This page contains information about the User's Guide for the Sonar 6 from Cakewalk. Record 1 - 8 Tutorial 2—Recording MIDI. Tutorial 3—Recording Digital Audio. Click the Start button, and choose Programs-Cakewalk-SONAR 6. Record 1 - 8 Page 6 I Don't See the Clips Pane in the Track View Why Can't SONAR Find My Audio Files? Why Do I Get Errors from the Wave.
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Cakewalk - SONAR LE Documentation - Table of Contents. Tutorial 4 – Playing and recording software instruments Tutorial 6 – Editing your music. Record 1 - 8 SONAR User's Guide is designed to help you learn and use SONAR. .. the Line 6 POD, and other digital recording systems like the ADAT decks. 3. 5. Preface. 5. About this manual. 6. Conventions used in this book SONAR User Guide is designed to help you learn and use SONAR Artist.
This is linked to a neat pair of further new additions: The Transport strip has been redesigned into six modular panels. I'm sure the ACT idea is something other sequencer manufacturers will be taking close note of. As with earlier versions of Sonar , version 6 of the Producer Edition contains a number of features not present in the more affordable Studio Edition.
Fortunately, Cakewalk provide a clear summary of the differences between the two products on their web site www. Sonar 's new Audio Snap feature provides a range of options over and above those of the Acid -like Groove Clips that can be tempo-matched to the project or pitch-shifted. Audio Snap is, however, not unlike another element of Acid Pro 's feature set — the Groove Tool — in that one of its functions is to provide audio quantising, and it has the ability to apply a groove taken from one audio Clip to other audio or MIDI Clips.
As with the Acid Pro equivalent, Audio Snap works non-destructively on Clips, so that any quantising can be fine-tuned or removed altogether as required. Audio Snap is not just about audio quantising, however — it can also be used to grab individual beats and move them manually, extract the tempo from a Clip and apply this to the project tempo, allow Clips to follow tempo changes within a project, or automatically split a Clip into a series of smaller Clips based on each individual beat.
Audio Snap operates at the Clip level and it must be enabled on a per-Clip basis. This can be done from the floating menu that appears when you right-click on a selected Clip, and enabling Audio Snap for a Clip opens the Audio Snap Palette.
While this dialogue doesn't look too busy, there are actually a large number of possibilities here. In order to do its magic, Audio Snap first has to identify the audio transients within the Clip, and the majority of the controls along the top of the Audio Snap Palette deal with this process, including the Sensitivity and Threshold sliders, which can be used to generate greater or fewer numbers of transient markers as required. The lower left of the Palette shows the four key tasks Audio Snap can be used for.
The Align Time Ruler task provides tools for extracting tempo information from your selected Clip and applying it to your project — the most obvious example might be for extracting the tempo from a drum loop. The 'Find A Steady Rhythm' option is useful in this context, as it helps average out any subtle timing variations within the Clip. The Quantise task provides two options.
The basic Quantise is performed to a regular grid and, as with simple MIDI quantising, includes options for different beat durations, triplets, strength of quantise and degree of swing. In contrast, the Groove Quantise option allows a groove taken from one audio Clip to be applied to another — and providing this is done with due care and attention, it can be used to considerably tighten up sloppy playing between bandmates or to get a group of unrelated sample-library loops to 'groove' together in a more musical fashion.
As mentioned above, this is much like the Groove Tool function within Acid Pro , and with some experimentation and experience, is capable of some excellent results.
The 'Pool' in the Quantise To Pool task requires a little explanation; this is not to be confused with the Cubase Pool, which acts as a home for all the files associated with a particular Cubase Project. In Sonar , the Pool is a place where the transient locations from one or more audio Clips can be stored and combined as you can using the Collect feature in the full version of Pro Tools Beat Detective. For example, you might add transients from separate kick drum, snare drum and hi-hat clips to the Pool, to create a master 'groove' for your project's rhythm.
The Quantise To Pool option then allows other audio Clips to be quantised to this groove. The buttons along the top of the Audio Snap Palette include options for adding or removing the transients from the currently selected Clip to or from the Pool and for displaying the Pool transients. When the latter option is switched on, a series of dotted vertical lines appears through the Track view.
The final task — Extract Groove — does exactly what its name suggests, and grooves extracted from an audio Clip can be stored as presets for later use with the Quantise task. In all, Audio Snap is a powerful addition to Sonar 's audio capabilities, although I suspect that most users will find they need to invest some time experimenting before they can realise its full potential.
One thing that software manufacturers often seem to be accused of is ignoring requests for features or changes from users.
Cakewalk are obviously keen to avoid that sort of criticism and on their web site is a list of some of the smaller-scale changes Cakewalk term these 'featurettes' that they have made, many of which have come about as a direct result of user feedback.
Amongst other things, these include a range of small modifications to the user interface to make certain tasks easier. Point your browser at www. As the name suggests, this uses bit internal processing to make the most of the headroom provided by Sonar 's own bit audio engine see the ' Sonar In Bits' box.
VC64 features dual EQ and compressor stages, a gate, a de-esser, and user-configurable signal flow that includes internal side-chaining. The new Audio Snap Palette with a drum loop in the background that has been 'Audio Snap Enabled' and a series of transients detected. The plug-in design has a suitably vintage appearance, and there are certainly plenty of controls to play with.
The gate and de-esser controls are located at top left, with the routing options and master gain control beneath them. The centre is dominated by the compressor controls, while the four-band EQ controls are along the right. The controls for both the compressor and EQ sections perform double duty, as VC64 includes two of each. The EQ and compressor sections feature some familiar controls but, as I couldn't find any mention of VC64 in the Sonar documentation and only a brief description on the Cakewalk web site , I had to adopt a trial-and-error approach to the rest of the knobs and switches.
