gswitz Max Output Level: -18.5 dBFS Total Posts : 5694

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Community Tip: A/B Comparisons



One of my favorite tips is to add the power button for the ProChannel to a quick group so that all the FX for a subset of channels can be turned on and off with one click. This is particularly useful if you are working at the limits of your computer and need to recover a lot of processing power on a regular basis without disabling all FX.



If you go to Console View, you can use quick group and ctrl+add the power buttons to a group so that they can be flipped on and off, or have sets of PCs that invert... Inverting can enable you to A/B different FX.



> I use Windows 10 and Sonar Platinum. I have a touch screen.

I make some videos.

StudioCat > I use Windows 10 and Sonar Platinum. I have a touch screen.I make some videos. This one shows how to do a physical loopback on the RME UCX to get many more equalizer nodes. #2

soens Max Output Level: -23.5 dBFS Total Posts : 5154

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by zhinnn Community Tip: Instrument Customization



Some time ago I made a yellow DropZone and dressed up Cakewalk's SI-Bass, an elaborate example of how far you can go using a photo editor. You can also change the order and appearance of the layout by editing the GraphicResources.cwres and LayoutResources.cwres files, as I did for the SI-Bass.









DOWNLOAD HERE



post edited by soens - Some time ago I made a yellow DropZone and dressed up Cakewalk's SI-Bass, an elaborate example of how far you can go using a photo editor. You can also change the order and appearance of the layout by editing the GraphicResources.cwres and LayoutResources.cwres files, as I did for the SI-Bass. #3

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: Tip of the Week permalink) ☄ Helpful by gswitz Community Tip: All About Gain-Staging



Let's give a big round of applause to gswitz, who wrote the following post in response to a query about plug-in levels. It was too good not to include it as a tip of the week...which makes this our first "Guest Tip of the Week." And you'll still get another tip this Friday from me, so it really is a bonus tip. Thanks, Geoff! -- Craig



Gain-staging is just as important for software as it is for hardware.



Some VST effects model being over-driven as well as being driven in a more typical manner. This means that when you run hot into the VST you get the over-driven sound. Some VSTs really don't distort on being over-driven until you clip. If the VST is in the FX Bin in the pro-channel, you should see the pro-channel clip light flicker red when you clip a VST. For when you are over-driving a plugin, your ears are the best judge.



Input Gain on your Pre Amp and Interface

Input Gain on your Pre Amp and Interface give you your initial signal. Whatever changes these make to the signal are permanent. For example, if you over-drive your pre-amp before you reach Sonar, you can't undo it in Sonar. For this reason, people usually try to record fairly cleanly and dirty things up in Sonar. This gives you the flexibility to undo things you don't like.



Effect Send Level

Effect Send is a place you can impact gain going to a bus. You can then also use the bus gain nob to further adjust the gain.



Input Gain on the Track

Every track has an input gain nob. This nob cannot be automated for some reason. I use the input gain nob fairly regularly. For example, if I've got a track sounding the way I want but there are a few momentary clips during playback, I might turn the input gain down a few DB to compensate.



Clips have separate input gain

You can adjust the gain on a specific clip. If you split a clip at zero crossings, you can then adjust the gain of the clip (or normalize the clip to make the gain adjustment more permanent).



Odd transient peak reduction

If there are just one or two large spikes in level on an otherwise consistent track, you can split the clip around those peaks using snap to zero crossings so you don't get a click. Then use normalize or clip gain to reduce the relative level of that odd transient to be more in-line with the rest of the track. This basically helps you be a very good manual limiter.



FX Chain Controls

If you have an FX Chain in the Pro Channel, you have gain staging built in. You have a slider for the gain coming into the chain and another for the gain coming out. These sliders should not distort the signal (unless you clip the signal). They only adjust the heat of the signal into the VSTs or into the subsequent signal chain.



Tube PC Module

The Tube Pro Channel Module has an Output knob. If you keep the drive all the way down, you can use the output nob on the tube module to adjust gain staging or general track volume. Unlike the Gain nob on the track, this nob can be automated. Sometimes, when I want to reduce the volume for a track in the mix without moving all the fader automation or using off-set mode, I might use this nob to make slight tweaks.



Normalization

Sometimes I record for hours at once while a band plays through all the songs they know, and then I go back and mix those songs. When one song is significantly quieter than the others, I may want to use the normalize function.

Process > Apply FX > Normalize. I do not normalize to 0 very often. I usually normalize to -3 or so depending on the track. This leaves headroom when going into the VSTs.



Visually identifying peaks for nudging tracks or other work

Sometimes you just want to see the wave form more clearly. You don't actually need to change the track gain, you just want to see a particular transient very clearly. An example situation is that if you used two DAWs that were clock sync'd to record a performance and then moved all the tracks to a single DAW and wanted to line them up. You might pick a particular drum beat, zoom WAAAAY in and then adjust the tracks to align perfectly. For this purpose, it's useful to know that you can go into track view, put the tracks side by side, Set the Edit Filter to Clips and then in the gray bar between the track headers and the wave form views click and drag up. This will make the wave form get bigger so you can see it better. Drag down to make it smaller. Double click to reset it to default.



This link shows the order of events in Cakewalk X3

http://www.cakewalk.com/Documentation?product=SONAR%20X3&language=3&help=Mixing.07.html



** I have never used Channel Tools to adjust gain staging. Channel Tools does have meters than can give you a picture of your levels at a particular point in the signal chain, but I would shy away from the mid/side gain nobs on the plugin and use some other method to actually adjust the gain.

