Open letter to Kirk Hammett—you need Momentum!

Dear Kirk Hammett,

We just read this Loudwire article that you already have about five hundred ideas for the next Metallica album. We’re SUPER excited about that!

We also know that you lost your phone a few years ago—and along with it, 250 ideas. That must have sucked so friggin hard. 🙁

This time, we would absolutely love to help you save and secure all of your music ideas. We can also help you get your ideas out of your phone and into your studio—whatever studio you’re using, anywhere, anytime.

At Cakewalk (a Gibson Brand), we recently announced this new product called Momentum, which is a simple 4-track app that sits on your iPhone, your Android phone, or your Mac or Windows PC.

What’s cool about Momentum—and what makes it a perfect platform for you—is that it automatically syncs all of your ideas to the cloud, so that you can get back to them, anywhere, anytime, from any smartphone or computer.

We even have a Momentum plug-in that sits inside Pro Tools, Logic, Live (or any Mac/PC DAW), so that you can just drag-drop your ideas right into your DAW and continue working on them.

You can also record audio from your DAW back into the plug-in. These new recordings will be automatically sync’d to the cloud as well, and will appear on any device you own.

Kirk Hammett Gibson Guitar — Kirk Hammett, Gibson Guitar

Mr. Hammett, if you use Momentum to record your ideas:

you’ll never have to worry about losing your phone and your ideas
your studio engineer will love you for being able to just drag and drop your ideas into Pro Tools sessions
your fans will love you for getting to hear all of your amazing work!

For these reasons, and because we’re huge fans, Mr. Hammett, we would like to offer you a free lifetime plan for Momentum Pro. Get a message to us and we’ll hook you up!

Thank you for hearing us out. We invite you to check out Momentum for yourself—download and get started for free here:

https://momentum.cakewalk.com/download

October 12, 2017

A SONAR Story with Cory Hawthorne

After seeing Vancouver’s own “Payolas” at the age of 15, singer songwriter, guitarist and sound designer Cory Hawthorne knew he wanted to become a musician. 2 weeks later he bought his first guitar, a no name Les Paul copy and it changed the rest of his life. He went on from there to get a degree in music from the University of British Columbia in 2000 and release his first solo album in 2012 under his name called The King of the Broken Hearts. In the midst of pursuing his dream to be a rock star, a guitar student Cory was teaching approached him about getting into sound design for video games, and for the last 18 years has become an expert at the craft. He has released many titles including Prototype; one of the best-selling games from Radical Entertainment along with Scarface and Simpsons Hit & Run, which went on to sell over 7 million copies . This last June, with a small team at Charm Games, Cory released his first virtual reality game titled “FORM”.

In January 2017, Six soon to be very tired people, started on what would become a new benchmark for VR games through a lot of blood, sweat, support from their families, and sacrifices.

“It’s immersive, engaging and beautiful, setting a new standard for virtual reality and visual design”
 4/5 – Hardcore Gamer

“FORM shows a command of the medium that few have grasped with such clear intention”
 8.5/10 – Road to VR

“Charm Games has created a mesmerizing experience from start to finish.”
 4/5 – VRFocus

Cory had a very limited time of 6 months to compose all the music, create all the sound FX from scratch, and record all the voice over dialog for FORM but he used this hard constraint to ground him in the project. Collaboration with his team allowed him to make decisions quickly and focus on what was most appropriate for the game.

“Working on FORM was like a sound designer’s dream. I had unlimited options but there was one thing that I knew and that was if it sounded good, so I had to trust myself all the time throughout the process. We reached the end of the line and I had to write and record 3 tracks in 3 hours because we were releasing the game in 2 days. I tried to focus on the mood and nail it and not get caught up in what scale I should use. Is this a Lydian vibe? I didn’t have time for that stuff because I had to finish a track in that hour.”

At the start of the project, Creative Director Derek Young told Cory to “Be Weird” and “Do something no one would recognize”. For Cory, that meant that everything needed to be unique and made from scratch. He utilized the Rapture Pro synth for nearly all the FX design, sometimes starting with a simple sine wave and tweaking from there. The lesser known synth company, WOK VST Plug-in’s Ghost synth was utilized for several simple lead sounds in the musical compositions. To create the voices for the game, Cory recruited local talent for many of the roles but ended up being the voice of the lead character’s computer. What originally started as a test recording from an iPod 5 microphone had just the right nuance to be the real voice so all the rest of the computer dialog was recorded on the same iPod 5 and used in the final game.

