The GUI got corrupted, none of the buttons responded, the tools menu refused to let me select any tools - just bugs, bugs, and more bugs. This happened each and every time, even after uninstalling and reinstalling the plugin. I even downloaded it again just in case I had a corrupted download. I tried 44.1 and 48 sample rates, etc. Berkeley Electronic Press Selected Works.

1. Free Vst Plugins
2. Vst Plugins For Cakewalk
3. Cakewalk Vst Plugins Free Download
4. Sonar 7 Boost 11 Vst Plugin Corrupted

Boston, (September 18, 2007) — Cakewalk, the world's leading developer of powerful and easy to use products for music creation and recording, announces the feature packed release of SONAR 7 Producer Edition and SONAR 7 Studio Edition, the technology leading digital audio workstations. With SONAR 7 you get a remarkable experience that excels at every step of your production—from its inspiring, open and customizable environment, to intuitive music creation and editing tools, to polished mixing, editing and delivery—with the recognized best audio quality in the industry.

In its last two versions, SONAR set new levels for technology advances in digital audio workstations with the first true 64-bit double precision audio mix engine; Active Controller Technology™ (ACT) which changed the way musicians work with instruments and effects; AudioSnap™, the very best non-destructive audio timing/manipulation toolset; and pioneering support for multicore and x64 processing, and Windows Vista.

Now SONAR 7 Producer Edition rounds out and extends its comprehensive offering of powerful creative tools with an open and customizable environment, high-quality instruments and effects, and flexible mixing and delivery options. These new developments include user customization for MIDI with Smart MIDI Tools, the introduction of the most powerful Step Sequencer found in any DAW, true Linear Phase Mastering Plug-ins, internal sidechaining, delay compensation for external hardware through an External Insert plug-in, pitch to MIDI functionality with Roland V-Vocal 1.5, integrated CD burning, and numerous workflow and delivery enhancements throughout the application.

New Features for SONAR 7 Producer Edition:

• Integrated Step Sequencer view provides the most innovative step sequencer feature set available in any DAW today
• Smart MIDI Tools—intuitively use one tool for multiple editing tasks; completely customizable
• Real-time Drag-Quantize allows selected notes and events to be quickly aligned with snap settings
• Multilane controller editing in Piano Roll view; controller data can be moved/copied across lanes; multiple controls can be viewed/edited per lane to economize screen real estate
• MIDI display features including MIDI Magnifier, MIDI Meters, and Velocity Colorizer
• Enhanced MIDI editing with functions for splitting, gluing, and muting notes
• More ACT (Active Controller Technology) presets for popular hardware
• New instruments: Z3TA+ 1.5 waveshaping synthesizer, Dimension LE (featuring Garritan Pocket Orchestra), Rapture LE, and DropZone sample player/synth; Over 1000 instruments sounds
• Roland V-Vocal 1.5, now with Pitch to MIDI conversion
• LP-64 Multiband linear phase mastering compressor/limiter with AutoQ functionality
• LP-64 EQ linear phase mastering EQ with 20-point control curve
• Internal sidechaining for Sonitus:fx Compressor, Sonitus:fx Gate, VC-64 Vintage Channel, and 3rd party VST plug-ins with sidechain (multi-input) capability
• External Insert Plug-in lets you insert and mix with external hardware effects and instruments with automatic delay compensation
• Boost 11 Peak Limiter
• Dim Solo keeps tracks in context by reducing volume of unsoloed tracks by 6, 12, or 18 dB instead of muting
• Drag & drop EQ settings across channels in the console view
• Shortcuts for assigning a series of audio inputs, and routing selected tracks/busses to the same input/output/main
• Original SMPTE time stamps now stored with clips with easy revert to original time stamp
• Right-click at cursor to Import audio/MIDI data
• Wave-64 support provides capabilities to record large scale (2 GB+) projects
• High bandwidth multi-track recording optimizations
• New file format import/export options including Sony Wave-64, AIF, CAF, FLAC, Sound Designer II
• Integrated Audio CD ripping and burning
• Cakewalk Publisher 2.0 for uploading and presenting music online

New Creative Tools

Integrated Step Sequencer view — SONAR 7's new dedicated Step Sequencer view provides the most innovative step sequencer feature set available in any comprehensive DAW today.

