.
To assign the same audio output port to all stereo buses 1. In the Track view, click the small drop-down arrow in any stereo bus’ Output control . The Output Port menu appears. Note: Surround buses are ignored. 2. Choose Set All Bus Outputs from the context menu. The Output port submenu appears. 3. Select the desired audio output port. The audio output port is assigned to all stereo buses Note: Only hardware main outputs may be assigned, not other buses.
Choosing the instrument sound (bank and patch) Electronic keyboards and synthesizers often contain hundreds or thousands of different sounds. Each sound is known as a patch. The name comes from the early days of synthesizers, for which you physically rewired (using patch cords) the oscillators and modulators to produce different sounds. Patches are normally organized into groups of 128, called banks.
To assign an initial bank and patch to a track 1. Open the Track Inspector or Console view and select the MIDI track you want to configure. 2. Select the desired settings in the Bank and Patch controls. 3. To search for a patch containing specific text, click the Patch Browser button in the Track Inspector. You can also open the Patch Browser by right-clicking a bank or patch control in the Track Inspector or Console views. To insert a bank/patch change 1.
Adding effects You can add both MIDI and audio effects directly from the Track view. SONAR adds these effects in real-time, preserving your track’s original data. To add an audio effect in the Track pane Do one of the following: • In an audio track, right-click in the effects bin and choose a plug-in from the pop-up menu. • Click the Insert Plug-in button at the top of the effects bin and choose a plug-in from the pop-up menu. Figure 53. A Use the effects bin to add real-time effects C B D E A.
Adjusting volume and pan The Volume and Pan settings control the initial volume and pan of a track during playback. Every time SONAR starts playback, the Volume and Pan settings for the track are set to these initial levels. SONAR allows you to choose different panning laws if you want (see “Configuring panning laws” on page 219). In some projects you want the volume or panning of a track to change while playback is in progress.
Configuring panning laws You can choose from six different panning laws. A panning law is the mathematical formula that a sequencer or mixer uses to control panning. To change panning laws 1. Go to Edit > Preferences > Audio - Driver Settings. 2. In the Stereo Panning Law field, choose one of these options: • (Default) 0 dB center, sin/cos taper, constant power.
When the value is 0 (default), non-default pan laws are not applied at the clip level. Clip pan envelopes always use the 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 X1 projects that use a non-default pan law. Adjusting volume trim Volume Trim acts like the trim control on a mixer, raising or lower the level prior to the volume fader.
Adjusting the Key/transposing a track (Key+) Each MIDI note event has a key number, or pitch. On playback, the key offset (Key+) parameter transposes all notes in the track by the designated number of half-steps. The value can range from -127 to +127. A value of 12 indicates that notes will be played back one octave higher than they are written. This parameter does not affect the note number that is stored for each note event.
Adjusting the note velocity (Vel+) Each MIDI note event has a velocity, which represents how fast the key was struck when the track was recorded. On playback, the velocity offset parameter adjusts the velocity data for all notes in the track by the designated amount. The value can range from -127 to +127. The effect of changing velocities depends on the synthesizer. Some synthesizers do not respond to velocity information. For others, the effect varies depending on the sound or patch you have chosen.
Adjusting the time alignment of a MIDI track (Time+) Each event takes place at a known point in the project. On playback, the time offset (Time+) parameter adjusts the times for MIDI events in the track by the designated amount. The value can be as small as a single clock tick or as large as you want. This parameter can be used to make a part play behind the beat or in front of it or to compensate for tracks that sound rushed or late.
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 zeroes (resets) the pitch wheel, the pedal Stops Controller, and the modulation wheel Controller on all 16 MIDI channels whenever playback is stopped. It also sends a “Zero All Continuous Controllers” MIDI message, which turns off other continuous Controllers on newer synthesizers.
The Input Echo button Each MIDI track has an Input Echo button, which controls whether the track will echo MIDI data or not. The button has three states: On , Auto , and Off . When the button is on, the track echoes MIDI data. In Auto mode, the track echoes MIDI data because the track is the current track. When the button is off, the track does not echo any data, even if it is the current track.
To play multiple synths from a MIDI keyboard 1. Choose a synth for each track that you want to play by using each track’s Output, Channel, Bank, and Patch fields in the Track Inspector or Console view. 2. In the Input field of each track that you want to play, click the drop-down arrow and choose the MIDI input port and channel that you want the track to respond to from the following options: • None. This option actually sets the Input field to Omni.
3. If there is any track that you want more than one performer to play, create a preset of the input ports and channels that you want that track to respond to (see previous procedure). 4. Make sure the Input Echo button is on for each track you want to play. To turn MIDI echo (and input monitoring) on or off for all tracks Click the Input Echo On/Off All Tracks button Figure 56. in the Control Bar’s Mix module. The Mix module.
Playing files in Batch mode SONAR allows you to play several files in sequence automatically using the Play List view. You can use this feature in live performance applications or just for fun. SONAR’s Play List view lets you create and work with a series of project, MIDI, and bundle files. As each file plays, SONAR loads it and displays it in the Track view and other views like any other project file.
To create and edit a play list To create and edit a play list in the Play List view, follow the instructions in the table: To do this Do this Open an existing play list Choose File > Open, choose Play List from the Files of Type list, choose the file you want and click Open Create a new play list Choose File > New, choose Play List Set from the list, and click OK Add songs to the play list Click or press INSERT, choose a file from the Add Song to Play List dialog box, and click Open Set the delay af
To do this Do this Loop continuously over the play list Click the button in the Play List view toolbar. Click the button to enable or disable the display of folders. Show or hide file name extensions and folder names (path) Table 29. 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”).
QuickTime issues In order to import/export QuickTime files in SONAR, you must install both the filters AND QuickTime. Below are some other known QuickTime issues: • It is presently only possible to export QuickTime videos on a 32-bit system. This is a limitation of QuickTime, not SONAR. • QuickTime Import/Export requires version 6.5.1 or higher of the QuickTime Player to be installed. The QuickTime Player is not included with SONAR, but can be downloaded separately from Apple's web site (www.apple.
Importing and playing back videos Here are step-by-step procedures for inserting and playing back videos: To load a video file into a project 1. Choose File > Import > Video, or choose Insert from the Video view’s pop-up menu. The Import Video dialog appears. Tip: You can also drag a video file from the Browser and drop it on the Video Thumbnails pane. 2. In the Files of Type field, select the kind of video file you’re looking for. 3. Select a file. 4.
To delete the video from the project 1. Open the Video view by choosing Views > Video. 2. Right-click in the Video view and choose Delete. SONAR removes the video from the project. Note that imported audio data is not deleted. To enable or disable video playback 1. Open the Video view by choosing Views > Video. 2. Right-click in the Video view and choose Animate.
To set the Video display format Right-click in the Video view and choose an option from the Stretch Options menu: To do this Do this Display the video in its original size Choose Original Size Stretch the video to fill the Video view Choose Stretch to Window Stretch the video as much as possible while preserving the original aspect ratio Choose Preserve Aspect Ratio Make the video display as large as possible, but only enlarge by integral multiples Choose Integral Stretch Display the video in full
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.
Optimizing video performance Here are a few tips to optimize video performance: • Viewing your video in on an external DV device will significantly decrease the processor load on your computer if the video stream is a DV AVI file. See “Video playback on a FireWire DV device” on page 239 for more information. • If you intend to do a lot of seeking around or looping and editing while a video file is loaded, make sure that your video file has sufficient keyframes.
Figure 58. The Video Thumbnails pane A B C D E A. Show/hide frame numbers button B. Show/hide thumbnails button C. Video track strip D. Splitter bar E. Frame number Here are the various commands and functions of the Video Thumbnails pane: • You can show or hide the pane. • You can show or hide the video thumbnails. • You can display absolute frame numbers. • You can resize the thumbnails while preserving the aspect ratio by dragging the splitter bar.
To turn Video thumbnails On or Off Do one of the following: • Right-click the Video Thumbnails pane or the Video Thumbnails track strip and choose Show/ Hide Thumbnails on the pop-up menu. • Click the Show/Hide Thumbnails button in the Video Thumbnail track strip. To hide or show frame numbers on frames • In the video track strip, click the Show/Hide Frame Numbers button . To open the Video Properties dialog • Double-click the video track strip.
To use the Video Thumbnails context menu 1. Right-click the Video Thumbnails pane or the Video Thumbnails track strip. 2. Choose any of these options from the pop-up menu that appears: • Show/Hide Thumbnails • Display Absolute Frames • Open Video View • Insert Video • Delete Video • Export Video • Video Properties Video playback on a FireWire DV device You can view your video projects on an external FireWire DV device.
To play video on an external DV device 1. Connect your external FireWire device. Make sure Windows recognizes the device, and displays the device’s icon on the Windows taskbar. 2. Launch SONAR and open your video project. 3. In SONAR’s video view (Views > Video command), right-click the Video view and choose External DV Output > from the pop-up menu. 4. Play your SONAR project. The video disappears from the Video view and appears on your external monitor or camcorder.
Exporting a project to a FireWire DV device Once your project sounds the way you want it to, you can export the video and audio together to an external FireWire DV device. This is called “printing to tape,” if your external device uses tape. To export a project to an external DV device 1. Use the File > Export > Video command to open the Export Video dialog. 2. In the Save as Type field, choose AVC Compliant Device.
Locating missing audio If you try to open a project and SONAR is unable to locate all the audio files that the project references, the Find Missing Audio dialog appears. The Find Missing Audio dialog helps you find any missing audio in your project. See: “The Find Missing Audio dialog” on page 242 “Restoring missing audio files” on page 242 “Managing shared and external files” on page 243 The Find Missing Audio dialog Use the Find Missing Audio dialog to find missing audio in your project.
3. Select the file or files that SONAR has found and click OK. The Find Missing Audio dialog appears. 4. Select one of the following options: • Move file to Project Audio Folder. Use this option if you are sure that no other projects are referencing this file in its present location. • Copy file to Project Audio Folder. Use this option if the missing file is shared with another project and you want to keep all of your project’s audio files together. • Reference file from present location.
Controlling playback Locating missing audio
Recording You can add sound or music to a SONAR project in many different ways. You can record your own material using a MIDI-equipped instrument, use a microphone or another audio input to record digital audio information, or import sound or music data from an existing digital data file. With the Input monitoring feature, you can hear your audio instruments exactly how they sound in SONAR, including any plug-in effects (effects are not recorded, however).
Creating a new project You can add music and sound to an existing project or to a new project. Just as in any Windows program, you open an existing project file using the File > Open command, and create a new project file using the File > New command. When you create a new SONAR project, there are some additional parameters you can set to make it easier to work on your project.
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 the online Help topic “Using perproject audio folders” on page 246), 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. You can override perproject audio by unchecking the Store Project Audio in its Own Folder option.
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 1810 or key. These settings apply to all the tracks in a project. You cannot set different meter or key signatures for different tracks. The meter or key signature of a project can change at any measure boundary.
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 appears. Figure 60. The Meter/Key Signature dialog 3. Enter the top and bottom meter values in the Beats per Measure and Beat Value fields. 4. Choose the key signature from the Key Signature list. 5. Click OK. You can also set the meter and key signature in the Control Bar’s Transport module, or choose Project > Insert Meter/Key Change.
To enable or disable the metronome during playback or recording, click the Playback Metronome on/off button Figure 61. or Record Metronome on/off button in the Control Bar’s Transport module. The Transport module. A B A. Metronome during record B. Metronome during playback To configure metronome settings, right-click the Playback Metronome on/off button Metronome on/off button or Record , or go to Edit > Preferences > Project - Metronome.
To change your Metronome settings 1. Do one of the following to access metronome settings: • Right-click the Playback Metronome on/off button or Record Metronome on/off button in the Control Bar’s Transport module. • Go to Edit > Preferences > Project - Metronome. 2.
Setting the audio sampling rate and bit depth Each SONAR project has an audio “Sampling rate” on page 1813 and an audio driver “Bit depth” on page 1804 that indicate the level of accuracy with which audio data are sampled and processed. The same parameters are used for all the digital audio in a project. When you create a new project, if you do not want to use the default setting, you must choose a sampling rate before you start recording audio.
Sony Wave-64 support SONAR fully supports reading and writing to the Sony Wave-64 format, which has a limit of 8,388,608 terabytes! SONAR only creates Wave-64 file when needed. The Wave-64 format allows an application to dynamically switch from classic RIFF WAVE to Wave-64 format even if the data was originally created as a RIFF wave file. SONAR detects when a file will exceed 2GB and will dynamically switch to the new Wave-64 format.
64-bit CWB files CWB files are RIFF files with multiple WAVE chunks. Therefore, CWB files in previous versions of SONAR were subject to the same file size limitations of normal RIFF Wav files. This could potentially result in a CWB file that failed to save because a chunk was too large. SONAR will automatically use the Wave-64 format if a CWB file exceeds 2GB. Note: 64-bit CWB files are incompatible with previous versions of SONAR. Wave-64 file extension Wave-64 files have a .
Preparing to record To prepare for recording, you need to do the following: • Set the recording mode. • Choose your input(s). • Arm one or more tracks for recording. • Check your recording levels (audio only). • Tune your instrument if necessary (audio only). • Set the Now time to the point where recording should start. • Start recording. After you record, you can use the Edit > Undo command to erase the most recently recorded material.
Recording 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. When you save your project, you also save whatever recording mode you choose together with that project: Recording mode How it works Sound on Sound The new material is merged with any existing material.
To choose a MIDI input in the Track view 1. Click the drop-down arrow of an Input field of a MIDI track. A drop-down menu of MIDI inputs appears. 2. Choose an input from the following: • None. This option actually sets the Input field to Omni with this setting the track will record any MIDI input coming in on any enabled port (MIDI interface input driver) on any channel. • All Inputs > (MIDI Omni or MIDI ch 1-16).
To choose an audio input in the Console view or Track Inspector 1. At the bottom of an audio channel strip, click the Input control. A pop-up menu of audio drivers appears. 2. Select the audio driver for the sound card you want to record with from these options: • None. This choice ensures that you do not record to the track in question. It also turns off input monitoring for this track. • Left (name of your sound card). channel of your sound card.
Arming tracks for recording SONAR lets you record any number of tracks at one time. You indicate the tracks you want to record by arming the tracks. You can arm a single track or several tracks at one time. Each track records material received though its selected input. Whenever a track is armed, not only does the track’s R button turn red, but the Clips pane that’s to the right of that track’s controls turns a reddish hue.
Arming tracks during playback/recording SONAR is now able to arm and disarm tracks during playback and recording. This allows you to record to different tracks while the transport is rolling, without first having to stop playback in order to arm a track for recording. To allow arming during playback Go to Edit > Preferences > Project - Record and select the Allow Arm Changes During Playback/Record check box. Note: The Allow Arm Changes During Playback/Record option is disabled by default.
Recording music from a MIDI instrument Once you have set your tempo and metronome, and armed one or more tracks, you are ready to start recording. To record MIDI 1. Set the Now time to the point in the project where you want to start recording. 2. Click or press R. If your metronome count-in is turned on, it will play the count-in. 3. Play or perform the material you want to record.
Input quantizing Input quantizing allows you to automatically quantize MIDI input during recording. You can see the results immediately, and hear the results as soon as a track is looped. Note: Input quantizing does not destroy your original recording. If you press CTRL+Z after you finish recording with input quantizing enabled, the quantized clip is deleted, and the original unquantized clip appears, just as you recorded it.
To set options Click the track’s Input Quantize resolution menu in the Track Inspector, choose Quantize Settings to open the Input Quantize dialog, select the desired settings, then and click OK. Note: To get explanations of the options in the Input Quantize dialog, press F1 when the dialog is open. Visual indicators You will see the following visual indicators when Input Quantizing is enabled: • When the track is armed for recording, the track’s Arm button cirle.
Arpeggiator Note: This feature is not available in SONAR X1 LE. The arpeggiator lets you play intricate patterns of notes that would otherwise be extremely difficult or impossible to play manually and at speeds and octave ranges that exist beyond the physical limitations of the player or keyboard range. Arpeggiated events are new events that are based on notes that you play on your controller keyboard.
Arpeggiator controls The following table describes the controls in the Arpeggiator. Control Description Enable/Disable Enables/disables the arpeggiator on a given track. This control can be assigned to MIDI remote control and modified in real-time during project playback. Preset Control You can create and edit arpeggiator presets; all user parameters are stored in the preset. • Arpeggiator settings are included in track templates.
Control Description Source Mix When 0, simultaneously held notes arpeggiate as single notes. At 50%, simultaneously held notes are heard as a chord in addition to the usual arpeggiated notes, both at equal levels. At 100%, only the held chord is audible. Control: Knob (0 – 100%); this control can be assigned to MIDI remote control and modified in real-time during project playback. Ch MIDI input and output menu—the Arpeggiator only affects input data that’s on the MIDI channels listed on this menu.
Using the arpeggiator One arpeggiator device appears on every MIDI and instrument track, located in the Track Inspector. To enable/disable the Arpeggiator • Click the Enable/Disable Arpeggiator button in the Track Inspector. Figure 65. Arpeggiator controls are availalbe in the Track Inspector Using patterns and presets Pre-authored patterns are used to apply rhythmic and melodic variations to the arpeggio. SONAR includes many professionally-authored pattern files for you to experiment with.
To load an Arpeggiator preset • Click the Preset control in the Arpeggiator, point to Presets and select the desired preset. A A. Click to load a preset To load the next/previous Arpeggiator preset • Click the Next Preset or Previous Preset button in the Arpeggiator. A A. Click to load the next/previous preset To save an Arpeggiator preset • Click the Preset control in the Arpeggiator and select Save Pattern As from the drop-down menu.
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. 2. Click the Play button to start playback. 3. Adjust the arpeggiator control as desired.
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 appears. 2. Specify the MIDI message you want to use for MIDI remote control, then click OK to close the Remote Control dialog. 3. Right-click the desired arpeggiator parameter, and select Automation Write Enable on the context menu. 4. Click the Play button to start playback. 5. Move the assigned MIDI controller widget (knob/slider, etc.).
Recording audio Before you record audio, you should check your input levels. If the levels are too low, you may end up with too much hiss and background noise in your recording. If the levels are too high, your recording will be inaccurate or distorted. To check your audio levels, use the audio meters in the either the Track view, Track Inspector or Console view.
Once you have set your sampling rate and input levels, you are ready to start recording. If the meters do not move, check your sound card software’s mixer program and make sure that you have the proper input enabled for recording. When you record audio, SONAR stores each audio clip in a separate file. These files have the same format as a Wave (.wav) file, but they have special names and are stored in a separate directory on your hard disk.
Tuning an instrument SONAR Chromatic Tuner analyzes any input signal from the sound card and displays the intonation (in cents) on the meter. The tuner automatically determines which string/pitch you are trying to tune, so that you can keep both hands on the instrument while tuning. The VU Meter shows how loud your input signal is–a strong signal is essential for accurate tuning. The Tuner works just like an effect and each track can have its own instance.
Confidence recording and waveform preview When you’re recording audio or MIDI data, SONAR gives you many visual cues that tracks are armed and that SONAR is recording data. When one or more tracks are armed: • The Arm button in each armed track turns red. • The Clips pane next to each armed track gets a reddish hue. • The Arm / Disarm All Tracks button the Control Bar’s Mix module is lit.
Input monitoring Being able to hear plug-in audio effects applied to a live signal is an exciting feature of SONAR. However, there are two issues that users commonly stumble upon when using the input monitoring feature. The first is that the monitored signal seems to have an echo associated with it. The second is that live input monitoring can lead to nasty feedback problems, particularly if you have an outboard audio mixer, or you record from a different sound card from the one you are playing back with.
The bottom block of the picture represents the sound card. The shaded area above it represents the audio drivers. The unshaded area at the top represents the main environment of the operating system. As the diagram shows, analog audio flows into the card's line input (on the left), and is immediately split in two. One branch goes up through the analog-to-digital converter (ADC), where the audio is digitized, buffered and fed to the driver (labeled Wave In in the diagram).
Next, you say "2." In the time it takes you do that, the ADC has converted the "1" to digital form and the Wave In driver has fed it to SONAR for processing. SONAR processes the buffer right away and passes the processed data right back to the Wave Out driver. say “3” SONAR Finally, you say "3." By this time the original "1" has been converted back to analog audio by the DAC, and that analog signal is mixed in with the "3" you have just said.
To eliminate the echo from input monitoring 1. Open the software mixer that controls your sound card. If your sound card uses the Windows mixer, open the mixer by using the Start > Programs > Accessories > Entertainment > Volume Control command, or double-clicking the speaker icon on the Windows taskbar. 2. In the Play Control window of the mixer, check the Mute check box in the Line-In column, or in the column of whatever jack your instrument is plugged into, and close the mixer window.
Live Input PDC override While working with virtual instruments and live input monitored tracks, it is important for audio to be streamed at low latency in order to minimize delay. Although SONAR supports streaming audio at very low latency, there are cases where internal buffering can cause additional latency. The most common scenario is when using plug-ins that require Automatic Plug-in Delay Compensation (PDC).
Some signal routings can cause tracks to be out of sync when Live Input PDC Override is enabled. To prevent any potential sync problems, follow these suggestions: • Output the live input tracks directly to the final bus in the signal flow. • Send live tracks directly to a hardware main. PDC re-sync Some plug-ins, such as iZotope Ozone 4 and various UAD plugins, change their internal delay (PDC) dynamically when certain parameters are modified, presets are changed or internal plug-in routing is changed.
Loop recording When recording a vocal or an instrumental section, you might want to record several different takes so that you can choose the one you like best. You might even want to record several takes to double a part or merge the best parts of each. Normally, to record each take you would have to arm a track, start recording, perform the take, and then stop recording. You can record multiple takes more easily using a feature called loop recording.
Figure 67. 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 Sound on Sound or Overwrite mode. If you use single track and Sound on Sound with Track Layers enabled, checking the Create New Layer on Overlap check box will create another track layer if your new clip overlaps an existing clip. 6.
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. Punch recording Suppose you are happy with most of a track but want to replace some sound or add new material in one small section—perhaps as small as a couple of notes.
After you punch record, choosing Edit > Undo both discards any new material you recorded and restores the original material that had been deleted. 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” before you punch in.
To use punch while looping 1. Choose the input for the track(s) you want to record, and arm the track(s) for recording. 2. Set the loop start and end times. 3. Set the punch start and end times, as described previously. 4. Right-click the Record button to access recording settings. 5. Choose to stack all takes in a single track or to store them in separate tracks. 6. Set the Now time to the beginning of the loop. 7. Click or press R to start recording.
• Add two step sizes together by pressing the + key between each step size selection • Delete as many step-recorded notes as you want, while moving the insertion point back through the steps you delete • Configure step recording key bindings (see “Step record keyboard Shortcuts” on page 291) • Make any kind of tuplet • Create a custom step size lasting any number of ticks (ticks are divisions of a beat—SONAR uses 960 by default); SONAR will remember the custom step size until you change it • Move the insert
Figure 69. The Step Record - Basic window G F E A B C D A. Insertion point location B. Position slider C. Basic/Advanced button D. Step Record Toggle button to enable/ disable step recording E. Click to move insertion point by step size F. Total step size display G. Custom tick size field Here’s a picture of Advanced mode: Figure 70. The Step Record - Advanced window A B D C A. Randomize durations field B. Step pattern recording field C. Click to move insertion point by single beat D.
To use basic step recording 1. Click the Record button and keep the button pressed for a bried moment until the pop-up menu appears, then choose Step Record. The Record button changes to 2. Click the Step Record button . to open the Step Record dialog. 3. Make sure that the Basic mode of the Step Record dialog is displayed (the Adv. button will be showing if the Basic mode is displayed; if the Bas. button is showing, click it). 4.
9. Play a note or chord on your MIDI controller. When you release the note(s), the insertion point moves by the step size, if the Auto Advance check box is enabled. If Auto Advance is not enabled, you can release the notes and record more notes, or you can use the Navigation controls to advance the insertion point. If you are still holding down a note or notes when you advance the insertion point, the step size of the held notes is extended by the current step size. 10.
To do this Do this Move the insertion point back or forward by one measure. Click the Measure Backward button Use step pattern recording. See “Step pattern recording” on page 292. Advance or the Measure button. Table 37. To add two step sizes together 1. Choose your first step size. If desired, use any combination of tuplet and dotted values. 2. Press the + key on the Num Pad. A plus sign appears after the value in the Step Size “n” Ticks field. 3. Choose your second step size.
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. You can use key bindings to configure your own shortcuts. Go to Edit > Preferences > Customization - Key Bindings, choose Step Record in the Bind Context field, select a key and a function you want to bind, and click the Bind button to bind them together.
Default setting or option Default shortcut Auto Advance NumPad Period “.” Toggle step recording SHIFT+ R Table 38. See: “Step pattern recording” on page 292 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.
To use pattern-based step recording 1. Click the Record button and keep the button pressed for a bried moment until the pop-up menu appears, then choose Step Record. The Record button changes to 2. Click the Step Record button . to open the Step Record dialog. 3. Set the insertion point where you want to start recording. 4. Click in the Pattern field. 5. Press any number key to indicate a beat at which notes will be played. 6.
You select MIDI inputs for a track by using the Input control in the Track view, Track Inspector or Console view. SONAR allows you to filter MIDI input so that you can record only certain kinds of MIDI data (see “Input filtering” on page 295), and also allows you to automatically turn off the Local On setting of your master keyboard. To assign input ports and channels to MIDI tracks 1. Click a track’s Input control to display the Input drop-down menu. Choose track inputs from these choices: • None.
Now, when you choose inputs for other tracks, you can choose the preset you saved by clicking the Presets option in the track’s Input drop-down menu. If you want to edit a preset, select it in the top window of the MIDI Input Presets dialog, edit it, and click the disk icon. If you want to delete a preset, select it in the same dialog and click the X button to delete it. Input filtering SONAR lets you filter out specific types of MIDI messages or filter the MIDI input stream channel by channel.
Importing music and sound While recording is perhaps the most common way of adding material to a SONAR project, there are several other methods you can also use. SONAR lets you import music into a project from several different types of digital data files, including MIDI files; audio files in Wave, MP3, AIFF, and other formats; audio CD tracks and other SONAR project files.
To import an audio file 1. Set the Now time and current track to indicate where the audio should be placed. 2. Choose File > Import > Audio to display the Open dialog box. 3. Choose the audio file you want to import. SONAR displays information about the file at the bottom of the dialog box. 4. Click Play to listen to the audio file before importing. 5. If the new file is stereo, check the Stereo Split option if you want to insert the file into two separate tracks. 6. Click Open.
To import a Broadcast Wave file: 1. If you want SONAR to import Broadcast Wave files always at their timestamped location, go to Edit > Preferences > File - Audio Data and select the Always Import Broadcast Waves At Their Timestamp check box. Otherwise, set the Now Time and current track to indicate where the audio should be placed. 2. Choose File > Import > Audio to display the Open dialog box. 3. Choose the audio file you want to import.
Importing material from another SONAR project You use the Edit > Copy and Edit > Paste commands to import material from one project to another using the Windows clipboard. The project that contains the material you want to import is the source project. The project into which the material is imported is the target project. Normally, if you copy material from several different tracks to the Windows clipboard, the information will be pasted back into separate tracks.
OMF explained The OMF format, or OMFI (Open Media Framework Interchange, means the same as OMF), is a file format that can be read by many professional-level audio programs.
6. The Bit Depth field displays the bit depth of the imported audio if the audio is embedded. If the audio is external, the Bit Depth field defaults to the Original menu option, which will import the audio at the bit depth the audio is currently using. If you want to import the audio at a different bit depth, you can choose the bit depth in this field. 7.
Importing audio / MIDI files from the Clips pane It is possible to import audio and MIDI files via the Clips pane context menu. Imported files are inserted at the Now time. To import audio/MIDI files 1. In the Clips pane, right-click the track to which you want to import an audio or MIDI file. The Clips pane context menu appears. 2. Do one of the following: • Select Import Audio to import an audio file. • Select Import MIDI to import a MIDI file.
If you have made changes to a project and then attempt to close the project, either by closing the Track view or by choosing File > Close, SONAR asks if you want to save the changes you have made. This prevents you from accidentally losing your work. You can tell whether changes have been made to a project by looking for an asterisk (*) after the project name in the SONAR title bar. SONAR has an Auto Save feature that periodically saves your work into a special backup file.
Using File Versioning SONAR can be enabled to keep previously saved versions of your project in a temporary file. You can revert to any of these saved versions or use the default of the most recently saved version. When file versioning is enabled, SONAR retains a list of previously saved project files in your project folder. The most recent version retains the original name of the project.
Labeling your projects SONAR lets you attach subtitles, composer credits, copyright, and other information to your projects, as shown in the following table: Label Description Title The title for your project; prints automatically at the top of a Staff view printout. Subtitle For a subtitle or dedication; prints directly below the title in a Staff view printout. Instructions Use for performance instructions; prints flush left in a Staff view printout.
To display and edit project information 1. Choose Project > Info to display the File Info window. 2. Edit the information as desired. Figure 71. The File Info window 3. If you want the File Info window to display automatically, save the file. 4. Click Stats to see statistics about the contents of the file. 5. Choose File > Print Preview if you want to print the project information 6. Close the File Info window.
File statistics To open the File Statistics dialog, select Project > Info and click the Stats button in the File Info dialog. The File Statistics dialog box displays the following information about the contents of the project file: Statistic What it means Created The date the project was first saved. Editing time The total time you’ve had the project open, from the time it was created to the last time it was saved. This does not include time spent editing the project since you last saved it.
Recording Saving your work
Arranging and editing The Track view makes it easy to arrange and mix your projects from a single view. From one location, you can select, copy, move, mix, and rearrange the parts of your project, using menu commands or drag-and-drop tools. You can add real-time audio and MIDI effects from the effects bin and buses. Markers provide easy-to-use reference points and labels for the different parts of your project, and the snap grid makes it easy to align your clips to the desired time points.
“Clip muting and isolating (clip soloing)” on page 361 “Track folders” on page 363 “Adding effects in the Track view” on page 366 “Changing tempos” on page 367 “Undo, redo, and the undo history” on page 374 “Slip-editing (non-destructive editing)” on page 376 “Enhanced editing with keyboard” on page 382 Arranging tracks SONAR provides a variety of commands that let you work with the tracks in your project.
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. Select several adjacent tracks Click the track number for the first track in the group, drag the mouse to the last track number in the group, and release the mouse button. Select/deselect all tracks Double-click a track number.
Changing the order of tracks There are several ways you can change the order of tracks in the Track view: • Drag a track to a new position in the Track view. • Use the Track view Tracks > Sort Tracks command to rearrange the tracks in order based on the track name, status, or other setting. To drag a track to a new position 1. Position the mouse just to the right of the track number, over the track icon of the track you want to move. The cursor changes to an up/down arrow. 2.
To sort the tracks 1. Click the Track view Tracks menu and choose Sort Tracks to open the Sort Tracks dialog box. 2. Choose the attribute by which to sort from the Sort By list: Attribute How it works Name If you choose this attribute, SONAR puts the tracks into alphabetical order, either ascending or descending, depending on what you choose in the Order list.
Inserting tracks You can insert new tracks by a variety of methods. When you insert multiple tracks, you can set track output properties at the same time. If you want new audio tracks to always use the same output bus, you can set that bus as the default bus. For step-by-step instructions, follow these procedures: To insert a single track Do one of the following: • Click the Insert menu and choose Audio Track or MIDI Track.
Configuring the display of tracks in the Track view There are several commands in the Track view View menu and Track pane context menu that allow you to configure the appearance of your tracks in the Track view. You can use these commands to zoom in or out, show or hide any combination of tracks, and revert back to previous display settings.
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 • Starting track: where you want the first new track to appear To copy tracks 1. Select the tracks that you want to copy. 2. Click the Track view Tracks menu and choose Clone Track(s) to open the Clone Track(s) dialog box. 3.
To wipe tracks 1. Select the tracks you want to wipe. 2. Click the Track view Tracks menu and choose Wipe Track(s). SONAR deletes all clips and events from the selected tracks, but leaves the track properties intact.
Track icons Track icons allow you to quickly identify a track’s contents by instrument. You can assign a new track icon, create your own track icons, and save an icon as part of a track template. To show or hide track icons • To show or hide Track Icons in all views, use the Views > Icons > Show Icons command. • To show or hide Track Icons in a specific view, use the Views > Icons > [name of desired view] > Show Icons command.
To create a track icon 1. Create or edit a graphics file in .bmp format, preferably 128 by 128 pixels. You can use any image as a track icon. You can use any size image, but for best results scale the image to 128 pixels square. Images must be in the .bmp format. 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.
Arranging clips The Track view provides many ways for you to rearrange, copy, and paste clips to arrange your music the way you want. The easiest is to select the clips or portions of clips you want to arrange and then drag and drop them wherever you want. You can drag and drop clips in the Track view even while playback is in progress. You can also arrange clips via the clipboard using the Edit > Cut, Edit > Copy, and Edit > Paste commands, which work like those in almost all Windows programs.
A B C A. A MIDI clip shows each event; by looking at the clips, you can “see” the notes that are being played B. An audio clip shows the actual waveform C. 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. Note that displaying the contents of each clip makes your computer work a little harder.
To zoom horizontally • Click the horizontal zoom buttons to zoom in or out by a fixed percentage each time you click. Or • Drag the horizontal zoom fader to zoom in or out by the amount you drag. Or • Hold down the CTRL key and press the right arrow key (to zoom in) or the LEFT ARROW key (to zoom out). To zoom vertically • Click the vertical zoom buttons to zoom in or out by a fixed percentage each time you click. Or • Drag the vertical zoom fader to zoom in or out by the amount you drag.
To zoom using the mouse wheel (Fast Zoom) • Hold down the ALT key and roll the mouse wheel forward to zoom in, backward to zoom out. • Hold down ALT+SHIFT to intensify mouse wheel zoom effect. • Hold down ALT+CTRL to adjust track scale (Track View Clips Pane only) To select Fast Zoom options 1. Click the Track view Options menu and choose Zoom Options. 2. Select the intensity of the Zoom effect in Zoom Factor by using the spinners or manually entering a value. 3.
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 74. The Clip Inspector. 3. Choose a color as follows: To do this Do this Use the default color Select the Use Track Colors check box. Use a custom color Click the Foreground or Background field and pick a color. Table 48. SONAR changes the color of the selected clips.
Using the Navigator view The Navigator view displays a large part of your project so you can see an overview of your song. The Navigator view is a floating version of the Navigator pane found at the top of the Track view. To open the Navigator view, click the Views menu and choose Navigator, or press ALT+SHIFT+8. Figure 75. The Navigator view. A A. Track rectangle Track rectangle The Track Rectangle appears as a green rectangle within the Navigator view.
To change the track height in the Navigator view Right-click in the Navigator view and select one of the following options: • Track Height Short • Track Height Medium • Track Height Tall To zoom the Navigator view Right-click in the Navigator view and select one of the following options: • Horz Zoom Level 1 • Horz Zoom Level 2 • Horz Zoom Level 3 • Horz Zoom Level 4 • Horz Zoom Level 5 • Horz Zoom to Project Opening views by double-clicking clips By default, double-clicking a MIDI clip in the Clips pane o
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 Drag in a rectangular pattern that touches each clip. Select all the clips in a track Click on the track number in the Track view. Select a portion of one or more clips Press and hold the ALT key and drag across the clips.
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: • Smart tool: • Top. Click to select the clip or drag to select by time. • Select tool: • Top. Drag to select by time. A vertical I-beam cursor blinks to indicate the beginning of the time selection. • Bottom. Click to select the clip.
When you use the Edit > Paste Special command to add information to a track that contains existing material, there is one final option you can choose. Option What it means Paste as New Clips New clips are created containing the events on the clipboard, exactly as described in the preceding table. Paste into Existing Clips (MIDI clips only) The events on the clipboard are merged into any existing clips that occupy the same region of time. This means you will never end up with clips that overlap.
Figure 76. The Drag and Drop Options dialog SONAR moves the clips to their new location. Note: Moving an audio clip (other than a Groove clip) to a part of your project that has a different tempo changes the size of the clip. To move clips using cut and paste 1. Select the clips you want to move. 2. Choose Edit > Cut to display the Cut dialog box. Figure 77. The Cut dialog 3. Choose the options you want and click OK. SONAR cuts the clips from the project and places them on the Windows clipboard. 4.
Figure 78. The Paste dialog 7. Choose the options you want and click OK. SONAR places the clips in their new location. To choose a specific start time and/or length for a clip 1. Select the clip you want to edit. 2. Open the Clip Inspector and select the Properties section. 3. In the Time Format field, choose the units you want to use for the new start time and/or length by clicking one of the radio buttons: • M:B:T. Click this if you want the clip to begin and end on a specific measure, beat, or tick.
SONAR adjusts the clip to the values you chose. Note: The Snap Offset field is for audio clips only. The value of this field is the snap offset of the selected clip, in samples. When you set a snap offset value for a clip, and then drag the clip, the left edge of the clip does not snap to the current snap resolution--the clip snaps to a point on the clip that is the distance from the left edge of the clip to the snap offset value.
To delete clips 1. Select the clips you want to delete. 2. Do one of the following: • Choose Edit > Delete, which brings up a dialog box—choose options and click OK. • Press the DELETE key. SONAR deletes the selected clips. See: “Splitting and combining clips” on page 355 “Working with partial clips” on page 344 “Working with linked clips” on page 353 “Aim Assist line” on page 333 Aim Assist line Aim Assist is a vertical white line that shows the mouse pointer’s horizontal position in the Clips pane.
Click the front/left portion of a clip. The Aim Assist line snaps to the start of the clip boundary and travels with the clip as it is dragged. Click the rear/right portion of a clip. The Aim Assist line snaps to the end of the clip boundary and snap operates on the clip’s end. The AimAssist line travels with the clip as it is dragged. To enable/disable Aim Assist • Do one of the following: • Click the Track view View menu, point to Display and choose Aim Assist. • Press X.
Reverting clip(s) to original time stamp All audio and MIDI clips in SONAR have a Original Time property, which stores the original SMPTE time stamp associated with a clip. The Original Time clip property is based on absolute time, not tempo. This allows you to freely re-arrange clips and later revert them back to their original time. SONAR automatically assigns the Original Time property during import or immediately after record.
Locking Clips You can lock a clip so that it can’t be accidentally modified or deleted. You can lock the clip’s position and/or its data. To lock or unlock a clip’s position and/or data • In the Clip Inspector, select the Properties section, click the Lock field and choose what clip attributes you want to lock: • Position and Data. This choice locks position and data, and causes a lock icon to appear on the clip . • Position Only.
appears on the clip, meaning that only position is locked. Note: If a clip’s position is locked, and you change tempo, what happens to the clip’s position depends on what option the Clip Properties Time Base field is set to: Musical (M:B:T), or Absolute (SMPTE). If the clip is set to the Musical time base, the clip’s M:B:T position stays constant, and its Absolute position shifts. If the clip is set to the Absolute time base, its Absolute position does not move, but its M:B:T position shifts.
To group clips during multitrack recording 1. Go to Edit > Preferences > Project - Record, or right-click the Record button to access recording settings. 2. Under Clip Groups, select the Group Clips Across Tracks check box. After recording is complete, all new clips are grouped together. When loop recording, each pass of the loop gets placed in its own group. Two discrete steps are placed in the Undo history. The first step is the actual recording and the second step is for Create Clip Group.
To add clips to an existing selection group 1. Click on any clip in the existing group. All clips in the group are selected. 2. Hold down the CTRL key and click the clips that you want to add to the group. 3. Right-click any selected clip and choose Create selection group from selected clips from the pop-up menu. All selected clips are placed in a new selection group. Note: A clip may only belong to one selection group at a time.
Using editing tools on grouped clips The Select, Mute and Split tools behave as follows when editing grouped clips: • Select tool : • Clicking a clip in a group will also select all other clips in the same group. • Lasso-selecting will select clips that are touched by the lasso as well as other clips in the same group that intersect the lasso time range. • Split tool : • Clicking an unselected clip will split that clip and all other clips in the same group that intersect the split time.
Splitting grouped clips SONAR can automatically create a new clip group when splitting clips in an existing clip group. To specify the split behavior, follow these steps: 1. Go to Edit > Preferences > Customization - Editing. 2. Under Clips, select the When splitting clips in groups, create new groups check box. For more information about splitting clips, see “Splitting and combining clips” on page 355.
Nudge Nudging is moving a clip or a MIDI note by a small amount to the left or right or up and down. There are three customizable settings for the Nudge feature. You can also nudge clips (in the Track view) or notes (in the Piano Roll view) up or down, and you can use keyboard shortcuts (see “To Nudge a Clip Using Keyboard Shortcuts” on page 343).
To Change Nudge Settings 1. Select Process > Nudge > Settings to access nudge settings. 2. In one of the three Nudge groups, select one of the following: • Musical Time. Select a note length setting. • Absolute Time. field: Select one of the following absolute time options and a number in the first 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.
Working with partial clips SONAR lets you select, copy, move, and delete portions of a project even if they do not match clip boundaries. There are two ways to do this: • Directly select portions of one or more clips. • Select a range of times and one or more tracks. SONAR automatically selects the portions of clips that are in both the selected time range and the selected tracks. You can then copy, move, or delete the material the same way you do with whole clips.
To clear the partial clip selection You can clear the time-restricted selection in any of the following ways: • Click in an empty area of the Clips pane to completely clear the selection. • Choose Edit > Select > None or press CTRL+SHIFT+A to completely clear the selection. • Click on a single clip in the Clips pane to clear the time selection and select the clip. Markers and the snap grid SONAR has a collection of features you can use to simplify and speed the work you do arranging your projects.
Defining and using the Snap Grid 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 Control Bar’s Snap module (or press F12) and set the grid resolution to an interval of musical time, such as a whole note, half note, or quarter note; a unit of absolute time: a number of frames, seconds or samples; an event; the start or end of a clip; a marker; or audio transients.
4. If you want to change the magnetic snap strength, or turn off magnetic snap, select one of the buttons in the Magnetic Strength section. 5. If you want to automatically snap edited audio clips to the nearest zero crossing of the waveform (the point at which there is no volume, to minimize the glitches that can happen when waveforms are spliced together) select the Snap to Audio Zero Crossings check box. 6. Click OK to close the dialog.
Creating and using markers Markers are a way of associating a name with a time point in your project. You use markers to name sections of a project, to mark hit points in a film score, or simply to provide a shortcut for working with any time point in a project. Markers make it easy to: • Jump to a specific time point in a project. • Select a portion of a project. • Enter a time in any dialog box, by pressing G and choosing the marker you want.
You can add markers while playback is stopped or while playback is in progress (on the fly). When you add a marker while playback is stopped, you can enter a name for the marker and either use the Now time or enter a different time. When you add a marker on the fly, the marker is named automatically and assigned the Now time. Using the Markers view, you can edit the names and times whenever you want. To add a marker 1.
To edit a marker 1. Either right-click on the marker in the Time Ruler, or choose a marker in the Markers view and click . SONAR displays the Marker dialog box. 2. Change the marker name, time, or other settings as desired. 3. Click OK. SONAR updates the marker in the Time Ruler and the Markers view. To copy a marker 1. Press and hold the CTRL key. 2. Drag a marker in the Time Ruler of the Track view, Staff view, Tempo view, or Piano Roll view. SONAR displays the Marker dialog box. 3.
To jump to a marker There are many different ways to jump to a specific marker: • Choose a marker from the drop-down list in the Control Bar’s Markers module. • Press G twice to display a list of markers, choose the marker you want, and click OK. • Click on a marker in the Markers view to set the Now time to that marker. • Click the Next Marker button or Previous Marker button in the Markers module.
TAB to transients You can use the TAB and SHIFT+TAB keys to jump to audio transients, and MIDI Note events. Tabbing is only possible when the transport is not rolling. TAB to transients is selection-based, which means tabbing will go to the next/previous transient amongst all selected clips. If there is no selection, tabbing operates on the current track. To move the Now time to the next transient • Press TAB. To move the Now time to the previous transient • Press SHIFT+TAB.
Working with linked clips SONAR makes it easy to repeat a pattern over and over using a feature called linked clips. Linked clips always have the same contents, name, and display color. Any change you make to the internal contents of one of the clips, such as adding or editing notes or effects, automatically applies to all of them. Any number of clips may be linked with each other.
To make linked copies of a clip using copy and paste 1. Select the clips you want to copy. 2. Choose Edit > Copy to display the Copy dialog box. 3. Choose options as desired and click OK. SONAR copies the clips to the Windows clipboard. 4. Click in the Track pane to set the current track to be the one where clips should be pasted. 5. Set the Now time to be the time at which the clips should be pasted. 6. Choose Edit > Paste Special to display the Paste dialog box. 7.
Splitting and combining clips SONAR provides several commands that are used to split and combine clips. Specifically, you can: • Split a clip into several smaller clips • Create a new clip from a selected portion of an existing clip • Combine adjacent or overlapping clips into a single, longer clip The following table summarizes the commands you can use: To do this Use this command Notes Split clips into parts • Works on all selected clips.
While the Split command works for both MIDI and audio clips, for audio clips, the Split command provides sample accurate editing and snap-to-zero capability. Note that the Edit > Undo and Edit > Redo commands work with all three of these editing commands. SONAR allows you to specify what is selected after a clip is split into two parts: • Left portion (default). Only the left portion is selected. • Right portion. Only the right portion is selected. • Both portions.
Take management and comping takes By default, SONAR stacks any overlapping clips on top of each other, but you can choose to display them in separate layers (lanes) in the same track. When you store clips in separate layers, it’s easy to mute and solo them individually and eventually come up with a composite take, with only the best clips playing back. You can also mute and solo whole layers.
When the option is first enabled, SONAR moves all overlapping clips in the affected tracks to separate layers, and displays Mute and Solo buttons on the Track Scale for each layer. A A. Track Layers Mute and Solo on/off buttons After the option is enabled, you can move clips on top of each other without creating new layers. To move overlapping clips back into separate layers, use the Rebuild command (see below).
To solo or unsolo a layer • On the Track Scale, click the S button that’s at the same vertical level as the layer you want to solo. You can solo one layer at a time. Note: If you solo a layer and then disable the Show Layers feature, the Track Scale displays a small yellow indicator to show that a hidden layer is soloed: A A.
To loop record multiple takes into separate track layers 1. Go to Edit > Preferences > Project - Record, or right-click the Record button to access recording settings. 2. Under the Recording Mode options, choose Sound on Sound (Blend). 3. Under Loop Recording, choose Store Takes in a Single Track, and click OK. 4. Make sure that the armed track has its Show Layers option enabled. 5. Set your loop boundaries and start recording multiple passes through the looped area. 6. Stop recording.
Clip muting and isolating (clip soloing) Together with multi-layer tracks, clip muting and isolating (clip soloing) make it easy to build a composite take from multiple takes. The Mute tool lets you mute/unmute entire clips, or only regions within clips. Click a clip to mute/ unmute the clip. Drag in the bottom half of the clip to mute a region, and drag in the top half to unmute a region. A clip that is completely muted displays the Mute icon in its upper left corner.
To mute or unmute an entire clip 1. Select the Mute tool in the Control Bar. 2. Click the clip. When a clip is currently muted, SONAR displays the Mute icon in the upper left corner of the clip. A A. Mute icon Toggling a clip’s mute status You can mute or unmute a clip without using the Mute tool if you want. Pressing K on your keyboard toggles the mute status of all selected clips. Any muted time ranges remain muted.
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, enable the track’s Show Layers option. To isolate a region 1. Select the Mute tool in the Control Bar. 2. Set the track’s Edit Filter control to Clips. 3. Hold down the CTRL key and drag across the region you want to isolate. To isolate a clip 1. Select the Mute tool in the Control Bar. 2.
E F G D C H B A A. The tracks in a track folder are connected by a line B. Description box C. Track folder info D. Open/Close folder E. Track folder—click here to select all data in track folder F. Archive, Mute, Solo, Arm, and Input Echo buttons G. Selected area of composite clip H. Composite clip 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. Or • Use the Insert > Track Folder menu command.
To remove a track from a track folder • In the Track view, move the cursor just to the right of the track number of a track until the cursor turns into a black, double-ended arrow, and then click and drag the track’s titlebar out of the Track Folder. Release the mouse. Or • Right-click the track and select Remove From Folder from the pop-up menu. To add multiple tracks to a track folder 1. Select the tracks you want to add. 2.
Adding effects in the Track view You can add both MIDI and audio effects directly from the Track view. SONAR adds these effects in real-time, preserving your track’s original data. To add effects in the Track view 1. Right-click in the effects bin of the track you want to add effects to. A A. Right-click here to add an effect An effects pop-up menu appears. SONAR displays MIDI effects if you are editing a MIDI track, and audio effects for an audio track. 2. Select an effect from the menu.
Changing tempos Your project can incorporate all kinds of tempo changes, including step changes from one tempo to another, gradual increases (accelerandos) or decreases (ritardandos), and almost any other type of change you can imagine. The tempo changes you add to your project become part of the project and are saved with the project file. You can add tempo changes to your project in the following ways: • Clicking the tempo display in the Control Bar’s Transport module.
Using the Transport module The Transport module displays the current tempo and lets you change the tempo as shown below: Figure 85. The Transport module. A A. Click to enter a new tempo When you enter a new tempo directly in the Transport module, you change the most recent tempo setting in the project. To change the current tempo in the Tempo toolbar 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes.
Using the Tempo commands The Project > Insert Tempo Change and Project > Insert Series of Tempos commands can be used to change the existing tempo of a project or to introduce one or more tempo changes at various points in a project. You can enter tempo values directly, introduce smooth increase or decreases in tempo, or even use your mouse to tap out the tempo you want for some portion of a project. To insert a tempo change 1.
To insert a series of tempos 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu. Each clip that has Groove Clip Looping enabled has beveled edges instead of sharp corners. The same command disables Groove Clip Looping on any selected clip that has Groove clip Looping enabled. 2.
Using the Tempo view The Tempo view provides both a graphic display of the tempo and a list of all tempo changes in your project. In the graphical display you can use your mouse to draw tempo changes directly onto the graph. In the tempo list, you can insert, edit, and delete individual tempo changes. To open the Tempo view, choose Views > Tempo or press ALT+SHIFT+5. Click the Tempo List button to display or hide the tempo list. Figure 88.
The Tempo List Pane has its own tools for editing tempo changes: Tool Name What it’s for Tempo List Displaying a list of all tempo changes in the project. Insert Tempo Insert a new tempo change Delete Tempo Delete a tempo change Tempo Properties Edit a tempo change Table 59. 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.
To draw a series of tempo changes in the Tempo view 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu. Each clip that has Groove Clip Looping enabled has beveled edges instead of sharp corners. The same command disables Groove Clip Looping on any selected clip that has Groove Clip Looping enabled. 2.
To edit a tempo change in the Tempo view 1. Enable Groove Clip Looping on any audio clips that you want to follow the tempo changes. Do this by selecting one or more clips, right-clicking a selected clip, and choosing Groove > Clip Looping from the pop-up menu. Each clip that has Groove Clip Looping enabled has beveled edges instead of sharp corners. The same command disables Groove Clip Looping on any selected clip that has Groove Clip Looping enabled. 2.
Figure 89. The Undo History dialog A B C A. Most recent change B. Click to clear the undo history C. Adjust the number of steps you can undo The History command is grayed out until you make a change to the current project that can be undone. The History list is updated every time you make a change to a project. For example, if you insert a new note into a project using the Piano Roll view, that action is added to the History list.
Slip-editing (non-destructive editing) Slip-editing allows you to non-destructively hide or reveal the beginning of a clip, the end of a clip, or both. The hidden material in a clip is not heard during playback. All hidden material remains intact and can be restored. All slip-editing movements correspond to the current snap to resolution. For more information about the snap to grid, see “Defining and using the Snap Grid” on page 346. A B A. Clip handle B.
4. Move the cursor over the beginning of the clip until the clip handle appears. . A A. Clip handle 5. Click and drag the clip handle until the unwanted information has been removed. The hidden information in the slip-edited clips remains intact but is not heard during playback. To move data without moving its clip 1. Do one of the following: • Using the Smart tool to edit. • Using the Trim tool to edit.
To move data and the clip edge 1. Select the Smart tool or Trim tool in the Control Bar. 2. Hold down ALT+SHIFT and move the cursor to the edge of the clip you wish to edit. A clip handle appears at the edge of the clip you are editing. 3. Click and drag the edge of the clip to the desired location. The hidden information in the clip remains intact but is not heard during playback. To permanently delete slip-edited data 1. Select the clips that contain the slip-edited data you want to delete. 2.
Fades and crossfades Fades are a gradual increase or decrease in volume at the beginning (fade-in) or end (fade-out) of a clip. A crossfade is when one clip fades out while another fades in. There are two ways to create fades and crossfades in SONAR: offline (destructive) and real-time (non-destructive). To create fades and crossfades offline, see “Applying fades and crossfades offline” on page 770.
A A. Filled red triangle 3. When your cursor changes and the filled red triangle appears, click and drag to the right until you reach your desired fade-in length. As you drag your mouse, a fade-in appears on your clip, and the red line moves with the mouse to mark the end of the fade-in. To edit a fade-in in a Clip • To move the entire fade-in to a later point in the clip, drag above the blue horizontal line located a quarter of the way up the blue vertical line . A B A.
• To delete a fade-in from an audio clip, simply drag the triangular fade handle edge of the clip. to the front The filled blue triangle at the top of the clip handle indicates that dragging the top edge of the clip handle will move the fade along with the crop. The filled blue rectangle at the bottom of the clip handle indicates that dragging the bottom of the clip handle will slip edit the edge, but leave the end of the fade-in where it is. To create an automatic crossfade (real-time) 1.
To change an existing crossfade 1. Move your cursor over the region where the crossfade is. 2. Right-click and select the desired crossfade from the menu that appears. To edit or create fades from the Process menu 1. Select the clip or clips in which you want to create or edit fade-ins and/or fade-outs. 2. Select Process > Fade Selected Clips. 3. Click the Track view Clips menu and choose Fade Clips to open the Fade Selected Clips dialog. 4.
• Select (see “Selecting with a keyboard” on page 386): • Clip select • Time select • Edit (see “Editing with a keyboard” on page 387): • Trim/crop • Fade To enable/disable editing with a QWERTY keyboard 1. On your QWERTY keyboard, press the NumLock key to enable NumLock mode. 2. On the numeric keypad, press 0. 3. Select the desired mode: • Zoom/Scroll mode. Press 1. • Select mode. Press 3. • Edit mode. Press 9. The keys on the numeric keypad are mapped as follows: Figure 90.
Key Function 0 Enable/disable keyboard editing (when NumLock is enabled) 1 Enable Zoom/Scroll mode 2 Down 3 Enable Select mode 4 Left 5 Center edit cursor 6 Right 7 -- 8 Up 9 Enable Edit mode Volume knob (if keyboard has a rotary encoder) Zoom/scroll/trim/crop depending on current mode PLUS (+) Crop or fade right in Edit mode MINUS (-) Crop or fade left in Edit mode Table 61.
To zoom and scroll with a keyboard 1. On your QWERTY keyboard, press the NumLock key to enable NumLock mode. 2. On the numeric keypad, press 0 to enable keyboard editing. 3. On the numeric keypad, press 1 to enable Zoom/Scroll mode.
The most appropriate zoom method is used automatically based on the following logic: • The default zoom method is Zoom around the selection. • If there is no selection, the next zoom method is Zoom around the edit cursor. 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.
To select time with a keyboard 1. Move the Now Time to where you want to start the selection. 2. In Select mode, hold down ALT and move the edit cursor left/right/up/down to make a time selection. 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.
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. • Fade out. Press 8. Press 2. 4. Do one of the following to adjust the selected fade: • Turn the rotary encoder. • Press PLUS (+) or MINUS (-). Note: Fades do not obey Snap to Grid. To crop clips with a keyboard 1. In Select mode, select the clips that you want to crop. 2. Press 9 to enable Edit mode. 3.
Tools SONAR has several different global tools that allow you to edit content in your projects. The global tools live in the Tools module in the Control Bar, and allow you to edit content in the following views: • Track view • Piano Roll view • Staff view • Tempo view The selected tool applies to whichever editing view has focus. There are several ways to select tools: • From the Tools module in the Control Bar. For details, see “Using the Control Bar to select tools” on page 393.
Tool Button Shortcut Description How to use “Smart tool” on page 404 F5 The Smart tool is the default tool in SONAR. The Smart tool is a multifunction tool that combines functions from several other tools. The function is determined by where you click. Using the Smart tool on: • Audio clips • MIDI clips • PRV notes • Automation • AudioSnap transients “Select tool” on page 409 F6 The Select tool lets you select data.
Tool Button Shortcut Description How to use “Line tool” on page 430 The Line tool lets you draw straight F9 (cycle through all automation envelopes and “paint” Draw tools) MIDI notes. Using the Line tool on: • PRV notes • Automation “Sine tool” on page 432 The Sine Pattern tool lets you edit F9 (cycle through all automation envelopes by drawing Draw tools) sine shapes.
See: “Selecting tools” on page 392 “Selecting the data type to edit” on page 398 “Snap to Grid settings” on page 444 “Specifying note durations” on page 446 “Mouse cursors” on page 447 “Tools” on page 389 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 393. • Press T on your computer keyboard to display the Tools HUD, then select the desired tool.
Figure 92. Use the Edit Filter control to specify what type of data the global tools should operate on. A A. Edit Filter For details, see “Selecting the data type to edit” on page 398. For instructions about performing common tasks, see “Using tools to perform common tasks” on page 451. Note: Some tools can only be used on certain types of data. The mouse pointer indicates if the selected tool can be used at the current position. For details, see “Mouse cursors” on page 447.
Accessing grouped tools Related tools are grouped together in the Tools module. Several buttons in the Tools module display a small triangle in the bottom right corner. The triangle indicates that you can click and keep the mouse button pressed for a brief moment to access additional tools or options from a pop-up menu. You can also right-click the button and choose an option on the pop-up menu.
Figure 95. A Tools module expanded view. B C D H P E I Q F J R G K L M N O A. Smart tool B. Select tool C. Move tool D. Edit tools E. Trim tool F. Timing tool G. Split tool H. Draw tools I. Freehand tool J. Line Tool K. Sine Pattern tool L. Triangle Pattern tool M. Square Pattern tool N. Saw Pattern tool O. Random Pattern tool P. Erase tools Q. Erase tool R.
Using keyboard shortcuts to select tools Use the following keyboard shortcuts to select tools. Tools that belong to the same group share the same shortcut. Press a shortcut repeatedly to cycle through all tools in a group.
Tool Button Shortcut “Square tool” on page 432 F9 “Saw tool” on page 432 F9 “Random tool” on page 432 F9 Cycle through Erase --tools (Erase/Mute) F10 “Erase tool” on page 434 F10 “Mute tool” on page 438 F10 Snap on/off --- F12 “Scrub tool” on page --442 J (hold to use) “Zoom tool” on page 443 Z (hold to use) Table 66.
Selecting the data type to edit Use a track’s Edit Filter control to specify the type of data you want to edit. Figure 97. Use the Edit Filter control to specify what type of data the global tools should operate on. A A. Edit Filter The following data types can be selected: • Clips. The selected tool operates on clips. • Audio Transients. The selected tool operates on audio transients (only available for audio tracks). • Notes.
• Hold down the SHIFT key and scroll the mouse wheel to cycle through all existing envelopes. • Click the middle mouse button to show the Tools HUD, then scroll the mouse wheel to cycle through the available data types. Tip: To set all tracks to the same Edit Filter setting, hold down the CTRL key when you change any non-selected track’s Edit Filter setting. To set all selected tracks to the same Edit Filter setting, hold down the CTRL when you change any selected track’s Edit Filter setting.
To switch between editing clips and automation envelopes Hold down the SHIFT key and click the clip or envelope you want to edit.
• “To crop a clip’s start/end” on page 457 • “To select MIDI clips” on page 458 • “To mute/unmute a clip” on page 459 • “To move a clip” on page 459 • “To erase a clip” on page 460 Editing notes in the Piano Roll • “Working with MIDI notes” on page 461 • “Using the Smart tool on PRV notes” on page 406 • “Using the Select tool on PRV notes” on page 410 • “Using the Move tool on PRV notes” on page 414 • “Using the Trim tool on PRV notes” on page 418 • “Using the Timing tool on PRV notes” on page 421 • “Using
• “Using the Select tool on automation” on page 411 • “Using the Move tool on automation” on page 415 • “Using the Trim tool on automation” on page 419 • “Using the Freehand tool on automation” on page 428 • “Using the Line tool on automation” on page 431 • “Using the Pattern tools on automation” on page 433 • “Using the Erase tool on automation” on page 436 • “Using the Split tool on automation” on page 425 • “To select automation” on page 465 • “To move automation” on page 465 • “To draw automation freeha
See: “Smart tool” on page 404 “Select tool” on page 409 “Move tool” on page 413 “Trim tool” on page 416 “Timing tool” on page 420 “Freehand tool” on page 427 “Line tool” on page 430 “Pattern tools” on page 432 “Erase tool” on page 434 “Split tool” on page 423 “Mute tool” on page 438 “Scrub tool” on page 442 “Zoom tool” on page 443 Tools 403
Smart tool The Smart tool is the default tool in SONAR. The Smart tool is a multi-function tool that combines functions from several other tools. The function is determined by where you click. To select the Smart tool Do one of the following: • Click the Smart tool button in the Control Bar. • Press T to display the Tools HUD, then select the Smart tool. • Press F5. Using the Smart tool on audio clips Figure 99. A Smart tool hotspots on audio clips.
Hotspot Default action +ALT F Click to select clip; drag to move clip or selection Split clip Move data within clip G Click to set the Now time and clear the selection; drag to select by time Split clip Move data within clip Table 67. +CTRL +ALT+SHIFT Using the Smart tool on audio clips (Continued) Using the Smart tool on MIDI clips Figure 100. Smart tool hotspots on MIDI clip.
Using the Smart tool on PRV notes Figure 101. Smart tool hotspots on PRV notes. A B D E C Hotspot Default action A Drag up/down to adjust note velocity B Adjust note start C Click to select note; drag to move note D Adjust note end E Lasso select notes Table 69.
Using the Smart tool on automation Figure 102. Smart tool hotspots on automation. A B D E C Hotspot Default action Double-click A Move node Reset node B Drag up/down to adjust selected nodes C Drag left/right to select nodes D Move segment(s) E Table 70.
Using the Smart tool on AudioSnap transients Figure 103. Smart tool hotspots on AudioSnap transients. B C A D Hotspot Default action Double-click A Drag transient marker line to stretch selected transients (nonproportional stretch) Select all adjacent transient markers in other tracks B Drag transient marker handle (diamond) to move transient marker (non-stretch) C Lasso select transients D Lasso select transients across clips and tracks Table 71.
“Split tool” on page 423 “Mute tool” on page 438 “Scrub tool” on page 442 “Zoom tool” on page 443 Select tool The Select tool lets you select data. You can select a time range, or select entire clips, MIDI notes, envelope nodes and transients. To select the Select tool Do one of the following: • Click the Select tool button in the Control Bar. • Press T to display the Tools HUD, then select the Select tool. • Press F6. Using the Select tool on audio clips Figure 104. Select tool hotspots on audio clip.
Using the Select tool on MIDI clips Figure 105. Select tool hotspots on MIDI clip. A C B Hotspot Default action A Select by time B Click to select clip B Drag to select multiple clips C Lasso select entire clips Table 73. +ALT Select by time Using the Select tool on MIDI clips Using the Select tool on PRV notes Figure 106. Select tool hotspots on PRV notes.
Hotspot Default action A Click to select note A Drag to lasso select B Lasso select Table 74. Using the Select tool on PRV notes Using the Select tool on automation Figure 107. Select tool hotspots on automation. A B C D Hotspot Default action A Select node Extend/toggle selection Extend selection B Select nodes Extend/toggle selection Extend selection C Select segment D Lasso select nodes across tracks Table 75.
Using the Select tool on AudioSnap transients Figure 108. Select tool hotspots on AudioSnap transients. A B Hotspot Default action Double-click +CTRL +SHIFT A Select transient marker Select adjacent transient markers in other tracks Extend/toggle selection Extend selection B Drag left/right to select transient markers Table 76.
Move tool The Move tool lets you move selected data. You can move entire clips, partial clips, MIDI notes, envelope nodes, transient markers and clip tempo map markers. To select the Move tool Do one of the following: • Click the Move tool button in the Control Bar. • Press T to display the Tools HUD, then select the Move tool. • Press F7. Using the Move tool on audio clips Figure 109. Move tool hotspots on audio clip.
Using the Move tool on MIDI clips Figure 110. Move tool hotspots on MIDI clip. A B Hotspot Default action A Drag clip to move clip A Drag selection to move selection B Lasso select entire clips Table 78. +ALT Select by time Using the Move tool on MIDI clips Using the Move tool on PRV notes Figure 111. Move tool hotspots on PRV notes. A Hotspot Default action +SHIFT A Move note freely Constrain movement vertically or horizontally Table 79.
Using the Move tool on automation Figure 112. Move tool hotspots on automation. A B C Hotspot Default action Double-click +CTRL +SHIFT A Move node Reset node Extend/toggle selection Extend selection B Move selected segments/nodes C Move segment Add new node Extend/toggle selection Extend selection Table 80. Using the Move tool on automation Using the Move tool on AudioSnap transients Figure 113. Move tool hotspots on AudioSnap transients.
See also: “Tools” on page 389 “Smart tool” on page 404 “Select tool” on page 409 “Trim tool” on page 416 “Timing tool” on page 420 “Split tool” on page 423 “Freehand tool” on page 427 “Line tool” on page 430 “Pattern tools” on page 432 “Erase tool” on page 434 “Mute tool” on page 438 “Scrub tool” on page 442 “Zoom tool” on page 443 Trim tool The Trim tool lets you adjust data.
Using the Trim tool on audio clips Figure 114. Trim tool hotspots on audio clip. A B E C Hotspot Default action A Adjust fade in B Adjust fade out C D +ALT +CTRL +ALT+SHIFT Crop clip start Crop clip start and move fade in Stretch clip Crop clip start and also move clip data D Crop clip end Crop clip end and move Stretch clip fade out Crop clip end and also move clip data E Crop clip Table 82.
Using the Trim tool on MIDI clips Figure 115. Trim tool hotspots on MIDI clip. C A B Hotspot Default action +CTRL +ALT+SHIFT A Crop clip start Stretch clip Crop clip start and also move clip data B Crop clip end Stretch clip Crop clip end and also move clip data C Crop clip Stretch clip Move data within clip Table 83. Using the Trim tool on MIDI clips Using the Trim tool on PRV notes Figure 116. Trim tool hotspots on PRV notes.
Hotspot Default action A Drag up/down to adjust note velocity B Adjust note start C Adjust note end Table 84. Using the Trim tool on PRV notes Using the Trim tool on automation Figure 117. Trim tool hotspots on automation. A B C Hotspot Default action Double-click +CTRL +SHIFT A Move node Reset node Extend selection Extend selection B Drag up/down to adjust selected nodes C Add new node Table 85.
“Freehand tool” on page 427 “Line tool” on page 430 “Pattern tools” on page 432 “Erase tool” on page 434 “Split tool” on page 423 “Mute tool” on page 438 “Scrub tool” on page 442 “Zoom tool” on page 443 Timing tool The Timing tool lets you slip-stretch audio clips, drag-quantize MIDI notes, and stretch audio using transient markers Note: The Timing tool does not work on MIDI clips or automation. To select the Timing tool Do one of the following: • Click the Timing tool button in the Control Bar.
Hotspot Default action A Stretch clip start B Stretch clip end Table 86. Using the Timing tool on audio clips Using the Timing tool on PRV notes Figure 119. Timing tool hotspots on PRV notes. A Hotspot A Table 87.
Using the Timing tool on AudioSnap transients Figure 120. Timing tool hotspots on AudioSnap transients. A B Hotspot Default action Double-click +CTRL A Drag left/right to stretch audio at selected transients Reset transient Drag to stretch proportionally B Drag left/right to stretch audio at selected transients Table 88.
