Designed by Roland, the Fantom VS hardware synthesizer is built into the SONAR V-Studio 700R interface. It’s a perfect complement to the powerful SONAR digital audio workstation. The Fantom VS includes 1400 patches suited for all kinds of productions and accepts Roland’s specialized ARX expansion cards for piano, drums, brass, and more. Watch the video below and visit the SONAR V-Studio website for more information.
Classic Cakewalk Tip: Get Looped!
If you’ve ever tried to record a perfect rhythm track before, you probably understand how hard it is to play the same part perfectly, over and over again. For years, audio software engineers have tried to find a way to make that part of song construction easier and less time consuming, so you can spend more time creating and less time trying to emulate that perfect take! On the other hand, you may be a great vocalist yet lack the skills to add your own backing band to the project. With numerous instrument loops available on the market today, you can construct your own multi-track masterpiece without breaking a sweat!
To learn how to create, add and edit loops in Cakewalk products start here
Take a look at this video produced by our friends at Smart Loops:
Add Punch to Your Percussion with SONAR 8's TS-64 Transient Shaper
One of SONAR 8’s handy new features is the TS-64 Transient Shaper. Although the idea of the transient shaper isn’t new, it’s not a common processor to be bundled with a host DAW.
A transient shaper is a dynamics processor for sculpting the transient dynamics of any percussive-based source material. The TS-64 works best, for example, with drum loops and percussion, electric and acoustic guitars, and piano. While included in SONAR, the TS-64 is not exclusive to the DAW and can be used in any program that accepts VST plug-ins.
Sound On Sound’s Craig Anderton used the tool in SONY Sound Forge and Steinberg’s Wavelab without a hitch! Take a look at his thought on the TS-64 Transient Shaper, it’s controls, and how they can affect the sound of your mix.
Angels & Airwaves Cover Featuring Studio Instruments – Drums
A Studio Instruments fan, who goes by the name of Tadqim on Youtube, posted this video late last week and we wanted to pass it along. Using the Drum kit, included in Cakewalk’s Studio Instruments, Tadqim added his own beats to the Angels & Airwaves hit ‘Call to Arms’.
Cakewalk’s Studio Instruments-Drums allows users to make backing tracks with a realistically animated interface that looks just like a drum set! Now included in the latest recording and editing software for beginners, Music Creator 5.
Cakewalk Pro User Spotlight: Sparks the Rescue
In an ongoing effort to support and promote all the amazingly talented artists and producers that use our products, we are excited to announce the Cakewalk Pro User (CPU) Spotlight Series which will be posted here on a regular basis.
Right now, more than ever, aspiring artists are taking control of their music creation to capitalize on what will be known as the independent music age. These independent spirits are taking their money saved for studio time and investing in their own future by purchasing the studio tools themselves. With so many choices on the market, we salute the artists in this series who are capitalizing on SONAR’s unlimited track count, or the crystal clear sounds of Rapture, or the fat pre amps in the V-Studio 100 and the V-Studio 700, or the… well, you get the point.
Whether these CPU Spotlight artists are on a major or independent label, producing for labels, or simply doing their own thing, they all have three things in common: they’re all tremendously talented, they’re all doing their own thing and they all depend on the quality of Cakewalk products to achieve professional results.
Cakewalk Pro User Spotlight: Sparks the Rescue
Uploaded by CakewalkInc. – Music videos, artist interviews, concerts and more.
CPU Spotlight #1: An interview with Sparks the Rescue at the famous Stone Pony in Asbury Park, New Jersey – Take one mic-swinging vocalist who throws himself to the floor, the crowd, the walls and into his band mates; add two guitarists providing vocals and an insane amount of movement; mix in a bassist with an impressive set of lungs providing screams and harmonies; and top it off with a rock-solid drummer holding it all down – this concoction renders Sparks the Rescue, a group of guys in their early 20’s from Portland, Maine.
Logging in over 200 shows throughout New England, Sparks the Rescue has shared the stage with Hawthorne Heights, Just Surrender, As Tall As Lions, Dave Melillo, Roses Are Red, A Change of Pace, Showbread, Chiodos, A Static Lullaby, Saosin, Boys Night Out, Stretch Arm Strong, Emanuel, The Static Age, Glory of This, and many others.