Gain-staging is just as important for software as it is for hardware.Some VST effects model being over-driven as well as being driven in a more typical manner. This means that when you run hot into the VST you get the over-driven sound. Some VSTs really don't distort on being over-driven until you clip. If the VST is in the FX Bin in the pro-channel, you should see the pro-channel clip light flicker red when you clip a VST. For when you are over-driving a plugin, your ears are the best judge.Input Gain on your Pre Amp and Interface give you your initial signal. Whatever changes these make to the signal are permanent. For example, if you over-drive your pre-amp before you reach Sonar, you can't undo it in Sonar. For this reason, people usually try to record fairly cleanly and dirty things up in Sonar. This gives you the flexibility to undo things you don't like.Effect Send is a place you can impact gain going to a bus. You can then also use the bus gain nob to further adjust the gain.Every track has an input gain nob. This nob cannot be automated for some reason. I use the input gain nob fairly regularly. For example, if I've got a track sounding the way I want but there are a few momentary clips during playback, I might turn the input gain down a few DB to compensate.You can adjust the gain on a specific clip. If you split a clip at zero crossings, you can then adjust the gain of the clip (or normalize the clip to make the gain adjustment more permanent).If there are just one or two large spikes in level on an otherwise consistent track, you can split the clip around those peaks using snap to zero crossings so you don't get a click. Then use normalize or clip gain to reduce the relative level of that odd transient to be more in-line with the rest of the track. This basically helps you be a very good manual limiter.If you have an FX Chain in the Pro Channel, you have gain staging built in. You have a slider for the gain coming into the chain and another for the gain coming out. These sliders should not distort the signal (unless you clip the signal). They only adjust the heat of the signal into the VSTs or into the subsequent signal chain.The Tube Pro Channel Module has an Output knob. If you keep the drive all the way down, you can use the output nob on the tube module to adjust gain staging or general track volume. Unlike the Gain nob on the track, this nob can be automated. Sometimes, when I want to reduce the volume for a track in the mix without moving all the fader automation or using off-set mode, I might use this nob to make slight tweaks.Sometimes I record for hours at once while a band plays through all the songs they know, and then I go back and mix those songs. When one song is significantly quieter than the others, I may want to use the normalize function.Process > Apply FX > Normalize. I do not normalize to 0 very often. I usually normalize to -3 or so depending on the track. This leaves headroom when going into the VSTs.Sometimes you just want to see the wave form more clearly. You don't actually need to change the track gain, you just want to see a particular transient very clearly. An example situation is that if you used two DAWs that were clock sync'd to record a performance and then moved all the tracks to a single DAW and wanted to line them up. You might pick a particular drum beat, zoom WAAAAY in and then adjust the tracks to align perfectly. For this purpose, it's useful to know that you can go into track view, put the tracks side by side, Set the Edit Filter to Clips and then in the gray bar between the track headers and the wave form views click and drag up. This will make the wave form get bigger so you can see it better. Drag down to make it smaller. Double click to reset it to default.This link shows the order of events in Cakewalk X3** I have never used Channel Tools to adjust gain staging. Channel Tools does have meters than can give you a picture of your levels at a particular point in the signal chain, but I would shy away from the mid/side gain nobs on the plugin and use some other method to actually adjust the gain.

The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#4

The Maillard Reaction Max Output Level: 0 dBFS Total Posts : 31918

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post edited by Bash von Gitfiddle -



#5

Beepster Max Output Level: 0 dBFS Total Posts : 18001

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by joel77 Community Tip: Advanced Workshop Videos Timesheet and Description of Contents



Just thought I'd mention Craig's "X1 Advanced Workshop" series vids for those enjoying these little nuggets of wisdom (like I am) because they are still in the store and go on sale every now and then. There are few of these tips I remember from that series and it's cool to see them done on screen within the program. Even though it's all done in X1 since they mostly seem to be production tips as opposed to strict Sonar tuts they are all still relevant (maybe a few steps need to be tweaked for more current versions). I got them when I bought X1 Production Suite and every time I watch them I pick up something new.



So yeah... dudes and dudettes, if you are addicted to the Craig tips you may want to snag those vids. I've reviewed the videos again and compiled a list of all their contents with the times they appear here:



http://forum.cakewalk.com/Sonar-X1-Advanced-Workshop-by-Craig-Anderton-Timesheet-and-description-of-contents-m3191641.aspx



So if you want to see Craig perform some of these tricks (albeit it in X1 but that doesn't really matter for most of the stuff) and many more I encourage you to snag those vids if you get a chance. They contain some very cool stuff.

Just thought I'd mention Craig's "X1 Advanced Workshop" series vids for those enjoying these little nuggets of wisdom (like I am) because they are still in the store and go on sale every now and then. There are few of these tips I remember from that series and it's cool to see them done on screen within the program. Even though it's all done in X1 since they mostly seem to be production tips as opposed to strict Sonar tuts they are all still relevant (maybe a few steps need to be tweaked for more current versions). I got them when I bought X1 Production Suite and every time I watch them I pick up something new.So yeah... dudes and dudettes, if you are addicted to the Craig tips you may want to snag those vids. I've reviewed the videos again and compiled a list of all their contents with the times they appear here:So if you want to see Craig perform some of these tricks (albeit it in X1 but that doesn't really matter for most of the stuff) and many more I encourage you to snag those vids if you get a chance. They contain some very cool stuff. #6

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Community Tip: What Data Defaults to Which Locations



The following was posted by Kylotan but it was a post buried in a thread. I think this info is really useful, so I'm pasting it here so it doesn't get lost in the noise. It explains what data defaults to which locations.



