If you have a large enough cloud file in Google drive or Drop box you could keep a copy of a Sonar project  you are working on. This would need to be saved with all  audio files.
 
If the other person or persons use different 3rd party plug ins this will be an issue. I would use only the Pro Channel and Cakewalk plug ins to make it simple. All parties should use the same versions of programs so there is no conflict here.
 
The  gains from this are multiple people can update the same project. Every project then needs to be exported back into the online folder designating the changes. No this isn't Skype , but it allows work within the same project by multiple people. This might test patience since the co mixer has changed a lot of the settings you made.It could be a good thing.

There are several ways to share access to a Windows PC across the internet, some like remote desktop and the remote assistance services are built into Windows. But none of them are anything like 'real time' enough for people to work on a remote DAW as if they're both sitting at the same PC on an 802.11ac or gigabit LAN, never mind the internet. Multi-player games work across the net, but they are very different things to a DAW. For a start, fhe processing load is spread across all the PCs involved as each runs its own copy of the game, while you'd need one copy of Sonar to handle everything.

Opening up a router and PC firewall to receive incoming logons that allow control of the PC from the internet also comes with some very serious security risks unless the connection is only allowed via a secure VPN with strong security, and even then might still be vulnerable. There are huge malicious botnets that spend 24 hours a day trawling for open ports that allow remote access and if one is found it will come under continuous automated attack.

And if the internet acccounts involved have upload/download data limits multi-track audio can eat into the allowance very quickly indeed, it's a lot of data and every time the project is played the audio data will get streamed.

Ed (Bapu) Kocol introduced me to a good way of collaborating (if all parties have Sonar) - send a 'tracking shell'; the CWP file with markers, BPM and time sigs set, plus a mix WAV to track to. Pop the mix WAV in the tracking shell, insert a new track to record yourself, and away you go. Makes things very straightforward. We do this via Dropbox with a shared folder.

i think the technology for what i am looking for is way off in the future by the sounds of things...i think dropbox or google drive and a convo over skype is the best way at present!!!
regards Peter

robert_e_bone
I share files with folks using Dropbox all the time, and I will almost always send an MP3 mix of the project, that the other(s) can import into whatever recording software they happen to use, then they record whatever track(s) needed, then they would export each individual track that they recorded as a Broadcast Wave file, so that it/they can be imported by me back into the original Sonar project.
 
Bob Bone

Bob, I groan every time I read this about using mp3s to track to. Did you know that and mp3 contains header information at the beginning of the file that throws the alignment off by ~72 samples (IIRC the number correctly)? It's just audible enough to make a difference. and a no-CBR mp3 will also drift over time.
 
Simple proof can be had thusly.  Make a two measure project. Create a MIDI track with a drum hit precisely on beats 2 and 4 of both measures. Freeze the track (just to be able to see the wavform). Export the track to mp3. Import the mp3 right along side the frozen WAV file. Once you see that they are not perfect aligned, you will never send an mp3 for someone to track to unless you are just creating ambient sounds that do not rely on timing at all .
 

Compared to the old way of collaborating - spool up a smpte striped tape and have it couriered to your collaborator to record their stuff on their tape deck, get it sent back again, do some more work and repeat, a mere 72 samples and mp3 amounts of drift is pretty good.

Compared to exchanging stuff on cassette tapes it's a miraculously low error.

okeee dokie then.

tlw
Compared to the old way of collaborating - spool up a smpte striped tape and have it couriered to your collaborator to record their stuff on their tape deck, get it sent back again, do some more work and repeat, a mere 72 samples and mp3 amounts of drift is pretty good.

Compared to exchanging stuff on cassette tapes it's a miraculously low error.

Oh, you play jazz then?

bapu

tlw
Compared to the old way of collaborating - spool up a smpte striped tape and have it couriered to your collaborator to record their stuff on their tape deck, get it sent back again, do some more work and repeat, a mere 72 samples and mp3 amounts of drift is pretty good.

Compared to exchanging stuff on cassette tapes it's a miraculously low error.

Oh, you play jazz then?

... not to mention the good ol' days of wax cylinders and the pony express. 

PPFFFTT!  How about everybody trying to cram it all onto 4 tracks?  Or sending SMOKE SIGNALS, where you would adjust your gain by throwing LOGS on the fire?
 
Hee hee
 
PS - THANKS, Bapu - I'll stick to Broadcast Wave files moving forward.  Most of the time I do that, or am working with folks that also have Sonar, where I will send a stripped down and bounced version of a given project, with markers and such, the file sizes are still really small, compared to sending a full project back and forth - which is really what I had been getting at.
 
Bob Bone