2007 saw the release of ‘The Secrets We Can’t Keep’ digital EP, preceding a full-length album on Fearless Records which is available now in stores and on ITunes.
Check out our first-ever Cakewalk Pro User Spotlight featuring Sparks the Rescue and stay tuned for more in the near future!
Artist Spotlight: Baron
For prolific D&B Producer Baron, It’s all about getting the right sound:
“Dimension Pro and Rapture are just essential tools for me…”
By Oz Owen
Even just a cursory glance at Baron’s discography reveals how he’s quickly established himself as a major player on the Drum & Bass scene. Producing jump-up tracks since 2001, Baron – aka Piers Bailey – has since gone on to work with some of the biggest names in D&B. Pendulum, Roni Size, DJ Fresh, DJ Craze, Stanton Warriors…
But it was 2003 that really saw Baron come into his own as a remixer, stamping his authority on Total Science’s Nosher, and in the process turned it into an instant classic.
But just how does one of the most respected and consistent producers in the genre keep on banging out a steady stream of dancefloor bombs? Having the ideas is one thing, but then you also need the right tools to turn those ideas into reality …
“For me, Dimension Pro and Rapture are essential tools in the studio – without them I would be missing a little something. Dimension is my absolute ‘go to’ synth for any string or percussion sound.”
“To explain how best I use them you just have to listen to some of my biggest releases of the last few years – Endless Summer, Turn Up The Sun, Drive In Drive By… most of the string, percussion and effect sounds on those tracks have come from Dimension Pro or Rapture.”
“Rapture has so many different modulation and effects options, and these set it apart from most of the other synths on the market. There are a lot of people obsessing about making stuff sound like older synths, whereas with Rapture, Cakewalk have made something that sounds pretty original. It has a low impact on the processor and the sound quality alone makes it one of the first synths I reach for when I’m in the studio.”
“Why did I get into Cakewalk’s synths? First off, it was because of their reputation. And then I tried them – ultimately it all came down to the sound quality and the ease of use. I wouldn’t say that the Cakewalk plugs have changed the way I work, but they’ve certainly bolstered my sound.”
“I’ve been pretty busy for the last 18 months, mostly working on a soundtrack for the next Flip Skateboards DVD, Extremely Sorry, which should be out around now [Nov ’08]. Keep you eyes peeled for that one as there are some interesting collaborations on there. And, of course, I’ve been busy making lots of Drum & Bass, and my debut album will be out on Breakbeat Kaos soon – check my myspace for more on that!”
Artist Spotlight: Justin Lassen
Sometimes A Road Sings In the Mind of the Darkly Inclined
Composer, producer, remixer & musician Justin Lassen
By Randy Alberts
“For me it all started with Cakewalk, a keyboard, and a lot of free time,” laughs the globetrotting Justin Lassen, a one-of-a-kind visionary 27-year-old film, game and music soundtrack composer based in Southern California.
A designer, multi-instrumentalist and self-described “heavy Sonar guy,” to boot, Lassen is also one of the most creative composers, remixers and producers in the film, game and music industries today. He’s a talented film soundtrack remixer who recently reworked the score of Clive Barker’s Midnight Meat Train, a dark film take on the producer’s 1984 short story of a photographer tracking a serial killer, into a full length companion album to the movie. Lassen has also produced music remixes for Nine Inch Nails, Madonna, Garbage, Linkin Park, Lenny Kravitz and Blue Man Group and he’s consulted on numerous game and technology projects for companies like Interplay, Novus Delta, Intel and, of course, Cakewalk.
Interviewed by Playboy, Mix, EQ, GearWire, PC Gamer and other arts and trade mags and sites, Lassen’s a darling of the computer-generated graphics art world, as well. A rare musical subject for numerous CGI trade magazines such as Post, It’s Art, The Escapist and CG Society Magazine, he literally can translate the inspiring, hauntingly beautiful visual art he sees into his own musical performances, arrangements and remixes. It’s a phenomenon of the senses called ‘synaesthesia’ he’s personally well acquainted with: Seeing sound, hearing scents, touching words, smelling colors. If the set and setting are just right, what Justin views through his irises can literally become real-time music from his fingertips.
“I’m a visual artist, designer and programmer,” he adds, “who just finds music much more fulfilling.”