C:\Program Files\Cakewalk (Studio Instruments drop their multisamples here) C:\Program Files (x86)\Cakewalk (Studio Instruments have a copy of their multisamples here too - it's fine to install the executables in both the x86 and the 64 bit areas, but the data too?) C:\ProgramData\Cakewalk (Cakewalk supplied but user editable data is here, like drum maps, but also a bunch of synth presets seem to live here, eg. for Dimension Pro) C:\Cakewalk Content (this is 75% loops, but also contains the sort of thing you might have expected in C:\ProgramData\Cakewalk, such as track and project templates) C:\Users\[your username here]\AppData\Roaming\Cakewalk (local settings, plus some more Cakewalk supplied editable stuff like drum maps - no idea how this relates to the stuff in C:\ProgramData\Cakewalk - maybe that is just a 'backup', copied for each user) C:\VSTPlugins\Sonar (or whatever your VST directories are) (some stuff likes to drop its static data in here, like RXP, Session Drummer, and Perfect Space) The following was posted bybut it was a post buried in a thread. I think this info is really useful, so I'm pasting it here so it doesn't get lost in the noise. It explains what data defaults to which locations.

The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#7

Kylotan Max Output Level: -71 dBFS Total Posts : 995

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by Sijel Community Tip: Organizational Hierarchy for VST Plug-Ins



Plugin layouts normally end in AppData/Roaming/Sonar Platinum/etc. It's usually a good idea to have AppData being backed up regularly, although the only other user-editable Sonar data likely to be in there is Drum Maps.



Anyway, if anyone's stumped for a good organisational hierarchy for their VST effects, here's what I use:

Analysis/Metering - for spectrum analysers, gain meters

Channel/Multi - for channel strips and multi-fx units. Includes Channel Tools, Percussion Strip, Vocal Strip, etc.

Delay - time-based effects

Distortion/Overdrive - effects that add noise or grit to a signal

Dynamics Compressors Multiband Gates Limiters Transient shapers De-essers (basically a narrowband compressor)

EQ Graphic Parametric Vintage/flavour Exciters (not always technically an EQ, but has a similar effect)

Filters (for things like Wah, Tal Filter, etc, typically specialised EQs specifically designed to be automated)

LoFi (bit crushers, vinyl simulators, tape simulators)

Mastering - anything from the other categories that is especially suited to the master bus, here for convenience

Modulation Chorus Flanger Phasers would go here if I used them

Pitch/Time - things that stretch audio, or change pitch without stretching audio, or both. Melodyne, pitch shifters, etc

Reverb (could divide into convolution and algorithmic)

Simulation - for effects designed to replicate outboard gear (in my case, mostly guitar amps and pedals) Amp sims Cabinet sims and impulse loaders (which might also be in Reverb) Guitar pedal sims Tape saturation sims (I could probably move these to LoFi)

Spatial -surround sound, Channel Tools, anything with significant mid/side capabilities

Synths as FX - dumping ground for VSTis that can double up as multi FX - Absynth, Reaktor, z3ta+, etc. Plugin layouts normally end in AppData/Roaming/Sonar Platinum/etc. It's usually a good idea to have AppData being backed up regularly, although the only other user-editable Sonar data likely to be in there is Drum Maps.Anyway, if anyone's stumped for a good organisational hierarchy for their VST effects, here's what I use:

Sonar Platinum (Newburyport) / Win 8.1 64bit / Focusrite Scarlett 6i6 / Absynth / Kontakt / Play / Superior Drummer 2 / ESP LTD guitar / etc



Twilight's Embrace - gothic/death metal | Other works - instrumental/soundtracks

#8

SF_Green Max Output Level: -62 dBFS Total Posts : 1403

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Community Tip: Edit Plug-In Manager Layouts in XML



Anderton

arlen2133

I also wish PIM could be exported "offiline" and edited via say Word or Notepad??

That would make sorting and setting up much easier.







The good news: It's an XML file, so you can open it in Notepad. The bad news: Your head will explode trying to edit it.









This makes editing it a lot easier (and it's free):



NotePad++



Once installed, I recommend going to Plugins > Plug-in Manager > Show Plug-in Manager and select XML Tools and Install to help out with the XML editing.



Note that the files have a .PGL suffix instead of .XML.





This makes editing it a lot easier (and it's free):Once installed, I recommend going toand selectandto help out with the XML editing.Note that the files have a .PGL suffix instead of .XML.

AMD FX-8370, Gigabyte 990FXA-UD3, Win7x64 SP1, 16Gb CorsairDDR3-1600, GeForce GTX 950 (390.65), SSD 525Gb (OS), SATA 3 & 1.5Tb, MOTU microlite, RME FireFace 800 (D 3.124, fw 2.77), UAD-2Q, Adam A7X, A-800 PRO, CC121

Cubase Pro 10.0.5, SonarPt-2017.10 (x64), Reason10.2, Live 10.0.5 Suite, Wavelab Elements 9.5.40, Komplete10Ult, POD Farm2.5, Omnisphere2.5, BFD3, Alesis QS7.1, Arturia BeatStep Pro, POD HD500, Alesis ControlPad, ARP Omni, many things with strings.

AMD FX-8370, Gigabyte 990FXA-UD3, Win7x64 SP1, 16Gb CorsairDDR3-1600, GeForce GTX 950 (390.65), SSD 525Gb (OS), SATA 3 & 1.5Tb, MOTU microlite, RME FireFace 800 (D 3.124, fw 2.77), UAD-2Q, Adam A7X, A-800 PRO, CC121Cubase Pro 10.0.5, SonarPt-(x64), Reason10.2, Live 10.0.5 Suite, Wavelab Elements 9.5.40, Komplete10Ult, POD Farm2.5, Omnisphere2.5, BFD3, Alesis QS7.1, Arturia BeatStep Pro, POD HD500, Alesis ControlPad, ARP Omni, many things with strings. GrSltz My Studio #9

DRanck Max Output Level: -78 dBFS Total Posts : 608

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Community Tip: Organizing Plug-In Menus with Menu Magic



I started using Menu Magic to organize the plugin menus and I like it (



Here's a post about it:





I started using Menu Magic to organize the plugin menus and I like it ( http://www.agitatedstate.com ).Here's a post about it: http://forum.cakewalk.com/Sonar-plugin-utility-MenuMagic-Cyber-Week-Sale-m3325859.aspx

My Sound Cloud

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The way that I've always gone about making music, the rule of thumb, has just been to make what I love.

