input ONLY monitoring Sonar 7 studio or Sonar X1 Producer

What kind of audio interface are you using? Even a half decent Audio Interface should feature input monitoring.

What you're talking about is implemented in SONAR as track layers, basically multiple clips stacked onto a single track. It's most often used for recording multiple takes of a part, like playing a part over and over until you get it right, or making multiple passes so you can pick and choose the best bits from each (called "comping"). Each layer can be independently muted or soloed, or, in loop recording mode, automatically silenced before each new take. Search on "track layers" in the SONAR 7 help file to get the scoop.

Thanks for the help guys.............the problem I have is that I'm a bit old school, having been working in studios and producing records in the UK for more than 25 years.

My current set up is based around 2x24tk Mackie Hard disc recorders, which in the main, work in the same way to the  traditional 2" tape analogue multitracks I used previously. So when recording you have the following 2 types of input options.

#1. Auto-input. Once the track has been armed (record ready) The input signal is heard when transport is stopped. In playback you will hear what has previously been recorded and when you punch into record whilst rolling you will again hear the input signal. This is similar to checking the dialogue box 'disable input monitoring during playback' in the Sonar preferences.

#2. Line-In monitoring when track is armed. This option on traditional multitracks means that you will hear the input signal only, whether in playback, record and when stopped. Where this has always been useful, is for instance, if you are laying down a guitar and are happy with what you've put down in the verses but want to come up with something different for the choruses, switching to 'Line-In' monitoring enables you to rehearse/work out the chorus guitar part, without the need to hit record (as you can't hear the previously recorded material) and when you're ready you can just punch in/out of the track to lay down the chorus. This saves you the hassle of having to comp layers together afterwards. It also helps when recording vocalists, as when looking to punch in you can start playback in 'auto-input' mode so the vocalist can identify where play is started. Once the vocalist starts singing along you can switch to 'line-in' input so the vocalist can 'tune-in' so when you eventually hit record the vocalist is in his/her stride. (I'm not sure if you record on a different layeryou will be able to let the vocalist hear some of there previous recording as it will be on a different layer. Any advice here is welcome)

Although I have used Sonar for some time it has mainly been for midi sequencing, but as time has gone by I have been using more soft synths and virtual instruments in sonar. This has made me realise that there is so much more flexibility working just within sonar so I am looking to throw out my hard disc recorders and upgrade my DAW. So I am currently exploring the audio recording side of sonar.  

So what I would really like to know is if I can replicate #2 above in Sonar X1 Producer. I have a feeling that the answer may be what Cactus Music may be saying in regards to the soundcard, but if anyone knows how to do this within Sonar it would be extremely helpful.

Sorry if this message is a bit long winded

stab


I use a Behringer F-Control FCA202 firewire interface that I accept is a low end unit. However I am about to upgrade to a Focusrite loiquid saffire 65.

Just to be sure, I can hear my input signal by depressing the input monitoring switch in the trackview window. The problem is that when in playback, sometimes it would be good if I could be hearing just my input signal when the input monitoring is on and not the recorded audio that is already on the track at the same time.

Is it your view that a better soundcard would eliminate the problem I have?? 

It is one way to achieve your objective. An audio interface that has input monitoring that is separate from the Sonar Program gives you more flexibility. As Cactus Music pointed out, you can blend the input signal with the playback audio from Sonar. When this is set to get the balance you want, you will hear both the input signal and the playback signal. If you only want to hear the input signal and not the audio from the track, just mute the track. You will still hear the input signal along with all the other tracks that are playing back. Another advantage to input, or direct, monitoring is that anything you listen to with input monitoring will have zero latency, since you are hearing the signal separate from the computer and there is no processing delay. Usually this will be a dry (no FX) signal but more sophisticated devices allow you to add FX to the direct monitored signal (that will not be recorded). Very handy for vocalists.


As bitflipper posted, you can also use multiple layers, or tracks, to give you the option of hearing the input, but not previously recorded audio. That is something that would be to your advantage knowing so I suggest reading up on, and experimenting, with that.

stab


Thanks everyone......I'll experiment with a few things tomorrow when at my studio and let you know how I'm getting on. It seems this is one area where modern technology is causing a problem. It used to be so simple!

Most things seem easy after you learn how to do them. I'm guessing it won't be long before you're thinking "why did I think this was difficult?".

Also speaking as a fellow dino! I tried hard to adapt to using a DAW ( Guitar Studio )in the early 2000's but always through in the towel because like you I could not get over my old ways of recording with hardware. The worst was I only had a Sound Blaster Audigy which I bought thinking I had a $300 sound card so it must be good! But that resulted in (as we are now aware) nothing but troubles. And monitoring was one of the nightmares. There was always a delay and everything I recoded sounded out of sync. So I returned again to my Yamaha MD8 and an Atari for MIDI. The Atari died 4 years ago so I now had no choice.I bought Sonar 7 and an M audio FT Pro and dove in. It took a year to finally stop complaining and start enjoying the new freedom. Our prior knowledge of recording is a huge asset and you'll find certain rules still apply, signal path and headroom are weird but still apply. Meters and Faders still do what they always did. But as Dave is saying you no longer worry about track count or how much recording media you are using, it's now free and almost unlimited. Just decide how many inputs and outputs you need and spend a little more to get the good stuff. The only interface I've never heard any negatives about seems to be RME.