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Review Review: Cakewalk Sonar Digital Multitrack Recording System Chris Bereznay Cakewalk has been a leader for years in the Windows based MIDI and recording software industry. Where there are only a few companies, most with excellent products, Cakewalk always seems to filter out near the top with feature laden offerings that give musicians the ability to express themselves in a myriad of ways. In my opinion, Cakewalk has always packed a great deal of features into their products. The sound quality of recordings has always been excellent as well. There was something daunting, however, something almost overwhelming about the higher end products like the Pro Audio series that could make any newbie to PC based recording tremble at the knees. Cakewalk products weren’t always the most user friendly and some tasks could be quite laborious for those who weren’t intimately familiar with the product. Enter Sonar. Cakewalk’s newest offering in the digital multi-track recording world. With Sonar, the user friendliness comes in the box! Now you can create projects faster, navigate more easily and rest assured that the application is stable enough for even your most prized projects. The new centralized user interface is a breath of fresh air. No longer do you have to jump through hoops to get things done efficiently. Everything is right at your fingertips in the main view. Sure, if you’ve been using the product for years and are accustomed to the deep interface system you can continue using what you know. But for those of us that spend only a few hours a week with the product or are looking for a more efficient way to tweak on the fly, it’s a welcome change. Don’t let me mislead you, though. Even though the product is easier and more efficient to use, there has been no sacrifice in the feature set. In fact, there have been several technical advancements to ensure your recordings are top notch. Take for instance the new integration of audio loop construction tools. Cakewalk takes the functionality of many available loop based editing products to the next level. Add to that automatic cross-fades and non-destructive trimming! Recording, mixing and editing have never been this flexible in the Windows environment. Not at this price. Cakewalk’s Sonar can be found on the street for around $350. If you’ve never tried Cakewalk products before, you owe it to yourself to get on the bus – now. With Sonar, your imagination is the only limit. It’s all here: price, performance and precision – the ingredients of perfection. For detailed information on the Sonar product, please visit the product information by clicking on the link below: Sonar Product Info Release Rock and Roll History Told Through Its Biggest Hits Press Release Boston, MA, March 14, 2002 - Did you know that the Eurythmics' smash hit, "Sweet Dreams," was recorded in a run-down warehouse with improvised lyrics? That Tina Turner didn't like "What's Love Got to Do With It" when she first heard it? That the BBC thought Mick Jagger was too ugly to front the Rolling Stones? These aren't even the most provocative of the many revelations that emerge in Berklee Press' Inside the Hits: The Seduction of a Rock and Roll Generation, a rare insider's look at the craft, art, business - and social impact - of some of rock's most powerful and memorable chart toppers. Authored by producer, engineer, educator and record label owner Wayne Wadhams, Inside the Hits is a must-read for anyone who has ever cared about rock and roll. Musical detective, acerbic critic, and ardent fan all rolled into one, Wadhams dissects the structure, and reveals the hidden recording history, of 60 of rock's all-time greatest classics, from Elvis Presley's "All Shook Up" to Michael Jackson's "Thriller." Legendary producer Phil Ramone, who has worked with such artists as Billy Joel, Paul Simon, Bob Dylan, and Madonna, said: "Reading Inside the Hits is like reliving some of the most memorable moments in rock and roll. A captivating read for industry professionals and fans alike." Giving rock its full due as both a major art form and the soundtrack of youth culture, Wadhams investigates each song's melodic structure and arrangement, lyrics, and production history. He also explores how such factors as the artist's personality and image, the timing of the release, and the social context, affected a song's climb up the charts - and ultimately its staying power as a classic of the form. The 60 songs covered by Inside the Hits - over two-thirds of which also showed up on VH1's "100 Greatest Rock Songs of All Time" - include "My Girl" by the Temptations, "I Get Around" by the Beach Boys, "You Really Got Me" by the Kinks, "Satisfaction" by the Rolling Stones, "Light My Fire" by the Doors, "Respect" by Aretha Franklin, "Kodachrome" by Paul Simon, "Superstition" by Stevie Wonder, "Every Breath You Take" by the Police, "Fast Car" by Tracy Chapman, and a score of Beatles hits. Award-winning author Wayne Wadhams, whose previous three-volume reference set, Sound Advice, was named one of 1991's outstanding reference works by the New York Public Library, is a Professor of Music Production & Engineering at the renowned Boston-based Berklee College of Music. He also owns and operates Boston Skyline Records, an independent classical and world music label. About Berklee Press Berklee Press is the non-profit, educational publishing division of Berklee College of Music. Berklee Press publishes high-quality practical books, videotapes, DVDs, and