Every February, a group of folks who can be described as ambitious, crazy, or some combination of the two undertake a challenge that few of us have ever considered. The challenge itself, at least in description, is simple. In twenty-eight days, or twenty-nine in this case, an album must be written and recorded in its entirety. Pre-existing material is not considered eligible, nor are covers. Yet despite this seemingly insurmountable workload, this challenge grows in participation by the year.
The challenge in question is known as the RPM Challenge. Created by the New Hampshire alternative newspaper The Wire in 2006, the RPM Challenge has proven year after year to be an irresistible hurdle for an ever-growing number of songwriters. After giving them some time to rest, we spoke with some SONAR users who participated in the 2016 edition of the challenge to get their take on the experience.
Matt O’Grady participated with his project, The Wasted Miracles. Citing an immense amount of support from the RPM community via their forums and blogs, Matt has actually participated in multiple RPM Challenges. He finds the process to be exhausting (fair enough) but also incredibly rewarding. “Even the years in which I haven’t completed the challenge, I’ve walked away with one or two more songs than I normally would have,” he added.
Gary Fox also took part, and as someone who thrives under pressure he particularly enjoyed the tail end of the process. “I enjoy the marathon recording sessions of the very end. This tends be when the random moments of inspiration happen, where an idea for a part of song just kind of occurs that make the entire song,” he said, adding that after conferring with fellow RPM participants that this is a common experience. Continue reading Completing the RPM Challenge with SONAR
While there have been hundreds of fixes and enhancements added to SONAR since X3, we’ve compiled this list of the ones we think X-Series users will be particularly fond of.
Fixed clip & metronome placement during loop record
Fixed complex looping scenarios
Fixed MIDI issues during audio loop recording
Mute Previous Takes no longer interferes with Comping mode
Improved transient detection
Speed improvements when editing MIDI in PRV
Improved drag selection
Improved editing with the Smart Tool
Improved Lasso for audio transients at all zoom levels
Edit > Select > From/Thru no longer clears selections
Fixed Delete Hole issue when selecting empty measure in Track View
Fixed issues with Shift+Click on audio clips
Improved clip behaviors when using auto crossfade
Improved clip dragging graphics and offset handling
Improved note selection in PRV
Improved Melodyne behavior after setting region
Sends now feed side-chain on project open
Fixed jumps when rewriting automation
Fixed VST3 behaviors in Clip FX bins
Improved console view EQ display
Fixed Dim Solo issue when using instrument tracks
Fixed plug-in output errors
Fixed plug-in removal issue on Simple Instrument Tracks
Chris Broderick has been focusing on his band Act of Defiance and their new record on Metal Blade Records. “We recorded all vocals, cello, lead, rhythm, classical and acoustic guitars at Ill-Fated Studio’s in Los Angeles, CA on SONAR Platinum. The features we gained upgrading from X3 to Platinum really helped us capture this new record.”
Audio / MIDI Engine
Fixed intermittent crash when switching driver modes
Fixes to Bounce to Clips for MIDI
Fixes to the Arpeggiator Preset workflow
Improved MIDI input port detection
Fixed layout issues when removing icon from header
Fixed muted waveform drawing
Fixed waveform draw with tempo changes
Improved waveform draw on Groove Clips
Fixed waveform redraw on cropped clips when dragging
Improved clip fade waveform
Improved scroll in Console View
Improved Timecode unification in all views
Improved Track Folder grouping
Improved workflow when changing a Screenset
Norman Matthew of the band Murder FM not only used Platinum on his recent record produced by Beau Hill, but his band is also using it live on tour. “Platinum is ridiculously stable. Our show has developed into something more dynamic–and we like triggering some sounds that we used on the record on tour. SONAR Platinum works so well for us on stage as well as in the studio.”
Controller pane no longer resets size when switching tracks
Drum Pane now persists when re-opening PRV
Fixed PRV piano keyboard collapse when PRV maximized
Fixed right-click snap in PRV
Fixed Show/Hide state in PRV Track Pane
Other Views – LCV / Lyric / Marker / Meter etc.