Split tool The Split tool lets you split clips, cut clips, split MIDI notes, split clips at transients, and add envelope nodes. By splitting clips, you can copy, move, and delete individual sections. To select the Split tool Do one of the following: • Click the Split tool button in the Control Bar. • Press T to display the Tools HUD, then select the Split tool. • Press F8 Note: The F8 shortcut key cycles through all Edit tools (Trim/Timing/Split).
Using the Split tool on MIDI clips Figure 122. Split tool hotspots on MIDI clip. A B Hotspot Default action A Click to split clip A Drag to split selection B Lasso to split at lasso edges Table 90. Using the Split tool on MIDI clips Using the Split tool on PRV notes Figure 123. Split tool hotspots on PRV notes. A Hotspot Default action A Split note Table 91.
Using the Split tool on automation Figure 124. Split tool hotspots on automation. A B C Hotspot Default action A Click to add node A Drag to add nodes at mousedown and mouseup points B Add node C Lasso to add nodes at lasso edges Table 92. Using the Split tool on automation Using the Split tool on AudioSnap transients Figure 125. Split tool hotspots on AudioSnap transients. A B C Hotspot Default action A Split audio at transient marker Table 93.
Hotspot Default action B Drag over transient markers to split audio at transients C Lasso split at transient markers across clips and tracks Table 93.
Freehand tool The Freehand tool lets you draw MIDI notes and freehand automation envelopes. You can also create and promote transient markers. Note: The Freehand tool does not work on audio clips or MIDI clips. When using the Draw tools to draw note events, use the Value control to specify the duration (whole, half, etc.) of new note events. For details, see “Specifying note durations” on page 446. Figure 126. Use the Value control to specify the duration of new note events. A A.
Using the Freehand tool on PRV notes Figure 127. Freehand tool hotspots on PRV notes. A B Hotspot Default action A Glue notes together B +ALT Draw a new note Table 94. Lasso select notes Using the Freehand tool on PRV notes Note: To glue notes together, click one note, drag to another note of the same pitch, then release the mouse button. Using the Freehand tool on automation Figure 128. Freehand tool hotspots on automation. A Hotspot A Table 95.
Using the Freehand tool on AudioSnap transients Figure 129. Freehand tool hotspots on AudioSnap transients. A Hotspot Default action A Promote transient marker B Table 96.
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” on page 446. To select the Line tool Do one of the following: • Click the Line tool button in the Control Bar. • Press T to display the Tools HUD, then select the Line tool. • Press F9.
Using the Line tool on automation Figure 131. Line tool hotspots on automation. A Hotspot A Default action Draw a line Table 98. Using the Line tool on automation Note: To draw a line, click anywhere to set the line start point, move the mouse, then release the mouse button to set the line end point.
Pattern tools The various pattern tools let you draw automation envelopes that have a specific shape. For additional draw settings, see “Specifying note durations” on page 446. To select a pattern tool Do one of the following: • Click the desired pattern tool button in the Control Bar. • Press T to display the Tools HUD, then select the desired pattern tool. • Press F9. Note: The F9 shortcut key cycles through all Draw tools (Freehand/Line/Sine/Triangle/Square/ Saw/Random).
Using the Pattern tools on automation Figure 132. Pattern tool hotspots on automation. A Hotspot Default action A Draw automation shapes Table 99. Using Pattern tools on automation Note: To draw automation shapes, set the Snap to Grid resolution to the desired length of each pattern cycle, then perform the following steps in one gesture: 1. Click to set the center position of the shape. 2. Drag up/down to set the vertical range of the shape. 3. Drag left/right to set the duration of the shape.
Erase tool The Erase tool lets you delete clips, partial clips, MIDI notes, automation envelope nodes, and transient markers. To select the Erase tool Do one of the following: • Click the Erase tool button in the Control Bar. • Press T to display the Tools HUD, then select the Erase tool. • Press F10. Note: The F10 shortcut key cycles through all Erase tools (Erase/Mute). If another Erase tool is selected, press F10 again until the Erase tool is selected. Using the Erase tool on audio clips Figure 133.
Using the Erase tool on MIDI clips Figure 134. Erase tool hotspots on MIDI clip. A C B Hotspot Default action A Drag to delete a time selection B Click clip to delete clip B Click a selection to delete the selection C Table 101. +ALT Lasso to delete clips Delete by time Using the Erase tool on MIDI clips Using the Erase tool on PRV notes Figure 135. Erase tool hotspots on PRV notes.
Using the Erase tool on automation Figure 136. Erase tool hotspots on automation. B A C D Hotspot Default action A Delete node B Drag to delete nodes C Delete node to immediate right of segment D Lasso delete nodes across tracks Table 103. Using the Erase tool on automation Using the Erase tool on AudioSnap transients Figure 137. Erase tool hotspots on AudioSnap transients.
Hotspot Default action A Delete clicked transient marker B Drag to delete multiple transient markers C Lasso delete transient markers across clips and tracks Table 104. Using the Erase tool on AudioSnap transients Note: You can only erase user created transient markers.
Mute tool The Mute tool lets you mute clips, mute partial clips, mute MIDI notes, and disable transient markers. Mute events to prevent them from playing back. Note: The Mute tool does not work on automation. To select the Mute tool Do one of the following: • Click the Mute tool button in the Control Bar. • Press T to display the Tools HUD, then select the Mute tool. • Press F10. Note: The F10 shortcut key cycles through all Erase tools (Erase/Mute).
Hotspot Default action A Click to unmute clip Click to isolate layer A Drag to unmute by time Drag to isolate by time B Click to mute clip Click to isolate layer B Drag to mute by time Drag to isolate by time C Lasso to mute clips Table 105. +ALT +CTRL Lasso to unmute clips Using the Mute tool on audio clips Using the Mute tool on MIDI clips Figure 139. Mute tool hotspots on MIDI clip.
Using the Mute tool on PRV notes On PRV notes, the Mute tool functions as a toggle. Click once to mute and click again to unmute. Figure 140. Mute tool hotspots on PRV notes. A B Hotspot Default action A Click to mute/unmute A Drag to mute/unmute multiple notes B Lasso mute/unmute notes Table 107. Using the Mute tool on PRV notes Using the Mute tool on AudioSnap transients Figure 141. Mute tool hotspots on AudioSnap transients.
Hotspot Default action A Disable transient marker B Disable transient markers C Lasso disable transient markers across clips and tracks Table 108.
Scrub tool The Scrub tool lets you audition all displayed tracks as you drag the mouse cursor forward or backward at the desired speed. You can scrub a single track by dragging over the track, or all displayed tracks by dragging in the Time Ruler. Note: The Scrub tool does not work on automation. To scrub a single track Hold down the J key to temporarily enable Scrub mode and drag over the track. To scrub all displayed tracks Hold down the J key to temporarily enable Scrub mode and drag in the Time Ruler.
Zoom tool The Zoom tool lets you change the vertical and horizontal scale of a view. You can use lasso to select a specific area to zoom into. Using the Zoom tool Hold down the Z key to temporarily enable Zoom mode, then lasso to select the region you want to zoom into. To revert to the previous zoom level, press ALT+Z. Note: The Zoom tool is invoked by pressing the Z key. There is no Zoom tool button in the Control Bar or Tools HUD.
Snap to Grid settings SONAR lets you define a snap grid that makes it easier to arrange clips, select time ranges, and control envelope shape drawing. To use the snap grid, enable the Snap to Grid button in the Snap module and set the grid resolution to an interval of musical time, such as a whole note, half note, or quarter note; a unit of absolute time: a number of frames, seconds or samples; an event; the start or end of a clip; a marker; or audio transients.
Additional Snap to Grid settings To access additional snap settings, go to Edit > Preferences > Customization - Snap and Nudge. The Snap section contains the following settings: • Mode. Snapping can operate in two different modes: • Move To. Align data to the grid. • Move By. Move data by the grid resolution. • Magnetic Strength. Specify the magnetic strength when snapping, which determines how quickly moved events are pulled towards the snap grid.
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 143. Use the Value control to specify the duration of new note events. A A. Draw resolution (note value) You can also use the following shortcuts to set the desired note duration.
Mouse cursors When using global tools, the mouse cursor indicates which operation will be performed when you click or drag. Valid operations depend on the selected tool, the Edit Filter setting, and where the pointer is positioned. The following table describes each cursor. Cursor Description Select clip. Lasso select. Select by time. Move. Fade in. Fade out. Crop clip start. Crop clip start, but don’t move fade in position. Crop clip start and move fade in position. Crop clip end. Table 110.
Cursor Description Crop clip end, but don’t move fade out position. Crop clip end and move fade out position. Mute event. Mute by time. Unmute by time. Isolate layer (mute all other overlapping layers in same track). Erase clip. Lasso erase. Erase by time. Split. Scrub. Draw. Draw line/pattern. Table 110.
Cursor Description Draw automation line. Draw automation sine pattern. Draw automation triangle pattern. Draw automation square pattern. Draw automation sawtooth pattern. Draw automation random pattern. Move selected automation. Lasso select automation. Split automation (add node). Erase automation. Insert transient marker. Lasso select transient markers. Stretch transient marker. Table 110.
Cursor Description Move transient marker. Erase transient marker. Disable transient marker. Split audio at transient marker. Glue MIDI note events together. Move MIDI note events. Adjust MIDI note velocity. Trim MIDI note event. Drag quantize selected MIDI note events. Move data within clip (ALT+SHIFT). Crop overlapping clips when showing layers. Table 110.
Using tools to perform common tasks This section explains how to perform many common editing tasks.
• “To drag-quantize MIDI notes” on page 463 • “To glue MIDI notes together” on page 463 • “To paint MIDI notes” on page 463 • “To erase a MIDI note” on page 463 • “To split a MIDI note” on page 464 Working with automation envelopes • “To select automation” on page 465 • “To move automation” on page 465 • “To draw automation freehand” on page 466 • “To draw a straight line” on page 467 • “To draw automation shapes” on page 467 • “To erase automation” on page 468 • “To add envelope nodes” on page 468 • “To d
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. • With the Trim 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. To crop a clip’s start/end 1.
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. • With the Trim tool , position the pointer within the clip, then hold ALT+SHIFT and drag left/ right to move the data within the clip boundaries. To select audio clips 1. Set the track’s Edit Filter control to Clips. 2.
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. 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.
To stretch an audio clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Smart tool , hold down the CTRL key and position the pointer over the clip’s first half and drag to stretch the beginning, or position the pointer over the clip’s second half and drag to stretch the end. • With the Timing tool , position the pointer over the clip’s first half and drag to stretch the beginning, or position the pointer over the clip’s second half and drag to stretch the end.
See: “Working with MIDI clips” on page 457 “Working with MIDI notes” on page 461 “Working with automation envelopes” on page 465 “Working with AudioSnap transients” on page 469 “Tools” on page 389 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.
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. • With the Trim tool , position the pointer within the clip, then hold ALT+SHIFT and drag left/ right to move the data within the clip boundaries. To select MIDI clips 1. Set the track’s Edit Filter control to Clips. 2.
To scrub a MIDI 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. 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.
To erase a clip 1. Set the track’s Edit Filter control to Clips. 2. Do one of the following: • With the Erase tool time selection. , position the pointer over the top half of the clip, then drag to erase a • With the Erase tool the entire clip. , position the pointer over the bottom half of the clip, then click to erase • With the Erase tool , position the pointer outside any clips, then drag over the clips you want to erase. Hold down the ALT key and drag to erase by time. To split a clip 1.
Working with MIDI notes To adjust a MIDI note’s velocity 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool down. • With the Trim tool , position the pointer near the top center of the note, then drag up/ , position the pointer near the top center of the note, then drag up/down. To adjust a MIDI note’s start/end 1. Set the track’s Edit Filter control to Notes. 2.
To scrub MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Hold down the J key and drag across the notes. 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. To move a MIDI note 1. Set the track’s Edit Filter control to Notes. 2.
To drag-quantize MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Select the notes you want to quantize. 3. With the Timing tool all selected notes. , position the pointer over a selected note and drag up/down to quantize To glue MIDI notes together 1. Set the track’s Edit Filter control to Notes. 2.
To split a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , position the pointer where you want to split the note, then hold down ALT and click (or lasso to split a region). • With the Split tool to split a region). , position the pointer where you want to split the note, then click (or lasso To open the Note Properties dialog 1. Set the track’s Edit Filter control to Notes. 2. With the Smart tool , double-click the note.
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 , position the pointer over the bottom half of the track/clip, then drag left/right to select a range of envelope nodes. • With the Smart tool , position the pointer outside any existing envelopes, then drag over the envelopes nodes you want to select.
To move envelope nodes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Do one of the following: • With the Smart tool , drag the node to the desired location. • With the Move tool , drag the node to the desired location. • With the Trim tool , drag the node to the desired location. To reset envelope nodes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
To draw a straight line 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. With the Line tool , click to set the line start point, move the mouse, then release the mouse button to set the line end point. To draw automation shapes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
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 multiple nodes. , click a node to erase a single node, or drag over nodes to erase • With the Erase tool the segment. , click an envelope segment to erase the nodes to the left and right of • With the Erase tool , position the pointer outside the clip, then drag to lasso erase nodes across clips or tracks.
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. 2. Specify the desired MIDI envelope parameter settings (Type, Value, and Channel). 3. With the Freehand tool , drag to insert envelope nodes and segments.
To move transient markers (without stretching audio) 1. Set the track’s Edit Filter control to Audio Transients. 2. Do one of the following: • With the Smart tool , drag the transient marker handle (diamond) to the desired location. • With the Move tool , drag the transient marker handle (diamond) to the desired location. To stretch transients 1. Set the track’s Edit Filter control to Audio Transients. 2.
To reset transients 1. Set the track’s Edit Filter control to Audio Transients. 2. With the Move tool , double-click the transient marker. To split an audio clip at transient markers 1. Set the track’s Edit Filter control to Audio Transients. 2. With the Split tool , click the transient marker where you want to split the clip. Drag to split at multiple transient markers. To add transient 1. Set the track’s Edit Filter control to Audio Transients. 2.
Tools Using tools to perform common tasks
Control Bar overview Much of your time in SONAR is spent recording and listening to your project as it develops. The Control Bar contains the most important tools and other pieces of information you will need to record, edit and play back your project. The Control Bar consists of several modules that each contain various related controls. You can rearrange and show/hide each individual module, which allows you to only show the functions you need most often.
Control Bar modules Figure 145. Control Bar modules. A B C D E F G H I J K L A. Screenset module B. Tools module C. Snap module D. Transport module E. Punch module F. Loop module G. Select module H. Mix module I. ACT module J. Performance module K. Markers module L. Event Inspector module M. Sync module The Control Bar contains the following modules: • Tools module. The Tools module lets you select a global tool and draw resolution. For details, see “Tools module” on page 476. • Snap module.
To show/hide modules Do one of the following: • To show/hide a specific module. Right-click the Control Bar and select module. • To hide a module. Right-click the module and select Hide Module. • To show all modules. Right-click the Control Bar and select Show All. Note: Depending on the video resolution, your computer monitor may not be wide enough to display all Control Bar modules simultaneously. When you show a new module, other visible modules get pushed to the right.
“Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Markers module” on page 496 “Event Inspector module” on page 498 “Sync Module” on page 499 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.
To show/hide the Tools module Right-click the Control Bar and select Tools Module. Figure 148. Global tools are accessed from the Tools module in the Control Bar. A B C D E F G A. Smart tool B. Select tool C. Move tool D. Edit tools (Trim/Timing/Split) E. Draw tools (Freehand/Line/Sine/ Triangle/Square/Saw/Random) F. Erase tools (Erase/Mute) G. Draw resolution The Tools module contains the following controls: • Smart tool . The Smart tool is the default tool in SONAR.
• Line Draw . The Line tool lets you draw straight automation envelopes and “paint” MIDI notes. For details, see “Line tool” on page 430. • Sine tool . The Sine Pattern tool lets you edit automation envelopes by drawing sine shapes. For details, see “Sine tool” on page 432. • Triangle tool . The Triangle Pattern tool lets you edit automation envelopes by drawing triangle shapes. For details, see “Triangle tool” on page 432. • Square tool .
“Moving and copying clips” on page 328 “Splitting and combining clips” on page 355 “Slip-editing (non-destructive editing)” on page 376 “Fades and crossfades” on page 379 “Clip muting and isolating (clip soloing)” on page 361 “Scrubbing” on page 764 See also: “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495
Snap module SONAR lets you define a snap grid that makes it easier to arrange clips and note events, select time ranges, and control envelope shape drawing. To use the snap grid, enable the Snap to Grid button in the Snap module and set the grid resolution to an interval of musical time, such as a whole note, half note, or quarter note; a unit of absolute time: a number of frames, seconds or samples; an event; the start or end of a clip; a marker; or audio transients.
• Audio transients • Markers . Snap to transient markers in audio clips. . Snap to any marker. Additional Snap to Grid settings To access additional snap settings, go to Edit > Preferences > Customization - Snap and Nudge. The Snap section contains the following settings: • Mode. Snapping can operate in two different modes: • Move To. Align data to the grid. • Move By. Move data by the grid resolution. • Magnetic Strength.
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 150. The Transport module. A B C D E F G H Q R I J K L M N O P A. Rewind B. Stop C. Play D. Pause E. Fast Forward F. Record G. Dropout indicator H.
• Go to End . Skip to the end of the project. • Time Display. The time display section shows useful information about the current project, including the Now time, sample rate and bit depth, tempo and meter. The following information is shown: • Current Now Time. The Now time shows your current location in the project. For details, see “The Now time and how to use it” on page 172. Click the time display to toggle between the following time formats: • MBT. Display time as Measure:Beat:Tick. • HMSF.
Figure 151. The display shows the current Now time, a progress bar or “Waiting for sync” message. A B C A. Now time B. Progress bar C. “Waiting for sync” message • Metronome Playback on/off access Metronome settings. • Metronome Record on/off access Metronome settings. . Enable/disable the metronome during playback. Right-click to . Enable/disable the metronome during recording.
“Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Markers module” on page 496 “Event Inspector module” on page 498 “Sync Module” on page 499 Loop module The Loop module lets you control loop settings. To show/hide the Loop module Right-click the Control Bar and select Loop Module. Figure 152. The Loop module. A C B D A. Loop On/Off B. Set Loop Time to Select C. Loop Start Time D.
See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Markers module” on page 496 “Event Inspector module” on page 498 “Sync Module” on page 499 Mix module The Mix module lets you configure various playback settings. You can quickly mute/unmute, solo/ unsolo and arm/disarm all tracks.
The Mix module contains the following controls: • Mute / Unmute All Tracks track is muted. . Click to mute/unmute all tracks. The button is lit if at least one • Solo / Unsolo All Tracks track is soloed. . Click to solo/unsolo all tracks. The button is lit if at least one • Dim Solo enable/disable . Enable/disable Dim Solo mode. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. For details, see “Dim Solo mode” on page 196.
“Automation Read and Automation Write buttons” on page 948 “Recording individual fader or knob movements” on page 949 “Creating an editing automation envelopes” on page 950 “Automating individual effects parameters” on page 965 “Recording automation data from an external controller” on page 967 See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch
The ACT module contains the following controls: • Controller / Surface Name. Select the control surface plug-in to control. • Controller / Surface Status Display. • Open Control Surface Plug-in plug-in. Status display for the selected control surface plug-in. . Open the property page for the selected control surface • ACT Learn . Enable/disable ACT Learn. ACT Learn allows you to assign a specific effect/ synth parameter to a specific hardware control on your control surface.
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.
• Import Screensets from .cwp. Import screensets from another open project. Any locked screensets in the current project are not overwritten. See “To import screensets from another project” on page 985. • 1-6 buttons . Select screensets 1 through 6. You can also press the 1-6 keys on the computer keyboard to select screensets 1 through 6.
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 156. The Performance module. B A C D A. CPU meters (one per core) B. Disk Activity indicator C. Disk Space meter D. Memory Usage meter The Performance module contains the following controls: • CPU meters.
• Disk Space meter. Shows the amount of available space on the drive where your wave data directory is located. The tooltip shows the actual remaining disk space on your audio disk. • 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” on page 1182.
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 157. The Punch module. A C B D A. Auto-Punch On/Off B. Set Punch Time to Select C. Punch In Time D. Punch Out Time The Punch module contains the following controls: • Auto-Punch on/off . Enable/disable punch recording. Toggles punch recording on/off. • Set Punch Time to Selection .
“Performance module” on page 492 “Select module” on page 495 “Markers module” on page 496 “Event Inspector module” on page 498 “Sync Module” on page 499 Select module The Select module lets you control the selection From and Thru times. To show/hide the Select module Right-click the Control Bar and select Select module. Figure 158. The Select module. A C B D A. Set Select From = Now B. Set Select Thru = Now C. Select From Time D.
See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Markers module” on page 496 “Event Inspector module” on page 498 “Sync Module” on page 499 Markers module The Markers module lets you navigate by markers and insert new markers.
See: “Creating and using markers” on page 348 See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Event Inspector module” on page 498 “Sync Module” on page 499 Control Bar overview 497
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. To show/hide the Event Inspector module Right-click the Control Bar and select Event Inspector Module. Figure 160. The Event Inspector module. A C B D E A. Time B. Duration C.
See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Markers module” on page 496 “Sync Module” on page 499 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 161.
• 29.97 FPS Drop. NTSC broadcast and long format video in North America and Japan. This setting synchronizes the video perfectly with SONAR, but the sequencer position displayed in the Now Time and Big Time displays will gradually drift and become incorrect over long periods of time. The audio and MIDI synchronization to the external device will not be affected by this discrepancy. • 29.97 FPS Non Drop. NTSC non-broadcast and short length video in North America and Japan. Used for some music projects.
See: “Synchronizing your gear” on page 1079 “MIDI synchronization” on page 1083 “SMPTE/MIDI time code synchronization” on page 1086 “Audio - Sync and Caching (Advanced)” on page 1566 See also: “Tools module” on page 476 “Snap module” on page 480 “Transport module” on page 482 “Loop module” on page 485 “Mix module” on page 486 “ACT module” on page 488 “Screenset module” on page 490 “Performance module” on page 492 “Punch module” on page 494 “Select module” on page 495 “Markers module” on page 496 “Event Insp
Control Bar overview
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 162. Use the Track Inspector and Properties Inspector to configure track and clip settings. A B A. Properties Inspector B.
The Inspector pane appears to the left of the Track view, but can also be moved to the right side. There are three separate inspectors: • Track Inspector. The Track Inspector shows mix settings for the current track, bus, or main, and is essentially identical to a channel strip in the Console view. Advanced MIDI settings are also available for MIDI tracks and Instrument tracks. For details, see “Track Inspector overview” on page 508. • Properties Inspector.
Figure 163. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. A B C D H E F G I A. Dock/undock Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track Properties Inspector D. Show/hide ProChannel E. Display area for Properties Inspector F. Display area for Track Inspectors G. Show/hide/configure Track Inspector modules H. Section header bars (click to show controls) I.
To show/hide the Inspector pane Do one of the following: • On the Views menu, click Inspector. • Press I on your computer keyboard. • Click the Docking Options button in the top right corner of the Inspector pane and select Collapse. To expand/collapse the Inspector pane When the Inspector is docked, do one of the following: • Click the Expand/Collapse button at the top of the Inspector pane. • Press I on your computer keyboard. Figure 164. Use the Expand/collapse button to expand/collapse the Inspector.
• To undock the Inspector. Click the Docking Options button and select Undock, or click to the left of the Dock/Undock button and drag the Inspector to the desired location. Tip: You can click any blank space at the top of the Inspector pane and drag the Inspector to the desired position. Figure 165. Use the Dock/Undock and Docking Options controls to change the position of the Inspector. A B A. Dock/Undock B.
Track Inspector overview The Track Inspector provides mixing controls for the currently selected audio track, MIDI track, Instrument track, bus or main. The Track Inspector is essentially identical to a channel strip in the Console view. Any changes you make in the Track Inspector are reflected in the corresponding Console view channel strip, and vice versa. The Track Inspector modules can be shown/hidden independently from the corresponding Console view modules. The Track Inspector is divided in two.
Figure 166. The content displayed in the Track Inspector depends on the current track type. Audio track A B MIDI track and Instrument track (MIDI tab) C D Instrument track (Audio tab) E F Bus G Main H I J A. Current audio track B. Output of current audio track C. Current MIDI track or Instrument track D. Advanced MIDI settings for current MIDI track or Instrument track (MIDI tab) E. Current Instrument track F. Output of current Instrument track (Audio tab) G. Selected bus H.
To show a track/bus/main in the Track Inspector Do one of the following: • Click the desired track, bus or main in the Track view or Console view. • Click the Track Name control in the Track Inspector to select any available track, bus or main. To lock the Track Inspector to a specific track or bus Be default, the Track Inspector dynamically updates to show the current track. However, you can choose to always show a specific track or bus regardless of which track is current. 1.
Control Description Audio MIDI track track Velocity offset The change in velocity (volume) that will be applied to notes in the track on playback; ranges from –127 to +127. x Input pan Sets the pan of the audio data sent to the bus. ProChannel (Producer only) ProChannel is an extended channel strip that provides high-quality Compressor, Equalizer, and Tube saturation processing for each channel. See “ProChannel (Producer only)” on page 925.
Control Description Audio MIDI track track Instrument Bus track Solo When enabled, solos the track. x x x Arm for recording When enabled, arms the track for audio recording. x x x Input echo Turns input monitoring on or off. x x x Waveform Preview Display the waveform of the audio that’s flowing through the bus. Pan 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.
Control Description Link Main out faders can be linked using the Audio MIDI track track Instrument Bus track Main x Link button . This allows you to adjust both the left and right channel at the same time. Chorus Adds MIDI chorus effect to the track. x x Reverb Adds MIDI reverb effect to the track. x x Bank Select Method The Bank Select Method used by your sound module to switch back and forth between banks of sounds. See “Assigning the Bank Select method” on page 1054.
Audio MIDI track track Instrument Bus track Control Description Audio tab Show audio output controls in the right side strip. x MIDI tab Show advanced MIDI controls in the right side strip. x Table 112.
Audio track controls Figure 167. Track Inspector controls for audio tracks. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Phase Invert, Stereo Interleave, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
Bus controls Figure 168. Track Inspector controls for buses. A B C D E F G H I J K L A. Input gain and pan B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Waveform preview, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Bus Icon J. Output K. Bus name L.
MIDI track and Instrument track controls When the current track is a MIDI track, the left strip shows mix controls and the right strip shows Snap to Scale, Input Quantize, Arpeggiator and other advanced MIDI settings. Instrument tracks can show either audio or MIDI controls in the right strip, depending on whether the Audio or MIDI tab is selected. Figure 169. Track Inspector controls for MIDI tracks and Instrument tracks. A B C L M N D E F O G H I P J Q R K S A. Velocity trim B.
Figure 170. Instrument tracks can show audio output or MIDI controls by selecting the Audio tab or MIDI tab. A B Audio tab MIDI tab A. Audio output B. MIDI controls Advanced MIDI Controls section • Chorus. Adds MIDI chorus effect to the track. • Reverb. Adds MIDI reverb effect to the track. • Key+. The number of half steps by which the notes in the track are transposed on playback (e.g., 12 to transpose up one octave) • Time+.
• Normal. Use for instruments that respond to Controller 0 or Controller 32 bank select messages. • Controller 0 only. messages. • Controller 32 only. messages. Use for instruments that only respond to Controller 0 bank select Use for instruments that only respond to Controller 32 bank select • Patch 100...127. Use for instruments that let you change banks by sending patch changes between 100 and 127. For more information about Bank Select Methods, see “Assigning the Bank Select method” on page 1054.
• Durations. Select this option to quantize Note Event durations to the size of the Resolution value. • Notes only. If selected, SONAR will not modify other events, such as controllers. • Strength. This value determines how closely SONAR moves the selected notes to the resolution value, or “grid”. See “Strength” on page 698. • Swing. Use this value to make groups of even eight notes (or whatever note you want to enter in the Resolution field) “swing”, instead of playing with exact eighth note rhythm.
• Velocity. An offset control that scales the arpeggiated note’s velocity to a percentage of the original note velocity. • Duration. Controls whether the notes in the pattern are held to their full value, or are held for shorter or longer durations. • Pitch. A transposition control in half-steps, up or down a maximum of 2 octaves. Flam. If a pattern contains flams, this menu controls how big a difference there is between the attack time of the flam and the note it is attached to. • Mix.
Main controls Figure 171. Track Inspector controls for mains A B C D E F G A. Mute B. Link channels C. Volume D. Meter E. Icon F. Mains name G. Display menu See also: “Track Inspector controls” on page 510 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: • Gain. Show/hide Input Trim/Gain/Pan controls. • ProChannel (Producer only).
• Icons. Show/hide track icons. • Input/Output. Show/hide Input and Output controls Figure 172. Use the Display menu to configure modules in the Track Inspector.
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” on page 526. • Track. The Track Properties Inspector lets you type a text description and specify the default clip colors for the selected track(s).
Figure 173. The Track Inspector extends the full height of the Inspector pane, while the Properties Inspector is shown in the top half when visible. A B C D A. Dock/undock and expand/collapse Inspector B. Show/hide Clip Properties Inspector C. Show/hide Track Properties Inspector D.
Properties Inspector - Clip Properties The Clip Properties Inspector displays settings for the currently selected clip(s). The Clip Properties Inspector contains the following sections: • “Properties section” on page 528 • “Groove Clip section” on page 529 • “AudioSnap section” on page 530 • “Clip Effects section” on page 532 Figure 174. The Clip Properties Inspector displays settings for the currently selected clip(s). A B C D A. Clip Properties section B. Groove Clip Looping section C.
To show/hide the Clip Properties Inspector Click the Clip button at the top of the Inspector pane. Figure 175. Click the Clip button to show/hide the Clip Properties Inspector. To show/hide a section in the Clip Properties Inspector Click the section’s header bar in the inspector. The section expands and the previously-displayed section collapses. Figure 176. Click a section’s header bar to expand the section and show its controls.
Properties section • Properties header bar. Click to show/hide the Properties section. • Clip Name. Use this field to assign a name to the selected clip. The name of a clip is used in the Track view and Event List view. You can assign any name to help you remember the contents of the clip. • Time Format. Use the list to specify in which format to display the selected clip’s Start time and Length. The options are as follows: • MBT.
• Lock. Locks the clip’s data and/or position. The Lock drop-down menu contains the following options: • Position and Data. Locks position and data, and adds a lock icon on the clip . • Position Only. Locks position only, and adds a yellow lock icon (with the clasp unlocked) on the clip . • Data Only. Locks data only, and adds a blue lock icon (with the clasp unlocked) on the clip . • Automation Read. Allows the clip to respond to clip automation envelopes.
• Reference Note. Represents the key in which the loop was originally recorded. The Follow Pitch feature uses this information, when checked, to transpose the loop to match the project’s default project pitch and pitch markers. • Pitch (semitones). Allows you to set the transposition of a clip independently from the project pitch. A positive number transposes the clip up by that number of semitones. A negative number transposes the clip down by that number of semitones.
• Filter Resolution. The selected Filter Resolution value lets you disable markers based on their time location. This clears out unwanted markers to make editing easier. Larger values create a bigger time window, based on musical time values, which preserves markers that are closest to the displayed musical time value, and disables others. • Online Render. This choice determines what stretch algorithm is used during real-time playback.
Clip Effects section • Clip Effects header bar. Click to show/hide the Clip Effects section. This sections lets you add real-time effects to the selected clip. • Effects bin. Right-click to insert a plug-in, or drag a plug-in from the Browser. For more information about clip effects, see “Effects on clips” on page 840 and “Adding effects in the Track view” on page 366.
Properties Inspector - Track Properties The Track Properties Inspector lets you type a name, enter a text description, specify the AudioSnap track render mode for audio tracks, and specify the default clip colors for the selected track(s). Figure 177. The Track Properties Inspector lets you specify settings for the selected track(s). A B C D E F A. Dock/undock Inspector B. Show/hide Track Properties Inspector C. Track name D. AudioSnap track render modes E. Default clip colors F.
AudioSnap section (audio tracks only) • Online Render. Specify the algorithm to use during real-time playback. For more information about render modes, see “Algorithms and rendering” on page 624. The options are as follows: • From Global. This uses the algorithm listed in the Online field in Edit > Preferences > Project - AudioSnap. • Groove clip. Works faster than Percussion render mode, using less processing power. • Percussion.
Description section • Description. Type a comment or description of the selected track.
Inspectors Properties Inspector overview
Browser The Browser lets you find and import various types of content into your projects, including audio and MIDI files, track and project templates, track icons, Effects Chain presets, effect plug-ins and instruments. You can drag content and plug-ins directly into tracks. The Browser consists of three sections: • Media Browser. Find audio, MIDI, video, projects, project templates, track templates, Effects Chain presets and track icons that you want to import into a project.
Figure 179. The Browser lets you import content into a project and manage effects and instruments. A B C D A. Media Browser B. Plug-in Browser C. Synth Rack Browser D. Header bar To show audio/MIDI content Click the Browse Media button . To show plug-ins Click the Browse Plug-ins button . To show the Synth Rack Click the Browse Synth Rack button .
“Using the Plug-in Browser” on page 552 “Adding effects and instruments to a project” on page 553 “To insert an effect in a track or bus” on page 554 “To insert an effect into a clip’s effects bin” on page 555 “To insert an instrument” on page 556 “To insert a ReWire device” on page 557 “Using the Synth Rack Browser” on page 558 “Managing instruments in a project” on page 563 “Keyboard navigation” on page 551 Docking/undocking and resizing the Browser window By default, the Browser is docked on the right s
To dock the Browser When the Browser is undocked, do one of the following: • Double-click the Browser header bar. • Click the Dock/Undock button in the Browser. • Click the Docking Options button, and select one of the following menu commands: • Dock at Left. Dock the Browser to the left of the Track view. • Dock at Right. Dock the Browser to the right of the Track view. • Dock in MultiDock. by default.
See: “Using the Media Browser” on page 541 “Using the Plug-in Browser” on page 552 “Using the Synth Rack Browser” on page 558 “To import an audio or MIDI file” on page 544 “To import a video file” on page 547 “To import a track template” on page 546 “To insert an instrument” on page 556 “Keyboard navigation” on page 551 “Browser” on page 537 Using the Media Browser The Media Browser allows you to browse and import various file types that can be used in SONAR, including: • Audio files (.wav, .mp3, .wma, .
Media Browser interface Figure 182. Media Browser A B C DE F G J H K L I A. Show Media Browser B. Browser menu C. Content Location menu D. Dock/undock E. Docking options F. Expand/collapse G. Move up one level to the parent directory H. Search filter I. File list J. Play/Stop K. Delete content preset L. Save content preset Figure 183. Media Browser (undocked) A A.
• Show Media Browser . Show the Media Browser. • Browser menu. The Browser menu lets you choose how content files are displayed and specify options for previewing audio and MIDI files. The menu contains the following commands: • Views. The Views submenu lets you specify how files are displayed in the file list view. The options are as follows: • Icons. Icons view displays your files and folders as icons. The file name is displayed under the icon. • List.
See: “Adding Browser objects to your project” on page 544 “To import an audio or MIDI file” on page 544 “To export audio or MIDI clips” on page 545 “To import a track template” on page 546 “To import a project template” on page 547 “To open or import a project file” on page 547 “To import a video file” on page 547 “To assign a track/bus icon” on page 547 “Keyboard navigation” on page 551 “Browser” on page 537 Adding Browser objects to your project To show audio/MIDI content Click the Browse Media button .
Valid destinations for audio files You can drag audio files to the following locations: • Audio track • Audio clip • MIDI track • MIDI clip • Audio clip inspector • Empty Track view • Empty Console view • Instrument track 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 locatio
To import a track template 1. In the Browser, click the Browse Media button . 2. Navigate to the folder that contains the track template you want to import. 3. Do one of the following: • To add tracks to the end. Drag the track template to an empty space below the last track, or double-click the track template. • To replace an existing track. Drag the track template onto the track you want to replace.
To import a project template 1. In the Browser, click the Browse Media button . 2. Navigate to the folder that contains the project template you want to import. 3. Do one of the following: • To add tracks at the end of the current project. Drag the project template to the Track view. • To open the template as a new project. Double-click the project template. To open or import a project file 1. In the Browser, click the Browse Media button . 2.
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. Navigate to the folder that contains the audio content you want to preview, then click the file you want to preview. Note: Auto-Preview is enabled by default. If you disable Auto-Preview, you must click the Play button each time you want to preview the selected audio file.
To sort media files in the Media Browser By default, media is displayed alphabetically without columns or column headers. To sort by a specific parameter, click the parameter field in the Meta Data bar, which is located at the bottom of the Browser. To sort in reverse, click the desired parameter field in the Meta Data bar again. To enable/disable Auto-Preview 1. In the Browser, click the Browse Media button . 2. On the Browser menu, click Auto-Preview.
To select a Content Location preset 1. In the Browser, click the Browse Media button . 2. In the Content Location box, select the desired preset. The Media Browser automatically navigates to the appropriate folder location. To delete a Content Location preset 1. In the Browser, click the Browse Media button . 2. In the Content Location box, select the preset you want to delete. 3.
Keyboard navigation Standard key commands for navigating Windows Explorer also work in the SONAR Browser. The following table lists keys for navigating the SONAR Browser.
Using the Plug-in Browser The Plug-in Browser lets you insert effects, instruments and ReWire devices into your projects. The following plug-in types are supported: • DirectX and VST audio effects. • MFX MIDI effects • DXi and VSTi instruments • ReWire devices Plug-ins are displayed according to their organization in the selected Plug-in Layout. Custom plug-in layouts let you organize plug-ins any way you wish: alphabetically, by vendor name, by effect type, etc.
The menu contains the following commands: • Manage Layouts. Opens Cakewalk Plug-in Manager, which lets you create, delete, and edit plug-in layouts. For more information about Cakewalk Plug-in Manager, see the Cakewalk Plug-in Manager online Help. • Default All Plug-ins. The default layout, which lists all plug-ins alphabetically. • Organized by Type. Select this layout to organize plug-ins by type (EQ, reverb, etc.). • .
To select a plug-in layout Click the PlugIn menu button and select the desired layout. Click Manage Layouts if you want to modify an existing layout or create a new layout. To insert an effect in a track or bus 1. In the Browser, click the PlugIn button to show the Plug-in Browser. 2. Click the button that corresponds to the plug-in type you want to show: • Audio FX • MIDI FX 3. Do one of the following: • To insert the effect in a specific location in the effects bin.
Valid destinations for MIDI effects You can drag MIDI effects to the following locations: • MIDI track • MIDI clip • MIDI track inspector • MIDI clip inspector • MIDI Track effects bin • MIDI Clip effects bin • MIDI Console strip • MIDI Console effects bin • Instrument track • Instrument track inspector • Instrument track effects bin • Instrument Console strip • Instrument Console effects bin To insert an effect into a clip’s effects bin 1.
To insert an instrument 1. In the Browser, click the PlugIn button 2. Click the Instruments button to show the Plug-in Browser. . 3. Do one of the following: • To insert an instrument as a new Instrument track. Drag the desired instrument to an empty space in the Track view or Clips pane, or double-click the instrument. • To insert an instrument as a track effect. Drag the instrument to the desired track’s effects bin, or drag the instrument to the desired track in the Clips pane.
To insert a ReWire device 1. In the Browser, click the PlugIn button 2. Click the ReWire button to show the Plug-in Browser. . 3. Drag the ReWire device to the Track view or Clips pane. The ReWire device is added to the Synth Rack and a new Instrument track is created. See: “Using the Media Browser” on page 541 “Using the Plug-in Browser” on page 552 “Using the Synth Rack Browser” on page 558 “Using FX Chain Chain presets (.
To load an FX Chain preset 1. Do one of the following: • Right-click an effects bin and choose Load FX Chain Preset on the pop-up menu. Select the desired FX Chain Preset file (*.fxc) in the Load FX Chain Preset dialog and click Open. • Right-click an effects bin, point to FX Chain and select an FX Chain preset from the submenu. • From the Plug-in tab of the Browser, under Audio, expand the FX Chain branch and drag the preset to an effects bin.
Synth Rack interface Figure 185. Synth Rack Browser A B C D E FGH J I A. Insert Synth B. Delete Synth C. Insert Synth Options D. Show Synth Rack Browser E. Synth Settings menu F. Dock/undock G. Docking options H. Expand/collapse I. Instrument list J. Synth Automation menu Figure 186. Synth control bar B A C D E F Docked A H B C D E F G J K L Undocked I M N A. Connect/disconnect B. Synth name C. Preset picker D. Mute E. Solo F. Freeze/unfreeze G. Freeze Options menu H. Synth icon I.
• 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. You can also preview MIDI files through any active soft synth in the Media Browser. • Insert ReWire Devices. This submenu lists all available ReWire devices. Click the desired ReWire device to insert it in the current project and add an Instrument track. You can also preview MIDI files through any active ReWire device in the Media Browser.
• Insert Synth . Insert a new soft synth. • Delete Synth . Delete the selected soft synth. • Properties . Open the selected soft synth’s property page (only visible when the Browser is floating or docked in the MultiDock). • Insert Synth Options . Open the Insert Soft Synth Options dialog, which lets you specify options for new soft synths. • Synth Automation menu. The Synth Automation menu lets you specify on which track to display and record automation data for the selected soft synth.
• Read. Enable/disable automation read for the soft synth. This control is only available when the Synth Rack is undocked or docked at the bottom. • Write. Enable/disable automation write for the soft synth. This control is only available when the Synth Rack is undocked or docked at the bottom. • Assign Controls. Lets you choose which parameters in the synth’s interface to create control knobs for. This control is only available when the Synth Rack is undocked or docked at the bottom.
Managing instruments in a project To insert an instrument 1. In the Browser, click the Browse Synth Rack button . 2. Click the Synth Settings button menu, point to Insert Synths and select the desired soft synth. To remove an instrument 1. In the Browser, click the Browse Synth Rack button . 2. In the Synth Rack, click the soft synth you want to remove. 3. Click the Synth Settings button menu, then click Delete Synth. To open an instrument’s property sheet 1.
To access assignable control knobs 1. Make sure the Browser is undocked or docked at the bottom of the screen. 2. In the Browser, click the Browse Synth Rack button . 3. Click the desired synth’s Show/Hide Assigned Controls button. To rearrange an instrument 1. In the Browser, click the Browse Synth Rack button . 2. Drag the synth up/down to the desired position in the Synth Rack.
AudioSnap (Producer and Studio only) SONAR’s AudioSnap engine and tempo analysis features give you unprecedented rhythmic and tempo control over your audio. Employing sophisticated transient detection technology, the AudioSnap engine automatically analyzes all recorded and imported audio files for rhythmic content to determine where the beats are in the music. AudioSnap is completely non-destructive, similar to Groove clips and V-Vocal clips. AudioSnap, V-Vocal, and Groove clips are mutually exclusive.
How does it work? AudioSnap works by finding the transients in audio clips. Transients are the areas in an audio clip where the level increases suddenly. These make good locations to shrink, stretch, or split a clip, without changing its sound quality too drastically. SONAR contains a variety of high-quality stretching algorithms for different kinds of material.
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 586). • Fixing timing errors (see “Fixing timing problems in audio clips” on page 593). • Synchronizing the rhythms of out-of-sync tracks (see “Making multiple clips/tracks groove together” on page 600).
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.
The following table describes how the Smart tool behaves when interacting with transient markers and clips. Action On transient marker On clip Click Selects the transient marker. Selects the clip and opens the AudioSnap palette. Right-click Opens the transient marker context menu. Opens the AudioSnap context menu. 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.
Figure 190. Smart tool hotspots on AudioSnap transients. B C A D Hotspot Default action Double-click A Drag transient marker line to stretch selected transients (nonproportional stretch) Select all adjacent transient markers in other tracks B Drag transient marker handle (diamond) to move transient marker (non-stretch) C Lasso select transients D Lasso select transients across clips and tracks Table 115.
• Clips follow project tempo. map. This command forces the clip to follow the project’s global tempo Note: The Clips follow project tempo command only works on clips that are configured to use musical time (the Time Base property is set to Musical in the Clip Inspector). • Edit clip tempo map. Each audio clip has an internal tempo map. This command exposes controls that allow you to edit a clip’s tempo map. For details, see “Editing a clip’s tempo map” on page 589. • Merge and Lock Markers.
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 526. Figure 191.
Editing transient markers Transient markers show where the transients of a clip are (areas where the level increases suddenly), and are used to edit the timing of audio clips. AudioSnap finds transients automatically, but the transient markers don’t always appear exactly where you might want them for the kind of editing you want to do. Most AudioSnap commands edit transient markers automatically as a result of an editing operation, but sometimes you achieve the best results by editing the markers manually.
To select a transient marker 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3. Click the desired transient marker. The marker is highlighted. To select/deselect all transient markers in a clip 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3. Right-click a clip and choose Select Markers > All or Select Markers > None on the pop-up menu.
3. Assign the track’s Edit Filter control to Audio Transients. 4. Double-click a transient marker in any selected clip. 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.
To move a transient marker (without stretching audio) • Drag the marker handle (diamond). Figure 193. To move a transient marker, drag the marker head (diamond) To drag a transient marker and stretch audio • Drag the marker line. Figure 194. To stretch a transient, drag the marker line When you drag and drop the line of a marker, the marker moves to the place where you drop it, and the audio that is located between the dragged marker and the following marker stretches.
To reset all selected transient markers SONAR has a quick way to reset transient markers. 1. Select all clips you wish to reset. 2. Press CTRL+ALT and click the Reset button on the AudioSnap Palette. This brings up a dialog asking if you want to Clear All AudioSnap Markers. Clicking Yes will delete all the existing edits and restore clips to the analyzed transients. Note: This gesture is not undoable, so make sure you really want to reset the transient markers.
To copy transient markers from one track to another track 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. The AudioSnap palette appears and all audio clips show transient markers. 3. Select the target clip (the clip that you want to copy markers to) and drag the Threshold slider in the AudioSnap palette until all transient markers are disabled. 4. Select both the source clip (the clip you want to copy markers from) and the target clip. 5.
To navigate to the next/previous transient (TAB to transients) • Do one of the following: • To move the Now Time to the next transient, press TAB. • To move the Now Time to the previous transient, press SHIFT+TAB. Note: TAB to transients is selection-based, which means tabbing will go to the next/previous transient amongst all selected clips. If there is no selection, tabbing operates on the current track. For more information, see “TAB to transients” on page 352.
Transient marker context menu The transient marker context menu appears when you right-click a transient marker. The command you choose from this menu acts on the marker that you right-click, and most commands also act on any markers that are selected. The following table describes each command. Command Description Reset Moves a marker back to its original position. Shortcut for selected markers is CTRL+ALT+R. Disable The marker is ignored. Shortcut for selected markers is CTRL+ALT+D.
“Synchronizing audio and the project tempo” on page 586 “Extracting MIDI timing information from audio” on page 610 “General editing” on page 612 “Using the Pool” on page 621 “Algorithms and rendering” on page 624 Enabling/disabling AudioSnap You can enable/disable AudioSnap processing on a clip-by-clip basis. Transient markers are always available to be edited, but AudioSnap is not active on a clip unless at least one transient marker has been stretched.
Using the AudioSnap palette The AudioSnap palette provides easy access to time stretching and tempo-related tools. Except for the AudioSnap enable/disable command, the AudioSnap palette’s controls apply to the currently selected audio clip or clips. To show the AudioSnap palette • Do one of the following: • On the Views menu, click AudioSnap Palette. • Press A. or 1. Select the Smart tool in the Control Bar. 2. Assign the track’s Edit Filter control to Audio Transients. 3.
Toolbar section • Bypass . This button enables or disables AudioSnap on selected audio clips. • Copy as MIDI . This button saves the selected audio as a MIDI clip, which you can paste from the Clipboard into a MIDI track. You select the MIDI note that the transients in the audio clip will be converted to in the AudioSnap Options dialog, which opens when you click the Options button. • Split Beats into Clips . This button splits a clip at each transient marker into multiple clips.
• Clip Follows Project Tempo . This button forces the clip to follow the project’s global tempo map. The drop-down list lets you specify at which resolution the clip should follow tempo changes. The options are as follows: • Beats • Measures • Clip (default) Note: The Clips follow project tempo command only works on clips that are configured to use musical time (the Time Base property is set to Musical in the Clip Inspector). • Edit Clip Tempo Map . Each audio clip has an internal tempo map.
Render mode section • Applies To. This drop-down menu lets you choose whether any changes to the Online and Offline settings apply to clips, tracks, or the default settings. The choices in the drop-down menu are as follows: • Clips. When selected, the Online and Offline render mode settings apply to any selected clips. The Online and Offline lists display the current render modes for the selected clip.
See: “Using global tools on AudioSnap transient markers” on page 568 “Editing transient markers” on page 573 “Fixing timing problems in audio clips” on page 593 “Synchronizing audio and the project tempo” on page 586 “Extracting MIDI timing information from audio” on page 610 “General editing” on page 612 “Using the Pool” on page 621 “Algorithms and rendering” on page 624 Synchronizing audio and the project tempo There are many reasons why you may want to synchronize audio clips with the project tempo.
How does it work? Each audio clip has an internal tempo map, which makes it possible to synchronize the audio clip with the project’s global tempo map (see “Editing a clip’s tempo map” on page 589). SONAR automatically creates a tempo map for each audio clip. In some cases, SONAR can detect the wrong tempo. For example, SONAR might detect a tempo of 120 BPM when the actual tempo is 240 BPM, or a beat may be mapped to the wrong transient. You can easily remap the tempo map, if necessary.
To copy the project tempo to an audio clip’s tempo map 1. Configure the project’s tempo as desired (either specify the tempo manually, or extract the tempo from another audio clip by using the Set Project Tempo from Clip button on the AudioSnap palette). 1. Select the audio clip(s) that you want to follow the project tempo. 2. Press A to open the AudioSnap palette. 3. Click the Average Tempo box on the AudioSnap palette and select Set Clip Tempo From Project on the drop-down menu.
Editing a clip’s tempo map Each audio clip has an internal tempo map, which makes it possible to synchronize the audio clip with the project’s global tempo map (see “Editing a clip’s tempo map” on page 589). SONAR automatically creates a tempo map for each audio clip. In some cases, SONAR can detect the wrong tempo. For example, SONAR might detect a tempo of 120 BPM when the actual tempo is 240 BPM, or a beat may be mapped to the wrong transient. You can easily remap the tempo map, if necessary.
To edit a clip’s tempo map 1. Select the clip or clips you want to edit. 2. Click the Edit clip tempo map button on the AudioSnap palette. A simple tempo map guide appears above the clip, indicating where SONAR has mapped the bars/beats of the clip. 3. If the Average Tempo list does not show the correct tempo, select the correct tempo. 4. If the Beats per measure box does not show the correct number of beats, specify the correct number of beats per measure. 5.
If a beat marker is dragged to a transient marker that is already assigned to a later beat marker, SONAR will automatically re-number all subsequent beat markers accordingly. A beat marker cannot be dragged to an earlier transient marker if that transient is already assigned to a beat marker. 6. To hide the tempo map guide, click the Edit clip tempo map button palette again. on the AudioSnap Tip: You can also enable/disable Edit clip tempo map from the transient marker context menu.
Changing a project’s tempo Changing a whole project’s tempo is simple with AudioSnap, if the tempo change is not drastic. Before you change the global tempo of a project that contains audio, you must first make sure the audio clips are configured to follow tempo changes. After you change the tempo, you may want to bounce some or all of the tracks to new tracks with the Radius algorithms to correct any unwanted change to each track’s sound. To change a project’s tempo 1.
Fixing timing problems in audio clips AudioSnap provides several ways to fix timing errors in audio clips: • You can drag individual beats or groups of beats to new positions. This gives you complete control over where each transient ends up. • You can quantize to a particular note resolution. This can be a very quick way to fix a clip, if your markers are fairly close to where you want them to end up. • You can quantize to another clip’s beats, making the clips share the same groove.
“Synchronizing the rhythms of out-of-sync tracks” on page 600 “Making multiple clips/tracks groove together” on page 600 “Quantizing audio” on page 601 “To quantize audio to the project’s time ruler” on page 601 “To Groove Quantize an audio clip” on page 602 “To quantize an audio clip to another audio clip (Quantize to Pool)” on page 603 Adjusting the timing of a solo performance When adjusting the timing of a solo performance (for example, a single instrument recorded with a single microphone, or a pre-re
Adjusting the timing of a multi-track performance while maintaining phase relationships Editing a multi-track instrument, such as a multi-microphone drum kit or a full band, requires a little more care than editing a solo performance. When stretching or quantizing multi-track audio, it is critical to maintain the phase relationships of the original recording. This can only be achieved if the tracks are stretched at the same exact points in time across all tracks.
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. 3. Select the three drum tracks and make splits right before and right after the area you want to edit. For details, see “To split clips into smaller clips” on page 356. 4.
Figure 199. The Merge and Lock Markers command has copied the same transient markers to all three drum tracks. The drum tracks are now ready to be edited. We want to keep the feel of the piano track, so our goal is align the drum tracks with the piano track, while preserving the phase relationship between the three drum tracks.
Figure 200. The drum and piano hits are aligned The second drum and piano hits are close but not perfect, so we need to fix this single beat. 12. Hold down the CTRL key and double-click any drum transient marker on the second hit. All drum transient markers for the second hit are selected 13. Drag any selected transient markers until it aligns with the second piano hit. All three drum and piano hits are now aligned properly, and the phase relationships between all drum tracks have been preserved.
Figure 201. 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 604.
Synchronizing the rhythms of out-of-sync tracks A common problem arises when two or more clips aren’t quite in sync with each other. You can fix this with AudioSnap if the sync errors aren’t huge. The AudioSnap command that is most helpful in this situation is the Quantize to Pool command. The way it works is you decide which clip has the correct rhythm, you add that clip’s transient markers to the Pool, and then you quantize the other clip’s transient markers to the Pool.
Quantizing audio Quantizing audio is a quick way to tighten up the feel of an audio track. AudioSnap provides several ways to quantize audio: • You can quantize audio to the project’s time ruler. This is useful for tightening up a performance in a project that already has a fixed tempo or varying tempo map. For details, see “To quantize audio to the project’s time ruler” on page 601. • You can copy the feel of one track and apply it to another track.
To Groove Quantize an audio clip The Groove Quantize command aligns transients with a groove that’s on the Clipboard or a preexisting groove file. If you want to copy the timing from another audio clip to the Clipboard, see “To extract MIDI timing from an audio clip” on page 610. 1. Select the audio clip you want to groove quantize. 2. Press A to open the AudioSnap palette. 3. On the Process menu, click Groove Quantize. The Groove Quantize dialog appear 4.
4. Select the audio tracks that you want to use as the rhythm guide. 5. Identify the transient markers you want move, then drag the transient markers until they snap to the nearest transient markers in the selected tracks. To quantize an audio clip to another audio clip (Quantize to Pool) 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.
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.
8. On the Edit menu, point to Clip Lock and click Lock Position. The clip positions are no longer locked. 9. Select a drum track that has steady beats throughout the song. Tip: If there is not a single drum track that has steady beats throughout the song, you can create a temporary guide track by bouncing all the drum tracks to a single track (select all the tracks, use the Edit > Bounce to Tracks command, select Main Outputs in the Source Category field in the Bounce to Tracks dialog, and click OK). 10.
11. Select all the drum tracks. 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. Use the Process > Quantize command to open the Quantize dialog. 15. In the Duration field, choose Eighth (for this example).
16. Configure the other settings as follows: • Make sure the AudioSnap Beats check box is cleared. • Make sure the Audio Clip Start Times is selected. • Make sure the Auto XFade Audio Clips check box is selected, and the XFade and Max Gap values are set at their default values. 17. Click OK to close the Quantize dialog.
Some clips now overlap, and some clips have small gaps between them. Because the Auto XFade Audio Clips check box was enabled, and the XFade and Max Gap values were set at their default values, crossfades have been automatically added between clips, and any gaps that were smaller than the Max Gap value have been filled in.
A A. Crossfades Now the clips line up with eighth note boundaries, no audio has been stretched, and phase relationships have been maintained. For information about maintaining phase relationships when stretching audio, see “Adjusting the timing of a multi-track performance while maintaining phase relationships” on page 595.
Extracting MIDI timing information from audio Extracting MIDI timing information from audio allows you to: • Double an audio rhythm with a MIDI instrument. • Replace sounds in an audio clip (commonly used for drum replacement). • Notate the rhythm of an audio clip. • Align lyrics with an audio rhythm. After you extract the timing information from an audio clip, the timing information is copied to the clipboard as MIDI note events.
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. 3. Press CTRL+V to paste the data.
General editing If you want to snap edits in the Clips pane to transient markers, see “Snapping edits to audio beats” on page 612. If you want to split each beat into a separate clip, see “Splitting beats into clips” on page 614. If you want to stretch the duration of an audio clip, see “Slip-stretching audio” on page 618. If you want to automatically create envelope nodes that are aligned with transient markers, see “Adding automation” on page 620.
A A. These notes don’t line up with the audio beats 4. Drag the misaligned MIDI notes so they line up with the audio beats. As you’re dragging notes, they will automatically snap to the nearest audio beat.
Splitting beats into clips Clicking the Split Beats Into Clips button on the AudioSnap palette splits a selected AudioSnap-enabled clip into new clips starting at every enabled transient marker. The main reason you might want to do this is to align a clip with a new tempo or quantize it, without stretching the audio. Once you split a clip at its transients, you can move the new clips by dragging or quantizing so that they are aligned the way you want them to be.
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. The clip splits at the transients, and only the first new clip is still selected: 3.
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. The start of each clip now lines up where we want it to, but there are gaps between some of the clips. Let’s undo what we just did (press CTRL+Z), and quantize again.
A A. Crossfades 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 ms field in the dialog. 8. If you don’t want wide gaps to be filled in, you can enter a number of up to 200 milliseconds in the Max Gap field. Any gap that is wider than the number in this field will not be filled in.
To fill in gaps with the Fade Selected Clips command 1. Select the clips that have gaps you want to fill. 2. Click the Track view Clips menu and choose Fade Clips to open the Fade Selected Clips dialog box. 3. Enable the XFade between Audio Clips radio button, and set any options you want in the XFade ms field, and Max Gap field. 4. Click OK.
A A. Stretch amount Alpha-blended bars on slip-stretched clips AlphaStretchIndicator=<0 or 1> (default=1) When an audio clip is slip-stretched, a yellow alpha-blended bar is displayed on the clip. This may affect performance on some systems if there are many slip-stretched clips. There is a new Cakewalk.ini variable to disable the alpha-blended bars, and instead only show the percent value in the lower right corner of the clip. This variable should be set in the [Wincake] section.
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. Select the audio clip(s) that contain the transient markers you want to use as a guide. 2. Right-click an automation envelope on the clip, and choose Add Nodes at Transient Markers from the pop-up menu.
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. Hovering the mouse over a dotted line will display a tooltip containing the parent track and position. To show/hide pool lines 1. Select the Smart tool in the Control Bar. 2.
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. Assign the track’s Edit Filter control to Audio Transients. 4. Right-click in the Clips pane and select Pool > Add MBT to pool on the pop-up menu. The current Musical Time snap resolution to the pool, and also displays dotted pool lines in the Clips pane.
Groove Quantize and Quantize to Pool You can use two kinds of groove quantizing on audio clips: the Groove Quantize command aligns transients with a groove that’s on the Clipboard, and the Quantize to pool command aligns transients with the Pool. When you use the Groove Quantize command, you can align a clip with a pre-existing groove, or you can extract a groove from another clip. For information about extracting a groove, see “To extract MIDI timing from an audio clip” on page 610.
Algorithms and rendering When you stretch an audio clip, AudioSnap uses a particular formula, or algorithm, to stretch the audio. The best algorithms take the most computing time and power to complete, so if AudioSnap always used the best available algorithms (the iZotope Radius algorithms), you would not be able to play back your clip in a reasonable amount of time to listen to the timing.
The following table describes the available algorithms: Algorithm Description GrooveClip Good all-around algorithm to use while stretching audio Percussion Gives a better sound on percussion clips while stretching audio iZotope Radius Mix Best all-around choice when bouncing to track with audio clips that contain a mix of different sounds iZotope Radius Mix Advanced This choice is similar to iZotope Radius Mix, but exposes two parameters: • Pitch coherence.
To choose 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). 3. In the Applies To list, select Clips. 4. Under Render Mode, select the desired Online and Offline render modes.
See: “Freeze tracks and synths” on page 829 “To bounce multiple audio clips to a new track” on page 764 “To bounce to clips” on page 763 “Using global tools on AudioSnap transient markers” on page 568 “Editing transient markers” on page 573 “Using the AudioSnap palette” on page 582 “Synchronizing audio and the project tempo” on page 586 “Fixing timing problems in audio clips” on page 593 “Extracting MIDI timing information from audio” on page 610 “General editing” on page 612 “Using the Pool” on page 621 A
AudioSnap (Producer and Studio only) Algorithms and rendering
Working with loops and Groove Clips Loops are short digital audio clips which are often designed to be repeated over and over or “looped,” although some loops, called one-shots, are intended to play just once. Groove clips, often used as loops, are digital audio clips that “know” their tempo and pitch information. Groove clips automatically respond to changes in a project’s tempo and can have their root note pitch adjusted using pitch markers.
The Loop Construction view The Loop Construction view is where you create and edit Groove clips. Figure 205. The Loop Construction view The Loop Construction view toolbar has tools for editing slicing markers and controls for previewing loops.
Enable Looping The Enable Looping button allows a clip to be looped by dragging in the Track view. Loop-enabled clips follow changes in the project tempo. Click the Enable Looping button to loop clips in the Track view by dragging the left or right side of a clip with your mouse. When you loop-enable a clip it automatically snaps to the nearest beat boundary (at 1, 2, 4, 8, 16 etc. beats). SONAR calculates the appropriate beat number.
Pitch (fine) The Pitch (fine) field allows you to make tuning adjustments or to transpose the pitch of a clip up to 50 cents. There are 100 cents in one semi tone. A Pitch (fine) setting of 1 adjusts the pitch up one hundredth of a semi tone. The Pitch (fine) option can “fine tune” a slightly out of tune clip so that it is in pitch with the remaining clips in a project. Slices Menu The Slices menu sets the resolution for the creation of markers, or the “slicing” of the looped clip.
Properties The Properties button opens the Associated Audio Files dialog. Select Use the Select tool to move markers in the Markers bar. Erase Use the Erase tool to delete markers in the Markers bar. Default All Markers The Default All Markers button restores all automatically generated markers to the original position and enables all those that were disabled. Manually created markers remain as is. Previous Slice Moves slice selection to the previous slice. Click on a slice to select it.
Slicing markers There are two types of slicing markers in the Loop Construction view: automatic and manual. Automatic markers appear in red and are automatically generated by SONAR when you loop enable a clip. The one exception to this is if you import an ACIDized wave file into SONAR. ACIDized files always appear with manual slicing markers. Manual markers appear in purple. If you add a marker or move an automatic marker, it turns purple to show you that it has been edited.
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. Audio files can be auditioned through any bus and MIDI files can be auditioned through any soft synth. Figure 207.
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. Navigate to the folder that contains the audio content you want to preview, then click the file you want to preview. Note: Auto-Preview is enabled by default. If you disable Auto-Preview, you must click the Play button each time you want to preview the selected audio file.
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. Once looping is enabled, you can drag out loops to create multiple repetitions. There are several other ways to enable looping: To enable or disable a clip for looping 1. Double-click on the clip you want to loop. The Loop Construction view appears. 2. In the Loop Construction view, click the Enable Looping button .
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 647). 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.
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. Select a Track in the Track view. 2. Set the Now Time to the place you want the clip to begin. 3. Select File > Import > Audio from the menu. The Open dialog appears. 4. Navigate to a directory that contains Groove clips and select one. 5. Click Open. Or 1.
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. Groove clips can be either loop-enabled or not, although they usually are. When a Groove clip is loop-enabled, its edges appear beveled.
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 Original BPM field to the tempo at which you recorded the clip. The tempo value of a clip can only be changed if the clip is stretchenabled. Do the following to change the value in the Original BPM field. • Click the Plus or Minus button to the right of the Original BPM field until the correct value is displayed.
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. If the Follow Project Pitch button is enabled, click it to disable it. 3. In the Pitch (semitones) field, enter the number of semitones you want to transpose the clip by. A negative number in the Pitch (semitones) field transposes a clip down.
Editing slices Each slice (space between the slicing markers) can be adjusted in the Loop Construction view. You can adjust the following slice attributes: • Gain • Pan • Pitch To preview a Groove Clip slice 1. Double-click on a clip to open the Loop Construction view. 2. Click the Enable Slice Auto-preview button. 3. Click a slice to hear it. To adjust a Groove Clip slice gain 1. In the Loop Construction view, select the slice on which you want to adjust the gain. 2.
Saving Groove Clips as Wave files/ACIDized Wave files Once you have created a Groove clip in SONAR, you can save the clip as a Groove Clip/Wave file, compatible with ACIDized wave files. To save a Groove Clip as a Riff Wave file/ACIDized Wave file 1. If you have not already done so, create a Groove clip. See “Creating and editing Groove Clips” on page 640. 2. In the Loop Construction view, click the Save icon. The Save As dialog appears. 3.
To enable a clip’s Follow Project Pitch option 1. Select the clip and open the Clip Inspector. 2. Select the Clip Inspector’s Groove Clip section and make sure that the Reference Note field is correct. When your project reaches a pitch marker, SONAR transposes each groove clip that has the Follow Project Pitch option enabled by the difference between the clip’s Reference Note and the current Project Pitch.
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. You can import REX files into a SONAR project.
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. By default, SONAR assigns a root note value of G#.
For step-by-step information, see the following procedures, and also “Exporting and importing MIDI Groove clips” on page 649. See: “To enable or disable a MIDI clip’s Groove Clip function” on page 648 “To create repetitions of a MIDI Groove Clip” on page 648 “To transpose MIDI Groove Clip” on page 648 “To transpose a MIDI Groove Clip with pitch markers” on page 649 To enable or disable a MIDI clip’s Groove Clip function • Select the clip and press CTRL+L.
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 644. See also: “Exporting and importing MIDI Groove clips” on page 649 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.
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 appears, 4. Navigate to a folder where you store MIDI Groove clips. Make sure that the Files of Type field is set to MIDI File. 5. Highlight the file you want to import—the File Info field displays the file’s MIDI Groove clip data, if any. 6.
Importing Project5 patterns Project5 is Cakewalk’s pattern-based soft synth work station that has its own library (pattern bin) full of MIDI and audio patterns, stored on disk. If you have Project5 MIDI patterns on your hard disk, you can import them directly into SONAR. To import a Project5 pattern 1. Move the Now Time to the place where you want to import the pattern. 2. Highlight the track you want to import the pattern into. 3. Use the File > Import > MIDI command. The Import MIDI dialog appears, 4.
Working with loops and Groove Clips Importing Project5 patterns
Editing MIDI events and continuous controllers (CC) SONAR lets you edit the events in your projects in dozens of different ways. The Piano Roll view lets you add and edit notes, controllers, and automation data interactively, using a graphic display. SONAR’s many editing commands can improve the quality of recorded performances, filter out certain types of events, and modify the tempos and dynamics of your projects. The Event List view lets you see and modify every detail of your project.
Event Inspector The Event Inspector module is available in the Control Bar. The Event Inspector has the following: • Time • Pitch • Velocity • Duration • Channel Figure 208. The Event Inspector module. A C B D E A. Time B. Duration C. Pitch D. Velocity E. Channel To display a note’s properties in the Event Inspector • Select a note. If you select multiple notes, the Event Inspector displays the note value if all selected note values are the same.
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 121. The Piano Roll view The Piano Roll view displays all notes and other events from one or more MIDI tracks in a grid format that looks much like a player piano roll. Notes are displayed as horizontal bars, and drum notes as diamonds.
Figure 209. The Piano Roll view A G B C D E F A. Menu B. Drum Grid pane C. Notes pane D. Controller pane E. Key/Pitch pane F. Track List pane G.
