Dyonight
Reaper is my deliverance
 
http://www.youtube.com/watch?v=N24juufOOG8

Thanks for sharing.  It's been a while since I've opened up Reaper,  I need to take another look at it.  The workflow reminds me a bit of Wave Warp in Pro Tools.  I've been working exclusively in PT lately simply because of the Tempo Mapping and Wave Warping features.

Audio Snap will do the job for me if I work at it but I feel more in control doing the same sort of editing when I'm using competing products. 

FastBikerBoy
There are some freebie videos on Audiosnap on my youtube page and it's covered in depth in my SWA X2 Complete video (links for both in my sig).
 
Audiosnap isn't the most intuitive part of the program but I've found that a few basic housekeeping tasks before use make a huge difference to how successful you'll find it.
 
One of the most important is to trim and bounce clips before even opening audiosnap, stray noises such as studio chit chat at the start of clips will create havoc.
 
Make sure the project tempo is roughly correct before starting which will save a heap of time adjusting the tempo map. Drag clips and line up the first down beat with a measure line also helps.
 
An accurate tempo map is also important.
 
After I spent an awful long time using a "suck it and see" approach and finding out about some of those tips the success I had with audiosnap went up tenfold. The biggest problem I used to have was the dreaded "tempo out of range" - bouncing the clip will stop most of that. It's caused by errant transient detection and Sonar thinks it has to generate a tempo greater than 1000 bpm to compensate, hence the message.
 
To summarize I find it works pretty well (I'd even argue very well) but it does take some learning and could certainly be more intuitive.

 
1. I record a drum take with 18 inputs RECORDED TO THE CLICK by a very talented metal drummer
 
2. I clone the Snare Trigger and the Kick trigger tracks (for those who don't do it that way, a Ddrum trigger can be recorded through a mic pre (it's a piezo mic in fact) and give a SNAP sound with almost no bleed and with almost no decay, so a very clean and steep attack at each hit.)
 
3. I go to processing -> remove silence and set it to get rid of EVERYTHING but the attack.
 
4. I merge both tracks togheter and I bounce to clip.
 
5. I open Audiosnap and set it's resolution to 1/4 so I will tighten the drum to every 1/4 beat, leaving the rest "as played".
 
 
1st: Sonar do not display the "lasso" when I Lasso-select transients in a project that large. I have to imagine it...
 
2nd: Even if every transient to be detected are perfectly CLEAN, Sonar sometimes put some markers BEFORE the actual transient. I must even say on a regular basis.
 
3rd. When I set the treashold to 1/4, Sonar start ok but at some point will INVERT the active transients making the upbeat ON and the downbeat OFF but keep the 1/4 relative distance between them... so I have to manually invert the active/unactive transients.
 
6. Next, once I manually replaced/double-checked all transients, I "select active trasients" and then add those to the POOL.
 
7. I select all drum tracks and APPLY POOL TRANSIENTS
 
All this process took 2+ hours and I have to go through again.
 
 
I'm still in awe to see how snapy REAPER is.... every functions I've used so far are immediate, glitch free and can be costumised.
 
I couldn't not care less about the GUI since it does what I ask it to do almost perfectly and instantly. But as Pict pointed, there are so much ressources available to change the way it looks or behave and posting an issue to the forum may well be adressed in the next month...
 
At this price, REAPER is here to stay.

SuperG

I'm sure Reaper is a great product, but it's too just hard to get past all the ugly....

Haha.  For me, it was the opposite.  Some of the user created skins look great.  I found myself wasting too much time making Reaper look cool and then every time someone would post a new skin, I'd be doing it all over again.

Dyonight

So my reference track is done for audiosnap. Only sharp attack and everything else (micro noise rumble, remember I'm using a piezo track so there's no bleed) is reduced to silence.

 

5. I open Audiosnap and set it's resolution to 1/4 so I will tighten the drum to every 1/4 beat, leaving the rest "as played".
 

It is at this step that everything goes anywhere:

 
1st: Sonar do not display the "lasso" when I Lasso-select transients in a project that large. I have to imagine it...
 
2nd: Even if every transient to be detected are perfectly CLEAN, Sonar sometimes put some markers BEFORE the actual transient. I must even say on a regular basis.
 
3rd. When I set the treashold to 1/4, Sonar start ok but at some point will INVERT the active transients making the upbeat ON and the downbeat OFF but keep the 1/4 relative distance between them... so I have to manually invert the active/unactive transients.
 
6. Next, once I manually replaced/double-checked all transients, I "select active trasients" and then add those to the POOL.
 
7. I select all drum tracks and APPLY POOL TRANSIENTS

 
If you've got a good reference track in step 4, and I'm understanding the goal , you can throw out steps 5 and 6 and replace them with "Disable all markers on other tracks". You can do this with the Threshold slider or (my preference) select all markers, disable them and promote them so they stay disabled. Then apply the pool markers, select all tracks and quantize to quarters.
 
 
 
 
 

brundlefly

Dyonight

So my reference track is done for audiosnap. Only sharp attack and everything else (micro noise rumble, remember I'm using a piezo track so there's no bleed) is reduced to silence.

 

5. I open Audiosnap and set it's resolution to 1/4 so I will tighten the drum to every 1/4 beat, leaving the rest "as played".
 

