| Introduction |
|
xv | |
|
Part I Setting Up Your Sonar System |
|
|
1 | (44) |
|
Chapter 1 Recording with a Computer |
|
|
3 | (8) |
|
Advantages of Computer-Based Recording |
|
|
4 | (1) |
|
Disadvantages of Computer-Based Recording |
|
|
4 | (1) |
|
|
|
5 | (1) |
|
32-bit versus 64-bit Windows |
|
|
5 | (2) |
|
|
|
7 | (4) |
|
Chapter 2 Interfacing Guitar with Computers |
|
|
11 | (6) |
|
The Computerized Signal Chain |
|
|
11 | (1) |
|
|
|
11 | (1) |
|
Analogio-Digital Converter |
|
|
11 | (1) |
|
|
|
12 | (1) |
|
Digital-to-Analog Converter |
|
|
12 | (1) |
|
|
|
12 | (1) |
|
The Guitar's Special Requirements |
|
|
12 | (1) |
|
About Latency (Computer-Based Delays) |
|
|
13 | (4) |
|
|
|
14 | (2) |
|
|
|
16 | (1) |
|
Chapter 3 Guitarist's Guide to Audio Interfaces |
|
|
17 | (8) |
|
|
|
17 | (4) |
|
|
|
17 | (1) |
|
Internal PCI or PCIe Card |
|
|
18 | (1) |
|
Internal Card + External Box |
|
|
19 | (1) |
|
Guitar Processors with Built-in Interfaces |
|
|
19 | (1) |
|
ExpressCard or PCMCIA (CardBus) Interface |
|
|
20 | (1) |
|
Digital Connections for External Boxes |
|
|
21 | (2) |
|
Audio Interface Zero-Latency Monitoring |
|
|
23 | (1) |
|
Audio Interface Checklist for Guitarists |
|
|
23 | (2) |
|
Chapter 4 Setting Preferences in Sonar |
|
|
25 | (8) |
|
|
|
25 | (2) |
|
Creating "Friendly" Driver Names |
|
|
26 | (1) |
|
Audio Playback and Recording |
|
|
27 | (1) |
|
|
|
28 | (3) |
|
Default Settings for New Projects Section |
|
|
29 | (1) |
|
|
|
29 | (2) |
|
MIDI, File, Project, and Customization Preferences |
|
|
31 | (1) |
|
|
|
31 | (2) |
|
Chapter 5 Guitar Recording Options with Sonar |
|
|
33 | (6) |
|
|
|
33 | (2) |
|
|
|
33 | (1) |
|
|
|
34 | (1) |
|
|
|
35 | (1) |
|
Recording from an Effects Box or Multi-Effects |
|
|
35 | (1) |
|
Recording Direct and Using Plug-Ins |
|
|
36 | (1) |
|
|
|
36 | (1) |
|
|
|
37 | (1) |
|
How to Combine Physical and Virtual Worlds |
|
|
37 | (2) |
|
|
|
38 | (1) |
|
|
|
38 | (1) |
|
|
|
38 | (1) |
|
Chapter 6 Setting Up to Record in Sonar |
|
|
39 | (6) |
|
|
|
39 | (1) |
|
Select a Track Input Driver |
|
|
39 | (1) |
|
Associating Software Drivers with Physical Inputs |
|
|
40 | (1) |
|
Mono versus Stereo Inputs |
|
|
40 | (1) |
|
Select a Track Output Driver |
|
|
40 | (1) |
|
|
|
41 | (1) |
|
Monitoring through the Computer |
|
|
41 | (1) |
|
|
|
42 | (1) |
|
|
|
43 | (1) |
|
|
|
44 | (1) |
|
Part II Using and Managing Effects |
|
|
45 | (54) |
|
|
|
47 | (6) |
|
|
|
47 | (2) |
|
|
|
47 | (1) |
