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Why Musicians from all over the world are attending Gearfest

If you’ve ever driven through the mid-west, you know there’s not a lot happening in between the cities that you encounter during the ride.  That is, unless, you happen to be driving just north of Fort Wayne, IN during the early summer month of June.  In this case, you are sure to find your way to one of the fastest growing music events in the country – Gearfest!

Cakewalk had the privilege to take part in Gearfest again this year, and I was fortunate enough to make my first trip to what is quickly becoming known as a mini Namm in the mid-west. The event is put on by a great company called Sweetwater which is basically the end-all-be-all of anything you need for gear in the cyber world.  If you can’t find it in a store, or you simply just want more choices for purchasing, you can bet that you will find it at www.sweetwater.com.  Sweetwater is also known for having one of the most knowledgeable staffs in the industry, and if you just give them a call with a question you are sure to have an answer quickly by someone at their facility.

The first thing notable about Gearfest is the size of the event.  What started out  not to long ago as an idea to bring local people together for the community, has turned into a 10,000+ strong conference which now spans over 2 days and includes an interesting and unpretentious concoction of artists, industry professionals, music fans and gear-head-musicians from literally all over the globe.  The second thing to note is that it has its own vibe and culture very unique to itself.  Many music oriented conferences and/or festivals for that matter sometimes turn into promotional spectacles for those trying to gain an edge on their profile; Gearfest is the opposite. Continue reading “Why Musicians from all over the world are attending Gearfest”

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Why Trance Chart-Topper iLan Bluestone Uses SONAR Platinum to Craft His Unique Sound

There is a new breed of DJ’s emerging, and U.K. native iLan Bluestone is leading the pack. This new insurgence is fueled more by raw talent rather than the button-pushing antics for which some DJ’s have been scrutinized.  Musicianship, song-structure, production, arrangement and mixing are now all part of the game with these super-DJ’s who have the skills to bring it all together. SONAR has been at the heart of iLan’s career for over 10 years now.  Hailing from the town of Borehamwood just north of London, he taught himself guitar and piano at a young age and took his time developing his sound. “I think it takes a while to figure out your sound and what you’re good at,” iLan told us while visiting his home studio in the U.K. “A lot of artists get really close to finding their own sound, but then for one reason or another things don’t seem to connect.  It takes a lot of dedication and patience to really develop as an artists these days, especially in the EDM world.” These words of wisdom seem to have a lot of weight behind them considering iLan’s sonic-trajectory in the last 18 months. On Beatport alone, he has seen the Top Ten Trance chart over 12 times including eight #1 tracks. He has also graced Billboard Charts and is literally the only U.K. artist to go from his bedroom production suite to a recent sold out show at Madison Square Garden Continue reading “Why Trance Chart-Topper iLan Bluestone Uses SONAR Platinum to Craft His Unique Sound”

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Video from Winter NAMM 2015

NAMM

Highlights from Winter NAMM 2015
NAMM was our first opportunity to show off the new SONAR line to the public, and the reception was nothing short of spectacular. To handle the crowds, products were demoed at three locations—the Gibson, TASCAM, and Hal Leonard booths. We met artists, press, and of course many, many customers—and we were equally happy to thrill long-time Cakewalk supporters as well as bring new users into the fold.

Cakewalk NAMM 2015

We wish everyone could experience the excitement of NAMM, but to give you a taste just click the links below to see demos and interviews from the show floor. And—there’s also a sneak peek of the new David Bendeth Signature Series Compressor.

Dan Gonzalez demos the new features in SONAR

Audiofanzine gets a demo of the new SONAR

Keyboard magazine interviews Craig Anderton on Membership

Engineer/Producer, John Paterno shows off Overloud REmatrix

Sneak peek at new David Bendeth Signature Series Compressor

 

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Call of Duty Composer: Sean Murray on SONAR X3 and Gobbler

Sean Murray

Composer

Being projected as one of the biggest selling pieces of media in history is a pretty big deal. On November 9th 2010, Call of Duty®: Black Ops was released and is being labeled as just that; and SONAR was the engine behind the scenes for the score. Even more exciting for one man, Sean Murray (Composer/Producer), is the fact that Activision has simultaneously released his soundtrack on a worldwide basis through an arm of Universal Music Distribution to coincide with the release of the game. Continue reading “Call of Duty Composer: Sean Murray on SONAR X3 and Gobbler”

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A SONAR/GIBSON CELEBRATION FOR SHAWN CLEMENT AT GIBSON BEVERLY HILLS

Have you ever been to a show and seen someone on stage that makes you never want to pick up your instrument again? Enter… Shawn Clement.  Hollywood Composer/Producer Shawn Clement graciously unleashed his new composition at the Beverly Hills Gibson Showroom tonight to a warm, yet star-studded group of industry folks from all walks of life.  Billed in half as a pre-AES party, many folks were in town to celebrate Shawn’s new work Raw Fungus, Cakewalk’s new path at Gibson, and hard working music-makers in general.

