UPDATE JUNE 1st: Ripple Edits in development!! :-)

Original Request:

Editing a region of the timeline (i.e all tracks and clips within that region) such that it is either deleted or moved elsewhere should accomplish the same result as if we were editing/deleting/moving a region of a stereo wav file.
 
This means that Sonar will have to do some housekeeping with elements that occur before, during and after that region, such as tempo changes, time signature changes, envelopes, markers, clips across boundaries, clips within and beyond the region, etc.
 
I am using gbowling's description for how to accomplish this as described in this link (click here)  

There a few housecleaning chores that sonar would have to do to accomplish this. Any markers, tempo changes, whatever should be anchored to wherever they were in the song and move with the rest of it. If a midi note was cut in between a note on and a note off, then a new note on would be at the cut point (because in the song that note was ON at that point) and the note off should remain at the same place it was. So now the note is shortened. If you remove a section where the tempo is ramping, it should remove whatever piece of the ramp which will require re-positioning some things in the tempo map. But at the end it should play JUST like it would be if you cut the hole out of the rendered stereo wav file. 
 

Basically I do this manually but it is a lot of work and a lot of steps that I outlined in that thread (click here).  Sometimes I may even render all the clips such that they are all the same length, but this seems overkill and should be unnecessary.
 
I hope everyone agrees this is a fundamental feature and that it will benefit us all to have all forms of editing a section to be made that much easier (especially when there are tempo and time changes).  And thanks to sharke for bringing this up again on the forums (click here)

In general I think this is a good set of logic to make the behavior predictable.
 
However, there is one part that I don't necessarily agree with, and that is the inserting a new note on where the break is.  If you have a long duration note which modulates or changes over time, or has a very distinctive attack, it may not be appropriate to have a note on signal at the break.  I would prefer that the notes be deleted completely as it makes far more sense from a musical perspective.
 
The other thing that needs to be sorted out is what the anchor points are - start of song, end of song (although I am not sure Sonar recognizes such a point) or some other point (marker?)
 
I am definitely all for simplifying this procedure, but it is a bit more complicated that it appears on first glance.

The anchor points would be at the boundary points of the region. I currently add these manually so that tempo and time changes don't go haywire when I cut and/or paste sections.

But it seems to me like Sonar should just know to do this

VariousArtist
The anchor points would be at the boundary points of the region. I currently add these manually so that tempo and time changes don't go haywire when I cut and/or paste sections.

But it seems to me like Sonar should just know to do this

Thanks for the clarification.  However, that may be the way you want it to work, but others may want it to be the start or the end of the song.
 
In the end, though, we all predictable and logical behavior of this and, as long as the logic make some sense, we can work with the tool.  Hopefully we can get there.

dwardzala
However, there is one part that I don't necessarily agree with, and that is the inserting a new note on where the break is.  If you have a long duration note which modulates or changes over time, or has a very distinctive attack, it may not be appropriate to have a note on signal at the break.  I would prefer that the notes be deleted completely as it makes far more sense from a musical perspective.

Agree that a new "note on" might have some different qualities, but deleting the note all together completely removes a sound that would have been there in the stereo wav file example. 
 
Having said that, I'm not sure it matters to me either way. If you add a "note on" at the cut point and don't want it there, it's simple to delete it. If you remove it and find that you need it there it's also simple to add it back in. Although adding it back in requires you to go figure out what the note was, whereas deleting it doesn't.
 
So I'm good either way, it just need to be explained in the documentation which one it is. 
 
gabo

What I don't understand, really, is why this works so perfectly in 8.5?? 
I just tried the same project which became a big mess in our latest flagship version of Sonar, and opened it in 8.5 on my old back up DAW machine. The operation worked flawlessly and took no time at all. Why do the new versions make a mess of re-arranging songs?? Is this as stated, the addition of take lanes??  
 
The project was only using the TTS-1 for some brushes and a string pad. The rest was 3 tracks of acoustic guitar, real bass, 2 vocal tracks. 
There was no worry about time or measures as the song was done sans click track. 
There was a few volume envelopes but no changes happening any where near the split points. 

^ Not sure if it worked in Sonar 8.5 the way this feature is described but it's possible that some aspects were "better" (such as the delete hole issue I have if MIDI tracks contain no clips in the affected region).  But I am hoping for a major update which allows me to "toy" with the arrangement in Sonar just as if I was toying with the arrangement of an exported WAV file of that music.

This seems like it could be related to this other thread in the SONAR forum: http://forum.cakewalk.com/We-REALLY-need-some-easy-way-to-remove-time-from-a-project-m3374452.aspx
 
If so, I like the idea of a "treat the selection as though it were a simple stereo waveform" set of defaults, with options for overriding the behavior of specific elements; e.g., Tempo Changes, Time Signature Changes, Markers, Automation, etc..   That should make the default behavior more predictable, with some additional flexibility for those cases where the default is not what someone wants.   Heck, I'd take the default only option as a short(er) term first step, with the additional options added later...   with a warning of what to expect if one does not want that stereo track behavior.  
 

I'm adding a couple of links to other threads that seem to be in the same ballpark as this request.  Hopefully we all agree that there is some relationship between requests and, more importantly, these add weight to the overall value of the request and its scope.
 

razor:
http://forum.cakewalk.com/Clean-Measure-Delete-m3385786.aspx
 
jkoseattle:
http://forum.cakewalk.com/Rant-Trouble-inserting-bars-in-the-middle-of-a-piece-m3391901.aspx
 

The functionality of the markers has no bearing on the musical material it is marking, and there's the problem. It's not like you're telling Sonar "This marker is where the verse starts", -- though I would argue that's a major use case for markers -- you're telling it "This is a name I'm giving to 17.4 seconds into the project". The markers and the clips need to have an open communication between them, so that I can create a marker, and clips somehow "belong" to the musical segment I'm defining by that marker.
 
Now that I think on it though, aren't I really talking about two different kinds of marker entirely, because there's great value in being able to mark 17.4 seconds in regardless of what music is happening at that moment. 
 
So I think we're talking about a new variety of marker, whose purpose is to mark things musically, rather than chronologically.