Amy Lee



Sonar Pro 64 (Newburyport), Akai Pro MPK 88, i7-4770K, ASUS Z87-PRO V, 32GB SDRAM 1866, SAMSUNG 840 EVO 500GB SSD, 2 - WD BLACK 2TB, Samsung USB 3.0 SSD, Win 10 Pro 64, Radeon R9 270 Video 2GB, Dell P2314T 23" Touchscreen, Gateway 23" monitor, Presonus USB Audio Interface, Surface Pro 2 w/ Xotopad as a control surface

The way that I've always gone about making music, the rule of thumb, has just been to make what I love. #10

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by TheMaartian Community Tip: Combining the Gentle Lifter and Sustainer Compressors



Anderton

this is the polar opposite of Week 69’s “Lifter” compressor

And in keeping with the stompbox spirit, this has a single control







I combined the two together and it is one the the sweetest guitar compressors I've ever come across.







Thanks for yet another great tip, Craig!





I combined the two together and it is one the the sweetest guitar compressors I've ever come across.Thanks for yet another great tip, Craig!

Anderton

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#11

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by SF_Green Community Tip: Humanizing Drum Sounds



I've made a little video tutorial on how to make SI Drums sound more human-like, and also, get rid of the dreaded "machine gun" effect. This also works in Music Creator 7 and with Session Drummer 3.







Anderton

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#12

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by PilotGav Community Tip: Human Beat Box from Vocals







Anderton

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#13

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Demo: Hear How Upsampling Improves Synth Sound Quality



Synthesizer sounds with lots of harmonics that are generated "in the box" can benefit from recording at a higher sample rate or oversampling. This audio example shows how SONAR's "Upsampling" function provides the benefits of higher sample rates at projects with lower sample rates, resulting in better high-frequency response and minimized foldover distortion.



The first synth figure sounds terrible - it's "undersampled" at 1/2 the project sample rate. The next one has the same sample rate as the project, while the next figure using the Z3TA+ 2's "2x oversampling" option. This provides the same result as recording at an 88.2 kHz sample rate without using oversampling.



The next example enables SONAR's "upsampling" function which doubles the synth's sample rate once again, providing the equivalent of 4x oversampling at the 44.1 kHz project sample rate. Note how it sounds very different, and a lot cleaner, than the previous examples.



Finally for comparison, the last example is the sound of recording the Z3TZ+ 2 at 88.2 kHz with 2x oversampling. Note that it's the same sound as recording at 44.1 kHz with 2x oversampling and SONAR's upsampling.



Now, be aware this kind of dramatic difference occurs only with synthesizers whose sounds are generated "in the box," and which generate lots of harmonics. However as you can hear, the improvement is substantial in terms of hearing what the patch is really supposed to sound like.







Q&A



MPH: Is there a global option in Sonar to enable upsampling for recording/playback?



CA: Yes, the 2X button in the Control Bar will enable upsampling with all plug-ins that have upsamping enabled.



MPH: Will the upsampling have a similar effect on amp sims, effects?



CA: It depends. Most amp sims oversample already, but I've noticed some other things...like TH2's amps sound the same, but the reverb image is "tighter" when upsampled. Some effects, particularly limiters and any effects with super-fast rise times, may benefit as well.



PeteL: Do the upsampling benefits pertain to sampled VSTi's? I'm assuming that by "in the box" you mean algorithmic sound generation, therefore excluding such sample playback instruments as Vienna Symphonic or Kontakt sample libraries.



CA: Correct. With sampled instruments, the audio has already been band-limited, so the audio will not generate high enough frequencies to interact with the clock. The dramatic effects occur with algorithmic sound generation or processing. However...I'm still finding out the fine points of upsampling, so there may be other aspects that need to be taken into account. The one thing I would avoid is upsampling all plug-ins, because it takes longer to render. Only upsample the ones that need it.



The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#14

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: Week 102: The Instant Compressor permalink) Community Tip: Vocal FX Chain



Excellent tip, as always, Craig, thanks! I've made a Vocal FX chain based on this tip and would like to share it with the community.

http://www.files.com/shared/578a76d3b6eea/SWVocals.zip

Note: 1/4 to 1/2 delay switch may not work as intended, due to Sonitus Delay not responding to changes in the Factor field from FX chain unless there's a mouse click in the plugin itself. Will report it to devs, maybe it can be fixed.

Excellent tip, as always, Craig, thanks! I've made a Vocal FX chain based on this tip and would like to share it with the community.Note: 1/4 to 1/2 delay switch may not work as intended, due to Sonitus Delay not responding to changes in the Factor field from FX chain unless there's a mouse click in the plugin itself. Will report it to devs, maybe it can be fixed.

Anderton

We are all unique and have our own contributions to make to this planet.

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#15

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: Week 102: The Instant Compressor permalink) Community Tip: Two Tape Sim FX Chains



Good to see it can be useful. I've also made two tape-sim FX chains and it would be nice to get some feedback on them.

http://www.files.com/shared/578aa32696485/TapeSim.zip

Feel free to edit and update these to your liking.

