Recording - November 2009 - 20

Sonar V-Studio 700 to control common DAW activities. Unfortunately, since these control surfaces were designed to be ‘generic’, the amount of DAW-specific customization that was possible was pretty limited. Enter the VStudio 700 and the VS-700C console unit, the only hardware part of the VStudio system that is specifically tailored to be used with SONAR, as its ultimate control surface. Indeed, from a SONAR perspective the VS-700C is the first product of the Cakewalk by Roland brand. While I thoroughly tested its functionality with the VS-700R, for my critical evaluation I set up the VS-700C in standalone mode and tested its SONAR control functionality using my normal audio routing with the Fireface 800 as my audio interface. This allowed me to assess its functionality in the environment in which I am accustomed to working, without having to think about the relatively unfamiliar VS-700R. Based on commentary in the Cakewalk forums, it is my suspicion that the standalone configuration of the 700C is what the majority of seasoned SONAR veterans with satisfactorily functioning audio interfaces are likely to be interested in. Choosing to develop the drivers making the VS-700C available as a standalone SONAR control surface was a brilliant marketing move on the part of Cakewalk by Roland. track to which it was initially assigned. This feature provides a seamless and intuitive method for dealing with large number of project tracks in SONAR. The channel strip section also contains a ninth fader that, by default, controls master level, but can be assigned to control the level of any stereo or surround bus. This Master strip also contains a “Flip” button that exchanges control targets of the rotary encoders and faders. Also on the Master Strip: an I/O control switch that allows the strip faders to control mic-pre Gain, and the rotary encoder to control compressor Gain, Threshold, Attack and Release, but only if a VS-700R is present. softsynths), a page mode is incorporated that allows control of up to 4 banks of parameters (48 continuous controllers and 16 toggled parameters). Seasoned ACT users will immediately understand how valuable this VS-700C control feature really is after experiencing it in action with a complex plug-in. Channel Strip and ACT Control To the left of the channel strip section is a 4-row x 3-column matrix of 12 rotary encoders (w/push switches) and 9 buttons Transport Control The VS-700C’s transport section is arranged in a familiar VCR-like organization. The switches provide excellent tactile feedback that is eerily reminiscent of controls on a quality reel-to-reel multitrack. Additionally, two 1/4" footswitch jacks are provided on the rear panel of the 700C that default to control Play and Record, although they can be reprogrammed to control any other switchable function. To the immediate right of the transport control switches sits the Jog/Shuttle/ Cursor section. In their default transport control mode the jog wheel, shuttle ring, and (L and R) cursor buttons control cursor position in time. In addition, using the CTRL and Command buttons (located in The VS-700C in detail Fader Strips The VS-700C looks a lot like a digital mixing console. It has eight channel strips that include: eight 100 mm motorized and touch sensitive faders; a rotary encoder (normally set to control Pan, but programmable to control other functions); 4 switches for enabling Mute, Solo, Arm (arm track for recording), and Sel (select channel for eq adjustment and effect send routing); a 5 segment LED level meter, and a 2-line 7-segment LCD for displaying information about the channel (determined by fader view). The fader strips are more flexible than they may first appear. In addition to tracks, the strips alternatively may be assigned to control busses, or I/O channel pairs of the audio interface (e.g. my Fireface 800). Also, for working with more than 8 channels, the channel strips can be incremented in banks of eight to provide control for any number of SONAR tracks. The control channel of a particular strip can be locked to a particular SONAR track, so that even if banks are incremented the locked fader is still in control of theRECORDING NOVEMBER 2009 that allow control of eq and Send for a selected track, as well as ACT (SONAR’s Active Controller Technology) for control of any automatable parameter of an effect plug-in or softsynth that has focus in SONAR. In EQ mode, each encoder row represents one of SONAR’s 4 parametric eq bands, while the column encoders control Gain, Frequency and Q (shape) of the band. Names and values for each encoder are displayed on an LCD above each column. In Send mode, for audio tracks the encoder rows represent up to 4 Aux Sends defined in SONAR and the columns control Level, Pan/Angle, and Pre/Post send operation (as a push toggle switch). For MIDI tracks these encoders control Reverb and Chorus sends. The ACT mode is more complex because it uses the encoders and four switches to control parameters of many differing effect and synth plug-ins. Because an ACT device may have more than 16 automatable parameters (especially true of the Access Panel) the controls allow horizontal and vertical zooming of the track view. Additional Scroll, Zoom, Select, Edit and Scrub Play modes are also available which allow the following: scrolling with the free edit cursor, zoom flyover that enables scroll and zoom simultaneously, selecting by time or clip, nudging selected data or applying fades or cropping clips, or controlling playback speed, respectively. While the additional Jog/Shuttle modes function superbly in Track view with audio tracks, they provide little to no function for MIDI tracks in that view. They also have no function in Piano Roll view, rendering them useless for working with data on MIDI tracks. For example, data selection is impossible in Piano Roll view where MIDI data is selected for editing. Because of this, it is impossible to edit MIDI data without resorting to using the mouse. I hope Roland and/or Cakewalk address this omission in a future upgrade, since the inclusion of the Fantom VS in the