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 746. See also: “Drum maps and the Drum Grid pane” on page 737 Drum Grid pane In the Drum Grid pane you can add, delete, and edit notes and note properties in any MIDI track(s) assigned to a drum map. You can also edit controllers in this pane if you choose to hide the Controller 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. Track numbers, names and output ports appear in the Track List pane. To show or hide the Track List pane, click the Piano Roll view View menu and choose Show/Hide Track Pane.
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. To show or hide the Track List pane, click the Piano Roll view View menu and choose Show/Hide Track Pane. If you want to edit the data in a track, you must make the track you want to edit the current track.
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. All tracks ending in the same digit (2, 12, 22, etc.) share the same color. The default colors can be changed using Edit > Preferences > Customization - Colors.
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 where you can use note names that are defined as part of any instrument definition. For more information about instrument definitions, see “Instrument definitions” on page 1045. To change the active track’s instrument definition 1.
Displaying notes and controllers (Piano Roll view only) The menu across the top of the Piano Roll view lets you quickly hide or show any combination of the data in a MIDI track or in multiple MIDI tracks (see also “Displaying notes and controllers in the Inline Piano Roll view” on page 685). To hide or show data in the Piano Roll view 1.
Adding and editing notes in the Piano Roll You add notes in the Piano Roll view or Inline Piano Roll view by first choosing a note duration in the Control Bar’s Tools module and then clicking in the view with the Smart tool or Freehand tool at the pitch location and time location where you want the note to go. The pitch locations are marked by grey rows for the sharps or flats, and white rows for naturals.
• In the Piano Roll view only (not the Inline Piano Roll view): click or drag the piano keys to the left of the Notes pane or the drum map rows in Note Map pane to select all notes of the desired pitch(es). • In the Inline Piano Roll view: SHIFT-click or SHIFT-drag the piano keys on the MIDI Scale to select all notes of the desired pitch(es). To select notes with the Select tool 1. Select the Select tool in the Control Bar. 2.
To select all notes of certain pitches (Inline Piano Roll view only) 1. Zoom the MIDI Scale in far enough to see the keys clearly (left-click and drag on the MIDI Scale). 2. SHIFT-click a piano key to select all the notes of that pitch, or SHIFT-drag through multiple notes to select them. CTRL-clicking to select multiple non-adjacent notes is not possible in the MIDI Scale.
To adjust a MIDI note’s velocity 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool down. • With the Trim tool , position the pointer near the top center of the note, then drag up/ , position the pointer near the top center of the note, then drag up/down. To adjust a MIDI note’s start/end 1. Set the track’s Edit Filter control to Notes. 2.
To scrub MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Hold down the J key and drag across the notes. To mute/unmute a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , hold down the ALT key and right-click the note. • With the Mute tool , click the note to mute/unmute a single note, or drag over notes to mute/unmute multiple notes. A B C A. Event-Muted (hollow; the note outline uses the Clip Mute color) B.
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 , hold down the ALT key and click where you want to insert a new note. • With the Freehand tool , click where you want to insert a new note. Note: Use the Value control in the Tools module to specify the duration for new note events. To drag-quantize MIDI notes 1. Set the track’s Edit Filter control to Notes. 2. Select the notes you want to quantize. 3.
To erase a MIDI note 1. Set the track’s Edit Filter control to Notes. 2. Do one of the following: • With the Smart tool , right-click a note to erase a single note, or keep the right mouse button pressed and drag over notes to erase multiple notes. • With the Erase tool notes. , click a note to erase a single note, or drag over notes to erase multiple To split a MIDI note 1. Set the track’s Edit Filter control to Notes. 2.
Piano Roll lasso behavior By default, lasso selecting the top of velocity lines in the Piano Roll's Note pane also automatically selects the corresponding note events. If you don't want velocity lines to affect note selection, you can change the behavior by adding a switch to the Windows registry. Warning: Always back up the Windows registry before making any changes. Only edit the registry if you are comfortable doing so. 1. Click the Start button and select Run. 2.
To only show velocity for selected note events Click the Piano Roll view Notes menu and choose Show Velocity on Selected Notes Only. The state of the Show Velocity on Selected Notes option is saved with the project, and the setting is separate for the Piano Roll view and inline Piano Roll. See: “Editing notes with the global tools” on page 665 Selection sensitive velocity drawing If any Note events are selected, velocity painting will only affect those selected Note events.
Hiding events in muted clips By default, events in muted MIDI clips are shown in the Piano Roll view. SONAR provides an option to exclude muted clips from displaying in the Piano Roll view. To show/hide events in muted clips Click the Piano Roll view View menu and choose Hide Muted Clips.
• Selected. If a controller event is selected, both the edit handle and the tail darken in shade the way that selected notes do. See: “Adding controllers” on page 677 “Selecting controllers” on page 678 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.
Working with MIDI data lanes The Controller pane allows you to display and edit non-note MIDI data, such as velocity, modulation, pitch bend and continuous controllers (CCs), in multiple lanes at the bottom of the Piano Roll view. When you open the Piano Roll view, SONAR will automatically create a separate MIDI data lane for each unique data type that is present in the selected track(s).
To delete a lane To delete an existing lane, click the Minus button in the bottom left corner of the lane. If there is only one lane that is opened, this command will close the Controller Pane. Note: Deleting a lane does not delete any MIDI events from the track. To assign an Event Type to a lane 1. Click the lane you wish to assign to a specific event type. The lane appears darker than other lanes to indicate that it is the active lane. 2.
To copy events between lanes When you copy events from one lane to another lane, the MIDI data is transformed to match the edit type in the target lane. 1. Select the event types you wish to copy to another lane. See “Selecting controllers” on page 678 for more information. 2. In the Scale pane, right-click the lane you wish to copy the selected events to. The lane context menu appears. 3. Click Copy selected events to this lane. The selected events are copied to the destination track.
The selected events are moved to the destination track. Note: It is impossible to move selected events to a lane that has an edit type of Velocity; the type of event to transform to would be Note and the pitch could not be specified in this case. In this case, the Move selected events to this lane menu command will be disabled and appear grayed out.
The controller events you added appear as vertical lines, each with an edit handle at the top that you can drag. Each different type of controller event appears with a different color (see “Adding and editing controllers in the Piano Roll” on page 672 for more information). When you use the Draw tool, the speed with which you drag the mouse determines the density of controller events. To insert a larger number of controller events with relatively small changes in value, move the mouse slowly.
Select controllers within note duration When editing MIDI data it is often necessary to align the timing of Controller events with that of Note events. For example, Sustain Pedal (CC64) events need to move along with the notes they are supposed to sustain, and Pitch Wheel events need to move along with the notes whose pitch they are supposed to modify.
Piano Roll Microscope mode The Piano Roll Microscope mode makes it much easier to edit MIDI data without constantly needing to change zoom settings. This is especially useful in the inline Piano Roll where track heights are typically sized such that MIDI notes become very small.
Microscope mode also works with Drum Maps: To enable/disable Microscope mode To enable/disable Microscope mode, do one of the following: • Click the Piano Roll view View menu and choose MIDI Microscope. • Click the Track view View menu and choose MIDI Microscope. • Go to Edit > Preferences > Customization - Editing and select the Microscope check box. How Microscope mode works Position. The Microscope is always centered on the mouse position. Size. The size of the Microscope is configurable.
Configuring Microscope mode options There are several settings that let you configure the size and zoom level of the microscope. To Configure Microscope Mode Options Go to Edit > Preferences > Customization - Editing. The following options are available: Microscope. Use this check box to enable/disable Microscope mode (enabled by default). Diagonal Size. Use this numeric entry box to specify the diameter size in pixels of the microscope. The valid range is 20-250 and the default value is 100.
The Inline Piano Roll view The Inline Piano Roll view lets you edit note and continuous controller events for a single track directly in the Track view. To show a track’s Inline Piano Roll, click the track’s Edit Filter control and choose Notes. If a track uses a Drum Map, the Inline Piano Roll view for that track displays the Drum Map’s note names on the track’s MIDI Scale (see “The MIDI scale” on page 684 for more information).
See also: “The MIDI scale” on page 684 “Displaying notes and controllers in the Inline Piano Roll view” on page 685 The MIDI scale MIDI tracks have a control called the MIDI Scale. This control displays a vertical ruler labeled with MIDI values (in 7bit Values mode) or MIDI notes (in Notes mode), giving you a visual guide for editing notes and controllers. The MIDI Scale is also a vertical zoom control.
To scroll vertically with the MIDI scale • Right-click the MIDI Scale and drag up or down to scroll. To fit a single track’s content into its Inline Piano Roll view • Right-click the MIDI Scale and choose Fit Content from the pop-up menu. Or • CTRL-double-click the MIDI Scale. To audition and select notes • To audition and select a note, SHIFT-click the note’s pitch in the MIDI Scale.
Drawing and editing notes and controllers in the Inline Piano Roll view is the same in the Piano Roll view, with a few minor exceptions (noted in the appropriate topics). To draw and edit notes and controllers in the Inline Piano Roll view, see “Selecting notes” on page 663, “Editing notes with the global tools” on page 665, “Adding controllers” on page 677, and “Selecting controllers” on page 678. You can zoom in to or out of individual MIDI Tracks by dragging the MIDI Scale up or down.
Selecting and editing events SONAR has many editing commands that you can use to modify the events that make up your project. Here are some of the things you can do: • Transpose events, clips, tracks, or an entire project to a different key • Shift events to an earlier or later time • Stretch or shrink material to a different length • Reverse the notes in a clip to create new arrangements • Modify the note velocities The following sections describe these editing commands and how to use them.
Transposing The Process > Transpose command transposes the pitches of selected note events up or down by a fixed number of steps. It does so by changing the MIDI key numbers of note events. Simply enter the number of half-steps—a negative number to transpose down, a positive number to transpose up. SONAR can also perform diatonic transposition, which shifts all the notes up and down the major scale of the current signature by the designated number of steps.
5. Choose Transpose Audio if you want to pitch-shift selected audio clips. If you check this check box. SONAR transposes any selected audio data up or down, but only by half-steps, not diatonically. When this check box is enabled, the following two options become available: • Type. Choose the type of audio data you're transposing.
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.
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. If necessary, adjust the time at which blank space will be inserted. 5. If necessary, change the length of time to insert by entering a number and choosing the units you want from the list. 6.
6. Click any of the other options you want to delete. 7. Click OK. 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. 2. In the Track view, select the clips you want to move. 3.
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 215. The Length dialog 3. Choose to change the Start Times and/or Durations of selected notes by checking the boxes. 4. If you want to stretch selected audio clips, check the Stretch Audio box. When this check box is enabled, the following two options become available: • Type. Choose the type of audio data you're stretching.
To stretch or shrink to a specific length 1. Select the events you want to change. 2. Choose Process > Fit to Time to display the Fit to Time dialog box. Figure 216. The Fit to Time dialog 3. Enter the desired end time in the New Thru box. Click Format to switch between MBT and SMPTE format. 4. Choose one of the following: • Tempo Map. Choose this option if you want the tempo to change but not the duration of notes and events.
High-resolution audio boosted by 6 dB when stretched using MPEX When using a sample rate of 88.2 kHz or higher and performing any operation that uses MPEX time/ pitch stretching, the stretched audio will be boosted by 6 dB. Reversing notes in a clip The Process > Retrograde command reverses the order of events in a selection. If one or more clips are selected, then the events within each clip are reversed. If several clips are selected from the same track, then the order of the clips is also reversed.
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 217. The Scale Velocity dialog 3. Enter the starting and ending velocity values. 4. Check the Percentages box if the values are percentages. 5. Click OK when you are done. SONAR alters the velocity of selected events. Changing the timing of a recording When you record a performance, there may be problems you’d like to correct.
Quantizing Quantizing is one of the most important editing functions in SONAR. You use this feature to correct timing errors you make when recording from a MIDI instrument or to adjust the timing of audio clips. Very few musicians are capable of performing in perfect time. As you play, you are likely to strike some notes slightly before or after the beat or to hold some notes slightly longer than you intended. The Quantize commands can help to correct these types of timing mistakes.
Duration As an option, SONAR can adjust the duration of note events so that each note ends one clock tick before the start of the nearest resolution-sized note. This ensures that the notes do not overlap, which can cause problems on some synthesizers. The adjustment may lengthen the duration of some notes and shorten the duration of others. When you use Groove Quantize, the duration adjustment compares the note length to the duration of the sample note in the groove.
Swing = 50% Swing = 66% Swing = 33% Window When you quantize some portion of a project, you might not want to adjust notes that are very far from the grid. The window, or sensitivity, setting lets you choose how close to the resolution grid a note must be located for quantize to move it. A window of 100 percent includes all notes and guarantees that all notes will be shifted to lie exactly on the grid. The window extends half the resolution distance before and after the quantization point.
To use the Quantize command 1. Select the material you want to quantize using any of the selection tools and commands. 2. Choose Process > Quantize to display the Quantize dialog box. Figure 218. The Quantize dialog 3.
To use the Groove Quantize command 1. Select the track or clip you want to quantize, using any of the selection tools and commands. 2. Choose Process > Groove Quantize to display the Groove Quantize dialog box. Figure 219. The Groove Quantize dialog 3. Choose a groove file from the Groove File field. 4. Choose a groove pattern from the Groove Pattern field. 5.
6. Click Audition if you want to hear how the quantization will sound; press Stop to stop auditioning the change. 7. Make adjustments as necessary. 8. Optionally, type a name in the Preset field (located at the top of the dialog box) and click the Save button to save your settings. 9. Click OK when you are done. SONAR quantizes the selected MIDI information and audio clips. You can use Undo to restore the material to its original state.
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 Windows clipboard. 3. Choose Process > Groove Quantize to display the Groove Quantize dialog box. 4. Choose the Clipboard as the groove “Groove File.” 5. Click the Define button to display the Define Groove dialog box. Figure 220. The Define Groove dialog 6. Select an existing groove file, or enter the name for a new groove file. 7.
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. Click the Delete button, and confirm that you want to delete the groove pattern. 6. Repeat steps 3 to 5 for each groove you wish to delete. 7. Click Close when you are done to return to the Groove Quantize dialog box.
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. In fact, if you record without using a metronome, you are very likely to end up with a recording that does not fit onto a fixed tempo grid.
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. The Set/Measure Beat At Now command allows you to create new bar lines to fit your project. This command does not stretch audio.
5. Enter the desired measure and beat values, and click OK. Note: SONAR attempts to guess the correct measure/beat, so you usually can just click OK to accept the default values. 6. Move the Now Time to the next desired beat (click the start of the next note).. Tip: Press TAB to jump to the next note, or SHIFT+TAB to jump to the previous note. 7. Choose Project > Set Measure/Beat at Now to open the Measure Beat/Meter dialog, enter the desired values, and click OK. 8.
Snap to Scale When Snap to Scale is enabled, any notes that you draw in the Piano Roll view (or Inline Piano Roll view) stay within the selected scale. Also, any notes that you move with the Select tool stay within the selected scale. When Snap to Scale is enabled, both Piano Roll views display grey rows at the pitch levels that are not in the selected scale. Also, both the Select tool and the Draw tool display a tuning fork icon when you create or modify notes to show that Snap to Scale is enabled.
To choose a scale for a single track • Do either or the following: • In the Track Inspector, click the drop-down arrow in a track’s Scale control, and choose a scale note from the menu that appears. The scale options in the menu contain both factory-supplied scales and ones that you create and/or edit. • In the Piano Roll view, right-click a track’s name in the Track List pane, and choose Scales > (kind of scale) > (name of scale) from the pop-up menu. To create a scale 1.
6. When you’re through choosing scale degrees, click the Close button to save your changes. If you want to delete your scale, just highlight it in the Scale field, and click the Delete button . To edit or delete a scale 1. Open the Scale Manager dialog (click the drop-down arrow in the Scale menu, and choose Scale Manager from the menu, or the right-click menu in the Track List pane of the Piano Roll view). 2. In the Scale Family field, click the scale family that the desired scale is filed under. 3.
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. • Adjust to Previous, Lower Note.
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.
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 Pitch Wheel Value Table 131. The event filter only accepts events that meet all the specified ranges.
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. You can use the Edit > Select > All command to select all events in the current view. The Track view cannot display individual selected events.
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.
Parameter Search range Replacement 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 Effect Table 133. Controllers, RPNs, NRPNs, and Automation Data SONAR projects contain a lot more information than the notes and digital audio files that are at the heart of your work.
Controllers 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. Say you’re playing a guitar sound on your synthesizer, but it sounds lifeless and dull.
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 the online help topic ““Automation” on page 945”. Velocity, Pitch Wheel, and Aftertouch SONAR lets you display and edit several other types of data the same way you do controller data.
Figure 224. The Event List view A B C D E F 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). During playback, the event list scrolls to display the events at the current time.
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 • The time of the event, displayed in MBT (measures:beats:ticks) format • The event type, or kind of event The remaining parameters vary by event type.
Short name Type of event Parameters Shape Events Automation graph segments made up of a solid line between two nodes Change in values, kind of shape, and length in MBT format. Note: Shape events cannot be edited, only deleted.
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. Select multiple, contiguous events using the arrow keys Hold down the CTRL and SHIFT keys while pressing the up or down arrows.
Editing events and event parameters The Event List view lets you add, delete, or change events one by one. You can also print the list of events or audition the events one at a time to see how they sound. You can change the parameters of any event by moving the rectangular highlight to the cell you want to change and doing one of the following: • Type a new value and then press ENTER. • Press the - and + keys on the numeric keypad to decrease or increase values by a small amount.
To delete several events 1. Select the events you want to delete by clicking, dragging, or CTRL or SHIFT-clicking in the first column of the Event List view. 2. Choose Edit > Cut. SONAR deletes the selected events. To print the Event List 1. Choose File > Print Preview to display a preview of the printed event listing. 2. Click the Zoom button (or just click the page) to zoom in and out, and use the PAGE UP and PAGE DOWN to review the pages. 3.
SONAR uses the following notation to display flats and sharps in this and other views: Character Meaning b flat # sharp " double flat x double sharp Table 138. MCIcmd events Media Control Interface (MCI) commands are special events that let you control other multimedia hardware and software (e.g., CD-ROM drives, laserdiscs, sound cards, animations, video) during playback. MCI commands are part of the multimedia extensions in Windows.
MIDI effects (MIDI plug-ins) SONAR provides the ability to use plug-in MIDI effects. Using plug-in effects is similar to using the MIDI processing commands off-line. The overall procedure is as follows: • Select the MIDI data to be affected. • Right-click the selected clip(s) and choose Process Effect > MIDI Effects on the pop-up menu. • Set effect parameters (or select a preset if you’ve made one for this purpose). • Click Audition to preview the music with the effect applied.
MIDI effects presets The MIDI effects dialogs support the use of presets. For information about presets, see “Presets and property pages” on page 837. Quantizing Figure 225. 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 Start Times Quantize event start times. Durations Quantize event durations. Resolution The spacing of the grid used for quantization.
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. 4. Click OK. SONAR applies the specified quantization to the selected data. Adding Echo/Delay Figure 226. MFX Echo/Delay The Echo Delay command creates a series of repeating echoes of each note.
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. 4. Click OK. SONAR applies the specified echo effect to the selected data. Filtering events Figure 227. MFX Event Filter The Event Filter command lets you remove events from the MIDI data, keeping or passing through only those events that you specify.
Adding Arpeggio Figure 228. 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. The parameters used to specify the arpeggiator effect are as follows: Parameter/Option Meaning Swing (%) The distortion of timing used to produce a swing feel.
Parameter/Option Meaning Use chord control The chord you specify. Checked specifies that the arpeggiator infers the chord from the notes played in the range. It identifies the chord in the Chord recognized box and uses it to play arpeggios for notes outside the range. Lowest note The MIDI number of the lowest note the arpeggiator uses for chord recognition (0 to 126). Span (Notes) The number of half-steps in the range. Numbers run from 1 to 127.
The Chord Analyzer has a single parameter: Parameter/Option Meaning Analysis window The frequency with which the Chord Analyzer samples the chord. Lower numbers (smaller intervals) are more accurate, but require more computation. Table 143. 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. SONAR displays the chord and its name.
The velocity effect options are as follows: Parameter/Option Meaning Set all velocities to X Sets all velocities to the specified value. Change velocities by X Adds a specified increment to all velocities. Scale velocities to X% of their current value Multiplies all velocities by a constant factor. Change gradually from X to Y Creates a smooth velocity change across the selection. Change gradually from X% to Y% Scales velocities by a gradually changing factor.
Transposing MIDI notes with the Transpose MIDI effect Figure 231. MFX Transpose You can perform simple chromatic or diatonic transpositions, transpose from one key to another, or define your own custom transposition. The transpose options are as follows: Parameter/Option Meaning Interval Specifies chromatic transposition. Transposes notes by the specified number of steps. Diatonic Specifies diatonic transposition. Transposes notes by the specified number of scale steps within the specified scale.
To transpose MIDI data 1. Select the data to be affected. 2. Right-click the selected clip(s) and choose Process Effect > MIDI Effects > Cakewalk FX > Transpose on the pop-up menu. 3. Set the transposition options as described in the table above. 4. Click OK. SONAR transposes the selected data according to the options you specified.
Editing MIDI events and continuous controllers (CC) MIDI effects (MIDI plug-ins)
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.
Creating and editing a drum map You can create a drum map by either modifying an existing drum map or by creating a new drum map. See: “The Drum Map Manager” on page 738 “The Map Properties dialog” on page 741 “Saving a drum map” on page 741 The Drum Map Manager In the Drum Map Manager dialog you can create and save drum maps for use with hardware or software synths and samplers. You can customize drum maps to select specific sounds on any of your available sound sources.
Figure 232. The Drum Map Manager section A B C D E F G A. New Drum Map button B. Delete Drum Map button C. Current Drum Map D. Click to create a new row E. Preset list F. Rows G. Port/Channel pairs Drum maps used in current project This field displays all the currently available drum maps. click the New button to create a new drum map and Delete to delete a drum map. Select a drum map to display the drum mappings in the Drum Map Manager.
Settings The Settings section is where you map the following for each In Note (source): • In Note. • Out Note. The source MIDI note value. The MIDI note value that plays on the destination sound source. • Name. The user-defined name for the row. • Chn. The channel on which the note is transmitted. • Out Port. The hardware output port or software virtual output port to which you are sending the note. • Vel+. Apply a velocity offset setting to an individual mapped pitch. • V Scale.
The Map Properties dialog The Map Properties dialog lets you change all the settings for an individual mapped note in your drum map. The settings in the Map Properties dialog are the same as a single row in the Drum Map Manager. If you want to edit more than one drum note pitch mapping, click the Map Mgr button to open the Drum Map Manager dialog. Figure 233. The Map Properties dialog To open the Map Properties dialog • Double-click on a row in the Note Map pane.
Using drum maps The following topics cover using drum-mapped tracks, including how to display drum tracks in the Drum Grid pane and how to edit note velocities.
To open all tracks assigned to a drum map 1. Select a single track assigned to the drum map. 2. Hold down CTRL+SHIFT while selecting Views > Piano Roll.
Velocity tails In the Drum Grid pane, you have the option of showing the velocity of each note as a series of bars. The higher the bars, the higher the velocity value. Figure 234. Velocity tails can be shown or hidden A B A. Notes with velocity showing B. Notes without velocity showing To display velocity tails in the Drum Grid pane Click the Piano Roll view Notes menu and choose Show Velocity Tails.
To edit multiple note velocities in the Drum Grid editor When you edit multiple notes that have different initial velocities, the velocities are adjusted on a relative basis, so if you reduce a velocity by 50%, all other selected notes have their velocities reduced by the same percentage. For example: you select three notes. The first has a velocity of 100, the second a velocity of 50, and the third a velocity of 30. You click and drag the velocity of the first note down to 50.
The Note Map pane The Note Map pane displays the current drum map. In the Note Map pane each row represents a pitch. The Note In pitch is the recorded pitch. You map the recorded pitch to whatever pitch you want using the Note Out pitch setting. You can also change the name of the mapped note and mute or solo the mapped note.
To change the Note Out setting The Note Out setting is the actual note you hear when the Note In value is played. To change the Note Out setting, use the following procedure: 1. In the Note Map pane, double-click on the appropriate row. The Map Properties dialog appears. 2. In the Map Properties dialog, enter a new value in the Note Out field and press the ENTER key, or use the +/- buttons to change the value and press the ENTER key. To change multiple Note Out settings 1. Open the Drum Map Manager. 2.
The Drum Grid pane The Drum Grid pane is where you edit your drum tracks. The Drum Grid pane is the top pane in the Piano Roll view and opens automatically when you open a MIDI drum track. The Drum Grid pane is for MIDI drum tracks what the Note pane is for other MIDI tracks. In the Drum Grid pane you can add, delete and edit notes and note properties. You can edit controllers in this pane if you hide the Controller pane.
Editing audio The Track view lets you edit and arrange audio clips. You can perform basic tasks such as cut, copy, paste, and move; apply simple audio processing such as gain change, fades, and equalization; and use sophisticated audio effects such as stereo chorus and reverb. The Track view lets you see your audio clips on a timeline, arranged by track, to help you visualize the organization of your project’s audio data.
Digital audio fundamentals Digital audio is a numeric representation of sound; it is sound stored as numbers. In order to understand what the numbers mean, you need to start with the basic principles of acoustics, the science of sound.
The actual distance the string moves is called its displacement. This is proportional to how hard the string is plucked. A greater displacement results in a louder sound.
Fundamental frequency (1f) 100% amplitude 2x fundamental (2f) 50% amplitude 3x fundamental (3f) 33% amplitude 4x fundamental (4f) 25% amplitude 5x fundamental (5f) 20% amplitude This composite waveform still doesn't account for the uniqueness of the sound of different instruments. For example, stringed instruments usually have a resonator. In the case of the guitar, the resonator is the big block of hollow wood to which the string is attached (the guitar body).
Waveforms A sound wave can be represented in many different ways: as a mathematical formula, as a series of numbers, or graphically as a waveform. A waveform displays the size, or amplitude, of the vibration as a function of time.
The three waveforms shown above are quite different from one another, both in appearance and sound. Each has its own characteristic shape, or envelope, and each has its own complex combination of frequency components, which can change across the duration of the sound. The center line of a waveform is the zero line; it corresponds to the rest position (displacement of 0) of the original vibrating object. (A waveform for perfect silence would be a horizontal line at zero.
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. There are two important aspects of this measuring process.
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).
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. For more information, see “Audio file management” on page 1095. You can export your project in MP3, WMA, or Wave format.
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 147.
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 309. Audio scaling Audio scaling is the increase or decrease in the size (scale) of the waveform in a track or bus.
• Zoom Factor. Shows audio scaling by a factor. For example, if the Zoom Factor reads 10, then the waveform is zoomed in by a factor of 10. 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. Also, the Audio Scale Ruler only displays numbers when it is above a certain height.
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. When you hold down the SHIFT and CTRL keys and position your cursor over the Vertical Zoom Out button, your cursor looks like this: Table 149.
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. Splitting audio clips You can split long audio clips into shorter ones.
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. Bouncing to clips Individual audio clips in the same track can be combined into a single clip with the Bounce to Clip(s) command. Note 1: Like any clips, slip-edited clips can be combined with other clips using the Bounce to Clip(s) command.
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 Clips menu and choose Bounce to Clip(s). The Bounce to Track(s) dialog appears. 3. Select the track you want to bounce to in the Destination field. 4. Select other options in the Mixdown Audio/Bounce to Track(s) dialog and click OK. The clips are combined into a single clip on the destination track. Empty space between clips is filled with silence in the new clip.
Basic audio processing Audio processing commands let you modify audio data according to some rule or algorithm. The rule can be as simple as reversing the audio data or boosting it by a certain factor, or as complex as performing a Fourier analysis and selectively amplifying or attenuating sounds at certain frequencies. Audio processing commands can work on whole, partial and non-contiguous clips. For example, suppose you want to make certain words in a vocal passage softer.
Using the Normalize and Gain commands SONAR provides several commands to boost or cut the volume of audio data. The Process > Apply Effect > Normalize command, and the Process > Apply Effect > Gain commands are used to control the volume of selected audio data, in decibels. For more information about the decibel scale, see “The decibel scale” on page 756. The Normalize command “normalizes” the audio data: it boosts the volume until the maximum amplitude is reached somewhere in the data.
5. If you want to invert the left channel phase, click the Invert left-channel phase button . If you want to invert the right-channel phase, click the Invert right-channel phase button in the New Right Channel section. 6. If you want to remove center material (usually where the vocal track is), set the New Left Channel-From Left slider and the New Right Channel-From Right slider to 100%, and set the New Left Channel-From Right slider and the New Right Channel-From Left slider to -100% (negative 100%). 7.
Advanced audio processing SONAR provides a number of advanced audio processing commands for power users. Among these are commands to remove silent sections of audio from the data and to apply fades, and crossfades. See: “Removing silence” on page 768 Removing silence The Remove Silence command detects sections of audio that fall below a given loudness threshold, and replaces those sections with absolute silence.
Parameter Meaning Hold Time (ms) The minimum time for the gate to stay open. Hold Time is useful when you’ve set high open and close levels, for example, when your source signal is very loud. Noise gates set this way tend to react to repeated percussive passages (such as drum rolls) by repeatedly opening and closing; this can sound unpleasant. By setting a hold time, you can ensure that the gate stays open long enough during percussive passages.
Removing DC offset Some models of audio hardware produce a DC offset while recording, which is caused by electrical mismatches between the audio hardware and the input device or instrument. Although imperceptible, DC offset may cause problems in further stages of sound processing. Note: An easy way to spot DC offset is to zoom in to a silent section of your sound file. If the silent waveform matches the centerline in the waveform display, your file does not contain DC offset.
Although the endpoints of the curve are fixed, you can move the intermediate points, and create new intermediate points, to change the shape of the curve. To do this Do this Move a point Click and drag it to a new location Insert a new point Click on the line between existing points Remove a point Drag it onto the next point Restart from the original curve Click Reset Table 154.
To crossfade two overlapping clips 1. Select two overlapping audio clips. They need not be on the same track, but they must overlap in time for the command to have any effect. 2. Choose Process > Apply Effect > Crossfade to open the Crossfade dialog box. 3. Select an envelope from the drop-down list. Figure 237. The Crossfade dialog 4. If desired, manipulate the curve as described in the table above.
• In the Track view, Track Inspector or Console view, right-click the effects bin and select an effect from the pop-up menu. • Set effect parameters (or select a preset). • Listen to the track and adjust parameters based on what you hear. You can add audio effects, like MIDI effects, to audio tracks in real time (during playback) in the Console and Track views. Unlike some of the audio processing discussed so far, using effects in real time is non-destructive.
Destructive audio effects processing You can also directly apply an audio effect to an audio clip. Right-click the clip and select an effect from the Process Effect menu. Set the effect parameters, and click OK to start processing.
Software instruments SONAR’s Synth Rack (the Synth tab in the Browser) makes inserting a soft synth or ReWire instrument a one-step process, and makes viewing and configuring these instruments simple. In the Synth Rack you can insert and delete synths, create control knobs to control and/or automate parameters, scroll through patches and presets, mute, solo, freeze, and choose what track to display automation data on. You can easily control all of your soft synths from one view.
Synth Rack To open the Synth Rack, open the Browser and click the Synth button . The Synth Rack lets you view, insert, delete, and configure your soft synths. You can also mute, solo, and freeze any or all of them from this view. Each time you insert a soft synth into your project, a new row appears in the Synth Rack with the name of the soft synth and its current preset. You can select different presets from the view.
For more information about the Synth Rack, see “Using the Synth Rack Browser” on page 558.
For step by step instructions, see: “Inserting soft synths” on page 778 “Waveform preview for buses and synth tracks” on page 828 “ReWire instruments” on page 795 “Freeze tracks and synths” on page 829 See also: “Using instrument tracks” on page 781 Inserting soft synths Note: SONAR X1 Producer and Studio can use unlimited plug-ins. SONAR X1 Essential can use up to 64 plug-in effects and 16 software instruments.
To insert a soft synth from the Synth Rack or menu 1. If you want to use the Synth Rack, open the Browser and click the Synth button the Insert button , then click to display the pop-up menu of installed soft synths. 2. If you want to use the menu command, use the Insert > Soft Synths command to display the pop-up menu of installed soft synths. 3. In the pop-up menu, click the name of the soft synth you want to insert.
5. Click OK to close the dialog and insert the synth. SONAR adds the soft synth to the audio track Input and MIDI track Output menus, and creates any new tracks that you requested. The new tracks already have the correct inputs and outputs patched. Now you can record MIDI data in the soft synth MIDI tracks, and/or play the soft synth from a MIDI keyboard or controller. See “Playing a soft synth” on page 786. To insert a soft synth in an effects bin 1.
Using instrument tracks SONAR has a track type called instrument track, which makes it very simple to work with soft synths. An instrument track is essentially two tracks—a MIDI track and an audio track, both associated with the same soft synth—contained in a single track strip. An instrument track allows you to control the MIDI data that is sent to a soft synth and the audio signal that is returned from the soft synth.
Figure 241. Instrument track strip Instrument track controls Because an instrument track is a hybrid between an audio and a MIDI track, an instrument track strip contains both audio and MIDI controls. The instrument track strip exposes MIDI input and audio output controls. Internally, the MIDI output is assigned to the soft synth’s MIDI input, and the audio input is assigned to the soft synth’s main output.
Control type Audio MIDI MIDI Channel X Bank X Patch X Time+ X Pitch+ X Sends X Snap to scale X Effects bin X Meter X Track scale (When track is frozen) X Table 155. Editing in the Clips pane By default, MIDI clips are displayed and can be edited in the Clips pane. MIDI track and clip envelopes are not available. If an instrument track is frozen, audio clips are displayed and can be edited in the Clips pane. Audio track and clip envelopes are also available.
Splitting an instrument track to separate audio and MIDI tracks You can split an instrument track into separate audio and MIDI tracks. The audio and MIDI tracks will remain assigned to the same soft synth. • Click the Track view Tracks menu and choose Split Instrument Track. The instrument track is converted to separate audio and MIDI tracks, both assigned to the soft synth.
Synth Rack icons Each Synth Rack strip displays a synth icon so that you can easily tell one synth from another when the rack contains multiple synths. Icons have the same image format and file location as track icons, and use the same commands to show or hide the icons. Synth Rack Icons are enabled in SONAR by default, and the default icon for each synth is track_icon_dxi_large.bmp. The Synth Rack only displays large format icons, fixed at 48x48 pixels.
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. • You can play the soft synth in real time from a MIDI controller or keyboard. To avoid excessive latency, your sound card must be using a WDM or ASIO driver.
3. Insert a soft synth into your project (see “Inserting soft synths” on page 778, if necessary). Note: If you patch a soft synth into a bus that has no audio track assigned to it, the soft synth does not sound. Always use a bus that has at least one audio track sending data to it. 4. In the MIDI track that sends its output to the soft synth, choose a MIDI channel. 5. Open the soft synth’s interface (see “Opening a soft synth’s property page” on page 784).
Muting and soloing soft synth tracks SONAR automatically places any synth and MIDI tracks that use soft synths into a group that makes muting and soloing the tracks easy: • To mute or solo a MIDI track that is patched to a synth track, simply mute or solo the MIDI track— SONAR automatically mutes or solos the correct synth track. If another MIDI track uses the synth track as an output, SONAR leaves the synth track unmuted.
The Insert Soft Synth Options dialog gives you the option of automatically creating a separate synth track for each audio output that the soft synth has, or creating just one synth track for Output 1 of that particular soft synth. Each new copy (also called an instance) of a soft synth is considered to be a separate instrument, and appears in a separate row in the Synth Rack, with a number after its name representing which copy it is.
SONAR creates new audio tracks from the outputs you selected. When you’re through converting, don’t forget to mute your MIDI tracks so you won’t hear them and the new audio track(s) at the same time. Note: You control the bit depth of all rendering operations (bouncing, freezing, applying effects) in Edit > Preferences > File - Audio Data, in the Render Bit Depth field. The default value of 32 is the best for most situations. See “Bit depths for rendering audio” on page 1112 for more information.
Using the Assignable Controls feature You can create knobs on the Synth Rack to control any of a synth’s automatable parameters (each knob learns what parameter to control when you create the knob). This makes it easy to adjust the controls that you use most often on a particular synth, and also lets you record automation from the Synth Rack. After you create some control knobs, the next time you insert the same synth, you can choose to display the same control knobs that you used previously.
The Synth Rack displays knobs for the controls you selected, with the each knob’s name displayed below each knob. Now you can adjust some of the synth’s parameters by moving the appropriate knob in the Synth Rack. See also: “Recording a soft synth’s MIDI output” on page 794 “Automating controls from the Synth Rack” on page 792 “Displaying Synth Rack automation” on page 792 Automating controls from the Synth Rack Note: Your synth’s manufacturer determines which controls (if any) you can automate.
Remote control of the Synth Rack Once you create some control knobs on the Synth Rack, you can assign knobs or sliders on your MIDI controller to control the Synth Rack knobs. See “Using remote control” on page 881 for more information. Drawing soft synth automation in the Clips pane Some synths have controls that you can automate by drawing envelopes in the Track view.
Soft synth MIDI output support Some soft synths produce MIDI output as well as audio output. You can now record the MIDI output of both VST and DirectX instruments that have this feature. Recording a soft synth’s MIDI output SONAR allows you to record the MIDI output of a synth onto another MIDI track in your project. This can be convenient if your synth creates arpeggios, drum patterns, or other MIDI data that you wish to edit as a MIDI clip.
ReWire SONAR can send MIDI events to any object in a ReWire client application on as many MIDI channels as the client application makes available. ReWire instruments ReWire is a technology for transferring audio data between software applications in real time—the software equivalent of a multi-channel audio cable. ReWire is built on the following cornerstones: • Real-time audio streaming between applications • Sample accurate synchronization • Common transport functionality SONAR supports the ReWire 2.
For step-by-step procedures, see: “Inserting a ReWire instrument” on page 796 “To use separate synth tracks for each ReWire device” on page 797 “Automating ReWire instruments” on page 798 “Mixing down ReWire instruments” on page 798 “ReWire troubleshooting guide” on page 799 Inserting a ReWire instrument After you install your ReWire applications and reboot your computer, the names of the ReWire applications appear in SONAR’s Insert menu under ReWire Devices, and also in the Synth Rack’s Insert button pop-
same way, you can uncheck this option so you don’t have to deal with the dialog each time. To open the dialog when the option is unchecked, click the Insert Soft Synth Options button in the Synth Rack. 5. Click OK to close the dialog. SONAR adds your ReWire devices to the audio and synth track Input menus and the MIDI track Output and Channel menus, creates any tracks you requested, adds the ReWire instrument to the Synth Rack, and opens the ReWire application’s interface. 6.
Routing MIDI data to ReWire instruments Some ReWire applications can create large numbers of instruments. You can send a track’s MIDI data to any of these instruments by selecting the specific instrument in the MIDI channel menu of the relevant track. To send MIDI data to a specific ReWire instrument 1. In the SONAR MIDI track that contains the recorded MIDI data you want to send, make sure that the Output menu is set to the correct ReWire device. 2.
ReWire troubleshooting guide The following lists some common issues when you use ReWire with SONAR: • SONAR Won’t Close Properly. Always close your ReWire applications before closing SONAR or a SONAR project. • Rebirth Won’t Play After I Open Its Property Page. Make sure that the Loop switch in Rebirth is enabled. • My ReWire Project Plays at a Different Tempo when Opened from SONAR. When you open a ReWire project from SONAR, the ReWire project assumes SONAR’s default tempo, which is 100.
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.
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 > Import > Audio command. • You can connect your sound card’s outputs to your sound card’s inputs, either internally or externally, depending on your sound card’s design.
Software instruments Stand-alone synths
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.
“Cakewalk Publisher” on page 900 “Freeze tracks and synths” on page 829 See also: “ProChannel (Producer only)” on page 925 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.
The Console view contains the following main elements: • Menu. Use the menu to configure channel strips. You can filter the display of specific channel strip types and modules within channel strips. For details, see “Console view menu” on page 1751 and “To show/hide specific tracks, buses and mains” on page 1754. • Track, Bus and Mains panes.
Configuring the Console and Track views The Console and Track view can be reconfigured in a variety of ways. You can: • Choose the tracks that you want to see • Adjust the display of audio meters and clip indicators • Change the number of buses • Set control snap-to positions • Insert new tracks • Name tracks and buses Note: The Console view has additional controls to configure its appearance. See the online help topic ““Console view” on page 1729” for more information.
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: • Track Record Meters. Displays record meters for any armed track. • Track Playback Meters. Displays playback meters. • Bus Meters. Displays meters in buses. For more information about metering options, see “Changing the meters’ display” on page 822.
To set the snap-to position of a knob or fader 1. Set the control to the desired position. 2. Right-click on the control and choose Value > Set Snap-To=Current. From now on, the control returns to this position when double-clicked. To insert a new track 1. 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. In the Console view, click on the module name.
Mixing MIDI SONAR gives you many tools to control your MIDI mix. When your MIDI tracks sound the way you want them to, there are several ways to convert them to audio (see “Converting MIDI to audio” on page 810). See: “Mixing a MIDI track” on page 809 “Converting MIDI to audio” on page 810 Mixing a MIDI track All MIDI track controls are available in the Track Inspector. A subset of all MIDI track controls are available in the Console view and Track view.
Converting MIDI to audio The following options cover three basic MIDI setups: • If your MIDI tracks play back through a soft synth, use either the File > Export > Audio or the Track view Tracks > Bounce to Track(s) commands (see the procedures in “To export your soft synth tracks as Wave, MP3, or other type files” on page 790, and “To convert your soft synth tracks to new audio tracks” on page 789). • If your MIDI tracks play back through your sound card’s synthesizer, see the procedure below.
Signal flow Clip Input Hardware input Audio clip Soft Synth input Clip mute V-Vocal region Clip fades Input meter (record) Clip envelopes/Clip Mute regions Clip effects bin Track Input Gain Phase/Interleave Playback Meter (pre fader/pre effects bin) ProChannel Effects bin Pre fader sends are affected by M-S buttons unless you change the LinkPFSendMute Aud.ini option.
You control the mixing and playback of an audio track as follows: To do this Do this Add a real-time audio effect to the track Right-click in the effects bin and select an effect from the list (for more information, see “Using real-time effects” on page 833“). Remove an effect Select the effect and press DELETE or right-click and select Delete.
Sidechaining signal flow Track 1 effects bin FX Track 1 Output Sidechainable FX Sidechain input Bus Hardware Output Track 2 Output / Send Sum Bus Output / Send See also: “Sidechaining” on page 842 “Signal flow” on page 811 “External Insert signal flow” on page 848 Routing and mixing digital audio Any audio track can be tapped, before or after the track volume control, and sent to one or more buses. A bus can tap any number of audio tracks.
The audio in each bus is processed by the input gain and pan controls (main output buses don’t have these controls), then processed by any real-time effects you have patched, sent through the bus output level and pan controls, and then sent to the designated main out, in stereo. You can also insert a send control on a bus, and send the bus signal to another bus, or route the output of a bus to another bus.
To do this Do this Add a real-time audio effect to the bus Right-click in the effects bin and select an effect from the list (for more information, see “Using real-time effects” on page 833) Remove an effect Select the effect and press DELETE, or right-click and choose Delete Set the output level Adjust the Output volume Set the output panning Adjust the Pan setting Set the Send Pan to be the same as the bus that the bus feeds into Right-click the Send Pan control and choose Follow Bus Pan from t
8. In the bus, drag the Input Pan and Output Pan controls to the approximate positions you want. 9. Play your tracks and adjust the Send Level controls, the Pan controls, etc. To mute or solo a bus Each bus has a Mute button and a Solo button. These controls act like the Mute and Solo buttons in a track, but they affect all the signal routed through the bus. 1. Open the Track view, Track Inspector or Console view. 2. Click the Mute or Solo button in the bus you want to mute or solo.
Insert Send Assistant The Insert Send Assistant makes it fast and easy to create headphone mixes, effect buses and insert sends to new or existing buses. To open the Insert Send Assistant • Right-click on a track or bus and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog opens. Figure 245. The Insert Send Assistant dialog The Insert Send Assistant dialog has the following options: Send to Existing Bus.
Pre Fader. When Pre Fader is selected, the send signal is before the channel volume fader. As a result, the send level going to the bus does not change when the channel fader changes. Pre Fader is preferred when you want to create separate mixes, such as unique headphone mixes for different performers. By default, the send signal is post fader and comes after the channel volume fader. As a result, the send level going to the bus changes when the channel fader changes.
To insert a send to a new stereo bus 1. Right-click on a track or bus and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog opens. 2. Under New Bus Options, select Stereo and specify any other desired options (see “New bus options” on page 818). 3. Click OK to close the Insert Send Assistant dialog. A new send is inserted and assigned to the new bus. To insert a send to a new surround bus 1.
To insert a send on multiple tracks simultaneously 1. Select all the tracks that you want to insert a send on. 2. Right-click any selected track and select Insert Send > Insert Send Assistant from the pop-up menu. The Insert Send Assistant dialog opens. 3. Under New Bus Options, select Stereo or Surround and specify any other desired options (see “New bus options” on page 818). 4. Click OK to close the Insert Send Assistant dialog. A new send is inserted on all selected tracks and assigned to the new bus.
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 display options you choose Main outs The level of the signal output by each main ou
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 821 “Changing the meters’ display” on page 822 Changing the meters’ display You control the range and kind of units that the various meters display in the Track view, Track Inspector and Console view. The meters in each view can be configured independently.
Menu option What it does Show Bus Peak Markers (Track view only) See “Peak markers” on page 827) Reset All Meters If a track clips, its meter shows a red clipping indicator. Click this button to reset the clipping indicator to its non-clipping state. Peak Choosing this option causes the meter to display the highest amplitude in the signal that occurs in a complete cycle of a frequency.
Enabling mono on a bus/main will affect upstream meters If you make a bus or main out mono by toggling its Mono/Stereo switch, any “upstream” meters— that is, meters on any tracks or buses that are assigned to the mono bus/main out—from the bus/ main out will also display as mono. Note: This only affects the meter display, not any audio that is bounced or exported.
To display segmented or non-segmented meters 1. Go to Edit > Preferences > Customization - Audio Meters. 2. Under Segmented Meters, select Track view or Console view to show segmented meters, or clear the check boxes to show non-segmented meters. For more information, see “Customization - Colors” on page 1612. Changing the meters’ performance There are two major factors that determine the performance of meters in SONAR.
See also: “Customization - Audio Meter (Advanced)” on page 1634 MIDI activity indicators Each MIDI track displays a MIDI playback meter in the Track view, Track Inspector and Console view. The MIDI meter consists of two sections: • MIDI Activity Indicator. The MIDI Activity Indicator lights up whenever a MIDI event is encountered in the track. • MIDI Velocity Meter. The MIDI Velocity Meter shows the greatest current note velocity encountered during playback. A A B B A. MIDI Activity Indicator B.
Peak markers Buses and audio tracks have a feature called Peak Markers. A Peak Marker in each audio track or bus moves along in the Clips pane just behind the Now Time cursor displaying the highest peak found during playback. Peak Markers appear in two different colors: one color if the peak is below 0 dB, and a different color if the peak is above 0dB. By default, peaks below 0dB will be green, and peaks above 0dB will be red.
Waveform preview for buses and synth tracks You can choose to display a waveform for the audio output of a bus or synth track. When you enable the display function, the amplitude of a bus’ or synth track’s audio signal is graphed in real time as a waveform. The waveform turns red wherever clipping is occurring. Waveform preview allows you to visualize a mix and verify levels over the duration of a project, easily detecting peaks and other level problems that may require attention.
Freeze tracks and synths The Freeze feature allows you to temporarily bounce your track, including soft synths and effects, to reduce the amount of CPU power needed. The Freeze feature also works for synths patched in the Synth Rack. The following are the available commands for track freezing: • Freeze Track. Bounces the audio in the track to a new audio clip or clips, applies any effects, and disables the effects bin. • Unfreeze Track.
To Freeze a track Do one of the following: • In the Track view, click the track’s Freeze button . • Right-click on a track and select Freeze > Freeze Track from the menu that appears. SONAR bounces the audio in the track to a new audio clip or clips, applies any effects, and disables the effects bin. To Unfreeze a track Do one of the following: • In the Track view, click the track’s Freeze button . • Right-click on a track and select Freeze > Unfreeze Track from the menu that appears.
To Freeze a soft synth Do one of the following: • In the Track view, click any associated track’s Freeze button . • Right-click a synth track or a synth’s MIDI track, and choose Freeze > Freeze Synth from the menu that appears. • In the Synth Rack (Synth tab in the Browser), click the Freeze/Unfreeze button . SONAR bounces the synth’s audio data to the synth track. SONAR disables the synth’s output, and disables the effects bin on the synth track.
To Quick Freeze a synth Do one of the following: • Click any associated track’s Freeze button . • Right-click a quick unfrozen synth track or synth MIDI track, and choose Freeze > Quick Freeze Synth from the menu that appears. • In the Synth Rack, click the Freeze/Unfreeze button Synth from the menu that appears.
Using real-time effects You can use plug-in effects non-destructively, in real time (to apply effects offline, see “Applying audio effects” on page 875), from the Track view, Track Inspector and Console view. You can also hear your plug-in effects in real time on any live instruments you are recording—just make sure Input Monitoring is enabled (see “Input monitoring” on page 275). You can also insert effects directly on clips (see “Effects on clips” on page 840).
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. The dialog boxes for real-time effects contain the same parameters as the offline effects, though there are a few differences: • You can adjust the parameters while playback is in progress, so there is no need for an Audition button.
A B A. An effects bin in a track in the Console view B. An effects bin in a bus in the Console view Here’s how to insert and configure effects: To do this Do this Add a real-time effect to a MIDI track, audio track, synth track or bus. Right-click in the effects bin of the track or bus you want to add the effect to, and select an effect from the pop-up menu. Change the order in which effects are used. Drag an effect up or down in the effects bin. Edit an effect’s parameters.
When you place an effect in an effects bin, an abbreviated name is used to describe the effect. Sometimes the limited space makes it impossible to identify the effect. If this occurs, simply rest the cursor over the effect for a second or two, and a tooltip will pop up to display the full name of the effect. Effects in effects bins display “ticks” that tell you whether the effect is outputting a mono, stereo, or surround signal: A A. Mono indicator A A. Stereo indicator A A. Surround indicator (in 5.
Look-ahead processing at high latencies Some plug-ins, such as the Sonitus:fx Multiband and other dynamics processors, use a look-ahead buffer mechanism, which results in a short delay being introduced to the output signal when the plug-in is used in real-time. SONAR’s automatic delay compensation (ADC) takes care of any delays, but you may experience some anomalies when using such a plug-in to process the output of a DXi-especially if SONAR is configured to use a high mixing latency.
The following table tells you how to use presets: To do this Do this Load a preset Do either of the following: • Click the drop-down arrow on the right side of the Presets menu, and click the name of the preset in the drop-down menu. • Click the left or right side of the Prev/Next button to load the previous or next preset in the menu. You can click the button repeatedly to step through the menu. Save the current settings as a preset If you’re using: • A VST factory preset.
To solo track/bus from plug-in window When tweaking an effect, it is often desirable to only hear the audio that is passing through the effect. A Solo button is available on all plug-in property pages, which allows you to quickly solo the track or bus that the effect is inserted on while adjusting the plug-in. The Solo button functions the exact same way as the Solo button on the source track/bus. Figure 246. A Solo button is available on each plug-in property page A A.
You can selectively unbypass individual effects while in this global bypass state, whick makes it easy to quickly audition a single effect within a mix. Note: You can only globally bypass audio effects, not MIDI effects. To globally bypass all effects in a project • Do one of the following: • In the Control Bar’s Mix module, click the Bypass all Effects button . • Press E. All effects bins in the active project are temporarily bypassed.
• The Track view Clips > Bounce to Clip(s) command follows clip boundaries—effects tails are cut off, unless you slip-edit the end of the clip to leave space. • Freezing a track or synth will also freeze the per-clip effects bins. To insert an effect on a clip Do one of the following: • Right-click the clip, choose Open Clip Effects Bin on the pop-up menu, then right-click the clip effects bin and choose the desired effect. • From the Browser, drag an effect onto the clip.
To apply inserted clip effects 1. If you want to apply the inserted effects on more than one clip, select them. 2. If you want to leave room at the end of any clips for effects tails, slip-edit the ends of the clips to leave some empty space. 3. Click the Track view Clips menu and choose Bounce to Clip(s). After the progress bar disappears, the bounced clips appear with new waveforms to reflect the effects processing. The inserted clip effects are removed from the bounced clips automatically.
• Vintage Channel VC-64 (Producer only) In addition, ProChannel (Producer only) supports sidechaining when using the PC4K S-Type Bus Compressor mode. For details, see “ProChannel (Producer only)” on page 925. Limiting the number of plug-in sidechain inputs By default, a multi-channel VST plug-in always exposes the maximum number of input channels it supports. You can limit the number of sidechain inputs that SONAR displays for any given VST plug-in.
To assign a track/bus/send output to a sidechain input 1. Insert the sidechain-capable plug-in in a track or bus effects bin (see “Adding effects” on page 217). The sidechain input is exposed in the list of available output destinations in all Track/Bus/Send Output controls (except for outputs that would result in a feedback loop). 2. Assign the desired audio track, bus or Send output to the plug-in’s sidechain input. For more information, see “Assigning Inputs & Outputs” on page 212.
Freeze and sidechain inputs Freeze does not consider sidechain inputs because Freeze only works on a single audio track at a time. To mix down sidechain inputs, use standard bounce with all sidechain sources selected in the mix.
Figure 248. Vintage Channel VC-64 C A B A. Sidechain Listen B. Enable/disable sidechaining for the current Compressor C. Enable/disable sidechaining for the current EQ For more information, see the Vintage Channel VC-64 online help. External Insert plug-in (Producer and Studio only) The purpose of the External Insert plug-in is to route audio to and from existing I/O ports in SONAR, allowing an external audio device to be effectively patched into any effects bin.
Send VU Meter. This meter shows the signal level being delivered to the external send. Since this is feeding a sound card output, it is important to avoid clipping at this stage. Send Port Picker. This control lets you choose an audio output that currently has nothing routed to it. This is the port that you should connect to the input(s) of your external gear.
Figure 249. External Insert J I K E F G H A B C D A. Send Stereo Mode (Left, Right, Mono) B. Send Level C. Send VU Meter D. Send Port E. Return Phase F. Return Level G. Return VU Meter H. Return Port I. Delay Measurement J. Send section K. Return section Figure 250.
To use an external effect in a SONAR project 1. Make sure your external gear is connected to your audio interface and turned on. The external gear’s audio input must be connected to one of your audio interface’s output ports and the external gear’s audio output must be connected to one of your audio interface’s input ports. 2. Right-click an effects bin and select External Insert from the pop-up menu. The External Insert property page appears. 3.
3. Insert the External Insert plug-in on one of the tracks. 4. Assign the Send and Return to any available input and output on your audio hardware. 5. Patch an audio cable directly between the assigned input and output on your audio hardware. 6. Press Play in SONAR. You should hear both tracks out of time with each other. 7. Carefully match the levels of the two tracks. Tip: While adjusting levels, refer to the numeric peak indicators on the track strip.
Loading a project that uses the External Insert plug-in When you load a project with the External Insert plug-in (or select a preset in the External Insert interface), SONAR checks to see if the exact same ports are assigned as when the project was saved. SONAR’s port assignments can change if you load the project on a different hardware configuration or change driver models.
Effects chains Note: This feature is not available in SONAR X1 LE. 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 251. An FX Chain is a container that can include multiple audio plug-ins. FX Chain container Audio effect 1 Audio effect 2 Audio effect 3, etc. Figure 252. FX Chain. A B A. FX Chain container B.
Using FX Chain presets FX Chain presets can be used in track, clip and bus effects bins. One or many FX Chain containers can reside in a single effects bin, but you can not nest an FX Chain container inside other FX Chain containers. Figure 253. To create a new FX Chain, drag an FX Chain preset from the Browser’s Audio tab to an audio track or audio clip effects bin. Figure 254. Double-click an FX Chain container to open the FX Chain bin. A B A. FX Chain container B.
desired position.. Note: An FX Chain can only be created for audio effects (not for MIDI effects or software instruments). To edit an FX Chain bin 1. Double-click the FX Chain container in an effects bin to open the FX Chain bin. 2. Do one of the following: • To add a new plug-in, right-click the FX Chain bin and select a plug-in from the pop-up menu. You can also drag plug-ins from the Browser. • To re-order plug-ins, drag the plug-ins to the desired position.
name and location in the Save FX Chain Preset dialog. Note: FX Chain presets are stored as FX Chain Preset files (*.fxc). For track and bus effects bins, the default name for the FX Chain preset is the track/bus name. For clip effects bins, the default name is the clip name. To load an FX Chain preset 1. Do one of the following: • Right-click an effects bin and choose Load FX Chain Preset on the pop-up menu. Select the desired FX Chain Preset file (*.fxc) in the Load FX Chain Preset dialog and click Open.
To replace effects bin contents with an FX Chain preset Hold down the ALT key while you drag an FX Chain preset to an effects bin. The effects bin is cleared and replaced with the FX Chain container. To replace the effects bin content and automatically extract the plug-ins from the FX Chain preset, hold down ALT+SHIFT while you drag an FX Chain preset to an effects bin. To move plug-ins between FX Chain containers 1.
VST configuration SONAR automatically scans your VST folders for new plug-ins on startup, registering any unscanned VST plug-ins so that they become available in SONAR’s plug-in menus. You can turn off automatic scanning in Edit > Preferences > File - VST Settings by clearing the Scan For VST Plug-ins On Startup check box.
• Force stereo operation. If you need to use mono plug-ins in situations that requires stereo, you can enable this option to run the plug-ins in stereo mode. This option simply creates two identical output streams from the plug-ins where only one existed. • Do not intercept NRPNs. SONAR uses NRPNs to run automation of your VST plug-ins.
• Always suspend on play. When Always suspend on Play is selected, the plug-in will reset when playback starts. Select this option for any VST instruments that have problems with stuck notes when stopping the transport. The Always suspend on Play property is also useful for effects that generate a tail, such as delays and reverbs. The effect is that you will hear the tails when the transport stops, but not when the transport rolls again. Always Suspend on Play is disabled by default. 4.
To set options for individual VST plug-ins 1. On the Utilities menu, click Cakewalk Plug-in Manager to open the Cakewalk Plug-in Manager. 2. In the Plug-in Categories list, select VST Audio Effects or VST Instruments. 3. In the Registered Plug-ins list, select the desired plug-in. 4. Under VST Configuration, click Plug-in Propertires to open the VST Plug-In Properties dialog. 5. Select the desired options, then click OK to close the VST Plug-In Properties dialog.
To move, edit, or copy a V-Vocal clip • Use standard editing commands (nudge, drag-and-drop, slip-edit, etc.) to move, edit, or copy the clip. When you move a V-Vocal clip, the original audio clip is revealed underneath it. You can unmute the original clip by using the Mute tool. You can also or create your own key binding to launch the V-Vocal editor. Note: Offline processing commands such as Process > Apply Effect > Normalize and Process > Apply Effect > Gain do not work on a V-Vocal clip.
Using V-Vocal (Producer and Studio only) V-Vocal is a vocal processor that does pitch correction on notes and phrases, corrects timing, edits formants and dynamics, and can add vibrato. The following topics describe using the V-Vocal interface to process audio data. For information about inserting and managing V-Vocal in SONAR, see “V-Vocal clips (Producer and Studio only)” on page 860. Here’s a description of the interface: Figure 256. V-Vocal A B C D E F G H I J S R Q T K L P O N M A.
• Formant control. The Pitch Follow knob increases or decreases the formant according to pitch. The Shift knob increases or decreases the formant for the entire phrase. • Pitch Correction • Keyboard and Scale buttons. Assign the target notes with the Keyboard button; each key has a Bypass button (B) located under or over the key. The Scale button lets you assign the target notes by scale: click the Scale button, click Maj or Min, and click a note on the Keyboard button to choose the root of the scale.
Playing back V-Vocal clips You can play back V-Vocal clips by clicking the buttons at the top of the V-Vocal interface. Besides playing the V-Vocal clip, you can mute it, solo it, loop it, and rewind it. Clicking in the time ruler at the top of the graph moves the playback time. To play a V-Vocal clip • To play a V-Vocal clip, click the Play button in the V-Vocal interface, or press the SPACEBAR. • To stop playback, press the SPACEBAR, or click the Stop button.
• The green dot is a Node. Nodes are automatically assigned to the start and end of the edited region. You can select the specific region between the nodes if you click the yellow line between the nodes. • The white horizontal line is called Center Pitch. Center Pitch is used as a baseline for increasing or decreasing vibrato or for pitch correction. To change the pitch of a selected region 1.
In addition, try adjusting the Pitch Follow parameter in the Formant Control section as follows: • Set the value close to 100 if you'd like to do subtle pitch correction. • Set close to 0 if you'd like drastic rephrasing. To draw freehand pitch changes 1. Click the Pen tool. 2. Draw a shape on the graph. To draw straight line pitch changes 1. Click the Line tool. 2. Draw a line on the graph. To correct pitch 1. Select the region you want to correct by using the Arrow tool. 2.
To conform pitches to a Scale 1. Use the Arrow tool to select the region where you want to correct pitches. 2. Click the Scale button so that it is enabled (light blue). 3. Click a Maj or Min button to select a major or minor scale, respectively. 4. Click a note on the Keyboard button to select the root note of the scale. The notes of the scale you selected turn light blue on the Keyboard button. 5. Click the Correct button. The selected area conforms to the light blue notes on the keyboard.
Editing time To edit timing with V-Vocal, the Time button in the Edit Mode section must be enabled. To edit time 1. Make sure the Time button is enabled. 2. Move the Arrow tool near the vertical center of the graph until the cursor changes to the double arrow, and click at each point where you want to preserve the original timing. A vertical green line appears at each point that you click. 3. Now add new green lines between the existing ones. 4.
To shift the formant of a region 1. Use the Arrow tool to select the region you want to shift. 2. Drag the red line in the region up or down. When you drag the red line, nodes are automatically created at the start and end of the selected region. You can drag the nodes to create different shapes. Tips: • Double-clicking the red line in a selected region adds nodes to the place where you click, and also to the start and end of the selected region. • You can do freehand editing with the Pen tool.
Context menu If you right-click the graph, the V-Vocal context menu appears. The menu has the following commands: • Undo. Use this command to undo your last editing action. You can use this command repeatedly to undo a series of editing actions, starting with the latest. • Redo. Use this command to redo an editing action that was just cancelled by an Undo command. • Select All. Use this command to select the whole phrase. You can deselect a selection by clicking away from the waveform. • View.
V-Vocal pitch-to-MIDI V-Vocal is able to convert pitch to MIDI. V-Vocal data can be dragged from V-Vocal and dropped onto a MIDI track in SONAR’s Clips pane. Pitch to MIDI settings To open the Pitch to MIDI Settings dialog, right-click in the V-Vocal Edit pane and select Pitch to MIDI Settings from the pop-up menu. There are two parameters that affect the generated MIDI data. Pitch Bend Range. This setting is used to specify the pitch bend range to use when converting fine pitch changes to MIDI.
Command Shortcut Zoom vertically CTRL+UP/DOWN ARROW keys Zoom horizontally CTRL+LEFT/RIGHT ARROW keys Fit entire region into display SHIFT+F Fit content vertically F Pitch edit mode 1 Time edit mode 2 Formant edit mode 3 Dynamics edit mode 4 Cycle through all modes SHIFT+LEFT/RIGHT ARROW keys Play/Stop SPACEBAR Rewind W Bypass B AutoScroll A Loop on/off \ Undo CTRL+Z Redo CTRL+SHIFT+Z Cancel drag gesture ESC Select All CTRL+A Select None CTRL+SHIFT+A Return selection
Using the per-track EQ (Studio and Essential only) SONAR has a 4-band EQ patched into each audio track by default. You can adjust these EQ’s in the Console view and the Track Inspector. You can show or hide the EQ plot, and open the EQ interface to access all EQ controls. The EQ Plot module lets you adjust the per-track equalization curve. To access additional equalizer controls, double-click the EQ plot. Figure 257. EQ Plot module. A A. EQ plot Figure 258.
To configure the EQ • Double-click the track’s EQ plot to open the Sonitus fx: EQ property page. Please see the Sonitus fx: EQ online Help for detailed information. To change the plot resolution • Right-click the EQ plot and choose the desired plot resolution on the pop-up menu. To copy EQ settings SONAR lets you easily copy EQ settings from one track/bus (source) to another track/bus (target) when using the integrated per-channel EQ in the Console View or Track Inspector.
Applying audio effects You can destructively apply audio effects for one or more tracks. When you are pleased with the audio effects you have patched into a track, you can apply the effects to the track. Applying effects to a track saves resources, allowing you to include additional tracks and/or effects Note: When applied effects are undone, they are not re-patched in the effects bin(s). To apply multiple audio effects offline 1.
Using control groups SONAR lets you link faders, knobs, or buttons in the Track view, Track Inspector and Console view into groups. Groups are collections of controls whose movements are linked together. For example: • Two Volume faders or controls can be grouped so that when you increase or decrease the volume of one track, the volume of the other track changes in exactly the same way.
Custom Sometimes you want to define a more complex relationship between the controls in a group. For example: • You want two controls to operate in reverse—when one fader drops, the other increases (cross fade). • You want two volume faders grouped so that they are locked together at maximum level, but drop at different rates. • You want two faders to be locked together with the same range of motion, but a third fader grouped with them to have a different range of motion.
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. Figure 259. The Group Manager dialog 2. Choose Absolute or Relative as the group type and click OK. SONAR uses the type to determine the range of motion for the group’s controls. To create a custom group 1. Right-click on any control in the group and choose Group Manager to display the Group Manager dialog. 2. Choose Custom as the group type.
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.
• 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 • Input pan • Channel • Bank • Patch • Show/hide layers • Meter scale • Expand/collapse ProChannel (Producer only) 880 Mixing Using control groups
Using remote control This section explains how to assign knobs or sliders on a MIDI controller to control specific parameters on specific tracks. If you have a control surface with groups of faders such as a Tascam US-428 or CM Labs MotorMix, see the online help topic “Working with External Devices.” SONAR‘s Remote Control function lets you use a MIDI device to remotely control knobs, buttons, and sliders in the Track and Console views.
To set up remote control for a knob, button, or fader 1. Right-click on the control and choose Remote Control from the pop-up menu. 2. Choose the remote control type, as described in the table above. 3. Set the note or controller number if applicable. 4. Set the MIDI Channel field to the channel that your controller sends out. 5. Click OK. You can now work the control from your MIDI device.
Bouncing tracks The Track view Tracks > Bounce to Track(s) command lets you combine one or more audio tracks into a submix. A submix can be a mono track, a stereo track or several mono tracks that contain the mixture of the original tracks, preserving the volume, pan, and effects for each track.
Figure 260. 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, select it now in the Preset window. 7. In the Source Category field, select the source you want to use for your bounced track(s) from the following options: • Tracks. Choosing this option creates new separate tracks for each track you highlight in the Source Buses/Tracks field.
10. Select the kind of dithering you want for your bounce, or select None. • In the Mix Enables field, choose the elements you want to include in the mixdown. If you want to exclude muted tracks and/or include only soloed tracks, make sure Track Mute/Solo is checked. Make sure Fast Bounce is checked, otherwise the bounce process will take as long as it takes to play your selected track data in real time. Usually, you also want to check 64-bit Mix Engine.
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.
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”. Note: Freezing a track with sidechain inputs will not include the sidechain input.
Preparing audio for distribution The File > Export Audio command exports your project as a new file or files that you can burn to a CD, or distribute via the Web or email. In addition, SONAR Producer allows you to export surroundencoded files (see “Exporting surround mixes” on page 924).
