HOW The Duke Western USES SONAR TO CREATE MUSIC FOR DUCK DYNASTY (AND MORE)

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

Continue reading HOW The Duke Western USES SONAR TO CREATE MUSIC FOR DUCK DYNASTY (AND MORE)

How To Create Easy Tempo Maps in SONAR with Melodyne 4

Thanks to Melodyne’s advanced tempo detection and SONAR’s powerful ARA drag-and-drop integration, your projects can now follow a live recording’s tempo. Simply drag a standard audio clip (or Melodyne region effect) to SONAR’s timeline, and SONAR creates a tempo map that follows the clip tempo. Watch the new video for more information.

NBC “The Voice” Winner Javier Colon: HOW SONAR PLAYED A ROLE IN HIS NEW RECORD ON CONCORD MUSIC GROUP

You could call Javier Colon timeless.  After winning the inaugural season of NBC’s The Voice, he has battled even harder than he did during the show’s “Battle Round.” Last year his perseverance and life-long dedication to creating music on his own terms brought him to yet another chapter in his career with a new recording contract with Concord Music Group.  Concord Music Group is home to many enduring artists such as Ray Charles, James Taylor and The Kenny Wayne Shepherd Band to name a few, but it’s also one of the most respected and ageless labels of our time.

When the ink was dry, Javier who is a longtime SONAR user dug deeper than he ever had before, and started writing songs for the new record.  “A lot of the songs on this new record started right in my home studio on SONAR Platinum,” Javier recently told us in conversation.  “The thing I like about SONAR for writing is that it’s really quick for getting ideas down.  It’s like a creative partner.  Of course it’s great for mixing and creating masters too, but for me since I was fortunate enough on this record to be working with top-notch mixing engineers, the single most important thing was getting the songs right.  The features in Platinum are great for songwriting.  Even just the loops in Addictive Drums 2 are a great starting place to generate ideas—there’s just no shortage of inspiration in the program.”

Javier’s new record titled “Gravity” comes out April 15, and he recently shot a new video in LA (also including scenes from Europe) directed by Gregory Poppen.  The record itself is actually 15 songs, a bit of a different approach from pop music’s recent pattern of releasing fewer tracks per album.  On this record Javier really wanted to get more music out there for his fans who have stayed with him all this time throughout every phase of his career.

Continue reading NBC “The Voice” Winner Javier Colon: HOW SONAR PLAYED A ROLE IN HIS NEW RECORD ON CONCORD MUSIC GROUP

How Jerry Gerber Creates Incredible Compositions Without Ever Using the PRV

The art of “making music” in this digital age… When you really think about it, how incredible is it that as music-creators we can take something from our minds, and sculpt it into something tangible?  No matter how novice or professional you are, no matter what others think or say about the music YOU create, there’s no denying that we are living in an incredible time of opportunity for crafting music.

A while back I was introduced to a gentleman and composer working in SONAR out of Northern California by the name of Jerry Gerber.  I knew he was a great composer from his accomplished list of credentials, but what I wasn’t prepared for was being absolutely fascinated by the sonic depth of “his sound,” the detail and integrity of his tracks, and moreover—how he accomplishes all of the above mentioned.  When you listen to his work, and then hear his theoretic viewpoint of how to correctly compose and produce music, you quickly realize that this guy has tapped into something a bit deeper than most musicians.

What really made an impression on me was that without ever using the Piano Roll View (PRV), Jerry Gerber has composed and produced for some very highly-profiled films, television shows, computer games, concerts, dance and interactive media, and also back in the day wrote all of the original music for the remake of the popular children’s television show, The Adventures of Gumby.  His approach to all this is through an expert level of “MIDI Sequencing” which he explains in the newest edition of the SONAR Newburyport eZine.

I was intrigued and beyond impressed by his words in the eZine, so I decided to [self-indulgently] dig a bit deeper by reaching out to Jerry to get some insight on his methods of madness with his new record.  His words of musical wisdom make a lot of sense for anyone creating music in any genre, and I highly recommend the read; and then applying what you learn by analyzing and enjoying his new full-length composition.

[Cakewalk]:       You talked a lot about the “programming” aspect of the new record, but what was the “writing” process like for you? Continue reading How Jerry Gerber Creates Incredible Compositions Without Ever Using the PRV

Anatomy of a Project: A Nontraditional Approach to a Commercial Recording

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.

Continue reading Anatomy of a Project: A Nontraditional Approach to a Commercial Recording

Anatomy of a SONAR Project: Replacing the Placeholder

DELIVERING MUSIC FOR THE FILM “FOR BLOOD” (COFFEERING ENTERTAINMENT LOS ANGELES, CA)

Sometimes I am fortunate enough to have the time to take on a project outside of Cakewalk, and I love that those projects let me put our current SONAR Platinum “Rolling Update” to the test in the field. Recently, the LA-based production company Coffee Ring Entertainment asked me to write, produce and deliver three tracks for their new movie, For Blood. This article describes highlights of the process involved in writing and producing one of those tracks for a specific scene in the film.

My first question to the director was, “Do you already have placeholder music in the rough cut?” When producers and directors have placeholder music they like already set into the cut, it speeds up and simplifies writing and producing the music. Fortunately the answer was “yes,” so all I needed to do was replicate what they liked about their placeholder tracks using the array of instruments and plug-ins in my home project studio rig.

