Free Impulse Responses For Your Convolution Reverb

by Daniel Gonz
We’d like to release an impulse pack that we created last year in New York City. This free impulse response pack captures the simple ambience of two fantastic live rooms for drums, vocals, and pretty much any acoustic instrument you can imagine. Drop them into your choice of any convolution reverb to add depth to the elements of your mix.

Download the FREE Impulse Response pack here

Free Impulse Responses for Convolution Reverbs

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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

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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? (more…)

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Five Reasons Why Patch Points Rock

By Craig Anderton

Looking for some advanced, interesting, or downright weird ways to use the new Patch Points feature? Here you go:

Signal Splitter

Suppose you want to split one track to several outputs, for example to do multiband processing. Here’s how:

SONAR Patch Points Splitter

The Dry track output goes to Patch Point 1 instead of the master bus. Five tracks, each of which filters a different band of frequencies, have their inputs set to Patch Point 1. The Dry track now feeds all five channels simultaneously. Placing all these tracks inside a track folder makes it easy to fold them up when you want a tidier setup.
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5 Tools To Get “That Analog Sound” From SONAR

With the advent of digital audio, some feel a certain quality associated with the analog signal path has been lost. While that may have been true at one point, analog emulations have come a long way since first introduced. Let’s find out how to add that “analog sound” using some of SONAR’s plugins. (Note: Many of the following examples use features are exclusive to SONAR Platinum, so if you don’t already have this version, you can try a free demo by clicking here.)

#5 – ProChannel Tape Emulation

Tape Emulator Gif

Tape does some pretty magical things to audio, so SONAR Platinum includes tape emulation as a ProChannel module. Best  of all,  you can use it as much as you like without having to clean the heads!

Here’s how tape emulation enhances the sound:

  • Emulates the “head bump” of analog tape to enrich the low end, adding subtle warmth
  • Smooths response by slightly rolling off lowest lows and highest highs
  • Increases sustain by smoothing peaks
  • Saturates the signal in a non-linear, analog manner
  • Optionally introduces high-frequency hiss

For a basic application, insert the Tape Emulator in the Master Bus ProChannel. You’ll immediately hear a more cohesive mix. Increasing the REC LEVEL increases the overall saturation. The REC LEVEL knob, TAPE SPD switch, and BIAS switch all interact in unique ways, so try out different combinations to hear how they affect each other.

After hearing how the Tape Emulator affects your sound, try applying it to individual tracks (your drums will sound particularly fabulous). This will be a more subtle effect, adding a sense of depth to the overall mix.

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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:

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Using Cakewalk Drum Replacer: The “Right” Way and The “Other” Way

The “Right” Way:

There’s more than one way to use Drum Replacer to trigger your drum sounds. Which of these you choose will depend on the material, as well as your preferred outcome and workflow. First, let’s take a look at some of the intended, more traditional uses of Drum Replacer.

A mixed drum track or loop

A fairly standard Drum Replacer use is to augment or altogether change the drum sounds on an already-mixed drum track. The examples below play an unprocessed SONAR drum loop, followed by the same loop reinforced by Drum Replacer.

Filtered Drum ReplacerWith the built-in filter mechanism, it’s easy to isolate each piece of the drum kit and replace it individually. For this particular loop, focusing the filters to 67 Hz for the kick and 673 Hz for the snare ensured replacing the right sound. I wanted to soften this already-punchy loop by replacing the kick and snare sounds with something a little more “airy,” then blending these with the original. I chose the included WholeLotta Kick and WholeLotta Snare samples for their lighter, more pillowy qualities and blended them roughly 70/30 with the original drum track. Combined, they create a pleasantly complex, tight-yet-sustained sound.
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Reader’s Choice: Most Popular Drum Production articles in 2014

by Dan Gonzalez

Free Quick Kit Project Templates for SONAR X3 Users

 

Yes, we’re bringing back the freebie post from last December. Our Free Quick Kit Project Templates made a big splash with the community as one of our top posts over the last 12 months. These pre-mixed project templates load right from quick start menu in all three versions of SONAR X3 without any assembly required. Open a quick kit, drop in your sequence, and you’re ready to rock with great sounding drums. Now we’re opening it up to anyone who has Session Drummer 3 in their arsenal.  Download the free pack here.

9 Microphone Techniques for Recording a Snare Drum

Ever wanted to know how to mic up a snare drum? Well we wrote a comprehensive article about 9 different ways to do it. This article is brought to you by the community of Cakewalk readers that follow the blog and read it regularly. Check out the article here.

What’s New in Addictive Drums 2?

2014 brought us more than just content, it brought us Addictive Drums 2. Ever since we’ve posted our extensive video about XLN Audio’s new instrument we’ve heard nothing but great reviews. Here’s our most popular video chosen by the readers of The Cakewalk Blog. Check it out here.

