CAKEWALK sonar x3, Reference Manual

Page: 393 / 2094

393
Comping
Arranging and editing
Basic comping workflow
When comping, you will typically use a workflow that looks similar to this:
1. Record multiple takes to separate Take lanes. You can manually record to one Take lane at a
time, or set up loop recording to automatically create a new Take lane for each repetition. You
can also import loops. For details, see
“Recording takes” on page 394.
2. Click the track’s Expand/collapse Take Lanes button (or press SHIFT+T) so Take lanes are
visible.
3. Audition takes to identify which takes you want to keep or delete. You can mute and solo
individual Take lanes, or audition only the selected clips or time region by pressing
SHIFT+SPACEBAR. For details, see
“Auditioning takes” on page 396.
4. Mute or delete any takes you are certain you don’t want to keep. When you are left with two or
more good takes, it’s time to pick the best parts from each take and combine them into a final
composite track.
5. Using the Smart tool or Comping tool , click or drag across the takes you want to keep.
SONAR automatically mutes all other overlapping takes on the same track. For details, see
“Comping with the Smart tool and Comping tool” on page 400.
You can also use speed comping for even faster workflow (see “Speed comping” on page 404).
6. Fine-tune the comp, if necessary by adjusting clip start/end times and cross-fades. For details,
see
“Adjusting crossfades” on page 407.
7. Finalize the comp by right-clicking the Comp clip and selecting Flatten Comp on the pop-up
menu. For details, see “Finalizing the comp” on page 411.
8. Delete any unused takes or empty Take lanes. For details, see “Removing all unused takes and
empty Take lanes” on page 413.
See:
“Recording takes” on page 394
“Auditioning takes” on page 396
“Comping methods” on page 397
“Comping with the Smart tool and Comping tool” on page 400
“Speed comping” on page 404
“Adjusting crossfades” on page 407
“Editing Comp clips” on page 408
“Finalizing the comp” on page 411
“Removing all unused takes and empty Take lanes” on page 413
“Comping” on page 391
Note: The original takes are still available after you flatten a comp. This allows you to experiment
freely and create unlimited alternative comps for each track.