Fixed orphan window in projects opened from Playlist
Fixed Screenset recalls
Fixed Take Lane rearrange on undo
Fixed vertical zoom behaviors when hiding tracks
Improved double-click behaviors on MIDI clips in Track View/PRV
Improved Step Sequencer behavior when using a clip assigned to a drum map
Fixed bounced clip time base reset problem
Fixed Now Time marker movement when pressing Pause
Fixed silent drum map note issues after tempo changes
Fixed a crash when trying to open a moved project from recent file list
Fixes to BitBridge which could cause a project to hang on closing
Improved recall of Remote Control for synths
Javier Colon, winner of NBC’s The Voice continues his lifelong musical journey with a new record deal and album coming out on Concord Music Group this spring. “I’ve been using SONAR for a long time, but going from X3 to Platinum was the best upgrade I’ve had. Platinum was like a writing partner for me with this new record.”
SONAR and other DAWs are used heavily to produce high-quality recordings, while other people use SONAR as part of a compositional process. I find that most of my SONAR usage is a little different, processing live recordings tracked in a concert or club setting. This usage presents various problems that aren’t as apparent in a controlled studio setting. This blog will present a workflow and various SONAR features I have found valuable when processing live recordings.
In most cases, my primary objective is to produce a recording that the musicians can study in order to improve their performance.
In some cases, the performance and production quality will be high enough to serve as demo material to promote the group.
I try to deliver a mixed and mastered copy to the musicians within 48 hours, while the event is still fresh in mind, so speed and efficiency are very important.
Often a musician will ask for a further edit on one of the songs, for example, to include in their personal résumé. Flexibility and ability to recall settings are important.
Years ago, I did such projects using Audacity, which seemed adequate at the time. However, expectations have changed radically.
Today many musicians have a low-cost stereo field recorder such as the TASCAM DR-40.These recorders are the equivalent of point-and-shoot cameras. For around $100, they can produce remarkably good quality under ideal circumstances.
This has become the baseline against which many musicians judge other live recordings. Even though I want to produce quick results, if I can’t do substantially better than a TASCAM DR-40, for example, then I am wasting my time (I should note I love those small field recorders and often use them too, but that is not the subject of this blog).
Fortunately, with SONAR I have found a work flow and a set of “go-to” features that allow me to do much better than a stereo field recorder almost every time, using only the microphones that are already placed for the live PA system.
Alex ja Armottomat (Alex) visited my recording studio in February. We had five days total to do a fully mastered CD, make promo photos of the band, and record live video footage in the studio for later editing. I’ll describe here how one of the six songs was recorded and mixed.
Drums, bass and the electric guitar were recorded live with one to three takes. Acoustic guitar and demo vocals were recorded, too, but they were re-recorded later over the backing tracks. The drummer was the only one to hear the metronome (standard SONAR audio metronome, time signature set to 1/4); the others had eye contact with the drummer. Although the guitar amp was in another room (the bass was recorded direct), there was no spill other than a faint demo vocal in the drum room mics.
Time is always an enemy when you have to record many songs in a limited amount of time. I decided to make decisions before pressing the R (record) button rather than leaving everything to the mixing phase. I applied EQ to kick drum, drum room and the acoustic guitar before A/D conversion. One of the phrases I hate is: “This sounds like crap now but it hasn’t been mixed yet.” Some people really think that everything can be fixed in the mix! (Although to be fair you often can, because in SONAR we have VocalSync, built-in Melodyne, built-in drum trigger, and AudioSnap).
And although it sounds incredible, now it’s even possible to upload songs from SONAR to the LANDR online mastering service and instantly hear a preview of how the song would sound as mastered. Hearing the demo master may help you to improve the project’s mix. Continue reading panup: Studio Session & LANDR Test
At some point, nearly every mixer has experienced this:
“My mix sounds great, but this mix by (Bob Clearmountain, George Massenburg, Joe Barresi, etc.) sounds so much wider… How do they do that?”
Aside from the highly classified mixer voodoo magic that they still swear isn’t real, there are a number of techniques you can employ to get a little more width out of your mix.
I already know what you’re about to say: “But I pan my parts hard left and right, and it still doesn’t sound wide enough.” I struggled with this for a long time myself, but trust me, panning is listed first because it’s the first step toward a wide mix.
If you’ve got things hard-panned, you’re already halfway there. One trick to making this work is contrast; if everything is hard-panned, there’s no point of reference for what is narrow or wide.
EXAMPLE: In a rock or metal mix, it’s fairly common to find extremely wide guitars. What many folks don’t notice is that the drums are not always quite as wide.
A pretty standard template for me is: guitars panned hard, drum overheads panned at about 50%, and if applicable, the drum room track at about 60-75%. This makes for a full stereo field and helps isolate the parts, creating a very wide image of the guitars while still having good stereo separation for the drums. It also helps prevent distorted electric guitars from eating up all that gorgeous drum ambiance you worked so hard to track perfectly.
