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The latter, moreover, absolutely requires that your studio computer be connected to the Internet. With that hurdle out of the way, you can fire up X3, which happens with impressive speed. Like other DAWs, Sonar needs to scan your system for plug-ins before it can use them, but X3 now has the ability to do this unobtrusively in the background, so you can start work straight away as long as you don't need to use Zzzz Labs' Zzedelator Pro to do what you want, I suppose.
A friendly quick-start window allows you to open recent projects or start a new one, with a variety of templates available. At this point the new user can just dive in, or you could consult X3's voluminous documentation. As well as built-in Help, tooltips, a Quick Start guide, a Readme file, online support, a user forum and various videos and blogs, there's also a truly gargantuan PDF Reference Guide.
The Contents alone take up 52 pages; following this, there's a snappy pages or so of tutorials, then the manual proper, followed by another or so pages which list every menu command and what it does. It's all well written, nicely broken down into bite-sized chunks, and undeniably comprehensive.
It is, in other words, about as user-friendly as a page document could be expected to be — and therein lies the rub. Simply navigating such a huge manual is a challenge, and actually tracking down the information you need can quickly bring to mind parallels involving needles and haystacks. The sheer size of the thing is a significant impediment to learning X3, and I hope Cakewalk will consider rewriting it on a more compact scale.
Sonar X3's user interface, dubbed Skylight, remains substantially the same as it was in X1 and X2, though one development worthy of note is the use of 'toast notifications'. Wherever possible, Cakewalk have tried to replace disruptive Windows-style alerts with clear yet easily ignorable pop-up information boxes. These attract your attention but don't need to be dismissed, so don't interrupt your working, which helps you keep your focus on the music.
By default, the X3 user interface is divided into five main regions, though these can be moved about and hidden as you see fit. Across the top runs a melange of toolbars, transport controls and other global settings. Beneath that is the main business area, which shows audio and MIDI recordings as horizontal bars spread out along tracks in the conventional way.
Unlike some DAWs, though, Sonar enforces a rigorous apartheid between tracks and buses; the latter have their own dedicated sections of the arrange panel and the mixer, and can't be intermingled with audio or MIDI tracks. To the left of the arrange panel is the track inspector. Like that in recent versions of Logic, it typically shows settings both for the selected track or bus, and for whatever bus its output is routed to. This is a really useful arrangement, allowing you to easily keep tabs on, say, a snare drum track and the drum bus it's feeding at the same time.
A corresponding panel on the right-hand side of the screen houses a browser, which can be used to organise and import anything from effects presets to sampled loops. Finally, the bottom-most area of the screen houses something called the Multidock, home to such fundamentals as the Console mixer , piano-roll editor, sample editor and so on, which appear in tabbed pages when more than one of them is open. The Skylight interface is clearly the product of a great deal of thought, and positively drips with nice touches.
One such which is new in X3 is that tracks can be made to inherit the colour of whatever bus they are routed to. In a conventional rock mix where you have all your drums, guitars, backing vocals and so on feeding separate buses, this makes it a matter of moments to assign a logical colour scheme to everything.
The track inspector is very nicely implemented, and provides such comprehensive and clear information on the selected track that there's often no need to open the Console even when mixing. In fact, from a user-interface point of view, most of my reservations about X3 concern the Console. The first of these is that it doesn't make terribly good use of space.
Although I was working with a reasonably large monitor, I found it frustrating trying to work with the Console docked, even when the Multidock was enlarged to take up much of the screen. Happily, the Multidock and hence the Console can be floated, but even then, I found it rather frustrating to work with. For one thing, as you drag the floating Multidock about, it keeps trying to dock itself in places where no-one would reasonably want their mixer to be docked, and you have to remember to hold down the Ctrl key to stop this.
And despite its mammoth size, the Console can only display a maximum of three inserts and two sends per track at any one time — you can add more, but if you do, their presence is indicated only by a tiny arrow which is very easy to overlook. Likewise, each channel has a power switch showing you whether the Pro Channel is switched on, but unless you fold it out, there's no way to tell which Pro Channel modules are active, if any.