Good to see it can be useful. I've also made two tape-sim FX chains and it would be nice to get some feedback on them.Feel free to edit and update these to your liking.

Anderton

We are all unique and have our own contributions to make to this planet.

SoundCloud

YouTube

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#16

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by glennstanton Community Tip: Deciphering New Project Options



The following is a post that robert_e_bone made in a thread, and I thought it was too useful to merit getting lost when it disappeared off the front page. His post explains what happens with audio when you choose one of the five different ways of creating a new project. Take it away, Robert...



I just created 5 new projects, with the first using New From Template, the 2nd using New Project, the 3rd using File > New, the 4th using ALT+F then N, and the 5th using CTRL+N, to see what each option did with audio.



1) Start Screen 'New Project' option - The project created from the Start Screen's 'New Project' option does NOT default to use Per Project Audio, and saves audio to C:\Cakewalk Projects\Audio. Doing a Save As presents the audio path for MANUAL modification, but any audio created prior to modifying that goes to the path listed above. If you want to use Per Project Audio - I would not use this option.



2) File > New option - Creating a project using File > New behaves differently, and DOES present the path for the Audio to be stored in an Audio sub-folder - as the new default for Sonar has Per Project Audio turned on. The path for the Audio sub-folder is populated automatically to create a folder called Audio within the project folder, so as you type the name of the project, the path for the Audio sub-folder is modified to include whatever you are naming the project as the parent folder for the Audio sub-folder (because Per Project Audio is on by default). This option is fine for creating projects with Per Project Audio automatically on.



3) Start Screen 'New From Template option - Creating a new project by choosing 'New From Template' on the Start Screen, ALSO presents the path for creating an Audio sub-folder within the project folder, and automatically adds the project folder name to the path to the Audio sub-folder (just like File > New does). This option is fine for creating projects with Per Project Audio automatically on.



4) ALT+F then N works the same way that File > New works, resulting in an Audio sub-folder within the project folder, and the path is automatically populated as you type in the project name. This option is fine for creating projects with Per Project Audio automatically on.



5) CTRL+N option - this does NOT work like File > New. You will NOT have an Audio sub-folder created. It will default to the global Cakewalk Projects\Audio folder, though you can change that path during Save As. Audio clips created prior to a path modification to its default will indeed be stored in the global Cakewalk Projects\Audio folder. If you want Per Project Audio is desired, I would not suggest using this option.



For whatever it's worth, I ALWAYS start new projects using the Start Screen 'New From Template' option, and I always end up with an automatically created Audio sub-folder, within the main project folder, and all of my audio clips properly stored within the Audio sub-folder, as a result of the default Per Project Audio option in Platinum.



The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#17

Soundwise Max Output Level: -62 dBFS Total Posts : 1419

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by pilutiful Community Tip: Using the Transpose function with Diatonic math checked.











Anderton

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by Soundwise Hey, a heads-up to all you "Friday's Tip of the Week" insiders. The number of tips has gotten unwieldy, and some of them are kinda old at this point (and age has even rendered some of them inaccurate). I've been trying to figure out a solution, so here it is.



I'm currently working on consolidating/compiling the tips, updating them, adding screen shots, including some more tips, organizing them by categories, and basically, converting them from a bunch of forum posts into a book. Once that's available (which may be a while...depends on workload), I'm going to hit reset and start over with a new "Friday's Tip of the Week" thread. I dunno, maybe I'll call it "The Friday's Tip of the Week Strikes Back" (kidding). Until the book is done, I'll keep adding to this thread.



I must say that I deeply appreciate the support y'all have given this endeavor, and there are plenty more tips that need to be written so this is not going to go away unless there are circumstances beyond my control (e.g., earth being destroyed by aliens, a pack of wild dogs eating my computer, etc.).



I also want to give a BIG shoutout to all the people who have contributed comments, additional tips, etc. Although there are too many to mention, I'd particularly like to thank Soundwise for her ongoing contributions...but every one of your comments and suggestions has added to the value of this thread. This truly is a very special community of people, which is what provides the incentive and desire to continue writing these tips for you.



The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#19

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Week 122: Clean Up Your Console View



I've seen quite a few requests for the ability to have Track Folders in the Console View. I've thought about this, and realized it's not so much Track Folders I want; it's the ability to make tracks go away that I don't want to see, quickly and easily, make them re-appear equally easily, and not have to jump through hoops to edit them. You can do that with Folder Tracks in Track View, but you can't do the same thing in Console view...or can you?



For example, once an instrument's MIDI track is done (I use synth Track Folders with separate audio and MIDI tracks), the attention shifts to the audio track when you're mixing - so you don't want to see the MIDI track. Or consider a multiband distortion setup, where the different bands are in a Folder Track. If there are five bands, that's five channels in your Console view that you probably don't want to see after the initial mix setup. Granted you can hide tracks, but then if you want to dip in and do some quick editing, you need to open the Track Manager, find your tracks, unhide, click OK, etc. Besides, at that point you probably want to be dealing with the Track View, not the Console View or the Track Manager.



So, this is tip is about quick, temporary track hiding in the Console View - and when you want to do some editing, or get the tracks back, you'll be right where you want to be. Before you start, though, type H to bring up the Track Manager. Make sure "Keep Track/Console Visibility States in Sync" is checked.



Here's part of the Console View. The Strings, Bass, and guitar Chord Library instrument tracks all have MIDI tracks next to them that we really don't need - we're mixing audio, right?







Next, note how the instrument tracks are handled in track view: the Folder Track is opened up just enough to see the fields under Audio, MIDI, Synths, and Hidden.







