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The Fine Print II: Updates Released for Cakewalk's SONAR Platform

Here’s an excerpt from Cakewalk CTO Noel Borthwick’s report on the new features that exist in Cakewalk’s SONAR 8.3 and SONAR V-Studio 700 1.1 updates.  To view the entire discussion, Visit the Cakewalk Forums.

We’re happy to see so many of you enjoying SONAR 8.3. I know some of you enjoy the trivia that goes into a release so here is the unabridged version of what went into SONAR 8.3 aka “the making of SONAR 8.3” aka the 8.3 fine print. If details aren’t what you like wading through, just go ahead and enjoy using the product and skip this – what you don’t know wont hurt you 🙂

Disclaimer: This text is not an official Cakewalk endorsement of any features in 8.3 and has not been officially proof checked for accuracy, so I reserve the right to edit the content at will. The sole purpose is to provide more detail on the depth of some of the features in 8.3 that some of you have requested and to hopefully answer some common questions.

8.3 was a particularly intense point release for us and everyone involved spent a lot of long hours and effort to make this happen. Special thanks go out to our beta testers on this who spent long hours trying out all the new risky stuff. Posts from beta testers and Cakewalk engineers going into the wee hours of the morning attest to some of the dedication in this cycle.

As most who have been our customers awhile may know, the typical Cakewalk product lifecycle goes somewhat like this:
– We work on a major release
– Post release we typically do a quick minor point release to address any immediate or urgent issues that might arise
– We then hibernate a bit and do a major point release that makes some feature improvements and addresses any old or new issues that are common customer complaints.
– The cycle repeats

This time around when it was time to do our point release we wanted to continue working on the optimization theme we started in S8, but also revisit some common complaints and workflow issues with some of our existing features that needed some TLC. So we identified the following broad areas that we needed to work on in 8.3:

1. External Insert Improvements
2. Optimization and multi-core enhancements
3. VS-700 updates
4. New/Enhanced Features
5. Bug fixes
6. New content

Read Noel’s Fine Print In Full at Cakewalk.com

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Tune Up Your Production Skills with SONAR 8 Help Guides

StreamWorks Audio Offers Complete SONAR 8 Video Tutorial

Whether you are a beginner, just learning the ropes, or a more seasoned veteran of SONAR, this video tutorial leaves nothing out and offers lots of valuable information to get you up and running quickly.

You will learn how to setup your computer for optimal performance, master SONAR’s new user interface & advanced recording and editing techniques, use effects, dial in software instruments, mix down tips & techniques, and much more!

StreamWorks’s SONAR 8 Tutorial: Now Available in HD

SONAR 8 Power! by Scott Garrigus

SONAR 8 Power! is the ideal reading companion for SONAR 8, featuring detailed information that even the most experienced user will benefit from. New users will start from the beginning and learn everything they need to know to use SONAR 8 for recording, editing, producing, mixing, and bringing their music to the masses. Upgraders will learn all about the new features in SONAR 8 as well as enhancements made to existing features that may affect their current production workflow.

Learn how to use AudioSnap, Session Drummer 2, and V-Vocal

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When in Rome: Produce Live Music

From time to time, Engineer and Owner of Scadge Productions, Trev Wilkins, gives us a brief update from his travels on the road and in studio. Here’s the latest:

“After several weeks of hard work, we’ve now got the audio for the DVD of Albert Lee and Hogan’s Heroes- Live in Rome, all mixed and mastered and ready to go on to the video.

The whole process was done in SONAR 8 and involved much automation and editing as the show was recorded completely live using regular ‘stage’ mics. None of it was set up specifically for recording and I just took the signals from Direct Outs on the live console. Hopefully, the DVD will be available soon so I’ll post an update when I know that it’s on sale.

We took a few photos to mark the occasion. Back left, is Gerry Hogan (pedal steel player) with Brian Hodgson (bassist) from the band, who mixed the sound with me. They’re just about to start their tour and with Albert receiving another Grammy award they’re heading for another great year.

After working solidly for weeks now, I’m hoping to get this weekend off. Our next project is with Neil Innes as we help him prepare for his tour of the USA.”

To read all of Trev’s updates, visit: https://noelborthwick.com/cakewalk/tag/scadge-productions/.

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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.”

Continue reading “Artist Spotlight: Justin Lassen”

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Cakewalk's Music Production 08' Tour

Cakewalk is coming to a city near you, starting Tuesday October 14, 2008! Join us to explore the latest in digital audio workstation technology- with SONAR 8 (and complimentary products) plus a sneak preview of the new SONAR V-Studio 700 Production System.

Cakewalk’s Product Specialists will be on hand to demo many of the new features in SONAR 8 including:

Newly-added instruments– including Beatscape, Dimension Pro, and TruePianos Amber VSTi

New features– such as Loop Explorer 2.0, higher track counts with lower latency, single instrument tracks, Anytime Recording, and more

New plug-ins– including the TS-64 transient shaper, TL-64 Tube Leveler, Channel Tools, and more

New creative content– Maximize your creative potential with SONAR’s massive collection of loops, samples, and presets

Also, get a first glimpse of the new SONAR V-Studio 700, the groundbreaking new hardware/software solution from Cakewalk by Roland. Visit www.sonarvstudio.com to watch exclusive videos and get in-depth product information.

