Cakewalk Sonar Producer Edition - Vintage King

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That would, again, be worth having in some multiple mic situations, and as a special effect in its own right. And finally, it might be 'LE', but the bundled Native Instruments Guitar Rig 3 LE is a fantastic freebie for what is already a package with great added value.

We do have a slight clash of cultures, though: the authorisation procedure is much more involved than that for Sonar 8 itself. It sounds pretty meaty, too — if you record a lot of guitar, this is one more tool that you don't necessarily have to buy.

Now we come to the rest of the program. Sonar 8 still has pretty much the same, straightforward user interface I've always liked, though even here there are tweaks worth noting. Perhaps the most interesting update to virtual instrument use, operationally at least, is the implementation of a new 'instrument track'. With v8, Sonar now creates a single track for a new instrument, rather than separate MIDI and audio tracks, as with previous versions.

That might not seem like much, but it makes session organisation a little more tidy. The audio and MIDI side can be split up, if required, so you don't have to use the new system if you don't want to. From within this view, you can browse and audition audio and MIID groove clips and patterns, then drag them directly into the track view. Again, it doesn't sound that drastic, but it's a welcome tool, and an improvement on previous options.

One feature I wholeheartedly welcome is the new 'Aim Assist Line'. I've wanted something like this for ages: it simply presents a line it's initially white, but you can change it in the clips pane that shows the mouse's horizontal position. The position of the line is also shown precisely in the time ruler.

I do a lot of moving clips around by eye, and this one tool will make the process a lot easier for me. Less visible are some of the performance optimisations — there's not space to track everything that's been done in this department, but Sonar 8 offers better performance at high track counts and low latencies, faster launch time, and the ability to change audio devices without restarting.

And it might seem a small thing, but the annoying way that the audio metronome would hiccough at the start of a recording session has been fixed. More subliminal still, the display is smoother when resizing windows and panes, metering has been optimised, and zooming and scrolling have been improved. I'm not able to comment on the improvements for Vista Luddite tightwad that I am, I'm waiting for other people to knock the lumps out while I stick with Windows XP , but they seem significant.

The new transport panel: the differences are subtle, but the new pause, fast forward and rewind buttons make a lot of difference. This shot also shows you the button to press to enable the Aim Assist Line: it's the target just above and to the right of the transport. When it comes to getting away from mouse wrist, mouse elbow or mouse shoulder, many of us think of splashing out on hardware control surfaces to allow us to pretend we're in a traditional recording facility, not stuck in front of a monitor and keyboard.

But of course a lot of software control can be had by using the computer's keyboard. Years of working with Digidesign's Pro Tools got me into a real keyboard shortcut groove. I've had to learn a new set of shortcuts with Sonar, and I'm pleased to see that version 8 has enhanced the experience further.

Navigation, selecting and editing all have new aspects when approached from the PC's keyboard, and especially, in v8, navigating, selecting and editing with the numeric keypad. If you do have a control surface, there are enhancements in v8 for you, too. For example, Sonar has two modes of synchronising channel strips between it and the control surface: the control surface can display all channel strips in a project, or just those that are visible in Track or Console view.

So there we have it. If you're new to all this and just beginning to shop around, you could do worse than start the new year at the top. Sonar is mature, stable and powerful, and the software and its developers don't show signs of running out of steam yet.

Each version, since 4 or 5, has felt complete in itself, with any missing features countered by good value and stability. Such minor irritations as the glitching metronome used to be part of the vibe, and you'd easily work around them.

But Cakewalk's team are obviously listening, and their support is very highly regarded and responsive to the software's user base. The effects processing just gets better, and if Cakewalk ever add audio restoration tools, I'd personally hardly need anything else. I'm into collecting virtual instruments as much as anyone, but I could save myself a lot of Internet time by just using what Cakewalk provide.

And even if you don't add your own samples or do much programming, Sonar 8 comes with such a large library that you'd hardly need another source of presets. This is bread and butter from an artisanal bakery. I don't place a great deal of importance on the flashiness of user interfaces: monochrome, colour, 3D, whatever, as long as it works, it's fine by me. But I do know that some users find Sonar a little dull. They're right — it is.

But the user interface is also rather elegant, and easy on the eye. Using this kind of software means you'll spend a lot of time staring at your monitor and if it was garish, that would be painful. Besides, there's a place where colours can be customised. I just can't be bothered! Sometimes, I find the display can become a little busy, when a lot of windows are open. Boning up on Sonar's development is easy with Sound On Sound's on-line review archive, and don't forget Craig Anderton's regular Sonar technique workshops.

As ever, there are innumerable detailed improvements in Sonar 8, some of which already seem indispensable now that I have them. For example, proper rewind and fast forward buttons have now been implemented, and they let you accomplish either task smoothly without interrupting playback.

There's also a dedicated audition button on the transport bar : you can highlight multiple tracks, and non-contiguous audio clips. The transport bar also hosts a dedicated pause button. Scrubbing is also reported to be 'smoother and more responsive', and this certainly seems to be the case.

Grouping the clips can be done automatically after recording say, if you'd just printed multitrack drums , or afterwards. You can, of course, edit a clip that's part of a group, or disable grouping altogether. There are some editing enhancements. A 'free edit' tool has been added, and the split and mute tools can edit multiple clips at once, as well as clips in groups.

I also can't believe that I never got too bent out of shape by not being able to arm and disarm tracks for recording during playback and recording. I can do it now, with Sonar 8, but have to tell the software that I want to it: there's a box to tick in Record Options, from the Transport menu. Do you like digital recording, but would rather mix with a genuine hardware mixer?

It's now possible to easily assign audio tracks and bus outputs from inside Sonar 8 to mono audio hardware outputs. Another hardware-related improvement now lets you easily include live audio in a real-time 'bounce to track' operation. I never had too much trouble creating effect send buses, but I welcome the new new 'insert send assistant' which makes it much easier to create effect buses and insert sends. Save time with a convenient auto-populate feature for common rhythmic patterns.

Don't settle for robotic, step-sequenced parts—the exclusive Per-step Probability feature lets you add automatic variations. Make your sequences even more exciting with nuances like flam, swing, and time-offset Arpeggiator Use the new per-track Arpeggiator to create new sections for your songs, breathe life into stale chord progressions, and discover new musical lines and hooks. With one key click you can experience sweeping staccato parts, chord strums, and lightning-fast runs to add new layers of sound to your productions.

Rapture Rapture LE is a special version of the award- winning Rapture synthesizer. Quickly load production-ready patches from growling leads to bumpin' basses and spacious pads - ideal for today's pop, dance, and electronic music. Get brilliant sounds with low CPU usage for optimal performance. SONAR 8 Producer Exclusive Dimension Pro Dimension Pro — your go-to instrument allows you to add both real and synthesized instrument sounds to your projects including synths, strings, basses, acoustic and electric guitars, vocal hits and more.

Quickly build backing tracks for your song and preview MIDI with the virtual instrument of your choice. The best gear advice always comes from those who use it the most. That's where you come in! Let the pro audio world hear your voice with a review of the Cakewalk Sonar 8. Once you submit your review, please check your email and verify your address to have it posted. Please fill out the form below and a Vintage King Audio Consultant will contact you with a ship date for the Cakewalk Sonar 8.

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- Cakewalk - Knowledge Base - Dimension Pro x64 with SONAR 8 Producer Edition



 

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