Recording - November 2009

Table of Contents for the Digital Edition of Recording - November 2009

Recording - November 2009
Fade In
Contents
Talkback
Fast Forward
Les Paul Speaks
Cakewalk SONAR V-Studio 700
The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Radial JDX and Phazer
Shure SM27 and SM137 Microphones
Eventide PitchFactor
Recording’s Guitar Column
Lexicon I•ONIX U42S RecordingInterface
Recording’s Showcase of Sounds
Readers’ Tapes
Vibesware GR-1 Guitar Resonator
BOSS ME-70 Guitar Multiple Effects
Line 6 BackTrack and BackTrack + Mic
Advertiser Index
Fade Out
Recording - November 2009 - Recording - November 2009
Recording - November 2009 - Cover2
Recording - November 2009 - 1
Recording - November 2009 - Fade In
Recording - November 2009 - 3
Recording - November 2009 - Contents
Recording - November 2009 - 5
Recording - November 2009 - Talkback
Recording - November 2009 - 7
Recording - November 2009 - Fast Forward
Recording - November 2009 - 9
Recording - November 2009 - 10
Recording - November 2009 - 11
Recording - November 2009 - Les Paul Speaks
Recording - November 2009 - 13
Recording - November 2009 - 14
Recording - November 2009 - 15
Recording - November 2009 - Cakewalk SONAR V-Studio 700
Recording - November 2009 - 17
Recording - November 2009 - 18
Recording - November 2009 - 19
Recording - November 2009 - 20
Recording - November 2009 - 21
Recording - November 2009 - 22
Recording - November 2009 - 23
Recording - November 2009 - The Hybrid Guitar Recording Method—A Modern Way of Tracking Serious Tones, Part 1
Recording - November 2009 - 25
Recording - November 2009 - 26
Recording - November 2009 - 27
Recording - November 2009 - 28
Recording - November 2009 - 29
Recording - November 2009 - 30
Recording - November 2009 - 31
Recording - November 2009 - Radial JDX and Phazer
Recording - November 2009 - 33
Recording - November 2009 - Shure SM27 and SM137 Microphones
Recording - November 2009 - 35
Recording - November 2009 - Eventide PitchFactor
Recording - November 2009 - 37
Recording - November 2009 - Recording’s Guitar Column
Recording - November 2009 - 39
Recording - November 2009 - Lexicon I•ONIX U42S RecordingInterface
Recording - November 2009 - 41
Recording - November 2009 - Recording’s Showcase of Sounds
Recording - November 2009 - 43
Recording - November 2009 - 44
Recording - November 2009 - 45
Recording - November 2009 - 46
Recording - November 2009 - 47
Recording - November 2009 - 48
Recording - November 2009 - 49
Recording - November 2009 - Readers’ Tapes
Recording - November 2009 - 51
Recording - November 2009 - Vibesware GR-1 Guitar Resonator
Recording - November 2009 - 53
Recording - November 2009 - BOSS ME-70 Guitar Multiple Effects
Recording - November 2009 - 55
Recording - November 2009 - Line 6 BackTrack and BackTrack + Mic
Recording - November 2009 - Advertiser Index
Recording - November 2009 - 58
Recording - November 2009 - 59
Recording - November 2009 - 60
Recording - November 2009 - 61
Recording - November 2009 - 62
Recording - November 2009 - 63
Recording - November 2009 - Fade Out
Recording - November 2009 - Cover3
Recording - November 2009 - Cover4
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