Features include: up to 16 steps per beat with 64 beats per pattern; support for odd time signatures (non 4/4 meter); a powerful 'Fit Pattern to Quarters' control that fits patterns into lengths of any number of quarter notes for creation of polyrhythmic parts (5 against 4 rhythms, hemiolas, septuplets, etc.); control velocity offset and scale values in an entire row all at once; MIDI controller automation drawing; step ties; monophonic/polyphonic toggle switch; global portamento toggle switch with time control; swing and articulation controls.

Integration with SONAR's advanced Drum Mapping and MIDI routing provides capabilities for simultaneously triggering sounds from different instruments from the same step sequencer—perfect for working with complex or layered drum kit setups with sounds sourced from different instruments.

Smart MIDI Tools — Smart MIDI Tools revolutionizes SONAR's MIDI editing by providing users with a powerful and customizable workflow innovation. Users are given three tools which can each be configured to perform multiple operations to suit their editing style. By providing capabilities to perform multiple MIDI operations without the need to switch tools, Smart MIDI Tools greatly speeds SONAR users' editing sessions.

Out of the box, SONAR provides three preconfigured Smart MIDI Tools; the default tool can be used to draw, select, erase, and edit notes and controllers. Users can create their own Smart MIDI Tool presets by selecting from 20 different mouse actions and assigning them to edit functions such as slip-editing and transposition, and new MIDI editing features including split, glue, event mute, and drag quantize. Users are also given control over specific edit behavior: change the way draw and erase works, it's all user-definable.

Custom Smart MIDI Tool assignments can be saved as presets and apply to both the Piano Roll View and the Inline Piano Roll. SONAR 7 also includes presets that match MIDI operations in other popular applications such as Logic, Cubase, and Digital Performer for customers who are switching to SONAR from these applications.

Other SONAR MIDI enhancements

• Roland® V-Vocal™ 1.5 — now includes Pitch to MIDI conversion. Convert vocal lines into MIDI which can then be assigned to virtual instruments for fluid lines and unique textures and effects.
• MIDI Magnifier — another SONAR 7 innovation, work with MIDI in-place, even when zoomed out. MIDI Magnifier allows you to quickly zoom in on isolated areas and make edits without changing the overall zoom level of the view in which you are working.
• Velocity Colorizer — provides improved visual feedback to the user; notes are tinted depending on velocities for easier identification.
• MIDI Meters — Standard MIDI Meters in the Track and Console view respond to MIDI velocity information, and MIDI activity indicators respond any MIDI activity.
• Multiple Controller Lanes — multiple MIDI parameters can be displayed simultaneously within the Piano Roll View (PRV) in a multi-lane format. This makes it easier than ever to edit and view MIDI data such as velocity, modulation, pitch bend and CCs. Controller data can also be moved and copied across lanes. Also make precise comparisons and edits of multiple controller types by assigning controllers to the same lane.
• New MIDI Edit Functions — Split Notes, Glue Notes, Event Mute, Drag Quantize, and Repeat have been added to the MIDI tool palette.
• ACT (Active Controller Technology) — has changed the way we work with instruments, effects and controllers by giving users control of whatever view has focus. New ACT presets include: Akai MPK49, Korg padKONTROL, and Line6 TonePort KB37.

Free Vst Plugins

New Instruments — with Cakewalk's acquisition of RGC:audio in 2005, synth-development legend René Ceballos joined the Cakewalk development team. As a result of our continued collaboration and development, SONAR 7 now offers one of the most comprehensive and best sounding instrument collections available today. New instruments for SONAR 7 include Dimension LE, DropZone, Rapture LE, and Z3TA+ 1.5. With these additions, SONAR 7 now includes well over 1000 new instrument sounds and 1 GB of sample content.

