The sound is terrific, particularly for subtle sweetening. There are two modes, and the parameters are simple: input, output and drive. ProChannel's final trick is a tube saturation emulator. Both have dry/wet knobs, too, for easy parallel compression. We tended towards the simplicity of the PC76, but both sound superb and are not your average DAW-bundled efforts. This one sports attack, release, fully adjustable ratio and make-up gain, and the ability to perform sidechaining (via the built-in high-pass filter or an external input). It offers five ratios (including an infinite option) and attack, release, input and output knobs.Ī flick of a switch calls up the PC4K option, an SSL-alike with a GUI to match. 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 le windows
The 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. Cakewalk have clearly listened to their users and taken note of the better ideas found in competing products.
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