SONAR X3 Basics B

1

SONAR X3 IS SUCH A POWERFUL APPLICATION, you can use it for a variety of different tasks, including composing music, developing computer game music and sounds, producing compact discs, creating audio for the Web, and even scoring films and videos. SONAR provides a number of features to support all these endeavors and more. No matter which way you decide to use SONAR, you’ll find plenty of flexibility and power in the tools provided. ECAUSE

The Way SONAR Works In SONAR, all your music data for a single body of work is organized as a project. A project can be anything from a Top 40 song or a 30-second radio spot to a full-length symphonic score, such as a movie soundtrack. Along with the music data, all of SONAR’s settings for a single work are stored in the project. A project is saved on disk as a single file with a .CWP or .CWB file extension. The difference between the two file types is that a work (.CWP) file stores only MIDI data and project settings, and it references external audio files. A bundle (.CWB) file includes any audio data within the file itself so that all project data is stored in a single file. The music data within a project is organized into units called tracks, clips, and events. Events, which are the smallest units, consist of single pieces of data, such as one note played on a MIDI keyboard. Clips are groups of events. They can be anything from a simple MIDI melody to an entire vocal performance recorded as audio. Tracks are used to store clips. For example, a pop song project might contain seven tracks of music data—six for the instruments and one for the vocal performance. Each track can contain any number of clips that might represent one long performance or different parts of a performance. SONAR gives you unlimited tracks. The only limitations are the speed of your CPU and hard drive and the amount of memory (RAM) you have in your computer.

Skylight and the Views Dubbed Skylight, SONAR’s GUI (graphical user interface) is composed of a number of different components that allow you to work with the data in a project. The most prominent components are the Track view, the MultiDock, the Inspector, the Browser, and the Control Bar (see Figure 1.1).

The Track View and the Secondary Views To record, edit, and mix music in a SONAR project, you need to use views—windows that allow you to see and manipulate your music in a variety of ways. The most important is the Track view. In this window, you can see all the tracks that are available in a project. You also can view and edit all the basic track settings, as well as all the clips contained in each track. I’ll talk about the Track view extensively in a number of different chapters. In addition to the Track view, there are a number of secondary views that provide specialized functions: w Staff. The Staff view lets you edit your music as standard notation. By selecting one or more MIDI tracks in the Track

view and opening the Staff view, you can see your music just as if it were notes on a printed page. See Chapter 16. w Piano Roll. Although the Staff view is great for traditional music editing, it doesn’t access expressive MIDI data, such as

note velocity or pitch bend controller messages. For that data, you can use the Piano Roll view. This view displays notes as they might appear on a player-piano roll. See Chapter 6. w Event List. The Event List view shows individual events in a track (or the entire project) as special keywords and numbers in a list. Using this view is similar to looking at the raw MIDI data that is recorded from your MIDI keyboard or controller. You can edit the characteristics of single notes and MIDI controller messages by typing in data. See Chapter 6.

1

SONAR X3 Power!: The Comprehensive Guide Track View

Control Bar

Browser

Inspector

MultiDock

Figure 1.1 SONAR’s Skylight interface streamlines your project work. Source: Cakewalk®, Inc. w Loop Construction. The Loop Construction view gives you an easy way to create your own sample loops and beats. You

can use these loops, which are digital audio clips designed to be played over and over, to construct entire songs. See Chapter 9. w Console. When you’re ready to mix all your MIDI and audio tracks down to a single stereo file, you can use the Console view. This tool is made to look and function like a real recording studio mixing console. And just like a real mixing console, you can monitor volume levels via on-screen meters, as well as mute and solo individual tracks or groups of tracks. See Chapter 10.

The MultiDock To keep all the views from cluttering up your workspace, SONAR provides the MultiDock. In this single window, you can dock multiple views and then access the views via the MultiDock’s tabbed interface. In addition, you can float the MultiDock for even more flexible positioning, such as on a second PC screen. For previous SONAR users, the MultiDock takes the place of the tabbed interface in the Track view. See Chapter 2.

The Inspector A smooth session workflow requires that you have easy access to the most frequently used parameters—that is the purpose of SONAR’s Inspector. Divided into the Properties Inspector and Track Inspector, SONAR’s Inspector lets you quickly view and edit parameters for selected clips and tracks. It also gives you access to the ProChannel effects for each track. For previous SONAR users, the Inspector replaces the Clip Properties and Track Properties dialog boxes. See Chapters 3, 5, 6, and 11.

The Browser When working on a project, you also need organized access to content such as audio, MIDI, and video files. All content files supported by SONAR can be retrieved via the Browser. Plus, with drag-and-drop support, you can import almost anything into a project just by dragging—even entire projects. In addition, the Browser lets you organize the plug-ins installed on your system and manage all the software synths in a project. For previous SONAR users, the Browser takes the place of the Loop Explorer and the Synth Rack. See Chapters 5, 6, 8, and 11.