• Z3TA+ 1.5 — is an award-winning Waveshaping Synthesizer. It is a top-of-the line analog-style synthesizer with incredible sound shaping capabilities. The exclusive band-limited Waveshaping technology has made Z3TA+ one the best and most respected synths in the industry. As a complete instrument, Z3TA+ is oriented to the professional musician and sound programmer looking for uncompromised sound quality and features.
• Dimension LE — is a special version of the acclaimed Dimension Pro instrument from Cakewalk. Dimension LE features over 400 sound programs, ranging from real bass, organ and electric piano samples to cutting-edge synth sounds and rhythmic grooves. In addition, you get the special edition of the Garritan Pocket Orchestra, expressively programmed for Dimension LE, featuring orchestral instrument libraries of unrivaled quality that include strings, brass, woodwinds, keyboards, and percussion sounds. Dimension LE is powered by Cakewalk's Expression Engine providing several types of synthesis capabilities including multi-sample rendering, wavetable synthesis, waveguide synthesis, and REX playback and manipulation.
• Rapture LE — this special version of the award winning Rapture synthesizer from Cakewalk makes its debut in SONAR 7. It includes over 200 programs and hundreds of oscillator shapes. Capable of producing rich, hypnotic, and rhythmic basses, leads, and pads, Rapture LE is perfect for performing and designing the modern synthesized sounds igniting today's pop, dance, and electronic music.
• DropZone — is a drag & drop sampler and REX loop Editor. Just drop in a sample and the loop points and slices are visually displayed. Then you can quickly start manipulating and triggering slices or the entire loop. It has a keyboard display to show sample key mapping; 300 MB of samples including pads & atmospheres, basses, pianos, drum kits, Dance & Hip Hop REX loops, and hundreds of wavetables.
  

Internal Plug-in Sidechaining — Leveraging SONAR's Universal Bus Architecture framework, SONAR now supports internal sidechaining (multi-input plug-in support) with the Sonitus:fx Compressor, Sonitus:fx Gate, VC-64 Vintage Channel, and all sidechain compliant VST processors such as those available from Voxengo and Sonalksis.

Sidechaining support provides users with more flexibility and control over mix processes and new creative options for key-triggered sound effects. SONAR's internal dynamics processors can be used more effectively to avoid the clashing of multiple instruments occurring in the same frequency range. Other common uses include 'Ducking' a technique used in radio broadcast, where the input signal, usually a vocal triggers the attenuation of the backing music track; and filter-sidechain de-essing for attenuating sibilance typically present in the 4-8kHz frequency range without effecting the tonal balance of the entire mix.
LP-64 EQ linear phase mastering EQ — LP-64 EQ is the linear-phase Equalizer that puts a professional sheen on your final mix. The LP-64 EQ employs superior linear-phase processing to ensure zero-phase accuracy and maintain the integrity of audio throughout the frequency spectrum. LP-64 EQ's phase accurate processing eliminates phase distortion common with parametric EQ, such as coloration, cancellations, comb filtering, muddy transients.
LP-64 EQ offers flexibility in editing by offering both traditional parametric editing with graphical control points representing filter components that control frequency, gain, and Q; and a graphical curve editing mode. This graphical mode allows for more intuitive editing where control points rest directly on the equalization curve, and provide smooth means for curve manipulation. Up to 20 control points can be added to an EQ graph and both modes of operation produce the same superior-quality, linear-phase output.

• Two modes of operation: traditional parametric and graphical curve
• Create deep notches, resonant peaks, and steep roll offs
• HUD (heads-up display) provides constant and detailed control point information
• +/- 24 dB gain change range per control point
• 64-bit double precision signal path
• Up to 192 kHz resolution
• Optimized for low CPU usage
• Full VST functionality for access from dedicated audio editors

LP-64 Multiband linear phase mastering compressor/limiter — LP-64 Multiband provides transparent peak limiting and volume maximization. The LP-64 Multiband employs the same superior linear-phase technology found in the LP-64 EQ ensuring, zero-phase accuracy at critical frequency crossover points. This provides clean, clear non-smeared control over isolated bands for volume maximization or attenuation/limiting.