Smells Like A Symphony, Tastes Like Sonar 7
Lassen, who happened to be Cakewalk’s Featured Artist of The Week for August 25, 2008, released his own CD, And Now We See But Through A Glass Darkly, in 2003 to acclaim from leading international CG artists, film, game and music professionals. This disc of his own uniquely composed and produced dark chamber symphonic suites has already reached 5.5 million copies in circulation. His debut CG release in 2006 of Synaesthesia then melded Justin’s two worlds of “beautiful dark symphonic” music and CG artwork again to critical peer praise, and earlier this year while in Europe he wrapped up the final release: Synaesthesia Encore, a new collection of pieces that musically addresses Justin’s own personal experiences with the phenomenon.
“Synaesthesia is something that has taken quite a hold of me over pretty much my entire musical career and life,” explains Lassen. “I have had some of my best compositional and performance moments in these types of situations, where I can actually feel an image playing the song right before my ears, completely and naturally. When I see visual work like this that really inspires me in this way, my fingers begin to play music very magically.“
Remarkable. Much to his liking, Justin’s successful role in creating the remixed soundtrack CD for Barker’s wide-released Midnight Meat Train is now attracting interest from other film, music and game audio producers, as well. An always-on, busy musician, remixer and symphonic arranger who travels for his music extensively and just returned from an exhaustive trip across the EU and back to his home studio in California, nothing would please the affable Lassen more than to score more symphonies and movie soundtracks for a living.
“I use Sonar 7’s notation features to clean up my arrangement ideas for orchestra, choir or other performers I might bring into a given session,” says Lassen about his go-to laptop DAW.
“I recall this one time in Paris when I was asked by Intel to do the soundtrack for a new high-tech game for a new platform. There was a pretty tight schedule of just three weeks, and I didn’t have a lot of gear to experiment with. So, I just used FL Studio on a laptop to jot down some ideas that later I would evolve and finish up back in L.A. and Phoenix. I then took those sketches and beats and brought them into Sonar and added many of the orchestral and electronic elements, as well as tracking all the guitars and vocals and doing the final mixing and mastering. I then cleaned it all up and converted the files over to OGG format, for the Unreal Engine 3 the game uses, all quite easily and well before my deadline.”
SONAR 8: The Fine Print
Cakewalk’s CTO Noel Borthwick sheds some light on the features “under the hood” in SONAR 8.
*Note that this list is not a substitute for the official feature list & other features already documented in the SONAR 8 manual. Rather it is a list culled from Cakewalk’s Engineering Department*
Enjoy!
Performance optimizations:
Although every version of SONAR we shipped in the past had some degree of optimization work, SONAR 8 is the first version of SONAR to which we applied the same engineering process to performance optimizations as we do with other more user visible features. i.e. we established goals, built a specification for the optimizations, split up the work into milestones and tracked the progress of these tasks just as we do for other features. To make testing more deterministic, we devised various internal profiling tools in order to track and measure changes in performance across a variety of hardware platforms on XP as well as Vista.
Systems tested included brand new cutting edge platforms from Intel and AMD as well as earlier generation machines.
We split up this work into the following classes of performance enhancements for SONAR 8:
1. CPU and kernel level optimizations – use less of your CPU to do the same amount of work
2. User Interface optimizations – faster drawing, scrolling, zooming
3. Driver level optimizations – more efficient access to drivers, minimizing driver state transitions
4. Vista OS specific optimizations – Better use of MMCSS thread priorities, support for custom MMCSS task profiles, new WASAPI support
5. Audio engine optimizations – optimize “hotspots” in our bussing, streaming and mixing code
As a result of all these changes, SONAR 8 has the following benefits:
– greatly minimized kernel usage. This helps provide more “kernel bandwidth” to drivers who need it the most. More kernel bandwidth translates into less potential for audio glitches.
– Lower CPU usage – translates to better performance at low latency
– More efficient use of audio drivers – esp with ASIO drivers
– Better performance on Windows Vista esp X64. Many of the complaints of Vista performance as compared to XP have been solved with SONAR 8. X64 low latency performance should now be on par with X86.
– Faster application launch
– Less flicker in GUI. Track view splitters no longer flicker when resizing.
– More responsive zoom and scroll with large projects. Zooming with wave files now uses 1/2 the RAM with 24-bit or less stereo or mono files used.
– Better meter performance.