|
|
|
48 | (1) |
|
|
|
49 | (2) |
|
The Insert Send Assistant |
|
|
51 | (1) |
|
Busses That Feed Busses That Feed Busses That |
|
|
51 | (1) |
|
|
|
52 | (1) |
|
|
|
52 | (1) |
|
Chapter 8 How to Use Plug-In Effects |
|
|
53 | (8) |
|
The Four Places to Insert Effects |
|
|
53 | (1) |
|
Track (Channel) Insert Effects |
|
|
53 | (1) |
|
|
|
54 | (1) |
|
|
|
54 | (1) |
|
|
|
54 | (1) |
|
|
|
54 | (3) |
|
Viewing Effects in the FX Bin |
|
|
55 | (1) |
|
|
|
55 | (2) |
|
|
|
57 | (1) |
|
|
|
57 | (1) |
|
Drag-and-Drop Behavior with FX Chains |
|
|
57 | (1) |
|
Constructing FX Chains from Scratch |
|
|
58 | (1) |
|
Integrating External Hardware Effects with Sonar |
|
|
58 | (3) |
|
Chapter 9 Series, Parallel, and Series-Parallel Effects |
|
|
61 | (4) |
|
Creating Series and Series-Parallel Effects Chains |
|
|
61 | (1) |
|
Series and Parallel Effects in Guitar Rig 4 LE |
|
|
62 | (3) |
|
Chapter 10 Effects Chains 2.0 |
|
|
65 | (8) |
|
The Importance of Effects Chain Gain-Staging |
|
|
65 | (1) |
|
Cakewalk Amp Sim Controls |
|
|
66 | (1) |
|
Create a Crunch Effects Chain |
|
|
66 | (4) |
|
|
|
68 | (2) |
|
|
|
70 | (1) |
|
|
|
70 | (1) |
|
|
|
70 | (1) |
|
|
|
71 | (1) |
|
|
|
72 | (1) |
|
|
|
72 | (1) |
|
Chapter 11 Creating Virtual Amps and Pedalboards with Track Templates |
|
|
73 | (4) |
|
|
|
73 | (1) |
|
|
|
74 | (3) |
|
Saving and LoaOing the Track Template |
|
|
75 | (1) |
|
Additional Track Template Techniques |
|
|
76 | (1) |
|
Chapter 12 Re-Amping with Sonar |
|
|
77 | (2) |
|
Chapter 13 How to Improve Amp Sim Tone |
|
|
79 | (8) |
|
|
|
79 | (1) |
|
Avoid Unintended Distortion |
|
|
80 | (2) |
|
Trim Post-Amp Sim High and Low Frequencies |
|
|
82 | (1) |
|
Trim Pre-Amp Sim High and Low Frequencies |
|
|
83 | (1) |
|
Remove "Fizzy" Frequencies |
|
|
83 | (4) |
|
Tweak the GR4 LE Jump Amp |
|
|
84 | (3) |
|
Chapter 14 The Care and Feeding of Plug-Ins |
|
|
87 | (12) |
|
Simplify Organization with a Common VST Plug-Ins Folder |
|
|
87 | (1) |
|
Plug-In Scanning during Startup |
|
|
88 | (1) |
|
Handling Problematic Plug-Ins |
|
|
89 | (1) |
|
Loading a Plug-In Crashes Sonar |
|
|
89 | (1) |
|
Rescanning Failed Plug-Ins |
|
|
89 | (1) |
|
Plug-Ins Don't Work at 88.2-/96-kHz Sample Rates |
|
|
89 | (1) |
|
Dealing with Missing Plug-Ins |
|
|
89 | (2) |
|
The Errant Folder Problem |
|
|
89 | (1) |
|
Installing Non-Default Sonar Plug-Ins |
|
|
90 | (1) |
|
Registering DirectX Plug-Ins |
|
|
90 | (1) |
|
Managing Effects and Plug-Ins with the Plug-In Manager |
