craigr68
I'm missing something here.  I think I'm good to step 5.  I have my Matrix set up with sounds in a couple rows.  From doing midi learn, I can trigger the sounds and hear them from midi keyboard (chan 16).  
 
In step 5:
I have the midi track input set to my midi keyboard transmitting on Chan16.  
Output is set to 06.Internal which is checked as midi output in preferences.  (The directions say "Output to LoopBe Internal MIDI")
If this is correct, how does the Matrix get the midi data from this output?
I did record some midi notes in this midi track and can verify them in Event view but the Matrix is not being triggered.    
 
(Note: I have loopbe30 - I'm using 5 ports and 06.Internal port is free and available as input or output.)
Very useful tip if I can get it working.  Thanks.
 
 

I don't know about LoopBe3o, but in the following:
 
Output is set to 06.Internal which is checked as midi output in preferences.  (The directions say "Output to LoopBe Internal MIDI")
 
The track output should be set to LoopBe Internal MIDI, and you need to have the corresponding LoopBe port enabled in preferences for In and Out.
 
If this is correct, how does the Matrix get the midi data from this output? 
 
It all happens internally...it's similar to Apple's IAC. In other words, magic  

Thanks.  I got it working.  Didn't realize you'd need both in & out for that virtual port enabled.  I did temporarily cause a midi loopback situation which may have broken Space Time temporarily, in case you felt a tremor.  Fortunately I had "Enable Shortcut Detection" enabled in loopbe30 which saved the universe.

Glad it's working for you. It's probably worth noting that if there is a MIDI feedback situation, LoopBe will turn itself off and stay off until you re-enable it.

Week #160: Cut Audio Groove Clips Into Slices—Easily!
 
REX files are inherently sliced into little pieces, because that’s how the REX time-stretching process works. As a result, it’s easy to treat these slices as individual clips. Groove Clips, aka Acidized files, use a different stretching technology that places markers at transients, and uses DSP to provide the stretching. This allows for following pitch markers, as well as far better-sounding stretching with some types of audio files (e.g., you can’t really stretch pads or sustained sounds with REX files; you can with Groove Clips). However properly stretched Acidized files typically have a lot more transient markers than REX files, which makes anything that does automatic assignments messy and unnecessarily complex.
 
But wouldn’t it be great if you could treat Groove Clips like REX files, and extract individual slices quickly and easily? And then drag them into the Matrix View Sampler covered in last week’s tip, or some other sampler (like Sessions Drummer 3) if you want? Well you can…here’s all there is to it.
 
1. Bring a Groove Clip into the Track View, and place the Now Time at or before the clip’s beginning.
2. Every time you hit tab, the Now Time lands at the beginning of a Groove Clip slice.
3. Type S to split.
 

 
4. Repeat steps 2 and 3 until the desired slices are individual clips.
 
You can now drag the slices into other tracks, the Matrix View Sampler, Session Drummer 3, etc. The following video shows just how easy this is.
 

 
But wait! There’s more!!
 

• To audition a slice prior to dragging it into something, click the slice to select it, and then hit Shift + Space Bar.
• If you encounter clicks at the beginning and/or end of slices due to cutting on non-zero crossings, no problem. Select all the slices, and add a very short (a few milliseconds) fade time to the beginning and end of one slice—all selected slices will now have short fade times.

if you download uvi workstation (which is free) it will map the slices of an acid loop straight to the keyboard, also
 
if you have battery you can load the acid loop straight in and it will map the slices straight to the pads.
 
alternatively you could also use the tx16 sampler (which is also free) and drag your loop in, set hit points and select map slices to the keyboard to play out the slices.
 
no need to be tabbing, splitting, dragging each individual slice to each individual pad in session drummer or matrix view if you use any of the above.

ljb500
if you download uvi workstation (which is free) it will map the slices of an acid loop straight to the keyboard, also
 
if you have battery you can load the acid loop straight in and it will map the slices straight to the pads.
 
alternatively you could also use the tx16 sampler (which is also free) and drag your loop in, set hit points and select map slices to the keyboard to play out the slices.
 
no need to be tabbing, splitting, dragging each individual slice to each individual pad in session drummer or matrix view if you use any of the above.

Okay, but you're missing the point. I have Battery (I wrote the manual for it), and know how to do automatic mapping. But I don't WANT slices mapped automatically to a keyboard or drum pads, particularly because I know how to create Acid loops that can stretch over a very wide range compared to many commercial libraries. This involves putting in extra transient markers in ways that I've discussed previously. Ultimately it takes me much more time to fix "automatic" mappings in order to turn them into something useful, as opposed to just getting it right at the source.
 