Format Definition RAW Rarely used, a RAW file can contain audio in any codec but is usually used with PCM audio data. OMF The Open Media Format, created by AVID Technology, is designed to port a project to other applications or platforms. OMF files preserve tracks, clip positions, slip edits and some other project attributes depending on which application is writing or reading the OMF file. Table 167.
8. In the Source Category field, select one of the following options: • Tracks. Choosing this option creates a separate file for each track that you select in the Source Buses/Tracks field. • Buses. Choosing this option creates a separate file for each bus that you select in the Source Buses/Tracks field. • Main Outputs. Choosing this option creates a separate file for each main output that you select in the Source Buses/Tracks field. • Entire Mix.
If you chose Broadcast Wave as the export format, the following information is stored in the file(s): • Description. A brief description of the contents of the Broadcast wave. Limited to 256 characters. • Originator. The author of the Broadcast wave. This information is taken from the Author field in the “File Info dialog” on page 1510. • Originator Reference. A unique reference identifier created by SONAR. • Origination Date. The date the file was created. • Origination Time.
12. Select the bit depth that you want the exported file to use. If your source file is 16 and you export to 24, you get more precision for any audio effects in the mix (and a larger file). If your source file is 24 and you export to 16, you lose some sound definition, but you get some of it back if the Dithering option is on in the Audio Options dialog box (see “Dithering” on page 898 for more information). 13. In the Mix Enables field, choose the elements you want to include in the mixdown.
8. In the Source Category field, select one of the following options: • Tracks. Choosing this option creates a separate file for each track that you select in the Source Buses/Tracks field. • Buses. Choosing this option creates a separate file for each bus that you select in the Source Buses/Tracks field. • Main Outputs. Choosing this option creates a separate file for each main output that you select in the Source Buses/Tracks field. • Entire Mix. Choosing this option creates one file for your entire mix.
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 will appear showing Extra Encoding Options. These options typically determine the bit depth, endian-ness (the byte ordering in memory used to represent the data), and an encoding type within the major file format. Figure 261.
AIFF (Apple/SGI) (extension “aif”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • GSM 6.
FLAC (FLAC Lossless Audio Codec) (extension “flac”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM RAW (Headerless audio file) (extension “raw”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law SD2 (Sound Designer II) (extension “sd2”) • Signed 8 bit PCM • Signed 16 bit PCM • Signed 24 bit PCM W64 (Sony Wave-64) (extension “w64”) • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsign
WAV (Microsoft) (extension “wav”) • Signed 16 bit PCM • Signed 24 bit PCM • Signed 32 bit PCM • Unsigned 8 bit PCM • 32 bit float • 64 bit float • U-Law • A-Law • IMA ADPCM • Microsoft ADPCM • GSM 6.10 • 32kbs G721 ADPCM Exporting OMF files OMF (Open Media Format) files are designed for cross-platform compatibility. For more information about the OMF format, see “Importing OMF projects” on page 299.
4. Split Stereo Tracks Into Dual Mono. See what your engineer wants. If exporting a 24-bit project to a Pro Tools system, enable Split Stereo Tracks Into Dual Mono, as some Pro Tools systems do not support 24-bit interleaved stereo files. 5. Include Archived Tracks. You can choose to include archived tracks in your exported file. 6. Mix Each Groove Clip As A Separate Clip. If you have several Groove Clips in a track SONAR exports them as one clip unless you check this option.
SONAR Producer offers five kinds of dithering: • Rectangular. Essentially white noise, no noise shaping. Advantages: least CPU-intensive, lowest signal-to-noise ratio, preferable to shaped dither when successive dithering can occur (e.g. bouncing, freezing). Disadvantages: suffers from intermodulation distortion, higher perceived loudness than Pow-r dither. • Triangular. Higher level than rectangular, no noise shaping.
Cakewalk Publisher You can use Publisher to create a customized streaming music player with a playlist of your music, upload the player to your personal or band's web site, and embed it in any other web site. You can also update your playlist with album art, links (URLs), and artist, track, & album information. Publisher works by connecting to your web host's FTP account (usually provided when you sign up with a web hosting company and create a web site) and uploading files to a location of your choosing.
Surround Mixing (Producer and Studio only) SONAR fully supports surround mixing (SONAR Essential can open surround projects created in Producer and Studio, converting them to stereo). SONAR can create finished surround mixes in all popular surround formats, including Windows Media 9 Pro. You can use a joystick to control surround panning if you want. Note: It’s always advisable to know the required sampling rate and audio driver bit depth for the target medium that your surround project will be used in.
Surround basics Surround sound is a common name for various techniques for positioning audio in reference to the listener. Whereas regular stereo is limited to left/right positioning, within a relatively narrow field, surround sound opens possibilities of positioning an audio source anywhere around the listener. Surround sound comes in many formats. The differences between the formats are in three areas: • The number of speakers. This varies from 3.2 all the way to 8.1. • The angles of the speakers.
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. However, there are even different flavors of 5.1. The different flavors specify in which order the speakers are arranged, and the speaker angles.
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 • LCR • LRC+LFE • LRS • LFS+LFE • Matrix UHJ • QUAD • 4.1 (SMPTE/ITU) • Quad+LFE • PanAmbio 4.1 • LCRS • Surround (SMPTE/ITU) • Surround Media • LCRS+LFE • 5.1 (Standard 3/2) • 5.1 (Film/Alternative) • 5.1 (Music/Alternative) • 5.1 (SMPTE/ITU) • 6.0 (Hexagon) • 6.
• 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. Surround settings are per project. Surround speaker assignments default to unique audio output channels when you choose a new template.
To choose a surround format and set sound sard 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. 3. In the Output column, assign each channel to a sound card output. Note: Consumer-grade sound cards, such as Audigy or SoundBlaster, typically reserve output 4 for the LFE channel. Check your sound card manual for details.
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. However, you are prevented from creating a signal loop by routing the signal back into a bus that is already in the signal flow.
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. However, you can export your project in stereo, and SONAR uses your downmix settings to create your exported file.
To downmix a project 1. If you do not have a stereo bus in your project, create one by right-clicking in the Bus pane in the Track view or Console view and selecting Insert Stereo Bus from the menu that appears. 2. Go to Edit > Preferences > Project - Surround, select a center downmix level and a surround downmix level, and click OK. 3. In each of the surround buses, assign the output to a stereo bus. 4.
A B A. Micro surround panner in Track view B. Six channel output meter Figure 263. Console view surround panner A A. Medium surround panner in Console view 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.
Controlling surround panning Here are pictures of the large surround panner and medium surround panner: Figure 264. Large Surround Panner A C B A. Angle and focus marker B. Width markers C. Right speaker icon Figure 265.
The large surround panner has some sliders at the bottom that the medium surround panner doesn’t have, except for the LFE Send slider, which the medium panner has. Except for the sliders, the large and medium surround panners have the following controls: • Angle and Focus marker. A small sphere that you can drag in any direction to both control and display the following two parameters: • Angle. This is the perceived angle of the sound source as it differs from the position directly in front of the listener.
To open the large surround panner • Right-click the small surround panner or the pan control in a track, and choose Open Surround Panner from the pop-up menu. Or • Select a track and choose Views > Surround Panner, or press ALT+SHIFT+9. Or • Double-click outside the Surround Panner circle. Or • Press ENTER when the panner has focus. To change the angle • In either the large or small surround panner, drag the Angle and Focus marker to the left or right.
To change the LFE send level • In either the large or small surround panner, drag the LFE slider. Note: Double-clicking any surround panner control will reset the control to its default value, which for the LFE control is -INF. To solo or unsolo the LFE channel • In the large surround panner, click the LFE Solo button.
Shortcut Function Left/Right cursor keys Move to next/previous panner in same track CTRL+up/down Move to surround panner in another track CTRL+NumPad 0-9 Speaker mutes NumPad 0-9 Jump to speaker angle at 100% focus Table 172.
Automating surround panning You can arm or disarm for automation all the controls in a surround panner by clicking any control in the surround panner (except LFE Solo), and choosing Write Enable from the pop-up menu. Potential 'pops' when using surround automation (SONAR Producer only) If you record Angle surround pan automation, please note that a pop may occur as the angle parameter jumps from 0 degrees to 180 degrees.
4. In the Control Bar’s ACT module, select Joystick Panner in the drop-down menu, then click the Controller/Surface Properties button . 5. In the Joystick Panner dialog, select button 1 in the Buttons field, and then select Engage Pan Mode in the Button Actions field. 6. Now select Button 2, and select Engage Pan Nav Mode in the Button Actions field. 7.
Bass management A bass management system takes all the frequencies below a certain frequency (normally 80Hz) from the main channels, and the signal from the LFE channel, and mixes them together into the speaker that is best equipped to handle them. This is usually a subwoofer, but sometimes the left and right front speakers are used if a subwoofer isn’t available.
Surround effects SONAR lets you use your existing stereo or mono effects as surround effects. SONAR does this through the SurroundBridge, which automatically sets up your existing mono & stereo plug-ins so you can patch them into surround buses (buses, not tracks).
Effect property pages A single property page controls all instances of an effect that is patched into a surround bus. The effect’s property page displays a different tab for each instance of the effect. By default, when you change an automatable parameter on one tab of the property page, that change is duplicated on all the tabs of the property page.
To change channel assignments for a patched effect 1. If the effect’s property page is not open, display it by double-clicking the name of the effect in the surround bus’s effects bin. 2. On the SurroundBridge tab of the effect’s property page, use the drop-down menus in the Left Input and Right Input columns to assign individual surround channels to instances of the effect. Your assignments take effect immediately, and the names of the tabs in the property page change to reflect the new assignments.
To unlink all of an instance’s parameters from other instances 1. In the property page of an effect that’s patched into a surround bus, click the SurroundBridge tab. 2. Find the instance you want to unlink in the Plug-in # column, and uncheck its Controls Linked to Group check box. The parameters you unlinked appear in the Unlinked Controls field, with the instance number listed in the Plug-in # column of the Unlinked Controls field.
Importing surround mixes SONAR imports multi-channel (surround) files as a group of mono files. If the files contain information that labels the speaker location of each channel in the file, SONAR copies these labels to the clips in your audio tracks, but does not pan the tracks according to these labels. This is because you may not have your SONAR project set to the same multi-channel format as the imported project.
Exporting surround mixes You can export your surround mixes as multi-channel PCM wave files, or as Windows Media Pro files. To export a surround multi-channel file 1. Use the File > Export > Audio command to open the Export Audio dialog. 2. Type a name for your file. 3. In the Files of Type field, choose one of the following: • If you want to create a multi-channel wave file, choose RIFF Wave. • If you want to create a multi-channel Windows Media file, choose Windows Media Advanced Streaming Format. 4.
ProChannel (Producer only) 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. ProChannel is available on each audio track, Instrument track and bus in the Inspector and Console view. Figure 267. ProChannel provides compressor, equalizer and tube saturation processing for each channel.
The ProChannel signal flow is divided into three stages, each with its own bypass toggle: • Compressor. The Compressor module lets 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. For more information, see “Compressor stage” on page 934. • Equalizer. The Equalizer module allows you to fine tune the frequency spectrum of your music or sound.
See: “Using ProChannel” on page 927 “ProChannel modules and controls” on page 931 “Compressor stage” on page 934 “Equalizer stage” on page 939 “Tube Saturation stage” on page 942 “Routing” on page 943 See also: “Track Inspector overview” on page 508 “Console view” on page 1729 “Mixing” on page 803 Using ProChannel To enable/disable a module Do one of the following: • In the Inspector or Console view, click the module’s enable/disable button: • To enable/disable the Compressor module, click • To enable/disa
To reorder the signal chain Drag the corresponding icons in the Routing display until the modules appear in the desired order. Figure 268. Drag the module icons to reorder the effect chain. A B C A. Equalizer B. Compressor C. Tube saturation To interact with the Equalizer graph The Equalizer graph is divided into four sections, which correspond to the Low, Low-Mid, Mid-High and High bands. When you move the mouse pointer over the graph, the current band is highlighted.
To sidechain the ProChannel compressor 1. In the ProChannel Compressor module, click the compressor selector button PC4K S-Type Bus Compressor mode. to select 2. Under Side Chain, click the On/Off toggle. Figure 270. Select the PC4K S-Type Bus Compressor mode in order to use sidechaining. See also: “Sidechaining” on page 842 To use presets Do one of the following: • To load an existing preset, choose a preset from the Preset list or click the Load Preset button and navigate to the desired preset file.
To lock ProChannel in the Inspector pane By default, the Track Inspector dynamically updates to show the current track. However, you can choose to always show a specific instance of ProChannel regardless of which track is current. 1. Click the track or bus you want to show in the Track Inspector. 2. Click the ProCh button at the top of the Inspector. ProChannel is displayed in the Inspector pane. 3.
ProChannel modules and controls ProChannel can be displayed either collapsed or expanded in the Inspector and Console view. When collapsed, only a subset of all available controls are visible. Note: When expanding ProChannel in the Inspector, ProChannel fills the entire width of the Inspector. When expanding ProChannel in the Console view, ProChannel extends to the right of the channel strip. Figure 272. ProChannel can be displayed collapsed or expanded in the Inspector and Console view.
ProChannel controls (collapsed) Figure 273. ProChannel (collapsed) A D B E C F G H A. Pre/Post B. Compression activity indicator C. Compressor enable/disable D. Expand/collapse ProChannel E. Tube saturation activity indicator F. Tube saturation enable/disable G. Equalizer graph H. Equalizer enable/ disable By default, ProChannel is collapsed and only shows a subset of all available controls. When collapsed, ProChannel shows the following controls: • Expand/Collapse .
ProChannel controls (expanded) Figure 274. ProChannel (expanded). A B C D E F G A. Selected track B. Selected track’s expanded ProChannel C. Presets D. Compressor E. Equalizer F. Tube saturation G. Routing When expanded, ProChannel exposes the following controls: • Collapse . Collapses the ProChannel module. Presets ProChannel includes several presets to get you started.
Figure 275. Use presets to save and recall favorite settings. A B C A. Current preset B. Load Preset C. Save Preset • Preset list. Shows selected preset name. Choose any existing preset from the list. • Preset. Shows selected preset name. • Load Preset . Opens the Open dialog to the default preset directory. Choose a preset and click Load to load the preset. • Save Preset . Opens the Save As dialog to the default preset directory.
PC76 U-Type Channel Compressor mode Figure 276. PC76 U-Type Channel Compressor. A B C D H E I F J G A. Compressor mode toggle B. Clipping LED C. Compressor enable/disable D. VU meter E. Release F. Output level G. Dry/Wet level H. Attack I. Input level J. Ratio When PC76 U-Type Channel Compressor mode is enabled, the Compressor module contains the following controls: • Compressor mode. Toggles between the two available compressor modes: • PC76 U-Type Channel Compressor (labeled 76).
• Attack. Adjusts the time it takes the compressor to respond to the input signal after the threshold level has been reached. A fast attack setting means that compression will be more or less instant. Using a slower attack setting results in the compression being gradually increased, allowing for more variations in the signal than the fast setting. Attack should be adjusted according to the nature of the audio material. The valid range is 0.0 milliseconds to 1.2 milliseconds, and the default value is 0.
PC4K S-Type Bus Compressor mode Figure 277. PC4K S-Type Bus Compressor. A B C D G E H F I J K L A. Compressor mode toggle B. Clipping LED C. Compressor enable/disable D. VU meter E. Release F. Make-up gain G. Attack H. Threshold I. Sidechain High Pass filter J. Sidechain enable/disable K. Ratio L. Dry/Wet level When PC4K S-Type Bus Compressor mode is enabled, the Compressor module contains the following controls: • Compressor mode.
• Release. Adjusts the time the compressor takes to go back to an inactive state after the input level has fallen below the threshold value. Short release times will make the compression more flexible and able to adapt to the input signal, but can cause fast changes in gain that may sound displeasing to the ears.
Equalizer stage The Equalizer module allows you to fine tune the frequency spectrum of your tracks. The Equalizer module can be displayed in either full size or compact size. The compact module hides the Frequency, Q and Level controls for the Low, Low-Mid, Mid-High and High bands. You may want to show the compact size if ProChannel is too tall to show all its controls in the Inspector or Console view. • To show/hide compact mode in the Inspector.
Figure 279. The equalizer has six bands. A B E C D F A. Low band B. Low-Mid band C. Mid-High band D. High band E. High Pass filter F. Low Pass filter The Equalizer module contains the following controls: • Clipping LED. Shows if the input signal to the Equalizer module is clipping. If there is any distortion in the ProChannel signal chain, the clipping LEDs let you identify where the clipping occurs. • Equalizer enable/disable . Enables/disables the Equalizer module. • Style.
• Band enable/disable. Enables/disables the Low , Low-Mid , Mid-High bands. Enabling a band allows it to be processed with equalization. and High • Frequency. Sets the center frequency for the selected band (Low, Low-Mid, Mid-High and High). The valid frequency range for each band is as follows: Band Frequency range Default center frequency Low 20.0 - 20000.0 Hz 79.6 Hzz Low-Mid 20.0 - 20000.0 Hz 317 Hz Mid-High 20.0 - 20000.0 Hz 1261.9 Hz High 20.0 - 20000.0 Hz 5023.8 Hz Table 1-1.
• Slope (High Pass). Specifies the ratio of how the High Pass filter attenuates frequencies below the High Pass frequency. Slop is expressed in decibels per octave. The range is from 6 dB to 48 dB in 6 dB increments. • HP. Specifies the cut-off frequency for the High Pass filter. • Gloss . Adds a smooth breath and presence to the high end without any harshness using a unique gloss filter. See also: “To interact with the Equalizer graph” on page 928 Tube Saturation stage Figure 280. Tube Saturation module.
Routing You have full control over the effect chain. To reorder modules, simply drag the corresponding icons in the Routing display until the modules appear in the desired order. Figure 281. Drag the module icons to reorder the effect chain. A B C A. EQ B. Compressor C. Tube saturation Icon Module Compressor Equalizer Tube Saturation Table 173.
ProChannel (Producer only)
Automation Automation means to record the movement of a fader, knob, or other control so that the next time you play your project, that control moves automatically. SONAR allows you to graphically automate much more than just volume and pan controls—you can automate individual controls, faders, and knobs that control the main outs, individual tracks, buses, individual effects’ parameters (including some plug-in synths), and even individual clips.
“Recording individual fader or knob movements” on page 949 “Creating an editing automation envelopes” on page 950 “Automating track and bus mute” on page 959 “Envelope mode and Offset mode” on page 960 “Converting MIDI controllers to envelopes” on page 963 “Snapshots” on page 964 “Automating individual effects parameters” on page 965 Quick automation guide The following table summarizes Console and Track view automation.
“Automation” on page 945 “Automation methods” on page 947 “Automating effects” on page 965 “Recording automation data from an external controller” on page 967 “Automation Read and Automation Write buttons” on page 948 “Recording individual fader or knob movements” on page 949 “Creating an editing automation envelopes” on page 950 “Automating track and bus mute” on page 959 “Envelope mode and Offset mode” on page 960 “Converting MIDI controllers to envelopes” on page 963 “Snapshots” on page 964 “Automating i
Automation Read and Automation Write buttons SONAR has buttons to enable/disable automation playback (the Automation Read buttons) and automation recording (the Automation Write buttons) on the following modules: • Tracks • Buses • Plug-in property pages • Clip effects property pages (Automation Read button only) In addition, SONAR has right-click commands to enable/disable automation playback and recording for individual parameters.
Recording individual fader or knob movements Recording automation for knobs and faders works in the Track view, the Console view, and Synth Rack. You can record automation during both playback and recording operations. To record individual fader or knob movements 1. Do one of the following: • To write-enable an individual track or bus control, right-click the fader or control you want to automate and choose Automation Write Enable from the pop-up menu.
“Converting MIDI controllers to envelopes” on page 963 “Snapshots” on page 964 “Automating individual effects parameters” on page 965 Creating an editing automation envelopes You can create automation envelopes for tracks, buses, clips and plug-ins. Drawing an envelope overwrites any preexisting envelope for the same parameter that occurs at the same time in the same track or bus.
“To delete a single envelope” on page 957 “To delete several or all envelopes” on page 957 “To copy an envelope” on page 958 “To paste an envelope” on page 958 “To reassign an envelope” on page 958 To insert a new automation envelope 1. In the Track view, click the track’s Edit Filter control and select the desired parameter on the popup menu. The envelope appears in the Clips pane as a straight, dotted line in the envelope’s individual color, with a node (very small circle) at the beginning.
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 , position the pointer over the bottom half of the track/clip, then drag left/right to select a range of envelope nodes. • With the Smart tool , position the pointer outside any existing envelopes, then drag over the envelopes nodes you want to select. • With the Select tool , click the node.
• With the Select tool , position the pointer over the envelope where you want to insert a new node, then double-click. • With the Move tool , position the pointer over the envelope where you want to insert a new node, then double-click. • With the Trim tool node, then click. , position the pointer over the envelope where you want to insert a new • With the Split tool , position the pointer over the envelope where you want to insert a new node, then click.
To reset an envelope to the current value 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Move the Now time to where the envelope’s value is to your liking. 3. Right-click the envelope and choose Clear All on the pop-up menu. SONAR resets the envelope to the current value. To raise/lower selected envelope nodes 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2.
To change an envelope segment’s shape 1. Set the track’s Edit Filter control to the desired automation parameter (Track Automation or Clip Automation). 2. Move the cursor over the segment of the envelope that lies between the two nodes until the double-ended arrow appears, then right-click the envelope and choose one of the following shapes on the pop-up menu: • Jump. This choice causes the envelope to make a ninety degree jump where the envelope reaches the second node.
6. Release the mouse button when done. The shape you selected appears, repeating according to the Snap to Grid setting. Tip: • To halve the cycle frequency (for example, if snap resolution = quarter note, make each cycle a half note), hold down the ALT key while you draw. • To double the cycle frequency (for example, if snap resolution = quarter note, make each cycle an eighth note), hold down the CTRL key while you draw.
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 multiple nodes. , click a node to erase a single node, or drag over nodes to erase • With the Erase tool the segment. , click an envelope segment to erase the nodes to the left and right of • With the Erase tool , position the pointer outside the clip, then drag to lasso erase nodes across clips or tracks.
To copy an envelope 1. In the Track view or the Clips pane, select the track or clip that has the envelope you want to copy. If you want to copy all the automation data in the track, select the whole track. 2. Press CTRL+C or use the Edit > Copy command. The Copy dialog box appears. 3. Choose Clip Automation and/or Track/Bus Automation. Note: If the Track/Bus Automation field is greyed-out, you must re-select a part of the clip that contains either a node or a solid line (shape).
See: “Automation” on page 945 “Quick automation guide” on page 946 “Automation methods” on page 947 “Automating effects” on page 965 “Recording automation data from an external controller” on page 967 “Automation Read and Automation Write buttons” on page 948 “Recording individual fader or knob movements” on page 949 “Automating track and bus mute” on page 959 “Envelope mode and Offset mode” on page 960 “Converting MIDI controllers to envelopes” on page 963 “Snapshots” on page 964 “Automating individual eff
3. Start playback or recording, and click the Mute button on and off where appropriate. 4. Click the Stop button press the SPACEBAR when the track has been muted in the appropriate places. SONAR draws an automated mute envelope in the track you recorded on. Before you listen to your track, make sure the Global Automation Playback button module.
To enable Offset mode • Press O. In Offset mode, all controls that can be offset appear with a plus sign. For example Vol+.
To open non-SONAR envelope display on a percentage scale You can globally configure the placement of 0 dB for your envelopes in the Clips pane. The default placement in the Clips pane of 0 dB is roughly 1/3 from the top of the clip. You can change the position of 0 dB in all envelopes to the middle of the clip. There are several advantages when using the Envelope Display on a Percentage Scale option: • It makes it easier to tell if there have been any changes. • There is a finer resolution around 0 dB.
Converting MIDI controllers to envelopes MIDI controllers you edit in the Piano Roll view and MIDI envelopes you create in the Track view Clips pane are actually separate data, even if they control the same parameter. Both kinds of envelopes are visible in the Clips pane, and should generally not be used to control the same parameter.
Snapshots A snapshot is a setting or group of settings that SONAR’s controls snap to when your project reaches a certain Now Time. You set all the controls to the values you want, and then create a snapshot of these settings at a particular Now Time. This approach is useful, for example, when your project contains a variety of distinct sections and you want to make a sudden change in one or more settings between the sections. To create a snapshot of a track or bus parameter 1.
Automating effects SONAR allows you to automate plug-ins, giving you real-time control over dozens of effects parameters. See also: “Recording individual fader or knob movements” on page 949 “Using control groups” on page 876 Note: When using automatable effects, the CPU meter may fluctuate rapidly within a few percentage points. This is normal behavior.
4. Check all the parameters you want to create envelopes for; as you check each envelope choice, you can choose a color for the envelope by clicking the Choose Color button that’s in the lower right corner of the dialog box. Note: You can change a plug-in envelope’s color whenever you want by highlighting its name in the effect’s envelope dialog box and clicking the Choose Color button. 5. Click OK. All the envelopes that you checked appear in the track or bus you were working in.
Recording automation data from an external controller You can record automation data from an external controller or a MIDI keyboard. To record automation data from an external controller 1. In either the Track view or Console view, right-click the control or knob that you want to control externally, and choose Remote Control from the pop-up menu. The Remote Control dialog box appears. 2.
Automation Recording automation data from an external controller
Window management SONAR offers a lot of flexibility in the way you can arrange windows on your screen. This allows you to adjust the viewing and editing space to suit your own needs. The following options are just some of the ways you can arrange windows: • Dock the Control Bar, Inspector and Browser to one of SONAR’s edges. For details, see “Docking windows” on page 970. • Dock windows in the MultiDock. You can have as many views open in tabbed format as you want.
“Tiling windows” on page 981 “Screensets” on page 982 “X-Ray” on page 987 “View reference” on page 1681 See also: “Zoom controls” on page 82 Docking windows By docking windows, you can keep frequently-used windows open but out of the way while working on a project. You can dock windows and panes in two different areas in SONAR: • Top/bottom/left/right edge. SONAR’s edges. The Control Bar, Inspector and Browser can be docked along • MultiDock.
• Left edge: • Inspector (default) • Browser Figure 283. You can dock most windows and panes at the top, bottom, left and right of SONAR’s interface. A E B C D A. Control Bar B. Track and Clip Inspectors C. MultiDock (Piano Roll view shown) D. Track view E. Browser When dragging the Control Bar, Inspector, Browser, MultiDock and other views towards any edge, a colored rectangle indicates a valid drop location. Figure 284. A colored rectangle indicates a valid drop location.
To dock/undock the Control Bar Right-click the Control Bar and select one of the following commands: • Dock Control Bar at Top. Select this option to dock the Control Bar above the Track view. • Dock Control Bar at Bottom. Select this option to dock the Control Bar below the Track view. • Undock Control Bar. Select this option to undock the Control Bar. Tip: You can click any blank area in the Control Bar and drag the Control Bar to the desired position.
To dock/undock the Browser To dock, do one of the following: • Click the Docking Options button and select Dock at Right, Dock at Left or Dock in MultiDock. • Click any blank space at the top of the Browser and drag the Browser to the desired position. To undock, do one of the following: • Click the Dock/Undock button . • Click the Docking Options button and select Undock. • Click any blank space at the top of the Browser and drag the Browser to the desired position. Figure 286.
MultiDock The MultiDock is a container that can host one or more views. The MultiDock allows you to have frequently-used windows open in a centralized location, without obscuring the Track view. Instead of placing each view in its own window, you can group views by docking them in the MultiDock. In the MultiDock, each docked window is in its own tab with its own close button. The MultiDock appears automatically when you dock a view below the Track view.
When you drag a window towards the bottom of the Track view, a colored rectangle indicates that the window will be docked in the MultiDock when you release the mouse button. Figure 289. When you drag a window onto the MultiDock, a colored rectangle indicates that it is a valid drop location. To dock a window Do one of the following: • Drag the window to the MultiDock. • Click the view’s Docking Options menu, and choose Dock in MultiDock.
To close a window in the MultiDock Do one of the following: • Click the tab’s X button. • Right-click the window’s tab, and choose Close from the pop-up menu. If you close the last remaining tab, the MultiDock closes automatically. Figure 291. To close a window, click the tab’s X button. To navigate between docked windows Do one of the following: • Click the desired tab. • Hold down the SHIFT and CTRL keys and press the LEFT ARROW or RIGHT ARROW key.
To expand a docked window To expand a docked window so it fills the Track view, double-click the window’s tab or press SHIFT+D. To restore the view to it’s original docked size, double-click the tab again. To expand/collapse the MultiDock Click the Expand/Collapse button in the bottom right corner. Figure 293. MultiDock docking controls. A B C A. Dock/undock B. Docking options C. Expand/collapse To dock/undock the MultiDock To dock, do one of the following: • Click the Dock/Undock button .
To maximize/restore the MultiDock (when undocked) Double-click the MultiDock title bar. See also: “Window management” on page 969 “Docking windows” on page 970 “Floating views and using dual video monitors” on page 978 “Locking views” on page 980 “Tiling windows” on page 981 “Screensets” on page 982 “X-Ray” on page 987 “View reference” on page 1681 Floating views and using dual video monitors When a view is float enabled, you can move it outside of the confines of SONAR.
To float a view 1. Open the view you want to float. 2. Click the view’s icon located in the upper left corner of the view and choose Enable Floating. A A. Piano Roll view icon 3. Move the view wherever you want.
Locking views By default SONAR allows only one instance of each view, but you can lock the contents of most views, preserving the current view by forcing a new instance of the view to appear if necessary. Locking views is the only way you can have multiple instances of the same view open. Only the Track and Console views cannot be locked. To lock/unlock a view Do one of the following: • Click the Lock button at the top right of the view.
Tiling windows If you want to view more than one project or window at a time, you can tile the windows. To tile windows 1. If the window you want to tile is docked in the MultiDock, drag the tab out of the MultiDock to undock the window. 2. Disable floating for any windows you want to tile (click the icon located in the upper left corner of the window and select Disable Floating). 3. Do one of the following: • Choose Window > Cascade. • Choose Window > Tile in Rows. • Choose Window > Tile in Columns.
Screensets A screenset is a snapshot of the current layout of various views and windows in a project, including which windows are open, their size, position, zoom level and whether they are docked or floating. You can create up to 10 screensets per project and freely switch between screensets at any time. Figure 295. Screensets allow you to instantly switch between different window layouts. Screenset 1 Screenset 2 Screenset 3... One of the 10 available screensets is always active.
Screensets are saved per project, and you can import screensets from other projects. Screensets can be updated, renamed, duplicated and locked to prevent further changes. By default, SONAR has 10 custom window layouts assigned to screensets 1-10, but you can update and rename the default screensets to suit your own work style.
• Lock/Unlock Current Screenset. Lock the current screenset to prevent any modifications. See “To prevent the current screenset from being modified” on page 985. • Rename Current Screenset. Rename the current screenset. See “To name or rename the current screenset” on page 985. • Duplicate Current Screenset to. Copy the current screenset to another screenset location (1 to 0). Select the target screenset location from the submenu. The selected target screenset becomes the current screenset.
3. Arrange the views and windows the way you want, including zoom settings, etc. 4. Do one of the following: • To save only the current screenset. Choose a different screenset (using numerical keys, quick access buttons, or menu). The current screenset is saved and the newly-selected screenset is loaded. • To save all screensets. Choose File > Save to save the project. To name or rename the current screenset 1. Make sure the Screenset module is visible in the Control Bar. 2.
To duplicate the current screenset SONAR can store up to 10 screensets per project. You can copy the current screenset to any other preset location in the same project. To do so: 1. Make sure the Screenset module is visible in the Control Bar. 2. Do one of the following: • On the Screenset menu, point to Duplicate Current Screenset to, then select the desired screenset location (1 through 0). • Hold down the SHIFT key and press the number key that corresponds to the target screenset location (1 through 0).
X-Ray The X-Ray Windows feature eliminates the need to constantly minimize, move, or close windows in order to work in other windows. It works by decreasing the opacity of the current window enough so that you can see and work with the window that’s behind the current window. You activate the feature by pressing SHIFT+X when the mouse cursor is over a window you want to x-ray.
To use X-Ray windows 1. Use the Edit > Preferences command to open the Preferences dialog, click Customization Display and make sure the Enable X-Ray check box is selected. 2. Make sure that the view windows you want to X-Ray are in the Floating-enabled state. To check this, click the view or fx icon that’s in the upper left corner of a window, and select Enable Floating from the drop-down menu. If Disable Floating is in the menu, then the Floating option is already enabled.
4. If the plug-in is a DirectX effect or an MFX, write down (or select and copy) the CLSID value that’s in the CLSID field at the bottom of the dialog. If VST or VSTi, write down the VST ID value that’s in the VST ID field at the bottom of the dialog. 5. Close the Plug-in Manager dialog. 6. Open the Xrayexclude.ini file that’s in your SONAR program folder (use Notepad). 7. At the end of the file, find the [EffectProps View] section.
Window management X-Ray
Templates and key bindings A template is a special file that is used as a pattern to create similar project files. You might create a template file that defines a particular musical ensemble (say, a string quartet) or a particular studio configuration (MIDI instruments, audio outputs, and so on). Templates make it fast and easy to create and configure new projects. A key binding lets you associate SONAR commands with keys on your MIDI or computer keyboard.
As a rule, any parameter that is saved in a project file is also saved in a template file.
To create a new project from a template 1. Choose File > New to display the New Project File dialog box. The list contains the names of all existing templates. 2. Choose a template from the list. 3. Click OK. SONAR creates the new project and displays it in the Track view.
7. If you like, configure other parameters needed in your projects, such as auto-send Sysx banks, tempo settings, window positions, and comments. 8. Choose File > Save, and save the file as a template named my3synths. Now, each time you want to start working on a new project, you can simply load your template and start recording. See also: “Templates” on page 991 Key bindings Key bindings let you associate SONAR commands with keys on both your MIDI keyboard and your computer keyboard.
You can choose one of two options to define the key binding shift key: • MIDI key (typically, the very lowest or highest key on your MIDI keyboard) • Controller event (typically, one of the pedals) If you use a MIDI key as the key binding shift key, then you lose the ability to play that note by itself. When you play the note, SONAR assumes you are about to choose one of the key bindings you have created and ignores the note.
To create a key binding using a MIDI keyboard 1. Go to Edit > Preferences > Customization - Key Bindings. 2. Check MIDI in the Type of Keys list. 3. Check the Enable box to make sure MIDI key bindings are enabled. 4. If you haven’t already done so, create a key binding shift key by doing one of the following: • Check Key under MIDI Shift Options, and enter the name of the key you want to use. • Check Controller under MIDI Shift Options, and choose the controller you want from the list. 5.
Importing key bindings SONAR can use key bindings from other sequencer applications. Clicking the Import button in the Key Bindings dialog allows you to choose a new set of key bindings. After you import new key bindings, you can edit and save them the way you do with the default key bindings. To import key bindings 1. Go to Edit > Preferences > Customization - Key Bindings. 2. Click the Import button to open the Import Key Bindings dialog. 3.
Templates and key bindings Key bindings
Notation and lyrics This section describes three SONAR views that are used to edit the music notation and lyrics of your project. • SONAR’s Staff view lets you work with your composition in a standard musical staff, guitar tablature and a virtual guitar fretboard. You can add, move, and delete notes with your mouse or with your computer keyboard. You can add chord names, guitar chord grids, expression marks, hairpin symbols, pedal marks, and lyrics.
The Staff view The Staff view is composed of a Staff pane and a Fretboard. When you first open the Staff view, you may see only the Staff and not the Fretboard. Resize the Staff view by dragging its edges until you can see everything easily. When you save your file, whatever size the Staff view is will be the way it appears the next time you open the file. The Staff pane displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work.
Opening the Staff view There are several ways to open the Staff view: • In the Track view, select the MIDI tracks you want to see, then choose Views > Staff View, or press ALT+7. • Right-click on a track in the Clips pane and choose Views > Staff View on the pop-up menu. You can always change the tracks that are displayed: in the Staff view, click the Track menu, choose Pick Tracks and select the tracks you want. You can display one or more tracks.
The Staff pane right-click menu The Staff pane right-click menu offers the following editing options: Menu command Result MIDI Effects Opens the MIDI Effects submenu. See “MIDI effects (MIDI plug-ins)” on page 726 for more information. Layout Opens the Staff View Layout dialog box. Regenerate Tablature Opens the Regenerate Tablature dialog box. “Regenerate TAB” on page 1027 for more information. Export to ASCII TAB Saves the track in TAB format with the extension .TXT.
To change the Staff pane layout 1. Click the Staff view Edit menu and choose Layout to open the Staff View Layout dialog box. 2. Select a track from the list (if the track you want to edit is not in the list, click the Tracks menu and choose Pick Tracks, then select the desired track). The Clef option shows the track’s clef. 3. Select a new clef from the list. 4. If you select Treble/Bass, select a Split point. 5.
See: “Editing notes and chords from the Fretboard” on page 1029 “Fretboard pop-up menu” on page 1004 “Moving notes from within the Fretboard” on page 1010 “MIDI Channels and the Fretboard” on page 1017 “To display notes on the Fretboard using their MIDI channels” on page 1017 “To edit a chord symbol” on page 1019 “Tablature settings” on page 1025 “Changing Fretboard texture and orientation” on page 1026 “Quick TAB” on page 1027 “Regenerate TAB” on page 1027 “Entering notes from the TAB staff” on page 1028 “
To change the Staff view layout 1. Click the Staff view Edit menu and choose Layout to open the Staff View Layout dialog box. Figure 298. The Staff View Layout dialog 2. Select a track from the list (if the track you want to edit is not in the list, click the Tracks menu and choose Pick Tracks, then select the desired track). The Clef option shows the track’s clef. 3. Select a new clef from the list. 4. If you select Treble/Bass, select a Split point. C5 represents middle C. 5.
Basic musical editing The global tools let you edit a project by manipulating the elements of standard music notation. Using these tools, you can create and edit notes, chord symbols (guitar fretboards), pedal marks, expression marks, hairpins, and lyrics. When drawing events in the Staff view, the staff is shaded to indicate where the current event type can be drawn. Events can only be drawn where the background is white. Figure 299. The selected event type can only be drawn where the background is white.
See: “Inserting notes on the staff” on page 1007 “Inserting notes with the Fretboard” on page 1008 “Selecting notes” on page 1009 “Moving, copying, and deleting notes on the staff” on page 1009 “Moving notes from within the Fretboard” on page 1010 “Auditioning” on page 1011 “Changing note properties” on page 1012 “Deglitch dialog” on page 1013 “Working with triplets” on page 1013 “Beaming of rests” on page 1014 “Changing the way notes are displayed” on page 1014 “Using enharmonic spellings” on page 1015 “MI
To insert a note on the staff 1. Disable the Edit > Fill Durations and Edit > Trim Durations options in the Staff view menu, if desired (this is usually the best way when you’re entering notes). 2. Click the Staff view View menu and choose Display Resolution, then choose a resolution that’s as small or slightly smaller than the smallest note you plan to enter. 3. Select the Draw Freehand tool in the Control Bar. 4. Select a note duration in the Control Bar’s Tools module.
Selecting notes Use the Select tool in the Control Bar to make selections. Selection methods in the Staff view are similar to those in other views.
To move a single note in the Staff view 1. Select the Select tool or Draw tool in the Control Bar. 2. Click the note to be moved. 3. Drag the note to a new time, pitch, or staff. SONAR moves the note to the new location. To move several notes in the Staff view 1. Select the Select tool in the Control Bar. 2. Select the notes to be moved. 3. Click one of the selected notes. 4. Drag the notes to a new time, pitch, or staff. SONAR moves the notes to the new location.
To change the pitch of a chord in the Fretboard 1. Click in the Time Ruler to set the Now time to the time of the chord you want to change. 2. Select the Select tool in the Control Bar. 3. While pressing SHIFT, click each of the notes you would like to change. 4. While continuing to press SHIFT, drag the notes along the strings. SONAR moves the notes you selected to the new pitches. Tip: You can also move the Now time pointer to the exact note by using the Step Play buttons.
Changing note properties The Staff view lets you edit all the MIDI parameters for a note, including those not normally portrayed by standard musical notation.
Deglitch dialog When recording MIDI guitar, even the best players occasionally play unintended notes. The Deglitch feature allows you to filter out the softest, shortest, and highest notes in the file. There are three filters in the Deglitch dialog: Pitch With the Pitch filter you can set the maximum pitch allowed in the track. If a MIDI event has a higher pitch than the maximum you set, it is removed. Velocity With the Velocity filter you can set a minimum velocity allowed in the track.
To enter a triplet 1. Enable Snap to Grid in the Control Bar’s Snap module. 2. Select the Draw tool in the Control Bar. 3. Select a triplet note duration in the Tools module. 4. Enter the first note at the desired location in the staff. SONAR inserts all three triplet notes at the same pitch. You can then drag the second and third notes to their correct pitch locations. Beaming of rests The Staff view supports beaming of rests, a practice that is popular with rhythmically complex music.
Here’s what the Staff view looks like with and without these options: Figure 301. Fill and Trim off Figure 302. Fill and Trim on On the other hand, if you are entering notes into the Staff view with the mouse, Fill and Trim Durations may produce confusing results. For example, with Fill Durations, an inserted eighth note in 4/4 time would look like a quarter note until you insert another eighth note immediately following it.
Accidental Character Example Flat b Cb5 Sharp # C#5 Double flat “ C”5 Double sharp x Cx5 Displays as Table 183. To change a note’s enharmonic spelling 1. Select the Smart tool in the Control Bar and right-click the note to open the Note Properties dialog box. 2. In the Pitch textbox, type a new spelling for the note. 3. Click OK. SONAR displays the note with the new enharmonic spelling.
You can also use the Process > Find/Change command to change enharmonic spellings—for example, to change multiple occurrences of Eb5 to D#5, or even all Ebs to D#s. See “Process > Find/Change” on page 715 for more information. MIDI Channels and the Fretboard You can display notes on the fretboard based on the note event’s MIDI channel. (Do not confuse this with the Track MIDI channel.) A single track can hold events on many different MIDI channels.
Chords and marks The Staff view lets you add and edit chord symbols, dynamic markings, hairpin symbols, and pedal events. Like notes, these symbols are placed in the score with the Draw Freehand tool. They can be selected, cut, copied, pasted, deleted, and dragged and dropped. With the exception of pedal marks, though, these symbols have no audible effect; they serve only to enhance and clarify the printed score.
To add a chord symbol 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Chords button in the Staff view. 3. Position the pointer above the staff (the pointer changes to a pencil when you are in a legal position). 4. Click to place a chord symbol. SONAR inserts a copy of the most recently added chord (by default, C). You can then edit the symbol to display the chord you want. To move a chord symbol 1. Select the Draw Freehand tool in the Control Bar. 2.
Figure 303. The Chord Properties dialog 4. Click OK. The Staff view displays the chord with the new properties, moving it to a new time if necessary. To add a guitar chord grid 1. Right-click the chord symbol to open the Chord Properties dialog box. 2.
To manage the chord library 1. Right-click the chord symbol to open the Chord Properties dialog box. 2. Follow the instructions in the table: To do this Do this Add a chord to the library Select a group, enter a name in the Name box, enter a guitar grid (if desired), and click Save. Delete a chord from the current group Select the chord from the list and click Delete. Add a new group Type a name for the group in the Group textbox and click Save.
When entering an expression mark, you can leave a dangling hyphen at the end of an expression mark to insert automatic spaced hyphens until the next expression mark. For example: cresc. - - - ff It is often desirable to terminate such a series of hyphens with a blank expression mark. For example: accel. - - - Expression text is italicized in the Staff view. Standard dynamic markings also appear bold. To add an expression mark 1. Select the Draw Freehand tool in the Control Bar. 2.
Adding hairpin symbols Some musical phrases vary dynamically, increasing or decreasing in loudness for dramatic effect. SONAR lets you insert traditional crescendo and diminuendo hairpin symbols that convey this information to a performer, as shown here: If the track is split into treble/bass staves, hairpin symbols are allowed only below the treble staff. To add a hairpin symbol 1. Select the Draw Freehand tool in the Control Bar. 2. Click the Hairpin button in the Staff view. 3.
Pedal event parameters are as follows: Parameters Meaning Time The time of the event, in measures, beats, and ticks (MBT). Channel The MIDI channel on which the event will be sent. Value The event value. A value of 127 depresses the pedal, a value of 0 raises it. (Some advanced synthesizers support values between 0 and 127 for “partial pedaling.”) Table 188. If the track is split into treble/bass staves, pedal marks are allowed only below the bass staff.
Tablature The Staff view can display guitar or bass MIDI tracks as tablature. You can generate and edit tablature or enter notes on either the fretboard or on the tablature staff to create a new track. You can export tablature to an ASCII file for printing or distribution on the Web.
• MIDI Channel. This uses the event's MIDI channel to determine which string the note should be displayed on. When MIDI Channel is selected, the user chooses which series of MIDI Channels should be considered. This is useful for MIDI guitarists that record parts in MONO mode, where each string transmits on a different MIDI channel. (Values: 1 - 11). Selecting 1 in the 1st Channel field will cause it to use MIDI channels 1 - 6, selecting 2, 2 - 7, and so on.
Quick TAB SONAR quickly creates a tablature based on standard fingering patterns. After you try the quick version, you can customize the tablature to your liking. To create a quick TAB 1. Open a file that contains a MIDI guitar track. 2. In the Track view, select the track number of the track you want to display tablature for. 3. Select Views > Staff View. The Staff view appears, displaying a fretboard and the notation of your MIDI track.
Entering notes from the TAB staff You can enter notes or chords directly from the TAB staff. To enter notes from the TAB staff 1. Open the Staff View. 2. Click the Staff view Edit menu and choose Quick TAB. 3. Press CTRL+HOME to move the Now Time to the start of the project. 4. Select the desired note duration in the Control Bar’s Tools module. 5. Select the Draw Freehand tool in the Control Bar. 6. Enter a note by clicking a line in the TAB staff. 7.
To export to an ASCII TAB file 1. Select the track you want to export. 2. Open the Staff view. 3. Click the Staff view Edit menu and choose Export to ASCII TAB. The Save As dialog appears. 4. Enter a file name in the File name field. 5. Click OK. SONAR saves the track with the file extension .txt. Editing notes and chords from the Fretboard You can transpose single notes or chords from the Fretboard. To transpose single notes 1.
You can delete a note right after you enter it by pressing CTRL+Z, or at any time by selecting the Erase tool in the Control Bar and clicking the note in the notation or TAB staffs. SONAR gives you several options to play and hear the notes in your track: • Scrubbing enables you to click each note in the Fretboard and hear it play. Hold down the J key to activate the Scrub tool, then click the note. • Scrub strumming enables you to “strum” chords by dragging the Scrub tool through a chord.
Setting up a percussion track Before you use the percussion capabilities of the Staff view, your percussion track should be set up correctly. This will allow you to hear the proper sounds when placing notes and during playback, and will allow you to see the correct percussion instrument names rather than generic note names in the Piano Roll view, Event List view, and Percussion Notation dialog box. To set up a percussion track 1. Select the track so it appears in the Track Inspector. 2.
To assign a percussion staff or line to a track 1. Click the Staff view Edit menu and choose Layout to open the Staff View Layout dialog box. 2. Select your percussion track from the list. 3. Select Percussion Staff or Percussion Line from the Clef drop-down list. 4. Click Percussion Settings to set up the appearance of percussion notes (see below). 5. Click Close. SONAR changes the track’s clef to the selected percussion clef. To set up a track’s percussion notation key 1.
Ghost strokes In percussion notation, parentheses around a note mean that it is a ghost stroke, played very lightly and barely heard. SONAR supports ghost strokes by displaying parentheses around any percussion note event with velocity less than 32 (a fixed, arbitrary threshold). If necessary, you can adjust the Vel+ parameter of the track and the velocities of the individual notes to effectively move this threshold without changing the way the note sounds.
Printing The Staff view provides printing support of standard musical notation in nine staff sizes. The Staff view prints general project information from the File Info dialog box (see “Labeling your projects” on page 305) at the beginning of the score, including the song's title (or file name), subtitle (dedication), playing instructions, author/composer, and copyright. In addition, SONAR identifies the tracks by number and name, and numbers each measure and each page.
Can't print if Staff view is floating It is not possible to print the Staff view if the Staff view is float-enabled. If necessary, temporarily disable floating if you need to print from the Staff view. The Meter/Key view The Meter/Key view lets you enter meter and key changes at measure boundaries. Meter and key changes affect all tracks.
Internally, SONAR stores times as “raw” ticks or clock pulses. The timebase—the number of pulses per quarter note (PPQ)—is adjustable, from 48 to 960 PPQ. If you are using a timebase of 120 PPQ and the project file is in 4/4 time, then a whole measure equals 480 ticks. See “Setting the MIDI timing resolution” on page 254 for more information about the timebase. Usually the easiest approach to working with meter changes is to set all of them up before doing any recording.
Opening the Meter/Key view To open the Meter/Key view, choose Views > Meter/Key. The Meter/Key view displays a list of meter/key changes in the project. There is always an entry for measure 1, because there must always be a meter and key signature for the project. The default meter is 4/4 and the default key is C. You can change these defaults by creating your own default template file. For more information, see “Templates” on page 991.
3. Enter information about the new meter/key change. 4. Click OK. SONAR inserts the meter/key change into the project. The meter/key change will appear in the Staff view at the appropriate measure. To delete a meter/key change 1. Select the meter/key change to be deleted from the list. 2. Select additional meter/key changes by using SHIFT-click and CTRL-click. 3. Click Delete . SONAR removes the meter/key change from the project. You cannot delete the first meter/key change from measure 1 of a project.
Music notation for non-concert-key instruments For historical reasons, certain musical instruments are traditionally notated in a transposed key rather than the actual key. For example, a normal (Bb) trumpet part is written in the key one whole step higher than the actual concert key, and an Eb alto sax part is written a major sixth higher. Musicians have traditionally learned to read and refer to the notes they play using the proper transposition interval for their instrument.
Working with lyrics SONAR lets you create, edit, and display lyrics, the words and syllables associated with notes in a track. Lyrics can be the words to a song, the text of a vocal passage, a narration to be read along with the music, cues of some type, or text totally unrelated to the music. Each word or syllable in the lyrics must be associated with a note in a MIDI track. Each MIDI track can have its own lyrics.
Adding and editing lyrics in the Staff view The Staff view displays lyrics below their associated track. If the track is split into treble/bass staves, lyrics are aligned with notes in both staves, but are displayed below the treble staff. When a lyric word or syllable spans multiple notes, a trailing underline or series of regularly spaced hyphens is automatically drawn, following conventional lyric notation practice. To add lyrics to a track 1. Select the Draw Freehand tool in the Control Bar. 2.
Opening the Lyrics view There are three ways to open the Lyrics view: • In the Track view, select the track whose lyrics you want to see, then choose Views > Lyrics • Right-click a clip in the Clips pane and choose Views > Lyrics from the menu • Press ALT+SHIFT+1 To select the track whose lyrics you want to see, click the Lyrics view Tracks menu and choose Pick Tracks, then select the desired track and click OK.
To enter lyrics in the Lyrics view 1. Click in the upper left corner of the view to position the cursor at the start of the text. 2. Follow the instructions in the table: To do this Do this Enter a word or syllable Type it End a word or syllable and move to the next note Type a space or hyphen Break a line for easier viewing Press ENTER Table 193.
Notation and lyrics Working with lyrics
Instrument definitions Instrument definitions are a powerful feature of SONAR that makes it easier for you to find the banks, patches, and controllers of your MIDI instruments. An instrument definition is a file that contains the names of the banks, patches, note names, bank select method, and controllers of an instrument. Instrument definitions for many popular MIDI instruments are included with SONAR or are available on the Cakewalk web site (www.cakewalk.com).
“Assigning the Bank Select method” on page 1054 “Assigning patch names” on page 1056 “Assigning note names” on page 1057 “Assigning controller, RPN, and NRPN names” on page 1059 Assigning instruments SONAR lets you assign a MIDI instrument definition to each available MIDI output and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names that you see during your SONAR session.
To assign instrument definitions to MIDI outputs and channels 1. Go to Edit > Preferences > MIDI - Instruments. Figure 307. The Instruments section 2. Select one or more MIDI outputs and channels from the Output/Channel list (use SHIFT-click and CTRL-click to select multiple outputs and channels). You can also drag through a bunch of channels to select them.
To clear instrument assignments 1. Go to Edit > Preferences > MIDI - Instruments. 2. Select the MIDI outputs and channels whose assignments you want to remove from the Output/ Channel list. 3. Choose from the Uses Instrument list. A black line connects the two lists. 4. Click OK when you are done. You don’t really clear instrument assignments—you reassign them to use the default (General MIDI) instrument definition.
To import instrument definitions 1. Go to Edit > Preferences > MIDI - Instruments. 2. Click Define to display the Define Instruments and Names dialog box. 3. Click Import to display the Import Instrument Definitions dialog box. 4. Choose the file that contains instrument definitions for your manufacturer, and click Open. SONAR displays a list of all the instrument definitions in the file. 5. Choose one or more instruments from the list, and click OK. 6.
You define instruments in the Define Instruments and Names dialog box, shown below: Figure 308. The Define Instruments and Names dialog A B A. The Instruments tree B.
• Names for Registered Parameter Numbers (RPNs) • Names for Non-Registered Parameter Numbers (NRPNs) The instrument definitions organize all names (patches, notes, controllers, RPNs, and NRPNs) into lists. You may be able to define a new instrument using existing name lists. For example, two models of synthesizers made by a particular manufacturer may have identical patch name lists but use different NRPNs.
To save an instrument definition 1. Click Close to close the Define Instruments and Names dialog box. 2. Click OK. SONAR saves the instrument definition in the Master.ins file. To export an instrument definition 1. In the Define Instruments and Names dialog box, right-click an Instrument name in the Instrument tree and choose Export from the menu to display the Export Instrument Definition dialog box. 2.
Creating and editing patch name and other lists You can create and edit the various lists in the Names tree that make up each instrument definition. Patch name, note name, and controller name lists can contain up to 128 entries, numbered 0 through 127. RPN and NRPN name lists can contain up to 16,384 entries, numbered 0 through 16,383.
Copying name lists You can easily create new lists that are similar to other lists. For example, suppose you want to create a new patch name list called NewList that is almost identical to the General MIDI patch list, but with one or two small changes. Here’s how you proceed: • Create a new patch name list in the Patch Names folder of the Names tree called, for example, NewList. • Drag the new list onto the General MIDI list in the Names tree.
The bank select method you choose affects the bank numbers that you assign to each patch list, as described in the following section. Here’s how you compute the bank numbers: Bank select method To compute the bank number Normal Take the value of Controller 0, multiply it by 128, and add the value of Controller 32 to derive the bank number. Note: A synthesizer manufacturer may refer to Controller 0 as the MSB (Most Significant Byte) and to Controller 32 as the LSB (Least Significant Byte).
Assigning patch names A MIDI instrument can have up to 16,384 banks of 128 patches each. Patches can have names, like “Piano” for patch number 0, “Bass” for patch number 1, and so on. Normally, each bank contains a different set of patches, so each bank needs a separate patch name list. Most synthesizers start with a patch number of 0. You can assign a patch name list to each bank.
To remove a bank or patch name list 1. In the Instrument tree in the Patch Names for Banks folder of the instrument you’re editing, highlight the bank and patch names list. 2. Press the DELETE key, or right-click on the bank name and choose Delete from the pop-up menu. To set or clear the Drum flag • Right-click on the bank in the Instrument tree, and choose Drums from the pop-up menu.
To see the assignment of note name lists to patches 1. Expand the instrument definition by clicking the + sign next to the instrument name. 2. Expand the Patch Names for Banks folder by clicking the + sign. 3. Continue expanding the tree by clicking the + sign, until the tree is fully expanded. D C B E A A. This is the name of a note name list B. The * indicates that this note name list is the default C. Bank D. Instrument name E.
To set or clear the Drum flag • Right-click on the patch in the Instrument tree, and choose Drums from the menu. See also: “Creating and editing patch name and other lists” on page 1053 “Copying name lists” on page 1054 “Assigning the Bank Select method” on page 1054 “Assigning patch names” on page 1056 “Assigning controller, RPN, and NRPN names” on page 1059 Assigning controller, RPN, and NRPN names SONAR lets each instrument have its own lists of controller names, RPN names, and NRPN names.
See also: “Creating and editing patch name and other lists” on page 1053 “Copying name lists” on page 1054 “Assigning the Bank Select method” on page 1054 “Assigning patch names” on page 1056 “Assigning note names” on page 1057 SONAR flags in instrument definitions SONAR has several flags that you can use in instrument definition files for use with specific instrument definitions.
Instrument definition tutorial The following tutorial takes you through the process of setting up an instrument definition for a Roland keyboard so that the bank and patch names, including any self-created sounds, read the same in SONAR as they do on the display screen of your keyboard instrument.
Start of tutorial Let’s say you have a Roland XP-10 and you want SONAR to display all of its patch names from all of its banks, including any self-created sounds you add to it. Let’s start by importing the names of the built-in banks and patches that the XP-10 has. To import a Roland instrument definition 1. Go to Edit > Preferences > MIDI - Instruments. 2. Click Define to display the Define Instruments and Names dialog box. 3. Click Import to display the Import Instrument Definitions dialog box. 4.
patch #005 on the Roland). Let’s look at some of the other Roland XP-10 patch name lists in the right window of the Define Instruments and Names dialog box to see if another one has the right patch names in it, and rename it Var #01. To substitute and rename a patch list 1. Go to Edit > Preferences > MIDI - Instruments and click the Define button to open the Define Instruments and Names dialog box. 2.
Checking bank numbers You can calculate bank numbers by using the methods described in “Assigning the Bank Select method” on page 1054, but you might find it easier to use the following method: To check the bank numbers 1. Set up a MIDI track to record from your MIDI keyboard or module. 2. Click the Record button to start recording, and change banks on your keyboard. 3. Stop recording, and open the Event List view. 4.
System exclusive data SONAR’s System Exclusive (Sysx) librarian provides you with 8192 banks in which to hold MIDI System Exclusive messages. A bank is a storage area plus some associated parameters such as a destination output and an optional description. Each bank can hold any number of messages; the amount of data it can hold is limited only by available memory. The banks are saved in the SONAR project file. Each bank can also be saved as a .syx file. Figure 309.
What is System Exclusive? System Exclusive data is MIDI’s way of letting each synthesizer manufacturer transmit private data about its products. A System Exclusive message has a manufacturer ID; the rest of the message is completely proprietary and varies for each manufacturer, even for each of its products. SONAR does not understand what this data means; it simply can hold onto it for you.
See: “Using the System Exclusive view” on page 1067 “Transmitting banks during playback” on page 1073 “Real-time recording of System Exclusive messages” on page 1074 “Sysx echo” on page 1075 “Sending Sysx banks at startup” on page 1068 “Sysx .ini file settings” on page 1075 “Troubleshooting” on page 1076 Using the System Exclusive view The System Exclusive view has a list box for a maximum of 256 Sysx banks, plus a toolbar of buttons. Most of the buttons affect whatever bank you have selected in the list.
Sending Sysx banks at startup You can tell SONAR to send certain Sysx banks to your instrument(s) each time you open the project file that the banks are in. To send Sysx banks at startup 1. In the Sysx view, select a bank that you want to send to an instrument when you open the current project. SONAR highlights the bank you select. 2. Click the Sysx view Settings menu and choose Auto Send on/off. A checkmark appears next to the bank name in the Auto column to show that the bank is marked for auto-sending.
Importing, creating, and dumping Sysx banks There are several ways to get a sysx bank into SONAR: • You can import (load) an external .syx file. • You can edit an empty bank to create a new bank from scratch. • You can dump a bank into SONAR from the synthesizer itself. To import a Sysx bank into a project 1. In the Sysx view, select an empty bank to import the new bank into (unless you want to add to or overwrite an existing bank). 2. Click the Sysx view File menu and choose Open. The Open dialog appears.
4. Do one of the following: • If the name of your instrument and the kind of data you want to store in SONAR appears in the list, select your choice and click OK. • If your instrument and the type of data you want to record are not in the list, select You start dump on instrument, click OK, and press whatever button on your synthesizer that starts a Sysx bank dump. The You start dump on instrument option is not really a Dump Request Macro.
Note: The SONAR librarian may not support synthesizers that require handshaking dump protocols. Some of these synthesizers have a backup protocol where they will do a normal dump if they don’t get a handshake. Others do not. More about Dump Request Macros DRMs are defined in your DRM.ini file in the [Dump Request Macros] section. You may add your own DRMs or modify the ones that we have provided. Use the Windows Notepad to edit the file. Comments in the DRM.ini file itself describe how to write DRMs.
Sysx view menu The Sysx view menu contains the following commands. File menu • Open. Load a .syx file into the selected Sysx bank. • Send. Transmit the current bank’s System Exclusive message. If nothing seems to happen, make sure you have correctly set the output. This command is disabled if the current bank is empty. • Send All. Transmit all non-empty Sysx banks. • Receive. Dump data from a synthesizer into the selected Sysx bank.
Settings menu • Auto Send on/off. Automatically transmit the selected bank every time SONAR loads the project file. You might use this option for banks that contain System Exclusive messages that load a set of sounds for a synthesizer at or before the start of a project. Before transmitting, SONAR asks your permission.
Auto are transmitted automatically by SONAR when it loads the project file they are stored in. Use the Sysx meta-event only when you need to send a Sysx Bank during the middle of the project. See: “Real-time recording of System Exclusive messages” on page 1074 “What is System Exclusive?” on page 1066 Real-time recording of System Exclusive messages You can record short System Exclusive messages in real time.
Sysx echo You can configure SONAR to echo received System Exclusive messages to output devices. To echo Sysx messages 1. Go to Edit > Preferences > MIDI - Playback and Recording and select the Echo System Exclusive check box. 2. Select the MIDI ports you want to echo System Exclusive messages on. 3. Click OK. See: “Troubleshooting” on page 1076 Sysx .ini file settings The TTSseq.ini initialization file contains settings that govern the sending and receiving of System Exclusive information.
SysxSendPacketSize=n System Exclusive bytes are transmitted in packets, with a 1/18-second default delay between each packet. Setting this value to a smaller number will help slower synthesizers avoid overflowing their internal buffers. This line sets the number of bytes between each Sysx transmit delay.
My equipment is not receiving Sysx from SONAR Make sure the instrument is set up to receive System Exclusive messages. In the Sysx View, make sure the right output is selected. Verify that the Sysx message originally transmitted from the same kind of instrument. An instrument will not recognize Sysx messages from a different make or model of instrument. Finally, try adjusting the parameters in the TTSseq.ini file, as described “Sysx .ini file settings” on page 1075.
System exclusive data Troubleshooting
Synchronizing your gear Your computer is often used with other equipment: sound cards, MIDI equipment, and digital tape decks or other digital recording tools. All these devices can have their own built-in clocks or timing mechanisms. When several pieces of equipment are used together, it’s important that they operate in synchronization. For this to happen, all the equipment must rely on the same source of clock or timing information.
Synchronization overview SONAR supports several different types of synchronization, which rely on a variety of different clock sources: Clock source Timing is determined by Internal The clock on the computer motherboard Audio The clock on the computer’s sound card MIDI Sync The clock on an external MIDI device SMPTE/MIDI Time Code (MTC) A time code signal (in SMPTE or some other format) recorded on some external medium or generated and sent by SONAR Table 198.
The Sync module contains the following controls: • SMPTE/MTC format. Select the time code format. The following frame rates are supported: • 24 frames per second (FPS). Used for theatrical film worldwide. Any film in North America or Japan uses this setting. • 25 FPS. Used for PAL/SECAM video and some film in countries that use 50 Hz wall electricity. This is the setting to use when synchronizing to any European video format. • 29.97 FPS Drop. NTSC broadcast and long format video in North America and Japan.
You can also choose the sync mode as follows: 1. Go to Edit > Preferences > Project - Clock. 2. Under Source, select the desired clock source. 3. Click OK. The clock source and the type of synchronization that is used are options that are stored as part of your project files. For example, one of your projects might be set up to use the internal clock; a second might use the Audio clock and MIDI Sync with SONAR as the master timing source; and another might use SMPTE/MTC Sync as the clock source.
Figure 311. The Sync module. A. SMPTE/MTC format B. Incoming timecode C. Sync type To use the Audio clock source Do one of the following: • Go to Edit > Preferences > Project - Clock and select Audio. • In the Control Bar’s Sync module, click the Sync Type button and choose Audio Sync on the pop-up menu. MIDI synchronization MIDI Synchronization, or MIDI Sync, is usually used to synchronize SONAR with drum machines, stand-alone MIDI hardware sequencers, and sequencers built into MIDI keyboards.
When you start playback on the master MIDI device, for example, it sends a Start message to all slave devices, announcing that playback has started. If the slave devices are set up correctly, they receive the message and start playing back with the master device. When SONAR is set up as the master device, you can enable or disable these messages.
SONAR as the master There are several options, found in Edit > Preferences > Project - MIDI, which you can use when SONAR is the MIDI Sync master device: Option What it’s for Transmit MIDI Start/Continue/ Stop/Clock Choosing this option causes SONAR to tell the slave when to start, when to continue, when to stop, and what timing data to go by (SONAR’s).
Using MIDI Sync with drum machines The most flexible way to use a MIDI drum machine is to record the notes it generates into SONAR, then use that machine as a MIDI playback device. This lets you edit, cut, paste, and copy your drum parts like any other clip. You can use MIDI Sync to record the notes from the drum machine into SONAR as follows: 1. Use the drum machine’s pattern-composing facilities to compose your drum part. 2. Configure the drum machine to be a slave device that receives MIDI Sync messages.
When you create a new SONAR project, by default the project is configured so that the beginning of bar 1 is synchronized with a time code of 00:00:00:00. If the starting point of the material on your tape or external project is not 0, you need to enter an offset to tell SONAR the time code that corresponds to the start of the project. To enter an offset 1. Go to Edit > Preferences > Project - Clock. 2. Specify the desired offset in the SMPTE/MTC Offset field.
For more information about frame rate time formats, see the documentation for your time code hardware. Refer to the documentation for your MIDI interface or external MIDI device for additional information about SMPTE/MTC. To use SONAR as the master MTC generator 1. Configure the clocks on each external device that you want to synchronize to receive SMPTE/ MTC. Make sure they’re connected to MIDI outputs from your computer or MIDI interface. 2.
3. Select one of the following options: • Ask first, then switch to clock source and start. This option prompts SONAR to alert you when it detects a SMPTE/MTC signal, asks if you want to sync to the incoming signal, and if you respond that you do, switches the clock source and starts to receive the signal. • Always switch the clock source and start. SONAR automatically switches to the clock source of the incoming signal and begins to receive the signal.
Playing digital audio under SMPTE/MTC sync SONAR gives you two choices for controlling audio playback when using time SMPTE/MTC Sync: Option How it works Trigger and freewheel Audio event playback is started (or triggered) at the exact time code, but then the audio plays at its own internal rate (or freewheels). When audio freewheels, it can gradually drift from the time code due to variations in the time code signal.
SMPTE/MTC sync and full chase lock When using SMPTE/MTC Sync with full chase lock, the first time you play any audio the pitch may fluctuate wildly for up to 30 seconds. Also, you may occasionally note the pitch of the audio sounding consistently high or low pitch. A simple analogy makes this behavior easy to understand: Synchronizing audio to SMPTE/MTC is a lot like trying to get even and stay neck-and-neck with another car on the freeway.
Troubleshooting SMPTE/MTC sync The most common problems with SMPTE/MTC Sync, and ways to correct or avoid them, are shown in the following table: Problem What to do The tape is striped incorrectly Check the tape stripe using your time code generator and, if necessary, restripe the tape. The MIDI interface isn’t producing MIDI Time Code Use utility programs that come with your MIDI interface to make sure that the time code stripe is being received (sometimes you must enable a Time Code Sync option).