Fortunately, the supplied presets, in part, came to the rescue. These cover applications such as mastering, various vocal treatments, and drum and guitar treatments, and can be useful starting points for creating your own patches. Each type of preset features one of the 10 routing possibilities shown in the bottom left of the display ; the key element that changes here is the position of the two EQ and two compressor stages.
Even a little experimentation showed that VC64 is a powerful processor and capable of a wide range of corrective and creative tasks.
From warming up or increasing the level of an entire mix through to trashing a perfectly good drum loop, VC64 has something to offer and it seems to do a particularly good job as a vocal processor. It is, therefore, a bit of a shame that Cakewalk have not provided a tutorial for using the plug-in for these types of key tasks, as I think a novice user might be quite daunted by the range of options provided.
Sonar 5 introduced bit support and, as explained by Paul Sellars in his review of version 5, there was potential for a little confusion. In fact, Sonar 5 provided both support for bit processors and operating systems and also an internal bit audio processing engine that could be used by either bit or bit computer systems. The bit support is, of course, still present, but one minor change is the ability to switch on the bit audio engine just for export of the final audio mix.
This ought to mean lower CPU overheads while tracking, but greater audio headroom when creating the final mix. For my money, the jury is still out on the audio benefits most people will be able to perceive in working at bit, but if you work in a very high-quality acoustic environment with high-end components in the rest of your signal chain, it's obviously nice to have the option.
While Sonar 5 Producer Edition introduced a number of new virtual instruments, with Sonar 6 there is only one: Session Drummer 2. At first sight, the instrument looks a little underwhelming but, behind the rather dark and staid front end, there is a very competent virtual drummer. In essence, Session Drummer 2 uses velocity-sensitive multisampled drum sounds triggered by MIDI drum patterns, and the plug-in comes provided with a variety of different drum kits and MIDI patterns in a range of musical styles.
These are organised into a series of 'style' presets that, when loaded, include both the drum samples and eight different MIDI patterns labelled A to H.
Rather like Drumcore 2 , when you have auditioned and found a pattern that you like, this can be dragged and dropped into a suitable MIDI track, so that you can build and edit your complete drum track in Sonar 's Track View. The VC64 Vintage Channel plug-in.
Users can, of course, record their own patterns or use third-party MIDI drum patterns to trigger the samples in Session Drummer. The included samples can be mixed and matched between kits and, according to the useful video tutorial for Session Drummer available on the Cakewalk web site, users can also load their own samples into the instrument — although you are left to work out how to do this for yourself, as there is currently no written documentation for the plug-in.
Individual samples can be auditioned via the on-screen icons, which simulate velocity-sensitive response based upon where you click on them. Session Drummer 2 also features up to eight stereo outputs, and the number beneath each drum icon can be grabbed and adjusted with the mouse to assign a particular drum group to a specific output. This adds considerably to the processing options that you then have in the Console View for treating the drum sounds.
Cakewalk's web site suggests that there are expansion packs in development for Session Drummer 2.
That said, what is supplied is very good indeed and Session Drummer 2 certainly scores in two key areas: As a long-term Sonar user, I was keen to try out the new features in version 6, and find out whether the big-ticket items are worth the price of admission. There are several of these in Sonar 6 , and two in particular intrigued me.
First was the new 'vintage' plug-in from Kjaerhus Audio. In comparison to Cakewalk's native and Sonitus effects, VC64 is definitely more uptown. There are two compressors and EQs for each instance, so it is possible to do 'push me, pull you' type compression — both raising the floor and squashing the top of a track.
The EQ uses a Pultec-style algorithm that both boosts and cuts at the frequency choice. Both the EQ and compression sound great but are CPU efficient, so you can use them as track effects without your computer hyperventilating. The EQ works nicely in conjunction with the Sonitus track EQ, using Sonitus to scoop out the bottom or notch stuff in or out while VC64 adds 'oomph' and general analogue gravitas.
It sounds good on tracks; it sounds good on a master buss.
But if you already have a nice collection of top-shelf plug-ins, VC64 is hardly the reason to upgrade. ACT brings the programming that would usually go into setting up a hardware controller to Sonar itself. And, as it turns out, a DAW is the perfect place to coordinate controller info with software. You've already got a screen to make it easy, and why pay for extra processing power when your computer has plenty to spare?
With a little work, I soon had eight audio tracks and the master out mirroring the knobs. Not as good as faders, but still better than a mouse. Then I pulled up a synth and tried to hook it in. The Synth Rack now includes its own set of knobs, which can be assigned to any MIDI-controllable feature of the synth and then routed back to a hardware controller. Not quite Minimoog territory, with a knob for each feature, but a little forethought can put your favourite synth features under tactile control.
Only afterwards did I realise that the old Generic Control Surface template I used also changed track volume, which was too much of a good thing. However, the newer ACT Property page automatically switches the hardware to control whatever is in focus in Sonar without any such embarrassing doubling, so it was back to the drawing board for me.
I've already proved ACT isn't idiot-proof and requires more work than one imagines at first glance, but it still works.
You already have it on your DVD Why should they give users who pirated their program a manual??? Some time ago someone asked a question in a forum and I didn't know the answer so I looked it up online and found nothing. I wanted to check the manual so I tried looking for it online and didn't find it. The first sequencer I used was FL Studio and if I remember correctly, the manual for that is online as well. I don't mind that the Sonar manual is not online at all, though When I posted the "I fail to understand why they don't post it online" thread above, I wasn't thinking about piracy at all.
If they don't do it because of an anti-piracy thing, then I'm totally cool with that However, let's say that my DVD is damanged or lost and I had not copied the manual my hard drive I don't get why this file isn't copied by default either, but oh well , where do I go to get the pdf manual?