For example with a sustained sound that has transient markers in the middle to prevent "wobble" when stretching, there's no way automatic mapping will preserve the sustain. So after doing your "automatic" assignment you have to go to the source file, open it in your DAW, isolate the sustained section, cut it, delete the spurious clips that spilled over to other pads, then replace the first slice with the file you just created.
 
Using the method described in the tip, you can see in the Loop Construction view exactly where the slices fall, define the slices exactly as you want, and audition an individual slice easily before deciding whether to drag it into a pad. Furthermore, with SONAR's loop construction window, you can alter the gain, pitch, and panning of individual slices prior to slicing up the file. With some playback instruments you can do this at the pad itself, but it's better to make these changes in the context of hearing them with their associated slices, rather than creating a sequence to play back your pads, then going into each pad and making the adjustments after the fact.
 
Yet another advantage is that by working on the file itself in Track View, you can eliminate clicks from non-zero crossings simply and quickly. There's no need to set attack or decay times for individual pads.
 
The easiest way to do something is not always the best way. I'm sure there are many SONAR users reading this who have wanted to be able to exert far greater control over handling slices and assignments than the options you've mentioned, and now they can.

Nice tip again, Craig. I still haven't gotten around to using the MV, but will sooner or later 
All the best.

So there wouldn't be a misunderstanding about why I limited this tip to audio Groove Clips, I added the following at the beginning for those not familiar with the difference between REX and Acidized files: "However properly stretched Acidized files typically have a lot more transient markers than REX files, which makes anything that does automatic assignments messy and unnecessarily complex." That should help.

Nice tip Craig. Like Zargg I need to take another fresh look at Matrix View. To ljb500 : there are a lot of ways to do 'this'. Phatmatik Pro used to be my favourite tool for this but alas is only 32 bit and has been retired. I think the built in (maybe not anymore?) Cyclone does it too as long as the loop is acidized before import. But automapping each slice is less helpful than selecting only desired slices and mapping those specifically to desired midi keys or using the slices elsewhere.
Nice!

Anderton

ljb500
if you download uvi workstation (which is free) it will map the slices of an acid loop straight to the keyboard, also
 
if you have battery you can load the acid loop straight in and it will map the slices straight to the pads.
 
alternatively you could also use the tx16 sampler (which is also free) and drag your loop in, set hit points and select map slices to the keyboard to play out the slices.
 
no need to be tabbing, splitting, dragging each individual slice to each individual pad in session drummer or matrix view if you use any of the above.

Okay, but you're missing the point. I have Battery (I wrote the manual for it), and know how to do automatic mapping. But I don't WANT slices mapped automatically to a keyboard or drum pads, particularly because I know how to create Acid loops that can stretch over a very wide range compared to many commercial libraries. This involves putting in extra transient markers in ways that I've discussed previously. Ultimately it takes me much more time to fix "automatic" mappings in order to turn them into something useful, as opposed to just getting it right at the source.
 
For example with a sustained sound that has transient markers in the middle to prevent "wobble" when stretching, there's no way automatic mapping will preserve the sustain. So after doing your "automatic" assignment you have to go to the source file, open it in your DAW, isolate the sustained section, cut it, delete the spurious clips that spilled over to other pads, then replace the first slice with the file you just created.
 
Using the method described in the tip, you can see in the Loop Construction view exactly where the slices fall, define the slices exactly as you want, and audition an individual slice easily before deciding whether to drag it into a pad. Furthermore, with SONAR's loop construction window, you can alter the gain, pitch, and panning of individual slices prior to slicing up the file. With some playback instruments you can do this at the pad itself, but it's better to make these changes in the context of hearing them with their associated slices, rather than creating a sequence to play back your pads, then going into each pad and making the adjustments after the fact.
 
Yet another advantage is that by working on the file itself in Track View, you can eliminate clicks from non-zero crossings simply and quickly. There's no need to set attack or decay times for individual pads.
 
The easiest way to do something is not always the best way. I'm sure there are many SONAR users reading this who have wanted to be able to exert far greater control over handling slices and assignments than the options you've mentioned, and now they can.

Fair enough, now you have pointed out the differences people will be able to make an informed decision as to which method will best suit their requirements and workflow.