How can others get into game sound design?

“It’s a weird thing. You have to be tough and be ready to move with all the changes. Get ready for a lot of late nights. You need to go into it knowing that the industry is changing all the time and for most, the days of having your own studio is gone. It’s all contract work or not a full-time job for most people. I’m very grateful to be where I am at Charm. A great way to start though is to make your own original FX library using synthesis and your own recordings, as well as to find the students in your area who are making games or going to school for it and connect with them. Work with them for what they can afford, or even for free or on spec if they have no budget and you like the project, until you can get off the ground.”

If you could give one piece of advice to other SONAR users, what would it be?

These days you can get a mic, an audio interface, a copy of SONAR, and a laptop for almost nothing so there is no excuse to not make music but you should start now using what you have and don’t try to sound like anybody else. As Stravinsky said “The more constraint one imposes, the more one frees one’s self. And the arbitrariness of the constraint serves only to obtain precision of execution”.

Cory Hawthorne

You can hear Cory’s music on Spotify, SoundCloud, and also at his webpage www.coryhawthorne.com

Follow him on Twitter: @CoryHawthorne

Charm Games

For more information, visit the Charm Games website at: www.charmgames.com

Subscribe to their YouTube channel: youtube.com/c/charmgames

Follow them on Twitter: @CharmGames

Like them on Facebook: Facebook.com/CharmGames

Play FORM Today

Oculus Rift Store: www.oculus.com/experiences/rift/1491102584268860/

Get it on Steam: store.steampowered.com/app/408520/FORM/

Cakewalk wants to tell your story!

Through blood, sweat and tears you’ve overcome obstacles to reach a level of success that you’re proud of. We want to hear your stories, and with your permission, we’d like to share them with our community.

We will not publish any of this information without your permission. If your story is selected, we will reach out to you via the email address you provide, and we will schedule a follow-up interview with you to learn more.

Tell us your story here!

October 2, 2017

Take Control of Your Mix with Mix Recall

Mix Recall is a powerful way to organize mixes within a project—Whether you want to have a mix without vocals or a version of the song using a different processing chain on the drums—Mix Recall is the perfect solution for these types of situations, but it can do more than that. Say you are handed a project from someone else using SONAR or you got a new plug-in you want to try out using a previously recorded song, Mix Recall can help you handle this as well by getting your project reset back to a neutral position.

Adding the Mix Recall Module

Check that you have the Mix Recall module available in the Control Bar. You can add it to the Control Bar if it’s not already there by right-clicking in a blank space and adding it from the menu.

Creating a Mix Scene

Start by creating a new Mix Scene with the current project setting using the [Save As New Scene] button. This will allow us to make a change and then come back to the original point to see the difference.

Make a change to the mix by adjusting the volume on a couple of tracks or muting a track previously un-muted.

Click the [Save As New Scene] button on the Mix Recall module again to save these changes into another mix scene. Give this mix a unique name and save it. Now you can reload your previous mix and see the changes reverted back to where we started. Selecting the second mix scene with bring us back to the present state of the mix. You can also use the [Recall Previous Scene] button to toggle back and forth between 2 mix scenes or simply go back to the last mix scene you were at.

Resetting a Mix

Using a project you want to reset, click the drop down arrow on the Mix Recall module and select “Reset Mix…” from the menu. This will remove all automation envelopes, plug-ins, and reset the ProChannel back to the default modules along with any controls in SONAR.

That’s It! Now you can get back to working on your mix instead of trying to manage multiple saved versions of the same song or trying to manually remove each plug-in or automation envelope.

Advanced Techniques

Create a save point as you begin your mix once you have basic levels and panning so you can always go back and hear your project from the start.
Create save points within your mix to go back and see how it has progressed.
Save several iterations of a mix and bounce each when sending it to a client or friend. Here are some common iterations to save as Mix Scenes.
- Vocal Up Mix (Plus 1-3dB)
- Vocal Down Mix (Minus 1-3db)
- No Vocals
- Radio Edit Mix
Time box your mix by only giving yourself an allotted amount of time and dividing that up over what you need to do. Save each stage as a Mix Scene to go back and look at your progress and how you did at each stage.

