Very nice! It seems that the nice moves in SONAR are way to obvious, so nobody sees then (OK, some do).
I tried to create such an effect with external synth feeded by the audio-in and had the challenge to get this tight. This method is way easier and the result is great.
 

Thanks Craig as always.
I was disappointed that the Loop Constructor won't slice triplets. Is there a way to do that?

after my initial apparent 'blank' moment (other thread, still don't know what i was doing, perhaps that is the problem ) works fine and i like this, could be quite useful, another tip for the tip jar. thanks

Cool thanks!

Happy holidays, Craig!

Sanderxpander
Great work Craig, I've purchased your book too, I hope it's very successful. Thanks for going the extra mile and making this collection of (already nice) tips so useful for everyone.

Thanks, but actually - you're the one who started the whole process when you asked for an index. It just got out of hand from there 

Anderton

Sanderxpander
Great work Craig, I've purchased your book too, I hope it's very successful. Thanks for going the extra mile and making this collection of (already nice) tips so useful for everyone.

Thanks, but actually - you're the one who started the whole process when you asked for an index. It just got out of hand from there 

Haha thanks for the credit but I don't feel right taking it, all I did was whine and say "make it better" from my lazy chair ;)
Merry Christmas and thanks again for all your efforts!

Oh... I purchased your book too. Good stuff!

One pattern it changed for me was how I make a copy of a project without audio.

The use case...
You make one long recording of a band. You split all clips around the first song and choose bounce to clips to get small clips. Select them, copy to a new project and mix the song.

Now, you want to start the next song with all the FX and routing you created for the first.

What I used to do...
Copy the folder for the first song and rename it and the cwp file inside. Open that project and delete all audio. Close the project, go to the audio folder and delete all waves. Reopen the new project and paste in audio as with the first song.

What I do now...
With the first song project open, ensure it is saved, then delete all audio. Choose save as and check the boxes to copy clips. Change the project name and path and hit save.

You would not chance this if you work with auto save enabled.

Why not templates?
I use track and project templates at times, but not for this purpose. When mixing a band from a single night, I keep making changes as I go and rarely want the same tracks in the same order the next time I record the band. Any template would have to be changed after every song was mixed as I add and change routing and effects. My process is mainly forward only.

Week 126: Linear-Phase EQ vs. Non-Linear EQ...Huh?
 
If you’ve worked with the L-Phase Equalizer and L-Phase Multiband, you know how great they are—but what may not be obvious is why it’s so important that the L-Phase Equalizer offers a non-linear mode as well.
 
LATENCY
 
Linear-phase equalization introduces much more latency than non-linear mode. Therefore non-linear mode is ideal when tracking, but you can switch over to linear-phase mode when mixing (when latency isn’t as important).
 
For slower computers, you may not be able to run more than a certain number of linear-phase processors. However, you can avoid this limitation by freezing or bouncing a track using linear-phase EQ, or using non-linear mode.
 
SUITABILITY FOR DIFFERENT APPLICATIONS
 
Linear-phase EQ is best known for extreme accuracy with “surgical” EQ. If you edit a traditional EQ and the L-Phase Equalizer to settings that give a major treble boost, you’ll almost certainly hear that the linear-phase processed audio sounds more transparent and “airy.” Conversely, the phase shifts that are an inherent part of non-linear equalization can give a particular “character” you may find desirable in some applications.
 
But also note that linear-phase equalizers aren’t perfect; they can exhibit a phenomenon called “pre-ringing.” (This is inherent in phase-linear operation; it’s not unique to Cakewalk’s implementation.) Normally pre-ringing isn’t an issue, because it becomes audible only at low frequencies with high gain and Q (width) settings. However with today’s hip-hop, EDM, and other bass-heavy musical genres, you may want to add high gain/high Q settings at low frequencies on specific tracks or even on a master, so  a linear-phase EQ may not be the best choice for this particular application.
 
Please refer to the following screen shot, but note that I did a major vertical zoom so you could actually see the low-level pre-ringing. This is why the kick appears clipped, even though it isn't.
 