It is at this step that everything goes anywhere:

 
1st: Sonar do not display the "lasso" when I Lasso-select transients in a project that large. I have to imagine it...
 
2nd: Even if every transient to be detected are perfectly CLEAN, Sonar sometimes put some markers BEFORE the actual transient. I must even say on a regular basis.
 
3rd. When I set the treashold to 1/4, Sonar start ok but at some point will INVERT the active transients making the upbeat ON and the downbeat OFF but keep the 1/4 relative distance between them... so I have to manually invert the active/unactive transients.
 
6. Next, once I manually replaced/double-checked all transients, I "select active trasients" and then add those to the POOL.
 
7. I select all drum tracks and APPLY POOL TRANSIENTS

 
If you've got a good reference track in step 4, and I'm understanding the goal , you can throw out steps 5 and 6 and replace them with "Disable all markers on other tracks". You can do this with the Threshold slider or (my preference) select all markers, disable them and promote them so they stay disabled. Then apply the pool markers, select all tracks and quantize to quarters.
 

 
Normally applying pool transients disable all others.
 
In fact what I call the "phantom transients" are not in the original track nor in the pool, they are simply generated when applying pool transients, which is a bug, at least on my system....

I often have problems with AS, too. It just works in a highly unintuitive - and sometimes in an utterly weird - way. How it decides to choose/unchoose the transients when you change the treshold is beyond any logic. And working with multiple tracks and long clips is a nightmare.
 
So I got the Reaper today - just to do the job that Sonar can't deliver. Hope it works better, yet on the video it seems to work - unlike AS - in a straight forward and logical way.
 
Now I've got Sonar X2 and X3 side by side for mixing (because the pre-X3d-X3 couldn't open some older projects), Sonar 8.5.3 for tracking (because I don't trust the X-series yet enough to use them in "live" situations), Sound Forge (Sony) mostly for analyzing audio clips (that Sonar still can't do thank you very much), Reaper for correcting timing (because AS is a royal PITA) and Presonus Studio One for mastering (because Sonar can't edit ISRC codes or export DDP's).
 
PS. Now that you have VST3 and ARA is it really so difficult to come up with something that tells you the basic facts of an audio clip --- e.g. peak in dB, peak in RMS dB (with a user-definable RMS time window) and avarage in RMS dB???

Oh okay, they have improved the workflow quite a bit. With v3 every single power function started with "first install swa tools and configure the following actions...." UGH.
 
I love the transient detection bars that appear with the slider, that's cool. I do think it's funny that there are several workarounds in their own workflow starting from the very first thing you do. "Create a group. Now turn the group off." Hahahaha Same goes for duping the kick drum track. Also, I see Reaper's continued use of drill-down windows makes it easy to get lost or lose the ability to see your tracks whilst editing. 
 
That said, yup, still beats Audiosnap, which out of all the DAWs has the worst workflow for transient and beat editing. But hey, the bakers listen to us more than I've seen other DAWs listen to their own user base (uh, Cubase anyone?). So the more we kvetch about it the more likely it'll get some attention! (I know, it's terrible to even suggest that).

I would love AudioSnap to work better for me. I always get some transients before the actual hit and the threshold control responds really weirdly. When it first came out during Pro Audio 7 (?) it was a market leading feature and I remember showing it to my Cubase and Logic using friends who were impressed even if it was a little clunkier and less magical than advertised. Since then all major DAWs seem to have come out with a better working solution, to the point where the virtually free Reaper is preferable even to people who already have Sonar.

I'm really hoping for X4 or X3.5 to thoroughly revise AS.

Yep, I have the same phantom maker / random "just before the transient rather than on it" marker issues as everyone else here. For a large kit doing metal with a lot of double kicks, tabbing to each transient on your reference tracks to check where AS has dropped its markers can take as long as doing the necessary clean up after you've quantized. I actually tend to use 8.3 to do most of my quantizing because it's more intuitive to me, although X3 is better than the previous 8.5+ versions I've found.
 
I really like what I'm seeing in that REAPER video, and would love SONAR to have something similar.
 
That's similar to a program I bought ages ago called BeatQuantizer, before SONAR had AS. You could set the threshold levels visually, both the upper and lower threshold, ie: the upper threshold for detecting how loud each hit is and the lower one you can raise to ignore phantom hits from track bleed or ghost notes, etc., like a gate in a way. I'd wager that would solve 99% of those phantom markers AS dumps in before the transient because I've noticed that even a slight, barely audible ripple in the wave is enough to set it off early if there's a period of silence before it.  
 
BQ wasn't quite as elegant as REAPER where you can slide things around and have if all visually show you what's happening across tracks, and it was all offline too so you didn't have the luxury to align it with tracks inside a project, so it was fiddly as anything, but the detection was bang-on every time if you set your levels right.
 
AS is great and sounds fantastic but for me very counter-intuitive and does lack some controls to fine-tune what it's listening for. It would be great to do something similar to REAPER where you can just drag a single marker around and everything would move if the tracks are grouped. It's hit and miss if AS will do that and I tend to find I have to manually select groups of markers to make that happen - frustrating.
 
Hopefully we'll see some AS love in X4. 
 
 

Deleted by me. Pointless and unhelpful comment.