What is going on with selection in Platinum?

I can't tell because the track pane is cut off but it looks like maybe you are working in the Parent Tracks and/or with clips create in Comp Mode and/or the Clips are responding to Comp Mode/Tool type workflows.
 
Have you recently upgraded to Platinum/X3 (I seem to recall you were previously working in older versions)?
 
Doing stuff in Parent Tracks instead of in Lanes can cause all sorts of crazy editing stuff and editing with the new comp tool (which is a huge part of the Smart Tool now) expecting it to behave like older editing methods will also cause all sorts of unexpected chaos.
 
More deets needed but I'm guessing that when you are selecting sections in the Parent Track you are seeing that other clips hidden in the lanes are getting selected as well so any actions taken affect more than what you are seeing in the collapsed tracks.
 
Cheers.

It looks like a clip only appears selected if it entirely falls in the boundaries of the selection? Similar behavior to lassoing things perhaps. At the point of your selection SONAR has no idea that you intend to cut, which will split the clips, but it does make more sense to have that entire vertical region highlighted.

Here's another corker related to Sonar selecting something other than what you see.

 
I double and triple-checked that those clips don't appear in the part of the timeline I selected. The inspector says each is linked to 3 others - the 2 other copies are off the screen to the left.
 
Bizarrely, having tested by unlinking each of the 4 pink clips and repeating the procedure, it is the 3rd of 4 (ie. the one left-most in my GIF) that is being locked when I unlock the selected clips and vice versa (then that status spreads to any linked clips). But if I unlink 3 of the pink clips, the 4th becomes unlinked as well - confirming there isn't an extra linked clip I am unaware of - then NONE of them get selected.
 
This is very frustrating. I need to be able to rely on Sonar selecting exactly what I ask for, no more, no less.

Beepster
What I suggest is go through all these tracks and "Flatten" your comps before attempting Parent Track style editing like this. That way in the parent track you are dealing with one continuous clip instead of a composite. You're gonna need to unlock the Pos/Data option in that Flattened clip in the Take Lanes to make that happen. Also make sure none of the other clips in the hidden lanes exceed the boundaries of the flattened comp (so there are no splits visible at all in the Parent Track).

That sounds hellish to me. As in, completely unworkable. I do all my work by recording parts and dragging them around, sometimes causing overlaps, which Sonar is apparently going to create new take lanes for. If I then have to micromanage the take lanes afterward every single move or edit operation in order to have any hope in hell of being able to select everything properly, it's simply not workable.
 
I knew there were some weird bits with track folders where I have to ensure every single thing within the folder has splits at the exact same place, or the selection ends up extending out as far as the next 'fully-split' area, but that is just about manageable - I can't do that for every automatically generated take lane as well.

Kylotan

Beepster
What I suggest is go through all these tracks and "Flatten" your comps before attempting Parent Track style editing like this. That way in the parent track you are dealing with one continuous clip instead of a composite. You're gonna need to unlock the Pos/Data option in that Flattened clip in the Take Lanes to make that happen. Also make sure none of the other clips in the hidden lanes exceed the boundaries of the flattened comp (so there are no splits visible at all in the Parent Track).

That sounds hellish to me. As in, completely unworkable. I do all my work by recording parts and dragging them around, sometimes causing overlaps, which Sonar is apparently going to create new take lanes for. If I then have to micromanage the take lanes afterward every single move or edit operation in order to have any hope in hell of being able to select everything properly, it's simply not workable.
 
I knew there were some weird bits with track folders where I have to ensure every single thing within the folder has splits at the exact same place, or the selection ends up extending out as far as the next 'fully-split' area, but that is just about manageable - I can't do that for every automatically generated take lane as well.

 
There are ways to work around this stuff and be able to edit as you want (old school) but I've been using the comp/lanes features for so long now I can't be a reliable tutor as to HOW to make that happen anymore (I used to know but I'm drawing a blank... sorry).
 
All I can say is dig into the new comp stuff in the manual so you get the broadstrokes and then compare them to the older methods that remian.
 
I think what you need to do is use different tools (not the Smart Tool) and ensure everything is recorded using SOS and/or Overwrite.
 
It would be more about learning comping mode and it's methods so you can AVOID comping mode.
 
A big part of the issue is like the fact the Smart Tool automatically turns into the Comp Tool over large sections of the clips now so any actions taken when that is engaged results in comping actions. Try using the more traditional tools to see if that helps.
 
Cheers.
 
Edit: And the comping mode/tool stuff actually creates clip groups automatically based on certain settings/actions. That is something to be very careful of because sometimes clips will get grouped that you don't want. That's happened to me before and it's very annoying when it isn't intended.

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

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.

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.

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.)

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.