Click on the MIDI fields, and you can show/hide the MIDI tracks in the Console. Here's what happens from hiding the MIDI tracks...better, eh?







What's more, this can also hide tracks in a Folder Track - just click on the Audio field instead of MIDI. You won't see the Folder itself in the Console, because all the tracks will be hidden. But to make them reappear, in Track View just click on the Track Folder's Hidden field, and they'll re-appear.



But here's the best part in terms of workflow. Suppose you do want to do some quick MIDI edits. Go to the Track View, click on the MIDI field for your instrument, unfold the Track folder if needed, and there's your track - ready for editing. No messing with the Track Manager, and no need to mess with dialog boxes - when you're done editing, click on the MIDI field again, return to the Console view (using the cognoscenti "D" keyboard shortcut), and you're back to the cleaned up Console view.



I've now gotten to the point where I leave the Folder Tracks slightly open as shown. Between being able to click on the fields and alternate between Console and Track views with the D key, I can move really fast when I want to see - or not see - some, or all, of the tracks in a Folder Track when using the Console View.

I've seen quite a few requests for the ability to have Track Folders in the Console View. I've thought about this, and realized it's not so much Track Folders I want; it's the ability to make tracks go away that I don't want to see, quickly and easily, make them re-appear equally easily, and not have to jump through hoops to edit them. You can do that with Folder Tracks in Track View, but you can't do the same thing in Console view...or can you?For example, once an instrument's MIDI track is done (I use synth Track Folders with separate audio and MIDI tracks), the attention shifts to the audio track when you're mixing - so you don't want to see the MIDI track. Or consider a multiband distortion setup, where the different bands are in a Folder Track. If there are five bands, that's five channels in your Console view that you probably don't want to see after the initial mix setup. Granted you can hide tracks, but then if you want to dip in and do some quick editing, you need to open the Track Manager, find your tracks, unhide, click OK, etc. Besides, at that point you probably want to be dealing with the Track View, not the Console View or the Track Manager.So, this is tip is about quick, temporary track hiding in the Console View - and when you want to do some editing, or get the tracks back, you'll be right where you want to be. Before you start, though, typeto bring up the Track Manager. Make sure "Keep Track/Console Visibility States in Sync" is checked.Here's part of the Console View. The Strings, Bass, and guitar Chord Library instrument tracks all have MIDI tracks next to them that we really don't need - we're mixing audio, right?Next, note how the instrument tracks are handled in track view: the Folder Track is opened up just enough to see the fields under Audio, MIDI, Synths, and Hidden.Click on the MIDI fields, and you can show/hide the MIDI tracks in the Console. Here's what happens from hiding the MIDI tracks...better, eh?What's more, this can also hide tracks in a Folder Track - just click on the Audio field instead of MIDI. You won't see the Folder itself in the Console, because all the tracks will be hidden. But to make them reappear, in Track View just click on the Track Folder's Hidden field, and they'll re-appear.But here's the best part in terms of workflow. Suppose you do want to do some quick MIDI edits. Go to the Track View, click on the MIDI field for your instrument, unfold the Track folder if needed, and there's your track - ready for editing. No messing with the Track Manager, and no need to mess with dialog boxes - when you're done editing, click on the MIDI field again, return to the Console view (using the cognoscenti "D" keyboard shortcut), and you're back to the cleaned up Console view.I've now gotten to the point where I leave the Folder Tracks slightly open as shown. Between being able to click on the fields and alternate between Console and Track views with the D key, I can move really fast when I want to see - or not see - some, or all, of the tracks in a Folder Track when using the Console View.

The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#20

rwheeler Max Output Level: -89 dBFS Total Posts : 89

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Anderton

Week 122: Clean Up Your Console View



... You can do that with Folder Tracks in Track View, but you can't do the same thing in Console view...or can you?



For example, once an instrument's MIDI track is done (I use synth Track Folders with separate audio and MIDI tracks), the attention shifts to the audio track when you're mixing - so you don't want to see the MIDI track. ...



Extra thanks for your work from me too, and looking forward to the book and to future tips. Meanwhile, back to this tip of the week:



Due to recent retirement from my day job, I'm finding it rewarding to dig around in Sonar more. This time, I'm not able to duplicate your tip functionality (at least not yet). When I set up a track folder and populate it with MIDI and audio tracks, clicking on the folder indicator numbers under each type hides and shows the tracks just as you describe. But for me, the change in visibility is only happening in the track view with no corresponding change in the console view track visibility. I'm still on a learning curve with track folders, but I'm wondering if there are any preference settings or specific docking choices that would cause this disconnect between track and console.



Then, when poking around for pertinent settings, I noticed at the top of my console view a series of drop down selectors (Modules, Strips, Track, Bus, Options). Under the "Strips" drop down, there is an option to select or deselect "MIDI." Deselecting "MIDI" instantly makes all the MIDI tracks go away from the console view whether they are in folders or not. Seems very handy exactly for the reasons you mention. Re-selecting "MIDI" brings them back into the console view.



The strips menu does not offer a way to easily show/hide user-unique kinds of track groupings (different bands, etc.) the way your tip apparently works, but the vast number of Sonar controls made it easy for me to not know about the built in solution for showing/hiding MIDI tracks in console view, at least until now. Thanks for stimulating me to learn more.

