BeepsterMy point was "DISABLE THEM" doesn't say anything. I don't need to see a video of MIDI Loop Recording. I know the workflow. I know what you mean. I know what you want and described ways to acheive it right now AND made suggestions as to how Cakewalk could implement what you want.
 
To imply that I'm an idiot for not being able to read your mind with your repitition of the vague statement "DISABLE THEM" is irksome and why I've been ignoring it until now.
 
If you want it to work in a specific way then YOU need to articulate it and in a way that makes sense/will fit into the current program design without breaking everything else.
 
It can be done. I have ideas for it myself. Articulate your ideas to start a discussion about it. Make a Feature Request with those ideas so the Bakers can see it.
 
"Disable them!" does not help you acheive your goal.
 
I WANT you to get what you need to work. It might benefit my own workflow but good gawd, man... explain yourself so there's a chance the ideas can be considered and implemented.
 
And again... I KNOW WHAT MIDI LOOP RECORDING IS! I know how to do it in SPlat!!!
 
It's not hard but yeah... it could be improved.

 
Ok.  I'll sit here and write a thesis since you seem to not understand EXACTLY what I am talking about.  

Let me start at the beginning.  Back in the late 90's when I first began to venture in to the art of midi composition,  musicians didn't have the plethora of options that many of us take for granted today.  At that time,  many musicians used hardware sequencers such as the acclaimed MPC 3000 {See Photo "A"} to sequence all of their midi devices.  



Photo "A"

The MPC 3000 was actually very limited as a midi sequencer by today's standards.  It could only hold 20 songs at one time.  It could only hold 99 sequences at one time.  It was limited to 99 tracks,  and it only had a 75,000 note capacity.   Today's computer based Digital Audio Workstations are only limited by their hardware which is why most of them claim to have "unlimited" audio tracks,  midi notes,  etc.

With all of it's limitations,  the MPC 3000 was actually a very popular midi sequencer.  There are some who claim that it had a certain "swing"  which hasn't quite been duplicated even with today's high powered computer based DAW's.  That claim is often disputed,  but no matter what side of that argument you were on,  the MPC 3000's reputation as a rock solid midi sequencer was never in question.  In 2016,  there are many MPC 3000's still in use for it's sequencer and it's "crunchy" and "warm" sounding filters and DAC.  Another reason that MPC 3000's are still in use today are because of their simple yet powerful workflow.  

The MPC 3000 came equipped with two midi input ports,  and four midi output ports {See Photo "B"},  which made it very easy to connect and control all of you midi devices.



Photo "B"
 
The MPC only had 16 pads and 4 banks,  but it was very often used to sequence keyboards because of it's tightly integrated yet simplistic workflow.  The MPC's workflow consisted of composing sequences which could then be compiled together to create songs.  Each sequence could be set to whatever length of "bars" you wanted (up to 99).  The sequencer would automatically loop back to the beginning of the sequence once the end of the final bar of the sequence was played.    This is what's commonly referred to as "midi loop recording".   There are a few criteria that the MPC 3000's midi loop recording had that some modern day sequencers just don't seem to follow.  Let's take a look at how the MPC 3000 midi loop recording worked.

To record a sequence,  you simply had to hit the record button,  and then hit the play button.  The MPC gave you a 1 bar "count in" and then it began recording.   The MPC's sequencer resolution was 96 ppq.  All of your midi data would be automatically quantized to whatever settings you wanted.  This was done on it's "Timing Correct" page.  The MPC would record your performance and once the end of the sequence was reached,  it would automatically start at the beginning again (midi loop recording).    Once the loop began again,  you would hear your performance.  If you wanted to add to it,  you simply played some more notes on the next pass.  The newly recorded midi data would be merged in to the existing sequence as long as you were in record mode.  If you weren't in record mode,  and you were playing the sequence,  you could actually "punch in" and add notes with the "OVER DUB" button.  When using the OVER DUB button,  all of your newly composed midi data would still be merged with the sequence.  There was no "track layering".  There were no "take lanes".  All of the midi data that was added in any subsequent pass of the sequencer while in record mode was always automatically merged to the sequence.  It's always consolidated.  You still had the ability to edit each individual midi note for pitch,  velocity, and note length.  You could also delete individual midi notes,  but you NEVER had to dig through any "track layers" or "take lanes" to do so.   
 
There are many modern day DAW's that can record midi data in the same fashion as the MPC as far as merging midi data in to one consolidated sequence,  or clip.   From my own personal experience,  I can assure you that Ableton Live,  Presonus Studio One 3,  Native Instruments Maschine, Tracktion Corporation T6,  and Propellerhead Reason 8 all have the capability.  Sonar used to have this capability.  Somewhere along the line,  this was lost.   I'm not exactly sure what version they scrapped it in favor of it's current "Take Lanes" approach,  but no matter what your settings are in Sonar,  it's still creating "Take Lanes" instead of truly merging midi data in to an existing clip while loop recording.  