Mix Recall is available in SONAR Artist, Professional and Platinum

September 25, 2017

Creating Your Own Guitar Tone with TH3 in SONAR

TH3 Cakewalk edition allows for anybody with SONAR to have access to amazing guitar tones. It comes with loads of amps, cabinets, effects and even allows for changing the position of the mic. If you want to do stereo processing of effects to create a stereo delays or parallel processing by mixing two amps together, you can do that as well.

Where to start?

Insert TH3 on to your guitar track and make sure you are using the correct input and have the Input Echo button enabled to hear what is plugged into that input.

A good place to start after inserting TH3 on to your guitar track is to check your level into the plug-in and the tuning of your guitar.

Check your level:

Strum a big chord on your guitar to see how much signal is coming into the plug-in. There should be a healthy amount of signal coming in and no clipping in the red.

Tuning:

Play each string and adjust until you see the tuning pin is in the center for each string.

Auditioning Amps

Open the [Components] section on the right if it is not already open and select the amps category from the list. Once you have that selected, you can then drag in the first amp at the top. You’ll be asked if you want to insert a matching cab, click [YES PLEASE!].

Give it a try! To audition other amps and cabs click the up and down arrows on the top left corner of the amp head or cab. Depending on what you are going for this is where you’ll want to pick out an amp that has some of the characters you are going for.

Here is a list of the included amps in TH3 Cakewalk along with the units they are modeled after.

Bassface ’59 – Modeled after the ’59 Fender Bassman
Darkface ’65 – Modeled after the ’65 Fender Twin
Modern – Modeled after the Mesa Boogie Dual Rectifier
Overloud Custom Power – Overloud Custom amp
Randall T2 – Official model of the Randall T2 head
Rock ’64 – Modeled after the Marshall JTM45
Rock 900 – Modeled after the Marshall JCM900
Slo 88 – Modeled after the Soldano x88r
THD Univalve – Official model of the THD Univalve Single- Ended Class A amplifier
Top30 – Modeled after the Vox AC30
Tweed Deluxe – Modeled after the Fender Tweed Deluxe
Bass SuperTube VR – Modeled after the Ampeg SVT-VR

Spice It Up Now

I’m going for a pretty classic tone that is mostly clean with a little bit of grit on it. I picked out the Top30 type head with a matching cab and will add an overdrive going into the amp. Go to the Components section again and select overdrive category. Drag in the TUBE NINE over before the amp. Dial in a some gain to taste using the “Drive” control and give it a whirl.

There are many other effects included with the TH3 Cakewalk edition, here is a compete list of everything you get.

TUBE NINE Overdrive
FatMuff Fuzz
FUZZRACE Fuzz
CHR-2 Chorus
Digital Delay
RSS Compressor
ANALOG FLANGER
Rich Flanger
9-0′ Phaser
AQTX Spring Reverb
AmpTrem Tremelo
Auto-Wah
cry maybe Wah
Gate Expander
Volume

Mastering Space

Using spacial type effects like reverb and delay are critical in getting many of the classic guitar tones from the past. Here are some good rules to live by when getting started using reverb, delays and other spacey effects.

Use modulation type effects like Chorus, Phasers, and Flangers toward the middle of your chain after distortions & overdrives.
Use Delays after the Modulation type effects.
Place reverbs at the end of your chain.

TH3 Cakewalk edition is included in SONAR Home Studio, Artist, Professional, and Platinum.

September 19, 2017

Using Melodyne to Create a Double in SONAR

Melodyne is not only a great way to tune vocals and still maintain their musical quality it can also be used for several other unique purposes like creating a tempo map from a live audio recording or extracting MIDI from audio. In this tutorial, we’ll be looking at using Melodyne to make things multiply for added thickness and depth.

What is doubling?

Double tracking is an audio recording technique where a performer sings or plays along to their own performance, to produce a “bigger” sound than can be obtained with a single voice or instrument. It is a form of overdubbing; the distinction comes from the doubling of a part, as opposed to recording a different part to go with the first. The effect can be further enhanced by panning one of the performances hard left and the other hard right in the stereo field.

Doubling Audio with Pitch

If you are working with a single vocal track and want to thicken things up, a classic technique is to create two copies of the original track and tune one track up and the other down very slightly. When mixed into the original track this will add additional texture and thickness to the vocal. To add width, simply pan each copy slightly off-center from the original track.