Look, to end the debate over it being some invisible clip that somehow is getting selected and is linked to an arbitrary number of other clips, here is the same operation with take lanes expanded, where I operate on exactly and only one clip, and Sonar toggles a bunch of others for the hell of it.
 

It's just ridiculously broken.

But it is likely auto grouped due to the comping feature (and you don't need your record settings to be set to auto group... the comp/smart tool does auto grouping stuff as well as soon as you make splits and whatnot). If you opened the lanes to observe the actions taken during selection and editing you could better assess what is going on. I can only make assumptions as to what is happening from the gif because Lanes are not visible so I cannot even begin to say exactly what may be happening.
 
Not trying to give you a hard time. I'm just saying editing in the parent track is likely the problem here. It just does not work in any reliable/traditional way because it's no longer designed to do so.
 
Crack open those lanes, give 'er a good inspection (and maybe take some more animated gifs) and perhaps it will reveal a bug. There is indeed some quirky stuff that happens sometimes but this, to me, all seems related to editing in the parent track. Been through it myself which is why I'm saying all this.
 
Cheers.

Kylotan
(deleted double post)

Okay. Thank you. Zoom out and check the Clip Group numbers. I'm willing to bet those clips are in an automatically created selection group. If they are in the same group which is causing them to respond to the unlock action.
 
And there's no debate or argument. I'm just trying to help. Like I said... I've been through this.
 
Cheers.
 
Edit: And since they are in the same lane perhaps, even if there isn't some grouping stuff going on, it has something to do with those segments all referencing the same audio file. Like the original clip was edited to have those gaps so that is just the project rendering of an entire clip. Now it's forcing all the clips referencing the file to respond to these changes.
 
That... to me... does sound buggy BUT I am not sure if that's the case or what the heck is going on. Really you shouldn't have those gaps in one lane in the first place. There should only be ONE clip per lane with no gaps. Instead of gaps there would be sections that are audible (promoted to the parent track) and muted (invisible in the parent track which makes them unavailable for editing from the parent track).
 
So something ain't right but I think it's a matter of you deleted those sections.
 

Warning: This is getting out of my comfort zone because I mostly work with audio. Just some stuff to check or maybe get the other users to come up with solutions.
 
===========================
 
hmm... it's MIDI so something else may be going down. I don't work with a ton of MIDI and when I do I usually bounce to one clip.
 
These aren't Step Sequncer clips? Right? It's MIDI?
 
Is this affecting clips in other lanes as well?
 
If you move one of those clips into a new/empty lane does it still respond to the unlock/lock action (or other actions)?
 
And this one is a total guess but maybe this is due to the clips getting crammed into the same PRV clip and they need to be unlinked somehow. I've had a bear of a time in the past trying to get unwanted data out of my PRVs before and it has manifested itself in the TV.
 
 

I've probably exhausted my usefulness in this thread now that we've dug down into the lanes into the individual MIDI clips. Gonna have to let the MIDI guys/gals troubleshoot (or bug confirm) from here.
 
I would still suggest trying to move one of the misbehaving clips into another lane (or even track) by unlocking them, moving them then seeing if they behave to selection edits as they would in the same lane (and/or track).
 
I am totally ready to admit that this particular behavior on these MIDI clips is a bug/unwanted manifestation of the comping stuff.
 
There's a whole swath of screwy, unwanted stuff that happens with clips/lanes/parent tracks when I don't completely adhere to the "comping" pardigm from the very start (tracking to final editing and flattening). I essentially just accepted it as the new way to do stuff, learned it and adhere to it and mostly get what I want done. I do however work in some odd ways that results in some unwanted crud happening that I generally have to go through and clean up before going apeballs on editing (like recording slews of takes in multiple sessions and/or one section at a time instead of all all at once and spanning the entire song).
 
It really is quite complex once you break out of the established guidelines so I feel your pain. I just can't quickly explain in text all the things I do to avoid it (and it's all different between audio and MIDI and depending on how the tracks are being recorded).
 
All in all though, once I got it, it's a good system. Just a somewhat f*cky one. I like it way better than layers and the original X2 lanes.
 
Once MIDI gets involved things get even crazier due to the strange disparities and forced linkage of clips in the various views. I'm still sorting out the nuances of all that (because I record/edit/comp live MIDI as if it is audio and it gets soooper stoopid). Again though in those scenarios (and even more so than with audio) I completely enforce Bouncing or Flattening to a single clips and make absolutley sure the ONLY data contained in/linked to that clip is what I want audible and editable. This definitely requires totally getting rid of the comping track by archiving it and putting the fully comped/bounced clip in it's own track.
 
Just my brute force ways of making it happen. Totally hard to explain and often times the solutions change based on the material (and how I f*cked it up... lulz).
 
Cheers.