In Sonar,  even if you set: 
1.) Recording Mode to "Sound on Sound"  
2.) Loop Recording to "Store Takes in a Single Track"  and 
3.) Uncheck "Create New Lanes on Overlap"
 
Sonar will still create new Take Lanes.  You can visibly see them in the Arrangement because the last "pass" will be the only one that is visible in the Arrangement window.  The other "Takes" are sort of "hidden" underneath which gives the initial appearance of missing midi data in the arrangement window. Now,   I'll admit that the midi edit window will show consolidated midi data,  but Sonar forces you to use the edit window to see what's really going on,  unless you take the time to go in and consolidate all of your "Take Lanes".  I think that Cakewalk forcing you to work like this is unacceptable.   There should be a way that you can simply record midi data in loop mode,  or overdub that automatically merges and consolidates any newly recorded midi data to existing data without the need to manually select,  flatten and consolidate the mess that's created by "Take Lanes",  and the arrangement window should reflect this consolidated midi data without the need to open the midi edit window. There are simply too many other DAW options available, for you to work like Cakewalk forces you to by not having this simple functionality.   This is how midi sequencers have always worked.  This isn't anything new.  

This is what I mean when I say I want to be able to simply "Disable Take Lanes".    

I'm not against "Take Lanes" if someone wants to use them.  I don't have a problem with that.  I just want to be able to "Disable Take Lanes".  This may not seem like a big deal to some users,  and I get that,  but it's a big deal to me.  It should at least be an option.  

Is that explanation thorough enough?  

Are you not entertained??????  {See Photo "C"}



Photo "C"

Humorous and I do enjoy learning about old devices but I even used those types of units briefly back in the day when I was writing riffs for my old band.
 
I will say again I KNOW what you are referring to and AGAIN say it can be done without issue AND I agree that if people want MIDI tracks/clips to be able to have passes of data be added incrementally into a single clip I am all for that. I actually have OTHER needs I would like to be adressed in that regard but more about time range additions as opposed to layered additions because that can already be done in the parent track and easily bounced.
 
BUT.... now you've actually said something aside from "Disable them!!"
 
That's what I was asking you to provide. I still say it needs to be a record/edit mode or tool separate from the current workflow and from a design perspective NOTHING would be getting disabled. It would simply be like SoS mode except it would all go into a single clip... which I suggested right after your first post.
 
BTW... you do realize Kylotan is mostly referring to audio clips/lanes here. This MIDI stuff is a different issue and due to the nature of MIDI needs to be handled differently.
 
Now you want to hear what I want for this stuff? I want to be able to arm a MIDI track, hit record and have a continuous clip until I stop recording. Not a bunch of  clips created just because I didn't enter any data for a measure or two. More like audio.
 
SINCE it's MIDI though sure... it would be nice if I could set something in Sonar where if I did multiple passes they get dumped onto that same clip... WHEN I want it to. BUT I would also want so clever real time workflow where I could do that type of thing but UNDO a pass without stopping transport instead of overwriting or adding a bunch of new notes I don't want.
 
So not really an UNDO but a "YES... add this take to the damned clip!!!" THEN it gets printed.
 
That's the Accept/Deny crap I was talking about and yes I know that's how things have worked on many devices and programs and yes I think it would be good.
 
How that bloody well translates into "DISABLE TAKE LANES" I do not know. It seems like a totally separate workflow/procedure that has nothing to do with lanes.
 
That said... I don't want THAT workflow forced upon me because I actually use the lanes/comping method for MIDI performances. As in I play a bunch of live takes into a track then comp together the best, bounce/flatten that and do my editing on THAT clip in the PRV. That's full performance stuff though, not Loop/Pass by Pass Recording.
 
I'm sorry if you think I'm being a jerk or an idiot but at least now you're saying, kind of, what you want.
 
"Disable Take Lanes" still doesn't make any damned sense though.
 
Peace.

PS: I originally came into this thread to help Joey with a relatively easily resolved issue (but we don't know the answer because maybe we scared the dude off). I got engaged with Lanes/Comping complaints and as usual, because I've used them extensively in my session work and own weirdo compositions, thought I could shed some light on how they can be used effectively based on my experiences and even bent them and did experiments with them to accomodate the desired workflows of others.
 
If I'm coming across as rude or arrogant my apologies but it is purely in the interest of giving people the info they need to get things done. I would have bailed a while ago if it weren't for a couple people telling me they are figuring some crap out because of my rambling pontifications.
 
I've been ignoring some of my own work for this.

Beepster,  I see that you joined this forum in May of 2012.  I can also see that you have well over 13,000 posts,  but posting a lot doesn't make you right on everything.  Writing long posts doesn't make you right on everything either. 


It just doesn't.  Plain and simple.  
 
How could you not understand what I meant when I said I want to be able to Disable Take Lanes?  How is that even possible?    In Sonar,  in the "Preferences" menu,  under "Record", under "Loop Recording",  there is an option that says "Create New Lanes on Overlap".  I guess you don't know what that means either,  right?  I sure as hell don't,  because whether you check that box or not,  Sonar will still create new lanes on overlap.  I've already established that in my previous post,  and you can clearly see that they are still present in the Arrangement window no matter what settings you use..

