![]() Ultimately, it is no harder than learning a new program. I still curse Microsoft when pecking for a seldom-used tool in the latest version of Word, and I use a lot more of SONAR than I do of a word processor. ![]() However, old hands will not only need to re-customize their screen but also figure out where everything is and learn some new methods to accomplish old tasks. ![]() Reading between the lines of material published on the Cakewalk User Forum and elsewhere, it’s obvious that Cakewalk felt they could attract more new users with a simpler UI. With Sound Center and ProChannel aside, the major difference between SONAR X1 and previous versions is the look and feel. Still, I like that the tube-saturation section doesn’t get hazy or thick too quickly. There is just something too non-linear about the “hair” you get from analog distortion that I haven’t heard replicated in software. While digital is finally giving analog some competition in the realms of compression and EQ, I can’t say the same about saturation. There is also a dynamic frequency-boost function called Gloss, which adds a bump with a mode-specific contour centered between 8-12 kHz it’s a nice way to add some shine to an important track or two. Still, ProChannel doesn’t cost $3000, and you can insert it on as many channels as you want until the CPU shuts down. It reminded me of the RND Portico II EQ (without sounding the same). I found myself gravitating to Modern, which is capable of raising the level of selected frequencies cleanly and pleasingly - and boosting is something I usually don’t do much of digitally. The EQ has three different modes – Vintage, Modern, and Pure - each with four parametric bands and two filters. It sounds fuller and rounder than the Sonitus EQ it replaces and as good as many pricey, third-party EQ plug-ins. You can hear some comparison clips for yourself at. Although I didn’t have the hardware at home to do a shootout, each compressor type sounds very good on track and bus duties. ProChannel’s compressor can be switched between an 1176-style channel or a 4000-like bus model. It consists of compressor, EQ, and tube-saturation stages. Second is ProChannel, available in SONAR X1 Producer, the most feature-laden edition. Although you have less control of the sounds than you do in the standalone versions, the sounds you get are top notch - not merely placeholders. First is Sound Center, a kind of greatest hits version of Cakewalk’s soft synths, including Dimension Pro and Rapture (Tape Op #53). X1 is much tidier in organization, and shortcuts are now more intuitive.īefore digging too deep into the new look and ergonomics of SONAR X1, let’s take a look at two of its new features. Also, a lot of the shortcuts and key bindings had a similar hodgepodge organization. For a newcomer, it was rather intimidating. Everything was there, but you had to know where to look. ![]() The old SONAR (#61, #69) tacked on new features and functions as they were introduced, so it eventually took on a broom-closet look. When I first opened X1, it reminded me of Cakewalk’s VS DAW that comes with V-Studio 100 (Tape Op #74), except with a lot more going on. Just as SONAR kept much of Pro Audio’s functionality but sported a new look, the X refers to an all-new SONAR without losing the name recognition. If you are using a custom Workspace or if you use a Factory Workspace that doesn't have the Multi-Dock centered and this method works for you, you might want to set it up the way you want and resave the Workspace with a new name.In the beginning, Twelve Tone Systems begat Cakewalk MIDI Sequencer for DOS, and Cakewalk begat Pro Audio, which begat SONAR, which begat SONAR X1. Each time I was able to get the Multi-Dock's width to be centered between the left-side and right-side columns. I used the Advanced Factory Workspace because that defaults to segmented right-side modules that seem to have their own width. PS: I tried it again (several times) and it worked again. After doing that D toggled the Multi-Dock to be centered between the full-height left and right panels. That seemed to lock the right-hand panel for the full height. When I found one that didn't line up on the right, I clicked the downward arrow (v) on the top of the right-hand panel and reselected "Dock at Right" even though it was already checked. In almost all of them the D toggles the Multi-Dock and it is centered (just like the Track View). I just tried several of my custom workspaces as well as None, and a few of the factory workspaces. ![]()
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