If you don’t know Shawn, his story is unique.  It stems from a long path of crazy influences, crazy talent, and crazy work ethic which has made him one of the most sought after composers in Hollywood. We would like to think he owes it all to SONAR, but we know that is not the case 😉 Continue reading “A SONAR/GIBSON CELEBRATION FOR SHAWN CLEMENT AT GIBSON BEVERLY HILLS”

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How Eliud “Liu” Ortiz used SONAR X3 for his recent Jennifer Hudson mix (RCA Records)

These days, some professional mixing and recording engineers are doing work for major labels completely missed the analogue age. Others are still mixing on consoles.  We have come to a point where there really is no “right” or “wrong” in terms of mixing.  Some tracks are mixed so perfectly that they are not signed off on by the label because they are lacking something “distinct” or “of a raw nature.”  Other times, indie songs are mixed by a band itself and find their way to the top, where at that point the label just has someone remix the single for mainstream radio. (For example compare the normal and radio mixes of Gotye “Somebody That I Used to Know.)

NYC based mixing and recording engineer Liu Ortiz has seen it from all sides of the music and business spectrum.  Starting out at such a young age of 16 as an engineer, his career has placed him with a perfect balance (at still a young age) with a ton of knowledge in both the digital and analogue worlds.  He has worked on tracks with and for artists such as Mary J. Blige, Pink, Luther Vandross, Christina Aguilera, and even RZA to name a few, and was quite a successful engineer at the Hit Factory in New York City.

Coming from the world of Cubase and Pro Tools, and after hearing all the buzz about the full feature-set of SONAR X3, Liu decided to give SONAR X3 a whirl on a new track by Jennifer Hudson feat. R Kelley for RCA Records.  After mixing the track, he found himself gravitating towards the workflow so he continued the journey onto another project called The Summer Set; a very well established band from Scottsdale Arizona who are quickly making waves internationally.  I recently got a chance to visit with Liu at the new Cakewalk Room which is ironically enough in the old Hit Factory where he often worked.  Liu showed me some of his new mixes, showed me where his picture and plaques were on the wall, and even gave me a few interesting stories about some of the “good ole days” featuring Missy Elliot, Queen Latifah and Sean Puffy Combs [don’t worry Liu – I’ll never tell 😉

Cakewalk Artist Relations:           Since you grew up on analogue consoles, what are there big sonic differences you hear now that you mix “in the box”?

 Liu Ortiz:           Well in the beginning way back when DAWs first started, I noticed that no matter what I did as I progressed with more plugins and inserts of each channel, the mix coming out the box would progressively get thinner; especially with vocals. I couldn’t really do much to fix that problem until not too long ago where technology has progressed with DAWs and computers in general.  Now, I can pretty much faithfully emulate hardware with EQ’s and compressors of pretty much all the consoles I have worked on in the past.

Neve and SSL’s had such distinctive qualities about them similar in comparison to that of Strats and Les Pauls. Since I worked on both extensively, I remember all the little nuances that each series had. So when I am mixing I just try my best to EQ with those particular traits in mind since they were my personal favorites. Pretty much all DAWs now are inherently very neutral, so I can dial in whatever tone I want and don’t have to worry about the vocals or guitars becoming shrill. I really appreciate technology now and just concentrate on crafting the best mix possible.  I must add that it is pretty amazing to me that SONAR X3 has a Console Emulator built into every bus and every track – this blew me away Continue reading “How Eliud “Liu” Ortiz used SONAR X3 for his recent Jennifer Hudson mix (RCA Records)”

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How Cakewalk Pros use SONAR X3 for Songwriting

Songwriting is such an intricate art-form. Some approach it seriously, while others find their best work casually writing with others in a lighter atmosphere. There are a lot of moving parts, and in my opinion a lot of magic and unexplainable voodoo that go into a song that simply resonates with the general public for unexplainable reasons. Do you think Afroman thought his song “Because I Got High” would have over 45 million views on YouTube when he wrote it? https://www.youtube.com/watch?v=WeYsTmIzjkw

There are so many different and interesting ways to write songs, and SONAR is a DAW that literally becomes your writing partner. From inspiring drum grooves with Addictive Drums, to the ease of workflow with loops, to quickly shaping sounds to inspire a more creative path, SONAR is way more than your industry-standard “recording” software. It’s a place you go to when you want to creatively craft a masterpiece. We thought it would be interesting to hear from some day-in-day-out professionals who depend on SONAR for their livelihood.

Javier Colon
Singer-songwriter
Major Label Recording Artist
International Touring Artist
Winner of Season 1 “NBC’s The Voice”

Cakewalk Artist Relations:     What is your main approach to songwriting?

I’m usually an acoustic guitar guy when it comes to songwriting but sometimes I’ll sit at the piano and get inspired and start writing. I’ve worked with a lot of producers and songwriters that build a track and then write to it – we’ve come up some great songs that way too.