– Improved thread scheduling by insuring threads are properly distributed on processors.
This link shows the overall benefits of SONAR 8 as compared to SONAR 7: http://www.cakewalk.com/Products/SONAR/English/benchmark.asp
Artist Spotlight: Carmen Rizzo
The Virtual Ornaments of An Innovator
Producer, mixer, remixer, writer & artist Carmen Rizzo
By Randy Alberts
Typically there’s room for doubt when someone claims that a new product has changed their life. Yeah, right. But when that someone is one of today’s best, busiest producer-musician-remixers around who helped forge an entirely new Grammy category, and their product rave is about a musical instrument—their favorite synthesizer—who’s to doubt it?
“Oh yes, Rapture has absolutely changed my life in how I make records,” says Carmen Rizzo, who four years ago led the way in creating NARAS’ new Grammy Award category for Best Electronic Album. “My life is all about making records and, really, I just can’t work without Rapture anymore. Every time I use it to come up with a sound I think, ‘Wow, I would’ve never come up with that sound without Rapture!’ Rapture opens up your mind to new things you just would’ve never thought of without it.”
Carrying the torch for electronic music with the help of BT, Crystal Method’s Ken Jordan and others was but one gem in Rizzo’s prodigious creative vein of music, concert, radio, t.v. and film sound achievements. Himself a two-time Grammy nominee, the short version of Carmen’s credits list reads like a who’s who of diverse talents and idioms: Coldplay, Alanis Morissette, Cirque du Soleil, Seal, Ryuichi Sakamoto, k.d. Lang, Pete Townshend and acclaimed British director Michael Apted (Coal Miner’s Daughter, Gorillas In The Mist). Rizzo scored his first film soundtrack, The Power of the Game, for Apted’s documentary about the German soccer team’s 2006 World Cup win; released two critically-adored solo albums of his own (The Lost Art of the Idle Moment and the new Ornament of An Impostor); co-founded, produces and frequently tours with the world beat/electronic fusion band Niyaz and, currently, is among many pursuits DJ-ing a radio set heard by 14 million listeners each month on the highly influential KEXP.org/Seattle.
“I’d like to think that people come to me for something different, for something unique,” says Carmen. “The Cakewalk synths definitely make that easier for me to accomplish.”
Within Sight of the Hollywood Sign
A husband and father who donates 10% of his new album’s sales to a different charity each month, Rizzo owns and produces, writes, mixes and remixes in his Studio 775. There’s a close-up view of the intersecting street signs of Hollywood & Vine right outside his workspace window.
“Be it audio plug-ins for EQ, compression and effects or virtual instruments, every producer and musician has their favorite go-to tools they use on everything they do,” he says. “Rapture is one of those tools for me. It’s there no matter where I’m creating music. On the road with my portable laptop rig or at the audio workstation here at Studio 775, honestly, Rapture is in pretty much everything I do.”
Artist Spotlight: Danny Byrd
Producer Danny Byrd swears by the sound of Cakewalk:
“Their Instruments have as much unique character as the best vintage synths!”
By Buzz Owen
Danny Byrd has been stamping his mark on the Drum & Bass scene for over a decade now. Regarded as a pioneer of Soulful and Vocal Liquid Funk, Danny’s blending of upfront and retro-inspired sounds has led him to try many of the hundreds of soft synths out there in his search for sounds that can cut through in his busy productions – a search that stopped with the discovery of Cakewalk’s sonic armory…
“I used both Rapture and Dimension Pro a hell of a lot when recording my new album [Supersized]. In fact, the Cakewalk instruments were essential to the writing of my album. These days a lot of digital music sounds the same, so it’s important to add a different sound. And this is what Cakewalk instruments do for me – they add another dimension.”
“Rapture is just amazing for evolving textures and pads, especially all the tempo-locked patches. Just one example would be how I’d often find myself playing a high, sustained note on Rapture, and using this sound to fill up the breakdowns. Rapture has such an amazingly rich and warm sound. Another great touch is the limiter they’ve put on the output for when you’re really twisting up some nasty bass lines.”
“And the effects that you get in Rapture really add to its quality, as do the step-programmable LFOs. For me, this is the key to its constant use in all my productions. Another great feature is the stock presets that come with it – they are so useable right out of the box, so you can just get playing immediately if you don’t want to delve in deep right away.”