Today, the distinctions between differing music packages is becoming less clear.But while general-purpose and loop-oriented software continue to converge, Sonar has always straddled both camps. Version 4 wasn’t the most innovative music-production software on the market, but by imitating and often improving on the best features of its competitors, Cakewalk delivered an extremely versatile package. Its multitrack recording plus fine level audio and MIDI editing facilities were a match for even Cubase SX, while its route-anything-anywhere mix architecture, superb effects library, and the facility to move, duplicate and reorder effects simply by dragging them with the mouse made it our top recommendation for PC-based recording and mixing. Meanwhile, Acid-style automatic tempo matching of samples and some impressive loop manipulation tools made Sonar equally adept as a composition tool.
Having already outshone Cubase and Acid Pro, Sonar 5 sets its sights on Reason, with a swathe of new instrument plug-ins that go way beyond the starter packs bundled with most packages. Pentagon I is an awe-inspiring analog-style synthesizer with a wealth of modulation options and a gargantuan sound to match. PSYN II follows similar lines – behind its tabbed interface is a complex synth engine. Its tone is more controlled and clinical than Pentagon I’s and, although it isn’t quite as spine-tingling, its scope for experimentation is vast.
The rest of the instruments add up to a well-balanced, high-quality collection, with a pair of sample-based synths from Roland, a ReCycle loop player and a sampling drum machine. In fact, the only notable absence is a general-purpose sampler, but it’s unfair to complain when – Reason aside – the competition’s instrument collections don’t come anywhere close to Sonar’s.
The effects library has a couple of exciting new additions too. Perfect Space is a convolution reverb plug-in, using impulse responses captured in real spaces to give extremely realistic acoustic simulations. Its impulse response library is rather light on concert halls and churches, focusing more on experimental effects such as piano resonances, caves, guitar amps and toy microphones.
These can produce interesting results, but we recommend a trip to
www.noisevault.com to stock up on more practical impulse responses. The other notable addition is a multiband compressor, which is great for giving wide-bandwidth sounds such as drums and full mixes a larger-than-life presence.
V-Vocal is a software reincarnation of Roland’s VariPhrase technology, the audio equivalent of Silly Putty. Recordings can be re-pitched, either to correct tuning problems in the style of Antares Auto-Tune, to harmonise melodies or to completely redesign them beyond all recognition. Timing, volume and vocal formants are manipulated with similar levels of elasticity. For vocals, this is the most exciting new processor around, and trying it on other sounds can lead to some interesting, if rather unpredictable, results.
Due to its time-based processing, V-Vocal is accessible by right-clicking audio clips rather than from the plug-ins menu. Sonar creates a copy of the audio and hides the original as a muted clip behind it, which feels a little clumsy, but more annoying is that processed clips can’t be split or crossfaded. A Bounce to Clip(s) option gets around this, but deletes the process history.
Elsewhere, there are some worthwhile and attractive cosmetic tweaks to the interface, as well as some deeper level changes. There’s also a new internal 64-bit mix architecture, a much-needed overhaul to the MIDI effects library, plus the ability to monitor video via FireWire when composing to picture. There’s also explicit support for Windows x64 Edition, which Cakewalk claims will increase performance by 30 percent – if you can find X64 drivers for your sound card.
The new features in Sonar 5 highlight that this is a tremendously good-value package. Pentagon I, Perfect Space and V-Vocal could justify $1000 as standalone products, so it’s as if you’re getting a top-class music-production program for peanuts. The one area where Sonar falls down slightly is on ease of use. Most mixing and editing tools are precise and quick to use, but certain features such as the channel EQ can be fiddly, and we don’t like the way that deleting a software instrument leaves debris in the mixer.
The interface also looks a little overstuffed, making it bewildering for new users, although having so many controls within easy reach quickly becomes a benefit. For sheer accessibility, Ableton Live is a tempting alternative, with its supremely quick interface, wonderfully inventive sound design tools and aptitude for live performance. However, for those who don’t want to choose between acoustic recording, synthesis and sample manipulation, Sonar is the perfect all-rounder.