Sonar Notes

For waveform editing, expand the waveform to as large a view as possible by dragging a track's lower edge to the top of the horizontal splitter bar. Note that the Time Ruler here is calibrated in samples; the number to the left of the 'Audio Running' indicator at the bottom shows the most recently selected Now time, in samples. Snap to grid has been set for the highest possible resolution, ie. 'Snap To Individual Samples', and 'Snap to Audio Zero Crossings' is turned off.

Lately, I've been using Sonar to develop sample libraries. I record 'backing tracks' in Sonar so that I can play along with something when creating samples; I think this gives a better 'feel' to the resultant samples, and keeps them locked to a consistent rhythm. Also, I generally save to 'Acidised' WAV format, which Sonar has supported since v2.0.

When I'm recording loops designed for relatively high tempos, I practise at the high tempo, but record the final version at around 90-100bpm, so that it can be time-stretched over the widest possible range (Acidised files sound better sped up than slowed down). As the backing tracks are also Acidised (or MIDI files), shifting tempo during the sample-creation process is not a problem.

What is a problem is bouncing the samples back and forth between Sonar and a digital audio editor for more detailed editing, as the constant shuffling can get tedious. I decided to find out if the required sample editing could be done within Sonar, and although there are definitely limitations compared to working with a dedicated digital audio editor (for example, there's no Pencil-type tool for waveform drawing, calibrations are less detailed, there are no built-in analysis options, and so on), Sonar handily covers the basics. In fact, for some applications Sonar compensates for any deficiencies by streamlining the process required to go from recording a sample to editing, mastering, and ultimately, using it in a track.

This month's collection of tips revolves around using Sonar as a digital audio editor, but most of them have other applications as well.

Sample editing is easier with a large waveform view, so set the Track View pane's horizontal divider so only the main buss is visible at the bottom, whilst the area above that serves as the waveform display (see above).

To be able to toggle between minimum track height and the maximum possible for viewing purposes, first Select All tracks. Then, hold the Shift key, and drag the top track's lower edge so it takes up the entire available waveform view. Release the Shift key, then click each track's Minimise button. Now you can set any track to maximum height by clicking on its Maximise button, and when you're done editing, return to normal size with Minimise.

Zooming around a waveform is easier if you know the following shortcuts:
Zoom out horizontally: Ctrl +
Zoom in horizontally: Ctrl +
Zoom out vertically: Ctrl + Alt +
Zoom in vertically: Ctrl + Alt +
Zoom to marquee: Hold 'Z' key and drag cursor across desired region.
Undo view change: 'U'
Redo view change: Shift + 'U'

As the 'U' and Shift + 'U' commands have histories, it's easy to go forwards or backwards through changes in zoom levels, track heights, and so on. For example, you could use the zoom-to-marquee function to zoom in tight on a suspected click, then zoom back out to look for the next area that might need help.

This is perhaps the most inconvenient aspect of using Sonar for waveform editing, as you can't see the area being selected as you select it — you have to click and drag in the Time Ruler, and then, upon releasing the mouse, see where the region boundaries have landed. Fortunately, you can easily modify this region by holding down the Shift key and clicking precisely where you want a region boundary; the region extends or shrinks, as appropriate, to place the boundary at this point.

The note at the beginning of Beat 2 has been selected as a region for possible normalisation by dropping in two markers, labeled 'Start' and 'End', then clicking between the marker 'flags'. Note also the Insert Marker icon, to which the cursor points.

Similarly, drop a marker at the opposite region boundary. Now, you can select the area between the two markers as a region simply by clicking between the two markers in the strip just above the Time Ruler.

The best part is that you can set up multiple markers at several loop points. I usually create loops by playing the loop over and over for several minutes. After recording is complete, I solo the track and isolate a few measures at a time to see which potential loop sounds best. By marking off the 'candidate' loops, it's easy to compare them: click the region between the markers to select a loop, click on the Set Loop to Selection icon, then hit Play.

After deciding which loop to use, it's processing time. I do this with track effects rather than buss effects, because once all the effects are set up as desired, you can just select 'Apply Audio Effects' from the Process menu and they become part of the audio. After any trimming or other changes, you can then just drag the audio over to the desktop, and there you have it — an edited file, with processing. You can use buss effects, but then you need to go through the slightly more complex Export Audio process.

For parallel effects, you have two choices: instantiate TC Works' FX Machine or BIAS' Vbox under a VST wrapper, or simply clone the track and insert the desired parallel effect on the clone. However, you then need to mix the paralleled tracks together, which requires using the Export Audio function to save the results.

It's best to cut loops to a particular number of samples, but even with other types of audio, precision can be crucial (eg. sound effects for commercials or videos). Sonar allows trimming down to individual samples (see right).

If you have a non-rhythmic sample (eg. a sound effect) and want to cut it to a specific number of samples, seconds, or measures:beat:ticks, right-click on the clip and select Split. In the 'Split Clips' dialogue box, choose the time format for the split point, and where you want the split to occur. For example, if you want to split at 211, 680 samples (exactly eight beats at 100bpm), enter 'Samples' for 'Time Format', and enter '211,680' under 'Split at Time', as shown above.

Before getting too much into trimming, note that processing a track can cause a slight delay at the track start. I've tested various plug-ins and their inherent delay varies quite a bit, from no delay to a couple of dozen samples. So after processing is complete, I head back to the track start, look for a flat line from the beginning to where the signal starts, cut that section out, then slide the loop over so it begins at zero time.

After you've isolated the desired region, trim it. Turn on 'Snap To Grid', set it for 'Musical Time: Whole', make sure 'Move To' is still ticked, and check that 'Snap to Audio Zero Crossings' remains unticked. But remember that Sonar usually edits non-destructively, so if you plan the drag the clip into another folder (or wherever) to save it, you first have to decide how you're going to trim the clip. There are two ways. Firstly, you can 'slip-edit' the clip by dragging the start and end toward the region's left and right boundaries respectively. Note that this clip should not be enabled for looping. Select 'Apply Trimming' from the Edit menu, and anything past the selected region will be discarded. Saving the clip then saves only the remaining region. This approach works best for non-looped pieces of digital audio.

The second method also requires 'slip-editing' to the desired length. But this time, double-click inside the clip, and the Loop Construction window opens. Specify the number of beats in the clip, and Sonar will ask if you want to discard hidden audio beyond the slip edit points; say yes. This process is preferable when you want the region to end up as a loop.

When a loop repeats, the splice needs to be seamless. This requires that the start and end levels are identical (it's a misconception that these have to be at zero; they can be any level that's equal. However, matching levels to zero is easiest). The simplest way to ensure this is to add a very quick fade-in and fade-out to the clip. The optimum time seems to be about 2-4ms, or around 80 to 100 samples at 44.1kHz.

After drawing the fade-in and fade-out, loop and play the clip to make sure there aren't any clicks or pops. Some loops may need a little more of a fade, or the concave instead of convex fade curve (experiment — that's why there's an Undo function!).

To save this fade with the click, click on the clip to select it, and select 'Bounce to Clip(s)' from the Edit menu. You end up with the same clip in the same place, but this time, with any fades you added. Drag it off Sonar, and the saved clip includes the fades.

Read the March 2002 Sonar Notes, which tells what to do with a clip once it's sitting in the Loop Construction window. The main point of this month's column was to get us to the point where we had something worth Acidising, and perhaps more importantly, trimmed exactly to the beat, processed, and de-clicked.

Current Versions     Sonar/Sonar XL: v2.1.