And once you do fold out the Pro Channel, it can easily grow so huge that you need to scroll vertically to view all the modules. All in all, once you have more than a handful of tracks in a project, it gets difficult to maintain a complete overview of everything that's going on in the Console. I don't have space for a second monitor in my own room, but I think X3 would benefit more than most DAWs from having a separate screen for the mixer.
A mixer-related development in X3 is the ability to host plug-ins in the VST3 format. The breadth of Sonar's plug-in support was already second-to-none, and the addition of VST3 compatibility widens the net still further, allowing you to employ your '90s favourites alongside the latest bit VST3 effects.
VST3 support in the initial X3 and X3a releases was buggy, sometimes failing to reload plug-in settings along with a project, but this was fixed in the X3b updatein October , and after that worked fine in my tests. The Pro Channel lets you edit and view multiple processors across multiple mixer channels simultaneously.
New in X3 Producer are the tape emulator lower left and the 'flyout' interface for the equaliser. As yet, however, none of X3's own plug-ins have been recompiled in VST3 format. This isn't a problem, exactly, since the VST2 and DirectX versions work perfectly well, but it does highlight the rambling nature of the bundled plug-in suite.
The need to retain compatibility with older projects means that, especially in the Producer Edition, X3 brings with it a cloud of effects and processors in every format under the sun, and in a variety of GUI styles which reflect their origins as third-party plug-ins from different developers.
Many of the bundled plug-ins overlap in function, and if you want to use a simple compressor or EQ, say, it's not obvious which should be your first port of call. I wonder if it might be time to relegate some of the older plug-ins to legacy status, whereby they get installed only if long-term users specifically need them.
This might also help alleviate the endless scrolling through menus that will be the lot of anyone with many VSTs installed in their system. Though the plug-in table was already groaning, moreover, Cakewalk have heaped more tasty dishes onto it in X3. Buyers of the Producer Edition get Tone2's BiFilter, which is one of the most convincing analogue filter emulations I've heard. It provides multiple flavours of both filtering and distortion, and has applications well outside the usual filter sweeps.
For example, set up as an all-pass filter with a touch of distortion, it can help vocals to cut through a mix without making them sound noticeably crunchy, and it can also generate some interesting delay and pseudo-reverb effects. It sounds great, though there are no built-in modulation sources, so any motion in the sound has to be achieved through automation. These are well-established plug-ins in their own right, with aloyal and dedicated following, and although I can't claim to have tested all 20 of them to destruction, I was impressed by the ones I tried.
Analog Trackbox is a well-featured channel strip that provides some very nice 'one stop' processing for vocals and other instruments, while Oilcan Echo is a welcome emulation of a rather neglected vintage delay effect. The suite also includes reverb, two limiters, a chorus and phaser, a tempo delay, a stereo widener and a valve emulation. And six EQ plug-ins. They're all nice, but most of them already had close counterparts in X2's plug-in suite, so I can imagine that some upgrading users might wish that Cakewalk had expended their resources on improving some other area of the program instead.
If there's one plug-in-related development in X3 that will be universally welcomed, it's the addition of built-in support for Celemony's Melodyne through the ARA Audio Random Access protocol. This was first implemented in version 2. One nice feature of its implementation here is that it operates on individual regions or clips rather than on entire files. The analysis procedure that Melodyne and comparable functions in other DAWs uses to prepare audio for pitch manipulation tends to change the way that the audio sounds, even before any pitch correction is applied, so the ability to isolate a problem area as a clip within X3's editing area and analyse only that clip makes working with Melodyne both faster and more transparent.
Once the analysis is complete, the familiar Melodyne editing window opens within the Multidock, and you can get to work. As in Studio One, it's so much easier and more reliable than attempting to run Melodyne as a real-time plug-in, or exporting files to the stand-alone version for editing.
ARA-based Melodyne integration is a killer feature, and one which would absolutely make me choose Sonar X3 over a non-ARA-equipped DAW for any project where a lot of pitch correction was likely to be on the agenda. Melodyne integration is a great feature. Here, the vocal clip selected in the main edit window is being edited in Melodyne Editor, which appears within the Multidock.
Earlier on in this review, I mentioned some frustrations that attend X3's Console, of which only being able to view three insert slots at once is not the least. Increasingly, however, it is becoming possible to mix an X3 project without using these insert slots. For one thing, there is a reasonably sophisticated system of clip-based effects, allowing you to attach plug-in processing to clips within the edit page rather than their mixer channels.
