Anderton
brundlefly
neirbod
I can copy and paste fine, and put the new hit into a new lane so I can use the old one as a reference. But pasting immediately hides the overlapping section of the first lane so I can't use it as a reference. If I drag the edge of that clip to see the old hit, it disappears again as soon as I move the copied one.
I'm not understanding the problem exactly. If the copied hit is in a parallel lane, you should be able to line it up in advance and then just Shift+drag it to the other lane (Shift preserves timing). Since SONAR doesn't allow same-lane overlaps, it will automatically slip-edit the original flubbed hit out of the way. Done.
That's what I would suggest as well. Neirbod, are you using the crossfade tool that's part of the comping toolset? This hides and moves things in unwanted ways if you're just doing editing and not Sonar's specific comping workflow.
Thanks for your thoughts. I found a workaround that helps. To be more clear about the issue, say you have already comped and have just a single take, and now want to copy and paste a note from one section to another. Paste the copied note, drag it to a new lane, and then move the edges of the original take (which now has a hole where the pasted note was) so you can see the flubbed note and use it as a timing reference. So far so good. The issue I had was I would then drag the clip for the new note to adjust the timing, which immediately resulted in recreating the hole in the original take. The solution - use the "move data within a clip" feature of slip edit instead of moving the clip itself. This leave the original take visible. Once lined up, you can collapse the lanes and use crossfading on the track to make the edit seamless.
Three thoughts that may be useful in developing this article, and more generally for those trying figure out how to edit using them:
1) I found that "move data within a clip" is essential for editing within take lanes. I rarely used this with layers, instead moving entire clips and then using layers' good tools for trimming edges of overlapping layers. With lanes, using this approach I would get lots of tiny clip fragments and small gaps between. Moving data within clips is much better for my workflow.
2) The tools associated with editing with takes expanded vs. collapsed are quite different which can result in confusion (at least for me!). For example, some powerful crossfading tools within lanes are simply not available with lanes collapsed, and auto-crossfade works only with lanes collapsed. That being said, each has strengths and you can toggle back and forth to use the best of each. In the example I gave above, I found the best workflow is to copy/paste and adjust timing with lanes expanded, then create the crossfades with lanes collapsed to take advantage of "auto crossfade", and then make any fine adjustments to the crossfade with lanes expanded again due to the nice tools available (e.g., one can move the timing of the entire crossfade as a unit in lanes, but not in the parent track).
3) In general, while comping and editing steps can be combined I find this can be quite confusing and result in clip fragments and gaps. For me, I try to comp first (perhaps making a minor edit or two at this stage) and only begin editing once you have a single comped take to work with. Of course not all mixing is this linear, so sometimes you may want access to a different take once you are deep into editing. So, prior to comping I duplicate the entire track(s) with all reasonably good takes and archive it so I have everything available if needed even if I am deep into the editing phase.
Looking forward to the article, Craig.
Cheers,
David