Cakewalk Artist Relations:     How does SONAR help with the songwriting process?

Javier:     SONAR helps me tremendously when writing because it’s so flexible; you can change things in a session as quickly as you can change your mind – this really helps the songwriting process. When I write a song there is a constant process of elimination. I’ll think of a line, and I might like it for a minute, and then toss it out. There are also ideas that I absolutely know will make it into the song. I constantly record as I go so I don’t forget ideas that I really love – SONAR’s arranging workflow really keeps this process creative and easy for me in terms of songwriting.

Also, X3’s looping and comping functions really help with songwriting.  I record chord progression loops so I can come up with melody ideas in real time. Then I’ll go back and audition all the ideas easily to get a good idea of what melodies are better than others.  SONAR X3 has really been a great tool for songwriting for me.

Cakewalk Artist Relations:     What is one of the recent songwriting successes or projects you have had or really enjoyed? What was the workflow or songwriting process like for that?

Javier:     I recently wrote with a good friend of mine, Josh Kelley Continue reading “How Cakewalk Pros use SONAR X3 for Songwriting”

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Ben Cantil on Z3TA+ 2 – Teaching Synthesis & Sound Design at Berklee Valencia

We recently had the opportunity to catch up with our friend Ben Cantil (aka. Encanti) – EDM Producer, author of the Mutant series Expansion Packs, and evangelist for Z3TA+ 2.

Who is your Masters Sound Design Course at Berklee Valencia geared towards?
I am working with young professionals from all walks of life who have come to Berklee Valencia to earn their Master’s degree, especially as part of the Music Technology Innovation program. My curriculum emphasizes practical and professional applications of creative music software. Some of these students will become sound designers, but many others will become engineers, stage musicians, film scorers, and installation artists, so I try to find common threads to make the content really relevant and useful no matter where you take your skills outside the classroom.

 

What are your goals for the students in your class?
This course is all about the fundamentals of sound design. The first goal is to equip students with creative and technical skills for generating sounds from scratch, emulating sounds, and composing unique sonic gestures intuitively. Another goal of this course to produce content using a variety of different medians. I think it is an ideal class for anyone that learns best from hands-on experience.

 

What are some of the Cakewalk Products being used in your class?
Z3ta+ 2 is a major part of my masters sound design course. We spend several weeks building patch libraries and sequences to make the synth really sing. I’ve found this is the ideal plugin to use when teaching synthesis, because it’s so unrestrained and versatile without being a processor hog.

 

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Joerg Kohring: Former Guitarist of Lifehouse Finding Success with SONAR and a Solo Music Career

We recently got a chance to sit down with Joerg Kohring who is an LA-based singer/songwriter/producer working out of Los Angeles.  Originally from Germany, Joerg found his current musical path originally playing guitar in the award winning band Lifehouse.  Since then, he has found success with his own LA-based band Orbit Monkey as well as his production work with other artists.  Orbit Monkey’s debut record “Are We Alive” came out in 2011 and the band gained many fans from the recordings.  Since then, the band recently released a follow-up EP titled “Born to be Kings” and has released another single/video titled “On Fire” which was recorded and produced completely in SONAR X3.

Continue reading “Joerg Kohring: Former Guitarist of Lifehouse Finding Success with SONAR and a Solo Music Career”

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Mixing Music For Lightning Returns: Final Fantasy XIII

Falk Au Yeong has been making waves in the Video Game industry with many of his recent projects. One of the most notable includes the new Lightning Returns: Final Fantasy XIII. We were able arrange an in depth interview about him, his work, and his favourite DAW – SONAR X3 Producer.

When did you first get into SONAR, and what version are you currently using?

I’ve been a Cakewalk user all the way since Cakewalk Pro Audio and Home Studio, mostly working with MIDI. The first version of SONAR I jumped into was SONAR 3 Producer, and I’m currently using X3 thanks to the extremely reasonably upgrade paths and goodies that come with each update. For example, I’m really digging integrated Melodyne right now and I’m not ashamed to say it!

What is the Video Game Orchestra? How did you become associated with them?

The Video Game Orchestra is a group that plays arrangements of Video Game Music, created by Shota Nakama in 2008. They’ve grown from humble beginnings to playing shows in all kinds of formats each year, from rock band, to acoustic, to full-blown “Rockestral” performances which consist of rock band, orchestra and choir. Recently VGO has also started to get involved in recording gigs and self-produced albums under Shota’s curation.

I got involved earlier this year when Shota e-mailed me asking if I’d be up to do a series of small gigs for ‘a very important client’. Little did I know that I’d be working with one of the biggest independent game music production companies in Japan in real-time, via Skype and various audio streaming solutions. But that’s how we started! Crazy post-midnight sessions recording all manner of instruments, from drums to accordion to alto trombone to string quartet.  Continue reading “Mixing Music For Lightning Returns: Final Fantasy XIII”