The LP-64 Multiband operation modes are user selectable or PDR (Program Dependent Release) that automatically minimizes pumping (audible fluctuations of the volume) and maximizes loudness. Also, an 'Auto-Q' feature automatically adjusts the linear-phase filters to maintain ideal overlap - whether dialing in broad, subtle crossovers, or tight notches and boosts.

• Two modes of operation: User selectable or PDR
• +/- 18 dB gain change range per control point
• Up to 192 kHz resolution
• 64-bit double precision signal path
• Mono and stereo operation
• Optimized for low CPU usage
• Full VST functionality for access from dedicated audio editors

Boost 11 Peak Limiter — The Boost 11 Peak Limiter provides transparent peak limiting and volume maximization without coloring the sound of the source material. Boost 11 employs a 'look-ahead' limiter algorithm to prevent output clipping and PDR (Program Dependent Release) to minimize pumping (fluctuations of the volume) and maximize the loudness.

• Boost 11's features include:
• Look-ahead peak detection to prevent clipping
• Program Dependent Release to minimize pumping
• Dynamic waveform displays of input vs. output
• Stereo peak and RMS input/output meters
• Operation at sampling rates up to 192 kHz
• 64-bit double precision signal path
• VST Automation

External Hardware Inserts — SONAR now provides seamless integration of external hardware effect processors and MIDI instruments with latencies automatically measured and compensated through SONAR's plug-in delay compensation (PDC). SONAR's External Insert plug-in for outboard gear appears in SONAR's plug in menu where it can be inserted into the audio fx bin on any track or bus.
When using External Inserts, users have control over send and receive port assignments, send phase invert, as well as automatable send and return gain trim (+/-24dB). All parameters can be saved in presets.

With SONAR's new Real-time Bounce, Export and Freeze options, you can use External Inserts in your projects through all phases of production. Freeze tracks that use External Inserts at any time to permanently capture the processing of your favorite outboard gear and instruments—perfect for collaboration with other studios that may not have your particular outboard hardware.

Faster I/O Assignment — SONAR 7 has added new shortcuts for audio I/O assignment. These provide a quick way to set a series of consecutive inputs/outputs, set selected tracks to same input/output, and assigning multiple bus outputs to same main.

Drag and drop EQ parameters — Users can now copy EQ settings across tracks via a simple drag and drop of EQ plots in the console view.

Dim Solo mode — Isolates soloed tracks by applying a configurable -6, -12, or -18 dB dim to non-soloed tracks instead of a complete mute.

High bandwidth recording and large project optimizations — Users can now record longer projects with support for 2+ GB Sony Wave-64 files. SONAR has also been optimized for high-bandwidth multitrack recording. A recent recording project utilized a pre-release version of SONAR 7 to record 48 tracks simultaneously at 24-bit, 192 kHz audio quality.

Cakewalk Publisher 2.0 — Integrated Cakewalk Publisher presents an innovative new tool to publish and present music online. Cakewalk Publisher provides a fast and easy way to create a customized, online, streaming music player and playlists that can then be directly uploaded from SONAR to band websites, and hosted on MySpace and other Internet sites.

• Simply drag files into Publisher to quickly create playlists
• Build custom Flash-based audio players with choice of colors, size, layout, etc to match web designs
• Support for album art: choose an image and URL for each song in your playlist
• Includes FTP client to upload music and players directly to your website
• XML generation to embed customized players on many websites (Myspace, etc.)

File Recovery Mode — SONAR 7 significantly enhances the 'safe mode' functionality first introduced in SONAR 5. Now known as File Recovery Mode, this activates a more aggressive data recovery mechanism when a damaged project file is detected. While not a substitute for good backup practices, File Recovery Mode may be able to open damaged projects with minimal data loss, preserving your valuable data.