Open a project with a vocal track you want to double and click the Add Track button and make 2 additional audio tracks. Give each track a unique name and then hold down [Ctrl]+[Shift] to copy and lock the position and drag the vocal clip to each track to create both copies.

To create a Melodyne clip, click on the first copy and press [Ctrl]+[M]. Melodyne will open in the MultiDock. You can also use the Region FX menu and select Melodyne | Create Region FX.

Select all the notes in the Melodyne window by clicking on one note then pressing [Ctrl]+[A]. Use the fine tuning control to tune the first track up by +3 cents. Double click in the area with the orange rectangle around it to type in the desired amount. Once you have entered the amount you can click away or hit [Enter] to apply.

Repeat the steps for the second copy and then use the Inspector to mix both track in to taste. You can select both tracks at the same time and then use [Ctrl] to create a Quick Group. You’ll then have the ability to bring the volume Up / Down and mix it into the original track. Play around with the panning as well to get different amounts of width in the mix.

Pro Tips:

Use Pan to create additional width.
You can use the format control to create even more separation from the original.
Add additional processing to the doubles for other interesting sounds.

Doubling a Live Instrument with MIDI

More often than you can imagine producers want to hear an additional sound in a recording and those instruments or a player for them are not around. As a piano player, you have many options available to you with the use of virtual instruments and MIDI. What if you are a guitar player who wants to create a double on an instrument you don’t play or don’t own? You are in luck, with Melodyne and SONAR we make this a price of Cake.

* This process works best with single note lines but can also work well for simple chords or double stops as well.

Create a single note recording of a hook you want to double and use the Add Track button to create an instrument of your choice.

Hold down [Ctrl] and drag the audio clip to the Instrument track. Watch as Melodyne automatically converts the audio to MIDI. Double click the newly recorded clip to make any adjustments needed.

Pro Tips:

Hold [Shift] while moving notes to maintain their original location in time.
Select all the notes and drag to a higher or lower octave.
Create a harmony by selecting a scale to snap to and then drag the notes up or down by a 3rd.

Melodyne Essential is included with SONAR Professional and SONAR Platinum. If you own SONAR Artist you can follow along using any demo of Melodyne from the Celemony Website.

September 12, 2017

Cakewalk wants to tell your story!

Please follow this link to submit your story!
http://cwk.io/story-blog

August 29, 2017

Norman Matthew Faces Life – "As Strange as Angels" – New Solo Record Created in SONAR Platinum

It’s a cloudy summer morning in Dallas, TX, and Norman Matthew is crawling back into his SONAR Studio seemingly picking up where he left off a year ago, July 2016. During that month in 2016 on TX Interstate 10, his previous band Murder FM found themselves road-challenged and entangled in an accident in their tour vehicle 20 miles outside of a tour stop in El Paso, TX. At this moment, Vocalist/ Guitarist/Producer Norman Matthew knew his life was about to take a turn.”

“I loved and still love Murder FM. It was my identity. I loved those guys more than anyone can imagine. We had a thousand ups and downs together—we traveled the world with our music—we saw more miles than many will see in their lives, and we did it together. We went through marriages, divorces, and even saw a man lose his life in front of us on tour—obstacles were no stranger to us. Mistakes… I made plenty of them but the road was the only place that ever really felt like home. It was the only time I truly recognized myself. But when worlds collided on the road in July 2016, already embroiled in chaos in my own personal life, I knew there was nothing more important than making sure every breath I took was for my son. I had to make a change—and it became evident that my son meant everything to me, and I needed to put that at the forefront of my life.”

Continue reading “Norman Matthew Faces Life – "As Strange as Angels" – New Solo Record Created in SONAR Platinum”

August 23, 2017

An offer you can’t refuse. Jamstik+ & Sonar Artist BUNDLE with FREE Sounds!

Hey everyone! Cakewalk & Jamstik+ have teamed up again, this time to bring you the Jamstik+ & Sonar Artist Bundle! In addition, our good friend Craig Anderton released custom presets for Rapture Session as a bonus download included in the bundle. Jamstik+ sound-pack for Rapture Session includes 11 instrument types & all of the presets curated from Rapture Pro multi-sample synth that can be easily mapped to your MIDI controller. In total we have 30 presets that celebrate the 30th anniversary of Cakewalk Sonar. Watch the video above to watch me showcase some of the included sounds!