 
The yellow kick drum waveform shows a gain of 5, with a width of 5, at 100 Hz. You can see a tiny bit of pre-ringing just before the attack.
 
The blue waveform shows the same kick, also with a boost at 100 Hz, but this time the gain is set to 10 dB with a width of 10. Now the pre-ringing is visually obvious, and if you listen carefully you’ll hear a “swooshing” sound.
 
The green waveform again has a gain of 10 dB and width of 10, but uses the L-Phase Equalizer’s non-linear mode. There's no pre-ringing prior to the attack.
 
To hear what this sounds like, go to www.craiganderton.com, click on the Demo tab, and play track #3 in the Playlist. The first measure uses non-linear mode, while the second measure uses linear-phase mode. Both EQs are set to 200 Hz with a Gain and Width of 10. Unless you’re listening over laptop speakers, you should hear the slight pre-ring during the second set of four kicks.
 
In most applications, pre-ringing will not be an issue, or even audible. But if it is, there’s a simple solution: Set up Aux Tracks or Patch Points, and use the L-Phase Multiband as a crossover that splits the high and low frequencies.
 

 
Setup using Aux Tracks to split the signal into two L-Phase Equalizers
 
You can create a crossover split anywhere. Just remember to solo the appropriate band, and set the ratio to 1:1 so there's no compression. The L-Phase Multiband's linear phase crossover is perfect for this application, in fact, for any crossover application linear-phase processing is by far the best choice.
 

 
L-Phase Multiband settings to split the audio into lows and highs for subsequent processing by the L-Phase Equalizers.
 
Send the highs to an L-Phase Equalizer in linear-phase mode, and the lows to an L-Phase Equalizer in non-linear mode…you'll have the benefits of linear-phase equalization where it matters the most, and zero pre-ringing.
 
BUT WAIT…THERE’S MORE!
 
Aside from the option of choosing two different modes, don’t overlook the other outstanding features of the L-Phase Equalizer: being able to do mid/side EQ (among other talents, this is essential when mastering for vinyl), and EQ the left and right sides of a stereo signal independently. Recently I was given a mix where the drum track was premixed and sounded great, but the hi-hat was too “hot.” Fortunately, it was panned considerably to the right (audience perspective), so I used the L-Phase EQ to reduce the highs on the right channel but not the left. Again…problem solved.

Very sorry, I forgot to hit the "publish" button. Doh. It's there now for sure. Really.
 
I should do an "early access" program where I post the audio demo a few days before the tip 

pentimentosound
Ah, that's what that's called!  LOL I'll certainly be messing with this tip! Thanks.

 
Next time anyone asks a question with a "doh!!" answer, feel free to refer them to my post. I was seriously considering posting a "Dumb Mistake of the Week" thread. Yesterday's was exporting a bounce with the source being the Mix. Too bad the song had already played past the part where the Master Bus automation took the level down to zero. "Darn SONAR, I exported and there's NO SOUND!!" ... ... ... ... ... ... oops ... ... ... ...
 

Anderton
"Darn SONAR, I exported and there's NO SOUND!!" ... ... ... ... ... ... oops ... ... ... ...
 

Never happened to me before 

Sanderxpander
I'm not really an expert on the technicalities of this but wouldn't a crossover negate linear phase processing also on the high band? Since you split the signals, it can't compensate for the phase shift anymore... can it? I'm probably wrong but maybe you have some additional insights?

Not if it's the L-Phase Multiband, it's linear phase. As it says in the tip itself:
 
You can create a crossover split anywhere. Just remember to solo the appropriate band, and set the ratio to 1:1 so there's no compression. The L-Phase Multiband's linear phase crossover is perfect for this application, in fact, for any crossover application linear-phase processing is by far the best choice.
 
Of course now you have the latency contributed by two linear-phase processors, but that's a small price to pay because you can bounce the track to audio.

Oh and by the way - I fixed the levels on a couple of the previous audio demos that became unusually low when they were posted