Integrated CD Ripping and Burning — Now you can import audio from CD directly into a SONAR project and burn multiple tracks to audio CDs right from within the application.

New file format import/export options — Users can now import/export Sony Wave-64, AIF, CAF, FLAC, SD2 (Sound Designer II). Users can also now right-click at cursor to import audio/MIDI data.

Additional Key Features of SONAR 7

• Pristine 64-bit mix engine; first true 64-bit end-to-end signal path
• Customizable user interface: put favorite features right at your fingertips
• AudioSnap suite of audio timing tools featuring multiple time stretching algorithms including iZotope Radius™, percussion mode, and groove clip
• Active Controller Technology (ACT): dynamically maps effect, mix, and instrument parameters to any MIDI controller or hardware control surface, automatically remaps parameters to whatever view has focus
• Roland V-Vocal VariPhrase technology for perfection of vocal tracks through exceptional audio stretching, pitch correction, and dynamics, phrasing, and vibrato—now updated with pitch to MIDI conversion
• Perfect Space Convolution Reverb powered by Voxengo
• VC-64 Vintage Channel powered by Kjaerhus—now updated with sidechaining
• SurroundBridge—easily use stereo effects in a surround environment
• BitBridge enables 32-bit VST effects and instruments to run smoothly in SONAR when running in an x64 (64-bit) environment
• POW-r Dithering
• iZotope Radius Time Stretching
• MPEX 3 Time Scaling
• Bus & Synth Waveform Preview
• Clip-Based Effects and Editing
• Crash Recovery safeguards projects against faulty plug-ins and other sources of crashes

SONAR 7 Studio Edition

Don't sacrifice features for affordability—SONAR 7 Studio Edition offers the best creative tools, and the most power of any digital audio workstation in its price range. Built upon the same core feature set as SONAR 7 Producer Edition, SONAR 7 Studio Edition gives users the edge in their productions —from recording audio and MIDI, composing with virtual instruments, remixing with loops, mixing with professional effects, to delivery of a polished final track—with the recognized best audio quality of the industry.

SONAR 7 Studio Edition features all the unmatched music creation tools found in SONAR 7 Producer Edition with the following exceptions: LP-64 Linear Phase Equalizer, LP-64 Multiband Compressor, VC-64 Vintage Channel, Roland V-Vocal VariPhrase technology, Z3TA+, PSYN II subtractive synth, Pentagon I analog synth, RXP groove instrument, Perfect Space Convolution Reverb, surround mixing, Sonitus Surround Compressor, POW-r Dithering, MPEX-3 Time Stretching. /5-free-vst.html. In addition, AudioSnap in SONAR 7 Studio Edition is limited to one track at a time processing.

Pricing and Availability

SONAR 7 Producer Edition has a manufacturer's suggested retail price (MSRP) of $619 ($499 street) U.S., SONAR 7 Studio Edition (MSRP) is $369 U.S. ($299 street) and both are now shipping. Registered SONAR 6 Producer Edition customers can upgrade to SONAR 7 Producer Edition directly through Cakewalk for $179; SONAR 6 Studio Edition to SONAR 7 Studio Edition for $99. Other upgrade paths are available, visit Cakewalk.com for details.

International pricing

SONAR 7 Producer Edition and Studio Edition software is available in English, French, and German boxed versions with printed documentation; English, French, German, Italian, and Spanish electronic quick start guides contained in all versions. SONAR 7 is available through Roland and Edirol distribution partners.

Europe's suggested street price for SONAR 7 Producer Edition and SONAR 7 Studio Edition are €499 and €299 RRP inc VAT respectively; U.K. pricing is £349 and £219 RRP inc VAT respectively; and will be available 19, September 2007.