2

Chapter 1 SONAR X3 Basics

The Control Bar Acting as a main control area, SONAR’s Control Bar accesses all of the global parameters and tools pertaining to the entire application. The Control Bar is divided into various modules that group together like parameters, including those for transport control, global tool selection, performance indication, and more. For previous SONAR users, the Control Bar replaces all the toolbars that are no longer available. As with the Track view, I’ll talk about the Control Bar extensively in a number of different chapters.

Multiple Versions of SONAR SONAR comes in three editions: SONAR X3 Producer, SONAR X3 Studio, and SONAR X3. Producer gives you everything you need to compose, record, edit, produce, mix, and master your music. Studio comes in a close second, providing most of the features in Producer, but doesn’t include as many effects or software synths. SONAR X3 is the least expensive of the three, but is still a very capable edition. It provides many of the same features as Studio and Producer, but lacks some of the major features such as AudioSnap and Surround Sound. Go to www.cakewalk.com/products/sonar/versions.aspx for a comparison of the three SONAR editions. I will also be providing indications as to which features are available in which versions throughout the book.

A Basic Studio Setup Over the years, I’ve built up quite an arsenal of tools that currently reside in my home studio. But you don’t need a ton of gizmos and gadgets to produce great music. If I were to scale down my setup to include only the basics, I’d be left with everything I need to compose and record my tunes with SONAR.

Computer Other than SONAR itself, a basic studio revolves around one main component—your PC. If you already have a PC, be sure to check it against Cakewalk’s system requirements for SONAR (www.cakewalk.com/products/SONAR/X3-Producer). If your system matches (or exceeds) the minimum system requirements, you should be all set to run SONAR. If not, then you should consider either upgrading or purchasing a new system. If you decide to go with a new system, you might want to think about building it yourself or picking out the components and having it built for you, although a generic Gateway or Dell PC should work just as well. For my current DAW (Digital Audio Workstation), I decided to get a system that was purposely built for audio—a Sweetwater Creation Station rackXT.

CREATION STATION DETAILS: To learn more about my Creation Station DAW, go to garrigus.com?rackXT to read information, watch videos, and ask any questions you may have.

Audio Interface (Sound Card) The most important thing to consider when purchasing an audio interface for use with SONAR is whether there are WDM or ASIO drivers available for the card. You’ll need to get in touch with the manufacturer of the card to verify this. Why is it so important? Because SONAR supports a Microsoft technology called Windows Driver Model (WDM) and a Steinberg technology called Audio Stream Input Output (ASIO). If you have a sound card that has WDM or ASIO drivers, SONAR will give you much better performance in terms of audio latency. Basically, latency is a form of audio delay that occurs when a software program such as SONAR can’t communicate with your audio interface fast enough while processing audio data, which results in an audible delay. This latency is usually noticeable only with features that use real-time processing. In SONAR, these features include input monitoring and real-time soft synth performance.

3

SONAR X3 Power!: The Comprehensive Guide THE CAKEWALK AUDIO HARDWARE GUIDE: Go to www.cakewalk.com/support/kb/reader.aspx/2007013101 for a list of audio interfaces recommended by Cakewalk.

Of course, there are many other things to consider when choosing a particular card. Common opinion is that a PCI-based interface provides the best performance, but today’s FireWire and USB interfaces usually perform just as well. It really depends on the interface and how well the drivers are written. You should also be aware of the types of connections that audio interfaces supply. The typical audio interface provides a number of different audio inputs and outputs, including line level, microphone level, and speaker. Line-level inputs and outputs are used to transfer sound from CD players, radios, electronic keyboards, or any other standard audio device. Microphones generate a very low audio level by themselves, so they need a special input of their own, which is connected to an internal preamplifier on the interface. Speakers also need their own special connector with a built-in amplifier to produce a decent amount of volume. Many audio interfaces also offer digital inputs and outputs. These special connectors let you attach the interface directly to compatible devices such as some CD players and DAT (Digital Audio Tape) decks. Using these connections gives you the best possible sound because audio signals stay in the digital domain and don’t need to be converted into analog signals. In addition, connectors come in a variety of forms. Low-cost interfaces usually provide the same 1/8-inch jacks used for headphones on boom boxes. For better quality, there are 1/4-inch, RCA, or XLR jacks. Connections can also be balanced or unbalanced. Balanced connections provide shielding to protect the audio signal against RFI (Radio Frequency Interference). Unbalanced connections don’t provide any type of protection. If you want to be able to record more than one audio track at once, you’ll need an interface with multiple audio connections. Many average interfaces internally mix all of their audio sources down to one stereo signal, but higher-end interfaces let you record each device separately on its own discrete stereo channel. This capability is much more desirable in a music recording studio. A good quality audio signal is something that everybody desires. During recording, the sampling rate plays a big part in the quality of the audio signal. Suffice it to say, the higher the sampling rate that an audio interface can handle, the better the sound quality. The sampling rate of a CD is 44.1kHz (44,100 samples per second); all interfaces on the market support this. Professional interfaces can hit 96kHz or higher. Bit resolution is also a factor in determining digital sound quality. The more bits you have to represent your signal, the better it will sound. The CD standard is 16 bits, which is supported by all interfaces. Most cards also go up to 24 bits. Two other measurements you need to look for are signal-to-noise ratio and frequency response. As with the other measurements mentioned earlier, the higher the better. Since all electronic devices produce some amount of noise, the signal-to-noise ratio of an audio interface tells you how much higher the signal strength is compared to the amount of internal noise made by the interface. The greater the number, the quieter the interface will be. A good signal-to-noise measurement is about 90dB or higher. Frequency response is actually a range of numbers, which is based on the capabilities of human hearing. The frequency response of human hearing is approximately 20Hz to 20kHz. A good sound card will encompass at least that range, maybe even more. What do I use? I actually have a number of different interfaces. In the studio, I use the Cakewalk V-Studio 700 System. This system is a combination control surface and audio/MIDI interface, which basically provides a professional studio setup in one package (not including the computer).

