Sonar x1 patch b

Transposing digital audio is never easy, and the more you need to transpose, the harder it is to retain fidelity. Yet sometimes pitch transposition is necessary and, fortunately, Sonar X1 offers several methods. It had this kind of weird wobbling quality that the Pitch Shifter can, for better or worse, emulate. As with most pitch-shifters, lesser shifts mean better fidelity. However, you can also get some really strange and radical effects by using the 'wrong' settings.

I've outlined some of my favourites. Adjust the amount of chorused sound with the Wet Mix and Dry Mix controls typically set for equal amounts. Set Feedback to 0 and, if desired, adjust the Delay Time to add a time difference between the two signals. The Mod Depth control modulates the delay time; its effect varies greatly depending on the amount of Pitch Shift, Delay and Feedback. Results are unpredictable, so just play with it until you get as close as possible to the kind of sound you want.

The Mod Depth control setting is critical, so experiment. I found that settings around 30ms seem to work best.

Then do the following to transpose using Acidisation:. Transposition will reveal any problems with the Acidisation. Missed transients are pretty obvious as a sort of echo; a flutter on a sustained note can sometimes be fixed by placing an additional marker part-way through the note. I still have to get used to where to find some things in the new layouts, but I'm starting to get used to the general orientation, and I'm also finding it particularly efficient for project starts such as in picking softsynths in the early stages of working up an arrangement and doing MIDI editing I love the Smart Tool and not having to constantly be switching between the Select tool, Pencil Tool, and Erase tool.

I've also experimented a little with ProChannel, and I'm definitely liking that a lot, despite having loads of plug-ins already. However, at the moment, it is extremely frustrating for vocal comping, at least for the way I do it, which is layer- and clip-based.

I'd just like to record my gratitude for the fact that you and lots of others went and got the brand-new release, and then took the time to test and isolate bug signatures with this level of care.

I've been a Sonar user since version 1 -- I own every single one -- but I never buy the upgrade till the first patch comes out, and I know my almost completely positive experience of Sonar over the years is due to that fact, and to the contributions folks like you have made to the effectiveness of that first patch. I'm a software author too, and when I look at the bug reports below, I have to say that they look like beta-level bugs. I really wish Cakewalk would institute a better i. From the first patch on, Sonar is fabulous; for the early-adopters, it does seem like a bit of a crapshoot, and that undermines the image of the product.

Cheers, Martin. Rick Paul. Reply to author. Report message as abuse. Show original message. And, unlike many older saturation effects, the Softube emulation doesn't feel like a haze hanging over the instrument, but seems integral to the sound.

Thanks to the precise control offered by the big knob, the Saturation Knob is a very flexible tool, better than Cakewalk's own PC-included tube saturation module.

Like all the other Pro Channel modules, the Saturation Knob has channel controls along the top. To the left, the Expanded Pro Channel adds a handle for dragging and dropping modules to change their order. What could be more bland and unappetising than a gate, the Rodney Dangerfield of effects?

It just don't get no respect. Yet although many of its traditional roles have been usurped by volume and mute automation, a good gate is still a worthwhile tool. It's a simple module, with three knobs for Threshold, Range and Release.

Two switches choose the side-chain mode and a fast one millisecond or auto-detection mode. A ladder-style gain-reduction LED meter rounds out this thin gruel of controllers. The good news is that what is there works well. The Release runs from a quick tenth of a second to a molasses-like four seconds. The auto-detection works well, and the fast attack is good for chopping in a drum or anything calling for quick dynamics. The side-chain option opens up routing in Sonar, so you can sync the kick to the bass, or anything else you need to line up together, without editing through the whole song.

I had a rather badly recorded voice-over that needed to go over a music bed. The performance was great and rock-steady volume-wise, but must have been done on a built-in camera mic or something equally poor. After EQ and compression helped with the tone, the S-Type gate took care of the noise between lines, and did so very naturally.

It was a lot quicker to find a release that ramped down the noise than editing in the right curves for every stop or breath. This gate is also ideal for getting rid of the reverb tail on synth patches that sound good in isolation, but which build up into gravy in a mix.

Just killing the instrument's reverb often changes the tone itself, but with the gate, you can keep that and just fade down the offending tails. You can use it side-chained, too. All the SSL-style effects sound good, and all respond dynamically to increases in input gain, rather than adding a steady-state film over the sound. Hit the modules harder and you get a nice thickening of the signal and a bit more 'hair'; maybe not exactly like hardware, but similar. Other things being equal, I'll take the console, but things are seldom equal, especially in a humble home studio.

It uses a true stereo algorithm and is a potent addition to Sonar X1 Expanded. Also visible is the Pro Channel Active Equalizer. The above-mentioned partnership between Cakewalk and Softube has also yielded the Mix Bundle, a very tempting smorgasbord of Swedish effects which are likewise integrated into the Pro Channel and, again, not included in the Production Suite. Cakewalk have teamed up with other software companies many times before, but this is the first such product that requires an iLok key — separate serial and registration number authorisation has always been a selling point with Cakewalk, although personally I've never had a problem with iLok or Steinberg's eLicenser.

The 1R uses exactly the same stereo algorithm, but instead of five faders, there are only two: one for pre-delay and the other a macro Time fader that controls density, diffusion, early reflections and most of the other reverb goodies simultaneously.

Pre-delay ranges up to ms, which is enough to achieve a faux-slapback echo if you want to, and although the single Time fader might not provide enough control for a tweaker, it works for most reality-based reverbs.

Replacing its big brother's Tone fader is a three-position switch offering neutral, bright and dark options, and, again, providing enough control for most situations. Most importantly, the reverb sounds good. Other than the convolution Pristine Space, none of the other included Cakewalk reverbs would be considered high-end, so the addition of a top-notch reverb is worth the price of admission by itself, not even counting all the other items included.

I didn't find much difference between the Pro Channel and Pro Channel Softube FET sounds, but still found myself gravitating toward the latter because the knobs are a little bit bigger and easier to manipulate. Topping off the bundle is a dessert tray of equalisers. Again, these risk being redundant, since the standard Pro Channel EQ is very good and quite flexible — it has two filters and four parametric bands, a 'gloss' button and different EQ slope modes, and it sounds so good that I've more or less given up using any of my third-party EQs.

The Softube selections sound as good, but each is tailored for a specific job rather than being 'one-for-all' processors. Once you get a handle on how each EQ works, it is fairly easy to choose the right one for the task at hand.

The Active Equalizer is the most conventional, with three bands and two filters.