SONAR

> make mu­sic now / 250 daw power tips

Computer Music - - Make Music Now -

01Do you ever feel like you might have lost your way when mix­ing a big project? When that hap­pens, it’s of­ten best to sim­ply start from scratch. For­tu­nately, Sonar makes that easy – sim­ply use

Mix Re­call to re­set a mix. This will re­move all FX and re­set all au­to­ma­tion.

02It can be quite con­fus­ing when your clip names don’t cor­re­spond with your track names. Thank­fully, Sonar has you cov­ered. In the Track View, you can quickly get your clip names to fol­low the track by us­ing the Track and se­lect­ing Copy Track Name(s) to Clip Name(s).

03Soup your work­flow up in a cou­ple of ticks by com­mit­ting th­ese key­board short­cuts to mus­cle mem­ory… >C – open/close Con­trol Bar >I – open/close In­spec­tor >D – open/close Mul­tiDock >B – open/close Browser > In­sert – drop in a new track based on the last track type cre­ated > Ctrl-Shift-A – de­s­e­lect All >W – go back to the start of the Project

04Con­vert­ing au­dio files to MIDI is a cinch thanks to the ad­vanced pitch anal­y­sis in Melo­dyne. In fact, it’s easy to do and can be quite in­spir­ing – for ex­am­ple, you could make a bass track us­ing your gui­tar, drag that to a MIDI track and then use the MIDI data to drive a synth bass.

05Timestretch­ing loops to match your project’s tempo is old-hat – Sonar al­lows you to do the re­verse! You can drag a clip to the time­line to cre­ate a tempo map that con­forms to the clip’s tempo, which is great for live record­ings, or record­ing done with­out a click.

06En­able up­sam­pling when you’re us­ing soft­ware syn­the­sis­ers and amp sims, and you’ll get the ben­e­fits of record­ing at high sam­ple rates in 44.1kHz and 48kHz projects.

07Sonar can load a de­fault set of ProChan­nel mod­ules au­to­mat­i­cally when­ever you cre­ate a new track. Set your ProChan­nel as de­sired for the de­fault, then

right-click on any mod­ule header and choose Set Mod­ules as De­fault for Tracks.

08Sonar’s Step Se­quencer has a prob­a­bil­ity op­tion, in­ject­ing an el­e­ment of chance into its work­ings and help­ing you add cool, ran­dom vari­a­tions. Try it on per­cus­sion parts or set it slow to trig­ger low-vol­ume am­bi­ent el­e­ments in the back­ground.

09With Quick Groups, se­lect mul­ti­ple tracks, hold the Ctrl key, and when you move a pa­ram­e­ter, the same pa­ram­e­ters on the other se­lected tracks will move with it.

10With the Mul­tidock, Sonar al­lows us to ac­cess a num­ber of use­ful win­dows with­out leav­ing our main view. If you find your­self con­stantly switch­ing be­tween Mul­tidock views, you can speedup the process of step­ping through the tabs by hold­ing down Ctrl-Shift and us­ing the left/right ar­row keys.

11You can use the Z3TA+ synth as a mul­ti­ef­fects pro­ces­sor. With features like tempo-synced mod­u­la­tion, it’s a great bus pro­ces­sor to add spice to any­thing from back­ing vo­cals to lead gui­tar.

12To zoom quickly and ef­fi­ciently, hover the cur­sor over the top half of the Track View time ruler so that the cur­sor turns into a mag­ni­fy­ing glass. Hold down the left mouse but­ton and drag down to zoom in hor­i­zon­tally, or up to zoom out (hold down the right mouse but­ton for ver­ti­cal zoom­ing). The hor­i­zon­tal zoom cen­ters around where you clicked, not the Now Time.

13To set ef­fects (or synths that can act as ef­fects pro­ces­sors) to re­ceive MIDI in­put, choose En­able MIDI In­put from the VST 2 or VST 3 drop­down menu in the plugin header. If the ef­fect can re­spond to MIDI, this will ex­pose an in­put to a MIDI chan­nel.

14Dig the big pic­ture in a glance. Sonar al­lows you take in the whole project in an in­stant by let­ting you zoom the en­tire project in or out hor­i­zon­tally to fit within the Track View. It’s easy – sim­ply double-click with the mag­ni­fy­ing glass in the time ruler’s top half.

15Right-click in the FX bin for pow­er­ful features like Con­vert FX Rack to FX Chain and Save FX Rack as FX Chain Pre­set. This al­lows you to save and or­ga­nize FX Chains for quick re­call of com­plex multi-ef­fects.

16Once an FX Chain is cre­ated, right

click in the grey area to add knobs and but­tons that can con­trol up to four ef­fect pa­ram­e­ters at once. Th­ese macro knobs and but­tons can then be au­to­mated for in­cred­i­bly unique ef­fects.

17The Con­trol Bar’s Cus­tom Mod­ule is very handy if used cor­rectly. Store all your quick work­flow needs – pretty much any com­mand or any menu item – in the Cus­tom Mod­ule to have those func­tions right at your fin­ger­tips.

18To split Rex Clips into sep­a­rate slices, bring a Groove Clip into the Track View, and place the Now Time at or be­fore the clip’s be­gin­ning. Ev­ery time you hit tab, the Now Time lands at the be­gin­ning of a Groove Clip slice. Press S to split and re­peat.

19TH3 Cake­walk in­cludes the Cabi­net IR mod­ule, a con­vo­lu­tion pro­ces­sor which has a limit on the lengths of the im­pulse re­sponses it can load up. Try load­ing al­most any short WAVs into it to get truly ex­per­i­men­tal.

20When it’s time to back up your projects – or to swap them with other Sonar users – you’ll be pleased to learn that Sonar of­fers the abil­ity to save your en­tire project, au­dio files and all, in a sin­gle mono­lithic for­mat called a ‘Cake­walk Bun­dle’, or .BUN.

In­ject some ran­dom ac­tion into your se­quences with the Step Se­quencer’s Prob­a­bil­ity op­tion

Cra­nium-crunch­ing cab­i­netry can be yours thanks to Cake­walk’s edi­tion of Over­loud’s TH3

In­stantly con­vert racks full of ef­fects to an FX Chain, then as­sign Macro knobs to your favourite pa­ram­e­ters

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