SCOTT’S V-STUDIO 700 SETUP: Go to garrigus.com?VStudio700 for more information about the V-Studio 700 and about how I’m using it in my home studio. Also, check out garrigus.com?VStudio700eBook to download a free copy of my Cakewalk V-Studio 700: A Closer Look ebook.

I also use the Saffire PRO 40 from Focusrite (digifreq.com?SaffirePRO40). This is a FireWire-based interface that provides eight built-in mic/instrument pre-amps, digital I/O, a built-in MIDI interface, and more. I really like this box a lot because I can use it anywhere and not have to fuss with a PCI card installation. You can monitor it from either software or hardware, and it provides a stand-alone mode so that it can be used without a computer. It also works nicely with SONAR. I mainly use the PRO 40 with my laptop PC for a mobile studio setup.

4

Chapter 1 SONAR X3 Basics

MIDI Interface If you have any external MIDI devices (like a MIDI keyboard), then you’ll need a MIDI interface for your computer. If you have a simple setup with only one MIDI keyboard, then you can easily get away with a simple single- or double-port MIDI interface. The best way to go here is to get a USB-based interface. Also, be sure that the interface has compatible drivers (depending on what Windows OS you are using). Bad drivers can cause problems. Other than that, the only major difference between interfaces is the number of ports they provide. If you have many external MIDI devices, it’s best to connect each device to its own dedicated MIDI port. I’m currently using the MIDI interface(s) built into the Cakewalk V-Studio 700 and the Focusrite Saffire PRO 40. This is nice because I don’t need two separate devices for audio and MIDI. Many audio interfaces now double as a MIDI interface and include at least one MIDI port.

MIDI Keyboard Controller If you plan to record some of your musical tracks as MIDI data (using either external MIDI synths or software synths), you’ll need some type of MIDI controller for your performance. Most people opt for a MIDI keyboard since it is the most popular type of controller and almost anyone can learn to play keyboard. I currently use a number of different keyboards—one with weighted keys (for piano performances) and one with nonweighted keys (for synth, organ, and other performances). The weighted keyboard is the VX8 from CME. The nonweighted keyboard is the Edirol PCR-800. Unfortunately, Roland no longer makes the PCR keyboards, but they do have a line of A-PRO MIDI keyboard controllers (digifreq.com?CakewalkKeyboard). In addition, the A-PRO keyboards can be used as control surfaces to control SONAR via built-in buttons, knobs, and sliders; however, you may still need an additional control surface for other tasks.

Control Surface While not an absolute necessity, a control surface can save you a lot of time and mouse maneuvers. A control surface is a MIDI device that provides real buttons, knobs, and sliders that can be used to control the different software-based parameters that you normally adjust with your mouse on your computer screen. A control surface can be used for record/playback transport control, editing, and even mixing. As I mentioned earlier, I’m using the Cakewalk V-Studio 700 system (garrigus.com?VStudio700), which includes a professional control surface specifically made to be integrated with SONAR. In addition, I use the AlphaTrack from Frontier Design Group with my laptop PC. It provides a touch-sensitive, high-resolution, motorized fader and three touchsensitive encoder knobs along with a number of other controls that make mixing in SONAR so much easier when working in a mobile studio situation. Unfortunately, the AlphaTrack is no longer available, but the PreSonus FaderPort is a nice alternative (digifreq.com?FaderPort).