Extra thanks for your work from me too, and looking forward to the book and to future tips. Meanwhile, back to this tip of the week:Due to recent retirement from my day job, I'm finding it rewarding to dig around in Sonar more. This time, I'm not able to duplicate your tip functionality (at least not yet). When I set up a track folder and populate it with MIDI and audio tracks, clicking on the folder indicator numbers under each type hides and shows the tracks just as you describe. But for me, the change in visibility is only happening in the track view with no corresponding change in the console view track visibility. I'm still on a learning curve with track folders, but I'm wondering if there are any preference settings or specific docking choices that would cause this disconnect between track and console.Then, when poking around for pertinent settings, I noticed at the top of my console view a series of drop down selectors (Modules, Strips, Track, Bus, Options). Under the "Strips" drop down, there is an option to select or deselect "MIDI." Deselecting "MIDI" instantly makes all the MIDI tracks go away from the console view whether they are in folders or not. Seems very handy exactly for the reasons you mention. Re-selecting "MIDI" brings them back into the console view.The strips menu does not offer a way to easily show/hide user-unique kinds of track groupings (different bands, etc.) the way your tip apparently works, but the vast number of Sonar controls made it easy for me to not know about the built in solution for showing/hiding MIDI tracks in console view, at least until now. Thanks for stimulating me to learn more.

Sonar Platinum lifetime plan, i7-4930k 3.4 GHx, 32 GB RAM, 2 TB SSD system drive, Dell 2560x1600 monitor, Windows 10 64bit, Edirol UA-101, Nektar LX88+.

Sonar Platinum lifetime plan, i7-4930k 3.4 GHx, 32 GB RAM, 2 TB SSD system drive, Dell 2560x1600 monitor, Windows 10 64bit, Edirol UA-101, Nektar LX88+. #21

WallyG Max Output Level: -74 dBFS Total Posts : 833

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) My workflow is slightly different. I have several screensets for different tasks. The main two I always use are:

1. This the my audio mixing screen. On two of my three monitors, the bottom left one is the main screen that includes the track view. The right one has the mixing console. For this screen I go into track manager and hide all the MIDI tracks since I'm just mixing audio.

2. In this screenset all of the MIDI tracks are unhidden. The left screen still shows main view, but the right screen shows shows the piano roll. I use this screenset when I want to edit MIDI tracks either with a punch in on a synth, or manual tweaking the MIDI notes.

A simple screenset swap "hides" or "unhides" the MIDI tracks and sets up the right screen for the right application view.



BTW, count me in for your ebook!



Walt



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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Week 123: SuperKick! Tune and Enhance Your Kick Drum



If you do hip-hop or EDM and don’t try this tip, in the immortal words of Herman Cain—“blame yourself.” This tip turns wimpy kicks into superkicks, using a different technique compared to the Drum Replacer. I’ve posted an audio demo at



The basic concept is to add another track with a low-frequency sine wave, tuned to your pitch of choice. This can be a WAV file, but we’ll talk about how to take this to another level after we get past the basics. An Aux Track “listens” to the drum track, and uses EQ to filter out everything except the kick; you don’t hear this audio, but we use it to gate the sine wave so it tracks the kick.



Let’s check out the setup (and a tip o’ the hat to Jeremy Habetler for the cool Green Glow theme...nice work!).







1. Track 1 is your drum loop. Insert a pre-fader Send that goes to an Aux Track (named “EQ Conditioner” in this example).

2. Temporarily insert a Sonitus EQ into the drum track’s FX Rack. Tweak the response to filter out everything but the kick. You may need only one lowpass filter band, with the Q kicked up to about 10. Start at the lowest frequency, then slowly move up until you hit the frequency that best isolates the kick. However if other drum sounds creep in (like low floor toms), you may need to double up on the lowpass filters, as shown in the screen shot.

3. Drag the Sonitus EQ out of the drum track and into the Aux Track.

4. Now add the track with the low-frequency sine wave, and insert a Sonitus Gate.

5. Assign the Aux Track output to the Sonitus Gate Sine Input.

6. Because the drum track Send is pre-fader, you can turn down the drum track while you adjust the Gate for the best possible sound. Start by setting the Gate Threshold to let the sine wave through when the kick hits.



Because the sine wave is very low frequency, you need to set the Attack/Hold combination to be longer than an individual cycle. For example the period of a 50 Hz sine wave is 20 ms, so a hold time of 22 ms makes sure the gate doesn’t trigger on individual cycles…although if you want some really nasty lo-fi distortion, be my guest and use short attack and hold times. Also, it’s a good idea to use some Lookahead; 1 ms is enough.



How you set the gate provides a ton of options. Extend the Release for a “hum drum” effect, or automate this control for more expressiveness. Increasing the Hold time alters the character as well. The Threshold setting is crucial to avoid false triggering.



And of course, one aspect of the "Friday's Tip of the Week" sequel hasn’t changed since the previous generation of tips:



But wait—there’s more!



If you use a virtual instrument instead of a WAV file to generate the sine wave, you can pitch the kick with a MIDI track, as required by the song. Or, use SONAR’s transpose function on a WAV file. You can also use this to add more "bottom" to snare drums, providing you can isolate it enough from the rest of the drums.