MIDI Machine Control (MMC) MIDI Machine Control (MMC) is a protocol that controls an MMC-equipped remote device via MIDI. SONAR lets you use MMC to start and stop playback and recording on remote MIDI devices such as tape decks, video recorders, and even other software packages. If you have several MMCcontrollable devices in your studio, assign each a unique Unit ID so that MMC commands can be addressed to a particular device. MMC is very powerful when used with MIDI Time Code sync.
Synchronizing your gear MIDI Machine Control (MMC)
Audio file management Project files in SONAR do not contain the digital audio itself. A SONAR project file (.cwp) references the audio contained in the project, so care must be taken when backing up your digital audio projects. This section covers file management, including backing up your projects.
The Project Files dialog SONAR projects, extension .cwp, contain all your project information with the exception of your digital audio data. This data is stored in a separate folder or folders. You can opt to save the audio data for all of your projects in a single audio folder, or create multiple folders. The Project Files dialog lists all of your project’s audio files and their location. This dialog is a valuable tool for managing your audio files.
Project files and bundle Files SONAR project files contain various project settings, any MIDI data, and references which "point" to audio clip data. The audio data (and video data) itself is not saved in a project file. To save audio as well, save your project as a Bundle file (extension .cwb). Bundle files contain everything that a project file contains in addition to the digital audio. Bundle files are useful for backing up projects and for burning onto removable media, like a blank CD or DVD.
4. If you want to store the project in its own folder do the following in the Unpack Bundle dialog: • Enter a project filename in the Project Name field. • Use the Browse button to the right of the Location field to select a destination folder for the project, or to create a new folder, enter a new folder pathname in the Location field.
To change the global audio folder 1. Go to Edit > Preferences > File - Audio Data. 2. Enter the pathname of the new Global Audio Folder in the Global Audio Folder field, or click the Browse button that’s at the right end of the Global Audio Folder field to browse to the new directory. 3. Click OK when you are done. 4. Use the Windows Explorer or some other program to move all audio files from the old Global Audio Folder to the new Global Audio Folder.
To create a new project using per-project audio 1. Select File > New. The New Project File dialog appears. 2. Enter a filename in the Name field The Location and Audio Path directories are automatically updated in the following format: • C:\default directory\. The default directory for new projects is assigned in Edit > Preferences > File - Folder Locations. is the project’s per-project folder name. • C:\default directory\\Audio.
Imported audio files By default, SONAR will make a copy of any audio data imported using the File > Import > Audio command and place the imported audio into the project’s audio folder. You can configure SONAR to simply reference audio from its current location if, for example, you want to import large quantities of audio data into a project and don’t want to consume time and disk space by making copies of the files.
Backing up projects with digital audio There are several ways to back up your projects in SONAR. You can use per-project audio folders to keep all a project’s audio in its own folder, use the Consolidate Project Audio command to create a backup copy of all your project’s audio, or you can save a project as a bundle file (.cwb).
6. Using Windows Explorer, copy the project folder and its contents, including the project’s audio folder, to its backup location (CD-R, CD-RW, DVD-R, DVD-RW, Zip or Jaz drive, another hard drive, network drive, etc.). You have now created a copy of your project. It is a good idea to open the project once you have backed it up to confirm that all audio loads properly. To create a backup using the Consolidate Project Audio command Use this procedure to backup a project that has multiple audio folders: 1.
4. If you want to search all subfolders of the folder you chose in the Audio Path field, click the Recursive option. 5. Click the Find button. SONAR searches the selected directory for audio files that appear to be unused by any existing projects, and displays the names of these files in the list. SONAR searches the entire system for project files. Audio files in the folder or folders you decide to search which do not belong to any of the projects on your system appear in the Clean Audio Folder dialog.
Improving audio performance Digital audio presents several challenges: it is large, using enormous amounts of disk space, especially at higher sampling rates and bit-depths, and it is CPU-intensive. Added to this mix is the wide variety of audio hardware available today. This section covers some common problems with recording and playback and how to configure your computer and audio hardware for optimum performance.
The DMA settings are used to ensure that a project that contains both MIDI and digital audio plays back in tight synchronization. If SONAR is not configured properly with your audio device’s DMA settings, MIDI and digital audio material may not play back correctly. Note to users of previous Cakewalk products: The DMA settings in versions of Cakewalk prior to SONAR 1.0 were displayed in bytes rather than samples. Using your previous DMA settings in SONAR will not work.
Enabling and disabling audio devices Your computer may have several installed devices like FAX modems and software synthesizers that Windows recognizes as sound cards containing audio drivers. You do not want to use these devices for audio input or output. If they are listed as audio drivers in the Audio Options dialog box, you need to disable them. To enable or disable an audio device 1. Go to Edit > Preferences > Audio - Devices. 2.
Sampling rates SONAR supports all common sampling rates. Only one sampling rate is allowed per project. It’s usually better not to change the sampling rate of a project, because this involves exporting your tracks one at a time, and then importing them at the new sampling rate. During this process you lose clip boundaries, envelopes, and other separate data that is mixed into the exported tracks. To set the sampling rate for new projects 1.
Bit depths and float resolution SONAR supports all common bit depths, including 64. SONAR’s 32-bit mixing provides full floatingpoint resolution for extended dynamic range, and precise audio processing. For maximum dynamic range and precision, you can also choose 64-bit mixing (go to Edit > Preferences > Audio - Driver Settings and select the 64-bit Double Precision Engine check box). SONAR can import, export, play back, and render 64-bit float files.
Bit depths for playback Most sound cards can play audio at 16-bit or 24-bit resolution, with a few sound cards supporting 18bit and 20-bit resolution. When your project contains files with different bit depths SONAR plays them at the bit depth that your sound card is currently set to. Because SONAR can play projects that contain files of different bit depths, you don’t have to convert 16-bit files to 24 bits to play them with other 24-bit files, saving significant storage space.
Bit depths for recording You can choose the bit depth of newly-recorded files in SONAR, and you can change this value at any time. The Transport module in the Control Bar shows the project sampling rate and the current record bit depth setting. The choices for the recording bit depth setting are 16, 24, 32, and 64. At present, no devices can record at 32-bit or 64-bit resolution, so you don’t need to choose these options yet.
Bit depths for exporting audio You can choose the bit depth of exported files from SONAR. Unless you are burning a CD or DVD, or are concerned about storage space, you can export files at 32 bits (or even 64) to preserve the precision of any audio processing that was done to the files. To choose an exporting bit depth 1. Use the File > Export > Audio command to open the Export Audio dialog. 2. In the Bit Depth field, select the desired number. 3. Choose other options and click OK.
4. After making these adjustments, click the Wave Profiler button. In some instances, with certain audio hardware configurations you may be prompted with an audio driver error dialog during this process. This is nothing to be concerned about. You will have to exit SONAR, re-launch, verify the settings you made in the Preferences dialog, and click the Wave Profiler button again. When you can successfully run the Wave Profiler without an audio driver error, proceed to the next step. 5.
Improving performance with digital audio When a project contains many tracks of digital audio or when many real-time effects are in use, your computer may have difficulty keeping up during playback. When this occurs, you'll hear portions of the audio drop out, stutter, or pop. Or maybe your project responds slowly to real-time effects and volume changes. In an extreme case audio playback may stop altogether. If you experience a dropout, a dialog appears with suggestions for fixing the problem.
Approach How it works Apply some audio effects offline If you are happy with your real-time effects, consider using the Process > Apply Effect > Audio Effects command to apply those effects offline. Then remove those effects from real-time use and free up lots of CPU power. Archive unused audio tracks Audio tracks that are muted continue to place a load on your processor. To lessen the burden and free up cycles to handle more audio, archive all unused audio tracks.
Digital audio files and storage Digital audio requires a large amount of disk storage. The table below shows the disk space requirements in megabytes for a single minute of digital audio in mono and stereo at various sampling rates: Sampling rate 16 bit 24 bit 11 kHz Mono 1.3 MB per minute 1.9 MB per minute 11 kHz Stereo 2.5 MB per minute 3.8 MB per minute 22 kHz Mono 2.8 MB per minute 3.8 MB per minute 22 kHz Stereo 5.0 MB per minute 7.6 MB per minute 44.1 kHz Mono 5.0 MB per minute 7.
Mixing latency SONAR has a Buffer Size slider in Edit > Preferences > Audio - Driver Settings to set mixing latency. Mixing latency is the amount of time SONAR allocates to prepare a buffer full of audio data for playback. Lower latency settings add processing time because of the need to refill the smaller data buffers more often. You may need to use the slider to increase mixing latency under the following conditions: • You use lots of real-time effects, and you hear dropouts.
ASIO drivers SONAR supports ASIO drivers. You are limited to a single sound card when using an ASIO driver. To use an ASIO driver Use the following procedure to enable SONAR for use with an ASIO driver. 1. Go to Edit > Preferences > Audio - Playback and Recording. 2. Click the Driver Mode list and select ASIO. SONAR re-profiles your audio hardware.
4. Save Aud.ini and close the Windows text editor. 5. Click Reload Config Settings to reload the current audio configuration settings from Aud.ini. Note: The MinimizeDriverStateChanges variable only applies when using ASIO or WDM driver modes, not when using the MME driver mode. Queue buffers SONAR allows you to set the number of queue buffers in Edit > Preferences > Audio - Driver Settings. A higher number of queue buffers will take longer to fill, and therefore cause an increase in latency.
The Performance module contains the following controls: • CPU meters. Displays the time it takes to process a buffer full of audio data as a percentage of the maximum time available to process that data and maintain uninterrupted playback. There is one CPU meter for each core in your computer, up to 32 cores. There is some tolerance built into the meter, so it is possible that it will exceed 100% at times (more so during recording than playback).
Multiprocessor load balancing SONAR’s audio engine has enhanced multicore performance and load balancing. The CPU meter in the Control Bar’s Performance module shows the time it takes to process a buffer full of audio data as a percentage of the maximum time available to process that data and maintain uninterrupted playback. There is one CPU meter for each core in your computer, up to 32 core Figure 315. The Performance module. A A.
24-bit tips Here are a few tips for playing back and/or recording at 24-bits: • Try to play back at 24-bits even if your sound card only operates at 20- or 18-bits: Having established the default settings for new files, you must also specify at what playback bitdepth you want your sound card to use. In Edit > Preferences > Audio - Driver Settings, set the Audio Driver Bit Depth to the desired value.
simultaneous tracks, and use a smaller number of simultaneous real-time effects, in a 24-bit project than you would be able to in a 16-bit project. This is also true when working at higher sampling rates (i.e., a 24-bit/96khz project requires substantially more computing resources than a corresponding 16-bit/44.1khz project).
Causes and cures The exact cause of your audio problem will vary depending on the configuration of your computer and/or the content of the project file you're working with. The majority of audio problems are caused by one of the factors listed below.
• Disable any kind of virus scanning program that might be running in the background. To find out what programs are currently running, press the CTRL-ALT-DELETE keys simultaneously to display the Windows Task Manager; if you see an anti-Virus program shown on the list of currently running tasks, select that program and click End Task. • If SONAR's Auto Save feature is enabled, disable it. • Remove all programs from the Windows Start Up folder (\Windows\Start Menu\Programs\Start Up).
Mixing latency may be set too low SONAR tries to send and receive audio data to/from your sound card with very a minimal delay (so that any real-time adjustments you make to a track's volume, pan, or other settings will take effect rapidly). If the latency setting is set too low, the sound card driver may not be able to keep up with the SONAR, and audio will be disrupted. Try higher latency settings: • Go to Edit > Preferences > Audio - Driver Settings.
When you are ready to save the file again, you may want to save it as a normal (.cwp) file. Saving and opening .cwp files takes less time than saving and opening bundle files. Your sound card's driver may be obsolete Obtain and install a new sound card driver (if available): • Consult your sound card manufacturer's web site (or contact their Customer Service department) to check for the availability of a later driver version.
• Try reducing the number of colors used by your video card. 16-, 24-, or 32-bit true color display settings can severely hamper real-time audio performance on some computers; using fewer colors allows your computer to spend more of its processing time on audio and MIDI. You can adjust color depth by right-clicking on your Windows desktop, clicking Properties, clicking on the Settings tab, and selecting a suitable entry in the Colors list. Also, try reducing the display resolution.
Your sound card may have a conflict with another device in your computer Try resolving this device conflict as follows: • Ensure that your sound card is not sharing IRQs with any other device. Although some sound cards claim that they work properly on a shared IRQ, this is usually not the case and it is advisable to avoid such sharing. To do this, right click on My Computer and select Properties from the pop-up menu.
Your project may simply be too "complex" for your computer Your computer may not have enough processing power to deal with all of the tracks, clips, and realtime effects used in your project. You can upgrade your computer hardware (see later items, below) or you can simplify your project’s content so it demands less processing power. If possible, try reducing the complexity of your project in any of the following ways: • Reduce the number of real-time effects used in your project.
Click on the Support Online link and search for the phrase Troubleshooting MS-DOS Compatibility Mode on Hard Disks. This problem can arise when installing a new hard disk in your computer; if Windows cannot find a suitable driver for the disk, it installs a generic driver and operates in Compatibility Mode. • If you're using a hard disk controller that employs "programmed I/O", upgrade to a disk controller that uses "bus mastering" instead. (This is sometimes also known as an UltraDMA IDE Controller).
This option allows waveform pictures to be computed in the background while audio playback is in progress. Most modern computers should be able to handle this load with no problems. Note that work is only done while new pictures are actually being computed—once the pictures are finished rendering there is no overhead. • In Cakewalk.ini: In the [WinCake] section: ProgressiveWavePictures=1 [default] This option enables progressive display of waveform pictures.
Using audio devices in Windows Vista SONAR introduces several enhancements for communicating with audio devices in Windows Vista, including: • Support for WASAPI, which is the new standard for audio in Windows Vista and future Windows operating systems. • MMCSS task profile support. • Optimized WaveRT streaming.
Exclusive mode requires exclusive access to the audio device. Another program will not be able to use the audio device simultaneously with SONAR. Tip: If you select Share Drivers With Other Programs in Edit > Preferences > Audio Playback and Recording, SONAR will relinquish control of the audio device when the program loses Windows focus. To enable WASAPI mode in SONAR 1. Go to Edit > Preferences > Audio - Playback and Recording. 2. In the Driver Mode list, select WASAPI. 3.
5. In Aud.ini, locate the entry called MMCSSTaskKey and set it to the the desired profile name. For example: MMCSSTaskKey=Pro Audio 6. Save Aud.ini and close the Windows text editor. 7. Click Reload Config Settings to reload the current audio configuration settings from Aud.ini. SONAR will now use the new task profile for MMCSS. WaveRT updates SONAR’s WaveRT driver support has been updated and enhanced to work properly with Vista SP1. SONAR supports WaveRT in two ways: WDM driver mode.
Improving audio performance Using audio devices in Windows Vista
External devices SONAR can be controlled by a wide range of MIDI controllers and external MIDI devices. SONAR also contains two generic controller/surface plug-ins (the ACT MIDI Controller plug-in, and the Cakewalk Generic Surface Plug-in), which allow you to use almost any MIDI controller or controller/ surface with SONAR. You can also control certain external devices from SONAR by using StudioWare or OPT (Open Plug-in Technology) panels. SONAR allows you to control soft synths as well as effect plug-ins.
Edirol PCR controllers SONAR has a custom controller/surface plug-in that allow an Edirol PCR controller to control SONAR track, bus, and plug-in parameters (both effects and synths). This includes support for ACT (Active Controller Technology), which lets you use your controller to adjust plug-in parameters on whatever plug-in currently has focus. Using your Edirol PCR to control SONAR is as easy as: 1. Enabling the Edirol MIDI drivers in SONAR. 2.
To connect an Edirol PCR to SONAR 1. Follow your controller/surface’s instructions for physically connecting your PCR to your computer. 2. Go to Edit > Preferences > MIDI - Control Surfaces. 3. Click the Add Controller/Surface button dialog. , which opens the Controller/Surface Settings 4. In the Controller/Surface field of the Controller/Surface Settings dialog, select Edirol PCRM30. 5. In the Input Port and Output Port fields, select which MIDI input and output ports the controller/ surface uses.
Setting up control surfaces If you are not using an Edirol PCR controller, use the following procedures to connect or disconnect your controller/surface: To enable MIDI Input and Output drivers 1. Go to Edit > Preferences > MIDI - Devices. 2. In the Inputs list, make sure that the MIDI Input driver or drivers that your controller/surface uses are selected. 3.
Note 2: Control surfaces retain their current MIDI port assignments even if you add or remove MIDI devices. If any assigned MIDI port is missing when you load a project, SONAR will let you remap each missing port to an available port. For more information, see “Changing MIDI Output devices” on page 64. 6. Click OK to close the Controller/Surface Settings dialog. 7. In the Preferences dialog, make sure that both the ACT and WAI check boxes are enabled, and click Close.
Figure 316. The Control Surfaces section.
To disconnect a controller/surface from SONAR 1. Go to Edit > Preferences > MIDI - Control Surfaces. 2. In the Controller/Surface column, click the name of the controller/surface that you want to disconnect. 3. Click the Delete button , which deletes the name of the controller/surface that you selected. 4. Click Close. Control surface refresh rate Control surfaces are refreshed by posting a windows message every 75 milliseconds.
ACT MIDI Controller plug-in The ACT MIDI Controller plug-in can be configured to support any generic MIDI controller (controller/surface), such as the JL Cooper FaderMaster, Peavey PC-1600, and Kenton Control Freak. Generic controllers/surfaces typically have 8-16 strips of faders/knobs/buttons, are nonmotorized, and can often be configured to transmit any MIDI message (continuous controllers, NRPNs, Sysx, etc.). The ACT MIDI Controller supports ACT.
Using the ACT MIDI Controller property page The ACT MIDI Controller property page gives you a wide range of options to control track, bus, and plug-in parameters. You can press F1 when the property page is open to get a description of all the fields and controls. To load default mappings • In the Presets list, select the name of your controller/surface.
Assigning controls on your controller/surface to cells in the ACT MIDI property page Each cell or field on the Controllers tab of the ACT MIDI Controller property page lists the SONAR or plug-in parameter that is currently controlled by that cell. However, if your controller/surface does not have a preset, no knobs or sliders on your controller/surface will be assigned to that cell, or the knobs may be assigned in a pattern that you don’t prefer.
Cakewalk Generic Surface plug-in The Cakewalk Generic Surface Plug-in supports both ACT and WAI. See “The WAI display” on page 1158, and “ACT” on page 1160 for more information.
See: “Assigning faders and knobs to control SONAR parameters” on page 1148 “ACT” on page 1160 Assigning faders and knobs to control SONAR parameters The Cakewalk Generic Surface property page has separate sections that control track parameters (the Track Parameters section), plug-in parameters (the ACT Controls section), and global parameters (the Global Parameters section). To configure track parameters 1.
To Use ACT with the Cakewalk Generic Surface 1. Make sure you have completed the following preliminary steps: • Successfully connected your controller/surface to SONAR (if necessary, see “Setting up control surfaces” on page 1140). • Opened the Cakewalk Generic Surface property page (if necessary, see “To open the Cakewalk Generic Surface property page” on page 1147). 2. In the ACT Controls section of the Cakewalk Generic Surface property page are radio buttons 1-9 and A-G.
Assigning Forward and Rewind buttons The Forward and Rewind assignments are special cases in the Cakewalk Generic Surface property page. When you click select either of these parameters, notice that Literally/Toggle field becomes greyed-out, and the On/Off fields become available. This is because the Forward and Rewind commands both require two different MIDI messages to function: one MIDI message to turn the operation on, and a different message to turn the operation off.
Controlling different tracks or groups of tracks The Cakewalk Generic Surface plug-in can control anywhere from 1-32 tracks simultaneously, as specified by whatever number you fill in the Number of Track Strips field in the Cakewalk Generic Surface property page. There is always at least one track being controlled, referred to as the Base Track. The Number of Track Strips value refers to the base track plus ‘n’ number of additional tracks.
The Cakewalk Generic Surface property page The Cakewalk Generic Surface property page appears when you click the Open Control Surface Plug-in button in the ACT module while Cakewalk Generic Surface appears in the drop-down menu. The Cakewalk Generic Control controller/surface plug-in must be enabled first, however (see “Setting up control surfaces” on page 1140, if necessary).
Use ACT or Strip Params This section lets you decide whether your controller/surface is controlling track parameters, plug-in parameters, or both. Note: It’s possible to use the same control on your controller/surface to control both a track parameter and a plug-in parameter. It’s not usually a good idea to control both at the same time. This section has the following controls: • ACT Enable radio button. Lets you assign a control on your controller/surface to enable or disable the ACT Enable check box.
MIDI Message for the Current SONAR Parameter This section is where you can choose a specific kind of MIDI message to control whatever parameter is selected in the Track Parameters, ACT Controls (including the ACT Enable check box), or Global Parameters sections. Most of the time you don’t need to choose, because the Learn button fills in the fields automatically. Choose from the following options: • None. Click this button to disable control of the selected parameter. • Learn.
• Sysx Low Byte First. Selecting this option tells SONAR that the significant data in the incoming Sysx message is in the form of two bytes, with the low byte first. The Sysx Low Byte First option has the following structure: F0 ? LO HI ? F7. • Starts With. Fill in the string that your controller/surface sends in Sysx messages that precedes the significant data. • Ends With. Fill in the string that your controller/surface sends in Sysx messages that follows the significant data. • Sysx Trigger.
Global Parameters This section let's you assign buttons and knobs to control SONAR’s transport. The parameters you can control are: • Play • Stop • Forward >> • Rewind << • Record • Write Automation • Jog <- (previous measure) • Jog -> (next measure) • Move 1 Left. This parameter changes the currently-controlled track to the next lower-numbered track. • Move Bank Left. This parameter changes the currently-controlled bank of tracks to the next lower-numbered bank of tracks. • Move 1 Right.
Euphonix EuCon control surface support SONAR supports the Euphonix EuCon protocol, which allows SONAR to be controlled by Euphonix surfaces such as the MC and CM408 series. To enable EuCon support in SONAR 1. Follow your Euphonix surface’s instructions for physically connecting the Euphonix surface to your computer and configure the Euphonix software. 2. In SONAR, go to Edit > Preferences > MIDI - Control Surfaces. 3. Click the Add Controller/Surface button dialog.
The WAI display The WAI display (short for Where Am I) is a group of colored markers to show you which tracks and/ or buses are currently being controlled by which controller/surface. Each controller/surface uses different colored markers. In the following picture controller/surface 1 (blue markers) is controlling tracks 2-5, and controller/ surface 2 (red markers) is controlling tracks 7-14.
A B A. Red markers B. Blue markers The following table describes how you can use WAI markers: To do this Do this Change the group of tracks or buses that a controller/surface controls Drag the WAI markers from one group of tracks to another group, or from one group of buses to another group. Or Right-click in the WAI strip, and choose Move > [name of controller/surface] > here from the pop-up menu.
ACT Active Controller Technology (ACT) allows you to control whatever plug-in effect or soft synth currently has focus. The controller/surface mappings for a particular plug-in work the same on each instance of that plug-in, whenever that instance has focus. You can change the focus to a particular plug-in by clicking either the plug-in’s interface, or its name in an effects bin.
5. If you want to control only this instance of the plug-in with your controller/surface, enable the Lock check box in the ACT MIDI Controller property page, or enable the ACT Lock button in the Control Bar’s ACT module. 6. If you are not locking the controller/surface to a single instance of a plug-in, put the focus on another plug-in, if desired, and adjust its parameters. To edit the default ACT mappings 1.
To import ACT data 1. Go to Edit > Preferences > MIDI - Control Surfaces. 2. Click the Import ACT Data button to open the Import dialog. 3. Navigate to an XML file that contains ACT Learn data, select the file, and click Open. If duplicate plug-in entries are encountered during import, SONAR will ask if you wish to overwrite the existing plug-in settings. The options are: Yes, Yes All, No, No All. Select one of the answers. SONAR imports the ACT data you requested.
StudioWare panels SONAR comes with a variety of StudioWare panels. Some are designed to control a specific external MIDI device, while others are useful with a variety of devices. Here is a listing of some of the panels that are included with SONAR: Panel name What it’s for Line 6 POD Provides control for the Line 6 POD 2.0/Pro amp modeler. Line 6 POD Provides control for the Line 6 Bass POD amp modeler. Fender Cyber Twin Provides control for the Fender Cyber Twin amp modeler.
To open a StudioWare panel 1. Choose File > Open to display the Open File dialog box. 2. Choose StudioWare from the Files of Type list. 3. Choose a StudioWare file and click Open. SONAR opens and displays the StudioWare panel. Using StudioWare panels Every StudioWare panel is made up of a collection of controls and other information displays. The controls are software representations of the knobs, buttons, and sliders on an external MIDI device.
MMC General MIDI There are a variety of ways to adjust the values of buttons, sliders, and knobs: External devices Working with StudioWare 1165
To change this Do this The status of a button Click on the button The value of a slider Click on the desired slider position to move the slider to that position, or drag the slider to the desired position The value of a knob Click along the outer edge of the knob to move the knob to that position, or drag the outer edge of the knob in a circular motion to set the desired position Table 212.
To create a group of controls 1. Select any control by clicking on it with the mouse. 2. Hold down the CTRL key and click on one or more additional controls. SONAR creates a group from the selected controls. To remove controls from a group 1. Hold down the CTRL key and click on any control in the group. SONAR removes the control from the group. To adjust a single control in a group 1. Hold down the SHIFT key and drag the control to a new value.
To set faders that are always the same distance apart, set the ranges something like this: Fader Starting value Ending value #1 0 63 #2 64 127 Table 214. To set faders to move over different ranges of values, set them something like this: Fader Starting value Ending value #1 0 127 #2 0 100 Table 215.
The latter approach is most useful when you want to create smooth transitions from one section to another. For example, you could slowly add modulation to a MIDI piano or move the faders on a digital mixing console. Once you record these changes, they will play back along with your project automatically. StudioWare lets you record and re-record automation data as many times as necessary. When you record new movements for a control, any old events for that control are replaced by the newer ones.
If you record a snapshot of control positions on a track that contains linked clips, the clips remain linked, and the snapshot applies to all copies of the linked clip. If you are not happy with the automation data you recorded, you can always use the Edit > Undo command to remove it. The automation data you record using a StudioWare panel can be displayed and edited using either the Notes pane in the Piano Roll view or the Event List view.
6. When you are done, click 7. Click the or press the SPACEBAR to stop playback. button in the StudioWare toolbar to turn off real-time recording. SONAR records the control changes that you entered while playback was in progress. Control settings The controls in a StudioWare panel are designed to send and receive various types of MIDI information.
External devices Working with StudioWare
Using CAL Cakewalk Application Language (CAL) is an event-processing language that you use to extend SONAR with custom editing commands. See: “Running CAL programs” on page 1173 “Sample CAL files” on page 1174 Running CAL programs To interrupt a CAL program while it is running, press the ESC (Escape) key. Press OK to confirm that you want to interrupt the CAL program. As a rule, you shouldn’t interrupt a CAL program in this way unless you suspect it is stuck in an infinite loop. To open a CAL program 1.
Sample CAL files The following is a description of the sample CAL programs that come with SONAR. You can use these programs as is or modify them to suit your own needs. See: “SPLIT NOTE TO TRACKS.cal” on page 1174 “SPLIT CHANNEL TO TRACKS.cal” on page 1174 “RANDOM TIME.cal” on page 1174 “THIN CONTROLLER DATA.cal” on page 1175 “THIN CHANNEL AFTERTOUCH.cal” on page 1175 “THIN PITCH WHEEL.cal” on page 1175 “MAJOR CHORD.cal, MINOR CHORD.cal” on page 1175 SPLIT NOTE TO TRACKS.
THIN CONTROLLER DATA.cal This thins continuous Controller data. It prompts you for two numbers. • The number of the Controller that you want to thin. For example, MIDI assigns the Volume controller to number 7. • A thinning factor. For example, if you specify the number 3, the program deletes every third Controller event of the kind you’ve specified. This program never deletes Controllers with the values 0, 64, or 127, because the goal is to thin the data without destroying the fundamental shape of it.
Using CAL Sample CAL files
Troubleshooting If you’re having a problem with SONAR, don’t panic. This chapter lists some common problems and how to solve them. If you don’t find an answer here, there are two other important places to look for help: • Check the ReadMe file that came with your software. It contains additional information that wasn’t available when this online Help was written. To view the Readme file, select Help > View README.RTF. • Visit our support Web site at www.cakewalk.
Frequently asked questions “Installation Error: DeleteFile Failed; code 5 Access Denied” on page 1179 “Setting up an internal audio card” on page 1180 “Configuring an audio interface” on page 1181 “Audio dropouts or crashes during playback” on page 1182 “My MP3 encoder stopped working” on page 1182 “When I play a file I don't hear anything (MIDI project)” on page 1183 “I can't record from my MIDI device” on page 1183 “I can't record any audio” on page 1184 “I hear an echo when I record” on page 1185 “Dropou
Installation Error: DeleteFile Failed; code 5 Access Denied If you are using Windows 7 or Vista and your user account has limited privileges, you may see the following error message when installing SONAR: “DeleteFile failed; code 5 access denied”. To resolve the issue, restart your computer, and log in with another administrative user account, then install SONAR. If you are already logged in as the Administrator, you will need to run the SONAR installer manually as Admin: 1.
Setting up an internal audio card Some internal audio cards need to have a cable connected to their audio input in order for the drivers to work properly. If this applies to your internal audio card and you don’t have access to a microphone with an 1/8 inch cable, then you can use any 1/8 inch connection to force the audio card into displaying the drivers correctly. If the drivers are not available in SONAR, try plugging a simple pair of headphones into the mic or line input before starting SONAR.
Configuring an audio interface Before configuring your audio interface, make sure you have installed the latest drivers (can normally be obtained from the manufacturer's Web site). If you are using a USB Interface, ensure that it is plugged directly to the computer and not into a USB hub or external hard drive. You can find setup guides for many popular audio devices at www.cakewalk.com/support/ hardwaresetup.
Audio dropouts or crashes during playback Symptom: After several seconds of playback, the audio begins to cut out, although the transport appears to keep rolling. Solutions: • Go to Edit > Preferences > Audio - Driver Settings and increase the value of the Buffer Size slider, or adjust the hardware buffer size in the ASIO Panel. • Go to Edit > Preferences > Audio - Sync and Caching and increase the Playback I/O Buffer Size (KB) and Record I/O Buffer Size (KB) values. Try settings of 512, 1024, or 2048 KB.
When I play a file I don't hear anything (MIDI project) Symptom: When you attempt to play back a project (.cwp) or a MIDI file (.mid), the playback meters move and the timeline scrolls, but there is no sound from the speakers or headphones. Solution: The project only contains MIDI data and needs to be routed to a software synth (Insert > Soft Synths), a hardware synthesizer, or the Microsoft GS Wavetable Synth.
4. Navigate to the desired instrument definition file (.ins) and click Open. Note: By default, instrument definition files are stored in SONAR’s Sample Content folder. 5. Select one or more instrument definitions from the Import Instrument Definitions dialog box and click OK. 6. Click Close to return to the Assign Instruments dialog box. You can now assign your new instruments definition(s) to the proper port and channel assignments.
I hear an echo when I record If you have input monitoring enabled, when you play an instrument that is plugged into your sound card, you hear the direct signal that goes straight through your sound card, and then an instant later you hear the sound that is processed by SONAR, including any plug-in effects you may be using. You can eliminate the echo in either of two ways: • Mute the direct signal so you only hear the sound that is processed by SONAR.
Patching an effect into SONAR causes a dropout You may have simply reached the maximum number of tracks and effects your CPU can handle. If this is the case, there are several things you can try: • Freeze tracks and synths that you presently don’t need to edit. For details, see “Freeze tracks and synths” on page 829. • Use the Bounce to clips command to mix down clips that contain a lot of edits (clip effects, automation, AudioSnap, etc).
I can’t open my project / File Recovery mode SONAR 5 introduced a special diagnostic mode called Safe Mode to fix problems with project files that would not open. Safe mode is activated when you open a file while the SHIFT key is pressed. In certain rare circumstances, on attempting to open a project file you may see the following error message: “This file you are trying to open is not compatible with this version of SONAR”.
What does File Recovery mode do? File Recovery Mode applies the following behavior when opening a project file: • Opens only the Track view, skipping all other opened views in the project including effects windows, Console View etc. • Prompts you to open the plug-ins saved with your project. Each plug-in gets a prompt, so you can open some and not open others.
No sound from my software instrument/synth Symptom: I have inserted a soft synth but when I play notes on my MIDI keyboard I don't hear anything. Solutions: • Make sure that the Instrument track, MIDI track, or audio track are not muted. • Make sure the MIDI notes are in the right range for the synth's patch. • Make sure that SONAR’s audio engine is engaged. The Audio Engine button in the Control Bar (Transport module) is lit when the audio engine is engaged.
To do so: 1. Go to Edit > Preferences > File - VST Settings. 2. Under VST Scan Folder(s), click the Add button and browse to the folder where the new plug-in is installed. Note: VST scanner looks for dll files. So for example, the file PerfectSpace.dll is found under C:\Program Files\Cakewalk\VstPlugins. You will probably notice that this directory has already been added by default and thus Perfect Space appears automatically. 3.
I get an error message when I change a project to 24-bit audio Some audio devices, especially USB devices that use WDM drivers, can not operate in 24-bit mode unless a variable in SONAR’s Aud.ini file is set to 1. The variable is Use24BitExtensible=<0 or 1>, which goes in the [name of your audio device (‘n’ in, ‘n’ out)] section. To access the Aud.ini file from within SONAR, go to Edit > Preferences > Audio - Configuration File and click Edit Config File. After you update and save the Aud.
The Now time is not smooth during playback or scrolls out of view If the Now Time does not update smoothly during playback, press the PAUSE (or BREAK) key on your keyboard to make sure you didn't inadvertently put SONAR in CPU conservation mode. If the PAUSE key has been pressed, SONAR displays the letter P in the status bar. If the Now Marker scrolls out of view or off of the screen, press the SCROLL LOCK button on your keyboard so that SONAR follows the Now Marker.
For example, if the last entry in the [EffectProps View] section was: ; Waves SSL EQ Stereo XRayExclude11=1397510483 XRayExclude12={E451379E-F7E1-4E82-98D9-BEB87AC45E90} If you want to exclude the Cakewalk FxDelay from the X-Ray Windows feature, after creating a blank line, type: ; Cakewalk FxDelay XRayExclude13={985DAF67-589F-4B8D-8BBC-D7AD651B9022} If there is also a VST version of the Cakewalk FxDelay, add another line: XRayExclude14=[some VST ID number, with no brackets] 10.
Known issues The following topics cover known issues in SONAR. “Session Drummer 3 performance (Producer only)” on page 1194 “Session Drummer 2 issues (Studio only)” on page 1194 “HLP files cannot be opened in Windows Vista” on page 1195 “TTS-1 DXi does not support 88.
RPN events stop Session Drummer 2 audio output If a MIDI track that is routed to Session Drummer 2 is transmitting RPN events, Session Drummer 2 will no longer output audio. To fix this, open the Session Drummer 2 property page, click the VST Preset Options button next to the preset controls, then select Plug-in Properties. Finally, enable Do not intercept NRPNs and click OK.
Plug-in delay compensation re-sync Some plug-ins such as iZotope Ozone 4 and various UAD plug-ins, change their internal delay (PDC) dynamically when certain parameters are modified, presets are changed or internal plug-in routing is changed. When a plug-in changes its internal delay, SONAR X1 will detect this and resync all tracks in the project to this new delay value. While this is done you may hear a momentary interruption in playing audio.
Backwards compatibility SONAR X1 can load projects from any previous versions of SONAR, but projects that are saved in SONAR X1 cannot be re-opened in SONAR 1.x or SONAR 2.x. In case you need to open a preSONAR X1 project in an earlier version of SONAR, it is recommended that you always create a backup copy of the original project before you re-save the project in SONAR X1.
Re-saving a SONAR X1 project file in an older version may permanently remove the project data described above. Template files saved from SONAR X1 will not load in earlier versions of SONAR. This is because of changes made to SONAR's view persistence code in SONAR X1.
Hardware setup This appendix contains additional details on configuring your equipment for use with SONAR. See: “Connect your MIDI equipment” on page 1199 “Set up to record digital audio” on page 1202 Connect your MIDI equipment If you are using a MIDI interface (such as an MPU-401 or Sound Blaster MIDI option) with an external MIDI keyboard, you need to connect the equipment using MIDI cables. It is possible to connect your equipment in some rather complex ways that may cause problems.
If your keyboard has a MIDI Thru jack If your keyboard has three MIDI jacks—In, Out, and Thru—then use the following diagram. If you are using a 15-pin joystick adapter cable that splits into two MIDI cables: • Connect the 15-pin jack to your computer’s joystick port. • Connect the In cable to your instrument’s MIDI Out jack. • Connect the Out cable to your instrument’s MIDI In jack.
Your MIDI interface may have a Thru jack as well as In and Out jacks. If your master keyboard lacks MIDI Thru, you can add more MIDI modules to your setup by connecting the MIDI interface’s Thru to the first module’s In. You can then chain subsequent modules onto the first module, as described earlier.
Set up to record digital audio In general, the inputs of sound cards take 1/8 inch stereo mini-jacks. Sound cards usually have two inputs—one for line level inputs and the other for microphones (at mic level). The line level input is stereo; the mic input could be either stereo or mono. If your final output does not terminate in a 1/8 inch jack (and it probably doesn’t), you will need an adapter to plug it into your sound card.
Electric guitar through effects rack You can also plug an electric guitar into an effects rack, then send the output of the rack to the sound card’s input, as shown in the following diagram: Rack effects units Rack FX Rack FX Rack FX To sound card line input (stereo) Rack FX 1/4 inch instrument cable RCA to 1/8 inch adapter (stereo) 1/4 inch to RCA adapter (x2) This diagram assumes that the output of the rack is at line level.
Microphone direct-In Microphones can be plugged into the sound card’s mic input. Some inexpensive microphones are made especially for use with sound cards and come equipped with 1/8 inch jacks. However, better quality microphones take better quality cables, which do not terminate in 1/8 inch jacks.
Mixer You can connect a mixer to the sound card with a setup of the following kind: From sound card line output tto inputs #1 & 2 From Aux Bus #1 & 2 to sound card line input Stereo Amplifier Main mixer outs to power amp 1/4 inch instrument cable to input #3 Note: If your mixer has buses, use them! This helps to avoid feedback.
Hardware setup Set up to record digital audio
MIDI files The Standard MIDI file format is a file interchange format defined by the MIDI Manufacturers Association (MMA). The purpose of the format is to allow for the exchange of MIDI data between different programs. Any program that can read and write MIDI files has a common language with which to talk to other MIDI software. The compact size of MIDI music files makes them particularly useful for delivering music online.
A disadvantage of MIDI files is that the way the file sounds on playback varies based upon the sound reproduction hardware you are using. The same project sounds very different on two different synthesizers or two different sound cards. Another problem is that the Standard MIDI File specification leaves some details open to interpretation by software and hardware manufacturers. To save a project as a Standard MIDI file or RIFF MIDI file 1. Choose File > Save As to display the Save As dialog box. 2.
Supported MIDI file meta-events MIDI files can contain meta-events. The types of meta-events that SONAR supports are listed in the following table: MIDI File Meta-event How it is represented in SONAR Meter and key signature Meter/key signature map entry Tempo Tempo change General text Track name General text in the conductor track of a Format 1 file Markers view markers Track name Track name Port number (format 1) Port assignments are maintained.
Special handling of GM, GS, and XG MIDI files General MIDI compatibility of a song file is indicated by the presence of a special System Exclusive message at the beginning of the song. When SONAR finds a GM, GS or XG reset message, it assumes that you would like to work within the GM Score Production guidelines. This causes SONAR to use special timing for program change information when writing MIDI Files, and allows it to search more aggressively for track parameters when reading MIDI files.
If you plan to publish your songs If you plan to publish your own songs, we encourage you to follow the General MIDI authoring guidelines. These guidelines are quite detailed about the exact layout of many types of song data, and a complete discussion of them can be found on the World Wide Web at www.midi.org. However, SONAR can help you to conform with the GM guidelines if you follow these practices: • Always save your master copy of any work in progress in SONAR project (.cwp) file format.
MIDI files
Initialization files Many Windows applications, as well as Windows itself, use files to store information about your preferences and configuration. Often applications store values to these files when you make selections in the program using menus or dialog boxes. However, you can also change these files directly. In some cases, there is no way to change the settings in the application, and changing the file directly is the only way.
Initialization files This appendix documents three initialization files, which are stored in the SONAR program folder (by default, C:\Program Files\Cakewalk\SONAR X1. • Cakewalk.ini • TTSseq.ini • Aud.ini To view and edit the Cakewalk.ini file, choose Edit > Preferences > File - Initialization File. To view and edit the Audi.ini file, choose Edit > Preferences > Audio - Configuration File. You can use Windows Notepad to open and alter any of the three files. There are several other .
Initialization file format Initialization files all follow a common format. They are divided into sections whose names appear in the file in brackets, like this: [Section Name] Within each section, variables are of the form: = For example, the DrawPlayingAudio variable belongs in the [Wincake] section in Cakewalk.ini, and determines whether the audio waveform is redrawn or not when the display is scrolling during playback. If the value is 0 (FALSE), then the waveforms are not redrawn.
Cakewalk.ini Many of the items in Cakewalk.ini are set using SONAR menus and dialog boxes. However, some items can be changed only by using the Edit > Preferences > File - Initialization File command or by directly editing this file using the Windows Notepad. Cakewalk.ini is divided into different sections. Unless otherwise noted below, all entries should appear in the section that starts with the line: [Wincake] For example, if you want to add the line PanicStrength=1 to Cakewalk.
The following section lists the different variables you can change in Cakewalk.ini. Variable Type Default value There are two variables that control the behavior of using a control surface jog wheel to change SONAR’s Now time: JogPosTimer is the period of the now time throttle. When a jog message comes in, SONAR sets the transport time immediately but will not set the transport time again for this length of time. During the time, SONAR just remembers the latest jog time received.
Variable Type Default value What it does WavePreviewInputBuffers=< 1-4> ) Integer 4 This variable allows control of the number of Waveform preview input buffers. The input buffers allow more efficient access to the recorded meter history on disk, and greatly speeds up performance access to previews while zooming and scrolling the clips view when waveform preview is active. You can control the actual number of history page buffers with this variable.
Variable Type Default value What it does PanicStrength=<0 or 1> Boolean 0 (controller 123 only) The Panic/Reset button stops playback and turns off any stuck notes. There are two ways a MIDI note can be turned off: By a note-off message (n=1) or by MIDI controller number 123 (all notes off). By default, Panic uses controller 123 only (n=0).
Variable Type Default value What it does VelocityAsBargraph= <0 or 1> Boolean 0 By default, note velocity tails are displayed as thin vertical lines in the Piano Roll view, and the color is the same as note events. If “Notes/ Velocity” is not the current edit type, this color will be slightly lightened.
Variable Type Default value What it does ShowClipShadow= <0 or 1> Boolean 0 By default, a drop shadow is not displayed on clips in the Track view. To always display a drop shadow on clips, add this to the [Wincake] section: ShowClipShadow=1 PauseDuringSave= <0 or 1> f Boolean 0 By default, when saving a project file during playback, SONAR saves the file asynchronously while playback continues.
Variable Type Default value What it does CtrlSurfaceRefreshMS= <50 - 5000> Integer 75 You may wish to increase the value of this Cakewalk.ini variable if you are experiencing sluggish UI responsiveness when using a control surface and playing back high CPU projects. Also, if you are using a control surface that is not bi-directional, the surface does not need to be refreshed at all and you can safely increase the value.
Variable Type Default value What it does TVBoldStripNames= <0 or 1> Boolean 1 Specifies whether track/bus names use bold (value=1) or regular (value=0) font style in the Track view. TVLargeStripNames= <0 or 1> Boolean 1 Specifies the size of track/bus names in the Track view. The default size is large (value=1). TransparentClipNames= <0 or 1> Boolean 0 SONAR can write Clip Names with an alpha channel such that the waveform behind the clip name can be seen.
Variable Default value What it does CreateNewGroupsOnPaste= Boolean <0 or 1> 1 When you copy and paste clips that belong to a clip group, this variable specifies if the pasted clips should be placed in a new clip group or continue to be grouped with the original clip group. By default, a new clip group is created. The values are as follows: 0 = The pasted clips will belong to the same clip group as the clips that were copied. 1 = A new clip group is created for the pasted clips.
TTSseq.ini The TTSseq.ini file can only be changed using Windows Notepad. Variables in the [Options] section Variable Type Default value What it does ChaseDelay= Integer 20 (2 seconds) This line specifies the sync chase delay in 1/10 seconds. During SMPTE/MTC sync, when the position is determined, playback begins at a later time to allow for setup. This line specifies the delay amount. If this value is too long, you always have to wait after starting playback before SONAR locks.
Variable Type Default value What it does LyricTrack= Integer 3 (track 4) This line specifies which track is to contain lyrics from Type 0 Standard MIDI files. A zero means track 1, a 1 means track 2, and so on. MMCDelayMsecs= Integer 100 This setting specifies the minimum amount of time that must elapse between any two MMC commands. Some MMC gear, including the Fostex MTC-1 and the Tascam SY-88, can get confused unless there is at least a 10-millisecond delay after every MMC command.
Variable Type Default value What it does IgnoreMidiInTimeStamps= <0 or 1> Boolean 0 (disable) This line determines whether or not SONAR ignores any MIDI time stamping that a MIDI driver does. If you’re experiencing increasing delays between the time you play a MIDI note on a controller and the time you hear SONAR echo it, setting this line to 1 may help. Also, if you find that SONAR is recording MIDI data at a different time from when the data was played, setting this line to 1 may help.
Variable Type Default value What it does SysxSendPacketSize= Integer 1024 This line specifies the number of bytes between Sysx transmit delays. Sysx bytes are transmitted in packets, with a 1/18 second delay between each packet. Setting this value smaller will help slower MIDI devices (synthesizers, etc.) avoid overflowing their internal buffers.
Aud.ini To edit Aud.ini, do the following: 1. Go to Edit > Preferences > Audio - Configuration File. 2. Under Configuration Settings, click Edit Config File. The Aud.ini file opens in the default Windows text editor. 3. Edit Aud.ini as desired. 4. Save Aud.ini and close the Windows text editor. 5. Click Reload Config Settings to reload the current audio configuration settings from Aud.ini. Variables in Aud.
Variable Default Value What it does ComputePicturesWhilePlaying=< Boolean 1 or 0> 1 This option allows waveform pictures to be computed in the background while audio playback is in progress. Most modern computers should be able to handle this load with no problems. Note that work is only done while new pictures are actually being computed—once the pictures are finished rendering there is no overhead.
Variable Type Default Value What it does GapDezipperUsec=<0-1000> Integer 500 The audio engine will now render a smooth fade in whenever audio playback is interrupted and there is a abrupt transition in gain. The purpose of doing this is to dezipper (smooth out) the gain transition due to the discontinuity. For example, if you click on the time ruler to jump to a new time location during playback, the engine will smoothly render the transition to the new gain level as a fade in.
Variable Type Default Value What it does LinkPFSendMute=<0 or 1> Boolean 0 If this is set TRUE, pre fader sends on both tracks and buses are automatically muted when the track/bus is muted. Also if another track is soloed the pre fader sends on other tracks will be muted. This basically conforms to pre SONAR 4 behavior.
Variable Type Default Value What it does DropoutMsec= Integer 250 Under high system load conditions, the SONAR audio pump mechanism may become starved. When this condition is detected, SONAR drops out. The DropoutMsec variable allows you to configure the tolerance time in milliseconds. This variable applies to all driver modes. Setting DropoutMsec to a positive value > 0 specifies the actual time in milliseconds to tolerate before dropping out due to starvation.
Variable Type Default Value What it does MMCSSTaskKey= Name Pro Audio By default, SONAR uses the MMCSS task profile named Pro Audio. If desired, you can instruct SONAR to use a custom MMCSS task profile. ManageASIOThreadPriority= <0 or 1> Integer 1 This determines whether SONAR manages the ASIO thread priority when necessary. This defaults to 1. EnableCacheWriteThru= <0 or 1> Boolean 1 This variable enables disk write thru caching.
Variable Type Default Value What it does UseHardwareSamplePosition=< 0, 1> Boolean 0 This variable applies to ASIO mode only and controls whether SONAR internally compute the sample position based on buffer switch calls or uses the ASIOGetSamplePosition reported value to retrieve the driver reported value.
Initialization files Initialization file format
New features in SONAR X1 SONAR X1 has many new features (some features are in SONAR Producer and Studio only).
Skylight SONAR’s user interface has been redesigned and streamlined. Skylight introduces a next generation workspace and ushers in a new level of simplicity by providing an intelligent interface that moves beyond contemporary, single-window design and layout clutter. Hide, dock, collapse or expand any of SONAR’s views instantly. The main components of the Skylight interface are as follows: • Inspector. See all vital track and clip information in one logical and quickly accessible location. • Control Bar.
Inspector The Inspector provides easy access to relevant settings for the selected track(s) or clip(s). A full channel strip allows ergonomic Track view mixing. The Inspector is fully collapsible, expandable, dockable and floatable. Figure 320. The Inspector For details, see “Inspectors” on page 503.
Control Bar The modular Control Bar contains the most important tools and other pieces of information you will need to record, edit and play back your project. Arrange the layout of modules to suit your needs. Figure 321. The Control Bar For details, see “Control Bar overview” on page 473. MultiDock The MultiDock is an integral part of the Skylight interface that allows you to dock and easily access any of SONAR’s views all in one place.
Browser The completely redesigned Browser organizes all of your content into one, easily managed place. Drag and drop just about anything you can think of from the Browser directly to your workspace. Fully resizable and collapsible and with user-definable preset locations, finding what you’re looking for has never been faster or easier. Figure 323. The Browser. For details, see “Browser” on page 537. Screensets Screensets remember every window position, size, and state.
Smart Tools SONAR’s tools have been completely revamped for X1. Most functions can now be done with a single tool that switches automatically based on context. This dramatically reduces the need for switching tools during the editing and mixing stages. But sometimes you need a very specific tool for a particular job. The floating, pop-up Tools HUD makes finding and switching tools a breeze and getting back to the previous tool is just a simple key press away.
Get the epic sound of renowned studio hardware with ProChannel: Ultimate console EQ The ProChannel’s Gloss EQ is carefully designed to sound clear and musical on virtually any source material. Utilizing the latest techniques, Gloss EQ injects the smooth beauty of an analog EQ directly into SONAR’s mixing console.
Other enhancements In addition to the major new features already mentioned, SONAR X1 also includes dozens of customer-inspired productivity enhancements, including: • Improved performance. SONAR X1 takes full advantage of GPU acceleration (graphics hardware) for better-than-ever performance across the application. • Improved data editing.
Comparison The following table highlights the key differences between SONAR X1 Producer, SONAR X1 Studio, SONAR X1 Essential and SONAR X1 LE.
SONAR X1 Studio SONAR X1 Producer External Insert x x AudioSnap 2.0 x x V-Vocal 1.
Product Comparison SONAR X1 LE SONAR X1 Essential SONAR X1 Studio SONAR X1 Producer Para-Q x x x x Pitch x x x x Reverb x x x x SpectraFX x x x x Stereo Delay (32-bit Only) x x x x Stereo Reverb x x x x Tempo Delay x x x x x x x x x x x x Sonitus fx: Compressor x x Sonitus fx: Delay x x Sonitus fx: Gate x x Sonitus fx: Modulator x x Sonitus fx: Multiband x x Sonitus fx: Surround x x Sonitus fx: Surround Compressor x x Sonitus fx: Wah Wah
Product Comparison SONAR X1 LE SONAR X1 Essential SONAR X1 Studio SONAR X1 Producer TS-64 Transient Shaper x Vintage Channel x VX-64 Vocal Strip x MIDI plug-in effects MFX Arpeggiator x x x x MFX Change Velocity x x x x MFX Chord Analyzer x x x x MFX Echo/Delay x x x x MFX Event Filter x x x x MFX Quantize x x x x MFX Transpose x x x x x x x x Cakewalk TTS-1 x x x Dimension LE LE Pro Dreamstation DXi (32-bit Only) x x x DropZone x x x Instrum
SONAR X1 Studio SONAR X1 Producer Z3ta+ x x Session Drummer 2 x Product Comparison SONAR X1 LE SONAR X1 Essential Beatscape x Session Drummer 3 x True Pianos Amber (x86, x64) x Expansion Packs for Dimension Pro Digital Sound Factory V2 Classic Keys x Hollywood Edge FX x Dimension Pro Expansion Pack 1 x Dimension Pro Expansion Pack 2 x Classic Sounds for Dimension Pro x Audio Loops, MIDI Clips & Projects 500 MB REX Loopmasters x 500 MB REX/WAV Sample Magic x 210 MB WAV XMIX x
Comparison
Included plug-ins The following is a list of audio, MIDI and instrument plug-ins that are included with SONAR. For detailed information about a specific plug-in, see the plug-in’s online Help.
“TS-64 Transient Shaper (Producer and Studio only)” on page 1286 “VC-64 Vintage Channel (Producer only)” on page 1286 “VX-64 Vocal Strip (Producer only)” on page 1287 Channel strips, stereo & panning “Channel Tools” on page 1259 “ProChannel (Producer only)” on page 1274 “PX-64 Percussion Strip (Producer only)” on page 1275 “VC-64 Vintage Channel (Producer only)” on page 1286 “VX-64 Vocal Strip (Producer only)” on page 1287 Delays & modulation “Chorus” on page 1260 “Chorus (mono)” on page 1260 “Classic Pha
Mastering “Analyst” on page 1257 “Boost 11 Peak Limiter” on page 1258 “Channel Tools” on page 1259 “LP-64 EQ (Producer only)” on page 1270 “LP-64 Multiband (Producer only)” on page 1271 “Sonitus fx: Multiband” on page 1280 “Sonitus fx:Phase” on page 1281 “TL-64 Tube Leveler (Producer and Studio only)” on page 1285 Reverbs “DSP-FX Studioverb (32-bit Only)” on page 1264 “Perfect Space (32-bit Only) (Producer only)” on page 1273 “Reverb” on page 1275 “Reverb (mono)” on page 1276 “Sonitus fx: Reverb” on page 1
MIDI effects “MFX Arpeggiator” on page 1288 “MFX Change Velocity” on page 1288 “MFX Chord Analyzer” on page 1288 “MFX Echo/Delay” on page 1289 “MFX Event Filter” on page 1289 “MFX Quantize” on page 1290 “MFX Transpose” on page 1290 Instruments “Beatscape (Producer and Studio only)” on page 1291 “Cakewalk TTS-1” on page 1292 “Cyclone” on page 1292 “Dimension LE Synth with Garritan Pocket Orchestra (Studio only)” on page 1293 “Dimension Pro (Producer only)” on page 1294 “DreamStation DXi2 (32-bit only)” on p
Audio effects 2-band EQ Figure 328. 2-band EQ The 2-Band EQ lets you choose the frequencies affected by equalization, and then choose how much to cut or boost each frequency. For more information, see the 2-band EQ online Help. Alias Factor Figure 329. Alias Factor Alias Factor combines bit crushing and low pass filtering in a unique way, allowing you to decimate your audio to create tones as varied as vintage samplers, cell phones, or old video games.
AmpliTube X-GEAR (Studio and Essential only) Figure 330. AmpliTube X-GEAR AmpliTube X-GEAR is an expandable guitar/bass amp and FX modeling system that allows you to open any “Powered by AmpliTube” product, with full mixing and matching between a massive number of accurately modeled gear. Each opened model’s parameters are fully automatable.
Analyst Figure 331. Analyst Analyst is a spectrum analyzer, and can also generate automation envelopes. You can operate Analyst in either one of two modes: • Spectrum mode. Vertical axis represents dB, horizontal axis represents frequency (as pictured above). • Sonograph mode. This mode displays a color-coded historical representation of the audio. Level is indicated by color; vertical axis represents frequency.
Boost 11 Peak Limiter Figure 333. Boost 11 Peak Limiter The Boost 11 Peak Limiter is a transparent peak limiting and volume maximizing plug-in for mixing and mastering purposes; it is designed to reduce peak levels without coloring the sound. Boost 11 uses a “look-ahead” limiter algorithm to prevent output clipping and PDR (Program Dependent Release) to minimize pumping (audible fluctuations of the volume) and maximize the loudness.
Cakewalk Tuner Figure 334. Cakewalk Tuner Channel Tools Figure 335. Channel Tools The Channel Tools plug-in provides easy and powerful channel processing for gain, Mid-Side decoding, delay and stereo panning. Channel Tools is ideal for enhancing and adjusting stereo separation for stereo tracks and full mixes. With Channel Tools you can: • Use intuitive controls to easily place the left and right channels individually anywhere in the stereo space. • Automatically decode Mid-Side channel recordings.
Chorus Figure 336. Chorus Chorusing “fattens” the audio to make one instrument sound like many. When many people sing together, for example, each of their voices is slightly out of tune and off the beat. Therefore, detuning and delaying the signal makes many instruments sound richer, including guitars, vocals, and strings. For more information, see the Chorus online Help. Chorus (mono) Figure 337. Chorus (mono) For more information, see the Chorus (mono) online Help.
Classic Phaser Figure 338. Classic Phaser This is a classic phaser effect that uses a modulating notch filter with a feedback loop. The “Quadra” mode provides extra wide imaging and animation. For more information, see the Classic Phaser online Help. Compressor/Gate Figure 339.
Delay/Echo (mono) Figure 341. Delay/Echo (mono) Delay/Echo creates a series of repeating signals from the original signal. You vary the amount of this delay or echo by changing the Delay Time and the Feedback Mix. This effect is available both as a destructive, offline effect, and as a realtime effect in both the Track and Console windows. For more information, see the Delay/Echo (mono) online Help. DSP-FX Chorus (32-bit Only) Figure 342.
DSP-FX Delay (32-bit Only) Figure 343. DSP-FX Delay FxDelay creates a series of repeating signals from the original signal. You can create a single echo on the original signal, or a series of echoes. For more information, see the DSP-FX Delay online Help. DSP-FX EQ (32-bit Only) Figure 344. DSP-FX EQ FxEq is an extremely flexible EQ. It is highly customizable, offering 8 user-defined bands. For more information, see the DSP-FX EQ online Help.
DSP-FX Flange (32-bit Only) Figure 345. DSP-FX Flange The FxFlange is the first digital flanger to accurately model tape-based analog flanging, right down to the engineer's thumb applying pressure on one of the tape reels. Since its two voices are completely independent, the FxFlange can produce more complex effects than a standard stereo flanger—it's like having two separate flangers in the same unit.
Flanger Figure 347. Flanger Flanging consists of two signals, one delayed slightly so that the signals are out of phase. This creates a spacey, ethereal sound. For more information, see the Flanger online Help. Flanger (mono) Figure 348. Flanger (mono) Flanging consists of two signals, one delayed slightly so that the signals are out of phase. This creates a spacey, ethereal sound. For more information, see the Flanger (mono) online Help.
FX Compressor/Gate Figure 349. FX Compressor/Gate A compressor takes the loudest parts of an input signal and reduces their volume. There are a variety of reasons why you might want to use a compressor: • Compressors enable you to increase the overall signal level of a mix, without causing the distortion that would result from exceeding the maximum allowable peak level. Increasing the average signal level makes a recording sound louder, with an apparent increase in “punch.
FX Dynamics Processor Figure 350. FX Dynamics Processor Dynamics processors are a class of audio effects that modify the dynamic range of an audio signal. The dynamic range of an audio signal is a measure of the level of variation between the loudest and softest parts of the signal. For more information, see the FX Dynamics Processor online Help. FX Expander/Gate Figure 351.
FX Limiter Figure 352. FX Limiter The purpose of the limiter is to prevent the audio signal from exceeding a threshold value. A limiter may be seen as an extreme case of compressing For more information, see the FX Limiter online Help. FX2 AmpSim Figure 353. FX2 AmpSim The AmpSim plug-in allows you to simulate processing your audio through a guitar amplifier and/or speaker cabinet, providing authentic distortion and speaker modeling characteristics. For more information, see the FX2 AmpSim online Help.
FX2 TapeSim Figure 354. FX2 TapeSim The TapeSim plug-in simulates processing your audio through an analog tape recorder, emulating the coloration effects that are inherent in magnetic recording, including natural tape overload compression, saturation and hiss (noise). For more information, see the FX2 TapeSim online Help. Guitar Rig 4 LE (Producer only) Figure 355. GUITAR RIG 4 LE GUITAR RIG 4 LE is built on the latest award-winning guitar amp modeler from Native Instruments.
HF Exciter Figure 356. HF Exciter HF Exciter lets you enhance the higher end of the frequency spectrum. This produces the psychoacoustic affect that the signal is brighter and clearer. This is done by adding harmonic content that is not present in the original signal. For more information, see the HF Exciter online Help. LP-64 EQ (Producer only) Figure 357.
LP-64 Multiband (Producer only) Figure 358. LP-64 Multiband Compressor The LP-64 Multiband Compressor consists of five high-quality compressors, each operating on a single adjustable frequency band. Unlike typical limiters, the filters that split up the frequency bands in the LP-64 Multiband Compressor plug-in are of the Linear Phase variety. This allows you to split up the spectrum into bands and then sum them back together with no phase errors or colorations.
Multivoice Chorus/Flanger Figure 360. Multivoice Chorus/Flanger Chorus/Flanger lets you add depth and thickness to the signal. The EQ section in the feedback path allows you to create some truly unique sounds. For more information, see the Multivoice Chorus/Flanger online Help. Parametric EQ Figure 361. Parametric EQ The FX EQ (Stereo) is a parametric equalizer consisting of four bands which you can control using both the interactive graph and controls adjacent to it.
Perfect Space (32-bit Only) (Producer only) Figure 363. Perfect Space convolution reverb The Perfect Space convolution reverb is a stereo convolution processor. The process of convolution allows you to apply the acoustic characteristics of any space (or sound) to any input signal. Perfect Space can work with a latency as low as 64 samples (1.5 ms at 44.1kHz), making it possible to use it during tracking.
Pitch Shifter Figure 364. Pitch Shifter The Cakewalk FX Pitch Shifter raises or lowers the pitch of an audio signal, while leaving the duration of the audio event unchanged. This is a fast pitch shifter that uses minimal computation time. For more information, see the Pitch Shifter online Help. ProChannel (Producer only) ProChannel is an extended channel strip that provides high-quality compressor, equalizer, and tube saturation processing for each audio track, Instrument track and bus.
PX-64 Percussion Strip (Producer only) Figure 366. PX-64 Percussion Strip PX-64 Percussion Strip is a multi-functional plug-in that combines a series of effects specifically optimized and streamlined for drum and percussion processing. Combining transient shaping, compression, expansion, equalization, delay and tube saturation in one convenient plug-in, PX-64 Percussion Strip is designed to make it fast and easy to enhance any drum or percussion track.
Reverb (mono) Figure 368. Reverb (mono) Reverberation, or reverb, adds many small echoes to a signal to create spaciousness. For more information, see the Reverb (mono) online Help. Sonitus fx: Compressor Figure 369. Sonitus fx: Compressor fx:compressor is a variable-knee compressor with built-in peak limiting. The purpose of a compressor is to limit the dynamic range of music or sound. Compression will make the loud parts of the signal more quiet, resulting in a more or less even level.
Sonitus fx: Surround Compressor Figure 370. Sonitus fx: Surround Compressor The Sonitus Surround Compressor is an enhanced, surround-capable version of the Sonitus:fx Compressor plug-in. The Surround Compressor is comprised of four stereo compressors. After you patch the compressor into a surround bus, you can direct any combination of the bus's input channels to any of the four compressors, sending any combination of stereo channel pairs, the center channel, and the LFE to the compressor(s) you choose.
Sonitus fx: Delay Figure 371. Sonitus fx: Delay fx:delay is an advanced stereo delay with tempo sync. For more information, see the Sonitus fx: Delay online Help. Sonitus fx: EQ Figure 372. Sonitus fx: EQ fx:equalizer is a 6-band parametric equalizer with selectable filter types for each band and frequency response graph.
music and sound. They let you use different filtering techniques to attenuate, cut or boost a specific frequency or a range of frequencies, allowing you the shape the overall characteristics of the audio signal. For more information, see the Sonitus fx: EQ online Help. Sonitus fx: Gate Figure 373. Sonitus fx: Gate fx:gate is a dynamic gate with side-chain filtering and lookahead. The fx:gate plug-in has wide variety of uses.
Sonitus fx: Modulator Figure 374. Sonitus fx: Modulator fx:modulator combines six time-varying modulation effects into one integrated plug-in. For more information, see the Sonitus fx: Modulator online Help. Sonitus fx: Multiband Figure 375. Sonitus fx: Multiband fx:multiband is a 5 band variable knee compressor with both normal and vintage compression modes and output limiter.
Using a multiband compressor has many advantages over using a traditional ("single band") compressor when it is used on audio signals containing complex harmonic material like a complete music mix. • "Pumping" is virtually eliminated. "Pumping" is a phenomenon that is noticed when music with a heavy bass beat is run through a standard compressor; the mids and highs seem to vary in amplitude or "pump" to the beat.
Sonitus fx: Reverb Figure 377. Sonitus fx: Reverb Reverb or reverberation is the effect of resounding echos in a room or other enclosed acoustic environment. Reverb can be seen as a series of echos so dense that they can't be told apart from each other. fx:reverb emulates the phenomenon of sound being reflected off walls in a virtual room, and allows you to add reverb that resembles the character, decay and frequency response of various environments.
Sonitus fx: Surround Figure 378. Sonitus fx: Surround fx:surround is a surround sound panner with built-in doppler and attenuation rendering for distance and velocity effects, joystick control and graphical path editing. For more information, see the Sonitus fx: Surround online Help. Sonitus fx: WahWah Figure 379. Sonitus fx: WahWah fx:wahwah is a guitar effect emulator. A classic guitar effect, the wahwah stomp box became an instant hit when it was introduced in 1966.
fx:wahwah is a digital adaptation of the analog designs, and is modeled after real-life wahwah stomp boxes like the Morley Pro Series Distortion Wah, Jim Dunlop Crybaby Model GCB-95 and Model JH1 (Jimi Hendrix). For more information, see the Sonitus fx: Wah Wah online Help. SpectraFX Figure 380. SpectraFX The SpectraFX lets you modulate (change the settings of) a wide variety of powerful effects in real time, using a mouse, joystick, or the SpectraFX's LFO (Low Frequency Oscilator) feature.
Tempo Delay Figure 382. Tempo Delay Stereo Delay produces a tempo-synchronized echo on whichever channel it is patched to. The three-band EQ section in the feedback path allows you to create some truly unique sounds. For more information, see the Tempo Delay online Help. TL-64 Tube Leveler (Producer and Studio only) Figure 383.
TS-64 Transient Shaper (Producer and Studio only) Figure 384. TS-64 Transient Shaper The TS-64 Transient Shaper plug-in provides powerful control over the dynamics of audio tracks and mixes. In a musical context, the term transient refers to a sudden increase in sound output that occurs for a short period of time. For example, the attack portion of a drum hit is a transient.
VX-64 Vocal Strip (Producer only) Figure 386. VX-64 Vocal Strip VX-64 Vocal Strip is a multi-functional plug-in that combines a series of effects specifically optimized and streamlined for vocal processing. Combining compression, expansion, equalization, deessing, doubling, delay and tube saturation in one convenient plug-in, VX-64 Vocal Strip is designed to make it fast an easy to enhance any vocal track.
MIDI effects MFX Arpeggiator Figure 387. MFX Arpeggiator The Arpeggiator command applies an arpeggio to its input and plays it back in real time. You can make it arpeggiate with a swing feel, or straight and staccato or legato, vary its speed and direction, and specify its range. MFX Change Velocity Figure 388. MFX Velocity The Velocity effect lets you adjust velocities of MIDI notes.
appears on the MIDI display and the staff, and its name with possible alternatives appears in the Chords recognized box. You can play the notes on your MIDI input device and have the Chord Analyzer identify the chords in real time. You do not have to set to playback. You can open the Chord Analyzer in the Track and Console views, press Playback and have the Chord Analyzer identify the chords in real time. MFX Echo/Delay Figure 390.
