First is the PC76, which is obviously patterned after the industry standard Urei 1176. This EQ certainly packs a lot into its small GUI footprint. Oh, and there's a Gloss button, which adds "air" at the push of a switch. You can switch between vintage, modern and pure characteristics, and there are also high-/low-pass filters with the slope adjustable from 6 to 48dB/octave in 6dB increments. The low and high bands toggle between peak and shelving modes. The EQ is a four-band affair with adjustable Q, level and frequencies for each band. It features a superb EQ, analogue-style saturation and some very tasty compression options. Perhaps taking inspiration from the latter, Cakewalk has blessed Sonar with ProChannel, a powerful channel-strip that's not a plug-in but is instead built right into each channel. Sonar has always had a solid selection of mixing plug-ins, but our expectations have been upped considerably in recent years by third-party efforts, not to mention the SSL-modelled mixer integrated into Propellerhead's Record. You can still choose tools manually, too. It works wonderfully and unobtrusively, switching from, say, a selection tool when hovering over data, to a pencil for notes in the piano roll. Here, a single tool changes functionality depending on what you're doing. One of the most impressive new ideas comes in the form of Smart tools. This new interface arrangement/management system is collectively known as Skylight. You can save and toggle between configurations using the Screensets. So, several of the GUI elements can be expanded, collapsed, floated, docked and otherwise rearranged. You can stick it up top, down below, or float the thing. It's customisable, with modules for markers, loop recording, quantise, ACT and more. The Control Bar replaces the old transport bar and numerous toolbars that once cramped Sonar's style. This collapsible, floatable pane can itself be moved around or stuck on a separate monitor. CAKEWALK SONAR X1 SAFFIRE PRO 14 CLIPPING PLAYBACK WINDOWSThe Browser, Piano Roll, Mixer and other windows (including plug-ins), can be docked in the MultiDock. Still, the new design is tightly integrated and speeds things up considerably. You can drag plug-ins or audio into a track, FX bin, loop-slicer or wherever is appropriate.Īlas, it doesn't work in reverse, so you can't drag an audio clip back into the Browser. The Browser is now a dockable (or floatable) tabbed window for quick access to plug-ins, media, presets and other things. Plus, it shows the channel strip for the selected track or bus and that of its assigned output. The Inspector itself is tabbed so you can choose to view the Channel Strip, expand the ProChannel (more on this later), view clip options, etc. All such options are now available in the Inspector, which, in typical DAW fashion, exists as a strip down the left-hand side. However, the tabs at the bottom of the latter for I/O options, FX bin and so on are gone. The old look is still apparent in the clips and the Track view. Anyone previously put off by Sonar's GUI should take a fresh look at it, while old-timers may well feel a newfound sense of speed and freedom once they get used to it. Once you have leveled out the level, then a comp can smooth it, as well as add some "effect" (if that is what you want).Cakewalk have clearly listened to their users and taken note of the better ideas found in competing products. 24 bits will also have such a low noise floor even big boosts shouldn't make the track too noisy. The great thing about digital is you can easily boost the lower parts and lower the louder ones to create a more "even" performance. The signal captured will go all over the place as far as levels, unless you have a belter. The Focusrite preamps should work fine, tho you are likely to have to get closer to them than a pro studio, but unless you have a whispy voice singer. says above, pro singers will "play" the mic, but they are also farther away from it, usually, and aren't swollowing it even when they are leaning in. A good preamp, one that has high gain (+70 db) allows the singer to back off the mic more, and thus capture a more even performance. The mic is a simple transducer - nothing to change except distance to singer. In the analog world (mic, preamp) you can get some nice saturation (sometimes), but any digital over is not going to sound good. Yes, your signal really shouldn't go over -6dB in the digital world.
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