Microphone If you plan to do any acoustic recording (vocals, acoustic guitar, and so on), you’ll need a good microphone. There are literally hundreds of microphones on the market, and entire books have been written on the subject, so I won’t go into great detail here. Basically, the microphone you choose depends on the application. I needed a good vocal mic, but not something that was going to put me in the poorhouse. While I would have loved to get a Neumann U87 (one of the best), there was no way I could afford one. So luckily, Shure came to my rescue with their KSM27. It’s a great vocal mic that isn’t too expensive. I like the fact that it can also be used for other applications in a pinch. Unfortunately, the KSM27 is no longer available, but Shure still provides an entire line of KSM model microphones. However, what’s right for me might not be right for you, so I’ve rounded up a number of online resources for you to educate yourself on the subject of microphones: w Music Technology Article Index: www.digifreq.com/digifreq/articles.asp w Microphone University: www.dpamicrophones.com/en/Mic-University.aspx w A Brief Guide to Microphones: www.audio-technica.com/cms/site/9904525cd25e0d8d/index.html w A Brief Guide to Microphone Selection: www.audio-technica.com/cms/site/7cadf671dea2c9e0/index.html

Speakers (Monitors) You also need to be able to hear the music you’re recording, so you’ll need a good set of speakers (or monitors, as they’re called in the professional audio world). Like microphones, there are literally hundreds of different monitors on the market. For home studio purposes, you’ll probably want to get yourself a good pair of active nearfield monitors. They’re called active because they come with a built-in amplifier, which saves you from having to buy an external amp and match it to your monitors. They’re

5

SONAR X3 Power!: The Comprehensive Guide called nearfield because you listen to them at a fairly close distance (about four feet). This lets you set up your home studio in just about any space you can find because you don’t have to acoustically treat the room (at least not professionally).

CREATING THE RIGHT RECORDING ENVIRONMENT: For some tips about how to set up your home studio space for better recording, go to www.digifreq.com/digifreq/article.asp?ID=36 to check out my feature article entitled “Creating the Right Recording Environment.”

You’ll find a wide variety of monitors available, but I’m currently having fun with the VXT8 monitors from KRK Systems (digifreq.com?KRK). These are a pair of active nearfield monitors that really deliver great sound. However, what I like might not be what you like, so I’ve included a couple of online resources to help you choose the right monitors for you. w Music Technology Article Index: www.digifreq.com/digifreq/articles.asp w eCoustics.com Speaker Articles: www.ecoustics.com/Home/Home_Audio/Speakers/Speaker_Articles/

Finding Help When You Need It Cakewalk provides a number of ways for you to find help when you’re having a problem with SONAR. The two most obvious places to look are the user’s guide and the SONAR Help file. Actually, these two sources contain basically the same information, but with the Help file you can perform a search to find something really specific. At the first sign of trouble, you should go through the troubleshooting information. If you can’t find an answer to your problem there, you can pay a visit to the Cakewalk website.

SONAR OFFLINE HELP: By default, SONAR uses an online version of its Help file. This means that when you choose SONAR’s Help menu, your web browser will automatically launch and display Help via the Cakewalk website. However, an offline version of Help still exists. If you would rather use that, choose Edit > Preferences (P) and choose File – Advanced. Then activate the Always Use Offline Help option.

The SONAR X3 support site (www.cakewalk.com/Support/product.aspx/SONAR-X3) contains a ton of helpful information, including FAQs and technical documents that provide details on a number of Cakewalk-related topics. You can also find great information at the DigiFreq forums (digifreq.com?DigiFreqForums). You can trade tips, advice, and information with other Cakewalk users and musicians. Many times, you’ll find that someone has had the same problem you’re having and has already found a solution.

FREE MUSIC TECHNOLOGY NEWSLETTER: Be sure to sign up for a free subscription to my DigiFreq music recording newsletter. DigiFreq is a monthly email newsletter that teaches you more about music technology. It provides free news, articles, reviews, tips, and tutorials for home recording and professional musicians. By applying for your own free subscription, you can learn all about the latest music product releases, read straightforward reviews, and explore related Web resources. Go to digifreq.com?DigiFreq to get your free subscription.

You can also contact Cakewalk Technical Support directly. You can either email your questions or call them on the phone. Contact information can be found at: www.cakewalk.com/support/contact/default.aspx. But remember, in order to receive technical support, you have to be a registered user. If you call or send email, you’ll be asked for your serial number.

PROAUDIOTUTOR: In addition to all those resources, you can find pro audio and music technology training in the form of books, software, and video tutorials at my ProAudioTutor website (garrigus.com/?ProAudioTutor). You can also contact me directly by going to www.garrigus.com and using the Contact link to get in touch via email or the postal service.

6