This is not yet as comprehensive as in Magix's Samplitude, but has many uses. For example, suppose your vocal track is blighted by occasional plosive pops and bursts of sibilance. Rather than use automated EQ in the mixer to tackle them, it's often easier to isolate the offending areas as separate clips and apply a suitable clip effect, perhaps in conjunction withclip-based level automation.
Those mixing in X3 Producer, moreover, can bring to bear the full resources of the Pro Channel in addition to its vast array of bundled VST plug-ins. These resources consist at present of an EQ and compressor, tape and tube emulation, the Softube Saturation Knob, a simple but effective algorithmic reverb, and a console emulator; there are also some extra modules available as payable options.
The tape emulator is new in X3, and although it doesn't drip authenticity in quite the same way as Slate Digital's VTM, it definitely adds a pleasing thickness and midrange punch to whatever you run through it. The tube emulation achieves similar results, the compressor performs a more than serviceable impression of a Urei , and the equaliser is a lot more versatile than it appears at first. All that's missing, to my mind, is a de-esser.
A new feature in X3 is the ability to 'fly out' the EQ's editing screen as a separate window. With its colourful click-and-drag interface and built-in spectrum analyser, this window is very reminiscent of FabFilter's excellent Pro-Q, and all the better for that. Active modules in the Pro Channel appear in a vertical column either in the track inspector or in the Console — which, if you use more than three or four modules, won't fit in its entirety and needs to be scrolled using the mouse wheel.
Pro Channel modules can be set into any order by dragging and dropping, and what's more, VST plug-ins can be dragged into the Pro Channel. Doing so creates a Sonar FX Chain — a container for one or more plug-ins which can be stored as a preset with all their parameters — at the given position. Though I was initially sceptical about the worth of yet another plug-in format, the Pro Channel quickly became my favourite feature of X3 Producer.
It lets you very easily put in place the staple processes that are the bread and butter of any rock or pop mix, and unlike conventional plug-ins, makes it easy to see and adjust multiple processes on multiple channels at once. On a conventional monitor screen, you can easily view half a dozen mixer channels with expanded Pro Channels simultaneously, which is perfect for tackling a drum kit or a wall of guitars. In fact, having mixed with the full Pro Channel as supplied in X3 Producer, I'd be loath to downgrade to either of the other X3s.
The base edition doesn't include the Pro Channel at all, and although Studio owners do now get a Pro Channel, it includes only the equaliser in its older, non-flyable-outable version and the Softube Saturation Knob, which was the one module that struck me as completely useless! As supplied with X3 Producer, by contrast, I'd be very happy indeed to rely on the Pro Channel for four-fifths of my mix processing, only resorting to VST plug-ins for special effects or where more control is required.
As luck would have it, the first couple of projects I attempted to do in X3 involved a fair amount of audio editing, and it took me a while to get my head round the way it works. Editing is carried out using a Smart Tool which changes function depending on whereabouts in a region it's clicked, or using a dedicated Edit Tool and the modifier keys, or by positioning the playback cursor and pressing 'S' to split.
Of the other DAWs I've used, X3's audio editing most closely resembles that in Reaper, but it has plenty of idiosyncrasies of its own. For example, you can't simply create a crossfade between two adjacent clips. Editing with Smart Tools: The Smart Tool minimizes tool-switching by providing multiple functions, based on context and placement within a clip. Arpeggiator meets percussion: Sure, arpeggiation is great for creating cascading sequences of notes. Section 2: Looping and Warping Slicing loops for hi-fi stretching: The good news The bad news Can you really stretch that much and retain superb fidelity?
Choose the right AudioSnap function, and find out. Now you can build your own super-looper within SONAR, and even enjoy features not available in conventional loopers. Optimizing Groove Clips: Unfortunately, not all groove clips from sample libraries are edited for optimum stretching. Perfect pad looping: Can you really take virtually any sustained pad and have it loop perfectly? Yes—if you follow the procedures described in this chapter.
Timbre-shifting with loops: Why be normal? Generating frequency-tracking automation envelopes: Did you realize SONAR has a plug-in that can create an overall amplitude-tracking envelope, along with four others for specific frequency ranges?
This chapter reveals all.
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