MFX Quantize Figure 392. MFX Quantize The Quantize command moves events to (or towards) an evenly-spaced timing grid. The Quantize effect is similar to the Process > MIDI Effects > Cakewalk FX > Quantize command. For more information, see “Other settings” on page 699. MFX Transpose Figure 393. MFX Transpose The Process > MIDI Effects > Cakewalk FX > Transpose command is a flexible transposition feature.
Instruments Beatscape (Producer and Studio only) Beatscape combines a sophisticated 16-pad REX file player and beat slicer with per-pad effects, a Step Generator, extensive MIDI control, and more. Beatscape makes it easy to conform multiple loops to the same tempo or to reorder slices without changing the groove.
Cakewalk TTS-1 Figure 395. Cakewalk TTS-1 Cakewalk TTS-1 is a GM2 (General MIDI 2) compatible, multi-timbral, multi-output, software synthesizer featuring a newly developed software synthesis engine, with 256 sounds and 9 drum sets built in. For more information, see the Cakewalk TTS-1 online Help. Cyclone Figure 396.
The Cyclone DXi is a 16-part phrase sampler with beat-matching and extensive loop editing capabilities. With Cyclone you can trigger different loops of different tempos and Cyclone will automatically play them back at the same tempo, in sync with little or no signal degradation. Cyclone is similar to a software-based sampler in that you can trigger the pads from the mouse, a MIDI keyboard, or from MIDI data in a track; the difference is that is works with entire loops or phrases, similar to Dr.
Dimension Pro (Producer only) At Dimension's core is a powerful sample-playback engine paired with advanced synthesis capabilities. It draws on a comprehensive library of sounds covering every aspect of contemporary music. Dimension is also expandable, meaning more sounds can be added to the instrument via expansion packs, or user multisamples based on standard PCM wave files. Besides sample-playback, Dimension is capable of Wavetable synthesis, and Physical Modeling (Waveguide) synthesis.
• A maximum of 16 voices polyphony. • Linear frequency modulation, Hard synchronization, Ring modulation, Distortion. For more information, see the DreamStation DXi2 online Help. DropZone Figure 400. DropZone There’s no easier way to add your own style to a track. Just drag and drop a sample into DropZone, and make it part of your beat. It is the ideal synth for creating remixes or for building the perfect hook for your song.
PSYN II (Producer and Studio only) Figure 402. PSYN II PSYN is a very powerful virtual analog synthesizer, which recreates sounds of old analog and vintage synthesizers. Four oscillators with up to four waveforms each plus noise, a sub oscillator, several modulation capabilities, two filters, five envelope generators, three low frequency oscillators and a very flexible modulation array are the resources PSYN offers, combined with full automation and a powerful MIDI Learn mode.
Roland GrooveSynth Figure 404. Roland GrooveSynth Roland GrooveSynth provides genuine Roland groove box and synth sounds. For more information, see the Roland GrooveSynth online Help. RXP REX Player (Producer and Studio only) Figure 405. RXP RXP DXi is a virtual instrument that plays REX files. The REX file format stipulates that audio slices play back individually, usually via MIDI. This allows arbitrary playback of slices and conformation of loops to the host tempo map.
Session Drummer 2 (Studio only) Figure 406. Session Drummer 2 Session Drummer 2 is a professional drum sampler and pattern player. It features Cakewalk’s patented Expression Engine technology, an anti-aliased, real-time sound production system for multisample audio playback. You can load single samples (Wave or AIFF files), or multisamples, (SFZ files) which already contain key mapping and velocity switching assignments.
Session Drummer 3 (Producer only) Figure 407. Session Drummer 3 Session Drummer 3 is a professional drum sampler and pattern player. It features Cakewalk’s patented Expression Engine technology, an anti-aliased, real-time sound production system for multisample audio playback. Session Drummer 3 accurately replicates the sound of its real-world counterpart and features a highly-detailed user interface as well as simple but powerful controls.
sfz Sound Font Player Figure 408. sfz Sound Font player sfz is a high-quality multitimbral SoundFont player. sfz can play SoundFont (.sf2), wave (.wav) and ogg-vorbis compressed (.ogg) files. For more information, see the sfz online Help. True Pianos (x86, x64) (Producer only) Figure 409.
Z3ta+ (Producer only) Figure 410. Z3TA+ Z3TA+ is an award-winning analog-style synthesizer with incredible sound shaping capabilities. The exclusive bandlimited Waveshaping technology makes Z3TA+ one the best and most respected synths in the industry. Whether you’re looking for lush, warm pads, slowly evolving atmospheres, searing leads or sparkling FM sounds, Z3TA+ delivers the goods, and includes hundreds of professional presets. For more information, see the Z3TA+ online Help.
Included plug-ins Instruments
Cyclone The graphic below illustrates the Cyclone DXi views and controls. Figure 411. Cyclone D E F G H I A J K L B M N C O P Q A. Import Sound Bank B. Loops C. Key Map view tab D. Export Sound Bank E. Trash button F. Play button G. Stop button H. Auto Preview button I. Pad J. Pad Group K. Volume knob L. Pan knob M. Sync button N. Loop button O. Track handles P. Selected pad Q.
See: “Cyclone toolbar” on page 1304 “Pad groups” on page 1305 “Pad inspector” on page 1306 “Loop view and Key Map view” on page 1308 “Pad editor” on page 1308 “Slice inspector” on page 1309 “Using Cyclone” on page 1309 Cyclone toolbar The following graphic shows each of Cyclone’s toolbar buttons: A B C D E F A. Import Sound Bank B. Export Sound Bank C. Trash D. Auto Preview E. Stop F.
Pad groups The following graphic shows a close-up of a Cyclone pad group: A B G C H D E F A. Pad B. Volume C. Load D. Mute E. Solo F. Sync G. Pan H. Loop A Pad Group in Cyclone has the following controls: Control Description Pad The trigger for playing a loop. Volume knob Adjusts the volume of the Pad Group. The volume value is displayed in the Pad Inspector. Pan knob Adjusts the pan of the Pad Group. The pan value is displayed in the Pad Inspector.
Pad inspector The Pad Inspector has additional pad group controls: C A D B A. Click to enable tails for current track B. Click to force Cyclone to follow SONAR’s Pitch markers C. Select an audio output D. Click to toggle on/off Latch mode In the Pad Inspector there are the following controls: Control Description Output You can select from one of 16 audio outputs or use the Mix Only setting to use the Master out. MIDI In You can set which MIDI channel the pad group responds to.
Control Description Tails The tails feature extends the “tail” or decay of a slice which may otherwise have ended prematurely, drowned out by the next slice. This is particularly useful when you substitute a longer slice with a shorter one leaving room for a tail to sound. Latch The Latch option gives you a second mode for triggering pads. In Latch mode, a Groove Clip plays continuously when triggered until it is triggered again.
Loop view and Key Map view The Loop view displays the content of the loop you have selected in the Loop bin. If the loop is an ACIDized loop, the loop’s transient markers separate the file’s slices. From the Loop view, you can drag a slice onto an event in the Pad Editor. Figure 412. Loop view A B A. Click to open the Key Map view B. Slices The Key Map view shares the same space in Cyclone as the Loop view.
Slice inspector The Slice Inspector has pitch, gain and pan offset controls. You can change the pitch of the slices in a loop to change the melody of the loop. If you want to edit multiple slices at the same time, select multiple slices by SHIFT-selecting them and adjust the controls you want. Using Cyclone Cyclone is a multi-output synth, and you launch it the same way you launch other synth’s: by inserting it into a SONAR project.
To load loops into Cyclone • Click the folder icon that’s on the Loop bin to display the Open dialog. Select a loop and click Open. Cyclone loads the loop into the Loop bin. OR • Click a folder icon that’s on a particular Pad that you want to load a loop into. When the Open dialog appears, select a loop and click Open. Cyclone loads the loop into both the Pad where you clicked the folder icon and the Loop bin. OR • Drag a loop into Cyclone from SONAR‘s Clips pane or Media Browser view.
To assign a loop to a pad • Drag a loop from the Loop bin to a Pad. OR • Click a folder icon that’s on a particular Pad that you want to load a loop into. When the Open dialog appears, select a loop and click Open. Cyclone loads the loop into both the Pad where you clicked the folder icon and the Loop bin. OR • Drag a loop onto a Pad from SONAR‘s Clips pane or Media Browser view. You can assign one loop per Pad.
To play a pad with recorded MIDI data 1. Record some MIDI data into a SONAR MIDI track. 2. In the MIDI track’s Output field, choose Cyclone. Cyclone must have been already inserted into the project in order for it to appear as a choice in the Output field. 3. In the MIDI track’s Ch field, choose the number of the Cyclone Pad that you want to trigger with this MIDI track.
To import a sound bank 1. Click the Import Sound Bank button on the Cyclone toolbar. The Open dialog appears. 2. Navigate to the directory where you saved your Sound Bank, select it and click OK. Cyclone loads the loops and associated settings that make up the Sound Bank you loaded. To clear the contents of a project • Click the Trash icon in the Cyclone toolbar. Cyclone deletes all loops from your project. Mixing down Cyclone You mix down a Cyclone session the same ways you mix down any synth.
To set the number of divisions for a slice You can set the number of divisions in each slice. This controls how exact the placement of your slices is within the Pad Editor. Each division represents a place where a slice can “snap to” or begin. 1. In the Pad Editor, click the down arrow next to the Snap field. 2. From the drop-down menu that appears, select one of the following: • None • 1/beat • 2/beat • 3/beat • 4/beat • 8/beat • 12/beat • 16/beat The number of divisions per beat in Cyclone is set.
Undo and redo You can undo any edit you make in Cyclone. If you decide, after you have used Undo, that you want the edit after all, you can Redo the edit. The number of edits you can Undo and Redo in Cyclone is unlimited. To undo an edit Do one of the following: • Click the Edit menu and choose Undo. • Press CTRL+Z. To redo an edit Do one of the following: • Click the Edit menu and choose Redo. • Press SHIFT+CTRL+Z.
Cyclone Using Cyclone
Menu reference Use the Contents or Search tabs to find the menu command topic you are looking for. File > New The File > New command opens the “New Project File dialog” on page 1541 box where you choose a template for a new file. See “New Project File dialog” on page 1541 for more information. See also: “To create a new project file” on page 247 File > Open The File > Open command opens the Open dialog box. Use the Open dialog to open an existing project.
File > Save The File > Save command saves the current project. If multiple projects are open, the project with the focus is saved. For more information, see “Saving your work” on page 302. File > Save As The File > Save As command opens the Save As dialog where you can save a project with the name, directory, and format you specify. The formats available are: • Normal. Also known as a Project file (extension .cwp) • Bundle. • Template. Contains all the audio and MIDI data (extension .
• Audio files (extensions .au and .snd) The sampling rate for a project is set based on your default sampling rate. If the sampling rate from the wave file does not match the sampling rate in your project, then it will be converted to the current project’s sampling rate. See: “Importing audio CD Tracks” on page 298 File > Import > Audio CD The File > Import > Audio CD command lets you import tracks from audio CD’s into any track of a project. Any number of CD tracks can be imported.
File > Export > Audio The File > Export > Audio command lets you save and export your projects as MP3 files and other types of formats. For more information about the File > Export > Audio command, see “Preparing audio for distribution” on page 888. See also: “Routing and mixing digital audio” on page 813 File > Export > Video Use the File > Export > Video command to combine the audio data and any video data in your SONAR project into an .avi file, Windows Media Video file, or QuickTime file.
File > Export > Track Template This command opens the Export Track Template dialog. Use this command to save a track template using the currently selected track as a template. For more information about track presets, see “Working with track templates” on page 317. File > Print The File > Print command opens your system’s “Print dialog” on page 1636 box. File > Print Preview The File > Print Preview command opens the SONAR Print window, where you can view your document before you print it.
File > Exit The File > Exit command closes SONAR. If you have made any changes since the last time you saved any of the open projects, SONAR prompts you to save the changes. Edit > Undo The Edit > Undo command reverses your last action. Successive Undoes cancel preceding actions in reverse order. To redo the action, see “Edit > Redo” on page 1322. Edit > Redo The Edit > Redo command cancels a just-previous Undo command.
Edit > Select > None The Edit > Select > None command cancels all selections, with the result that nothing is selected. See: “Selecting and editing events” on page 687 Edit > Select > All AudioSnap/Stretched Clips The Edit > Select > All AudioSnap/Stretched Clips command selects all AudioSnap and stretched audio clips.
Edit > Select > From = Now The Edit > Select > From = Now command lets you specify the “Now time” on page 1811 as the time from which a selection extends. The From and Thru times you select appear in the Control Bar’s Select module in the From and Thru fields. If you select a whole measure, the Thru time is the start of the next measure, which actually makes it a “to” time and not a “through” time.
Edit > Cut The Edit > Cut command lets you remove from the project and put on the clipboard any selected objects. You can specify the kinds of objects to cut in the “Cut dialog” on page 1491. You can paste the contents of the clipboard elsewhere. See “Edit > Paste” on page 1325. See also: “Moving and copying clips” on page 328 “Erasing tracks” on page 316 Edit > Copy The Edit > Copy command lets you put on the clipboard any selected objects.
Edit > Paste Special The Edit > Paste Special command lets you put the contents of the clipboard into any appropriate place in your project. You can specify what, where, and how to paste in the “Paste dialog” on page 1545. To put data on the clipboard, see “Edit > Cut” on page 1325 or “Edit > Copy” on page 1325.
Groove Clip Looping The Groove Clip Looping command enables a selected audio clip’s looping capabilities. When you enable these capabilities, you can make unlimited copies of the clip by dragging its start or end points to the left or right, respectively. When a clip’s looping capabilities are enabled, the clip’s corners are beveled instead of sharp. If the clip’s looping capabilities are already enabled, the same command turns them off.
Views > Control Bar The Views > Control Bar command shows/hides the Control Bar. See also: “Control Bar overview” on page 473 Views > Track View The Views > Track View command displays the Track view. See also: “Track view” on page 1682 Views > Browser Select Views > Browser to open the Browser view. You can preview and import files using the Browser view, without having to leave your work environment. For more information, see “Browser” on page 1771.
Views > Console View To open the Console view, use the Views > Console View command. The Console view contains all the controls you need to mix your project. For more information about the Console view, see “Console view” on page 1729. See also: “Preparing to mix” on page 804 Views > Piano Roll View Open the Piano Roll view with the Views > Piano Roll View command. The Piano Roll view displays all MIDI notes and events from one or more tracks in a grid format that looks much like a player piano roll.
Views > Matrix View Select Views > Matrix View to open the Matrix view. The Matrix view lets you trigger individual or multiple audio and MIDI patterns, either with a computer keyboard, mouse or via MIDI remote control. For more information, see “Matrix view” on page 1772. Views > Staff Open the Staff view by using the Views > Staff View command. The Staff view contains the Staff pane and the Fretboard.
Views > Event List Open the Event List view with the Views > Event List command. The Event List view shows events in a list format. You can insert, delete, or modify any kind of event, including notes, pitch-wheel data, velocity, MIDI controllers, patch changes, wave files, lyrics, text strings, MCI commands, System Exclusive meta-events, and more. See: “The Event List view” on page 718 Views > Lyrics Open the Lyrics view by using the Views > Lyrics command. The Lyric view lets you edit a track's lyrics.
Views > Markers Open the Markers view with the Views > Markers command. The Markers view lets you add, move, rename, or delete “Marker” on page 1810 (labels) for places in your song. The markers make it easier to move from one point to another. For more information about the Markers view, see “Markers view” on page 1766. See “Creating and using markers” on page 348. Views > Tempo Open the Tempo view by using the Views > Tempo command. The Tempo view provides a graphic display of the tempo.
Views > Surround Panner Open the Surround Panner by using the Views > Surround Panner command. The Surround Panner allows you to control the output levels for each of your outputs. For more information, see “Panning in surround” on page 909. Views > Icons > Show Icons This global command hides or shows icons in all applicable views. Views > Icons > Track View > Show Icons This command hides or shows icons in the Track view, if the global command to show icons is not enabled.
Views > Icons > Track View > Show in Strip This command hides or shows icons in the track strips of the Track view. Views > Icons > Track Inspector > Show Icons This command hides or shows icons in the Track Inspector. Views > Icons > Track Inspector > Show Large Icons This command displays icons in the Track Inspector in large format. Views > Icons > Track Inspector > Show Small Icons This command displays icons in the Track Inspector in small format.
Views > Icons > Synth Rack > Show Large Icons This command hides or shows icons in the Synth Rack in large format. Views > Screensets > Screenset 1 Select screenset 1. See also: “Screensets” on page 982 Views > Screensets > Screenset 2 Select screenset 2. See also: “Screensets” on page 982 Views > Screensets > Screenset 3 Select screenset 3. See also: “Screensets” on page 982 Views > Screensets > Screenset 4 Select screenset 4.
Views > Screensets > Screenset 5 Select screenset 5. See also: “Screensets” on page 982 Views > Screensets > Screenset 6 Select screenset 6. See also: “Screensets” on page 982 Views > Screensets > Screenset 7 Select screenset 7. See also: “Screensets” on page 982 Views > Screensets > Screenset 8 Select screenset 8. See also: “Screensets” on page 982 Views > Screensets > Screenset 9 Select screenset 9.
Views > Screensets > Screenset 10 Select screenset 10. See also: “Screensets” on page 982 Views > Screensets > Revert Current Screenset Revert the current screenset to its last saved state before the project was saved. See “To revert the current screenset to its last saved state” on page 986. See also: “Screensets” on page 982 Views > Screensets > Lock/Unlock Current Screenset Lock the current screenset to prevent any modifications. See “To prevent the current screenset from being modified” on page 985.
Views > Screensets > Duplicate Current Screenset to > Screenset 1 Duplicate the current screenset to screenset 1. See also: “Screensets” on page 982 Views > Screensets > Duplicate Current Screenset to > Screenset 2 Duplicate the current screenset to screenset 2. See also: “Screensets” on page 982 Views > Screensets > Duplicate Current Screenset to > Screenset 3 Duplicate the current screenset to screenset 3.
Views > Screensets > Duplicate Current Screenset to > Screenset 5 Duplicate the current screenset to screenset 5. See also: “Screensets” on page 982 Views > Screensets > Duplicate Current Screenset to > Screenset 6 Duplicate the current screenset to screenset 6. See also: “Screensets” on page 982 Views > Screensets > Duplicate Current Screenset to > Screenset 7 Duplicate the current screenset to screenset 7.
Views > Screensets > Duplicate Current Screenset to > Screenset 9 Duplicate the current screenset to screenset 9. See also: “Screensets” on page 982 Views > Screensets > Duplicate Current Screenset to > Screenset 10 Duplicate the current screenset to screenset 10. See also: “Screensets” on page 982 Views > Screensets > Import Screensets Import screensets from another open project. Any locked screensets in the current project are not overwritten. See “To import screensets from another project” on page 985.
Insert > Soft Synth The Insert > Soft Synth command displays a submenu of all installed soft synths. Clicking the name of one of the synths either displays the Insert Synth Options dialog, or inserts a synth into your project if you unchecked the dialog’s Ask This Every Time option previously. See: “Inserting soft synths” on page 778 Insert > Soft Synth > Plug-in Layouts > Manage Layouts The Insert > Soft Synth > Plug-in Layouts > Manage Layouts command opens the Cakewalk Plug-in Manager.
Insert > Track Template The Insert > Track Template command opens the Import Track Templates dialog. For more information about track templates, see “Working with track templates” on page 317. Insert > Stereo Bus The Insert > Stereo Bus command, which you can also find by right-clicking an empty area of the Bus pane in the Track view or Console view, inserts a stereo bus into the empty space of the Bus pane.
Process > Apply Effect > Audio Effects The Process > Apply Effect > Audio Effects command (which is greyed-out if you’re not currently using any audio effects) opens the Apply Audio Effects dialog box. Applying an audio effect means that the audio data that you apply the effect to is permanently altered to sound like it would if it was flowing through an effects processor in real time. Applying an effect saves a lot of your processor’s power for other tasks that must be done in real time.
Process > Apply Effect > Extract Timing Use the Process > Apply Effect > Extract Timing command to extract the timing from selected clips. The clip’s groove is extracted and vertical Pool lines are displayed to indicate the extracted transients.
Process > Apply Effect > Fade/Envelope The Process > Apply Effect > Fade/Envelope command lets you specify accurately the shape of a fade for a selection, clip, or track. You can specify one of the following curves, which the “Fade/ Envelope dialog” on page 1508 displays for you: • Exponential Fade In • Exponential Fade Out • Inverse Exponential Fade In • Inverse Exponential Fade Out • Linear Fade In • Linear Fade Out Alternately you can manipulate any curve in the dialog box to look exactly as you want.
Process > Apply Effect > Reverse The Process > Apply Effect > Reverse command reverses audio data, making it play backwards. You may wish to do this to obtain unusual sounds for special effects. See also: “Reversing audio data” on page 767 Process > Quantize The Process > Quantize command opens the “Quantize dialog” on page 1639. This command adjusts the start time and duration of selected notes so that they line up with a fixed size grid.
Process > Transpose The Process > Transpose command transposes the pitches of note events up or down by a fixed number of half-steps. It does so by changing the MIDI key numbers of note events and by pitchshifting audio clips. Simply enter the number of half-steps in the Amount field of the Transpose dialog box--a negative number to transpose down, a positive number to transpose up.
Process > Nudge > Right 1 The Process > Nudge > Right 1 command moves a selected clip to the right by any of three increments that you set in the Nudge 1 section in Edit > Preferences > Customization - Snap and Nudge. You can assign a hotkey shortcut for this command. For more information, see “Nudge” on page 342.
Process > Nudge > Up The Process > Nudge > Up command moves a selected clip up a track at a time in the Track view or a note up a pitch at a time in the Piano Roll view. For more information, see “Nudge” on page 342. Process > Nudge > Down The Process > Nudge > Down command moves a selected clip down a track at a time in the Track view or a note down a pitch at a time in the Piano Roll view. For more information, see “Nudge” on page 342.
Process > Length The Process > Length command can be used to stretch or shrink a portion of a project. Process > Length lets you stretch or shrink the selection by a fixed percentage and makes the adjustment by altering the individual events. A value of 200 percent, for example, stretches the selection to twice its original length, while a value of 50 percent shrinks the selection to half its original length. This command offers the option to stretch audio clips along with the MIDI information.
Process > Retrograde The Process > Retrograde command reverses the order of events in a selection. If one or more clips are selected, then the events within each clip are reversed. If several clips are selected from the same track, then the order of the clips is also reversed. You could use this command, for example, to take a scale or other long run of notes and reverse the order in which they are played. The Process > Retrograde command does not reverse the contents of audio clips.
Process > Fit Improvisation SONAR lets you record music from a MIDI controller without requiring that you use a fixed tempo. But if you record without using a metronome, you are very likely to end up with a recording that does not fit onto a fixed tempo grid. The Process > Fit Improvisation command lets you take a recording and create a tempo map (with measure and beat boundaries) that fits what you played.
Project > Insert Meter/Key Change Use the Project > Insert Meter/Key Change command to insert a meter change and/or a key change. See “Adding and editing meter/key changes” on page 1037. Project > Insert Tempo Change The Project > Insert Tempo Change command opens the “Tempo dialog” on page 1664. For more information, see “Changing tempos” on page 367. See: “To insert a tempo change” on page 369.
Project > Set Default Groove Clip Pitch The Project > Set Default Groove Clip Pitch submenu lets you specify the default pitch that Groove Clips should follow when the clip’s Follow Project Pitch option is enabled. Groove clips do not follow your project's key. Groove Clips follow the project pitch that is specified in the Default Groove Clip Pitch dialog, in addition to any pitch markers in the Time Ruler.
Utilities > Consolidate Project Audio The Utilities > Consolidate Project Audio command copies all the audio used by the current project into a subfolder of the project’s audio folder. Use this command to create a backup of your project’s audio. For more information: “Backing up projects with digital audio” on page 1102 Utilities > Clean Audio Folder Use the Utilities > Clean Audio Folder command to delete digital audio files from an audio data directory that are no longer used by any of your projects.
Utilities > Cakewalk Publisher Use the Utilities > Cakewalk Publisher command to present and share your music online. Using Publisher, you can create a customized streaming music player with a playlist of your music, upload it to your personal or band's Web site, and embed it in any other Web site. You can also update your playlist with album art, links (URLs), and artist, track, & album information.
Utilities > CWAF Tool The Utilities > CWAF Tool command opens the Cakewalk Audio Finder Tool, which lets you locate audio files that are used in your SONAR projects. For more information about Cakewalk Audio Finder Tool, see the Cakewalk Audio Finder Tool online Help.
Time Ruler Format > Samples The Time Ruler Format > Samples command, which is also available from the Clips pane pop-up menu, changes the unit of measurement in the time ruler to samples. Time Ruler Format > Milliseconds The Time Ruler Format > Milliseconds command, which is also available from the Clips pane popup menu, changes the unit of measurement in the time ruler to milliseconds. Window > Cascade The Window > Cascade command lets you arrange multiple opened windows in an overlapped fashion.
Help > Keyboard Shortcuts Note: A plus sign (+) indicates that both keys must be held down at the same time. For example, CTRL+F6.
Basic shortcuts Command Shortcut Show Track view ALT+1 Show/hide Control Bar C Show/hide Inspector I Show/hide Browser B Expand/collapse MultiDock D Maximize/restore MultiDock SHIFT+D Show Tools HUD T Show AudioSnap Palette A Zoom in horizontally CTRL+RIGHT ARROW Zoom out horizontally CTRL+LEFT ARROW Center view on Now time N X-Ray on/off SHIFT+X X-Ray all effect/synth plug-ins CTRL+SHIFT+X Preferences P Cut CTRL+X Copy CTRL+C Paste CTRL+V Paste Special CTRL+ALT+V Tabl
Menu command shortcuts Command Shortcut Online Help F1 File > New CTRL+N File > Open CTRL+O File > Save CTRL+S File > Print CTRL+P Edit > Undo CTRL+Z Edit > Redo CTRL+SHIFT+Z Edit > Select > All CTRL+A Edit > Select > None CTRL+SHIFT+A Edit > Cut CTRL+X Edit > Copy CTRL+C or CTRL+INSERT Edit > Paste CTRL+V or SHIFT+INSERT Project > Insert Marker M View Undo (zoom) ALT+Z View Redo (zoom) ALT+SHIFT+Z Table 231.
View shortcuts Command Shortcut Control Bar C Inspector I Browser B Track view ALT+1 Console view ALT+2 Piano Roll view ALT+3 Step Sequencer ALT+4 Matrix view ALT+5 Staff view ALT+6 Loop Construction view ALT+7 Event List view ALT+8 Lyrics view ALT+SHIFT+1 Video view ALT+SHIFT+2 Big Time view ALT+SHIFT+3 Markers view ALT+SHIFT+4 Tempo view ALT+SHIFT+5 Meter/Key view ALT+SHIFT+6 Sysx view ALT+SHIFT+7 Navigator view ALT+SHIFT+8 Surround Panner ALT+SHIFT+9 Table 232.
Track view shortcuts Command Shortcut Show Track view ALT+1 Insert new track INSERT Show/hide Video Thumbnail pane V Show/hide Navigator pane ALT+N Show/hide Aim Assist line X Resize all tracks vertically to fit in window F Resize and zoom tracks to see entire project SHIFT+F Show and fit selection CTRL+ALT+H Fit content CTRL+F Manage track visibility H Show only selected tracks CTRL+SHIFT+H Hide selected tracks CTRL+H Show all tracks SHIFT+H Open/Close current Track Folder ALT
Command Shortcut Increase current track height CTRL+SHIFT+DOWN ARROW Decrease current track height CTRL+SHIFT+UP ARROW Scale audio waveform in all audio tracks ALT+UP/DOWN ARROW Scale audio waveform in current audio track CTRL+ALT+UP/DOWN ARROW Put focus in Track pane SHIFT+UP ARROW Put focus in Bus pane SHIFT+DOWN ARROW Solo/unsolo current track ALT+S Select current track SHIFT+S Open Patch Browser for current MIDI track ALT+B Table 233.
Command Shortcut Open Metronome settings SHIFT+F3 Loop on/off L Table 234. Transport keyboard shortcuts Record shortcuts Command Shortcut Record R Step Record on/off SHIFT+R Arm all tracks for recording CTRL+R Toggle Track Arm for selected track ALT+R Record metronome on/off F3 Table 235.
Command Shortcut Split selected clips at Now time S Set whole note duration CTRL+SHIFT+1 Set half note duration CTRL+SHIFT+2 Set quarter note duration CTRL+SHIFT+4 Set eight note duration CTRL+SHIFT+8 Set sixteenth note duration CTRL+SHIFT+6 Set thirty-second note duration CTRL+SHIFT+3 Table 236.
Nudge shortcuts Command Shortcut Nudge Left 1 Numeric Keypad 1 Nudge Down Numeric Keypad 2 Nudge Right 1 Numeric Keypad 3 Nudge Left 2 Numeric Keypad 4 Nudge Settings Numeric Keypad 5 Nudge Right 2 Numeric Keypad 6 Nudge Left 3 Numeric Keypad 7 Nudge Right 3 Numeric Keypad 8 Table 239.
Command Shortcut Copy current Screenset to Screenset 3 CTRL+3 Copy current Screenset to Screenset 4 CTRL+4 Copy current Screenset to Screenset 5 CTRL+5 Copy current Screenset to Screenset 6 CTRL+6 Copy current Screenset to Screenset 7 CTRL+7 Copy current Screenset to Screenset 8 CTRL+8 Copy current Screenset to Screenset 9 CTRL+9 Copy current Screenset to Screenset 10 CTRL+0 Table 240.
Clip shortcuts Command Shortcut Mute clip K Groove Clip looping enable/disable CTRL+L Open Associated Audio Files dialog SHIFT+K Lock Clip Position and Data CTRL+K Open clip effects bin ALT+K Table 243. Clip keyboard shortcuts Track State shortcuts Command Shortcut Toggle Track Mute for selected track ALT+M Toggle Track Solo for selected track ALT+S Toggle Track Arm for selected track ALT+R Table 244.
Quantize shortcuts Command Shortcut Open Quantize dialog Q Open Input Quantize settings SHIFT+Q Input Quantize on/off CTRL+Q Table 246. Quantize keyboard shortcuts V-Vocal shortcuts Command Shortcut Open V-Vocal Editor CTRL+SHIFT+V Create V-Vocal clip SHIFT+V Note: All V-Vocal shortcuts in the Editor itself are listed in the V-Vocal help file. Table 247.
Command Shortcut When focus is on a control in the strips pane, move focus to the steps pane CTRL+RIGHT ARROW When focus is either on the steps or strips pane, move focus to the toolbar CTRL+UP ARROW When focus is on the toolbar, move focus to the strips pane CTRL+DOWN ARROW When focus is on steps, toggle step or tie on/off; for buttons, turn on/off ENTER When focus is on a step, allow velocity adjustment SHIFT+ENTER For spinner controls, increase/decrease value; fine adjust for knobs + / - (pl
Command Shortcut Speaker mutes CTRL+NumPad 0-9 Jumps to speaker angle at 100% focus NumPad 0-9 n/a NumPad 0 Ls NumPad 1 Cs NumPad 2 Rs NumPad 3 Sl NumPad 4 n/a NumPad 5 Sr NumPad 6 L NumPad 7 C NumPad 8 R NumPad 9 Lc / Rc * Table 249. Surround panner keyboard shortcuts Help > SONAR Online > Support The Help > SONAR Online > Support command opens your web browser to the SONAR Support Web page.
Help > Audio > Configuring your audio interface The Help > Audio > Configuring your audio interface command opens your web browser to the Audio Interface Setup Guide page on the Cakewalk Web site. Help > Troubleshooting > Problems with registration The Help > Troubleshooting > Problems with registration command opens your web browser to the Product Registration FAQ page on the Cakewalk Web site.
Help > Register Online The Help > Register Online command opens Cakewalk's online form so you can register your new product. Help > Time Trial Activator The Help > Time Trial Activator command opens the Time Trial Activator dialog. If you have an evaluation version of SONAR and need to extend the evaluation period, this dialog allows you to enter the activation code that a Cakewalk representative can give you.
Set Start = Current This command, which you find by right-clicking a fader, button, or knob in the Track or Console views, lets you adjust the start value of a control. This command, together with the Set End = Current command, only functions when you use custom grouping. These two commands set the range that a grouped control moves through when the members of its group move through their starting and ending values.
Hide Module This command allows you to hide track and bus modules in the Console view. You find the command by right-clicking in the Console view in three different areas: • For track modules, right-click in the grey area above a track’s Phase button. • For buses, right-click in the grey area between the Send and Return knobs. To redisplay modules, see “To choose the tracks that are displayed using the Track Manager” on page 806, and “Configuring the Console and Track views” on page 806.
42 dB Range This command, which you find by right-clicking any audio meter in the Track view or Console view, changes the range that the meter measures to 42 dB. For more information about meters, see “Metering” on page 820. 24 dB Range This command, which you find by right-clicking any audio meter in the Track view or Console view, changes the range that the meter measures to 24 dB. For more information about meters, see “Metering” on page 820.
Set Loop Points This command, which you find by right-clicking in the “Time ruler” on page 1815, sets the Loop From time to the start time of the selection, and the Loop Thru time to the end time of the selection. For more information about looping, see “Looping” on page 185. Select Loop Region This command, which you find by right-clicking in the “Time ruler” on page 1815, sets the selection start and end times to the Loop From and Loop Thru times.
Select Punch Region This command, which you find by right-clicking in the “Time ruler” on page 1815, sets the selection start and end times to the Punch In and Punch Out times. For more information about punch recording, see “Punch recording” on page 283. Jump This command causes an automation envelope to make a 90 degree “jump” when it reaches the next node. See: “Creating an editing automation envelopes” on page 950 Linear This command draws a straight line between two nodes.
Drag and Drop Options The Drag and Drop Options command opens the “Customization - Editing (Advanced)” on page 1627 section in the Preferences dialog. Associated Audio Files This command opens the Associated Audio Files dialog. For more information, see “Associated Audio Files dialog” on page 1485. Mirror Fretboard This command displays the Staff view’s fretboard with low strings at the top and high strings at the bottom.
Maple Hi This command changes the fretboard to appear as if made of maple in high resolution. Maple Lo This command changes the fretboard to appear as if made of maple in low resolution. Animate This command, which you find by right-clicking in the Video view, enables or disables video playback. Disabling video playback frees your computer to process more audio data, if your project has too much data to process efficiently.
Stretch to Window This command, which you find by right-clicking in the Video view, stretches the video to fill the Video view. For more information about video, see “Video playback, import, and export” on page 230. Preserve Aspect Ratio This command, which you find by right-clicking in the Video view, stretches the video as much as possible while preserving the original aspect ratio. For more information about video, see “Video playback, import, and export” on page 230.
Time Display Format > Frames This command, which you find by right-clicking in the Video view, changes the video view’s time display to frame. For more information about video, see “Video playback, import, and export” on page 230. Time Display Format > None This command, which you find by right-clicking in the Video view, hides the video view’s time display. For more information about video, see “Video playback, import, and export” on page 230.
Video Properties This command, which you find by right-clicking in the Video view, opens the “Video Properties dialog” on page 1671, where you can set the trim-in and trim-out times, and read the video file’s statistics. Add Node This command, which you find by right-clicking an envelope in the Track view, adds a node to the envelope that you clicked. For more information about envelopes, see “Automation” on page 945. Reset Node This command returns a node to its default value.
Zoom tool This command enables the Zoom tool feature. For more information about the Zoom tool feature, see “Displaying clips” on page 320. For more information about displaying tracks, see “Configuring the Console and Track views” on page 806. Previous Zoom This command returns the Track view to the previous zoom level. For more information about displaying tracks, see “Configuring the Console and Track views” on page 806. Show All Tracks This command shows all tracks in the current project.
Record Meter Options > Peak Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to Peak. For more information about Peak meter display, see “Metering” on page 820. Record Meter Options > RMS Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 820.
Playback Meter Options > Peak Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to show peaks. For more information about Peak meter display, see “Metering” on page 820. Playback Meter Options > RMS Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 820.
Output Bus Meter Options > Peak Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to show peaks. For more information about Peak meter display, see “Metering” on page 820. Output Bus Meter Options > RMS Available in the Playback Meter Options, Record Meter Options, and Mains Meter Options submenus, this command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 820.
Playback Meter Options > Pre Fader This command sets the meter to measure the volume level in the signal path prior to entering the fader. Output Bus Meter Options > Pre Fader This command sets the meter to measure the volume level in the signal path prior to entering the fader. Playback Meter Options > Post Fader This command sets the meter to measure the volume level in the signal path after exiting the fader.
Zoom Factor This command sets the Audio Scaling ruler to display the zoom factor (a multiple of the default zoom level, i.e. a zoom factor of 10 shows the waveform at 10 times the detail) of the waveform being shown. Show and Fit Selection This command zooms vertically and horizontally in the Track view to fit just the selected clips. Show only Selected Tracks Hides all tracks which are not selected. Hide Selected Tracks Hides all selected tracks.
Create Track Envelopes Using Linear Shapes This command, when checked, causes newly inserted envelopes to have a node at both the beginning and end of the track. If unchecked, an envelope appears as a dotted line with no active nodes. Snap to Grid Click this button to turn Snap to Grid on or off. See: “Defining and using the Snap Grid” on page 346 Select tool Use this to select data. Erase tool Use this to erase data. Draw tool Use this to draw data or events.
Insert New Track(s) or Bus(es) Click this button to choose from a variety of insertion options. You can insert a single audio or MIDI track, multiple tracks, a track folder, a track template, or a single stereo or surround (SONAR Producer only) bus. Split tool This button activates the Split tool, which allows you to split a clip into separate clips. You can click on a clip once to create a single split, or click and drag over a section of a clip to create two splits.
Add Clip to Pool This command adds or deletes the clip’s transient markers from the Pool. The markers do not have to be visible to be added to the Pool. See “Using the Pool” on page 621 for more information. See: “Using the Pool” on page 621 “AudioSnap (Producer and Studio only)” on page 565 Show Pool Lines This command hides or shows the Pool lines. See: “Using the Pool” on page 621 “AudioSnap (Producer and Studio only)” on page 565 Add MBT to Pool This command adds the time ruler to the Pool.
[Track view] View > Navigator Show/Hide Use this command to show or hide the Navigator pane in the Track view. The keyboard shortcut for hiding or showing the Navigator pane is ALT+N. See: “Using the Navigator view” on page 325 [Track view] View > Video Thumbnail Show/Hide This command toggles on or off the display of the Video Thumbnails track. The Video Thumbnails track can be displayed even if there is no video in your project. You can also show or hide the this track by pressing V on your keyboard.
View > MIDI Microscope This command activates Piano Roll Microscope mode. When Microscope mode is enabled, a transparent rounded square centered on the mouse cursor shows a zoomed in region of the Piano Roll data underneath it. See: “Piano Roll Microscope mode” on page 680 [Track view] View > View Undo This command returns the Track view to the previous zoom level (undo zoom). For more information about displaying tracks, see “Configuring the Console and Track views” on page 806.
[Track view] Options > Crossfade Type > Default Fade-In Curve > Linear This command sets as a default a linear, or steady fade-in curve when dragging the beginning of a clip. For more information about crossfades, see “Fades and crossfades” on page 379. [Track view] Options > Crossfade Type > Default Fade-In Curve > Slow Curve This command sets as a default a slow fade-in curve when dragging the beginning of a clip. For more information about crossfades, see “Fades and crossfades” on page 379.
[Track view] Options > Crossfade Type > Default Fade-Out Curve > Fast Curve This command sets as a default a fast fade-out curve when dragging the end of a clip. For more information about crossfades, see “Fades and crossfades” on page 379. [Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Linear In This command sets as default a crossfade in which the first clip fades out at a steady rate and the second clip fades in at a steady rate.
[Track view] Options > Crossfade Type > Default Crossfade Curves > Slow Out - Fast In This command sets as default a crossfade in which the first clip fades out slowly and the second clip fades in fast. For more information about crossfades, see “Fades and crossfades” on page 379. [Track view] Options > Crossfade Type > Default Crossfade Curves > Linear Out - Fast In This command sets as default a crossfade in which the first clip fades out at a steady rate and the second clip fades in fast.
[Track view] Options > Crossfade Type > Default Crossfade Curves > Slow Out - Linear In This command sets as default a crossfade in which the first clip fades out slowly and the second clip fades in at a steady rate. For more information about crossfades, see “Fades and crossfades” on page 379. [Track view] Options > Display > Aim Assist Use this command to show or hide the Aim Assist line, which is a vertical white line that shows the mouse pointer’s horizontal position in the Clips pane.
[Track view] Options > Display > Display Clip Contents Enabling this option causes SONAR to display a graphical depiction of the audio or MIDI data that the track contains, including automation data. [Track view] Options > Display > Show Audio Scale Check this option to display the Audio Scale Ruler in the splitter bar between the Clips pane and the Track pane.
[Track view] Options > Click Behavior > Right Click Sets Now Enabling this option allows you to set the Now Time by right-clicking a location in the Clips pane. [Track view] Options > Click Behavior > Left Click Locks Scroll Enabling this option prevents the Clips pane from scrolling horizontally during playback while you edit data. This allows you to focus on the edit location without worrying that the screen will eventually scroll away from the edit location.
[Track view] Options > Click Behavior > DoubleClick > MIDI Clips > Inline Piano Roll View Enabling this option causes the Inline Piano Roll view to open when you double-click a MIDI clip. [Track view] Options > Click Behavior > DoubleClick > Audio Clips > -NothingEnabling this option prevents any view from opening when you double-click an audio clip.
[Track view] Options > Meter Options > Horizontal Meters Show horizontal meters in the Track view. [Track view] Options > Meter Options > Vertical Meters Show vertical meters in the Track view. [Track view] Options > Meter Options > Show Numeric Peak Values Show or hide peak values in each track’s header. [Track view] Options > Meter Options > Show Track Peak Markers Show or hide peak markers for tracks. For details, see “Peak markers” on page 827.
[Track view] Options > Meter Options > Record Meter Options > Peak This command sets the meter to Peak. For more information about Peak meter display, see “Metering” on page 820. [Track view] Options > Meter Options > Record Meter Options > RMS This command sets the meter to RMS. For more information about RMS meter display, see “Metering” on page 820. [Track view] Options > Meter Options > Record Meter Options > Peak + RMS This command sets the meter to Peak + RMS.
[Track view] Options > Meter Options > Record Meter Options > -42 dB This command changes the range that record meters measure to 42 dB. For more information about meters, see “Metering” on page 820. [Track view] Options > Meter Options > Record Meter Options > -60 dB This command changes the range that record meters measure to 60 dB. For more information about meters, see “Metering” on page 820.
[Track view] Options > Meter Options > Record Meter Options > Hold Peaks This command causes a meter to hold the most recent peak for a short time. The peak volume level recorded by the meter is marked by a small white line which remains for a moment if lock peaks is not checked or until the end of playback or recording if Lock Peaks is checked.
[Track view] Options > Meter Options > Track Meter Options > Pre Fader This command sets the meter to measure the volume level in the signal path prior to entering the fader. [Track view] Options > Meter Options > Track Meter Options > Post Fader This command sets the meter to measure the volume level in the signal path after exiting the fader. [Track view] Options > Meter Options > Track Meter Options > -12 dB This command changes the range that track playback meters measure to 12 dB.
[Track view] Options > Meter Options > Track Meter Options > -60 dB This command changes the range that track playback meters measure to 60 dB. For more information about meters, see “Metering” on page 820. [Track view] Options > Meter Options > Track Meter Options > -78 dB This command changes the range that track playback meters measure to 78 dB. For more information about meters, see “Metering” on page 820.
[Track view] Options > Meter Options > Track Meter Options > Lock Peaks This command when checked and the Hold Peaks is also checked causes the peak to be locked at its highest point on the meter until the end of playback. [Track view] Options > Meter Options > Bus Meter Options > Peak This command sets the meter to Peak. For more information about Peak meter display, see “Metering” on page 820. [Track view] Options > Meter Options > Bus Meter Options > RMS This command sets the meter to RMS.
[Track view] Options > Meter Options > Bus Meter Options > Post Fader This command sets the meter to measure the volume level in the signal path after exiting the fader. [Track view] Options > Meter Options > Bus Meter Options > Pre Fader Post FX This command sets the meter to measure the volume level in the signal path after the effects bin and prior to the fader. [Track view] Options > Meter Options > Bus Meter Options > -12 dB This command changes the range that bus meters measure to 12 dB.
[Track view] Options > Meter Options > Bus Meter Options > -60 dB This command changes the range that bus meters measure to 60 dB. For more information about meters, see “Metering” on page 820. [Track view] Options > Meter Options > Bus Meter Options > -78 dB This command changes the range that bus meters measure to 78 dB. For more information about meters, see “Metering” on page 820.
[Track view] Options > Meter Options > Bus Meter Options > Lock Peaks This command when checked and the Hold Peaks is also checked causes the peak to be locked at its highest point on the meter until the end of playback or recording. [Track view] Options > Drag and Drop Options The Drag and Drop Options command opens the Drag and Drop Options dialog. [Track view] Options > Zoom Options The Zoom Options command opens the Zoom Options dialog.
Make Instrument Track If an existing audio track and MIDI track are assigned to the same software instrument, you can convert the two tracks into a single instrument track (only available for MIDI tracks). Split Instrument Track Split an instrument track into separate audio and MIDI tracks. The audio and MIDI tracks will remain assigned to the same software instrument (only available for Instrument tracks).
[Track view] Tracks > Copy Track Name(s) to Clip Name(s) This command copies track names to clips in corresponding tracks. [Track view] Tracks > Hide Track(s) This command hides all selected tracks. To display them again, select Tracks > Track Manager or press H on your keyboard to open the Track Manager dialog. Track Manager This command opens the Track Manager dialog. For more information about the Track Manager dialog, see “Track Manager dialog” on page 1665.
[Track view] Layers > Remove Empty Layers This command removes empty layers in a track. For more information, see “Take management and comping takes” on page 357. [Track view] Clips > Apply Trimming This command lets you permanently delete any data from a selected clip that is hidden by a slip editing edit. For step-by-step instructions, see “To permanently delete slip-edited data” on page 378. [Track view] Clips > Bounce to Clip(s) This command lets you combine selected audio clips into a single clip.
[Track view] Clips > Create Clip Selection Group This command places all selected clips in a new selection group. Note: A clip may only belong to one selection group at a time. If any of the selected clips already belong to another clip group, they will be removed from the other group and placed in the new group. See: “Clip selection groups” on page 337: [Track view] Clips > Remove from Clip Selection Group This command removes all selected clips from any selection groups they may belong to.
[Track view] Clips > Select All Siblings This command selects all clips that are linked to the selected clip. [Track view] Clips > Unlink This command opens the “Unlink Clips dialog” on page 1668. [Track view] Clips > Unlink Step Sequencer Clips This command unlinks the selected step sequencer clips, allowing each clip to be edited separately from each other.
Show Notes Show or hide Note events in the Piano Roll view. Show Velocity Show or hide velocity tails in the Piano Roll view. Show/Hide Velocity Tails Show or hide the velocity tails on MIDI notes in all tracks that are using Drum Maps. Show Velocity on Selected Notes Only This option lets you show velocities for selected Note events only. This makes it easier to see and edit velocities when many Note events are present.
Show Controller Handles Show or hide edit handles on controller events. Show Clip Outlines Show or hide the outline(s) of the clip(s) you’re looking at in the Piano Roll view. Hide Muted Clips By default, events in muted MIDI clips are shown in the Piano Roll view. SONAR provides an option to exclude muted clips from displaying in the Piano Roll view. [Track view] V-Vocal > Create V-Vocal Clip This command creates a V-Vocal clip on top of selected audio data.
[Track view] V-Vocal > Bypass/Unbypass This command bypasses or unbypasses all selected V-Vocal clips. For more information about V-Vocal clips, see “V-Vocal clips (Producer and Studio only)” on page 860. [Track view] V-Vocal > Bypass all V-Vocal Clips This command bypasses or unbypasses all V-Vocal clips in the project. For more information about V-Vocal clips, see “V-Vocal clips (Producer and Studio only)” on page 860.
Set project tempo from clip This command copies the clip’s tempo map to the project’s global tempo map. This allows the project’s measure boundaries to align with the audio clip. Whenever the project’s tempo map is generated from a clip, the clip’s Lock Position property is enabled automatically.
[Piano Roll] View > Show/Hide Drum Pane Use this command to show or hide the Drum pane in the Piano Roll view. [Piano Roll] View > Show Vertical Gridlines Use this command to show or hide vertical grid lines in the Piano Roll view. [Piano Roll] View > Grid Resolution > Quarter The Quarter option creates grid lines in the Drum Grid pane at quarter note intervals.
The Sixteenth option creates grid lines in the Drum Grid pane at sixteenth note intervals. [Piano Roll] View > Grid Resolution > Sixteenth Triplet The Sixteenth Triplet option creates grid lines in the Drum Grid pane at sixteenth note triplet intervals (three lines per eighth note). [Piano Roll] View > Grid Resolution > 32nd The 32nd option creates grid lines in the Drum Grid pane at 32nd note intervals.
Show Previous Track(s) This command displays the previous track or group of tracks. Show All Tracks Show all tracks that are open in the current view. Hide All Tracks Hide all tracks that are open in the current view. Invert Tracks Invert the visibility state of all tracks that are open in the current view.
[Staff view] Edit > Quick TAB SONAR quickly creates a tablature based on standard fingering patterns. After you try the quick version, you can customize the tablature to your liking. For details, see “Quick TAB” on page 1027. [Staff view] Edit > Regenerate TAB The Regenerate TAB command generates a new TAB staff in the Staff pane. For details, see “Regenerate TAB” on page 1027.
[Staff view] View > Display Resolution > 1/8 This option sets eighth notes as the smallest note duration that will display in the Staff view. Any note events that are smaller than an eighth note will automatically display as an eighth note. [Staff view] View > Display Resolution > 1/16 This option sets sixteenth notes as the smallest note duration that will display in the Staff view. Any note events that are smaller than a sixteenth note will automatically display as a sixteenth note.
[Console view] Strips > MIDI Show/hide MIDI tracks. [Console view] Strips > Instrument Show/hide Instrument tracks. [Console view] Strips > Muted Show/hide muted tracks. [Console view] Strips > Archived Show/hide archived tracks. [Console view] Strips > Frozen Show/hide frozen tracks. [Console view] Strips > Widen All Strips Show wide channel strips. [Console view] Strips > Narrow All Strips Show narrow channel strips.
[Event List view] View > Event Manager To open the “Event Manager dialog” on page 1500: • Right-click in the Event List view and choose Event Manager from the pop-up menu. OR • Click the Event List view View menu and choose Event Manager. In the Event Manager you select which types of event to display in the Event List view. Check the events you want to see in the Events List view. For more information about the Event List view, see “Event List view” on page 1725.
[Event List view] View > Channel Aftertouch This option shows or hides all channel aftertouch events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] View > Pitch Wheel This option shows or hides all pitch wheel events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] View > RPN This option shows or hides all RPN events.
[Event List view] View > Text This option shows or hides all text events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] View > Lyrics This option shows or hides all lyric events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] View > MCI This option shows or hides all MCI commands. For more information about the Event List view, see “Event List view” on page 1725.
[Event List view] View > Hairpin This option shows or hides all hairpin events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] View > Chords This option shows or hides all chord events. For more information about the Event List view, see “Event List view” on page 1725. [Event List view] Tracks > Show cropped This option allows you to show or hide events that are outside of slip-edited clip boundaries.
[Lyrics view] Tracks > Pick Track This command opens the Pick Track dialog, which lets you choose which track to display in the Lyrics view. [Sysx view] File > Open Load a .syx file into the selected Sysx bank. [Sysx view] File > Send Transmit the current bank’s System Exclusive message. If nothing seems to happen, make sure you have correctly set the output. This command is disabled if the current bank is empty. [Sysx view] File > Send All Transmit all non-empty Sysx banks.
[Sysx view] File > Clear Delete the selected Sysx bank. [Sysx view] Edit > Edit Data Although SONAR’s Sysx features are designed mainly to store System Exclusive data for you, you can edit the bytes of shorter messages in hex format (many of the more popular synthesizers have special patch-editing programs available that let you edit data using sliders and other tools rather than raw hex data).
Left Click Positions Rectangle When Left Click Positions Rectangle is selected, clicking in the Navigator view re-positions the track rectangle. See: “Using the Navigator view” on page 325 Horz Zoom Level 1 The Horz Zoom Level 1 command selects horizontal zoom level 1 in the Navigator view. See: “Using the Navigator view” on page 325 Horz Zoom Level 2 The Horz Zoom Level 2 command selects horizontal zoom level 2 in the Navigator view.
Horz Zoom Level 4 The Horz Zoom Level 4 command selects horizontal zoom level 4 in the Navigator view. See: “Using the Navigator view” on page 325 Horz Zoom Level 5 The Horz Zoom Level 5 command selects horizontal zoom level 5 in the Navigator view. See: “Using the Navigator view” on page 325 Horz Zoom to Project The Horz Zoom to Project command shows the entire project in the Navigator view.
Track Height Medium The Track Height Short command makes track heights appear medium size in the Navigator view. See: “Using the Navigator view” on page 325 Track Height Tall The Track Height Short command makes track heights appear tall in the Navigator view.
Beginner’s guide to Cakewalk software If you have little or no experience using music software to play and record music, this guide is for you. This guide explains the terms and concepts you need to know to use music software. You can get much more help in every Cakewalk program by using the Help menu, or by pressing F1 when you have any view or dialog box open. All Cakewalk programs have very basic tutorials in the Online Help that cover recording and playback.
To record, for example, an electric guitar into the computer, you plug one end of your guitar cable into your guitar, and plug the other end into the Line input of your sound card. Then you would click the Record button in your Cakewalk software, start playing your instrument, and then click the Stop button (or press the SPACEBAR). The Line input has a little icon next to it, which is very hard to recognize, so it usually helps to look at the documentation that came with your sound card or computer.
MIDI Besides introducing MIDI in this section, we’ll explain the following MIDI topics: • “MIDI channels, interfaces, inputs, and outputs” on page 1440 • “MIDI drivers” on page 1442 • “MIDI files, projects, tracks, and clips” on page 1443 • “Controlling which sounds you hear” on page 1445 Short for Musical Instrument Digital Interface, MIDI is a system that lets an electronic instrument or computer control other instruments.
“MIDI files, projects, tracks, and clips” on page 1443 “Controlling which sounds you hear” on page 1445 “MIDI” on page 1439 “Audio” on page 1447 “Audio hardware (sound cards) and drivers” on page 1463 MIDI channels, interfaces, inputs, and outputs Most MIDI instruments can play at least 16 different sounds at the same time—instruments that can play more than one sound at a time are called multi-timbral (pronounced multi-tambral).
Figure 416. Standard MIDI cable—use this if your MIDI interface has standard 5-pin input and output ports A B A. Connect one end to an OUT on your MIDI interface B. Connect the other end to an IN on your MIDI instrument MIDI instruments have inputs and outputs labeled MIDI IN and MIDI OUT. You connect a MIDI cable from one of your MIDI interface’s MIDI OUTs to a MIDI IN on an instrument.
“Controlling which sounds you hear” on page 1445 “MIDI” on page 1439 “Audio” on page 1447 “Audio hardware (sound cards) and drivers” on page 1463 “MIDI channels, interfaces, inputs, and outputs” on page 1440 MIDI drivers Your MIDI interface needs a driver to function. A driver is a small software program that controls input and output for a peripheral device. To use a MIDI interface in SONAR, you need to make sure that your interface’s driver is installed, and that you have told SONAR to use it.
MIDI files, projects, tracks, and clips In Cakewalk programs, the file that you use to store usually a single song’s data is called a project. This is the file you use to record, play back, and edit your song. The file extension for a project is .wrk in older Cakewalk programs and .cwp in newer ones. Projects that use only the MIDI format (no digital audio) can be saved in a format called a Standard MIDI File, and can then be played back in any program or machine that plays MIDI files.
Notice that when you record any data into a track, that SONAR displays a visual representation of the track’s data in the Clips pane. In the above picture, Tracks 1, 2, and 6 are still empty, while Tracks 3, 4, and 5 contain recorded data. Also notice that Track 3 is a different color from the other tracks, meaning that it has the focus, and will make the bass sound when you play your MIDI keyboard (controller).
Controlling which sounds you hear Because each MIDI instrument can probably play many different sounds at the same time, you need a way to tell each instrument which tracks are meant for which sounds. You do this by assigning a MIDI channel to each track, and by assigning a specific sound, called a patch or program, to each track.
If your interface only has one output, and you chain several instruments to that output by using the MIDI THRU ports on the instruments, you can use the individual instruments’ own control panels to choose what MIDI channels they will respond to. That way, an instrument can ignore any notes or other messages that are meant for a different instrument on the chain. This setting is usually called MIDI Receive, and might be abbreviated on an instrument’s control panel as MIDI RX.
Audio The audio format works by converting any sound that’s recorded into a long series of numbers, storing and usually editing the numbers, and then converting the numbers back into sound. When you record sound using this format, the microphone you use causes the voltage in its cable to change rapidly as the mic’s diaphragm vibrates. These rapid changes in voltage are measured and recorded by an analog-to-digital converter, and these measurements make up what we call digital audio.
Audio playback in SONAR To use digital audio in SONAR, you first have to make sure that your sound card and its driver are properly installed. For information about sound card and driver installation, see your sound card’s documentation, and also “Audio hardware (sound cards) and drivers” on page 1463. After you’ve successfully tested your sound card and driver, you should play back one of the sample files that came with your Cakewalk software.
Possible problem What to do Your audio tracks are assigned to the wrong playback device. Check the playback device assignment for an audio track by clicking the track’s Output button or Out field. If the name of your sound card (the one you have connected to an amp and speakers) is not selected on the pop-up menu, select it. If it’s not listed, go to Edit > Preferences > Audio - Devices and make sure the name of your sound card is selected in the Output Drivers list.
Tracks A track is represented by a horizontal strip in the Track view that has a name and number on the left side (each track is also represented by a vertical module in the Console view). A track is a container you usually use to keep the sound from each instrument separate from the others—you usually keep the sound from each instrument on a separate track.
For more information, see: “Clips” on page 1451 “Track-by-track playback” on page 1452 “Connecting an instrument, home stereo, or microphone to your sound card” on page 1454 “Choosing inputs” on page 1460 “Audio recording” on page 1454 “Audio hardware (sound cards) and drivers” on page 1463 “MIDI” on page 1439 Clips A clip is a portion of the audio or MIDI data in a track that is bounded by a vertical line on each end of the clip. You can click a clip to select it—a selected clip becomes highlighted.
You can rearrange the sound in both audio and MIDI tracks by dragging and/or copying clips. The precision of the clips’ movement is governed by the Snap to Grid button , which you can configure in the Control Bar’s Snap module. Additional snap settings are available in Edit > Preferences > Customization - Snap and Nudge. In the following picture, the clips in Track 1 have been moved around to reverse their order, so instead of the first three notes of Three Blind Mice, we now have Mice Blind Three.
B C D A E A. Track volume fader—drag left or right to change B. Mute button C. Solo button D. Arm button E. Archived track The following table summarizes muting, soloing, and archiving: Track status What it means Normal The track plays unless one or more of your other tracks is soloed. Muted The track is not played, but you can turn it on while playback is in progress. Archived The track is not played, and you must stop playback to re-enable it.
Audio recording If your sound card and driver are properly installed, recording audio data is mostly a matter of accomplishing two tasks: • Connecting an instrument, home stereo, or microphone to an input on your sound card • Choosing that same input in SONAR, your sound card’s software, and/or Windows For more information, see: “Connecting an instrument, home stereo, or microphone to your sound card” on page 1454 “Choosing inputs” on page 1460 “Audio recording” on page 1454 “Audio hardware (sound cards) an
The following table summarizes the possible sound card inputs, types of cables required, and the inputs to plug into: Type of sound card inputs Cables and adapters needed Inputs to plug into 1/8 inch Mic and Line For most electric instruments: 1/4 inch balanced cable connected to 1/4 inch-to-1/8 inch adapter. For mics that have an XLR plug on their cable: XLR-to-1/4 inch adapter connected to 1/4 inch-to-1/8 inch adapter. Plug instruments into the Line input; plug microphones into the Mic input.
Electric guitar direct-in You can connect an electric guitar directly to your sound card using a 1/4 inch mono to 1/8 inch stereo adapter. The following diagram shows this setup: Figure 419. Electric guitar direct in To sound card microphone input (mono) 1/4 inch instrument cable 1/4 inch to 1/8 inch adapter The 1/8 inch plug should be plugged into the sound card’s Line input, although plugging into the Mic input will also work.
Electric guitar through effects rack You can also plug an electric guitar into an effects rack, then send the output of the rack to the sound card’s input, as shown in the following diagram: Figure 420.
Microphone direct-in Microphones can be plugged into the sound card’s Mic input. Some inexpensive microphones are made especially for use with sound cards and come equipped with 1/8 inch plugs. However, better quality microphones take better quality cables, which do not terminate in 1/8 inch plugs. The diagram below illustrates how to connect a microphone that terminates in a 1/4 inch plug to a 1/8 inch input: Figure 421.
Mixer You can connect a mixer to the sound card with a setup of the following kind: Figure 423. Mixer From sound card line output tto inputs #1 & 2 From Aux Bus #1 & 2 to sound card line input Stereo Amplifier Main mixer outs to power amp 1/4 inch instrument cable to input #3 Let’s trace the signal flow in the above picture: 1. Your pre-recorded tracks flow out of the sound card’s outputs into mixer inputs #1 and 2. 2.
6. If the guitar in the above picture had a stereo pickup and stereo cable, you could plug the left plug on the cable into input #3 and turn up bus send #1, and plug the right plug into input #4, and turn up bus send #2 on that input. You would then be sending a stereo signal from the guitar through buses #1 and #2 to the sound card’s line input. 7.
5. In SONAR’s Track view, use the In field in a track you want to record in to select the input you’re using—select either the Left input of your sound card to record in mono or the Stereo input to record in stereo. 6. Arm the track for recording (click its R button so that it’s red), and play your instrument. You should see the Record Meter at the bottom of the track’s property fields light up. If the meter doesn’t move, see the table immediately following this procedure. 7.
To record through the S/PDIF input 1. Connect the instrument or CD player you want to record from to your sound card’s S/PDIF input using a 75 ohm coaxial video cable or special S/PDIF cable. You may need to turn off the power on your computer, sound card, and sound source first. See your sound card’s documentation. 2. Use your sound card’s mixer software to set its clock to external or S/PDIF. 3. Leave SONAR’s clock setting at the default choice, which is Audio.
Audio hardware (sound cards) and drivers There are many different brands of sound cards on the market today. This section aims to help you get the best out of yours. See: “Consumer and professional” on page 1463 Consumer and professional There are many sound cards to choose from. Nearly every PC comes with one. Some are nationally known brands and others are proprietary sound cards that are made specifically for a single manufacturer. These sound cards are called “consumer” cards.
Professional sound card characteristics: • Multiple inputs and outputs. Many professional sound cards have multiple inputs and/or outputs. Some have analog and digital inputs or outputs for use with ADATs and digital mixers. • Type of inputs and outputs. Professional sound cards use quarter inch (mono or TRS), XLR or RCA inputs rather than the eighth inch jacks found on consumer grade sound cards. Some cards also have digital inputs and/or outputs like S/PDIF and ADAT.
Installation and drivers When you install a sound card, you are installing both the hardware and software called a driver. The sound card driver is what allows your operating system and your sound card to communicate. This section is aimed at preventing problems when installing both your sound card and its driver. Installing a sound card Follow your sound card’s documentation for installing the sound card in your PC.
Installing a driver on Windows 2000 and Windows XP You sound card should come with software, too. Some manufacturers provide a driver setup program that takes you through the driver installation. Always use the manufacturer’s software installation program if one is provided. If one is not provided, follow this procedure: 1. Click the Start button and select Settings > Control Panel. 2. In the Control Panel, double-click on Add New Hardware. The Add/Remove Hardware Wizard dialog appears. 3. Click Next. 4.
WDM and MME In most situations, the newer WDM (Windows Driver Model) sound card drivers that most sound card vendors are creating are a much better choice than the older MME (Multi-Media Extensions) drivers. If your sound card vendor has a WDM driver, it’s usually a good idea use it. The following table compares their characteristics: WDM MME Lower latency Usually higher latency Works with Windows 2000, ME, 98 SE, but not 98 Gold Works with Windows 98, and ME.
3. In the Device Manager section, click on the Computer entry at the very top and click the Properties button. The Computer Properties dialog appears. 4. If necessary, click the Interrupt request (IRQ) radio button. The IRQ settings appear. Look for your sound card in the Hardware Using the Setting column. Check all other devices to determine if other devices are sharing an IRQ with your sound card (Note: IRQ Holder for PCI Steering is not a device, and does not cause a conflict).
Resolving IRQ conflicts on a Non-ACPI system The easiest way to resolve a conflict may be to remove the piece of hardware that is conflicting with your sound card. Of course, this is not always possible, but if you have a modem, network card, or some other hardware device that you do not use, removing it (and its driver) may free up an IRQ for your sound card.
Beginner’s guide to Cakewalk software Audio hardware (sound cards) and drivers
Dialog reference Use the Contents tab, Index or Search tab to find the dialog you are looking for. About SONAR dialog When you use the Help > About SONAR command, the Cakewalk logo appears, with the version number of your Cakewalk product listed below it. Apply Audio Effects dialog This dialog gives you several options when applying audio effects: Delete the effects from the track effects bin.
Apply MIDI Effects dialog When you select Process > Apply Effect > MIDI Effects, the Apply MIDI Effects dialog box appears. This dialog box lets you select options for applying MIDI effects to selected MIDI data. You can choose to delete the effect from the patch point after it is applied, so that it will not be reapplied on playback.
• Bit depth must be 16. The Audio CD Burner dialog has the following controls: • Track List. The main area of the window is the track list. The tracks comprise the sounds that will be written (burned) to an audio CD. Each track is contained on its own line. • Add Track. Browse to your local file system and add a new track to the list. All Audio Tracks must be stereo .wav files with a sample rate of 44,100 Hz, and a bit depth of 16. New tracks will go at the end of the list but can be moved anywhere.
Audio Mixdown Options dialog Clicking the Mixdown Options button in the Export Video dialog opens the Audio Mixdown Options dialog. This dialog lets you control the characteristics of the audio file you export when you export a video from SONAR. This dialog has the following fields: • Preset. You can name and save a preset which includes the source bus and all mix enable selections. • Channel Format. Choose Mono, Stereo, or Multichannel. • Sample Rate.
Parameter Write Enabled Parameter “n” check box. The enabled check boxes in this list show what parameters of the plug-in are automation write-enabled. You can check or uncheck each of these check boxes. Enable All Click this button to enable all check boxes. Disable All Click this button to disable all check boxes. Auto-Send Sysx dialog The Auto-Send Sysx dialog box appears when you open a project that contains Sysx data.
• Cinepak Codec by Radius • Microsoft Video 1 • Microsoft RLE • These codecs have been found not to work: • H.261 • H.263 • Intel 4:2:0 Video V2.50 • MSScreen 9 encoder • MSScreen encoder • WMVideo Encoder DMO • WM9Video Encoder DMO Audio Codec Note: If you’re exporting an AVI file to either a 24-bit audio format or to a multi-channel (surround sound) format, set the Audio Codec to No Compression.
Data Rate This field is greyed-out if you choose the Default Codec in the Video field. If you are compressing a file to be played over the Internet, use a data rate that doesn’t exceed the capacity of the media players you expect will be used to play your file. Quality Lower quality values provide faster transmission and vice versa. Change AVI settings Checking this box causes another dialog box to appear after you click the Save button.