So if there is anything that DOESN'T make sense,  it's that.  

All I want is another option right there in that same menu,  that simple says "Disable Take Lanes".  
 
I started using Sonar back in version 4.  There were no take lanes in Sonar back then.

I also used Cakewalk Kinetic.  There were no take lanes in Kinetic either.  

I also used Project 5 version 1 and version 2.  There were no take lanes in either of those.  
 
So like I said,  how could you not understand what I meant when I said I simply want the option of disabling take lanes?
 
I don't have the time or the energy to continue any further in this thread.  I think I've made my point.  I'm sure you'll reply to this post with some ridiculously long reply to make yourself appear to be correct once again.  Good luck with that.  FWIW,  I actually enjoy your posts and I think that there are some forum members who find them informative, and ultimately that's a good thing.   I've certainly learned something from this exchange.  That's for sure.  

None of my other software automatically generates "Take Lanes".  None of my other software arbitrarily generates empty "Take" lanes.  Older versions of Sonar didn't do this either.  All of my other software gives you a clear picture of your recorded midi data in it's arrangement window without the need to open a midi editor.   In a world where software companies have been committed to improving workflow for midi composing,  Sonar seems to be getting left behind.   Composing midi with Sonar is, in my opinion,  clumsy and cumbersome.  


I stopped using Sonar during the time of Sonar 8.  I didn't begin using it again until X3.  I only bought X3 because I was having a problem opening some of my old projects on my new computer with Windows 8 64 bit.  Upgrading allowed me to open those projects.   Since then,  I've been keeping Sonar current.    I really like the commitment that Cakewalk is showing to continuously updating Sonar on a monthly basis with bug fixes and new features.
 
But I just can't embrace this workflow at all.  Yeah,  I definitely learned something from this exchange.  I've learned that I'm better off sticking with what I already use.  There's no need for me to go back to using Sonar at all.
 
 

And now in the interest of forum harmony and not attracting the inevitable lookyloos and trolls this post goes *POOF*
 
 

I think you are way more patient than I would in this situation, Beeps.
I for sure know that I do not want "the good old days" back. Had my fair share of issues with 2.2XL, and 4 Producer. I think you have made some valid points, but it is hard to get through to everybody. In my opinion, posts seems to matter in this thread
All the best.

I didn't read most of the posts in this thread (I don't like unnecessarily long posts), and can only offer two realistic solutions, since disabling Take lanes isn't possible (and it's unlikely to be possible at least for the next one or two years).
 
1. The "Create New Lanes on Overlap" option not working is probably a bug. I suggest you report it using Problem Report Form. If it's indeed a bug, CW should fix it.

2. Directly loop-recording to the lane (by arming the lane, not the track) with the Sound on Sound recording mode can at least prevent the program from creating additional lanes (althouh you still need to bounce all the clips/passes recorded to that single lane). But the issue is that you cannot hear the previous pass(es) while loop-recording. This may also be a bug (worth reporting).

Uh, can't resist.  Take lanes rock.
 
I’m laying down vocals, but instead of struggling to get a satisfactory one-shot take, I divided the lead vocal up into 9 parts, like verse1A, verse1B, verse2A, etc.  Each part goes on its own track, so I have nine tracks.  I then set up a loop to go back and forth over the same part of the song, hit record, and saunter into the vocal booth, fart, cough, drink beer if I want, and sing the section a few times until I think I’ve got some OK takes.  Then I do the other 8 tracks.
 
Every vocal part since the 1960s you hear on the radio has been doubled … the vocalist sings the part over again, and that gets mixed in to the lead vocal at a lower level.  So that winds up being another 9 tracks.  So now I have 18 tracks of vocals.
 
Within each of these tracks are ~10 “take lanes”, lanes where I farted, coughed, screwed up the vocal, and bits and pieces I did OK.  I can cut all these up in pieces, and then select the phrases with the comp tool from the take lanes that are the best.
 
So now I have 180 takes to deal with!!!!  A gawdawful mess. 
 
What I figured out is that I can route all the lead vocals to a “ld voc aux” auxiliary track, and all the doubled-vocal track to a “dbl aux” track.  When I get these 2 aux’s to sound the best I can manage, I simply arm the 2 aux’s and hit record.   I don't have to "flatten" anything ... just record onto the aux's.
 
Now I have 2 tracks to deal with, a lead vocal and a double vocal. 
 
I can then move all 18 tracks and 180 take lanes into a folder and “archive” the folder so all that mess is dead, and not taking up cpu power.
 
This is fantastic!  The whole stress in laying down an acceptable vocal track is gone!  Wow.  I am amazed.  Thank you "take lanes" for making my life easier.  And for getting really hammered in the vocal booth.  Its all OK.

i don't know, i use Record Mode "comping" & i record each "take" on a separate track so that no take lanes are created, only tracks.  i realize this goes against what Sonar's comping is all about, but i feel safe doing it this way & don't have to worry about my audio disappearing

I am a big fan of take lanes now,  but early in their release they did have some quirks that I think may have put people off.  This and people never reading the manual to learn to use them properly could well be why some hold them in a bad light.