I still curse Microsoft when pecking for a seldom-used tool in the latest version of Word, and I use a lot more of SONAR than I do of a word processor. However, old hands will not only need to re-customize their screen but also figure out where everything is and learn some new methods to accomplish old tasks. Reading between the lines of material published on the Cakewalk User Forum and elsewhere, it’s obvious that Cakewalk felt they could attract more new users with a simpler UI. With Sound Center and ProChannel aside, the major difference between SONAR X1 and previous versions is the look and feel. Still, I like that the tube-saturation section doesn’t get hazy or thick too quickly. There is just something too non-linear about the “hair” you get from analog distortion that I haven’t heard replicated in software. While digital is finally giving analog some competition in the realms of compression and EQ, I can’t say the same about saturation. There is also a dynamic frequency-boost function called Gloss, which adds a bump with a mode-specific contour centered between 8-12 kHz it’s a nice way to add some shine to an important track or two. Still, ProChannel doesn’t cost $3000, and you can insert it on as many channels as you want until the CPU shuts down. It reminded me of the RND Portico II EQ (without sounding the same). I found myself gravitating to Modern, which is capable of raising the level of selected frequencies cleanly and pleasingly - and boosting is something I usually don’t do much of digitally. The EQ has three different modes – Vintage, Modern, and Pure - each with four parametric bands and two filters.
It sounds fuller and rounder than the Sonitus EQ it replaces and as good as many pricey, third-party EQ plug-ins. You can hear some comparison clips for yourself at. Although I didn’t have the hardware at home to do a shootout, each compressor type sounds very good on track and bus duties. ProChannel’s compressor can be switched between an 1176-style channel or a 4000-like bus model. It consists of compressor, EQ, and tube-saturation stages. Second is ProChannel, available in SONAR X1 Producer, the most feature-laden edition. Although you have less control of the sounds than you do in the standalone versions, the sounds you get are top notch - not merely placeholders.
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First is Sound Center, a kind of greatest hits version of Cakewalk’s soft synths, including Dimension Pro and Rapture (Tape Op #53). X1 is much tidier in organization, and shortcuts are now more intuitive.īefore digging too deep into the new look and ergonomics of SONAR X1, let’s take a look at two of its new features. Also, a lot of the shortcuts and key bindings had a similar hodgepodge organization. For a newcomer, it was rather intimidating. Everything was there, but you had to know where to look.
The old SONAR (#61, #69) tacked on new features and functions as they were introduced, so it eventually took on a broom-closet look. When I first opened X1, it reminded me of Cakewalk’s VS DAW that comes with V-Studio 100 (Tape Op #74), except with a lot more going on. Just as SONAR kept much of Pro Audio’s functionality but sported a new look, the X refers to an all-new SONAR without losing the name recognition. In the beginning, Twelve Tone Systems begat Cakewalk MIDI Sequencer for DOS, and Cakewalk begat Pro Audio, which begat SONAR, which begat SONAR X1.
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