You won’t believe what these 10 people said about Cakewalk’s Adaptive Limiter

The Adaptive Limiter is the latest addition to the included plugin lineup for SONAR Professional & Platinum. It is a professional brickwall peak limiter designed for both mixing and mastering. It features 4 different limiting “Character” types, Configurable Lookahead, Inter-sample Peak Detection, L.U.F.S. Loudness & K-Metering, as well MP3 codec preview, and real-time dithering.  It’s only been out for a few months now and we are already getting amazing feedback from customers.

Here’s what they are saying…

“The Adaptive Limiter has quite a few surprises in it, especially for such a simple, straight forward plugin. I like the nicely ordered presets, the “Match Input Loudness” feature for the bypass A/B switch, and the K / LUFS metering. And yes, the Dither / MP3 Encoding Preview is quite useful too! With the Adaptive Limiter, I can have it active on my master bus and still track new instruments, with no latency while playing.” – Lee Shapiro

“The Adaptive Limiter is possibly the best brickwall limiter in the business, big call I know, but after using various limiters over the course of 18 years…I was blown away when I got this.” – Benjamin Phillips

“The Adaptive Limiter is a fantastic tool, Great job Cakewalk! I tried it on several songs and tracks and was surprised by how good the Adapted Limiter works. Big thumb up!” – Holger Bremer

“I like the Adaptive Limiter a lot. It works good on both the master as well as buses and even tracks!” – Ken-Arve Nilsen

“The Adaptive Limiter is really great! I use it as the last limiter in my chain on the master bus… I think it may be one of the best brickwall limiter plugins I’ve heard, The LUFS metering is a really nice addition along with the input volume matching to hear the limiting before and after. It all really helps me create a great master!” – Hubert Torzewski

“I have found that Adaptive is extremely transparent!! It’s almost like it’s not even there…” – Sidney Goodroe

“Easily the best limiter interface I’ve seen yet. It also doesn’t hit the system too hard and as something included with a SONAR, well it is absolutely first rate.” – Jesse Stengel

“The Adaptive Limiter is soooo AWESOMELY INCREDIBLE. I love it! I love Sonar! It’s the best DAW on the planet!!” – Lana Slaughter

“I’m very happy with the Adaptive Limiter. Thank You Cakewalk! It certainly holds it’s own compared to the other 3rd party limiters I have.” – Kenny Wilson

“I am loving the Adaptive Limiter. I used it on a rock instrumental that I just finished recording and it sounds great and I prefer it now over Ozone. Great to have all these awesome stock plug in’s. I just recently moved to Sonar and find my mixes are sounding more pro. I am not having to use my purchased plug ins much as SONAR just delivers!” – Mark Stow

If you don’t already know the Adaptive Limiter, we made this video to help get you aquatinted. It is available by downloading the latest version of the Engineering Suite included with SONAR Professional & Platinum.

Enjoy!

Cakewalk Announces Simpler SONAR Prices

Simplified Pricing for SONAR
Simplified Pricing for SONAR

A decade ago, we came up with a system in good faith to give our customers the best price possible based on what Cakewalk products they already owned. But as we developed new products and updates over the years, and the number of upgrade pricing paths multiplied, our system became more confusing to customers and became less helpful.

Now it’s time to simplify! Continue reading Cakewalk Announces Simpler SONAR Prices

Review: BigTone EDM Expansion Pack for Z3TA+ 2

by Craig Anderton

Sound Designer Nico Herz has done sound design for a variety of companies, of course including Cakewalk. BigTone EDM, for Z3TA+ 2, is (as you can probably guess from the name) designed for EDM. So if you’re into traditional bluegrass, you probably should not continue reading this.

Anyway, the presets are designed for the EDM “sweet spot” of 125bpm. There are 127 presets total, arranged as eight banks: 7 Bass, 19 Keys, 11 Leads, 20 Pads, 11 Sequences, 6 Sound FX, 19 Textures, and 34 Arps. I’m going to assign each bank a letter grade average for two reasons—it might be helpful, and because sounds are so subjective, if you end up disagreeing with me you’ll know not to bother reading any sound reviews I do. Conversely, if you think my evaluations are correct, we can have an ongoing relationship with future sound reviews. Continue reading Review: BigTone EDM Expansion Pack for Z3TA+ 2

The Miracle of Mid-Side EQ: Rock Your Mixes and Masters

by Craig Anderton

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:

  • Low shelf
  • High shelf
  • High pass
  • Low pass
  • Peak boost/cut

 

The LP EQ allows up to 20 nodes
The LP EQ allows up to 20 nodes, which can choose from five 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.

the LP EQ's Expert Mode access Mid-Side processing
The LP EQ’s Expert Mode is the key to doing mid-side processing with EQ. Also note the Mix control for parallel processing.

