how about "record in reverse"? some of the high end 24 tracks used to do it- you can get some awesome effects with "pre-verb" and other stuff...

Also to those who have edited in a video NLE like Avid, how cool would a fully functional J-K-L be?

Also the ability to drag and drop an audio effect onto a clip or transition like you do a video effect would be awesome- like how you can drop a "quick transition" dissolve over a video/audio edit in Avid, and smooth out transitions. Or drag and drop an effect onto a clip... it's faster

how about "record in reverse"?

Like Process/Audio/Reverse?

ORIGINAL: brundlefly
The only thing I can think of that might be something like you're talking about would be the ability to grab beat/bar lines in the time ruler with the mouse, and drag them against an absolute time ruler, to change tempo, rather than having to use Set Measure Beat at Now. This might speed up the process of aligning the time ruler to existing audio track(s).

Exactly. But on the other hand, this would make Sonar look more like Cubase... Not gonna happen I think. For many years CW show their fondness for dialog widows and typing numbers.

If you've ever flipped a reel it's really cool, but that's kinda logically nutty, too... too much math for me! But I've done it and totally blown away my clients with the huge sucking sound of PREVERB rushing into your vocals! And electric guitars.

Although I've never actually done it myself, but I know exactly what you're talking about. And it seems to me that the only way to reverse an effect like reverb is to record the track dry, then "flip the reel", run it through the effects processor, and print it to another track, then reverse it again. You're not going to get the effect processor to run in reverse, much less anticipate input that hasn't even been produced yet, and start creating and effect tail in advance. . So this idea of "recording in reverse" makes no sense to me.

In the SONAR world, you would record the track, reverse it, apply (a.k.a. print) the effect, and then reverse the track again. You could do this with a clone and then comp the original track and the processed track to get the effect only where you want it. I can't imagine it's more work in the virtual world than it was to do it with physical media.

If I'm totally off base, please enlighten me with a little more detail about the original process. I'd really like to understand what you're talking about.

So has nobody tried J-K-L?

Re: PRV and Inline PRV (IPRV)

1) In IPRV mode, there's a button/dropdown list to Show/Hide MIDI events. It's very nice. But every time you switch between regular clip mode and IPRV, you need to click the Show/Hide button to turn the events display back on. That's not very nice. The only thing that keeps it from totally thucking is that because (as far as I can tell?) there's no way to toggle IPRV without using a mouse, the mouse is already near the Show/Hide button when you toggle back in... but you have to remember those extra clicks... and remembering extra nonintuitive clicks totally thucks. So the whole thing's not very nice. (Imagine having clip layering turned on, and then toggling into IPRV, and having layering turned back off when you toggled back. Same difference.) PRV and IPRV need to be made more consistent with each other. Really.

EDIT: Looking more closely at this... the way I think this should work is... when you're in IPRV, and you right click in the "scale area" (where, in regular clip view, the Layer options are located) the options available should the ones that are now under the Show/Hide button (which is not to say that button shouldn't also be there.) Currently, in IPRV, right clicking just shows mostly grayed out Layer options. But it would make more sense for the options in that space to toggle according to the current mode of the track -- and have mnemonic key shortcuts, like the Layer options do.

2) In PRV and IPRV you have the option of showing clip outlines. That's really nice. But it would be even nicer if you could right click on either an outline or on a note in an outline and have it select the relevant clip and all its notes.

3) The ability to hide muted clips is great. But it doesn't apply to Staff View, which can make staff view kind of messy. The Event List shows muted clips/notes as gray. But it would be good if both views could optionally fully hide notes (and all events) in muted clips. (But then both of those views need overhauls anyway.)

the ability to change tempos while playing

Wow, this updade list goes on forever. Didn't read it all but I'll add my two cents.

I'd like to see an improvement in Staff view. I'm not 100% sure about this but I don't think they have made any updates to Staff view since I was using Pro-Audio 9 (Pro-Audio 9 was Sonar prior to being called Sonar). I know their are dedicated programs like Finale to do notation, but Sonars staff view is already pretty good. Plus it is a huge benefit to be able to complete a project using one program, from creating the original score to recording the actual intsruments. They market Sonar for people doing film score but I think Sonars Staff view is a little to primative to please a professional composer composing music for any medium including film if they need a Staff view. Plus they market Sonar now for educational institutions which it seems like Staff View would be completely neccessary.

Yesterday I was working on a project where I was scoring a classical guitar part. I couldn't find any way to show harmonics.

If nothing else, at least clean up the printing of a score. You really have limited formating options when printing a score. Basic printing improvements would be ...
- The staff name is taken from the track name, such as violin, but gets preceded by the track number and often looks horrible on the printed score.
- Often there is too much white space between staffs when there are multiple instruments.
- It would be nice to be able to control how many measures get fit across a page. Often it appears like measures could be condensed a little to fit more measures on a line.

ORIGINAL: artsoul

the ability to change tempos while playing

I don't get it? Why would you want your software do what live drummers already do?

F@KKER

I would like to see Cakewalk improve one of the MIDI FX plugin's (Quantize). Although it is great having realtime individual timing control over each and every track. I am heavy into Hip Hop and R&B, Iwish that Cakewalk would consider adding groove templates (much like those in Reason 4 ReGroove Mixer) to there Quantize plugin. With a feature like groove templates as part of thw Quantize plugin and with maybe templates of feels from Classics such as the MPC, Linn 9000 and SP1200, as well as any custom grooves that Cakewalk could add in would give its user more freedom with creating there grooves without having to purchase a high price MPC. To put the need addition over the top, I would suggest that the grooves templates be standard groove template compatible. This would mean that the Quantize would need to read standard groove templates made by such applications like Propellerheads Recycle or have a way with the Sonar applcation to be able to slice and extract the timing so the users can add to the list of templates. Such a thought for what could be a simple improvement.

in the METER/KEY dialog....i'd like the ability to change the key signature for all listed meter changes globally. maybe i'm missing something - if i am, please let me know - but at this point, if a client wants to change the key for an entire song - and there are bars of 2/2 in a 4/4 song - i've got to edit the key signature for each bar where the meter differs. i don't use it often but on occasion i use the notation view to check string writing work.

if this has already been mentioned, sorry for the redundant redundancy :)

I normally am one of the folk sticking up for the way Sonar looks, it works very well for my personal workflow. But one thing that has started to bug me of late is the slightly crazy colouring conventions around sends and envelopes.

The colour of a send control is determined by the order they are created (I think by default the first one is green the next will be purple etc) so by creating sends on track in different orders you can have a situation where the same colour send is actually routed to a number of different destinations. It may just be me but one of the things that I noticed when I started playing around with colour schemes was that I can change the colour of pretty much every element and it's largely just aesthetic but if I don't have the volume, gain and pan in track view set to blue, dirty green and orange (as per the V4 default I think) then I'm all at sea, simple volume pan changes suddenly take me ages because I actually have to visually double check that I'm grabbing the right control (clearly with a bit of time and effort I could learn a new colour scheme but it was not as easy as I thought it might have been).

So I'd like to see the colour of Aux Sends defined by their destination rather than the order in which they are inserted in to the track and on top of that I'd like the envelope that refers to a send (or volume gain or pan etc) to also be the same colour as that item.

many thanks
Child

Skip groove clip view!

Instead a double click on an audio-clip would open a powerful audioeditor e g similar to Wavelab.

Why?

I see. Thnx.