For localized pricing and availability visit:

• Edirol Europe (United Kingdom, Germany, Italy, Austria)
• Roland Central Europe (Belgium, France, Netherlands & Luxembourg)
• Roland Iberia (Portugal, Spain)
• Roland Scandinavia (Denmark, Norway, Finland, Sweden, Russia, and Iceland)
  

• DAWs >Sonar / Cakewalk

Use Sonar X2's bundled tools to master your mix.

A recent discussion in the Sonar X2 forum asked whether separating the mixing and mastering processes was still necessary, or whether simply inserting mastering-type processors in the master bus while you mixed would be sufficient. As with most topics related to audio, there's no universal answer.

The conventional reasons for making mastering a separate process are to introduce a fresh set of ears, and because assembling individual tracks into a mix is a different discipline compared to working with the final mix itself. But in the days of vinyl, mastering was a very different process for technical reasons.

Vinyl involved trade-offs. Low-frequency content and loud passages caused larger stylus excursions, so you could have lots of bass, or relatively high levels, but not both. Longer albums required narrower, lower-amplitude grooves to fit them all on the vinyl platter. Furthermore, the inner grooves were more susceptible to distortion, so softer songs often ended up last on a side where this distortion would be less noticeable. As a result, albums were typically restricted to 15-20 minutes per side for an acceptable trade-off of frequency response, level and running time.

This is why mastering engineers acquired sorcerer-like reputations: they had to know (and compensate for) vinyl's limitations, and advise the artist on the trade-offs. If someone submitted an album with a 30-minute 'A' side and 15-minute 'B' side, it was up to the mastering engineer to suggest that it might be a good idea to rearrange the song order so that side 'A' was seven minutes shorter, and shift the extra length to side 'B'.

Digital has no equivalent technical limitations, so the main technical reason for separating the mixing and mastering processes is no longer relevant. The artistic issues — having an objective set of ears, and knowing how to optimise a stereo mix — still matter, but concerning yourself with those issues, while recommended, is a matter of personal choice.

All Aboard?

So, can't you just insert plug-ins in the master bus? It's true that much of mastering involves using EQ and dynamics processing, but that's not all there is. I'll often redraw waveforms in a DAW to tame peaks, thus gaining headroom without using dynamics processing, and I'll define particular regions within a file in order to boost or cut specific sections such as a strategic drum hit. Although, theoretically, you could accomplish much the same results with master bus automation, it's difficult to be as precise. Furthermore, some mastering processes simply work best when used offline. Noise reduction is one case in point, and while Sonar's R-Mix plug-in tries valiantly to do real-time spectral editing to eliminate artifacts like finger squeaks, breath noises, audience members coughing, and similar problems, spectral editing also works best as an offline process with appropriate programs (such as Adobe Audition). Most 'repair/salvage' work, which can be a crucial part of the mastering process, is often difficult or even impossible to do simply by employing plug-ins.

However, these are also fairly advanced techniques, and I get paid to put serious effort into mastering. But it's not always necessary to hire a professional; assuming you have a 'clean' and properly done mix, sometimes all you really do need is an optimum selection of plug-ins in the master bus if your goal is simply to enhance the mix to some extent.

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Mastering With Sonar

Sonar's included LP-64 EQ and LP-64 multi-band (compressor) plug-ins are fairly demanding on your CPU. Try this experiment: insert a Sonitus EQ and the LP-64 EQ in the master bus, with several dB of high- and low-end boost. Set the frequency, gain, and Q settings identically, and do an A-B comparison. You'll likely find that the LP-64 plug-in handles the highs with more transparency and clarity. Now try the same experiment with some of the Pro Channel EQ types; as the Pro Channel EQ offers 'character' options, you may prefer them to the LP-64 EQ's neutral sound. In any event, you don't really need 'designer' EQs with special mojo, Sonar's are perfectly good. This isn't to minimise the value of other character EQs by companies like Universal Audio and Waves, as they can contribute a unique sound. The Sonitus multi-band compressor can also serve as a multi-band limiter. Note that when the light above the output meters glows red, it doesn't indicate distortion, but rather that limiting is taking place.