|
|
91 | (8) |
|
|
|
93 | (1) |
|
|
|
93 | (1) |
|
|
|
94 | (1) |
|
How to Find Plug-Ins That Won't Load |
|
|
95 | (1) |
|
MIDI-Controlled Audio FX Plug-Ins |
|
|
95 | (1) |
|
|
|
96 | (1) |
|
Plug-In Manager Strategies |
|
|
97 | (2) |
|
Part III Recording Techniques |
|
|
99 | (36) |
|
Chapter 15 Perfect Takes with Composite Recording |
|
|
101 | (6) |
|
Just Because We Can, Should We? |
|
|
101 | (1) |
|
The Composite Recording Process |
|
|
102 | (2) |
|
|
|
104 | (1) |
|
|
|
105 | (1) |
|
|
|
106 | (1) |
|
Chapter 16 Mixing and Effects Automation |
|
|
107 | (10) |
|
Method One Record Onscreen Control Moves in Real Time |
|
|
108 | (1) |
|
Enabling Mixer Control Automation |
|
|
108 | (1) |
|
Enabling Plug-In Control Automation |
|
|
109 | (1) |
|
Recording Onscreen Control Moves |
|
|
110 | (1) |
|
Method Two Draw Envelopes or Modify Existing Ones |
|
|
110 | (1) |
|
|
|
110 | (1) |
|
|
|
111 | (1) |
|
|
|
112 | (1) |
|
Moving Envelopes with Clips |
|
|
113 | (1) |
|
|
|
114 | (1) |
|
|
|
114 | (1) |
|
|
|
114 | (1) |
|
Method Three Clip Automation |
|
|
114 | (1) |
|
Method Four Recording Track Automation Data from an External MIDI Controller |
|
|
115 | (1) |
|
Method Five Snapshot Automation |
|
|
116 | (1) |
|
Chapter 17 Control Surfaces and the Roland VS-20 Interface for Guitarists |
|
|
117 | (8) |
|
|
|
119 | (1) |
|
How to Add a Control Surface |
|
|
119 | (1) |
|
Control Surface Functions |
|
|
120 | (1) |
|
|
|
120 | (1) |
|
|
|
121 | (2) |
|
Using a Footpedal and/or Footswitch with the VS-20 and Sonar XI |
|
|
123 | (2) |
|
Chapter 18 ACT: The Key to Hands-On Control |
|
|
125 | (10) |
|
How ACT Works: Under the Hood |
|
|
125 | (1) |
|
|
|
126 | (2) |
|
Getting Sonar to Recognize Your Controller |
|
|
126 | (1) |
|
Linking Your Controller to ACT |
|
|
127 | (1) |
|
Controlling an Effect with ACT |
|
|
128 | (2) |
|
|
|
128 | (1) |
|
|
|
129 | (1) |
|
|
|
130 | (1) |
|
|
|
131 | (2) |
|
The Differences between Mixing Methods |
|
|
133 | (1) |
|
|
|
133 | (2) |
|
Part IV Sonar's Bundled Effects |
|
|
135 | (60) |
|
Chapter 19 Sonar's Bundled Plug-Ins: Common Elements |
|
|
137 | (6) |
|
The Common Plug-In Header |
|
|
138 | (3) |
|
|
|
138 | (1) |
|
|
|
138 | (1) |
|
|
|
139 | (1) |
|
|
|
139 | (1) |
|
|
|
139 | (1) |
|
|
|
140 | (1) |
|
Header Appearance with 64-Bit Sonar |
|
|
140 | (1) |
|
Sonitus Effects Preset Management |
|
|
141 | (2) |
|
Chapter 20 Sonar's Equalizers |
|
|
143 | (8) |
|
|
|
143 | (4) |
|
|
|