Bank/Patch Change dialog Select Insert > Bank/Patch Change to open the Bank Patch Change dialog box. The output and channel of the selected track appear in the upper left corner. Bank Select Method: Choose from one of the following MIDI standard protocols: • Normal • Controller 0 • Controller 32 • Patch 100...127 For more information see “Assigning the Bank Select method” on page 1054. Bank: Select the Bank you want to use. Patch: Select the Patch you want to use.
Bounce to Track(s) dialog Click the Track view Tracks menu and choose Bounce to Track(s) to open the Bounce to Track(s) dialog box. This command lets you process the effects and/or automation together with the audio data in tracks to create one or several new tracks in order to lighten the load on your computer. Once you’ve bounced the tracks, you can archive or delete the source tracks to free up your computer’s resources.
Source Category Select one of the following options: • Tracks. Creates a new track or tracks (the Split Mono option in the Channel Format field) for each track that you select in the Source Buses/Tracks field. • Buses. Creates a new track or tracks (the Split Mono option in the Channel Format field) for each bus that you select in the Source Buses/Tracks field. • Main Outputs.
Mix Enables As default, each of the Mix Enables options is checked, meaning that your mixdown will sound the same as playback. You can check or uncheck each of the following settings to include or exclude them from the mix: • Track Mute/Solo. If you check this option, tracks that are currently muted are not mixed down. Also with this option checked, if any tracks are soloed, only those tracks are included in the mixdown. • Bus Mute/Solo.
Change Audio Format dialog Use the Utilities > Change Audio Format command if you want to rewrite the audio in a project to a different bit depth. Your sound card must be capable of playing the project at the new bit depth, The Change Audio Format dialog box has the following fields: New Bit Depth Choose 16, 24, 32, or 64, depending on what audio format you want for this project. Dither This choice is available when you are converting to a lower bit-depth.
Choose Track Type dialog Using the INSERT key in the Track view inserts a new track of the same type as the current track, unless you use it in an empty project that has no tracks yet. In that case, the Choose Track Type dialog box appears, offering you the choice to insert either an audio or MIDI track. See also: “Arranging and editing” on page 309 Chromatic Tuner The Tuner view helps you to tune your instrument by analyzing any input signal from the sound card and displaying the pitch on a meter.
Under Windows, deleted files are normally placed in the Recycle Bin. As a result, you should empty the Recycle Bin after using the Clean Audio Folder command, or the unused files will still physically remain on your hard disk. If you are using another utility program that protects you from accidentally deleting important files (such as Norton Protect), you may need to disable that program. Otherwise, the next time you use the Clean Audio Folder command you may once again find these not-quite deleted files.
Associated Audio Files dialog The Associated Audio Files dialog shows which audio file(s) is associated with a clip. The dialog provides the following information: • The audio file(s) that make up the selected clip. • The path name(s) the files are stored under. • The bit depth of the clip. Recompute Picture(s) Click Recompute Picture(s) to redraw waveforms for individual clips that may have a corrupt waveform display.
Complete Registration dialog Click Register to go to the Cakewalk web site to register your copy of SONAR. All Cakewalk software must be registered within 30 days of installation. Note: You must have an active internet connection to view this page and register online. To register anytime, log onto www.cakewalk.com/register, or call 888-CAKEWALK (U.S.) or +1 617423-9004 (outside of the U.S.) between 9 AM and 8 PM Eastern Standard Time.
Controller/Surface Settings dialog The Controller/Surface Settings dialog opens when you click the Add button in Edit > Preferences > MIDI - Control Surfaces. The Controller/Surface Settings dialog also opens when you select a control surface from the Connected Controllers/Surfaces list in the Controllers/ Surfaces dialog, and then click the Property Page button that’s in the Controllers/Surfaces dialog. The Controller/Surface Settings dialog has the following fields: • Control Surface.
Convert MIDI Clip(s) To Step Sequencer dialog The Track view Clips > Convert MIDI Clip(s) to Step Sequencer command opens the Convert MIDI Clip(s) to Step Sequencer dialog. This command lets you convert any selected MIDI clip to a step sequencer clip. There are two available options: • Resolution. The resolution value should correspond to the shortest note value that you expect. For example, if you specify Sixteenth notes, you will get four steps per beat.
Track/Bus Automation If you check this check box, SONAR copies all Track and Bus automation from the selection. Tempo Changes If you check this check box, SONAR copies all tempo changes in the selected object. Meter/Key Changes If you check this check box, SONAR copies all meter and key changes in the selected object. Markers If you check this check box, SONAR copies all markers in the selected object.
Crossfade dialog The Process > Apply Effect > Crossfade command lets you specify accurately the shape of a crossfade for a selection, clip, or track. This is a destructive edit—it permanently alters the data that you apply it to. To apply a nondestructive volume change to selected data, see “Creating an editing automation envelopes” on page 950.
Cut dialog The Edit > Cut command opens the Cut dialog box, which lets you remove from the project and put on the clipboard any selected objects. You can paste the contents of the clipboard elsewhere. See “Paste dialog” on page 1545. The Cut dialog box has the following fields: Events in Tracks If you check this check box, SONAR removes every “Event” on page 1807 in the selected object. Clip Automation If you check this check box, SONAR removes all clip automation in the selection.
Define Groove dialog When you use the Process > Groove Quantize command, the Groove Quantize dialog box appears, which contains the Define button. Clicking the Define button opens the Define Groove dialog box. which you use to save new groove patterns. The Define Groove dialog box has the following fields: Groove Source This field lists the file that contains the currently loaded groove, along with the attributes. Groove Library File • File.
See also: “Creating instrument definitions” on page 1049 “Assigning instruments” on page 1046 “Importing instrument definitions” on page 1048 Deglitch dialog The Process > Deglitch command opens the Deglitch dialog box. When recording MIDI guitar, even the best players occasionally play unintended notes. The Deglitch feature allows you to filter out many of these unintended notes.
Delay dialog Using the File > Open command to open a Play List opens the Play List view, which has a Delay button. Clicking the Delay button opens the Delay dialog box, which lets you specify a different kind of delay before the start of each song. The Delay dialog box has these fields: No Delay Click this option to cause the song to start immediately following the previous song. Wait for Key Press Click this option to cause the song to start only after you press a key on your computer.
Meter/Key Changes Removes all meter and key changes in the selected clip(s). Markers Removes all markers in the selected clip(s). You have the following options in the Delete dialog: Delete Hole If selected, the Delete Hole option removes the space in the track where the clip(s) had been. All clips after the deleted clip(s) are moved forward in time by the length of the deleted clip(s).
What to do with existing material The fields in this section deal with the situation that occurs when you try to drag some data to a place in a track that already has some data. • Blend Old and New. the following option: Choosing this option tells SONAR to mix the new data with the old, with • Replace Old with New. Choosing this option tells SONAR to delete the old data, with the following option: • Delete Whole Measures.
Dump Request Macro needs your input--Patch/ Voice/Config Number When you click the Receive button in the Sysx view, and choose to receive sysx data from a synthesizer your system has trouble identifying, the Dump Request Macro needs your input dialog box appears. This dialog box, which appears if the system needs more information, lets you specify which patch, voice, or config number you want dumped.
Event Filter dialog If you want information about the Event Filter - Search dialog box, see “Event Filter Select Some/ Search/Replace dialog” on page 1498. See Also: “Searching for events” on page 711 “Event filters” on page 712 “Selecting events” on page 714 Event Filter Select Some/Search/Replace dialog • Edit > Select > By Filter opens the Event Filter-Select Some dialog box. Use this command to select events of a specific nature that you specify in the dialog box.
Control Click the Control check box to include any or all of the standard controllers. Set ranges for which controllers and values you want to include or exclude. RPN Click RPN to include registered parameter controllers in your selection. Consult your sound module’s documentation to see what RPN’s it responds to. NRPN Click NRPN to include non-registered parameter controllers in your selection. Consult your sound module’s documentation to see what NRPN’s it responds to.
All Clicking the All button places a checkmark into all check boxes in the dialog box. None Clicking the None button clears the checkmark from all check boxes in the dialog box. See Also: “Searching for events” on page 711 Event Manager dialog You can open the Event Manager dialog box in two ways: • Right-click in the Event List view and choose Event Manager from the pop-up menu. • Click the Event Manager button in the Event List view.
Export Audio dialog Select File > Export > Audio to open the Export Audio dialog box. This command lets you export your projects as Wave, MP3 files, and other types of formats. Note: If you select any data in your project, only that data is included when you choose to export audio.
• MP3. The mpeg-3 format, with the file extension .mp3. • Various surround formats. them listed here. If you have installed any 3rd-party surround encoders, you will see Preset You can create a preset for a mixdown. A preset contains all the settings within the Bounce Settings fields and also includes the File Type. Source Category Select one of the following options: • Tracks.
Dithering Whenever an audio signal is converted from a higher-bit resolution to a lower resolution, it is necessary to apply dither to avoid introducing undesirable quantization noise or harmonic distortion into the signal. You can select from four available dithering types. • Rectangular • Triangular • Pow-r 1 • Pow-r 2 • Pow-r 3 For more information see “Dithering” on page 898. Mix Enables As default, each of the Mix Enables options is checked, meaning that your mixdown will sound the same as playback.
• Audible bounce. The Audible bounce option is only available when in real-time bounce mode (when Fast Bounce is unchecked). When Audible bounce is unchecked, no audio output will be heard during the bounce process. When in real-time bounce mode (Fast Bounce unchecked) and Audible bounce is enabled, you can hear the output of the mixdown.
File name Type or select the filename you want to open. Save as type Select the type of file you want to open. Export Current Color Set Enable this check box if you want to export the current color arrangement as a color set file (.clr). Export Color Preset Enable this check box if you want to export all the presets in the Presets menu as a color set file (.clr). Export MIDI Groove Clip dialog The File > Export > MIDI Groove Clip command opens the Export MIDI Groove Clip dialog.
Export OMF dialog Select File > Export > OMF to open the Export OMF dialog. This command lets you save and export your projects OMF files. The dialog box has the following fields: Save in Shows the folder to which you are exporting your project. Browse your available drives to choose a different directory. Below the Save in field is a list of the selected folder's contents. File name Enter a name for the file you are creating.
Expression Text Properties dialog In the Staff view, when you right-click on a text expression, such as a ff marking, the Expression Text Properties dialog box appears. This dialog box lets you edit the text and location of your expression text. See also: “Adding expression marks” on page 1021 Export Track Template The File > Export > Track Template and Save As Track Template commands open the Export Track Preset dialog. You must first select a track before the command becomes available.
Fade/Envelope dialog The Process > Apply Effect > Fade/Envelope command lets you specify accurately the shape of a fade for a selection, clip, or track. This is a destructive edit—it permanent alters the data that you apply it to. To apply a nondestructive volume change to selected data, see “Creating an editing automation envelopes” on page 950. The Process > Apply Effect > Fade/Envelope command opens the Fade/Envelope dialog box, which has the following fields: Name.
Fill Gaps, XFade between Audio Clips Select the Fill Gaps, XFade between Audio Clips check box if you want to automatically fill in the gaps and create an automatic crossfade between selected audio clips. Filling the gaps is accomplished automatically by “rolling out” the first clip’s right edge and the second clip’s left edge to create a crossfade. XFade The duration of the automatic crossfade. Max Gap This value specifies the widest gap that will be filled with an automatic crossfade.
File Info dialog The Project > Info command opens the File Info dialog box. In the File Info dialog box, you can document the following information for your project: Title Your song’s title. Subtitle Your song’s subtitle. Instructions Specific instructions about for playing your song. Author The author of the song. Copyright Applicable copyright information. Keywords Put keywords describing the song here for future reference. Project Description Text Box Project description or other information.
File Statistics dialog The File Statistics dialog box displays the following information about the contents of the project file: Statistic What it means Created The date the project was first saved. Editing time The total time you’ve had the project open, from the time it was created to the last time it was saved. This does not include time spent editing the project since you last saved it. If you want to update this value, save the project.
Find Missing Audio dialog Use the Find Missing Audio dialog to find missing audio in your project. The following is a brief description of the options you have in this dialog: Open. Click this button once you have searched for and found the missing audio file. Skip. Click this button to move to the next missing file. When you skip and audio file your project opens without that piece of missing audio. Skip All. Click this button to skip all missing audio files.
Modify by Changing Choose how you want to change the selection to change its duration. Usually, you change the Tempo Map; this method preserves the note durations and bar lines of your project. Choose from these options: • Tempo Map. Choose this option to change only the tempo(s) of the selection, leaving note durations and their relationships to bar lines unchanged. • Event Times. Choose this option to change the starting and ending times of all events in the selection, leaving the tempo(s) unchanged.
Freeze Options dialog The Freeze Options dialog has the following options: Fast Bounce When checked, SONAR bounces to tracks as fast as your computer will allow. If unchecked, bouncing to tracks happens in real time. Uncheck this option if you are using a synth that only works in real time. This option is checked by default. Hide MIDI Tracks Check this box if you want the MIDI tracks associated with your synth to be hidden when the synth is frozen.
Gain dialog The Process > Apply Effect > Gain command opens the Gain dialog. This dialog lets you precisely control the gain, phase, and stereo interleave of selected audio data. This dialog has the following controls: • New Left Channel-From Left slider. Drag the From Left slider to determine the amount of the original left channel that will be mixed to the new file (range = -INF to 18.0dB).
Go dialog Press G to open the Go dialog box, which allows you to jump to a new Now Time. Additionally, the Go dialog opens when you right-click a transient marker on a track with AudioSnap enabled and choose Move to or Stretch to. The Go dialog box has only the following field: To Time In this field, fill in the time you want to move to according to the table below. You can click the spin controls (Plus-Minus buttons) to move forward or backward one tick at a time.
Groove Quantize dialog The Process > Groove Quantize command opens the Groove Quantize dialog box. Groove Quantizing is a way to edit a track so that its rhythmic feeling and, optionally, controller data are similar to some other piece of music. The other piece of music forms a groove pattern that you store in a groove file, which has an extension of .GRV.
AudioSnap Beats Check this box if you want AudioSnap transients to be quantized. Only Notes, Lyrics and Audio Check this box to prevent MIDI controller, aftertouch, and xRPN data from changing. Strength The values in the Strength section determine how closely SONAR changes the selected notes to match the groove’s values. The Strength section has these fields: • Time. Drag the slider in this field to set how closely SONAR moves the start time of the selected notes to the groove’s start times. • Duration.
Group Attributes dialog When you right-click a control in the Track view or the Console view that belongs to a Quick Group, and choose Save from the pop-up menu, the Group Attributes dialog appears. The Group Attributes dialog has the following fields: Group Name You can enter a name for the group in this field. Choose Color button Clicking this button opens the Color dialog, which allows you to choose or customize the group color.
Start Value column This column is not active unless the group is a custom group. The Start Value column lists the beginning values of all the controls in the selected group. End Value column This column is not active unless the group is a custom group. The End Value column lists the ending values of all the controls in the selected group. Preserve Mix Between Gain Members When this check box is enabled, any gain controls that are grouped will maintain the dB differential between them when they are moved.
Attributes button This button allows you to edit the name and color of any permanent group that’s displayed in the Group field. See also: “Using control groups” on page 876 Hairpin Properties dialog In the Staff view, right-click on a hairpin (crescendo or decrescendo) to open the Hairpin Properties dialog box. Use these fields to edit the hairpin that you right-clicked: • Time. Type the location you want the hairpin to move to. • < Crescendo. • > Diminuendo.
• FLAC (extension .flac) • Sound Designer II (extension .sd2) • ReCycle (extensions .rcy, .rex, .rx2) • All Files The sampling rate for a project is set based on your default sampling rate. If the sampling rate from the wave file does not match the sampling rate in your project, then it will be converted to the current project’s sampling rate. The Import Audio dialog has the following controls: • Look In field. import.
Import Audio CD Tracks dialog The File > Import > Audio CD command opens the Import Audio CD Tracks dialog. Use this command to import an audio CD track (extension .cda) into your project. The Import Audio CD Tracks dialog has the following controls: • Track List. The main area of the window is the track list. Each track represents an audio track located on the CD. The tracks are automatically named and numbered in order. Any number of CD Tracks can be selected for importing. • Source Drive.
Import Color Set dialog The Import Color Set dialog appears when you click the Import Colors button in Edit > Preferences > Customization - Colors. This dialog has the following fields: Look in Select the directory in which SONAR stores the file that you want to open. file and folder window This large window under the Look in field lists the files and folders that are inside the current folder. File name Type or select the filename you want to open.
Import MIDI dialog The File > Import > MIDI command opens the Import MIDI dialog. Use this dialog to import MIDI files or Project5 patterns. The Import MIDI dialog has the following fields: Look In Use this field to navigate to the folder that contains the MIDI file or Project5 pattern that you want to import. File Name This field lists the name of the file you’ve selected to import. Files of Type Use this field to choose whether you want to display MIDI files or Project5 patterns.
Commands in the Video view's pop-up menu let you set the time display format, the size and stretch options for the video display, the video start and trim times, and other options. Your project's video and digital audio data can be saved together in a new AVI file with File > Export Video command. For more information, see Preparing Audio for Distribution. Note: The project's video file is saved in the project by reference only; the actual video data remains in the original file.
Insert Pitch Change dialog Right-clicking in the time ruler and choosing Insert Pitch Change from the pop-up menu opens the Insert Pitch Change dialog box. This command changes the pitch of a Groove clip at the Now time at which you insert the command. For more information, see: “Creating and editing Groove Clips” on page 640 “Using pitch markers in the Track view” on page 644 Insert Series of Controllers dialog Select Insert > Series of Controllers to open the Insert Series of Controllers dialog box.
Insert Series of Tempos dialog This command lets you change tempo smoothly over a specified time range by inserting a series of tempo changes. Tempo Range • Begin–enter the tempo you want to start the tempo range at. • End– enter the tempo you want to end the tempo range at. • Step–enter a value in beats and clock ticks for how often you want SONAR to insert a tempo change into your tempo range. Time Range • From–enter the time location in your project where you want the tempo range to start.
• All Synth Audio Outputs: Stereo. If you select this option, one new stereo synth track appears for each stereo audio output that the synth you chose has. Each of the new tracks uses a different one of the synth’s outputs as an audio input. • All Synth Audio Outputs: Mono. If you select this option, two new mono synth tracks (one Left and one Right) appear for each stereo audio output that the synth you chose has. Each pair of new synth tracks uses a different one of the synth’s outputs as an audio input.
Insert Time/Measures dialog Select Insert > Time/Measures to open the Insert Time Measures dialog box. This dialog lets you insert the amount of time you specify at the point you indicate in the music. You can specify what events to slide over to make room for the new amount of time. At Time: The time at which you want to insert time, seconds, ticks or frames.
Insert Tracks dialog Using the Insert > Multiple Tracks command opens the Insert Tracks dialog, which allows you to insert multiple audio and/or MIDI tracks, and set some track properties. This dialog has the following fields: Audio • Track Count. Set the number of audio tracks you want to insert. • Main Destination. Set the main output that you want the new audio tracks to use. • Set as Default Bus.
Length dialog The Process > Length command, which opens the Length dialog box, can be used to stretch or shrink MIDI and/or audio clips, and/or to move their start times. Process > Length lets you stretch or shrink the selection by a fixed percentage and makes the adjustment by altering the individual events. A value of 200 percent, for example, stretches the selection to twice its original length, while a value of 50 percent shrinks the selection to half its original length.
Formant Scaling (disabled unless Stretch Audio is checked) This is a SONAR Producer feature only. Possible values range from -2.000 to 2.000 octaves. Formants give a voice its characteristic sound. If you find that changing the length of your audio changes the timbre too much, you can raise or lower the formant to try and maintain the characteristics of the sound.
Map Properties dialog The Map Properties dialog lets you change all the settings for an individual mapped note in your drum map. You can edit the following settings in the Map Properties dialog: Name A descriptive, user-assigned name for the current drum sound. In Note The recorded pitch as it appears in the Event List view. The range is from C0 to G10 or 0 to 127. Raise or lower values one half-step at a time using the +/- keys or by an octave at a time by using the open and close bracket keys ([ and ]).
Marker dialog Use the Project > Insert Marker command to open the Marker dialog box. This dialog lets you add a “Marker” on page 1810 where you specify in the music. Name: Enter the name you want to give the marker. Lock to SMPTE time Check this if you want to use SMPTE time code. Time: Enter the time at which you want to place the marker. Groove Clip Pitch If you want the marker to change the project pitch, select the pitch you want from the Groove Clip Pitch drop-down menu.
Meter/Key Signature dialog Select Project > Insert Meter/Key Change to open the Meter/Key Signature dialog box. This dialog box lets you set the meter and key signature of a project or any part of a project. At Measure: Select the measure you from where you want the changes to take effect. Beats per Measure: Select the number of beats per measure. Beat Value: Select the value of each beat (i.e. 1 = whole note, 2 = half note, etc.) Key Signature: Select the key signature.
Codec Select a codec from the drop-down list. Format Select a format from the drop-down list. A higer the kbps setting the higher the quality of the file. For more information, see: “Routing and mixing digital audio” on page 813 MIDI Envelope dialog When you click a MIDI track’s Edit Filter control and choose Track Automation > MIDI in the dropdown menu, the MIDI Envelope dialog appears. The MIDI Envelope dialog has the following fields: • Type. • Value.
MIDI Input Presets dialog The MIDI Input Presets dialog appears when you use click the drop-down arrow on a track’s MIDI Input field and select Manage Presets from the drop-down menu. Use the MIDI Input Presets dialog to create and edit MIDI Input Presets, which are collections of specific MIDI input channels and/or MIDI input ports that you want to assign to one or more tracks.
Missing Plug-ins dialog This dialog appears if you open a project that references plug-ins that are not installed on your machine. If you save the project after you have opened it with missing plug-ins, all references to missing plug-ins are lost. To retain the missing plug-ins in your project, exit SONAR without saving, reinstall the missing plug-ins and then re-open the project.
• Stereo. By selecting Stereo mode, the encoder will create a Stereo MP3 file from a stereo project by treating the left and right channels as completely independent signals. Unlike Joint Stereo encoding, stereo encoding will not try to take advantage of similar information in left and right channels. As a result, Stereo Mode will completely preserve stereo separation without trying to reduce the data. • Mid/Side Stereo. Preserves most of the stereo effect of a file but at lower bandwidth.
Rename Screenset dialog Click Views > Screensets > Rename Current Screenset to open the Rename Screenset dialog box, which allows you to rename the current screenset. See also: “Screensets” on page 982 New Project File dialog Open the New Project File dialog by selecting File > New from the menu. In the New Project File dialog you choose the name of your project, where the project’s data is stored and which template you want to use to create the file. Name Enter a file name for your project.
No MIDI Inputs—SONAR dialog The No MIDI Inputs - SONAR dialog box appears the first time you run SONAR, if no MIDI input devices are selected in Edit > Preferences > MIDI - Devices, or when another program is using your system’s MIDI inputs. This dialog box lets you choose, or decide not to choose, an input.
Note Names dialog dialog The Note Names dialog box appears when you right-click the piano keyboard that’s located on the left side of the Piano Roll view. This dialog box lets you specify whether to use the settings assigned in the Assign Instruments dialog box or different settings you specify, or drum mode. Clicking the Configure button opens the Assign Instruments dialog box.
Open dialog The File > Open command opens the Open dialog box. Use the Open dialog box to open an existing project. Look in Select the directory in which SONAR stores the file that you want to open. File name Type or select the filename you want to open. Files of type Select the type of file you want to open. Go to Folder Go to one of the predefined SONAR folders. See “File - Folder Locations” on page 1581.
Paste dialog The Edit > Paste Special command opens the Paste dialog box, which lets you put the contents of the clipboard into any appropriate place in your project. To put data on the clipboard, see “Cut dialog” on page 1491, “Copy dialog” on page 1488. The Paste dialog box has the following fields: Starting at Time Fill in the “Now time” on page 1811 where you want the beginning of the pasted data to go. Destination Select either a track or bus where you want the selection pasted.
What to do with existing material The fields in this section deal with the situation that occurs when you try to paste some data to a place in a track that already has some data. • Blend Old and New. the following options: Choosing this option tells SONAR to mix the new data with the old, with • Replace Old with New. Choosing this option tells SONAR to delete the old data. • Slide Over Old to Make Room.
Patch Browser dialog The Patch Browser dialog box opens when you click the Patch Browser button in the Track Inspector. The Patch Browser button is also available from the Insert > Bank/Patch Change dialog box. The Patch Browser dialog box has the following fields: Show Patches Containing the Text Use this field to search for patches by filling in pieces of the patch name. You can select previous search patterns from the drop-down list.
Pedal Properties dialog In the Staff view, when you right-click on a pedal mark, the Pedal Properties dialog box appears. Use these fields to edit the sustain pedal mark that you clicked: Time Use this field to change the location of your pedal mark. Channel Use this field to set the MIDI channel of your pedal mark. Value Enter 0 to turn off the pedal (no sustain), or 127 to turn on the pedal (sustain).
Default This tiny window displays the default note—the note that all unbound MIDI notes display as. Recommended for window When you click a note in the MIDI Note field, the Recommended for window displays some standard display pitches for that MIDI note. Notehead Type When you click a note in the MIDI Note field, you can select a type of notehead for it, For example, cymbals usually use an X for a notehead. The Notehead Circled field allows you to add a circle around any MIDI note’s notehead.
Preferences dialog The Edit > Preferences command opens the Preferences dialog. You can specify various options and preferences in the Preferences dialog. Some options are global while others are per project. Settings and options are organized into the following sections: • Audio.
• Customization. Customizable preferences are organized into the following categories: • “Customization - Display” on page 1610 • “Customization - Colors” on page 1612 • “Customization - Snap and Nudge” on page 1625 • “Customization - Editing (Advanced)” on page 1627 • “Customization - Key Bindings (Advanced)” on page 1631 • “Customization - Audio Meter (Advanced)” on page 1634 Each section is organized into different basic and advanced subcategories. To only see basic preferences, click the Basic button.
“Project - Record” on page 1594 “Project - MIDI” on page 1597 “Project - Metronome” on page 1600 “Project - AudioSnap” on page 1602 “Project - Clock (Advanced)” on page 1604 “Project - Surround (Advanced)” on page 1606 “Customization - Display” on page 1610 “Customization - Colors” on page 1612 “Customization - Snap and Nudge” on page 1625 “Customization - Editing (Advanced)” on page 1627 “Customization - Key Bindings (Advanced)” on page 1631 “Customization - Audio Meter (Advanced)” on page 1634 1552 Prefe
Audio - Devices Figure 427. The (audio) Devices section The Devices section displays a two-column list of available audio drivers. You can click the corresponding check box to enable/disable a driver. Select the drivers you want to make available for recording and playback. You can change the driver name by clicking the name in the first column and typing in your preferred name, or friendly name, for the driver. The Devices section contains the following settings: • Input Drivers.
• Show Mono Outputs. Select this option if you want to assign audio track and bus outputs to individual (mono) hardware outputs in addition to stereo pairs. This is very useful, for example, if you record in SONAR but want to use an external mixing console to mix. When enabled, mono hardware outputs are available in all locations that display audio output ports, with the exception of the Media Browser view, Loop Construction view and Import Audio dialog.
Audio - Driver Settings Figure 428. The Driver Settings section The Driver Settings section lets you specify the audio timing master devices, default sampling rate and other audio settings. The Driver Settings section contains the following settings: • Playback Timing Master. If you’re using multiple wave drivers for playback, this list lets you specify which audio device should control the playback timing.
• Record Timing Master. If you’re using multiple wave drivers for playback, this list lets you specify which audio device should control the recording timing. Note: Every sound card’s clock crystal is slightly different, which causes minor differences in the actual playback rate on each card. These differences may lead to slight synchronization problems if you use one card for recording and a different one for playback. Multiple wave drivers on the same card will not have sync problems.
• Dim Solo Gain. Dim Solo is a mode in which non-soloed audio tracks/buses are still audible but at a reduced level. The default gain reduction is -6dB, but can also be configured for -12dB and 18dB. For more information about Dim Solo, see “Dim Solo mode” on page 196. Default Settings for New Projects • Sampling Rate. The Sampling Rate list allows you to enter or select an audio sampling rate for a new project.
ASIO Panel (ASIO drivers only) This button opens a dialog where you can set the buffer size for your ASIO driver and change the driver configuration. See your sound card’s documentation for more information.
Audio - Playback and Recording Figure 429. The (audio) Playback and Recording section The Playback and Recording section lets you specify various settings that affect playback and recording. The Playback and Recording section contains the following settings: • Driver Mode. Select from WDM/KS, ASIO or MME. Consult your hardware documentation to determine which driver your hardware uses. WDM/KS drivers are the latest available and typically have very low latency.
• Dithering. Whenever an audio signal is converted from a higher-bit resolution to a lower resolution, it is necessary to apply dither to avoid introducing undesirable quantization noise or harmonic distortion into the signal. The purpose of dither is to reduce the resulting distortion by adding low-level random noise or “dither” to the audio signal. Different mathematical calculations are used to generate dither, each method has advantages and disadvantages depending on the particular operation.
• Play Effect Tails After Stopping. When checked, this option causes any effect with a “tail” (reverb, delay, etc.) to finish playing when playback is stopped. • Always Open All Devices. With this option checked, SONAR opens all enabled stereo pairs of audio outputs as soon as you press play or turn on the audio engine. Any pairs that don’t have any tracks feeding them stream silence, but are still ready for use.
Audio - Audio Profiles (Advanced) Figure 430. The Audio Profiles section The Audio Profiles section shows the sound card buffer settings that the Wave Profiler has come up with. Note: The Audio Profiles section is only available when in MME or WDM/KS driver mode. • Show Profile for. This list shows the name of the sound card driver that the displayed settings are for. • Stream >16 bit data as.
DMA Buffer Sizes These fields list the buffer characteristics for each sound card that the Wave Device profiler has come up with. In general, it is better not to change these settings without consulting SONAR technical support. For more information, see “Improving audio performance” on page 1105.
Audio - Configuration File (Advanced) Figure 431. The Configuration File section Configuration Settings SONAR’s audio configuration settings are stored in a file named Aud.ini. SONAR provides a convenient way to edit, reload and reset the audio configuration settings. The Configuration File section contains the following options: • Edit Config File. Click to open Aud.ini in the default Windows text editor. Make any necessary changes in Aud.ini, then save and close Aud.ini.
• Reload Config Settings. Click to reload the current audio configuration settings from Aud.ini. • Reset Config To Defaults. Click to reset the audio configuration settings to SONAR’s default settings. The existing Aud.ini file is saved in case you wish to restore it later. Properties The Properties list shows various configuration settings you can change, if necessary. When you select a property, a brief description of the property is shown below the list.
Audio - Sync and Caching (Advanced) Figure 432. The Sync and Caching section The Sync and Caching section lets you specify audio synchronization and hard disk cache settings.
Synchronization SONAR gives you two choices for synchronizing your audio tracks to SMPTE or MIDI Time Code: • Trigger and Freewheel. With this option audio playback starts (or triggers) at the exact timecode, but then the audio plays at its own internal rate. The audio can gradually drift away from SMPTE time due to variations in the timecode signal. • Full Chase Lock. With this option the speed of audio playback is continuously adjusted to stay with the timecode. • Timing Offset (msec).
File System • Enable Read Caching and Enable Write Caching. Choosing either of these options lets SONAR use the Windows disk cache while reading or writing audio data. SONAR will usually perform best with all caching disabled, which is the default setting. If your computer has an older IDE disk controller, or a disk controller that does not use DMA transfers, enabling caching may improve SONAR’s audio performance. Note: Changes to these settings only take effect when you restart SONAR. • I/O Buffer Size.
“Audio - Devices” on page 1553 “Audio - Driver Settings” on page 1555 “Audio - Playback and Recording” on page 1559 “Audio - Audio Profiles (Advanced)” on page 1562 “Audio - Configuration File (Advanced)” on page 1564 Next Preferences page: “MIDI - Devices” on page 1569 MIDI - Devices Figure 433.
The Devices section lets you choose the MIDI inputs and outputs you want to use. The selection in the Output menu for a track determines which piece of hardware will be used to produce the sound stored in your project. The list of enabled input devices determines which input MIDI devices can successfully send MIDI data into your Cakewalk application. You can make up your own friendly names for the MIDI input and output devices listed in this dialog.
See also: “Preferences dialog” on page 1550 “MIDI - Instruments” on page 1571 “MIDI - Control Surfaces” on page 1574 “MIDI - Playback and Recording” on page 1577 “MIDI - Drum Map Manager (Advanced)” on page 1579 Next Preferences page: “MIDI - Instruments” on page 1571 MIDI - Instruments Figure 434.
The Instruments section lets you choose one or more output/channel configurations and assign an instrument to it or them. SONAR lets you assign a MIDI instrument definition to each available MIDI output and channel. The assignments you make determine the MIDI bank names, patch names, note names, and controller names that you see during your SONAR session. Suppose that you have a Roland GS compatible synthesizer attached to MIDI output 1.
Save Changes for Next Session Click this check box if you want to reuse any new combinations you made the next time you open SONAR. Define button Clicking this button opens the Define Instruments and Names dialog box, which allows you to define your own MIDI instruments, if they are not MIDI standard.
MIDI - Control Surfaces Figure 435. The Control Surfaces section The Control Surfaces section allows you to enable as many control surfaces as you want to control with SONAR, and configure the control surfaces’ interfaces. You can also configure the WAI display (Where Am I display) and ACT indicators. The Control Surfaces section contains the following fields and buttons: Import ACT Data You can use ACT with any automatable plug-in.
The import feature makes it easy for users to share data, and will also allow you to download incremental updates when new plug-in mappings become available. If you import ACT data for a certain plug-in, and you have already mapped some of the parameters in that plug-in, for each already-mapped plug-in, a dialog asks you if you want to overwrite that plugin's mapping. This lets you protect any parameter mappings that you've already done.
Refresh Frequency (milliseconds) If you are experiencing sluggish UI responsiveness when using a control surface and playing back high CPU projects, you may wish to reduce the control surface refresh frequency (increase the number of milliseconds). The valid range is 50-5000 milliseconds and the default value is 75. Also, if you are using a control surface that is not bi-directional, the surface does not need to be refreshed at all and you can safely increase the value.
MIDI - Playback and Recording Figure 436. The (MIDI) Playback and Recording section The Playback and Recording (MIDI) section lets you specify MIDI echo settings, MIDI playback buffer size, and which MIDI events should be recorded. The Playback and Recording section contains the following settings: Record Use the fields in this section to choose what MIDI events you want to record. Choose any or all of these options: • Allow MIDI Recording without an Armed Track. track before recording.
• Controller events. Select this check box if you want to record Controller events. • Patch Changes. Select this check box if you want to record Patch Change events. • Channel Aftertouch. Select this check box if you want to record Channel Aftertouch events. • Pitch Wheel. Select this check box if you want to record Pitch Wheel events. • System Exclusive. Select this check box if you want to record Sysx data. • Number of Buffers. Choose how many MIDI buffers you want SONAR to use.
See also: “Preferences dialog” on page 1550 “MIDI - Devices” on page 1569 “MIDI - Instruments” on page 1571 “MIDI - Control Surfaces” on page 1574 “MIDI - Drum Map Manager (Advanced)” on page 1579 Next Preferences page: “MIDI - Drum Map Manager (Advanced)” on page 1579 MIDI - Drum Map Manager (Advanced) Figure 437.
The Drum Map Manager section lets you create and save drum maps for use with hardware or software samplers. You can customize drum maps to select specific sounds on any of your samplers. The Drum Map Manager section contains the following settings: Drum Maps Used in Current Project This field displays all the currently available drum maps. click the New button to create a new drum map and Delete to delete a drum map. Select a drum map to display the drum mappings in the Drum Map Manager.
File - Folder Locations Figure 438. The Folder Locations section The Folder Locations section lets you specify default folders for different kinds of SONAR files. The default locations for all of these file types usually work well. However, if you find that this folder gets cluttered, changing the locations of the file types won’t hurt anything, as long as you remember where you put things.
You can change the folder for a file type by typing a new path name in the particular file type’s edit box, or by clicking the Browse button and navigating to the folder that you want to store that file type in. You can set different locations for the following file types: Project Files (.cwp, .mid, .cwb) .cwp and .cwb files are your standard SONAR project files. The default directory for your project files is \Cakewalk Projects, located in the root directory. .
Video Files You can import .avi, ,mpg, and QuickTime video files into SONAR. The default directory for video files is the \Sample Content folder located in: Windows XP: C:\Documents and Settings\\My Documents\Cakewalk\SONAR X1 Windows Vista / Windows 7: C:\ProgramData\Cakewalk\SONAR X1 Sysx Files (.SYX) When you create and save a .syx file.
Drum Maps You can create drum maps to redirect any number of MIDI drum tracks to internal (software) and external (hardware) synthesizers or samplers.
File - Audio Data Figure 439. The Audio Data section The Audio Data section lets you specify settings for recording, rendering and importing audio data. The Audio Data section contains the following settings: All Projects • Global Audio Folder. The Global Audio Folder is where audio files are stored for all projects when per-project audio is not turned on.
• Always Import Broadcast Waves at Their Timestamp. Forces SONAR to ignore the Now Time when importing Broadcast Wave files. When this option is checked, Broadcast Waves begin at their SMPTE timestamp in your project. • Export Broadcast Waves By Default. Check this option if you want the Broadcast Waves option to appear by default in the Export Audio dialog. • Apply SMPTE Offset to Broadcast Wave Timestamps.
File - VST Settings Figure 440. The VST Settings section The VST Settings section lets you manage VST effect and instrument plug-ins.
VST Scan Folders This window lists the folders that are scanned for VST plug-ins. “Scanning” a VST plug-in means adapting the plug-in’s file format so that the plug-in works in SONAR. To add folders, remove folders, or set defaults for the listed folders, use the following buttons: • Add. This button opens the Browse for Folder dialog, which allows you to select a new folder to be scanned. • Remove. To remove a folder from the to-be-scanned list, first select the folder, and then click the Remove button.
BitBridge Server Configuration Note: BitBridge server configuration is only available in SONAR Producer. Cakewalk’s BitBridge technology allows you to use 32-bit VST effects and instruments when using the x64 version of SONAR. 32-bit VST effects and instruments are loaded into “servers”, and each server can address up to 4GB of RAM.
File - Initialization File (Advanced) Figure 441. The Initialization File section The Initialization File section lets you view and edit the Cakewalk.ini file, which allows you to store information about your preferences and configuration. Note: There are two other initialization files stored in the SONAR program folder: • TTSseq.ini • Aud.ini You can edit these files with a text editor, such as Windows Notepad.
Warning: There are several other .ini files in the SONAR folder, but you should not attempt to edit or modify these files in any way. Changes to these other files could cause SONAR to stop operating properly. Before making any changes to any of the .ini files, you should make a backup copy in case you make a mistake. After you have made your changes, save the file and close Notepad. SONAR reads the settings in these files only when it first starts up.
See also: “Preferences dialog” on page 1550 “File - Folder Locations” on page 1581 “File - Audio Data” on page 1585 “File - VST Settings” on page 1587 “File - Advanced (Advanced)” on page 1592 Next Preferences page: “File - Advanced (Advanced)” on page 1592 File - Advanced (Advanced) Figure 442. The Advanced (File) section The Advanced section lets you specify auto-save, file versioning and other project file settings.
The Advanced section contains the following settings: • Auto-save Every “N” Minutes or “N” Changes. automatic saves. Choose how many minutes or edits between • Enable Versioning of Project (.cwp) Files. Checking this check box causes SONAR to save successive versions of a project with the date the project was saved in the file name. The most recent version has no date in the name. • Number of versions to keep. If you enable the versioning option, you can use this field to choose how many versions to keep.
Project - Record Figure 443. The Record section The Record section lets you specify how SONAR records clips into tracks that already contain other clips. If you use loop recording, you can also specify whether to record takes in sequential tracks or stacked in a single track. Note: SONAR saves the recording options you choose with each project, so you can save a different recording mode with each of your projects.
Recording Mode Choose one of the following options: • Sound on Sound (Blend). Choose this option to add sound to any pre-existing sound in the track. • Overwrite (Replace). Choose this option to overwrite any pre-existing sound in the part of the track you are recording into. • Allow Arm Changes During Playback/Record. Select this option if you want to arm and disarm tracks during playback and recording.
Loop Recording Choose one of the following loop recording options: • Store Takes in a Single Track. Choosing this option causes SONAR to merge every new take with the previous takes, unless you choose Overwrite mode, which mutes each take except the newest one. • Store Takes in Separate Tracks. Choosing this option causes SONAR to place each new take in the next available track. This method can quickly overwhelm your computer if you are recording audio data. Layers • Create New Layer On Overlap.
Project - MIDI Figure 444. The MIDI section The MIDI section lets you specify MIDI Sync and MIDI Machine Control (MMC) settings. The MIDI section contains the following settings: MIDI Machine Control (MMC) This section allows you to control MMC devices from SONAR, and has the following options; • Transmit MMC. Choosing this option causes SONAR to send standard MMC commands such as start, stop, rewind, etc., to any MMC devices that are connected to your computer. • Timecode Master’s Unit ID.
Other Options: • Zero Controllers When Play Stops. If you choose this option, SONAR sets the controller values of the pitch wheel, the sustain pedal, and the modulation wheel on all 16 MIDI channels to zero. It also sends a “zero all continuous controllers” MIDI message which turns off other continuous controllers on newer synthesizers. If you experience frequent stuck notes when playback stops, try checking this option. • Patch/Controller Searchback Before Play Starts.
See also: “MIDI synchronization” on page 1083.
Project - Metronome Figure 445. The Metronome section The Metronome section lets you specify metronome settings for playback and recording.
General • Playback. Choosing this option cause the metronome to sound during playback. • Recording. Choosing this option cause the metronome to sound during recording. • Use Audio Metronome. Choosing this option causes the metronome to use audio. • Use MIDI Note. Choosing this option causes the metronome to sound by playing a MIDI note. • Count In. Specifies the number of count-in measures or beats. • Measures. Choosing this option sets the Count-In units to measures. • Beats.
Project - AudioSnap Figure 446. The AudioSnap section The AudioSnap section lets you specify various AudioSnap settings. The AudioSnap section contains the following settings: Quantize • Pool Transient Window (ms). When you double-click a marker, not only does the marker become selected, but all markers to the right of the marker become selected if they are located less than this field’s value away from the original marker.
MIDI Extraction • Convert to MIDI Note. be converted to. This field lets you choose what MIDI note all the transients in the clip will • Note Velocities: • Vary with Pulse Level. This option causes the velocities of the notes in the MIDI clip to vary with the level of the transients in the audio clip. • Set All to Same Value. This field lets you enter a velocity that all the MIDI notes in the clip will use. Split Beats • Auto Fade Split Clips.
Project - Clock (Advanced) Figure 447. The Clock section The Clock section lets you specify synchronization settings and the number of subdivisions of the beat (parts per quarter note).
Source This section lets you choose what device SONAR uses as a timing source, and has the following options: • Internal. Choose this option to use the clock on the computer’s motherboard. • MIDI Sync. Choose this option to sync SONAR to an external MIDI device. • SMPTE/MTC. Choose this option to sync SONAR to an external device that generates either SMPTE time code or MIDI time code. • Audio. Choose this option to use the clock on the computer’s sound card.
Project - Surround (Advanced) Figure 448. The Surround section The Surround section lets you specify the surround format, speaker assignments, bass management and downmixing settings. The Surround section contains the following settings: Presets You can save your current settings as a preset. This allows you to easily move between different surround configurations. Output Assignments field Set a hardware output for each channel.
Surround Format drop-down Select a surround format from the drop-down: • 2.1 • LCR • LRC+LFE • LRS • LRS+LFE • Matrix UHJ • QUAD • 4.1 (SMPTE/ITU) • Quad+LFE • PanAmbio 4.1 • LCRS • Surround (SMPTE/ITU) • Surround Media • LCRS+LFE • 5.1 (Standard 3/2) • 5.1 (Film/Alternative) • 5.1 (Music/Alternative) • 5.1 (SMPTE/ITU) • 6.0 (Hexagon) • 6.0 (Film/Alternative) • 6.0 (Music/Alternative) • 6.1 (Film/Alternative) • 6.1 (Music/Alternative) • 6.1 (SMPTE/ITU) • 7.0 (Heptagon) • 7.0 (Film/Alternative) • 7.
• 8.0 (Music/Alternative) • 8.1 (Film/Alternative) • 8.1 (Music/Alternative) • 8.1 (SMPTE/ITU) 5.1 (SMPTE/ITU) should be the default template. Monitor with Bass Management When enabled, a combox lets you specify one of the following cutoff frequencies: • 80 (Dolby consumer/DVD) (default) • 116 (DTS) • 120 (Dolby pro/film) • 180 Low-pass Cutoff All signals below the cutoff frequency are directed from the main channels to the LFE channel output. Downmixing • Center Level.
• Surround Level. Surround Downmix Level is the amount of Left Surround to mix into Left, and Right Surround to Right, when mixing down from any surround-equipped format to 2 channel. The available options are: • -3 dB. The amount by which mono surround information, from many movie mixes before discrete 5.1 was available, mixes down to maintain the same level as the original. • -6 dB.
Customization - Display Figure 449. The Display section The Display section lets you configure X-ray and other display settings. The Display section contains the following settings: • Show Tooltips. Checking this option causes SONAR to show tooltips. Tooltips are small text names or explanations that appear when you hold the mouse over a tool. • Show MIDI Activity on Windows Taskbar. Check this option to display the MIDI Input/Output Activity icon on the Windows taskbar. • Display All Times as SMPTE.
• Display Envelopes on a Percentage Scale. This option, when checked, causes new envelopes to be placed in the clip based on a range where 0 dB is in the middle of the clip. If the current volume is other than 0 dB, a new envelope is created at that location. For example a new envelope created at 6 dB would appear at the very top of the clip where a new envelope created at -20 dB would appear near the bottom of the clip. • Display Waveform Preview While Recording.
Customization - Colors Figure 450. The Colors section The Colors section lets you customize colors of various screen elements. The Colors section contains the following settings: Presets You can create lots of different color schemes and save each one as a preset. After you create a color scheme that you like, type a name for it in the Presets window, and then click the floppy disk icon to save the preset. When you want to load the preset, just select it in the Presets window.
Color Category This list shows different areas where color can be adjusted. Choosing one of these categories helps filter out screen elements you may not wish to deal with at the moment. The categories also provide a convenient way to adjust brightness, hue, and saturation of a related collection of screen elements without hunting through a long list. Screen Element This list shows all the items in SONAR you can set the color of. Highlight the one you want to change.
Save Changes for Next Session Check this check box if you want SONAR to use any new color assignments the next time you open SONAR. Wallpaper The options in this field allow you to set the color and design of SONAR’s background area. The options are: • Default. Choosing this option causes SONAR to use its original color and design for the background. • None. Choosing this option causes SONAR to use a flat, grey color for the background. • Custom.
Screen element Explanation Erasing Color used to show your erasing in the Tempo views Markers Color of markers in time rulers Pitch Markers Color of pitch markers in the Time Ruler Loop Markers Color of loop point markers Punch Record Markers Color of punch recording markers Now Time Marker Color of the Now Time Marker in the Track view Time Ruler Background Color of the area behind the Time Ruler markings Track View Time Ruler Digits Color of the Time Ruler markings Time Ruler Tick Marks
Screen element Explanation Bus Waveform Preview Color of the waveform that a bus’s or synth track’s output generates Waveform Preview (>= 0dB) Color of the waveform in a clip during preview while recording if the amplitude is greater than or equal to 0dB Frozen Track Background The background color of a frozen track in the Clips pane V-Vocal Clip Background The color of a V-Vocal clip. Audio Tracks 1, 11, 21...
Screen element Explanation Audio Tracks 7, 17, 27...Background Background color of all audio tracks that end in the number “7” (7, 17, 27, etc.) Audio Tracks 8, 18, 28...Foreground Foreground color of all audio tracks that end in the number “8” (8, 18, 28, etc.) Audio Tracks 8, 18, 28...Background Background color of all audio tracks that end in the number “8” (8, 18, 28, etc.) Audio Tracks 9, 19, 29...Foreground Foreground color of all audio tracks that end in the number “9” (9, 19, 29, etc.
Screen element Explanation MIDI Tracks 6, 16, 26...Foreground. Foreground color of all MIDI tracks that end in the number “6” (6, 16, 26, etc.) MIDI Tracks 6, 16, 26...Background Background color of all MIDI tracks that end in the number “6” (6, 16, 26, etc.) MIDI Tracks 7, 17, 27...Foreground Foreground color of all MIDI tracks that end in the number “7” (7, 17, 27, etc.) MIDI Tracks 7, 17, 27...Background Background color of all MIDI tracks that end in the number “7” (7, 17, 27, etc.
Screen element Explanation Track View Track Header Peak Text Color of the text on the right end of a track’s title bar that displays the peak level that the track’s audio meter measures Track View Header Warning Text Color of the text described above when the track’s level is in danger of clipping Peak Marker (< 0 dB) The color of the Peak Marker when amplitude peaks are less than 0dB Peak Marker (>= 0 dB) The color of the Peak Marker when amplitude peaks are greater than or equal to 0dB Peak Mark
Screen element Explanation Track View Bus Send 4, 12 Level Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 5, 13 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 6, 14 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 7, 15 Control / Envelope Sets the color of this parameter’s automation envelope Track View Bus Send Level 8, 16 Control / Envelope
Screen element Explanation Bus Send Angle 8, 16 Envelope Sets the color of this parameter’s automation envelope Bus Send Focus1, 9 Envelope Sets the color of this parameter’s automation envelope Bus Send Focus 2, 10 Envelope Sets the color of this parameter’s automation envelope Bus Send Focus 3, 11 Envelope Sets the color of this parameter’s automation envelope Bus Send Focus 4, 12 Envelope Sets the color of this parameter’s automation envelope Bus Send Focus 5, 13 Envelope Sets the color of t
Screen element Explanation Bus Send Front/Rear Balance 2, 10 Envelope Sets the color of this parameter’s automation envelope Bus Send Front/Rear Balance 3, 11 Envelope Sets the color of this parameter’s automation envelope Bus Send Front/Rear Balance 4, 12 Envelope Sets the color of this parameter’s automation envelope Bus Send Front/Rear Balance 5, 13 Envelope Sets the color of this parameter’s automation envelope Bus Send Front/Rear Balance 6, 14 Envelope Sets the color of this parameter’s auto
Screen element Explanation Snap to Scale Excluded Rows Color of pitch rows in Piano Roll view (or Inline PRV) that become unavailable when Snap to Scale is enabled.
Screen element Explanation Console Synth Track Name Text Color of text of Synth track names in Console view Console Bus Name Background Color of background of Bus names in Console view Console Bus Name Text Color of text of Bus names in Console view Console Main Output Name Text Color of text of Main Output names in Console view Synth Rack Text Color of text in the Synth Rack Synth Rack Parameter Background Background color around parameter controls in the Synth Rack Synth Rack Focus Border c
“Customization - Editing (Advanced)” on page 1627 “Customization - Key Bindings (Advanced)” on page 1631 “Customization - Audio Meter (Advanced)” on page 1634 Next Preferences page: “Customization - Snap and Nudge” on page 1625 Customization - Snap and Nudge Figure 451.
three different nudge resolutions. The Snap section contains the following settings: • Mode. Snapping can operate in two different modes: • Move To. Align data to the grid. • Move By. Move data by the grid resolution. • Magnetic Strength. Specify the magnetic strength when snapping, which determines how quickly moved events are pulled towards the snap grid. The choices are Off (no magnetic snap), Low, Medium and High. • Audio Zero Crossings.
“Customization - Key Bindings (Advanced)” on page 1631 “Customization - Audio Meter (Advanced)” on page 1634 Next Preferences page: “Customization - Editing (Advanced)” on page 1627 Customization - Editing (Advanced) Figure 452. The Editing section The Editing section lets you specify drag & drop behavior, auto-crossfade settings, MIDI editing options and Microscope settings.
Drag and Drop Choose from the following drag and drop options: • Copy Entire Clips as Linked Clips. When you copy an entire clip, choosing this option causes the new clip and the clip that you copied it from to be “Linked clips” on page 1809. What to do with existing material The fields in this section deal with the situation that occurs when you try to drag some data to a place in a track that already has some data. • Blend Old and New.
• Default Fade-Out Curve > Slow Curve. curve when dragging the end of a clip. This command sets as a default a slow fade-out • Default Crossfade Curves > Linear Out - Linear In. This command sets as default a crossfade in which the first clip fades out at a steady rate and the second clip fades in at a steady rate. • Default Crossfade Curves > Fast Out - Fast In. This command sets as default a crossfade in which the first clip fades out fast and the second clip fades in fast.
MIDI • Non-Destructive MIDI Editing. Select this option to make all MIDI editing non-destructive. When toggled on, this option forces deleted data to be retained even though it is not visible. • Velocity Audition. • Polyphonic Velocity Audition. • Microscope. Use this check box to enable/disable Microscope mode in the Piano Roll view and inline Piano Roll (enabled by default). • Diagonal Size. Use this numeric entry box to specify the diameter size in pixels of the microscope.
Next Preferences page: “Customization - Key Bindings (Advanced)” on page 1631 Customization - Key Bindings (Advanced) Figure 453. The Key Bindings section Key bindings let you associate SONAR commands with keys on your MIDI or computer keyboard. This makes it easy for you to access specific features more quickly and efficiently. The Key Bindings section lets you specify which keys and key combinations to use for specific SONAR commands.
The Key Bindings section contains the following settings: Type of Keys Use these options to choose what kind of keys will trigger selected SONAR commands: • Computer. Links computer keyboard commands to specific SONAR commands. • MIDI. Links MIDI keyboard commands to specific SONAR commands. The Enabled check box must be checked for MIDI keys to function. MIDI ‘Shift’ Options You can designate a MIDI Key or Controller (usually a pedal) to act as a key binding shift key.
Zap Window Click this button to remove all key bindings from whatever view is currently listed in the Bind Context list. Zap All Click this button to remove all key bindings. Import Click this button to import a different set of key bindings that you’ve created or that are identical to some other sequencer application’s. Export Click this button to export your currently-loaded set of key bindings so that you can reload them if you want.
Customization - Audio Meter (Advanced) Figure 454. The Audio Meter section SONAR’s meters are extremely adjustable. The Audio Meter section lets you specify the appearance and behavior of audio meters. These settings control meter ballistics globally for all types of meters in SONAR. The Audio Meter section contains the following settings: Refresh Rate (msec) This field determines how often the meters are updated.
Peak Hold • Decay Rate (msec/dB). When Hold Peaks is enabled (see “Changing the meters’ display” on page 822), this setting describes how fast the peaks fall after the established Hold Time. • Hold Time (msecec). When Hold Peaks is enabled (see “Changing the meters’ display” on page 822), this setting describes for how long peaks will sit still before dropping Rise/Fall Times (times to change 20dB) • RMS • Rise (msecec). The time it takes for an RMS meter to register a 20dB rise in signal.
Print dialog The Print dialog specifies the parameters of your print job, including the printer destination, the number of copies and properties. The following is a description of the Print dialog: Printer This is the active printer and printer connection. Choose the Setup option to change the printer and printer connection. Print Range Specify the pages you want to print: All Prints the entire document. Pages Prints the range of pages you specify in the From and To boxes.
Next Page The Next Page button displays the next page of the print preview. Prev Page The Prev Page button displays the previous page of the print preview. Two Page/One Page The Two Page button displays two pages at a time in the print preview. When you display two pages, the One Page button appears. The One Page button Zoom In The Zoom In button zooms the page display in the Print Preview dialog box. If two pages are displayed, zooming may reduce the preview to just one page.
Collate Prints copies in page number order, instead of separated multiple copies of each page. Properties button Opens a dialog box that lets you specify whatever your printer allows. Project Files dialog Open the Project Files dialog by selecting Project Audio Files from the File menu. The Project Files dialog provides the following information: Project File Name File name and location of the project file. Project Audio Folder The directory in which the project’s audio files are stored.
Status The following status entries are possible in the Status column of the Project Files dialog: • Global. The file is stored in the Global Audio Data directory. The Global Audio Data directory can be changed in Edit > Preferences > File - Audio Data. • Local. The file is stored in the local wave data directory, a per-project data directory which is a subdirectory in the directory where the project file is stored. • External.
Change • MIDI Event Start Times. Select this option if you want the start times of the MIDI events in the selected data to move. • Note Durations. Select this option if you want the length of notes to be edited to fit into the size you chose in the Resolution field. • AudioSnap Beats. Select this option if you want AudioSnap transients to move. • Audio Clip Start Times. Select this option if you want the beginnings of audio clips to move. • Only Notes, Lyrics, and Audio. like controllers.
Fast Zoom Options The Fast Zoom feature allows you to use your mouse wheel to control Zoom functions. Zoom Factor Set the intensity of the zoom. Horizontal and vertical zoom intensity can be adjusted independent of one another using the spinners or by manual entry. Zoom In Select whether the Zoom in action is centered at the cursor or the Now Time in horizontal Zoom, and select whether the Zoom in action is centered at the cursor or the Active Track in vertical Zoom.
Receive System Exclusive dialog In the Sysx view, clicking the Receive Bank button opens the Receive System Exclusive dialog box. Use this dialog box to tell a synthesizer to start sending system exclusive data—clicking the OK button in this dialog box opens the Sysx Receive dialog box and starts the transmission of Sysx data. This dialog box displays how many bytes have been received. When the number stops increasing, click Done.
• MIDI Channel. This style uses the event’s MIDI channel to determine which string the note should be displayed on. When MIDI Channel is selected, the user chooses which series of MIDI Channels SONAR receives on. This is useful for MIDI Guitarists who record parts in MONO mode, where each string transmits on a different MIDI channel. (Values: 1 - 11). Selecting “1” will cause it to use MIDI channels 1 - 6, selecting 2, 2 - 7, and so on.
Remote Control dialog When you right-click a control in the Console or Track views and choose Remote Control from the pop-up menu, the Remote Control dialog box appears. This dialog box lets you use a MIDI device as a remote control for knobs, buttons, and sliders in SONAR, and has the following fields: Channel Messages The buttons in this section control command that are specific to individual MIDI channels. The options are: • Note On.
Sysx You can use this option to control SONAR’s Console from an external controller that sends sysx, such as the Tascam 428, or any device that sends sysx data. You can set the selected control in SONAR to respond to sysx data by using these fields: • Single Byte. Checking this option tells SONAR that the significant data (the variable, or parameter value) in the incoming sysx message is in the form of a single byte. • High byte first.
Remove Silence dialog When you use the Process > Apply Effect > Remove Silence command, or click the Gate Settings button in the Freeze Options dialog, the Remove Silence dialog box appears. This command creates absolute silence during silent passages, eliminating extraneous noise. The Remove Silence dialog box has the following fields: Preset field (only appears with Process Audio command) Use this field to choose and enter presets.
Audition button (only appears with Process Audio command) Click this button to hear the results of your effect on the first three seconds of the selected audio. For more information, see: “Removing silence” on page 768 Retain Cakewalk Preferences dialog If you choose to retain or migrate your preferences from a previous version of Cakewalk, the SONAR installer finds the existing Cakewalk.ini files on your system. The list of Cakewalk.ini files appears in the Retain Cakewalk Preferences dialog box.
Safe Mode dialog Opening a file in safe mode opens the safe mode dialog, which asks you, one plug-in at a time, which of the file’s plug-ins to open each. If you think one of the plug-ins is preventing the file from opening, choose not to load that plug-in. You can also try loading only one plug-in, closing the file, and then loading 2 plug-ins the next time you open the file, etc., until you isolate the bad plug-in.
• Riff MIDI Format 0. Save in this format if you need a Riff MIDI File of Format 0. • Riff MIDI Format 1. Save in this format if you need a Riff MIDI File of Format 1. Riff Wave files. If you are saving in the Loop Construction view, you can save the wave file as a Groove Clip/Wave file or a regular Wave file, depending on whether you enabled looping on the clip that you’re saving. Groove Clip/Wave files are ACID-compatible files which can be used in SONAR or any application that supports ACIDized files.
Save Pattern dialog To open the Save Pattern dialog, do one of the following: • Right-click in the Step Sequencer toolbar and select Save Pattern from the pop-up menu. • Open the Step Sequencer and press press CTRL+ALT+S. The Save Pattern dialog lets you save a step sequencer pattern as a separate file. Use the following fields to control your options: Save in Select the directory in which you want to store the file. File name Type or select the filename you want to open.
Scale Manager dialog In the Track Inspector, click the Scale control in the Snap to Scale section and choose Scale Manager to open the Scale Manager dialog box, which lets you create and edit scales to use with the Snap to Scale feature. This dialog has the following fields and controls: • Scale Family. be stored. • Scale. This field lists all of the families of scales that in which an individual scale might This field lists the scales that are stored in the selected Scale Family. • Keyboard display.
Scale Velocity dialog The Process > Scale Velocity command opens the Scale Velocity dialog box, which lets you edit MIDI clips to create crescendos (volume swells) and decrescendos on those instruments that respond to MIDI velocity. Most MIDI instruments map changes in velocity to changes in note loudness. Many synthesizer patches alter the timbre of the sound as well, so that higher velocities produce brighter, as well as louder, sounds.
Search for Missing Audio dialog Open the Search for Missing Audio dialog by clicking the Search button in the Find Missing Audio dialog. The Search for Missing Audio dialog searches your entire computer for a file that has the same name as the missing file in your project. If the file is found, select it and click OK. If multiple copies of the same file name are found, you may select only one. If no files are found, manually search your Recycle Bin.
Select Fretboard Track dialog Open the Pick Fretboard Track dialog box by right-clicking in the Fretboard pane and selecting Select Track from the Fretboard pop-up menu. From the Pick Fretboard Track dialog box you select the track you want to see displayed in the fretboard pane if multiple tracks are displayed in the Staff pane. To select a track, click the track in the Pick Fretboard Track dialog and click OK.
• Seconds. If you choose Seconds, the selected data moves by a number of whole seconds. • Frames. If you choose Frames, the selected data moves by a number of frames, which are the smallest units of SMPTE time. See also: “Shifting events in time” on page 689 SONAR Quick Start dialog The SONAR Quick Start dialog box appears when you launch SONAR (unless you disable this option, see below). It allows you to open any of a long list of templates, and open recent projects and introductory help topics.
Sort Tracks dialog The Track view Tracks > Sort Tracks command opens the Sort Tracks dialog box. This command lets you arrange tracks in order according to any of several criteria. You can sort in ascending or descending order. There are several ways you can change the order of tracks in the Track view: • Drag a track to a new position in the Track view (see below). • Insert new, blank tracks between existing tracks (see below).
Split Clips dialog When you right-click one or more selected clips and choose Split from the pop-up menu, the Split Clips dialog box appears. Use this command to split one or more clips into smaller clips. The Split Clips dialog box has the following fields: Split At Time Choosing this option splits the clip(s) at the location you fill in. By default, this filed lists the Now time, but you can choose any time you want. Time Format.
Staff View Layout dialog The Staff View Layout dialog box appears when you click the Staff view Edit menu and choose Layout, or choose Layout from either the Staff pane or Fretboard right-click menus. Use these fields in the Staff View Layout dialog box to control staff layout options: Track This field lists the tracks that the Staff view currently displays. Highlight the name of the track that you want to set display options for.
Staff View Print Configure dialog When you use the File > Print Preview command, the Print Preview window appears. In the Print Preview window is the Configure button. Click the Configure button to open the Staff View Print Configure dialog box, which has the Rastral Size field that you control rastral size with. Rastral size is the vertical distance between the lines of each staff.
Note Properties (Advanced Mode Only) If you don’t check the Use Input check box for a particular note property, you can specify any or all of a note’s pitch, velocity, and channel characteristics. Navigation • Auto Advance. If this option is checked, the insertion point moves ahead automatically when you release a note. • Link to Now Time (Advanced mode only). duplicates the Now Time. If this option is checked, the insertion point • Delete on Back Step.
Step Size dialog The Step Record dialog box contains two Other buttons. Clicking the one on the Step Size side of the dialog box opens the Step Size dialog box. In the Step Size field, enter the size of the note you want to enter in “Ticks” on page 1815. See also: “Step recording” on page 285 SurroundBridge Plug-in Linker The SoundBridge Plugin Linker allows you to use stereo plug-ins in a surround bus that has more than two channels. The Plugin Linker creates multiple instances of the plug-in.
Sysx Bank Name This dialog box lets you specify the name of the bank you want. Tablature Settings dialog In the Staff View Layout dialog box you can choose a preset style of tablature by choosing from the Preset pop-up menu, or you can define your own style by clicking the Define button in the Staff View Layout dialog box to open the Tablature Settings dialog box.
• Number of Frets. The number in this field determines how many frets the instrument has that you want to generate a TAB for. • String Tuning. Choose the instrument from the drop-down list and number of strings from the Number of Strings field. The open string pitches for the instrument you choose automatically appear in the string number fields at the bottom of the dialog box. Customize any of the open string pitches by using the + or - buttons on the String Number fields.
Tempo dialog The Project > Insert Tempo Change command opens the Tempo dialog box. In the Tempo dialog box you can set a new “Tempo” on page 1815 at a specified point. Use the following fields to insert a tempo change: Tempo. Type a new tempo or use the Click here to tap tempo button to tap out a tempo. The Tempo field changes as the tapped tempo varies. Change the Most Recent Tempo. recent tempo. Applies the tempo changes in the Tempo field to the most Insert a New Tempo Starting at Time.
MIDI Inputs button You can choose an input for one or more MIDI tracks by selecting them from the Track column, and then selecting the input you want by clicking the MIDI Inputs button. When you finish choosing inputs for all your tracks, click OK to close the dialog box and change the inputs you specified.
Track Outputs dialog The Select Track Outputs command opens the Track Outputs dialog box, which you use to assign a highlighted track to a MIDI or audio output. The Track Output dialog box has only the following fields: MIDI Outputs Choose the MIDI output that you want this track’s data to be sent to. The MIDI Outputs field is grayed out if the selected track is an audio track. Audio Outputs Choose the audio output that you want this track’s data to be sent to.
Math check box (see below). If you check Diatonic Math, the number in this field tells SONAR how many scale steps to transpose the selected data. Diatonic Math If you check this check box. SONAR transposes the selected data up or down, but only within the current key signature. Transpose Audio If you check this check box. SONAR transposes any selected audio data up or down, but only by half-steps, not diatonically. • Type. only).
Clear button You can click the Clear button in the Undo History dialog box to erase the undo history for the current project and free up some memory. If SONAR is low on memory, it may offer to erase the History list. Maximum Undo Levels This field lists the number of previous edits that SONAR stores. The default value is 128. You can enter a smaller number to reduce the memory required.
Store Project Audio in its own Folder Check this option to use per-project audio. If you uncheck this option, the project audio is stored in the default audio data folder. Create One File per Clip Check this option to create a separate wave file for each clip in your project. If you uncheck this option, all audio is stored in two wave files, a mono file with all the project’s mono audio, and a stereo file with all the projects stereo audio.
Project Name The Project filename. This field is only active if you have checked the Store Project Audio in its own Folder option. Location The directory where you want to save the project. This field is only active if you have checked the Store Project Audio in its own Folder option. Audio Path The audio directory where you want to store the audio for the project. This field is only active if you have checked the Store Project Audio in its own Folder option.
dialog, which allows you to choose mono, stereo, or multichannel export; what sound card driver you’re using to export; and all the audio components from your project that you want to include in the exported mix. Video Properties dialog Right-clicking a video in the Video view and choosing Video Properties from the pop-up menu opens the Video Properties dialog box. This dialog box has three tabs—the Video Settings tab, the Info tab, and the Render Quality tab.
See also: “Video playback, import, and export” on page 230 Track Control Manager The Track Control Manager dialog appears when you click the Track Control list above the track strips and choose Track Control Manager on the drop-down menu. Use the following fields to control which track or bus controls appear when you select a preset from the Track Control list in the Track pane: Preset Use this field to choose the preset that you want to configure, for all kinds of track and bus strips.