These events are FREE and open to EVERYONE, from new users to long-time Cakewalk customers.

For a complete listing of Tour locations and information, check out the Music Production 08′ Tour Page!

For dates, times, and locations of all Cakewalk Events please visit the Cakewalk Events Page Or call 888-CAKEWALK and choose Option #2 to speak with a customer service representative.

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AES 2008 Wrap-Up: SONAR in the Media

With the release of three major products: SONAR Home Studio 7 & 7XL, SONAR 8 Producer & Studio, and SONAR V-Studio 700, Cakewalk’s SONAR product line has been spotted all over the internet. Various media outlets have posted literature and video interviews to introduce the world to the latest SONAR products. Here’s a brief listing of the latest clips:

SONAR V-Studio 700

Articles: *New* Pro Recording Magazine

Create Digital Music & CakewalkNet & Pro Sound News

Premier Guitar – Featuring Cakewalk’s George Persiantsev

Gearwire – Cakewalk presents the ‘unveiling’ of SONAR V-Studio 700

        Gearwire – Featuring Cakewalk’s Brandon Ryan

        Mix Magazine

        Music Radar

        Sound On Sound

SONAR 8 Producer & Studio

         Remix Magazine

         Gearwire – Featuring Cakewalk’s Product Manager Alex Westner

         Sonic State

         Digital Music Doctor – Demonstration on Transient Shaper tool

         *NEW* Daily Motion Channel – Tutorials on SONAR 8/V-Studio 700

          YouTube Channel

SONAR Home Studio 7 / 7XL

           Gearwire – Featuring Cakewalk’s Product Manager Samara Krugman

Enjoy! There’s more to come shortly!

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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

Continue reading “SONAR 8: The Fine Print”

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Studio Spotlight: Sun Studio

SONAR at Sun Studio: The Birthplace of Rock ‘n’ Roll
Chief Engineer James Lott and Assistant Engineer Matt Ross-Spang

By Randy Alberts

“Our clients love what we do for them here with SONAR,” says James Lott, chief engineer for over 20 years at the legendary Sun Studio in Memphis, Tennessee. “It sounds great and we’ve been using it for a long, long time. But most of all they trust us and how we’re using SONAR to record them. When we tell a band ‘OK, you can move on to the next song now,’ they trust us completely.”

Spoken on behalf of Sun Studio—the birthplace of rock ‘n’ roll and the country’s only National Historic Landmark with a digital audio workstation in the tour—Lott’s professional trust in Cakewalk’s SONAR shouts volumes.

“Like a good horse,” he adds with a laugh, “when something in a studio runs as fast as SONAR and does everything you tell it to, then you’re gonna ride that horse a long, long way.”

Tracking History Then & Now

The sheer history of music behind Sun Studio, since Sam Phillips first built it in 1950, deserves far more space than this story allows- to give it proper justice.

Those who visit Memphis, especially musicians and engineers, would not want to miss taking one of the studio’s daily tours to learn more about the studio’s historic past.

Elvis recorded his first two songs at Sun Studio in 1953 for $3.25, when it was still called Memphis Recording Service. Before Elvis, there was Jackie Brenston & His Delta Cats who recorded the world’s first rock ‘n’ roll single, Rocket 88, at Sun, originally composed by Ike Turner.

James Lott, Cowboy Jack Clement, and Matt Ross Spang. Clement worked at Sun as an engineer. Known for works with Johny Cash, Jerry Lee Lewis, and many other Nashville greats.

With all the history within the studio’s walls—the same cozy 25×20 live room, tight vocal booth, tiny control room, and tiled front office where the original studio manager, Marion Keisker, sat in for the absent Phillips’ to record Elvis’ first songs—Sun is one of the top, most vibrant studios in the world today.

Recently, Lott used SONAR to track, edit, and mix projects for Liz Phair, Matchbox Twenty, Maroon 5 and Bowling for Soup. Tom Petty, a tape devotee, also recorded some new tunes at Sun with the studio’s prized MCI 24-track machine. Another recent SONAR session at Sun involved Amy LaVere, an Americana music composer and vocalist who expertly plays an upright acoustic bass far taller than she. Billy Bob Thornton’s band too, was due in for another Sun session shortly after our interview with Lott.

“The vibe of this place, this sort of ‘welcome homey’ kind of feel, is really what brings people back here all the time,” says Lott.

“Billy Bob is a longtime friend of Sun, in here for the fourth or fifth time now, and it’s his birthday, too. He told us that he wanted to come celebrate and to make some music up in here. It’s very old school here: not much has changed from the old days. There’s the same floor tiles, control room, front office, and even old lamps from the ’50s hanging from the ceiling. Even Marion’s front desk is still here, the same one she was sitting at when Elvis first walked in the door. Besides our staff and the gear we use, it’s the original vintage vibe of this place that keeps ‘em comin’ back.”

Continue reading “Studio Spotlight: Sun Studio”

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Artist Spotlight: Carmen Rizzo

The Virtual Ornaments of An Innovator

Producer, mixer, remixer, writer & artist Carmen Rizzo

By Randy Alberts

Carmen Rizzo

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.

Carmen Rizzo on the Streets

“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.”

Continue reading “Artist Spotlight: Carmen Rizzo”