Synchro Arts‘ legendary automatic time-alignment software, VocALign Project, now integrates with Cakewalk SONAR via the ARA (Audio Random Access) protocol. Compared to non-ARA DAWs, ARA provides instant access to the host’s audio data—simply drag and drop Guide and Dub audio events into VocALign Project 3, and it edits the Dub audio instantly to match the Guide’s timing.
Cakewalk is currently running a special direct promotion for 20% off VocALign Project 3 until May 31, 2017 in our online store at shop.cakewalk.com.
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:
Sure, the LP EQ is a great linear-phase, stereo EQ. But it was designed for mid-side processing as well as conventional stereo, so let’s explore what mid-side processing is about, and why it’s so important.
LP EQ BASICS
You can add up to 20 nodes, and each can have one of the following responses:
However, there’s some intelligence when adding nodes; for example if you double-click to enter a node close to the highest possible frequency, the LP EQ will insert a lowpass filter. At a somewhat lower frequency, there’s a shelving response (although you can of course change these default responses to whatever you like). Drag nodes horizontally to change the frequency or up/down to vary amplitude; a right-click + drag on a node alters the width, as does using the mouse scroll wheel on a selected node.
You can ctrl+click, or draw a marquee around, multiple nodes to select them, but there’s an interesting twist. Suppose a node is set to boost, and another to cut. If you select both, then click on the one that boosts and drag it downward, the amount of boost will decrease. However the one that’s cut will start boosting. This complementary motion allows increasing or decreasing the overall emphasis easily; for example, if you think you went too far with the amount of EQ and want to pull it back, this reduces all aspects equally.
If all the selected nodes either boost or cut, then their amplitudes vary together.
These basics give a flavor of the features, but there’s much more—so click on the UI to give the LP EQ the focus, then press F1 to call up the comprehensive documentation.
MID-SIDE EQ PROCESSING
Mid-side processing encodes a stereo track into two separate components: the center becomes the “mid” component in the left channel, while the stereo track’s right and left elements become the “side” component in the right channel. You can then process these components individually, with automatic decoding back into stereo.
To get started with mid-side processing, click on the LP 64’s Expert button and under Mode, choose Mid/Side. For best results, set the precision to High. This results in the most latency but the highest accuracy, which is important because with mid-side processing, you don’t want any phase shift or sample misalignment—that will interfere with the decoded stereo imaging.
Processing can be independent for the mid and side components (as it is for the left and right channels in conventional stereo applications). You assign a node to the appropriate component by clicking on the node, and then clicking on M or S (toward the LP EQ’s upper right corner). Here are a few possible applications.
With mastering, you can get “inside the file” to do pseudo-remixing on a stereo track. One typical application is giving a slight boost to the higher-frequency side components to provide a bit more “air” and a wider stereo image.
If you’ve been seduced by vinyl’s comeback, remember that it’s crucial to center the bass and minimize bass excursions in the sides. With mid-side EQ processing, you can reduce the bass in the sides, and if needed, increase bass a bit in the center. Even if you’re not mastering for vinyl, taking this technique further can give a super-anchored, “center-channel” bass sound.
Drums with lots of room ambience can benefit from a bit of upper mids in the sides for extra definition, and a little bit of lower mids in the center to accent the kick.
If a synth bass has a wide image that “steps on” other instruments, you can bring down the bass in the sides.
For taming reverb, set a node to Mid, select the high pass curve, and slide it all the way to the right to take out essentially everything. Then you can shape the remaining reverb with the side EQ, while chasing the away from the center, where it can muddy the bass and kick.
THE VALUE OF THE MIX CONTROL
But…how do you know whether you’re really making an improvement to the sound or not? The LP EQ includes a Mix control (accessed in the Expert section) so you can vary the mix from full EQ to no EQ. Yes, parallel processing for EQ…very handy, and even better, the Mix control can be automated (like virtually all other parameters, including display characteristics and bypass).
You can also switch quickly between two different EQ settings with the A/B comparison function.
Granted, there’s no shortage of EQ plug-ins, but the LP EQ truly brings something new to the party. If you’re not familiar what mid-side processing can do with EQ, there’s no better way to find out than with the LP EQ.
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.
Gates are wonderful processors that can clean up background noise and bleed in your audio tracks. They’re a bit tricky to understand because the key to successfully using one is often a specific feature that’s hidden or buried in the interface. The feature I’m referring to is called the sidechain. It’s a powerful element of my mixing workflow and I’d like to show you why.
In its simplest form, a gate allows a signal to pass through it only when its decibel level is above a set threshold. This means the gate is ‘open’. If the signal falls below the threshold then no signal is allowed to pass. This means the gate is ‘closed’. The sidechain becomes an integral part of this entire process because it’s what the gate uses to detect whether or not the signal is above or below the set threshold.
Here’s another workflow enhancement that becomes downright addictive once you start using it. With Smart Swipe Track Controls, you can quickly enable/disable buttons on multiple tracks by clicking a button in one track, then dragging across adjacent tracks without releasing the mouse button. Smart Swipe is also an extremely effective complement to Quick Grouping.
Smart Swipe works in the Track and Console Views with mouse gestures. The following controls support Smart Swipe:
Send knobs within individual track strip (Console View only)
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
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.
“Is it World Music?” “Is it Spanish Music?” “Is this Jazz?” “Is this in the Acoustic Genre?” Fortunately for guitar virtuoso and now-Pro D.I.Y’er Eric Hansen, the simple answer to these questions he faces regularly about his music is, “YES.” Eric is another longtime SONAR user who depends on SONAR daily for his livelihood. He is based out of Southern Florida which might just be where his Spanish and Latin influences come from, where at a young age he had a unique fondness for Flamenco infused Pop music.
Eric began studying the guitar at age 14 and was performing professionally with local rock groups by the age 16. He then attended Florida Atlantic University where he studied Classical and Jazz guitar and was the first actual guitarist to complete the Honors Performance Program at F.A.U. He went on to graduate with academic honors while simultaneously studying Flamenco and Latin American music with musicians from Spain and Peru.
In his professional career, Eric is no stranger to the Billboard Charts with 6 records under his belt all crafted in different versions of SONAR spanning over 15 years. Eric is in the final stages of another record, but this one is being tracked, mixed and recorded all in SONAR Platinum. After Eric getting Cakewalk an exclusive preview to 3 of the new songs on the record, we were interested in finding out more about how all these great tracks are coming together in Platinum [DEMO PREVIEW]:
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.