When it comes to master-bus limiting, Sonar has four main options. Despite its age, the Sonitus multi-band compressor makes a decent multi-band limiter if you don't want to squash the dynamics too much. On the Common tab, set each stage for no compression by choosing a ratio of 1.0. Enable the Limit button, then click on the Gain label and drag up to increase the gain for all stages simultaneously. You should be able to push about 3dB of gain without audible damage, and up to 6dB if you're a 'make it loud!' type. What's more, you can alter the gain of individual frequency bands, which is handy if you want to limit one range more than another. (Note that the LP-64 multi-band plug-in doesn't have a limiting option; it's strictly a multi-band compressor.)

Boost 11 is another limiter, introduced originally in Sonar Home Studio, that's designed to be more of a maximiser. I'm not really a fan of it for programme material, although it has its uses for individual tracks.

Another option is the Concrete Limiter, which is an optional-at-extra-cost Pro Channel plug-in. I think it's exceptional on individual tracks, particularly drums and vocals, but as it's not a multi-band processor I prefer Waves Ultramaximizer-type plug-ins for more transparent limiting with programme material. However, if you like the sound of full-band limiting, Concrete Limiter is a good option; the Sonitus Compressor plug-in also has a limiter function that's similar to the one in its multi-band counterpart (ie. set the ratio to 1.0, and increase the Gain control until limiting occurs).

Before Or After?

To the oft-asked question of whether mastering EQ should go before or after dynamics processing, the answer is 'yes'. Compression will tend to undo the effects of any EQ boost, but this also means you can sometimes push something like a kick drum to make it seem louder, yet not exceed the available headroom. EQ after compression will tend to sound more natural as the dynamics aren't affecting the EQ. However, if you're using a limiter on the master bus, it should be the last processor in the chain, to ensure that there's no clipping. I'll often pair this with SSL's free X-ISM metering plug-in to monitor whether there's any inter-sample distortion, and use the highest output level possible coming out of the limiter that still ensures nothing registers above -0.1dB according to the X-ISM plug-in's meters.SSL's free X-ISM VST plug-in can measure inter-sample distortion.

'Parallel' Mastering

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Here's a technique that's well suited to DAW-based mastering, and is the result of my never-ending quest to produce masters that are loud enough to please clients, but have enough dynamics to please me. The concept is similar to parallel processing for drums, where you mix compressed sound to bring up lower-level dynamics along with dry sound to provide the peaks. It involves bouncing the tracks down through significant amounts of limiting or maximising (and perhaps some high- and low-end emphasis) to create a very squashed track, then mixing this in with the other tracks as you do your 'real' mix. Here's the procedure:

• After getting all levels and automation set for a good mix, insert the processors you want to use in the master bus.
• Edit the master bus processors to obtain an over-compressed, overly bright sound — in other words, what passes for 'mastering' with a lot of current pop music.
• In Track View, Select All so that all tracks are enabled.Set up the bounce parameters as if you were doing a standard mix, but include the processors you'd use to create a super-hot master.
• From the Tracks submenu, choose Bounce to Track(s).
• In the dialogue box that opens up, select 'Entire Mix' for Source Category, 'Stereo' for Format, and set Dithering to 'none'. Make sure all the boxes are ticked, especially Bus FX.
• Click OK, and now you have a nasty master with plenty of squashing.

When it's time to do the real mix, remove the processors from the master bus and run your mix again, but this time, bring up the track that contains your squashed 'master' a bit. The optimum level will vary; for most of my projects it ends up around -20 to -12 dB. Also, you may need to make a few tweaks to the other tracks to reflect the changes caused by adding in the parallel track. It may take several tries to get the right 'squashed' track and the right overall mix, but the results can be dramatic and satisfy both those who want a loud sound, as well as those who like dynamics and are aware that it's possible to make a song louder by turning up what's called a volume control.

Sonar 7 Boost 11 Vst Plugin Corrupted