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.

CakeTV Live Ep 4 – Mixing Drums in SONAR Part 1

by Dan Gonzalez

In this episode, we’re diving into drum mixing, and doing little things at the beginning of the mix that will have a HUGE impact right away.

If you’re interested in more drum production, check out our FREE eBook about editing multitrack drums.

A New Era For Cakewalk (an open letter from CTO Noel Borthwick)

Why we introduced Lifetime Updates

With the introduction of Lifetime Updates for SONAR Platinum, there have been many theories as to why Cakewalk would take such a bold move. For us it’s simple—it’s better for customers, it’s better for us, and we believe this way of doing business is the future, so we’re embracing it today.

Some history: In the past (pre 2015), we followed a more traditional annual upgrade cycle where we released a single version of SONAR each year. This model was flawed on many levels, both for developers and end users. As developers, we’re under extreme pressure to finish a product by a certain date to meet a revenue goal – often regardless of whether it’s ready or not.

SONAR-Platinum-Lifetime-Updates

Adding a lot of features to a product in a short cycle can create problems even skilled QA teams and beta testers won’t find. Furthermore, end users have to try and learn a huge amount of information at once—which is much less efficient than learning features at one’s own pace over time.

Rolling Updates: So we did away with annual versions of SONAR and decided to work on one version —continuously. We can make smaller incremental changes at a faster pace without disrupting the end user’s stability and workflow, as well as react more quickly to user requests. No more waiting until the next version to get problems resolved as is the case with many other products. We call this model “Rolling Updates” and as a developer and CTO of Cakewalk, I love it!

Rolling Updates also provides benefits beyond making new features available as soon as they’re ready. If something needs fixing or improving, we can just fix it and ship it without your having to wait a whole year. For example the Mix Recall, Patch Points, and Upsampling features all benefited from this interaction with end users. And doing features incrementally, in shorter time periods, promotes better stability and performance.

Although it’s never easy to do something disruptive in an industry that’s resistant to change (remember the outcry when Netflix decided to focus on streaming instead of DVDs?), the response has been decisive and positive. We didn’t want to end up like the record companies who refused to acknowledge the emergence of MP3s and digital media as a distribution model, and became almost irrelevant in the process.

Doing Rolling Updates for the past year-and-a-half has convinced us this approach is far superior to the huge yearly update—so much so, that for a limited time, we’ve made the bold decision to offer Lifetime Updates for SONAR Platinum, giving you all future SONAR updates for free.

Lifetime Updates shake up the mix even more, and offer a better way of doing business that benefits everyone. One great side effect is you get to help us improve SONAR during this process with your feedback and suggestions, creating a partnership with a common goal: You want to use the finest software in the world, and we want to create it.  That’s why we are doubling down by offering the opportunity to join us on this journey.

With SONAR Analytics now at our disposal, and a responsive feedback portal on its way, we’ll be monitoring your comments, feedback, and requests closely so we can respond quickly and ensure that your experience with SONAR is…awesome. At Cakewalk, we believe that there’s no better way to succeed than by having happy customers. It really is that simple.

SONAR OS X Alpha for Mac

OS X Compatibility Coming

What’s more, SONAR will soon be available to a brand new audience of music creators with our SONAR OS X Alpha, coming this Fall.

With Windows and Mac split almost evenly among musicians, it made no sense to ignore half the market—or ignore the numerous requests over the years from music creators who’ve wanted to experience SONAR’s superior workflow, audio quality, and tools on the Mac.

For PC users who wonder if we will keep up the same pace of Windows development, the answer is an emphatic “yes”—we will never give up our lineage as a Windows-based DAW.

Since our announcement, I’ve received many e-mail’s from industry peers showing genuine excitement about SONAR on the Mac. In fact, having more people using SONAR will benefit Cakewalk long-term and improve the product as a whole. However we are still in the early stages of the Mac development project, so please be patient 🙂

All of this may seem too good to be true, and some people wonder if there’s a catch. But we’ve put a lot of thought into how we can make changes that benefit everyone. Cakewalk has experienced a major rejuvenation, and we want nothing more than to continue what has brought us to this point. We love the new Rolling Updates model, and even many users who resisted the idea at first have become converts after experiencing the many benefits.

