Beepster
Open the lanes and perform these procedures again (still using just the parent track). This should show you exactly what selections are affecting what in the Lanes. That should make it easier to understand what's going on.

No, it doesn't. In fact, in my first example, there are no overlaps, no complications. The 4 clips in the parent track are the same 4 clips that appear in take lane T1. Above that are 14 empty take lanes. There's no indication of why the first MIDI clip shouldn't be highlighted properly, just like the first of each audio clip is not highlighted properly. Something is clearly broken.

Everything has always been recorded using Sound on Sound mode. I switched Comping Mode off on day 1 and never looked back.
 

Kylotan

Beepster
Open the lanes and perform these procedures again (still using just the parent track). This should show you exactly what selections are affecting what in the Lanes. That should make it easier to understand what's going on.

No, it doesn't. In fact, in my first example, there are no overlaps, no complications. The 4 clips in the parent track are the same 4 clips that appear in take lane T1. Above that are 14 empty take lanes. There's no indication of why the first MIDI clip shouldn't be highlighted properly, just like the first of each audio clip is not highlighted properly. Something is clearly broken.

Okay... well I can't really provide any more insights without seeing it all in action with lanes open and your settings, etc... just too much to convey in thread posts really.
 
I update my last post to to point out that Comp mode does a lot of automatic clip grouping so that may be a factor in what you are seeing.
 
Thing is when editing it's just much more accurate/less confusing/frustrating to do it with Lanes open so you can see exactly what is going on and target the exact clips you intend to alter.
 
Cheers.

Oh... there is one more thing that perhaps is doing something weird.
 
If you open you Preferences > Project-Record settings check the Multitrack Grouping options. It's also relatively new and ties in with comping. It affects (as the name suggests) how clips are grouped as you record.
 
It's possible the odd behavior is due to some grouping silliness.
 
You may already be aware of this but it's worth mentioning.

I haven't read the whole thread, but just looking at the first GIF, it appears you're seeing "partial selection" highlighting, which is what you get when the whole clip isn't selected. It's a dark shading as opposed to the light gray of a completely selected clip. I don't think this has changed for quite a while.
 
EDIT: Having snap to zero-crossings enabled can put clip boundaries a few samples outside the measure, causing that partial selection. It would be best to select by Lasso in that case, and use snap By instead of To if you're dragging it somewhere.
 
 

brundlefly
Having snap to zero-crossings enabled can put clip boundaries a few samples outside the measure, causing that partial selection. It would be best to select by Lasso in that case, and use snap By instead of To if you're dragging it somewhere.

 
Ditto.
 

Beepster
Parent Tracks really aren't meant for editing anymore. They are just a visual representation of the currently audible lanes/lane sections.
 
The only way to reliably edit in the Parent Tracks is to only have ONE continuous clip being the only thing populating the Parent Track. Otherwise you'll be selecting, editing, moving, etc all sorts of clips without knowing it.

 
Ditto.

brundlefly
I haven't read the whole thread, but just looking at the first GIF, it appears you're seeing "partial selection" highlighting, which is what you get when the whole clip isn't selected. It's a dark shading as opposed to the light gray of a completely selected clip. I don't think this has changed for quite a while.

Except all the clips are within the time range selected. They all start exactly on the measure, just like the marker does. Sonar is getting it wrong.
 

EDIT: Having snap to zero-crossings enabled can put clip boundaries a few samples outside the measure, causing that partial selection.

Good thinking. But, not the case here.

Beepster
If you open you Preferences > Project-Record settings check the Multitrack Grouping options. It's also relatively new and ties in with comping. It affects (as the name suggests) how clips are grouped as you record.

Thanks, but I have that disabled. (I only ever record 1 track at a time so it's of no use to me.)

Here's today's version of the clip-locking shenanigans. The image is ultra-wide so it's compressed a bit but you can see the blue lock icons appear all throughout the track, even though the clip I'm toggling is clearly neither overlapping any others or linked in any way. It's at the point where I simply can't trust this feature any more, where the highlighted state of a clip in Sonar is not a good indication of whether the next operation will apply to it or not.
 

Unfortunately there really isn't much else to be done for this. Editing in Parent Tracks is simply not a reliable or sustainable workflow with the new comping scheme.
 
What you are editing is not a single clip or comp. It is merely a visual representation of what is currently audible (and even then overlapping clips may not be visible).
 
What I suggest you do at this point, if you don't want to break open lanes and edit there, is right click on the Parent Track and select Flatten Comp. This will create a single clip that will respond the way you want much better and ignore (usually) everything else in the other lanes (while preserving the original clips).
 
To edit it though you are going to need to Right Click on the newly created clip in the Parent Track and unlock the clip (or use the unlock keybindings after selecting the clip).
 
You will also NOT be able to use the Track Select button or Ctrl All type selection methods. You will need to select the CLIP in the Parent Track(s) instead... otherwise you will also select the hidden clips in the lanes as well.
 
As I said... this is exactly why I generally create my comps and move them into a blank track so there is only ONE clip in the track to work with. Then I can go apeballs in the parent track without creating chaos on the clips.
 
It is also why I have been requesting "Archive Take Lanes" and "Hide Take Lanes" options that can totally remove lanes from system resources, view and editing actions instead of having to move comps into a new track.
 
I just thought of another way you could do this to guarantee your original clips don't get wrecked.
 
After you flatten your main comp that you will use for editing select all the other lanes (and all the clips in them) and lock their Pos/Data. That way as you mess around in the parent track on your mian flattened comp those clips don't get altered at all no matter what happens.
 
It seems you are going for a Block Arranger type workflow (which is another common request) and the only reliable way to do that in Sonar is to flatten your composite takes, isolate them for editing (away from the original takes) and work solely with those clips... which will then create new clips and lanes and whatnot that eventually need to be Bounced/Flattened.
 
This is actually how I've written quite a few things. I'll record a bunch of riff, bass parts, create drum loops/beats etc then split/copy/yank everything around until I get the arrangement I like.
 
Then I'll retrack whatever I need to once I'm happy with the arrangement (for MIDI stuff or audio looping type music I'd just make sure everything faded/looped together smoothly with X-Fades and whatnot).
 
Sorry, man... it's just the new editing flow. Parent Tracks just aren't designed for what you're trying to do.
 
If it's any consolation it took me about a half hour to really nail down how to work in the new paradigm and I personally prefer it in many ways. It just takes a little more prep work to work right on the parent track (and really since the original implementation of "layer/comp" type recording in DAWs many moons ago this type of editing crap has always been dicey at best).
 
Cheers.