Contrary to the above, I’ve heard a lot of folks swear by what’s known as “LCR Mixing,” or Left-Center-Right mixing, where – you guessed it – everything is either panned, hard left, center, or hard right.
I personally am not a major advocate of LCR Mixing, but I highly encourage everyone to try it out. It might work for one song or one style, but not another. If nothing else, it’s an excellent starting point in helping you quickly decide the rough stereo placement of each mix element .
And of course, never forget about automation–the most important part of any mix, in my opinion. Try panning a stereo track to about 80% width, and then at an appropriate point in the song, bump it up to 100%. I guarantee this will add apparent width to your mix.
This goes back to contrast — you’re listening to the song and at its widest point, it’s at 80% width. Your ears believe that everything is as wide as it can be. Suddenly, everything gets wider and the apparent stereo width seems enormous! I’m not saying go crazy and use this trick all the time, but try it out and hear the effect for yourself.
Sometimes EQ can help you make your mix sound wider. And you’re probably thinking, “how is adjusting frequency content going to expand stereo width?” Well, technically it’s not…
It’s a psychoacoustical phenomenon that causes a bit of separation of the parts, making their perceived width much greater. That’s right, it’s not real. But we can fool our ears into thinking we’re actually adding width.
Here’s what to do: take a look at your left guitar track and find a place in the midrange where you might like to boost. Let’s say just for example’s sake, that we’ll add 2dB at 600Hz. Now we’re going to find another frequency and cut it: -2dB at 2.8kHz (again, just for example).
Now, go to your right guitar track and do the opposite: -2dB at 600Hz; +2dB at 2.8kHz.
Be careful — I wouldn’t add or subtract any more than about 2 or 3 dB here lest altering or totally destroying the tone (trust me, the guitar player will hear it and reveal his or her darker side very quickly). Make an adjustment that’s just enough and you’ll trick the listener into hearing an expanded stereo width.
This is how you get a mix to sound like it’s actually wider than the speakers themselves. It became ubiquitous in the 80s, but much like gated reverb, it’s used more tastefully in modern mixes.
First, a word of warning: this can completely dismantle the mono compatibility of your mix — proceed with caution!
The technique is quite simple, and is another one of those psychoacoustical tricks (come on, you didn’t think you could actually get your mix to be wider than the speakers themselves… did you?).
Insert a stereo delay plugin on your stereo track or bus (IMPORTANT: make sure the delay plugin has independent controls for the left and right sides) and set the mix to 100%. You could also use the Channel Tools plugin, which has this sort of functionality built in. Just add a few milliseconds of delay to one side of your stereo track or bus, and you’ll hear quite a difference right away.
Of course, there’s always the question of how much is enough. Here are some tips:
Does it sound like one side is playing before the other? Too much. You’ll definitely want it below 20-25ms, or it’ll start actually sounding like, well, a delay.
More delay time will not always make it wider. The effect is caused by the phase relationship between the two sides, so you may find a sweet spot with hardly any delay at all.
Collapse the track/bus to mono. Does it sound terrible? Try making it a little narrower.
Does the tone change too much? Move the delay time up or down a little bit and see if that helps.
Remember, phase can truly make or break your mix, so again, tread cautiously when applying this effect.
There are a few different ways reverb can help increase the apparent stereo width of your mix.
The first way is quite simple: Applying reverb to an already-wide signal can make it sound even wider. This has to do with those phase relationships we were just talking about.
To take things a step further, try panning your reverb sends to the opposite side (Hard Left Audio w/ Hard Right Send; Hard Right Audio w/ Hard Left Send) to see if it makes any difference. If nothing else, it makes for a pretty cool creative effect.
The second way is also quite simple. What is reverb but a few thousand delay signals right after one another? What we’ll do is apply reverb to only one side of the stereo track or bus.
What this is doing, in addition to the delay trick mentioned above, is making one side sound slightly more distant. It’s ultimately creating a distinction between the left and right side (again, in your mind) that creates the illusion of greater width.
This is a bit of an advanced technique. There are plug-ins out there that will do all the thinking for you (The Hoser XT, for example) by allowing you the option to make separate adjustments for the individual “mid” and “sides” channels.
However, there are a few ways to make this work, even without a “smart” plug-in… I’ll keep this as simple as possible.