Select All Controls Click this button to select all the check boxes in the Strip columns. Windows Media Format Encode Options dialog You can create settings and a description for your Windows Media Advanced Streaming Format file in the Microsoft Audio Encode Options dialog box. Note: To create a surround encoded file you must export surround encoded buses. Title: Enter the title of the file. Author: Enter the name of the author responsible for creating the file.
WMV Encoder Options dialog Clicking the Encoding Options button in the Video Export dialog after you’ve selected Windows Media Video in the Save As Type field opens the WMV Encoder Options dialog. This dialog has the following fields: • Profile. This field has a list of common WMV video file formats. Selecting a profile tells the WMV encoder what quality of file to produce. • Profile info. This field briefly explains the kind of video and audio file that the profile you selected will produce.
Insert Send Assistant dialog When you right-click an audio track or bus and choose Insert Send > Insert Send Assistant from the pop-up menu, the Insert Send Assistant dialog appears. This dialog lets you create effect buses and insert sends to new or existing buses. The Insert Send Assistant dialog has the following options: Send to Existing Bus. This option lets you assign a new send to an existing bus in the current project. Select the desired bus from the drop-down list.
See: “To insert a send to an existing bus” on page 818 “To insert a send to a new stereo bus” on page 819 “To insert a send to a new surround bus” on page 819 “To insert a send to a new effect bus” on page 819 “To insert a send on multiple tracks simultaneously” on page 820 Missing MIDI Ports dialog 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, the Missing MIDI Ports dialog appears.
Adjust Velocity Multiplier dialog When you right-click an audio track or bus and choose Adjust Velocity Multiplier from the pop-up menu, the Adjust Velocity Multiplier dialog appears. This dialog lets you set a level of velocity compression or expansion for all notes in a Step Sequencer row. A Velocity Multiplier value below 1.00 is compression. A value above 1.00 is expansion.
Quantize to AudioSnap Pool dialog When you click the Quantize to pool command on the Transient tool pop-up menu, the Quantize to AudioSnap Pool dialog appears. This dialog lets you configure various settings that affect how audio beats are quantized to the Pool. The options are as follows: • Max Distance From Pool. The value in this menu determines which notes are affected by the Quantize to Pool command.
Usage Logging dialog The Usage Logging dialog box appears when you select Help > Usage Logger. This dialog box lets you log useful information that may assist Cakewalk Technical Support in troubleshooting potential problems with your system when using SONAR. The Usage Logging dialog box has the following fields: • Start Log. • Close. • Comment. • Include SONAR.INI Files. • Include Current SONAR Project File. • Attachments. Click Browse to find and attach any helpful files to the log (screenshots, etc.).
Usage Logging dialog
View reference “Track view” on page 1682 “Console view” on page 1729 “Loop Construction view” on page 1767 “Browser” on page 1771 “Matrix view” on page 1772 “Piano Roll view” on page 1691 “Step Sequencer view” on page 1696 “Event List view” on page 1725 “Staff view” on page 1726 “Big Time view” on page 1767 “Lyrics view” on page 1728 “Video view” on page 1763 “Tempo view” on page 1764 “Meter/Key view” on page 1766 “Markers view” on page 1766 “SYSX view” on page 1766 “Using the Synth Rack Browser” on page 5
Track view The Track view is always visible. It is the main window that you use to create, display, and work with a project. When you open a project file, the Track view is displayed for the project. Closing the Track view closes the project. The Track view is divided into several sections: toolbars (at the top), the Navigator pane, the Video Thumbnails pane, the Track pane, the Clips pane, and the Bus pane.
Track view menu Figure 456. Track view menus View menu The View menu contains the following commands: • Navigator Show/Hide. Show or hide the Navigator pane. • Video Thumbnail Track Show/Hide. Show or hide the Video Thumbnails track. The Video Thumbnails track can be displayed even if there is no video in your project. • Fit Tracks and Buses to Window. Adjust the vertical track heights to fit all tracks in your project in the Track view. • Fit Project to Window.
• Show Audio Scale. Show or hide the Audio Scale Ruler in the splitter bar between the Clips pane and the Track pane. • Vertical Grid Lines. Show or hide vertical grid lines in the Clips pane that are one measure apart. Use the submenu to specify how the vertical lines should display. • None. Vertical grid lines are not displayed. • Behind Clips. Vertical grid lines are displayed, but clips will draw on top of them, so clip contents will not be obstructed. • In Front of Clips.
• On Stop, Rewind to Now Marker. whenever playback stops. The Now Time jumps back to the Now Time Marker • Set Now Time With Full Restart. When you change the Now Time during playback, the Transport comes to a full stop, and then restarts playback. This stops the sound for a brief moment, but makes synchronization (especially with video) more robust. • Stop at Project End. Playback will automatically stop after the last event in the project is reached.
Clips menu The Clips menu contains the following commands: • Apply Trimming. Permanently delete any data from a selected clip that is hidden by a slip editing edit. • Bounce to Clip(s). Combine selected audio clips into a single clip. • Convert to Mono. Convert any selected stereo audio clip(s) to mono. • Fade clips. Open the Fade Selected Clips dialog, which allows you to create or edit fades on selected clips. • Create Clip Selection Group. Place all selected clips in a new selection group.
• Select Controllers Along With Notes. When enabled, selecting a Note event or a range of Note events will also automatically select any Controller events that exist within the time range of the Note event(s). • Show Controller Handles. Show or hide edit handles on controller events. • Show Clip Outlines. Show or hide clip outlines in the Inline Piano Roll view. • Hide Muted Clips. Roll view.
The Track pane contains meters for recording, playback, and bus levels. You can hide or show any or all of these meters, and choose many different options for the units and format of the data the meters display. See “Metering” on page 820. Clips pane The Clips pane shows the clips in your project on a timeline that helps you visualize how your project is organized. Clips contain markings that indicate their contents.
Track/Bus Inspector The Track/Bus Inspector makes it easy to adjust the current track’s (or bus’s) controls, because it’s a greatly expanded version of the current track’s controls that is located on the left side of the Track pane. For more information about the Inspector, see “Inspectors” on page 503. The Navigator pane The Navigator pane, located just above the Track pane, displays the whole length of your project so you can always see an overview of your song, and where the Now time is.
SONAR and screen readers for vision impaired users SONAR has a special Accessibility Mode which can be helpful for vision impaired users when working with screen readers (Window-Eyes, JAWS, etc.).
Piano Roll view You can open the Piano Roll view by any of these methods: • Select the track you want to edit and use the Views > Piano Roll View command or press ALT+3. • Double-click a MIDI clip in the Clips pane (you can change this option with the Track view Options > Click Behavior > Double-Click > MIDI Clips command). The Piano Roll view displays all MIDI notes and events from one or more tracks in either the Drum Grid pane or the Notes pane.
Piano Roll view menu Edit menu The Edit menu contains the following commands: • Notes/Velocity. Edit Note events. • New Value Type. Insert a new event type. View menu The View menu contains the following commands: • Show/Hide Track Pane. Show or hide the Track pane. • Show/Hide Controller Pane. Show or hide the Controller pane. • Show/Hide Drum Pane. Show or hide the Drum pane. • Fit MIDI Content. Fit all displayed MIDI content into the visible area of the Piano Roll view. • Microscope.
Controllers menu The Controllers menu contains the following commands: • Show All Controllers. Show all controllers in all displayed tracks. • Select Controllers Along with Notes. When enabled, selecting a Note event or a range of Note events will also automatically select any Controller events that exist within the time range of the Note event(s). • Show Controller Handles. Show or hide edit handles on controller events. Tracks menu The Tracks menu contains the following commands: • Pick Tracks.
Note Map pane The Note Map pane is where you map notes to specific drum sounds. The Note Map pane has the following columns: • Name. A user-assigned name for the note. The Name can be edited by clicking on it and entering a new name. • In Note. The recorded or original pitch of the note. The format can be either C0 through G10 or 0 through 127. There can be up to 128 entries in this column and each must be unique. • Out Note. The Out Note column specifies the mapped pitch.
Notes pane In this pane you can add, edit, and delete notes for a track or tracks. You can also edit controllers in this pane if you choose to hide the Controller pane.
Track List pane To show or hide the Track List pane, click the Piano Roll view View menu and choose Show/Hide Track Pane. The Track List pane is home to a list of all tracks currently displayed in the Piano Roll view. The track numbers and names appear in the Track List pane. Click the button again to hide the Track List pane. For more information, see “The Piano Roll view” on page 655.
Step sequencer interface The Step Sequencer interface consists of four sections: • Toolbar. The toolbar contains transport controls and lets you specify the pattern length and behavior when inputting new notes. For details, see “Toolbar” on page 1698. • Rows. Each row represents a unique pitch, and has its own independent group of controls. You can insert, delete and reorder rows. For details, see “Rows” on page 1700 and “Working with rows” on page 1706. • Notes pane.
Toolbar Figure 459. Step sequencer toolbar A B C D E F A. Pattern Length (beats per measure and steps per beat) B. Fit to Quarters C. Entry mode (monophonic or polyphonic) D. Step Record E. Play F. Position indicator The Step Sequencer toolbar consists of the following controls: • Pattern Length. The pattern length is determined by the following settings: • Beats per Measure. This setting specifies the number of beats per measure. The value range is 1-64 and the default value is 4 beats.
• Step Record. The Step Record button toggles step recording on/off. See “To step record notes from a MIDI device” on page 1715. • Play. The Play button is used to start/stop the Step Sequencer when SONAR’s main transport is idle. • Position Indicator. The Position indicator shows the current measure and beat position in the step sequencer. Below the main toolbar are three additional buttons: • Insert Row. undoable. Click this button to insert a new row above the selected row.
“Working with patterns” on page 1719 “Working with Step Sequencer clips” on page 1723 “Keyboard shortcuts” on page 1704 Rows Figure 460. Per-row controls A B C D E M N O F G H I J K L A. Drag to reorder rows B. Select row (and show Controllers pane) C. Note name (click to audition pitch) D. Note number E. Mute and Solo F. Output G. Step Editor parameter (Event Type picker) H. Velocity I. Duration J. Swing K. Time offset L. Flam M. Incoming MIDI activity indicator N. Shared MIDI channel indicator O.
• Shared MIDI channel indicator. This indicator lights up if a selected row shares the same MIDI channel as any other row. This is a convenient reminder that any controller events you insert in the row will also affect all other rows that share the same MIDI channel. • Output. Use this control to assign all selected rows to any available software instrument or drum map. You can also access the Map Properties dialog from the drop-down menu. By default, each row is assigned to the track’s output.
• Velocity Multiplier. This command lets you specify a level of compression or expansion for a pitch. The value range is 0.10 - 2.00 and the default value is 1.00 (no compression or expansion). A value below 1.00 is compression and a value above 1.00 is expansion. For details, see “To compress or expand all note velocities in a row” on page 1714. • Rename Row. This command lets you rename a row. • Fill Every > 2-6. This command lets you automatically insert notes every, 2, 3, 4, 5, or 6 steps.
• Beat Counter. The Beat Counter is displayed above the step grid and each “light” in the counter represents a step. Each beat is displayed in an alternate color and the current step is highlighted during playback. • Scroll Bars. Horizontal and vertical scroll bars make it easy to navigate around a sequence that contains many rows or steps.
See: “Working with Controller events” on page 1717 “Toolbar” on page 1698 “Rows” on page 1700 “Notes pane” on page 1702 “Step sequencer interface” on page 1697 “Working with rows” on page 1706 “Working with steps” on page 1709 “Working with Controller events” on page 1717 “Working with patterns” on page 1719 “Working with Step Sequencer clips” on page 1723 “Keyboard shortcuts” on page 1704 Keyboard shortcuts You can use the keyboard to navigate around the Step Sequencer interface and adjust settings.
Action Key When focus is on steps, toggle step or tie on/off; for buttons, turn on/off ENTER When focus is on a step, allow velocity adjustment SHIFT+ENTER For spinner controls, increase/decrease value; fine adjust for knobs + / - (PLUS and MINUS) Coarse adjust for knobs [ / ] (square brackets) Toggles the Audition (Play) button for the view CTRL+SHIFT+SPACEBAR When focus is on the steps pane, move focus to the next enabled note on the same row TAB When focus is on the steps pane, move focus t
Using the Step Sequencer To open the Step Sequencer 1. Do one of the following: • To edit an existing pattern. Sequencer. Select the Step Sequencer clip that you wish to edit in the Step • To create a new pattern. Click the MIDI track in which you want to create the new pattern. The track then becomes the active track. Make sure that no MIDI clips are selected. 2. Do one of the following: • Select Views > Step Sequencer. • Press ALT+4. The Step Sequencer window appears.
To insert a row Do one of the following: • Click the Insert Row button . • Press the INSERT key. • Right-click a row and select Insert Row from the pop-up menu. To delete a row • Right-click a row and select Delete Row from the pop-up menu. Or 1. Click the row you want to delete (so it has focus). 2. Do one of the following: • Click the Delete Row button . • Press the DELETE key. Note: By default, the Step Sequencer opens with 12 rows.
To select rows Do one of the following: • To select a single row, click the row’s Select button. • To select all rows, press CTRL+A (make sure the Step Sequencer view has focus). • To select a range of rows, do one of the following: • Click the first row’s Select button, then hold down the SHIFT key and click the last row’s Select button. • Click the first row’s Select button and drag up/down to select adjacent rows.
Working with steps “To enable a note” on page 1710 “To audition a note when clicking on a step” on page 1710 “To automatically enable notes every “n” steps” on page 1711 “To disable a note” on page 1711 “To cut/copy/paste all notes in a row” on page 1711 “To shift all notes in a row to the left or right” on page 1712 “To shift all notes in a colum up or down by one row” on page 1712 “To clear all steps” on page 1712 “To merge/unmerge notes” on page 1712 “To edit a note’s velocity” on page 1713 “To specify t
To enable a note Do one of the following: • To enable a single note. Click on the note that you wish to enable. • To enable multiple notes of the same pitch. Click on the first note that you wish to enable and drag across all other notes you wish to enable. By default, dragging is constrained to a single row. If you want to freely drag across different rows, hold down the ALT key while dragging. The note is enabled.
To automatically enable notes every “n” steps You can quickly enable notes every 2, 3, 4, 5 or 6 steps: 1. Click on the step where you want the first note to be enabled. If a step is not selected, the first step in the row will be used. 2. Do one of the following: • Right-click the row you would like to enable the notes on, point to Fill Every, then select 2, 3, 4, 5, or 6, depending on the desired interval. • Press CTRL+2, CTRL+3, CTRL+4, CTRL+5, CTRL+6, depending on the desired interval.
To shift all notes in a row to the left or right You can easily move all notes in a row to the left or right by one step: 1. Right-click to the right of the row that contains the notes you want to move. A pop-up menu appears. 2. Select Shift Steps Forward or Shift Steps Backward from the pop-up menu. Or 1. Click a row to give it focus. 2. Press ALT+LEFT ARROW or ALT+RIGHT ARROW. All notes in the row are moved by one step.
D A B B C A. Unmerged note B. Merged notes C. Hold down the CTRL key and click here to merge notes D. Hold down the CTRL key and right-click here to unmerge notes To edit a note’s velocity A note’s velocity is shown inside the note cell (step). To edit a note’s velocity value, do one of the following: • Click a row’s Select button to show the Controllers pane, select Velocity in the Step Editor list, then draw velocity changes in the Controllers pane.
To specify the default velocity value for new notes By default, all new note events have a fixed velocity value of 100. To change the default velocity value for new notes: 1. Click the Options button . A pop-up menu appears. 2. Select Set Default Velocity for Steps from the pop-up menu. The Set Default Velocity for Steps dialog appears. 3. Specify the desired velocity value and click OK. Note: The default velocity setting is global and only affects new notes.
To add slide (portamento) to notes To create a smooth slide between two pitches, you must insert controller events in the Controllers pane. For details, see “To create a smooth slide (portamento) between pitches” on page 1719. To specify the likelihood that a note will play (randomize) You can specify the probability of whether an enabled note will play or not. By default, all enabled notes have a Probability value of 100%, which means the notes always play.
Specifying Velocity for Step Recording You can specify whether step recording should use the recorded velocity or a fixed velocity value for new notes. To toggle between the two behaviors, right-click on the Step Sequencer toolbar and select Use Fixed/Default Velocity for Step Recording from the pop-up menu. For more information about configuring the default velocity value, see “To specify the default velocity value for new notes” on page 1714.
Working with Controller events You use the Controllers pane to include modulation events, such as Controller, Pitch Wheel, Channel Aftertouch, RPN and NRPN events, in your patterns. Modulation events are independent for each row. Note: Modulation events on one row may also affect other rows that share the same output port and channel pair. Velocity and Time Offset parameters are always independent for each row, regardless of port/channel assignments.
A C B A. Click a row’s Select button to show the Controllers pane below the row B. Select the controller type you want to edit in the Controllers pane C. Draw events in the Controllers pane To edit controller events on multiple rows simultaneously 1. Select all the rows you want to edit. For details, see “To select rows” on page 1708. The Controllers pane appears below the top-most selected row. 2. Click the Step Editor control and select a parameter name from the drop-down menu.
To create a smooth slide (portamento) between pitches 1. Click a row’s Select button. The Controllers pane appears below the row. 2. Click the Step Editor control and select Slide/Portamento from the drop-down menu. 3. Draw events in the Controller pane where you want to create a slide. The Slide/Portamento value specifies the time it takes for the next note to reach its pitch. The value range is 0 (off) to 127 (longest).
To convert a MIDI clip to a Step Sequencer pattern You can convert any existing MIDI clip into a step sequencer pattern. For details, see “To convert a MIDI clip(s) to a Step Sequencer clip(s)” on page 1723. To edit an existing pattern Do one of the following: • Select the Step Sequencer clip that you wish to edit in the Step Sequencer and select Views > Step Sequencer. • Double-click the Step Sequencer clip. The Step Sequencer window appears.
To preview a pattern You can preview step sequencer patterns (.ssp) in the Media Browser. For details, see “To preview MIDI content” on page 548. To step record a pattern See “To step record notes from a MIDI device” on page 1715.
A C B A. Note Name B. Notes C. Mute, Solo, Velocity and Velocity Multiplier are separate for the drum map and step sequencer A change made in the Drum Map Manager dialog will affect the Step Sequencer and vice versa. Note: Mute, Solo, Velocity and Velocity Multiplier are separate for the drum map and step sequencer. To edit the drum map properties of a note 1. Click a row’s Select button to show all controls for the selected row. 2.
“Working with rows” on page 1706 “Working with steps” on page 1709 “Working with Controller events” on page 1717 “Working with patterns” on page 1719 “Working with Step Sequencer clips” on page 1723 “Keyboard shortcuts” on page 1704 Working with Step Sequencer clips When you create a sequence in the Step Sequencer, SONAR creates a new Step Sequencer clip.
4. Specify the desired resolution value and click OK. Note: The resolution value should correspond to the shortest note value that you expect. For example, if you specify Sixteenth notes, you will get four steps per beat.
Event List view Open the Event List view by: • Selecting one or more tracks and choosing Views > Event List. • Right-clicking a track in the Clips pane and choosing Views > Event List. • Pressing ALT+8. The Events List view hides or displays all the “Event” on page 1807s in a project in a list. To filter which events are shown in the Event List view, click Event List view View menu and select the desired event types.
Staff view Open the Staff view by any of these methods: • Use the Views > Staff View command. • Select Staff from the Clips pane right-click pop-up menu. • Press ALT+6. The Staff view displays MIDI note events as musical notation. For some musicians, this may be the most familiar and comfortable view in which to work. The Staff view provides many features that make it possible for you to compose, edit, and print music.
• Export to ASCII Tab. Open the “Save As dialog” on page 1648 where you can set the name and location for an ASCII text file of a track’s tablature. • Play Previous. Play the previous note from the Now time. • Play Next. Play the next note from the Now time. View menu The View menu contains the following commands: • Show/Hide Track Pane. Show or hide the Track pane. • Show/Hide Fret View. Show or hide the guitar fretboard display. • Display Resolution. the Staff view.
“To audition with the Scrub tool” on page 1011 “Moving, copying, and deleting notes on the staff” on page 1009 “Using enharmonic spellings” on page 1015 “Adding expression marks” on page 1021 “Adding hairpin symbols” on page 1023 “The Fretboard” on page 1003 “Tablature” on page 1025 “Working with lyrics” on page 1040 “Beaming of rests” on page 1014 “Setting up a percussion staff or line” on page 1031 Lyrics view Open the Lyrics view by any of these methods: • Using the Views > Lyrics command, or press ALT+
Console view The Console view contains all the controls you need to mix your project. Tracks, buses and mains appear as vertical channel strips, similar to a hardware mixing console. By default, the Console view is docked in the MultiDock, below the Track view. This allows you to simultaneously arrange in the Track view and mix in the Console view. Figure 462. The Console view B C A D E F A. Console view menu B. ProChannel (Producer only) C. Pane splitter bars D. Track channel strips E.
To open the Console view Do one of the following: • On the Views menu, choose Console View. • Press ALT+2. See: “The Console view interface” on page 1730 “Channel strips” on page 1732 “Modules” on page 1745 “Console view menu” on page 1751 “Customizing the Console view” on page 1754 “Using the Console view” on page 1758 The Console view interface The Console view contains the following main elements: • Menu. Use the menu to configure channel strips.
Figure 463. The Console view B C A D E F A. Console view menu B. ProChannel (Producer only) C. Pane splitter bars D. Track channel strips E. Bus channel strips F.
Channel strips The Console view can show the following channel strip types: • Audio track. Use to control tracks that contain digital audio data, which is routed to your hardware audio interface. For details, see “Audio track controls” on page 1739. • MIDI track. Use to control tracks that contain MIDI data. MIDI tracks can control external MIDI devices or software instruments. For details, see “MIDI track controls” on page 1740. • Instrument track. Use to control software instruments.
Figure 464. The controls displayed in a channel strip vary according to the channel strip type. Audio track MIDI track Instrument track Bus Main To show/hide a channel strip type Click the Strips menu in the Console view and choose the desired channel strip type. Figure 465. Console view Strips menu.
Channel strip controls The controls displayed in a channel strip vary according to the channel strip type. Channel strip controls are grouped into various modules that can be shown or hidden. The following modules and controls are available. Module Control Description Input / Trim Gain Pre-fader input gain for fine tuning a track’s volume or input level to a bus.
Audio MIDI track track Instrument Bus track Activates a send module, which sends a copy of the track signal to a bus. x x x Send Level Controls volume of audio data sent by the send module. x x x Send Pan Adjusts the send pan setting. Note: The Send Pan control is not visible in narrow channel strips. x x x Send Pre/ Post switch Sends the signal to the bus prior to the track’s volume fader; post means the Send signal goes to the bus after the volume fader.
Audio MIDI track track Instrument Bus track Module Control Description MSR Phase Invert A switch that inverts the phase of the track. Note: The Phase Invert control is not visible in narrow channel strips. Mono/Stereo A switch that determines whether x a track’s signal enters an effect or chain of effects as mono or stereo, regardless of the nature of the track. Note: The Mono/Stereo control is not visible in narrow channel strips. Read Automation Enable/disable automation playback.
Audio MIDI track track Module Control Description Volume Volume x The current volume level for the track, ranging from -INF (silent) to +6 dB (maximum volume). The recording and playback levels are displayed in the Playback and Record meters. Link Main out faders can be linked x Instrument Bus track Main x x x x using the Link button . This allows you to adjust both the left and right channel at the same time.
Audio MIDI track track Instrument Bus track Main x x x x x x The colored WAI bar shows which tracks and/or buses are currently being controlled by a controller/surface. Each controller/surface uses a different color. For details, see “The WAI display” on page 1158. x x x Module Control Description --- 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.
Audio track controls Figure 466. Audio track controls in the Console view. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Phase Invert, Stereo Interleave, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
MIDI track controls Figure 467. MIDI track controls in the Console view. A B C D E F G H I J K A. Velocity trim B. Effects bin C. Channel/Bank/Patch D. Mute, Solo, Arm, Input Echo, Read Automation, Write Automation E. Pan F. Volume G. Meter H. Track icon I. Input and output J. Track name and number K.
Instrument track controls Figure 468. Instrument track controls in the Console view. A B C D E F G H I J K L A. Input gain B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Arm, Input Echo, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Track icon J. Input and output K. Track name and number L.
Bus controls Figure 469. Bus controls in the Console view. A B C D E F G H I J K L A. Input gain and pan B. ProChannel (Producer only) C. Effects bin D. Sends E. Mute, Solo, Read Automation, Write Automation F. Pan G. Volume H. Meter I. Bus Icon J. Output K. Bus name and number L.
Main controls Figure 470. Main controls in the Console view. A B C D E F G A. Mute B. Link channels C. Volume D. Meter E. Icon F. Mains name G. WAI display Status indicators The Console view shows if a control is grouped with one or more other controls, armed for automation, and if automation exists for the control. Grouped control indicator Small color-coded squares are displayed when knobs, faders, or buttons are grouped. Figure 471. Grouped control indicator.
Figure 472. Armed for automation indicator. For details, see “To arm a channel strip for automation recording” on page 1760. Automation present indicator A small automation icon appears next to any controls that have existing automation data. Figure 473. Automation present indicator.
“The Console view interface” on page 1730 “Customizing the Console view” on page 1754 “Using the Console view” on page 1758 “Console view” on page 1729 Modules Channel strip controls are grouped into various modules that can be shown/hidden.
ProChannel module (Producer only) The ProChannel module lets you apply compression, equalization, and tube saturation modeling to each audio track, Instrument track and bus. Figure 476. ProChannel module (Producer only). E A B F G C D H A. Pre/Post B. Compression activity indicator C. Compressor enable/disable D. Equalizer enable/disable E. Expand/collapse ProChannel F. Tube saturation activity indicator G. Tube saturation enable/disable H.
FX Bin module The FX Bin module let’s you insert real-time plug-in effects in tracks and buses. Figure 478. FX Bin module. A C B D E F A. Scroll up B. Scroll down C. Insert plug-in D. Enable/disable plug-in E. Plug-in name F. Effect output interleave indicator (mono, stereo or surround). For information about using real-time effects, see “Using real-time effects” on page 833.
MSR module The MSR module lets you set various track states, including mute, solo and arm for recording. Figure 480. MSR module. Audio track MIDI track and Bus A B C D E F G H E F C D G H Main E I E A. Mono/Stereo B. Phase Invert C. Read Automation D. Write Automation E. Mute F. Solo G. Arm for recording H. Input Echo I. Link left and right channel faders (mains only) For information about track states, see “Track-by-track playback” on page 191.
Volume module The Volume module lets you adjust the channel strip’s playback or monitoring level. The meter lets you monitor the channel strip’s playback or recording level. The peak meter value updates during playback to show the highest peak level reached. Figure 482. Volume module (also showing MSR and Pan Control modules). C A A B B Track/Bus Main A. Volume fader B. Peak value C.
Icon module The Icons module lets you assign a graphic icon to the channel strip. This makes it easy to identify tracks and buses visually. Figure 483. Icon module. A A. Track/bus icon For information about using track icons, see “Track icons” on page 318. In / Out module The In / Out module lets you assign an input and output to the channel strip. The Input device is used for recording and the Output device is used for playback. Figure 484. In / Out module. Track Bus A B B A. Input B.
Console view menu The menu across the top of the Console view lets you configure the appearance and behavior of the Console view. Figure 485. Console view menu. Modules menu The Modules menu contains the following commands: • Input / Trim. Show/hide Input Gain and Trim controls. • ProChannel. Show/hide ProChannel (Producer only) • EQ Plot. Show/hide the EQ plot (Studio and Essential only) • FX Bin. Show/hide effects bins. • Sends / Bank / Patch. Show/hide Send, Bank and Patch controls. • MSR.
• Track Manager. Open the Track Manager dialog. • Widen All Strips. Show wide channel strips. • Narrow All Strips. Show narrow channel strips. Track menu The Track menu contains the following commands: • Insert Audio Track. Insert a new audio track. • Insert MIDI Track. Insert a new MIDI track. • Insert Track from Template. Insert new tracks from a track template. • Make Instrument Track.
• Meters. Use the submenu to specify various options for track, bus and mains meters. The submenu contains the following options: • Track Record Meters. Show/hide track record meters. • Track Playback Meters. Show/hide track playback meters. • Bus Meters. Show/hide bus meters. • Mains Meters. Show/hide mains meters. • Reset All Meters. Clear any clipping indicators from all meters. • Record Meter Options.
Customizing the Console view There are various ways you can customize the Console view to suit your needs and to save screen space, including: • Show/hide specific channel strip types, such as audio tracks, MIDI tracks, Instrument tracks, buses and mains (see “To show/hide specific channel strip types” on page 1754). • Show/hide specific tracks, buses and mains (see “To show/hide specific tracks, buses and mains” on page 1754).
To set the width of channel strips Channel strips can be either wide or narrow. By showing narrow channel strips, you can show more tracks, buses and mains simultaneously in the Console view. To set all channel strips to wide mode, click the Strips menu and choose Widen All Strips. To set all channel strips to narrow mode, click the Strips menu and choose Narrow All Strips.
Figure 487. You can show all or individual channel strips in Narrow mode in order to see more channel strips simultaneously.
To resize the Track, Bus and Mains panes Drag the vertical splitter bars to the left or right. The splitter bars snap to channel strip boundaries. Figure 488. Drag the vertical splitter bars to resize the Track, Bus and Mains panes. C A.
Using the Console view “To insert a new track” on page 1758 “To insert a new bus” on page 1758 “To delete a track or bus” on page 1758 “To rename a channel strip” on page 1758 “Navigating within the Console view” on page 1759 “To adjust Console view controls” on page 1759 “To arm a channel strip for automation recording” on page 1760 “To arm a single control for automation recording” on page 1760 “Read Automation and Write Automation states” on page 1760 “To insert a plug-in effect” on page 1760 “To show wh
Navigating within the Console view To select the next or previous channel strip, press the LEFT ARROW or RIGHT ARROW key. To jump to the first or last channel strip in the current pane (Track, Bus or Mains pane), press the PAGE UP and PAGE DOWN keys. To scroll to the next or previous channel strip, click the scroll arrow buttons in the scrollbar. A A.
Snap-to positions Faders and knobs have snap-to positions. To set the snap-to position, move a control to the desired snap-to position, right-click the control, and choose Value > Set Snap To = Current. To arm a channel strip for automation recording Click the channel strip’s Write Automation button. To disable automation recording for the channel strip, click the Write Automation button again.
3. Under WAI Display, select the Console View check box. The Console view shows a color-coded bar at the bottom of any channel strips that are controlled by your control surface. If you are using multiple control surfaces, you can assign a custom color to each control surface. For details, see “The WAI display” on page 1158. To show/hide a module Click the Modules menu in the Console view and choose the desired module. Figure 490. Console view Modules menu. To show/hide individual channel strips 1.
To dock the Console view in the MultiDock Do one of the following: • Drag the Console view to the MultiDock. • Click the Docking Options button and choose Dock in MultiDock. For more information about the MultiDock, see “MultiDock” on page 974. To undock the Console view Do one of the following: • Click the Docking Options button and choose Undock. • Right-click the Console view tab and choose Undock.
“Using real-time effects” on page 833 “Using control groups” on page 876 “Using remote control” on page 881 “Using the per-track EQ (Studio and Essential only)” on page 873 “Automation” on page 945 Video view Open the Video view by using the Views > Video command or by pressing ALT+SHIFT+2. In addition to the Video view, there is also a Video Thumbnails pane in the Track view (see “Using the Video Thumbnails pane” on page 236).
Import Audio Stream. If you check this option, Cakewalk imports the video file’s audio file along with the video. Select a blank track before you do this. Stereo Split. If you check this option, Cakewalk imports the video file’s audio file into two separate tracks, instead of one stereo track. Open. After you decide what options you want, clicking the Open button imports the video and, optionally, the accompanying audio into your project.
Use the global tools to add or modify tempo changes: Tool Name What It’s for Select Drag the Select tool in either the graphic display or the tempo list to select tempos for editing. Freehand Draw a custom curve indicating changes in tempo. Line Draw a straight line indicating a steady increase or decrease in tempo. Erase Eliminate tempo changes already in place for some portion of a project.
Meter/Key view Open the Meter/Key view by using the Views > Meter/Key command, or by pressing ALT+SHIFT+6. The Meter/Key view lets you enter meter and key changes on measure boundaries. Meter and key changes affect all tracks. The Meter/Key view lets you set and change the meter and key signature for any project or part of a project, over all its tracks. For more information, see “The Meter/Key view” on page 1035.
Big Time view Open the Big Time view by using the Views > Big Time command, or by pressing ALT+SHIFT+3. The Big Time view lets you see the “Now time” on page 1811 from a distance while recording. Clicking the time display changes the units of time that the time display uses—the choices are MBT time and SMPTE. Loop Construction view The following is a list of the tools and controls in the Loop Construction view, followed by a description. For step-by-step instructions, see the links below.
Root Note field The Root Note represents the key in which the loop was recorded. The Follow Project Pitch feature uses this information, when checked, to transpose the loop to match the project’s key. Pitch Field (coarse) You can set the transposition of a clip, independent from the project pitch, using the Pitch (coarse) field. A positive number transposes the clip up by that number of semitones. A negative number transposes the clip down by that number of semitones.
Preview Bus field Select the output through which you want to listen to the clip. Clip Properties The Properties button opens the Associated Audio Files dialog. Select tool Use the Select tool to move markers in the Markers bar. Erase tool Use the Erase tool to delete markers in the Markers bar. Default All Markers tool The Default All Markers tool restores all automatically generated markers to the original position and enables all those that were disabled. Manually created markers remain as is.
Move to Previous Slice Moves the slice selection to the previous slice in the loop. Move to Next Slice Moves the slice selection to the next slice in the loop. Show/Hide Gain envelope Toggle on or off the display of a gain envelope. Show/Hide Pan envelope Toggle on or off the display of a pan envelope. Show/Hide Pitch envelope Toggle on or off the display of a pitch envelope. Slice Gain control Change the gain setting for the selected slice.
Beat markers Beat Markers mark where the beats fall in your clip. There are as many beat markers as there are beats in a clip.
Matrix view Note: The Matrix view is only available in SONAR Producer. The Matrix view lets you trigger individual or multiple audio and MIDI patterns, either with a computer keyboard, mouse or via MIDI remote control. The Matrix view consists of a grid, with unlimited rows and columns. You can drag audio, MIDI Groove Clips, Step Sequencer patterns and Project5 patterns to cells in the grid, and each row can be routed to any track in your project. You can record the Matrix performance to the Clips pane.
Matrix view user interface Figure 494. The Matrix view B A C D A. Rows B. Toolbar C. Cells D. Columns The Matrix view consists of four sections: • Toolbar. The toolbar contains controls that let you specify how patterns are triggered. For details, see “Toolbar” on page 1774. • Rows. Each row is assigned to a track and can play one pattern at a time. A row can be routed to any track in your project. For details, see “Rows” on page 1777. • Columns. Each column contains one cell for each row.
Toolbar Figure 495. Matrix view toolbar A B C D E F G H I J K A. Stop All Cells B. Capture Matrix Performance (arm Matrix for recording) C. Follow Transport D. Trigger Resolution E. Alternate Trigger Resolution F. Global Loop Mode G. Global Latch Mode H. Retrigger Mode I. Cell Start J. Cell MIDI Trigger K. Options The Matrix view toolbar contains the following controls: • Stop All Cells . When the Stop All Cells button is enabled, all playing cells stop.
• Alternate Trigger Resolution . This menu lets you specify the time lag to use when a cell’s Alternate Trigger Resolution toggle is enabled. The options are as follows: • Immediate. Playback starts immediately. • Next Measure. Playback starts on the next measure boundary. • Next Beat. Playback starts on the next beat. • Next 1/8 Note. Playback starts on the next 8th note. • Next 1/16 Note. Playback starts on the next 16th note. • Next 1/32 Note. Playback starts on the next 32th note.
• Cell Start / . This toggle lets you specify globally if a pattern should start from the beginning of the pattern, or if playback may start in the middle of a pattern in order to synchronize with the project’s Now time. The two modes are as follows: • Always from Beginning . When you trigger a cell, the pattern will start playing from the beginning of the pattern, after the amount of time listed in the Trigger Resolution menu. • Offset to Now Time .
Rows Figure 496. Matrix view row D A B C A. Assigned track B. Mute/unmute row C. Solo/unsolo row D. Click the arrow to re-assign the row to a different track A row is a horizontal collection of cells that is routed to a specific track in your project. Only one cell per row may be triggered at a time. Tip: To play multiple patterns through the same track simultaneously, assign multiple rows to the same track.
Columns Figure 497. Matrix view columns A C B D A. Column 1 trigger B. Column 1 C. Column 2 trigger D. Column 2 A column is a vertical collection of cells, with one cell per row. Above each column is a Column Trigger, which lets you simultaneously trigger all cells in a column. Just like cells, the Column Trigger can be triggered with a mouse or via MIDI remote control. If you trigger a column, all other cells in the Matrix will be turned off, since only one cell per row may be triggered.
See: “To assign multiple patterns to subsequent rows” on page 1785 “To trigger all cells in a column simultaneously” on page 1788 “To trigger a cell or column via MIDI remote control” on page 1789 “To stop playing a column” on page 1790 Cells Figure 498. Matrix view cells B C A D A. Filled cells (contain patterns) B. Column trigger (click to play all cells in a column) C. Empty cell D. Playing cell with progress indicator The Matrix view is a grid of unlimited cells arranged into rows and columns.
Figure 499. Matrix view cell A B C D E F G A. MIDI Learn indicator B. Trigger area C. Cell name D. Loop mode E. Latch mode F. Alternate trigger mode G. Progress indicator • Cell name. The name of the cell. By default, a cell displays the name of the assigned pattern, but the cell can be renamed. For details, see “To rename a cell” on page 1793. • Progress indicator. During playback, a cell displays a circular progress indicator to show the position of the loop as it is playing. • MIDI Learn indicator.
see “To use independent Latch mode per cell” on page 1791. Note: After a cell’s Latch Mode button has been engaged, the cell will no longer continue to follow the Global Latch Mode setting, even if you disable the cell’s Latch Mode button. To restore the link to the Global Latch Mode setting, hold down the CTRL key and click the cell’s Latch Mode button. You can right-click a cell to access the following commands: • Import File. Use this command to import a file into a cell. • Rename Cell.
• MIDI Learn. Use this command to assign a MIDI event to a cell, which allows you to trigger the cell via MIDI remote control. The MIDI Learn command shows a check mark if the cell is already in MIDI Learn mode, and shows an asterisk (*) if there is already a MIDI event assigned to the cell. • Clear MIDI Learn. Use this command to remove any MIDI assignment from the cell. The cell will no longer be triggered via MIDI remote control.
Using the Matrix view “To open the Matrix view” on page 1784 “To assign a pattern to a cell” on page 1784 “To assign multiple patterns to subsequent rows” on page 1785 “To assign multiple patterns to subsequent columns” on page 1785 “To remove a pattern from a cell” on page 1785 “To remove all patterns” on page 1785 “To specify how soon a pattern should start playing after being triggered” on page 1785 “To start a pattern from its beginning” on page 1786 “To synchronize a pattern with the project’s Now time
To open the Matrix view • Do one of the following: • Select Views > Matrix view. • Press CTRL+SHIFT+M. To assign a pattern to a cell You can drag audio, MIDI Groove Clips, Step Sequencer patterns and Project5 patterns from the Media Browser view or from the Clips pane into the Matrix view. Do one of the following: • To assign a pattern to a cell in an existing row. Do one of the following: • Drag a pattern to the desired cell in an existing row.
To assign multiple patterns to subsequent rows 1. Select multiple patterns in the Media Browser view or the Clips pane. 2. Drag the selected patterns to the desired target cell. The first pattern is assigned to the target cell, and any additional patterns are assigned to subsequent rows below the target cell. To assign multiple patterns to subsequent columns 1. Select multiple patterns in the Media Browser view or the Clips pane. 2.
To start a pattern from its beginning • Make sure the Cell Start toggle is in Always from Beginning mode pattern. before you trigger the Tip: To trigger a cell using the opposite mode of the current Cell Start setting, hold down the ALT key when you trigger the cell. To configure a cell as “one-shot” • Right-click the cell and select One-Shot Trigger on the context menu. The Loop Mode and Latch Mode buttons in the cell are hidden.
To trigger a cell • Do one of the following: • Click the desired cell. • Use the ARROW keys on your computer keyboard to navigate to the desired cell, then press ENTER. • If the cell has been assigned to a MIDI event, press the appropriate key, pad or button on your MIDI controller. For details, see “To trigger a cell or column via MIDI remote control” on page 1789. • After the cell has been triggered, the cell blinks until the Trigger Resolution is reached, at which time playback starts.
To trigger a cell with an alternate trigger time 1. Click the cell’s Alternate Trigger Mode button. 2. Do one of the following: • Click the desired cell’s trigger area. • Use the ARROW keys on your computer keyboard to navigate to the desired cell, then press ENTER. • If the cell has been assigned to a MIDI event, press the appropriate key, pad or button on your MIDI controller. For details, see “To trigger a cell or column via MIDI remote control” on page 1789.
To trigger a cell or column via MIDI remote control You can trigger a cell or column via MIDI remote control, but you must first specify the MIDI message that should trigger the cell or column. 1. Right-click the cell or Column Trigger that you would like to trigger via MIDI remote control, and select MIDI Learn from the pop-up menu. The cell has a yellow outline. The next MIDI event the Matrix receives will be assigned to all cells that are in MIDI Learn mode.
To clear MIDI event assignments • Do one of the following: • To clear MIDI assignments for a single cell. Right-click the desired cell and select Clear MIDI Learn on the pop-up menu. • To clear MIDI assignments for a single Column Trigger. Right-click the desired cell and select Clear MIDI Learn on the pop-up menu. • To clear MIDI assignments for all cells and Column Triggers. Click the arrow next to the Stop All Cells button the drop-down menu.
To insert a new empty column • Right-click a column header and select Insert Column on the context menu. A new empty column is inserted to the left of the clicked column. To duplicate an existing column • Right-click a column header and select Duplicate Column on the context menu. A copy of the clicked column is created. To rename a column header 1. Right-click a column header and select Rename Column on the context menu. The Rename Column dialog appears. 2. Type the desired name and click OK.
To mute/unmute a row • Click the row’s Mute button. A A. Click the row’s Mute button mute/unmute a row To solo/unsolo a row • Click the row’s Solo button. A A. Click the row’s Solo button solo/unsolo a row To reassign a row to a different track • Click the arrow next to the track name and select a track from the drop-down menu. Rows that contain audio patterns can be assigned to any available audio track, and rows that contain MIDI patterns can be assigned to MIDI tracks. A A.
To rename a cell 1. Right-click a cell and select Rename Cell from the pop-up menu. The Rename Cell dialog appears. 2. Type a new name and click OK. To move a pattern to another cell • Drag a pattern to an empty cell. To copy a pattern to another cell • Hold down the CTRL key and drag the pattern to another cell. To record a performance into the Clips pane You can capture (record) the output of the Matrix on the same tracks that rows are assigned to.
To render a single pattern to the Clips pane (Quick Capture) You can perform a Quick Capture of a single cell to render the pattern to the Clips pane. • Hold down the CTRL and ALT keys and click the cell. One repetition of the pattern is rendered on the row’s target track at the current Now time. See: “Matrix view” on page 1772 Matrix view shortcuts Shortcut Focus in cell Focus in header ENTER Trigger cell Trigger header HOME Go to first occupied cell on the current row.
Navigator view Open the Navigator view by using the Views > Navigator command, or by pressing ALT+SHIFT+8. 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. Track Rectangle The Track Rectangle appears as a green rectangle within the Navigator view. The Track Rectangle indicates the section of your project which appears in the Clips pane of the Track view.
See also: “Playing files in Batch mode” on page 228 Surround panner The large surround panner has the following controls: • Angle and Focus marker. A small sphere that you can drag in any direction to both control and display the following two parameters: • Angle. This is the perceived angle of the sound source as it differs from the position directly in front of the listener. The scale is 0 to 180 degrees on the listener’s right, and 0 to -180 degrees on the listener’s left.
Figure 500. Large Surround Panner A C B A. Angle and focus marker B. Width markers C. Right speaker icon For more information about surround mixing, see “Surround Mixing (Producer and Studio only)” on page 901.
View reference Surround panner
Glossary “Aftertouch” on page 1804 “AIFF” on page 1804 “Archive” on page 1804 “Arm” on page 1804 “Audio clip” on page 1804 “Audio track” on page 1804 “Audition” on page 1804 “Automation” on page 1804 “Bank” on page 1804 “Bit depth” on page 1804 “Broadcast wave” on page 1805 “Bundle file” on page 1805 “Cakewalk Application Language (CAL)” on page 1805 “Channel” on page 1805 “Channel aftertouch (ChanAft)” on page 1805 “Chord” on page 1805 “Chord symbol” on page 1805 “Clip” on page 1805 “Clone” on page 1805 “
“Decrescendo” on page 1806 “Digital audio” on page 1806 “DMA” on page 1806 “DRM (Dump Request Macro)” on page 1806 “Duration” on page 1806 “Echo” on page 1806 “Effects (audio effects)” on page 1807 “Envelopes” on page 1807 “Event” on page 1807 “Expression” on page 1807 “Expression marks” on page 1807 “Fade” on page 1807 “Fade-in” on page 1807 “Fade-out” on page 1807 “Frame” on page 1807 “Frame rate” on page 1807 “From time” on page 1807 “Full-duplex” on page 1808 “Groove clip” on page 1808 “Groove pattern”
“Live mode” on page 1809 “Locked (SMPTE) time” on page 1809 “Looping” on page 1809 “Loops” on page 1809 “Lyrics” on page 1809 “Marker” on page 1810 “MBT” on page 1810 “MCI command (Media Control Interface command)” on page 1810 “Meter” on page 1810 “Metronome” on page 1810 “MIDI” on page 1810 “Mixdown” on page 1810 “MMC (MIDI Machine Control)” on page 1810 “MME” on page 1810 “MTC Sync” on page 1810 “Mute” on page 1811 “Normal template” on page 1811 “Now time” on page 1811 “NRPN” on page 1811 “Offline” on pa
“Quantize resolution” on page 1812 “Quantize strength” on page 1812 “Record” on page 1812 “RIFF wave” on page 1812 “RMS” on page 1813 “RPN” on page 1813 “Ruler” on page 1813 “Sampling rate” on page 1813 “Screenset” on page 1813 “Scrub” on page 1813 “Sensitivity (window)” on page 1813 “Shape” on page 1813 “Size” on page 1813 “Slip editing” on page 1813 “SMPTE” on page 1813 “Snapshot” on page 1813 “Solo” on page 1814 “Split point” on page 1814 “Staff” on page 1814 “Striping” on page 1814 “Submix” on page 1814
“Track” on page 1815 “Transients” on page 1815 “Vector” on page 1815 “Velocity” on page 1816 “Volume” on page 1816 “WASAPI” on page 1816 “WDM” on page 1816 “Widget” on page 1816 “Wipe” on page 1816 “xRPN” on page 1816 Glossary 1803
Aftertouch MIDI property controlling how much pressure is applied after sending a Note On message. See “Channel aftertouch (ChanAft)” on page 1805 and “Key aftertouch (KeyAft)” on page 1809. AIFF Short for Audio Interchange File Format, the audio file format on the Macintosh platform. Files in this format have the extension .aif or .aiff. Archive Silence and suppress the processing of a track. Archived tracks are not loaded into RAM, so they can’t be unmuted in real time.
Broadcast wave A wave file with the following embedded information: description, originator, origination date, origination time, and SMPTE time reference. Bundle file A single file that incorporates all project information and audio data. Bundle files are useful for creating backups of your work or for moving projects from on computer to another. Cakewalk Application Language (CAL) An event-processing language that extends Cakewalk with custom editing commands.
Controls Sliders, faders, knobs, and buttons on the console or your on-line equivalent of “Controllers” on page 1805. See “Mixing” on page 803. Crescendo A passage of music during which the volume gradually increases. Crossfade One clip fading in while another fades out. You can create destructive or non-destructive crossfades. For more information, see “Fades and crossfades” on page 379. dB The abbreviation for Decibel. See “The decibel scale” on page 756.
Effects (audio effects) Systematic changes you can make to parts or all of the music, like reverb, chorus, and delay. See “Audio effects (audio plug-ins)” on page 772 and “Using real-time effects” on page 833. Envelopes Reflects the changes in value for a specified parameter (volume, for example) over a period of time. Also refers to the graph of the change—same as vector. See “Automation” on page 945. Event Note, MIDI action, or audio clip.
Full-duplex The ability to stream data in two directions simultaneously. Sound cards that support full-duplex allow for simultaneous recording and playback of audio. See “Recording audio” on page 271. Groove clip Audio clip that contains pitch and tempo information that allows SONAR to automatically adjust the pitch and tempo of the clip to that of the project you insert it into. Groove pattern Piece of music used as a template for the groove quantize command.
Instrument definitions A file that contains information necessary to communicate settings about banks, patches, controllers, and other features of an instrument. See “Creating instrument definitions” on page 1049. Key aftertouch (KeyAft) MIDI property regulating the pressure applied to an individual note. Key offset The number of half-steps by which to transpose the track. A value of 12 raises the notes an octave.
Marker Flag marking a specific time in the music. MBT Short for Measure, Beat and Tick number which is the time format used for beats. 9:04:0060 is the 60th tick of the fourth beat of the ninth measure. MCI command (Media Control Interface command) Special event in the Event List view that lets you control other multimedia hardware and software. Meter The meter, or time signature, divides time into rhythmic pulses. Specifies the number of beats per measure and the note value of each beat.
Mute Silences a track to not be heard during playback or recording. Normal template A default project template which includes a predetermined amount of tracks and/or buses. Now time The current time in a project or where you are in the music. This is Represented by a vertical line which travels throughout the timeline. See “The Now time and how to use it” on page 172 NRPN Non-Registered Parameter Numbers. See “Controllers, RPNs, NRPNs, and Automation Data” on page 716. Offline Not in real time.
Pitch bend Controller that changes the pitch of a MIDI note. Pitch marker A marker in the Time Ruler which transposes the root note pitch of all groove clips and ACIDized loops in a project. Pitch wheel Controller that changes the pitch of a MIDI note. Port Computer connector for sending or receiving data. PPQ Abbreviation for Parts per Quarter Note. MIDI sequencers divide each beat into fractions of a beat (called ticks) for timing and editing purposes.
RMS Short for Root Mean Square. A method of measuring an average of the amplitudes that occur in a complete cycle of a frequency. RMS is a little over seventy per cent of peak level. RPN Registered Parameter Numbers. See “Controllers, RPNs, NRPNs, and Automation Data” on page 716. Ruler Bar showing evenly-spaced measure intervals. It appears in the Track, Staff, and Piano Roll views. Sampling rate The number of samples per second a digital audio file is recorded at.
Solo Silences all tracks except for those that are soloed during playback and recording. Multiple tracks can be soloed at once. Split point In the Staff view, the point at which you split a track into treble and bass staves. Notes at or above the split point go into the treble staff, those below into the bass staff. Staff A set of horizontal lines developed for music notation. Striping Recording an analog time code signal onto a track.
Tempo The speed at which the project or selection of music is played at. Measured in rhythmic beats per minute. See “Metronome” on page 1810. Thru time Time up to which the music is to be played back or recorded. Set it in the Control Bar’s Select module. Ticks Subdivisions of quarter notes. MIDI projects often use a resolution of 480 parts per quarter note (“PPQ” on page 1812); each part is also called a tick. Time In Cakewalk, Now time, from time, or thru time. When an event takes place in the music.
Velocity A measurement taken when recording MIDI note events of how fast a key is struck. A MIDI notes velocity will dictate how loud the note will sound during playback. Volume Loudness of a sound or piece of music. WASAPI WASAPI (short for Windows Audio Session Application Programming Interface) is a new driver model available in SONAR that allows it to communicate with the new audio features in Windows Vista.
Index Symbols .clr 90 .cwb files 302 .cwp files 71 .cwt files 991 .cwx file extension 317 .mid files 302 .syx files 1065 .
Arpeggiator 264 controls 265 enable/disable 267 how to use 267 using patterns and presets 267 ASCII TAB exporting to 1029 saving as 1029 ASIO drivers enabling 1118 Audible Bounce 886 Audio 1447 auditioning with scrub tool 764 basic editing 757 connecting instruments to sound card 1454 digital 55, 750 distortion 271 effects 772 exporting 888 finding missing 242 importing 296, 298 metronome 249 mixing 813 playback troubleshooting 1448 plug-ins 772 recording See Recording audio routing 813 scrubbing 764 under
removing silence 768–769 See also Volume Audio scaling 759 using 945 Automation curves 955 Loop Construction view 634 Audio Snap See AudioSnap Audio Track inserting 1340 Audio tracks parameters 200 AudioSnap adding automation 620 adding markers at Pool lines 614 algorithms and rendering 624 enabling 581 groove quantizing audio 623 iZotope Radius algorithms 624 quantizing to Pool 623 Audition 362 Automation Read and Write buttons 948 Auto arming 259 Auto punch 256 See also Punch recording Auto save chang
Bounce to Clip(s) 763 Bounce to Track(s) combining tracks using 764 Bounce to Track(s) dialog 1479 Bounce to tracks how to 883 Bouncing tracks 883 takes too long 1191 Broadcast wave files description of 890 how to export 887, 889 Browser 537 media 541 plug-in 552 synth rack 558 Bundle files 64-bit CWB files 254 creating 1097 opening 1097 unpacking 1097 Burn audio CDs 899 Burning a CD 887 Bus choosing a default bus for inserted tracks 314 Bus pane docking views in 84 Buses 77, 814, 815 sending audio data to
Clip selection groups 337 Clip soloing 361, 363 Clips 71 arranging 320–333, 346 arranging audio 749 audio 756 changing colors of 324 choosing a specific length 331 combining 355–356, 763 copying 328 copying using copy and paste 332 copying using drag and drop 332 crossfading 772 cutting and pasting 330 defined 1451 deleting 333 displaying 320, 323 displaying contents 323 displaying names 323 drag and drop editing 329 edit multiple 507 effects on 840 groove clips 629 grouping 337 linked 353–354 MIDI definiti
Control Bar 473 ACT module 488 dock/undock 475 Event Inspector module 498 Loop module 485 Markers module 496 Mix module 486 modules 474 Performance module 492 Punch module 494 Screenset module 490 Select module 495 Sync module 499 Tools module 476 Transport module 482 Control event 720 Convert MIDI to shapes procedure 963 Converting bit depths 1110 Converting MIDI to audio 810 Converting sample rates and bit depths 1108 Converting soft synth tracks to audio 789 Copy dialog 1488 Copying tracks 316 Copyright
keyboard shortcuts in 1314 loading loops in 1310 Loop bin 1307 Loop view 1308 Pad Editor 1308 pad groups 1305 Pad Inspector 1306 Slice Inspector 1309 toolbar 1304 using 1309 Cyclone Soft Synth 1303 D D/A 1447 Data sysx 1065–1077 dB audio scaling by 634, 759 DC offset removing 770 Decibel scale 756 Delete track 1413 digital audio definition 1447 Digital audio recording See Recording audio Digital audio See Audio Digital distortion 271 digital-to-analog converter 1447 Dim Solo Gain 1557 Dim Solo Mode 196 ad
Drum Grid pane 748 changing grid line display in 748 displaying tracks in 743 displaying velocity tails in 744 editing note velocities in 744 Drum machines 1086 Drum Map Manager 738 opening 738 working in 740 Drum maps assigning a MIDI track to 742 creating 738 editing 738 opening 742 saving 741 the basics 737 Dual monitor support 978 Dump Request Macros (DRM) 1069, 1071 Duration Fill 1014 note 698, 724 note property 1012 parameter 720 time 1014 E Echo adding 728 eliminating during recording 1185 Echoing M
unlinking surround parameters 921 Effects bin global bypass 839 mono/stereo/surround indicator 836 Effects Chain presets 557 Effects tail defined 773 Effects with surround sound 919 Electric Guitar connecting 59 Encoding options 894 Ensoniq instruments 1077 Envelope Display on a Percentage Scale 962 Envelope mode 960 EQ 939 per-track 873 Equalizer 925, 939 Erase tool 434 Errors timing 697 Euphonix EuCon 1157 Event deleting 723 inserting new 723 Event Filter dialog 1531 Event filters 711, 712–716 selecting e
Exporting video 235 Expression event 721 Expression marks 721, 1021–1022 editing 1022 External Insert 846 bouncing 851 using external effects in SONAR 849 File menu Open 72 File versioning 304 File-Close 303, 1317 File-Export-Audio 790, 810, 887, 889, 891, 892, 1320, 1356 File-Export-OMF 897, 1320 File-Export-Video to AVI 1320 F Fade changing curve type of 381 Fade on Start/Stop 184 Fade Selected Clips 617 Fade type, choosing 379 Fade/Envelope 770–771 Fade/Envelope dialog 1508 Fade-in, create a 379 Fade-i
using MCI commands to play 725 Wave 888 XG 1210 File-Save 302, 303, 1318 File-Save As 302, 1318 Front/rear balance slider 912 Full chase lock 1090 FX Chain 852 FX Chain presets using 853 File-Send 1321 Fill Durations 1014 G Find Missing Audio dialog 242 Gain command 766 Find/Change 711 Game sound 52 General MIDI See GM Generic control surface property page 1144 Generic control surfaces assigning knobs and faders 1148 BaseTrack 1152 changing tracks 1151 conserving knobs and buttons 1150 Increment/Decr
Groove clips 71, 629 H creating 640 editing 640 editing slices 643 following project pitch 641 how they work 638 importing into project 639 MIDI 647 using 639 what they are 638 working with 638 Groove Pattern 701 Hairpin event 721 Hairpin symbols 1018, 1023 adding 1023 Hardware setup 1199 Headphone mix 817 Height of tracks locking 315 Help menu Quick Start 67 Hertz 750 Hide track 1414 copying 703 defining 702 deleting 704 saving 703 Groove Quantize 697, 698 History 375 Home Stereo connecting to 1204, 1
Input Echo button 225 disable during playback 278 disabling 1185 eliminating echo from 278 enabling 277 enabling when arming tracks 278 turning on or off for all tracks 227 Input Quantizing 262 Inputs choosing in Console view 258 selecting 812 setting source of 256 Insert menu Audio Track 1340 MIDI Track 1340 Series of Controllers 678, 1342 Series of Tempos 370, 1353 Insert Series of Controllers dialog 1527 name lists 1053 reload 1052 saving 1052 Instrument sound choosing an 215 parameter 206 track settin
importing 997 Key+ 206 KeyAft event 720 Keyboard connecting MIDI 61 connecting to computer 59 editing with 382 Local Control setting 227 parameters 721 patches 215–216 recording accompaniments 293 Keyboard shortcuts 1359 Keystrokes sending all to a plug-in 838 Kilohertz 750 L Lanes 673 Large Transport 187 Latency 1117 Layering synths live playback 226 Layers in tracks 357 Lead sheets See Notation and Lyrics Length 692 Length dialog 1532 LFE Send level default value 914 Line tool 430 Linked clips 353 creati
M Magnetic snap 346 MAJOR CHORD.
Microsoft Sound Recorder 1448 MIDI advantages of 54 as remote control 881 assigning a channel 220 bank selection 215 beginner’s guide 1439 channel parameter 720 channels 720, 1440 channels vs.
MIDI File Formats SMF (standard MIDI files) 1207 MIDI files importing 301 MIDI Groove clips 647 creating repetitions 648 enabling groove function 648 exporting and importing 649 in Media Explorer view 650 previewing in the Import MIDI dialog 650 transposing 648 using pitch markers 649 MIDI In and Out devices driver changes 69 MIDI input filtering 295 MIDI input presets creating and editing 226, 294 MIDI keyboard multiple performers on multiple tracks 226 playing multiple tracks from 226 MIDI meter activity
Mute button showing automated mute status 959 Mute buttons, grouping 876 displaying 718 inverting 715 Notes 720 Mute tool 438 changing display of 1014–1015 changing timing of 696 duration of 698 editing 665, 1009–1011 editing from the fretboard 1029 editing on the TAB staff 1028 editing, in real time 1001 inserting 1007 inserting with the fretboard 1008 percussion 1030 properties of 1012 reversing 695 selecting 664, 1009 selecting all of certain pitches 664, 665 selecting in Piano Roll view 663 size of 7
O Offset mode 960 OMF exporting to 897 importing 299 project data discarded when saved as 898 project data preserved in 898 saving projects as 897 OMF files exporting 897 Open Plug-in Technology 1162 OPT panels 1162 Original Time 335 Out of memory error 1232 Outputs 206 assign to mono hardware output 214 assigning tracks to 212 MIDI 209 setting 209 show mono 214 Overlapping clips cropping to eliminate overlap 360 Overload 271 Overtones 751 P Pan 205 adjusting 218 setting 812 track settings 205 Pane, Staff
Percussion track setting up 1031 Performance CPU, with FX effects 875 improving audio 1105 maximizing disk and CPU 1114 Per-project audio folders 1099 Per-track EQ using 873 Phase inverting a track’s 198 Piano Roll view 78, 653, 655, 1329 colorize notes by velocity 669 Controllers pane 657, 1695 Drum Grid pane 657 hide events in muted clips 672 inline version 683 Microscope Mode 680 MIDI data lanes 673 Note and Controllers pane 657 Note Map pane 657 note names in 1056 opening 658 overview 78 scale pane 673
Plug-ins audio 772 MIDI 726 organizing in menus 856 using presets 837 Plug-ins and 96 kHz audio 1123 Polarity inverting a track’s 198 polyphony 1440 Port Address settings 68 Ports assign different input ports to multiple audio tracks 213 assign same input port to multiple audio tracks 213 assign same output port to all buses 214 assign same output port to multiple audio tracks 213 assigning instruments to 1047–1048 Pow-r dithering 898 PPQ, see timebase 254 Preamp output connecting to 1204, 1458 Preferences
ProChannel 925 compressor 934 equalizer 939 tube saturation 942 Program definition 1445 Project 1443 creating a 245 definition of 71 importing material from another 299, 299– 301 information 305–306 inserting measures into 690–691 labeling 305–306 opening 66, 72 saving 303 Project Audio Files dialog 1638 Project file 71 creating new 247 Project Files dialog 1096 using 1096 Project information diplaying 306 editing 306 Project menu Marker 1353 Tempo ChangeTempo Change 1353 Time Measures 1353 Project Options
Record 261, 274, 281, 283, 285 Redo 374 Record latency adjustment 1568 Relink surround effect 921 Record Mode 256 Recording Arming tracks for 259 arming tracks for 259 audio 271 choosing an input 256 definition automation 949 background noise in 271 changing timing of 696, 705 channel-by-channel 293 checking input levels 271 checking levels 271 confidence 274 converting MIDI to audio 810 digital audio See Recording audio eliminating echo 1185 erasing 272 inputs 256 loop 281–283, 284–285 MIDI 261 modes 2
S Sample rate definition 755 setting 252 Sample rates 1108 converting 1108 setting for new projects 1108 Sampling rate setting 252 Sampling rates importing audio at different rates 1108 Sampling resolution 755 Save options 302 bundle file 302 Standard MIDI 302 Save Pattern dialog 1650 Save Screenset dialog 1541 Saving projects as OMF files 897 Saving a project 303 Saw tool 432 Scale Velocity 222, 696 Scale Velocity dialog 1652 Scales constraining edited notes to 708 Scissors tool splitting clips with 762 Sc
Signal flow diagram 811 Silence removing 768–769 Silencing tracks 194 Sine tool 432 Slaving to SMPTE/MTC 1088 Slide 689 Slide dialog 1654 Slip editing 376 to permanently delete slip-edited data 378 using 376 Slip-editing multiple clips 378 Smart tool 404 SMPTE 172, 692 SMPTE start times for clips 331 SMPTE Synchronization frame rate 1086 SMPTE time adjusting 233 SMPTE/MTC Sync 1086–1092 controlling audio with 1090 digital audio under 1090 troubleshooting 1092 with full chase lock 1091 Snap magnetic snap 346
Sound card built-in 1107 high-end 1107 Sound controls 805 SP/DIF connecting to 1455 recording through 1462 Split 356, 762 SPLIT CHANNEL TO TRACKS.CAL 1174 SPLIT NOTE TO TRACKS.
add slide/portamento 1715 audition when clicking 1710 compress or expand velocities 1714 default velocity 1714 disable 1711 edit velocity 1713 enable 1710 merge/unmerge 1712 steps per beat 1698 See also Preserve Pattern for Step Sizes swing 1701 time offset 1701 toolbar 1698 transport 1699 unlink clips 1724 velocity multiplier 1702 working with controller events 1717 working with drum maps 1721 working with patterns 1719 working with rows 1706 working with steps 1709 Step Size dialog 1661 Stereo mode 1539 S
System sounds turning off 181 Sysx 1077 defined 1066 Dump Request Macros 1071 editing Sysx banks 1071 events 1066 importing, creating, and dumping sysx banks 1069 ini file settings 1075 recording Sysx messages in real time 1074 sending sysx banks at startup 1068 Sysx echo 1075 Sysx view buttons 1072 to export a Sysx bank to another project 1073 transmitting banks during playback 1073 transmitting during playback 1073 troubleshooting 1076 using the system exclusive view 1067 Sysx Bank 1066 Sysx Bank events 7
Time chord property 1018 event 692 inserting blank 690–691 MBT 172, 173 note property 1012 pedal event parameter 1024 randomizing start 1174 SMPTE 172 See also Markers; Now time Time display track view 176 Time Display Format setting 233 Time Measures 1353 Time offset (Time+) parameter 206, 223 Time ranges 346 Time Ruler 179 Loop Construction view 640 setting to display HMSF 179 setting to display MBT 179 setting to display SMPTE 179 Time Ruler Format HMSF 1357 MBT 1357 Samples 1358 Time signature 1035–1036
lock to a specific track/bus 510 overview 508 Track inspector 1689 Track name 202, 205 Track number 205 Track output 206 Track outputs 206 Track Outputs dialog 1666 Track pane resizing 207 Track Properties Key+ 221 Track Properties Inspector 533 Track See Tracks Track status archive 191, 1453 mute 191, 1453 normal 191, 1453 solo 191, 1453 Track templates 317 Track view 73, 309 adding effects in 217, 366 keyboard shortcuts in 74 Track view time display 176 Tracks adding lyrics to 1041 aligning 704 archiving
volume control of 218 See also Recording; Track Properties Transport fast forward 182 record audio 272 record MIDI 261 rewind 182 Transport, Large 187 Transpose using MIDI Transpose effect 734 Transpose 221, 688–689, 1009 Tutorial 5 Working with Music Notation 127 Tutorial 6 Editing your music 137 Tutorial 7 Mixing and adding effects 145 Tutorial 8 Working with video 153 Tutorial 9 Exporting, CD burning and sharing 163 Transpose dialog 1666 U Transposing 688–689 Unarchiving tracks 194 notes 221 parame
note property 1012 parameter 205, 720 setting 695–696 Velocity tails displaying in the Drum Grid pane 744 Vertical guide 333 Video deleting from a project 233 disabling playback of 233 enabling playback of 233 exporting 235 inserting in a project 232 setting start time 234 setting trim time 234 synchronizing external video to audio 241 Video display format setting 234 Video playback stuttering problem 232 Video Playback, Import, and Export 230 Video thumbnails 236 Video view 1763 Views 73 allowing multiple
Wave files creating and exporting 887, 889 how to export 887, 889 importing 296 Wave Profiler using 67 Wave Profiler button 1449 Waveform zooming in on 759 Waveform preview on buses and synth tracks 828 turning off 274 Waveforms 753–754 clipped 755 redrawing 1131 to not display while recording 274 Wheel event 720 Widgets, see Controls Window Sensitivity 699 Window layouts, see Screensets Window management 969 Windows dock 974 float 978 system sounds, turning off 181 tile 981 X-Ray 987 Windows Mixer 1456 X