145 | (1) |
|
Other Sonitus:fx Equalizer Controls |
|
|
146 | (1) |
|
Using the Sonitus:fx Equalizer with Sonar XI Studio Edition |
|
|
147 | (1) |
|
|
|
147 | (1) |
|
|
|
148 | (1) |
|
|
|
148 | (3) |
|
Chapter 21 Sonar's Dynamics Processors |
|
|
151 | (10) |
|
|
|
151 | (3) |
|
|
|
152 | (1) |
|
Compression Parameter-Setting Tips |
|
|
153 | (1) |
|
|
|
154 | (1) |
|
|
|
155 | (2) |
|
|
|
157 | (1) |
|
|
|
157 | (1) |
|
|
|
157 | (1) |
|
|
|
158 | (1) |
|
|
|
159 | (1) |
|
|
|
160 | (1) |
|
Chapter 22 Sonar's Time-Based and Modulation Effects |
|
|
161 | (8) |
|
Sonitus:fic Reverb, Perfect Space Reverb |
|
|
161 | (2) |
|
|
|
162 | (1) |
|
|
|
163 | (1) |
|
Stereo Delay (Tempo Delay) |
|
|
164 | (1) |
|
|
|
165 | (1) |
|
|
|
165 | (1) |
|
|
|
166 | (1) |
|
Adjusting the Envelope Parameters in Triggered Mode |
|
|
167 | (1) |
|
Adjusting the Filter Parameters |
|
|
167 | (1) |
|
Multivoice Chorus/Flanger |
|
|
167 | (1) |
|
|
|
167 | (2) |
|
Chapter 23 Sonar's Channel Strips |
|
|
169 | (20) |
|
|
|
169 | (6) |
|
|
|
169 | (3) |
|
|
|
172 | (1) |
|
|
|
173 | (1) |
|
ProChannel Routing Section |
|
|
174 | (1) |
|
ProChannel Studio Edition Compatibility |
|
|
175 | (1) |
|
|
|
175 | (2) |
|
Using the VX-64 Compander |
|
|
176 | (1) |
|
|
|
176 | (1) |
|
|
|
176 | (1) |
|
|
|
177 | (1) |
|
|
|
177 | (1) |
|
|
|
177 | (5) |
|
|
|
178 | (1) |
|
|
|
178 | (1) |
|
|
|
179 | (2) |
|
|
|
181 | (1) |
|
|
|
181 | (1) |
|
|
|
181 | (1) |
|
|
|
182 | (7) |
|
|
|
182 | (1) |
|
|
|
183 | (1) |
|
The VC-64 Dual Compressors |
|
|
183 | (1) |
|
The VC-64 Dual Equalizers |
|
|
183 | (1) |
|
|
|
184 | (4) |
|
|
|
188 | (1) |
|
Chapter 24 Sonar's Miscellaneous FX |
|
|
189 | (6) |
|
|
|
189 | (1) |
|
|
|
190 | (1) |
|
|
|
191 | (1) |
|
|
|
192 | (1) |
|
|
|
192 | (3) |
|
|
|
195 | (18) |
|
Chapter 25 Guitar Tablature with Sonar |
|
|
197 | (4) |
|
|
|
197 | (1) |
|
|
|
198 | (1) |
|
|
|
199 | (2) |
|
Chapter 26 MIDI Guitar with Sonar |
|
|
201 | (8) |
|
|
|
202 | (1) |
|
Sonar Track Setup for MIDI Guitar |
|
|
202 | (2) |
|
Optimizing the TTS-1 for MIDI Guitar |
|
|
204 | (1) |
|
|
|
204 | (1) |
|
Editing MIDI Guitar Parts |
|
|
205 | (2) |
|
|
|
206 | (1) |
|
|
|
206 | (1) |
|
Final Thoughts about MIDI Guitar |
|
|
207 | (2) |
|
Chapter 27 The "Virtual" MIDI Guitar |
|
|
209 | (4) |
|
|
|
211 | (2) |
|
Part VI Advanced Techniques |
|
|
213 | (56) |
|
Chapter 28 Novel Rhythmic Effects with Sidechaining |
|
|
215 | (6) |
|
How Sonar's Sidechain Function Works |
|
|
216 | (1) |