If you do hip-hop or EDM and don’t try this tip, in the immortal words of Herman Cain—“blame yourself.” This tip turns wimpy kicks into superkicks, using a different technique compared to the Drum Replacer. I’ve posted an audio demo at craiganderton.com on the Demos page so you can hear how cool the kick becomes.The basic concept is to add another track with a low-frequency sine wave, tuned to your pitch of choice. This can be a WAV file, but we’ll talk about how to take this to another level after we get past the basics. An Aux Track “listens” to the drum track, and uses EQ to filter out everything except the kick; you don’t hear this audio, but we use it to gate the sine wave so it tracks the kick.Let’s check out the setup (and a tip o’ the hat to Jeremy Habetler for the cool Green Glow theme...nice work!).Track 1 is your drum loop. Insert a pre-fader Send that goes to an Aux Track (named “EQ Conditioner” in this example).Temporarily insert a Sonitus EQ into the drum track’s FX Rack. Tweak the response to filter out everything but the kick. You may need only one lowpass filter band, with the Q kicked up to about 10. Start at the lowest frequency, then slowly move up until you hit the frequency that best isolates the kick. However if other drum sounds creep in (like low floor toms), you may need to double up on the lowpass filters, as shown in the screen shot.Drag the Sonitus EQ out of the drum track and into the Aux Track.Now add the track with the low-frequency sine wave, and insert a Sonitus Gate.Assign the Aux Track output to the Sonitus Gate Sine Input.Because the drum track Send is pre-fader, you can turn down the drum track while you adjust the Gate for the best possible sound. Start by setting the Gate Threshold to let the sine wave through when the kick hits.Because the sine wave is very low frequency, you need to set the Attack/Hold combination to be longer than an individual cycle. For example the period of a 50 Hz sine wave is 20 ms, so a hold time of 22 ms makes sure the gate doesn’t trigger on individual cycles…although if you want some really nasty lo-fi distortion, be my guest and use short attack and hold times. Also, it’s a good idea to use some Lookahead; 1 ms is enough.How you set the gate provides a ton of options. Extend the Release for a “hum drum” effect, or automate this control for more expressiveness. Increasing the Hold time alters the character as well. The Threshold setting is crucial to avoid false triggering.And of course, one aspect of the "Friday's Tip of the Week" sequel hasn’t changed since the previous generation of tips:But wait—If you use a virtual instrument instead of a WAV file to generate the sine wave, you can pitch the kick with a MIDI track, as required by the song. Or, use SONAR’s transpose function on a WAV file. You can also use this to add more "bottom" to snare drums, providing you can isolate it enough from the rest of the drums.

The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#23

Piotr Max Output Level: -86 dBFS Total Posts : 208

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Thank you, Craig, for all your effort :)



Excellent tip :) One of my favorite now :)



Regards,

Piotr

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Brando Max Output Level: -47.5 dBFS Total Posts : 2776

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Hi Craig - another nice tip. I've used a similar method to augment a kick with a sine wave. But your tip adds some new elements. And your "wait there's more..." suggestion to use a VSTi to generate the sine wave is a great one. The kick demo sounds great. Definitely a great start to another batch of FTOTW's - and hopefully another book. Thanks



Brando

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TranceCanada Max Output Level: -87 dBFS Total Posts : 198

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Thanks for the little nod there, I have updated the theme since the new update introduced the notes tab.



Also, I used this technique back in the days of Pro Tools and for whatever reason never really tried it in Sonar, so this is a nice reminder of what I could be doing. However there are some EDM genres that require a sub channel follow the bass instead of the kick though



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: Sonar Platinum x64 (Lifetime), Producer X3e, Producer X2: Z3TA+2, Rapture Pro, Xpand2, Serum: HP Envy23, Win10 x64, Core i7-3770 3.1Ghz, 8GB Ram: Microsoft Surface Pro 3, Win10 x64, Core i5-4300U 1.9Ghz/2.5Ghz, 4GB Ram: M-Audio M-Box Mini 2: Edirol PCR-M80 #26

Anderton Max Output Level: 0 dBFS Total Posts : 14070

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Maybe I don't understand what you need to do exactly, but assuming MIDI bass, copy the track, set all the notes to the same pitch, and trigger the kick. If not MIDI bass, use Melodyne Essential to extract MIDI and do the same thing.



The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#27

Keith Albright [Cakewalk] Max Output Level: -68 dBFS Total Posts : 1117

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) ☄ Helpful by pentimentosound



Funny was just doing this yesterday and saw your tip this morning.

I used the Low Cut/High Cut in the Gate to do the EQ stage. But yeah handling that outside the gate would allow for more precision.



In my case having both set to around 22 hz or so actually worked to just catch the kick drum



Definitely pays to explore, experimented with a layer of synth loops and set the gate to duck, came up with a cool locked to the drums rhythmic part.



Bill talked about that back in March

https://www.cakewalk.com/.../Sidechaining-in-SONAR

Thanks!Funny was just doing this yesterday and saw your tip this morning.I used the Low Cut/High Cut in the Gate to do the EQ stage. But yeah handling that outside the gate would allow for more precision.In my case having both set to around 22 hz or so actually worked to just catch the kick drumDefinitely pays to explore, experimented with a layer of synth loops and set the gate to duck, came up with a cool locked to the drums rhythmic part.Bill talked about that back in March

Keith

Keith #28

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Status: offline Re: SONAR X August: 31 Days of Tips permalink) Keith Albright [Cakewalk ]

Definitely pays to explore, experimented with a layer of synth loops and set the gate to duck, came up with a cool locked to the drums rhythmic part.



Bill talked about that back in March

https://www.cakewalk.com/.../Sidechaining-in-SONAR







Yes, I'm quite a fan of sidechaining...I covered several applications in the first generation of tips. One of my favorites involved ducking reverb when an instrument played to avoid "stepping on" the instrument sound.



You can also do some really nasty distortion by setting the gate times to the minimum and opening/closing on individual cycles. But I thought it was too disgusting to include as a tip of the week

Yes, I'm quite a fan of sidechaining...I covered several applications in the first generation of tips. One of my favorites involved ducking reverb when an instrument played to avoid "stepping on" the instrument sound.You can also do some really nasty distortion by setting the gate times to the minimum and opening/closing on individual cycles. But I thought it was too disgusting to include as a tip of the week

The first 3 books in "The Musician's Guide to Home Recording" series are available from Hal Leonard and http://www.reverb.com. Listen to my music on http://www.YouTube.com/thecraiganderton, and visit http://www.craiganderton.com. Thanks!

#29