The best way to set yourself up for Mid/Side processing is to use the Mid/Side microphone configuration when recording. This is what I consider a true Mid/Side configuration, and I feel it balances better, has better mono compatibility, and is more “true to the source” when it’s being modified than its “fabricated Mid/Side configuration” counterpart.
If you don’t know how to do Mid/Side recording, I’ve provided you some resources here, here, and here.
Now, as for converting a standard stereo track or bus to Mid/Side tracks, you’ll have to do a bit of extra work…
Clone your stereo track or bus.
Collapse the original to mono with the interleave button. It should look like this: [mono interleave button]. This is now your “Mid” track.
Insert a plugin like Channel Tools, or any comparable plugin, on the cloned track.
Flip the phase on the left side (or the right side; one may sound better than the other). This is now your “Sides” track.
What we can do from here is process these tracks individually. A good starting point would be to apply some fast compression to only the “Sides” track, somewhat eliminating the dynamic peaks and valleys and making the sides seem louder, thereby increasing the apparent stereo width.
Similarly, you can add some upper-midrange frequencies to the “Sides” track, increasing their presence, and/or reduce the same frequency range in the “Mid” track.
Try all these techniques and take note of the qualities that each impart. Remember, the more techniques you have in your arsenal, and the more practice and experience you have with each of them, the quicker you’ll be able to make creative production decisions.
If you’re using Music Creator 6 or 7 on Steam, you already know how easy it is to set up and record with Cakewalk recording software. Now that you’ve gotten some experience, it’s time to take your productions to the next level with SONAR Steam Edition. A more inclusive DAW, SONAR Steam Edition combines the simple, easy-to-use layout of Music Creator with even more powerful tools and features for the ultimate recording and mixing experience.
5: Creativity Without Limits
SONAR Steam Edition follows the same mantra as any SONAR: “Creativity Without Limits.” SONAR will help you take your creations to the next level with unlimited Input/Output, Tracks, and Busses. You’ll also gain the ability to route any track anywhere with Universal Routing Technology, great for recording FX, creating submixes, and tons of other creative uses.
Music Creator 7
SONAR Steam Edition
8 x 8
Patch Points & Aux Tracks
4: Audio and MIDI Engine Updates
Thanks to SONAR’s Rolling Updates, we’ve implemented dozens of fixes and enhancements — and that’s just to the Audio and MIDI engines! This means a cleaner, faster, smoother, and more efficient creative experience from start to finish.
3: More Audio FX
More FX means more creative potential, and when you want even more tools to shape your sound, SONAR has you covered. You’ll receive a whole new suite of VST FX, and a few upgrades on the FX you already have like TH2. And those Style Dials you’ve come to know and love? You get more of those, too.
2: Expanded Clip Libraries and File I/O
SONAR Steam Edition has a little something special that none of the other versions have. We added a whole toolset designed specifically for game developers — but anyone can use them! This means you get a free Sound FX library that can be used for any musical or post-production project. You can export clips directly formatted for RPG Maker. You can even import image files to create your own track icons for a speedier workflow!
1: Great New Instruments
SONAR Steam Edition boasts an incredible upgrade to your synth collection. You get:
Session Drummer 3, a more flexible and user-friendly upgrade to SI – Drum Kit.
Z3TA+, a world-renowned, legendary synth whose sounds can be heard on electronic productions the world over.
Our newest synth addition, Rapture Session, a streamlined synth that plays back all of your programs from Cakewalk Sound Center, plus includes an 11-instrument library of select sounds from our flagship synth, Rapture Pro.
Celemony has graciously introduced a brand new Melodyne update to the world, and we’re including it in the SONAR Manchester Update free of charge for all Professional & Platinum customers with an active Rolling Updates Membership. What makes this Melodyne upgrade so great?
Edit Entire Mixes
Melodyne 4 introduces a new Universal algorithm, ideally suited to time-stretch and pitch-shift entire mixes. It also provides a more CPU-friendly way to edit polyphonic material without sacrificing any of the superior quality you expect from Melodyne.
Modern New Interface
Much like SONAR, Melodyne’s new UI has been designed to fit your workflow, adding customizable configurations and better information overviews. It’s also been optimized for compatibility and stability with all the latest 32-bit and 64-bit Operating Systems and DAWs.
Improved Tempo Detection
Melodyne 4’s new tempo algorithms detect tempos, time signatures and changes more accurately than ever before, allowing you to to match the tempo of any audio clip or loop to any other audio clip or loop more precisely.
