Hello all, I realize there is probably something pretty basic I'm missing here.  I'm working on a tune that currently has about 50 tracks, most of which contain some sort of volume automation.  As the song has developed, I'm finding that the master is just constantly pegging the red, and a simple vocal track that peaks around -6db is completely inaudible.  I'd like to just lower the volume of pretty much every track (other than the vocal) around 40%, but since most of them contain automation, won't they just jump to their previously set level when the automation occurs?  I'd rather not have to redo all the automations.  Thanks in advance for any tips!

Could you route all the tracks you wish to reduce to a bus and then reduce the level of that bus.

Stick it in offset mode, lower the volume, then switch out of offset mode.
 
[Edit] This question came up yesterday: http://forum.cakewalk.com/OK-School-me-m3772040.aspx  - same answer :)

Those both seem like they would work great, thanks! Think I'll have a look at offset mode, as my issue seems just like what that mode is designed to deal with.

Can't you use the Gain function to reduce the overall level of the track? e.g. 1db, 2db etc.
 

Another option is to trim the output volume in one of the plugins on this track.

This happens to everyone eventually. It's even got a name: "fader creep". It happens as you're adjusting track levels; you want to hear a little more snare, so you bump it up a couple dB. Then you realize the bass needs to come up so you add a couple dBs there. Over time, multiple faders will gradually creep upward. Worse, you don't notice it's happened until late in the mixing process when it's a hassle to bring them all back down.
 
The safest method to deal with this is the Gain/Trim method. However, the wrinkle with that approach is it's going to mess with any dynamics processors you have on tracks.
 
Select every track (press CTL-A), pick any one track (preferably one whose current gain value is 0), and hold the CTL key down while you adjust that track's gain by however many decibels you need. All the other selected tracks will follow. Next, run down the tracks one by one, looking for compressors. For each compressor, you will need to lower its threshold by the same amount.
 
However, if none of your individual tracks are in the red, a much easier solution is the bus method. Route all your instruments to an Instruments bus, vocals to a Vocals bus and adjust their relative levels using the Gain sliders on those busses. But only do it this way if no individual tracks are hitting the red. Compensating for in-the-red tracks at the bus level isn't a good idea.
 

These are all really good suggestions (none of which I had thought of or even knew about, i.e. Offset mode), and illustrative of the "more than one tool for the job" quality of Sonar/CbB. Bitflipper, since none of my individual tracks are hitting the red, I think I will try the bus method. Would I route the tracks to a bus using the track sends, or the track output? And if using the sends, and the track is already using a send to deliver signal to a reverb bus, how do I ensure that the track's reverb is also sent to the bus? Sorry to steer the thread more to the bus side than what I had originally asked, but I think it's very relevant to your suggestion. Thanks!

mrpippy2
Would I route the tracks to a bus using the track sends, or the track output?

Personally, I would use the track outputs.  The "selecting all relevant tracks and holding down CTRL" trick should work here as well.

+1 For Offset mode!! This is exactly what it's for. Using the Gain/trim will affect your gain structure and compressors. Offset mode will allow you to keep all gain structure/compressor reactions AND automation in tact. TIP: If you're quick grouping and Offsetting multiple tracks, you can use the Group manager to manage the quick group to adjust Volume in a Relative way. Helps maintain mix relation when offsetting.