Subtractive EQ Part 1: Snare Drum

Here’s one of our most popular posts this past year in case you missed it the first time around. There are a ton parts to this series, but the first part has seemed to win over the rest. Here’s a nice thick article about how to apply subtractive EQ to a snare drum. Check it out here.

Setting up your Addictive Drums

Check out how you can easily setup Addictive Drums (1 & 2) to accommodate multiple different working environments within SONAR X3 Studio and Producer. This one of kind drum synth is the best of the best. Check out the article here.

How to use Compression on Snare Drum in SONAR X3

Using compression is one of those tools that is tricky to understand if you’re not familiar with how the different audio signals in your mix. Check out our most viewed video from the extensive video series about using the CA-2A Leveling Amp on snare drum. Check out the video here.

How to Compress Drum Reverb in SONAR X3

Another popular drum related video from the Compression video series is #6 where I give some tips on using compression on drum reverb. You can see the video here.

Producing Drum Samples in SONAR X3

Last but not least we’ve seen that our community has really enjoyed our Producing Drum Samples video series. This video series is available to watch here and guides you through some awesome ways to mix and EQ drum samples to your liking.

If you’re looking for more Drum Production tips check out the tag for this on our blog here.

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Basics: Five Questions About Using Stompboxes with SONAR

by Craig Anderton

Plug-in signal processors are a great feature of computer-based recording programs like SONAR, but you may have some favorite stompboxes with no plug-in equivalents—like that cool fuzz pedal you love, or the ancient analog delay you scored on eBay. Fortunately, with just a little bit of effort you can make SONAR think external hardware effects are actually plug-ins.

1. What do I need to interface stompboxes with SONAR? You’ll need a low-latency audio interface with an unusd analog output and unused analog input (or two of each for stereo effects), and cords to patch these audio interface connections to the stompbox. We’ll use the TASCAM US-4×4 interface because it has extra I/O and low latency, but the same principles apply to other audio interfaces.

2. How do I hook up the effect and the interface? SONAR’s External Insert plug-in inserts in an FX bin, and diverts the signal to the assigned audio interface output. You patch the audio interface output to a hardware effect’s input, then patch the hardware effect’s output to the assigned audio interface input. This input returns to the External Effect plug-in, and continues on its way through the mixer. For this example, we’ll assume a stompbox with a mono input and stereo output.

3. What are correct settings for the External Insert plug-in parameters? When you insert the External Insert into the FX bin, a window appears that provides all the controls needed to set up the external hardware.

  • Send. This section’s drop-down menu assigns the send output to the audio interface. In this example, the send feeds the US-4×4’s output 3. Patch this audio interface output to your effect’s input. (Note that if an output is already assigned, it won’t appear in the drop-down menu.)
  • Output level control. The level coming out of the computer will be much higher than what most stompboxes want, so in this example the output level control is cutting the signal down by about -12 dB to avoid overloading the effect.
  • Return. Assign this section’s drop-down menu to the audio interface input through which the stompbox signal returns (in this example, the US-4×4’s stereo inputs 3 and 4). Patch the hardware effect output(s) to this input or inputs.
  • Return level control. Because the stompbox will usually have a low-level output, this slider brings the gain back up for compatibility with the rest of the system. In this example, the slider shows about +10 dB of gain. (Note: You can invert the signal phase in the Return section if needed.)

4. Is it necessary to compensate for the delay caused (more…)

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Basics: Five Questions about Audio Specs

By Craig Anderton 

Specifications don’t have to be the domain of geeks—they’re not that hard to understand, and can guide you when choosing audio gear. Let’s look at five important specs, and provide a real-world context by referencing them to TASCAM’s new US-2×2 and US-4×4 audio interfaces. 

First, we need to understand the decibel (dB). This is a unit of measurement for audio levels (like an inch or meter is a unit of measurement for length). A 1 dB change is approximately the smallest audio level difference a human can hear. A dB spec can also have a – or + sign. For example, a signal with a level of -20 dB sounds softer than one with a level of -10 dB, but both are softer than one with a level of +2 dB. 

1. What’s frequency response? Ideally, audio gear designed for maximum accuracy should reproduce all audible frequencies equally—bass shouldn’t be louder than treble, or vice-versa. A frequency response graph measures what happens if you feed test frequencies with the same level into a device’s input, then measure the output to see if there are any variations. You want a response that’s flat (even) from 20 Hz to 20 kHz, because that’s the audible range for humans with good hearing. Here’s the frequency response graph for TASCAM’s US-2×2 interface (in all examples, the US-4×4 has the same specs).

This shows the response is essentially “flat” from 50 Hz to 20 kHz, and down 1 dB at 20 Hz. Response typically goes down even further below 20 Hz; this is deliberate, because there’s no need to reproduce signals we can’t really hear. The bottom line is this graph shows that the interface reproduces everything from the lowest note on a bass guitar to a cymbal’s high frequencies equally well. 

2. What’s Signal-to-Noise Ratio? All electronic circuits generate (more…)

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