Multi-Track Viewing (Melodyne Studio only)
SONAR users can enjoy the ability to view the data from multiple audio tracks all in one single Melodyne window, making it much faster and easier to synchronize notes on different tracks. This unprecedented new feature is useable exclusively in the current edition of SONAR.
With so many different reverb options available, it can sometimes be hard to know where to begin. This series will focus on helping you make your reverb decisions more efficiently by identifying the function of every component, one at a time.
In convolution reverb, microphones capture the sound of an environment’s response to a full spectrum of frequencies, known as an Impulse Response (IR). Then, the resulting .wav file is introduced back into a convolution plugin – in this case ReMatrix Solo. The plugin plays the incoming audio, say your drum track, “through” the IR. This type of reverb is great for adding realistic ambience to dry sounding tracks.
Depending on the shape and material of the walls, ceiling, floor, and furniture in the sampled environment, different frequencies may be absorbed or reflected faster or slower than others. This is what gives any reverb its own characteristic sound. For example, a concert hall with hard, dense walls and plastic seats will have a much longer decay in high-frequency content than a living room with relatively soft wooden walls and a cushioned couch.
ReMatrix Solo recognizes 5 different categories of IRs: Hall, Room, Plate, Early, and Special. Let’s take a look at the characteristics of each of these.
The first thing you’re likely to notice about Hall reverbs is that they’re usually longer than other types–about 2 seconds or more. This is because halls are rather large spaces with lots of room for sound to bounce around. Like great prose or a fine wine, reverb has a beginning, middle, and end. For reverb, we’ll refer to these as “Early Reflections,” “Body,” and “Decay (or Tail).” Common Hall reverb characteristics include an audible array of early reflections (more on this later), a dense, sustained body, and a smooth, often dark decay.
Here are some sonic examples of applications of Hall Reverb:
If you listen carefully, you’ll notice the snare’s attack is quite present in the reverb itself.
The guitar in this example loses some presence due to the heavy wash of conflicting frequencies.
In the vocals, most of the consonants are lost to the diffusion, resulting in a reverb body consisting mostly of vowel sounds.
Room reverb times are much shorter than halls, due mostly to their smaller size. These will normally range between about a half-a-second to a few seconds. Rooms are often a bit “darker” sounding than most halls, since the size and materials are prone to more high-frequency absorption. However, any variations in size and material are going to have a large impact on the resulting reverberations, so you can expect much variation from one Room sound to the next. One may have almost no early reflections, a smooth body and quick decay, while another might have a booming attack, and thick body that slowly fades away.
Here are the same tracks as above, but with some Room reverb applied:
The snare sound gains a presence boost from the stronger midrange information of this reverb.
The guitar fits nicely with this reverb due to the dense and diffuse body.
Notice how the vocal reverb now sounds like each word smears together, rather than just the vowel sounds in the hall example.
A plate reverb is a mechanical device that vibrates in response to an audio signal being passed through it. It has transducers that send and receive the signal, and a damping pad to adjust the length of the reverb. These reverbs are often a half-second to a few seconds in length, and have almost no early reflections, but a substantial body and gentle decay. Because of this, it’s not uncommon to see large amounts of predelay added to this reverb type.
Once again, the same tracks as above, but with Plate reverb applied:
This reverb is quite bright. The snare gains a lush high end that otherwise is rather lacking
You’ll notice that the guitar sounds a bit harsh running through this particular plate sound.
The vocals have a bit of an “airy lift” to them, but sibilant sounds (S’s and T’s, for example) might need to be carved out with an EQ to avoid a similar harshness to the guitars.
This one is sort of unique to ReMatrix. Nearly every type of reverb has early reflections, but this particular category isolates them as their own entity. Early reflections, as shown in the diagram below, are the sounds that you hear most immediately after the direct signal, usually within the first 60-80ms. For that reason, they have an almost imperceptible body and decay. Don’t let the short time fool you, though; these reverbs can introduce very unique and desirable sonic characters to any sound.
Here are some examples of early reflections applied to our drum, guitar, and vocal tracks:
Short and sweet, Early Reflections are fantastic for bringing a sound to the forefront while still maintaining a sense of depth and “live-ness.”
This is where all the outliers are found. These IRs include reverse reverbs, modulated sounds, and more. The modulated sounds are typically .wav files that have been modified in some way with another effect like an automated filter, a delay, some kind of pan effect, or just about anything else. Since there are no real rules to this IR type, there’s not much explaining to do here, so let’s jump right into some examples.
