Moving a part from lane to lane without making active???

How can I move a part from one lane to another lane without making the part active? Every single time I click on any of the sliced parts, they instantly become active - whether they are muted or not. All I want to do is manipulate them (change fades, change length, or move them between lanes, etc)… I can’t seem to do anything to any part without making it suddenly become the active part whether I want it to be or not.


Curious about this too… +1.

I need to know this too. It’s such a basic function.

The whole new lane way of working needs looking at - it’s incredibly frustrating to use compared to the V5 version. This, and the issue that copying takes from lanes often creates new tracks just doesn’t make any logical sense.

Just curious as to why you’re moving events between lanes. Now, before you get typing, I must point out in all fairness that I used to do this myself and yes, you get tied in knots trying to keep track of what active by choice and what Cubase has activated by itself (e.g. by moving from lane to lane).

Moving events between lanes can have unexpected results - new lanes appearing, etc, but there’s often no need beyond just having everything visually together. Since I ditched the ways of working that caused these and other peculiarities comping has become a breeze and many (if not all) of the issues I was facing I no longer do.

Lanes seem to work on a fine balance of front/back positions and you mess with it manually at your peril.

As for how to do multiple edits, you can select event(s) without activating them by either lassoing or shift-clicking them (making sure you have nothing already selected, of course!). Then you can adjust fades, slip-edit, etc, quite happily.

+1 to why on earth you get an extra lane when you try to copy, though. Still don’t get the logic of that. But that’s getting OT… (perhaps this old thread of mine could be revived:

Here are some examples:

  1. A guitar lick in the first bar sounds best in the third.
  2. The artist sang a backup vocal on the first chorus only - but it was supposed to be on the third chorus.
  3. A horn solo is cut up into various sections (often bar-by-bar) and reordered to create an improved version.

There are many other examples. These are common occurrences (for some of us).

But that’s moving along the lane, not moving between them. Yes, moving events in time as you describe can be a pain (see that post I mentioned above) but I was querying the need to move them from lane to lane, which is what I understood from the OP. (And still do - I’ve just read it again.)

Hope that clarifies things.

Ah, I see what you’re asking. Moving events from one lane to a different lane, horizontally.

It’s still quite useful to move events this way - particularly when creatively assembling a take in a non-linear fashion. For example, when slicing up a series of jazz horn solo takes. In that sort of “improvised solo” situation, it is not uncommon for me to slice up various individual phrases I like on various lanes, and then move each of my favorite sliced events into a new linear position at the bottom of the screen (in a new lane, beneath the other takes). Only then will I assemble my “final” comp - by auditioning not only the new “composite” take of favorites I’ve just created, but also the artist’s earlier linear takes (in the lanes above), which may still contain useful moments for inclusion in the final comp.

(FWIW, I don’t believe I’m at all unique in this practice - I’ve spoken with many other engineers who use this work flow routinely, and not just with Steinberg products.)


P.S. A nitpick (for the benefit of someone other than you and I reading this)… I think the original poster uses the term “part” when I believe he really means “event” :smiley:. I make this mistake myself sometimes, even though I know the difference quite well. Makes me think - Steinberg should rename “part” to a less ambiguous term.

“Container” comes to mind.