Rapture Session’s Interface

First, let’s talk about the user interface for our included soundpack. Sonar’s integration of Rapture is very straightforward and user-friendly. For many guitarists, synth apps can be intimidating. I tend to steer toward apps that have a simplistic design so I can play more, and tweak settings less.

How Does It Sound?

This sound-pack is a Swiss-army knife of sound, including a nice section dedicated to bass guitars. Most patches have a nice warm tone and some of them even a retro-like quality. Although these programs have unique attributes that can be modified with the Instrument Editor, they come pre-canned with solid defaults. If you’re looking to get a bright and crispy synth, I recommend adding an exciter to help out with the super-duper high end.

About The Demo Song

The main chord progression goes from C# minor to A major using the Nashville Guitar with a few tweaked settings in the Instrument Editor. It’s always exciting to try out new guitar tones with the jamstik. Traditionally it’s usually hit or miss for MIDI samples of guitars. These particular offerings fit well with the kind of track I was making. The Nashville Guitar is essentially based off the “LesPaul” sound included with an octaver on top of it. This brightens up the melody and helps it stand out. In this example, I increased the TremSync Dial to get a nice tremolo effect.

I’m a huge chip-tune fan (I actually compose quite a lot of 8-bit music myself) so naturally, I gravitated towards the PolySynth lead. This is used on the melodies & solos that are going on in the video.

Lastly, during the section where I am playing a Kick and Snare there is an arpeggiated pattern being played in the background. This patch is a fun one called PatternKittens. This arpeggiated synth lends itself nicely to contribute ambient tones to the tune. It reminds me of something The Who or a rock band would have incorporated into their music!

List of the 30 bonus sounds:

3 Guitars
2 PolySynths
2 Pads
Brass Synth
Clav Synth
DrumsAcous
Electric Piano
Harpsi-Synth
Organ
Pattern Kittens
Pattern Soft Steps
Piano
Sax
Sitar
Strings
Synth Tines

Included Basses:

Acoustic Bass
4 Electric Basses
5 Synth Basses

Use Unique Jamstik+ Features

For the soloing on this track, I used a mixture of traditional picking and a feature called “Tap Mode”. This functionality has been used with other controllers so may not be a foreign concept to you. Essentially, the jamstik+ when in tap mode, will reward a full velocity note upon fretting the guitar neck without the need for picking. It’s a fun way to do legato passages and tracks really clean on the piano roll. For an article explaining more about jamstik+ features click here!

Bluetooth MIDI on Windows 10

The newest versions of Sonar and Windows 10 take advantage of Bluetooth 4.0 Low Energy to connect the jamstik+ wirelessly as a MIDI input device. Make sure to check specs on your PC to ensure compatibility. If not, we recommend this BLE dongle by Asus.

For more info check out a previous guest blog-post I did talking about Bluetooth MIDI. For the full article read more here.

Special offer: Jamstik+ & SONAR Bundle!

Sonar Artist is a fantastic package that comes with all of the essentials & more. To celebrate our collaboration, we are offering a bundle for the jamstik & Sonar Artist together for a special price! Both of these products are great independently, but together they make a powerful team. Don’t forget.. this plug-in I am demoing comes FREE with the activation codes included in the bundle!

Thanks to hard-working engineers we have Bluetooth MIDI possible in Sonar. This opens new doors for producers and other music creators to have a wireless experience with a cool controller on their PC. We hope to see what you create!

Remember to tag #jamstik #sonar #cakewalk on your posts!!

Learn more about the jamstik+ / Sonar Artist Bundle at www.jamstik.com

August 22, 2017

Building Your Own Professional Sound Panels – 5 Years Later

[Links to building the sound panels below]

Time flies when you’re having fun the old cliché saying goes. For me, five years ago, I was in the trenches for a good week going down a rabbit hole not knowing exactly where I would end up. I’m talking about sound panels – building sound panels that is; and if you’re anything like me, you’ve been in a few studios and loved the look and feel of those expensive looking ones on the walls.

When I moved into our new house, my goal was to create a project studio where I could plain and simply put, have fun. My jobs before Cakewalk at Elektra Records and Capitol Records allotted me enough pressure-cooker studio situations to last a lifetime, so this studio was about doing things I wanted to do, when I wanted to do them, and maybe also making some college money on the side for my boy Mack (now 8). Continue reading “Building Your Own Professional Sound Panels – 5 Years Later”

August 14, 2017

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!