Welcome to a better way to produce and experience music software, and thank you for joining us on this journey of innovation and excitement. We couldn’t have gotten to where we are without you.

Thank you for reading.

Sincerely,

Noel Borthwick
CTO, Cakewalk

[Noel Borthwick started at Cakewalk 18 years ago and has actively contributed to SONAR development since its inception. He is also a jazz guitar player and a SONAR user.]

SONAR Facility, The Sound Foundation in Dallas gets global recognition with Ford Motors

Something inspiring is happening in the Dallas music scene, and Cakewalk is excited to be a part of it with SONAR Platinum. When Norman Matthew gets off the road from touring with his band Murder FM, or finishes up a major video or full length record, it’s not time to chill out.  In fact for him, that’s the time when he buckles down and digs into his “little side-thing” which is a major music operation called The Sound Foundation (TSF) in Dallas, TX.  Dallas has always been known to be a great music town, but Norman’s TSF has a great angle to its existence that resonates to the very core of his soul.  In fact just recently, TSF caught the eye of the Ford Motor Company who took notice of Norman and his operation and were so impressed, they featured the establishment on their “Good Works” series.

If you’re reading this article, I’m sure you are aware that the Major Label system has pretty much all but collapsed.  Look anywhere on the internet and you will find all the articles you can handle about how evil all the labels were, how they had this coming to them and how the lavish lifestyles of the greedy executives fostered this meltdown.  But what you may not know is that “back in the day,” a good piece of that excess cash folks paid down on an $18 CD that cost $1.76 to make went right back into a pool of starving artists (not directly of course).  It was called “Artist Development” and it helped pay and pave the way for many iconic artists who started out with the ole “Label Demo Deal.”

Continue reading SONAR Facility, The Sound Foundation in Dallas gets global recognition with Ford Motors

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)

CakeTV Live Episode 5: TH3 Cakewalk Edition

In this week’s edition of CakeTV Live, Joey and Dan tackle the brand new TH3 Cakewalk Edition. Check out all 6 parts here.

 

How the new “TH3 Cakewalk” Will Elevate Your Recordings in SONAR

Whether you update SONAR every month or not, this month is a great time to hit the C3 button.  Besides the new cutting edge LP mastering plug-ins, we have worked hard and closely with our good friends at Overloud to deliver something that can truly change your sound as a SONAR user. TH3 Cakewalk has arrived and will now replace TH2 moving forward, and I had the opportunity to run the beta for the last month building some basic presets for the plug-in. Right out of the gate I found this VST3 to be a nice upgrade from its predecessor TH2.

Now I am absolutely nothing close to a guitar wizard, but I have been hacking around since I picked up the instrument at age 5, so I’ve been around the block with guitar tones touring, producing, engineering, recording, etc. like a lot of folks probably reading this.  From a production standpoint, I’ve always loved the convenience of amp simulators, but always hated what would happen to the tone when trying to mix them together with drums that had been recorded with 1073’s, API’s or other heavy duty pres and mics… the tone gets small pretty fast.  In my opinion, this is something that Overloud in general has excelled at—DSP and algorithms that truly stay at the front of the mix no matter what the context.  TH3 brings this concept to even another level.  Here are some of my quick thoughts and findings.

Sounds
There are a lot of changes with the new TH3 Cakewalk including the new and upgraded User Interface which I will get into, but I bet a lot of folks like me really base their judgments on how things sound.  The good news is that once you are up and running with the plug-in you will notice a nice improvement on the sound quality from TH2 Producer/Cakewalk.  5 new amp models with more accurate model reproduction are included in TH3 Cakewalk, and all have improved DSP along with enhanced preamp and power amp stages.  To my ear, I notice a more “open and natural” sound in general, but also notice a more responsive relationship between the pick and the strings in terms of “feel”—like when you play a guitar through an amp that just had the tubes replaced.  I also notice more presence overall, but the right type of presence without harshness.  The low-mids and mids are thick and punchy and I especially love the new Slo88 and Tweed Deluxe amps which have a lot of character.  The Bassface is a beast as well; this amp is a secret weapon for many rock producers who use it to double rhythm guitar parts recorded with other amps.  Blending these two sources together produces a tone that is about as thick as it gets.

New amps in TH3 Cakewalk:

 

Bassface 59:  Model of a classic american “bass” combo amp, tuned to be great for rhythm and blues playing on guitar once overdriven

Continue reading How the new “TH3 Cakewalk” Will Elevate Your Recordings in SONAR