The snare, high in transient information, also yields an interesting result with the panning echoes.
The busy guitar covers up much of the effect, and you’re just as well reaching for a more suitable reverb program
The vocals play quite nicely through it, sounding like a high-feedback slapback delay with some sort of weird FM filtering.
This type of reverb may not fit so well in every mix you do, and the effect may not always be apparent, but it can bring a bit of spice to an otherwise dull part.
This is the length of the reverb. Whenever you see a time control on a reverb, it is measured in RT60, or amount of time it takes for the reverb to be 60dB lower than its original level. Note that when you load a preset or IR in ReMatrix Solo, this setting adjusts to the IR’s original intended RT60 time. Be careful when making adjustments to this as it can sometimes make the reverb sound “chopped” or produce undesired artifacts.
This is the Pre-Delay, or amount of time before the reverb signal is produced. For example, if your song is 120bpm and you want an eighth note’s worth of time between the dry snare hit and the wet reverb signal, you would set this value to 250ms. This is useful for when your original signal starts to sound oversaturated by the reverb. Providing a bit of time between the original signal and the reverb signal gives a sense of distance and depth.
Helpful Hint: 1 ms of pre-delay is equal to about 1 foot of distance from the source.
This knob controls the stereo width of the reverb. A value of 0% will be “mostly” mono. A value of 100% provides an extremely wide stereo image, and dipping into negative values results in an extremely collapsed reverb sound. Try a variety of settings–this parameter has an incredible ability to create a very realistic and controlled sense of space for your reverb.
This is, quite simply, the amount of gain applied at the EQ Freq setting. This applies only to the reverb return signal itself, so adding a high shelf to the snare reverb does not add the high shelf to the snare, just the snare’s reverb.
If you would like to apply a band of EQ to your reverb signal, this is the place to do it. This setting will determine the center frequency of your EQ adjustment. This is useful when you want to modify the coloration of the reverb, or to help it fit more neatly into your mix.
As with any Q setting, this is the width of the EQ band you’re applying to your EQ signal.
— Hi-Shelf affects frequencies at and above the EQ Freq setting
— LPF (Low-Pass Filter) cuts all frequencies below the EQ Freq setting
— Numbers indicate a Band Pass filter — your standard bell-curve EQ. A smaller number creates a wider bell curve, and a larger number creates a very narrow curve.
This is the blend of original, unprocessed signal and “wet,” processed reverb signal. A common workflow would be to create a send on the track to which you wish to apply reverb. Set up the send to go to an aux track, and add the ReMatrix ProChannel module to the Aux Track. Set the Dry/Wet slider to 100% wet. Now, your original track is still totally dry, and the aux track is only the reverb signal. To blend, simply adjust the send level from the original track. More send level = more reverb.
A few weeks back, we released this video demonstrating the drastic speed improvement when inserting 100 blank audio tracks into the current edition of SONAR.
If you saw that video, you’ll recall that SONAR Platinum, in less than one second, accomplished what SONAR X3 took about 13 seconds to complete — a 2,600% improvement!
As we continue to make improvements to SONAR Platinum (and Artist & Professional as well) through Rolling Updates, we thought it might be fun to race SONAR Platinum against SONAR X3 Producer in their ability to import actual audio files.
The video below, complete with drag race audio, a rock n’ roll soundtrack, and a couple of millisecond-accurate stopwatches, places SONAR Platinum and SONAR X3 Producer side-by-side to see who is the real speed demon.
I’ll spoil it a little and tell you that SONAR Platinum is the winner here, but the illustrated difference in speed may truly shock you!
No question, there are a lot of compressor plugins out there, and they all have their unique layouts, quirks, and sonic qualities. In the video below, we line up 15 different compressors and demonstrate these differences.
Below the video, you’ll also find a helpful updated list of key features, a downloadable chart, and links to learn more about the compressors that do not come standard with SONAR Platinum. If you’re not familiar many compressor plugins, I recommend starting here.
It’s worth noting that this video demonstrates a limited scope of each compressor’s capabilities. Since the compressor is being used to level out a vocal performance, each one has been set up optimally for the application, usually with a low ratio and fairly fast attack and release wherever applicable.
Every possible measure was taken to keep the responses and output levels of each compressor as uniform as possible so that the shootout makes for a consistent apples-to-apples comparison. In the future, keep an eye out for more of these shootouts, as the same tools might have totally different effects on a snare drum, acoustic guitar, electric bass, or saxophone.