|
Sidechaining Applications |
|
|
217 | (2) |
|
Frequency-Selective Compression |
|
|
217 | (1) |
|
|
|
218 | (1) |
|
|
|
218 | (1) |
|
Sidechaining with the VC-64 |
|
|
219 | (2) |
|
Chapter 29 Tuning Out Mic/Direct Differences |
|
|
221 | (4) |
|
Chapter 30 How to Emulate Vintage Effects |
|
|
225 | (8) |
|
Vintage Phase Shifter Emulation |
|
|
225 | (1) |
|
Automating Phase-Shifter Moves |
|
|
226 | (1) |
|
|
|
226 | (1) |
|
Emulating Phasers with Positive Feedback |
|
|
226 | (1) |
|
|
|
227 | (1) |
|
Combining Phaser and Resonator |
|
|
228 | (1) |
|
Vintage Wah Pedal Emulation |
|
|
229 | (4) |
|
Controlling the Wah with a Footpedal |
|
|
229 | (4) |
|
Chapter 31 Multiband Processing |
|
|
233 | (6) |
|
|
|
233 | (1) |
|
|
|
234 | (1) |
|
|
|
235 | (2) |
|
|
|
237 | (2) |
|
Chapter 32 Create a Looper in Sonar |
|
|
239 | (4) |
|
|
|
239 | (1) |
|
Implementing the Looper in Sonar |
|
|
240 | (2) |
|
|
|
242 | (1) |
|
Chapter 33 Sonar's Multiband Envelope Follower |
|
|
243 | (4) |
|
Recording (and Time-Aligning) Analyst Envelopes |
|
|
243 | (2) |
|
Using One Track's Envelope to Modulate Another Track's Processor |
|
|
245 | (2) |
|
Chapter 34 Transposing in Sonar XI |
|
|
247 | (4) |
|
Real-Time Transposition with the Pitch Shifter Plug-In |
|
|
247 | (1) |
|
Pitch Transposition with Acidized Files |
|
|
248 | (1) |
|
Offline Transposition with DSP |
|
|
249 | (2) |
|
Chapter 35 Create Drum Backing Tracks with Session Drummer 3 |
|
|
251 | (6) |
|
Easy Drum Tracks: The Glorified Metronome |
|
|
253 | (1) |
|
|
|
253 | (1) |
|
|
|
254 | (3) |
|
Using the Browser to Audition Other Patterns |
|
|
255 | (1) |
|
Inserting Browser Patterns into the Project |
|
|
256 | (1) |
|
|
|
257 | (12) |
|
Backing Up Sonar Projects |
|
|
257 | (4) |
|
|
|
258 | (1) |
|
Per-Project Audio Folders Setup |
|
|
258 | (1) |
|
Backing Up Data from External MIDI Gear |
|
|
259 | (2) |
|
|
|
261 | (1) |
|
|
|
262 | (1) |
|
Saving Sonar Customizations |
|
|
262 | (1) |
|
|
|
263 | (6) |
|
Virtual Instruments and Audio Files |
|
|
264 | (1) |
|
Saving All Audio as Separate Tracks |
|
|
264 | (2) |
|
Saving Processed Audio Files |
|
|
266 | (1) |
|
|
|
266 | (1) |
|
Documenting the Archived Version |
|
|
267 | (1) |
|
|
|
267 | (2) |
|
|
|
269 | |
|
|
|
270 | (2) |
|
Advantages of Recording MIDI Data Instead of Audio |
|
|
272 | (1) |
|
|
|
272 | |
|
|
|
273 | (1) |
|
|
|
274 | (1) |
|
MIDI Controllers: The Key to Greater Expressiveness |
|
|
274 | (3) |
|
|
|
277 | |
