As you may know by now, the Bakers at Cakewalk are constantly on a mission to improve upon SONAR. Whether that’s a bug fix, a new feature, or a feature enhancement, we’re giving you the tools to be creative and get the job done. In 2016 we brought you workflow improvements for comping such as improved copy and paste functionality, keyboard shortcuts (adjusting stretch and crossfades), as well as visual improvements and customization options for take lanes. With the 2017.02 release we take things to a whole new level, with a host of new features based on your feedback. Don’t forget, if you have features or enhancements you’d like to see, drop us a line at bakery.cakewalk.com and let us make SONAR even better! For now, let’s dig in:
Here at Cakewalk we are fortunate to have an external team of rocket scientists who help test out SONAR beta releases. This team is dedicated, passionate and most of all appreciated by all of us internally here at the Cake shop. Recently I received a general email from one of my esteemed colleagues mentioning that one of our trustworthy beta soldiers was jumping off the beta-battlefield in lieu of another SONAR related activity. Huh? This peaked my curiosity and I felt obliged to dig a bit deeper on the subject. What could “another SONAR related activity” involve? SONAR Olympics? SONAR CPU Racing? SONAR Academy?
Featured Music Placements on Discovery Channel, History Channel, CBS, Bravo Network
By Jimmy Landry
Last summer, Peppina—a young female artist from Finland— plunged herself into the NYC music scene for two months. With the help of renowned NYC entertainment attorney Steven Beer who discovered her, she managed to head back to Finland with a major-label sounding EP. The project was recorded in different ways, in different locations all over the city—and with budgets being slashed, these days it’s pretty much hand-to-hand combat when making a low budget recording where anything goes. But the upshot is yes, you can record a commercial-sounding record on a budget—so here are some of the techniques we employed to accomplish that goal. SONAR Platinum was instrumental in saving time on this EP. Between the Drum Replacer, VocalSync, onboard Melodyne, Speed Comping and general speed enhancements, I got to the finish line a lot faster than previous records. I highly recommend anyone who’s on SONAR XX to take a close look at what the program has brought to the table in the last year.
This all started when Steven Beer called about an artist he’d heard sing at a film festival, and invited me for a meeting at his office. Interestingly, there were two other producer/writers there as well—a bit unorthodox, but pretty much anything goes these days, so nothing really surprises me anymore. We discussed the artist’s interests, influences, and other variables, and then listened to some of my reel as well as music from the other producers. It turned out the lawyer’s master plan was to bring the three of us together to co-write, record, and mix a five-song EP before she went back to Finland in 45 days.
Peppina already had some momentum in Finland from a loop she wrote and uploaded to a site called HITRECORD (owned by actor and director Joseph Gordon-Levitt). Her upload was so popular that Gordon-Levitt flew her to California to perform the piece at the Orpheum in LA during one of the show’s TV episodes. This all sounded good to me, so I signed on to a production team that would share in the production duties and heavy lifting. As to budgets…well, there was enough there for us to take it on as a challenge.
Compiling or “Comping” takes is relatively new to sound recording. With the increased ability of technology has come the increased desire to comp with excruciating attention to detail, sometimes all the way down to a syllable or note, to create “The Perfect Take.”
The Acoustic and Electrical Eras (1877-1945)
When audio recording was first introduced, it was an entirely mechanical process. Comping did not exist. In fact, neither did mixing as we know it. Everything was recorded in one take, and level adjustments were made by moving musicians closer to or farther from the horn–essentially the microphone of its time.
In the primitive stages of this recording format, it was not uncommon to have copies of the same record that sounded entirely different. This was because if a band wanted to release 1,000 copies of a song, they would have to record it 1,000 different times, each take resulting in its own uniquely-performed copy.
Continue reading The Evolution of Comping