A primary objective in writing music for film is to forget about yourself and your own emotional agenda. And oddly enough, for me at least, this notion really speeds up the workflow because you are writing/producing for someone else’s purpose other than your own thoughts. Adamantly keeping this in mind throughout the writing/producing process helps to stay focused on what the client wants. For this song, it’s exactly what I had to do because the producers had a Tarantino-ish type track set into the scene, and my innate production style tends to lean more towards big, clean commercial pop rock. Luckily, I could go to YouTube and analyze suitable styles of music but even luckier for me, SONAR’s Addictive Drums and TH2 plug-ins were  ideal for dialing in the kind of music that was needed. Continue reading Anatomy of a SONAR Project: Replacing the Placeholder

HOW ILAN BLUESTONE APPROACHES HIS CHARTING EDM TRACKS

SONAR Platinum artist iLan Bluestone’s career trajectory is moving fast.  The jet-setting EDM producer is touring the world, but was kind enough to share not only his time with us discussing his music production techniques, but also his new single collaboration with mogul-producer BT titled “All These Wounds.”  We caught up with iLan in Chicago at the Spring Awakening Festival, and then again down the road at Sweetwater’s Gearfest:

Cakewalk Participates at the New Music Seminar: June 22/23 NYC

Cakewalk and Gibson Brands will be participating in the New Music Seminar this week, so if you happen to be in NYC please make sure to stop in and say hello.  The New Music Seminar is one of the most prestigious music conferences in the United States, and is held annually each June in New York City.  It originally ran from 1980 – 1995 and was re-launched in 2009 with great reception by the music community. The conference features over 150 CEOs, Presidents, Executives, and leaders in the emerging music business along with over 100 artist performances. The mission of the New Music Seminar is to grow a sustainable and better music business to allow creators the best opportunity to succeed. The NMS strives to enable more artists to achieve success and encourages new levels of investment in music and artists.

Please join Cakewalk and Gibson Brands at New Music Seminar:

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Monday June 22, 2015 7:00 pm – 9:00 pm
How to Train Your Computer to be a Songwriting Partner
Gibson Showroom
421 W 54th Studio 5
New York, NY 10019

Come join a private in-studio session at the Gibson Showroom [Cakewalk] Studio 5 NYC:  In a world of zeros and ones, where does the computer fit into traditional songwriting? Songwriter/producer, Mark Hudson, (“Living on the Edge,” Aerosmith – amongst other hits) and digital pioneer, Craig Anderton, along with producer/songwriter Jimmy R. Landry will interactively cover new approaches to songwriting for the modern-day musician.

 

 

 

Tuesday June 23, 2015 11:30 am – 12:30 pm
Leveraging The Relationship: Artist and Brand Alignment:
Gramercy Park Suite
Wyndham New Yorker Hotel
481 8th Ave, New York, NY 10001

With the shifting paradigm of the music industry and how artists engage with fans, the importance of relationship management is more imperative than ever. What’s the protocol for artists approaching companies and brands, and once that relationship is established how can it be leveraged for the benefit of both? This panel will dive into strategic plans for artists looking for endorsements and partnerships, while also dissecting past examples that have resulted in success.

Conductor: Jimmy Landry (Head of Artist and Public Relations, Gibson Brands)

Players: Perry Greenspan (Director of Strategy, Platinum Rye Entertainment), Elliot A. Resnick, Esq. (Attorney at Law, SAHWH, LLP), Aimee Berger (Founder/Partner Camplified/ItACampThing, Primary Wave Entertainment), Amaechi Uzoigwe (Manager, RUN THE JEWELS), Ryan Fitch (VP Sync Licensing & Brand Partnerships, MAC Presents)

 

Tuesday 2:30 pm – 2:45 pm  – NMS Intensive:

Grand Ballroom
Wyndham New Yorker Hotel
481 8th Ave, New York, NY 10001

Hi-Res Audio: So What?

Conductor: Craig Anderton (Executive Vice President, Evangelist, Gibson)

Mix Recall Remembers Your Instrument Settings

by Dan Gonzalez

Mix Recall takes your mixing to another level by offering SONAR Artist, Professional, and Platinum users the ability to save different mix scenes of the same mix within a single project. Mix Recall saves track parameters, bus parameters, and even instrument presets. A great way to use this feature is to audition different drumkits using the included Addictive Drums 2.

 

Instruments these days are full of all kinds of choices, especially ones that are as expansive as Addictive Drums 2. When working on a track I like to take the same pattern and switch between the custom kits that I’ve made. Addictive Drums 2 and Addictive Drums 1 both let the user take pieces of all the different kits that it comes with to make your own. Mix Recall let’s you take this workflow a step further.

Original drum passage

Here we have a simple Indie Kit from Addictive Drums:

 

Saving the first mix scene

Go to the Mix Recall module in SONAR and click on Continue reading Mix Recall Remembers Your Instrument Settings

Call of Duty Composer: Sean Murray on SONAR X3 and Gobbler

Sean Murray

Composer

Being projected as one of the biggest selling pieces of media in history is a pretty big deal. On November 9th 2010, Call of Duty®: Black Ops was released and is being labeled as just that; and SONAR was the engine behind the scenes for the score. Even more exciting for one man, Sean Murray (Composer/Producer), is the fact that Activision has simultaneously released his soundtrack on a worldwide basis through an arm of Universal Music Distribution to coincide with the release of the game. Continue reading Call of Duty Composer: Sean Murray on SONAR X3 and Gobbler