Ok, found kind of a work-around for the problem that PRV shows a controller lane for every controller in every track on every midi channel.   Pretty much a kludge, but at least faster than the usual having to close many many tiny lanes.
 
1) select all relevant tracks in track view
2) change every midi channel number to 1
3) open the tracks in PRV
4) back in track view select each of the group of tracks one at a time and change back to the appropriate midi channel number.
 
This way takes maybe 15-20 seconds, the other a couple of very maddening minutes. 

Refresh my memory...what's wrong with using the track's inline PRV? That way:
 
1. You see only the controllers for that track
2. They can be any height you want, no matter how many controllers are assigned
3. You can use all the standard drawing tools
4. You can filter a specific controller so no matter what you do, only the selected controller will be affected
5. You don't have to change any MIDI channel assignments
6. If you need to tweak some notes, you can set the Edit Filter appropriately, as well as zoom/scale the notes to whatever resolution you want
 
Seems like that would solve your issue, unless I'm missing some drawback to the inline PRV.

Maybe a picture will be clearer -- below is exactly how I want to work.  It is necessary to have each horn part on a separate track (or sometimes two for complicated articulations); it is necessary to modify -- at minimum -- note velocity, note start and end, CC 11 curve, and CC 1 curve for each voice.   Is is necessary to see the whole horn group together, to make sure their dyanamics align, their start and end times fit the score, and their expressive changes via CCs are compatible.   I have not found the in-line prv to be usable for this.
 
 

My preference is to use automation lanes for CCs. I don't do any CC editing in the PRV. Works for me anyway.

I think I'm interpreting his picture correctly when I say what he wants is to be able to see multiple tracks overlaid on each other while editing his CCs. Apparently it's not sufficient to have them stacked on top of each other. 

That's correct --- since in orchestral work you are often treating the section as a miniature 4-part harmony, it is usually desirable to see the parts together.    At least how I work ... like sketching on paper, you put them together on a single staff or two. 

An advanced score editor inside Sonar would make a work like this a LOT easier. Integrating some advanced score editor into Sonar with, e.g. ARA technology is probably the fastest and most efficient way to make this happen soon.

A powerful score editor in staff view would be great, but I'm not holding my breath.  Even with the recent improvements, it is still so far below 'standard' as to be nearly useless.   I only looked at it out of curiosity just now, otherwise never open it.      I don't believe it is possible to edit any midi controllers in staff view?  Nor pitch wheel?     And the various guesses, depending on quantize setting, as to duration remain weird. 

williamcopper
A powerful score editor in staff view would be great, but I'm not holding my breath.  Even with the recent improvements, it is still so far below 'standard' as to be nearly useless.   I only looked at it out of curiosity just now, otherwise never open it.      I don't believe it is possible to edit any midi controllers in staff view?  Nor pitch wheel?     And the various guesses, depending on quantize setting, as to duration remain weird. 

You can edit Pedal on/off. ) Staff view, as the name suggests, is not an editor. For the time being the best way to use full-featured score editor in Sonar is to route it via ReWire. I don't find it convenient, YMMV though.