interactive products for all areas of contemporary music education. Berklee Press products are dedicated to furthering the enrichment and success of musicians, students, teachers, and hobbyists alike. Proceeds from the sales of Berklee Press products are contributed to the scholarship funds of the college. Berklee Press titles are distributed by the Hal Leonard Corporation, 800-524-4425, www.halleonard.com. Release Berklee Press Releases Comprehensive Guide To Professional Home Studio Recording Press Release Berklee Press, the publishing division of the world-renowned Berklee College of Music, has released the first comprehensive guide to professional home studio production using industry-standard Pro Tools(r) software. Producing in the Home Studio with Pro Tools is published in partnership with Digidesign, creator of the revolutionary Pro Tools digital audio software. Written by producer, engineer and songwriter David Franz, the book goes beyond the manual to teach home studio-based artists, producers, and engineers how to achieve top-quality recordings. "Excellent advice to young producers and engineers!" said Charles Dye, GRAMMY(r) Award-nominated mixer/engineer/producer, whose credits include Ricky Martin's "Livin' La Vida Loca," the first number one hit song mixed entirely in Pro Tools. "Franz walks the reader through all the steps of pre-production, production, mixing, and mastering with a logical and easy-to-grasp approach. Above all, he keeps the reader focused on the big picture by balancing technical aspects with what's most important-the music." "There are many practical techniques and skills for producing professional-quality recordings in a home studio that the software manual won't teach you," stated author Franz. "With Producing in the Home Studio with Pro Tools, we want to offer anyone working in a home studio a clear way to create recordings that can meet the best technical standards." The introduction of Pro Tools in the mid-1980s is widely recognized as marking a revolution in audio recording and production. The powerful and easy-to-use digital audio production systems give even amateur producers the means to achieve professional-sounding recordings, and have helped spark the boom in home and project studio music recording and production. Now garage bands can compete sonically with the best-heeled acts, and the doorways to expensive studios no longer need be barriers to new talent. Producing in the Home Studio with Pro Tools is the first detailed, practical guide to take a total approach to using the new computer tools to achieve music recordings that can stand with the productions of world-class studios. The book comes with a CD-ROM including Pro Tools FREE software and examples of Pro Tools audio and MIDI file sessions. Producing in the Home Studio with Pro Tools is being jointly distributed by Digidesign and Hal Leonard Corporation. It is also available, along with other Berklee Press books and products, at www.berkleepress.com. About Berklee Press Berklee Press publishes educational and instructional books, videotapes, DVDs, and interactive products covering all areas of contemporary music education. Recent releases include Turntable Technique: The Art of the DJ, a pioneering guide to the emerging genre, the Berklee Practice Method: Get Your Band Together series, and Inside the Hits: The Seduction of a Rock and Roll Generation. Berklee Press proceeds benefit Berklee College scholarships. Berklee Press products are distributed by Hal Leonard Corporation. About Digidesign Digidesign, a division of Avid Technology, Inc. (NASDAQ: AVID), is the world's leading manufacturer of digital audio production systems and software, and the exclusive distributor of Focusrite hardware and software product lines in North and Latin America. Digidesign provides the professional music, film, video, multimedia, and radio broadcast industries with tools for digital recording, MIDI sequencing, editing, signal processing, surround mixing and mastering. Digidesign products are marketed in over 30 countries worldwide, through a distribution network of value-added dealers, distributors, and OEM relationships. Feature NAMM Update: Korg PXR4 Pocket Studio Chris Bereznay "As it's name implies, the new PXR4 packs serious recording power into a compact, ultra-portable package. High quality digital recording and playback, comprehensive editing including cool features like time compression and expansion, tons of great sounding digital effects, even a built-in stereo mic. The PXR4 delivers everything you need to record, mix and edit your songs from start to finish." That blurb from Korg's product catalog is right on the money, friends. Our demo at the Korg / Marshall room was quite interesting indeed. The unit reminded us of the Zoom PS02, but had several features that differentiated it: including more recording capacity due to more efficient compression algorithms, a faster PC interface where USB technology is utilized, and more rhythm patterns to help you build the great backing and percussion track that your song needs. The sound quality we witnessed was very clean and the unit did indeed transfer files and store large tracks easily. There are 4 main tracks and 8 virtual tracks with one level of undo and redo available for each track. Overall, we were impressed with the whole package and are looking forward to our review unit. Stay tuned for more information on the PXR4 as these palm sized mini-studios seem to be taking the market by storm. It seems everyone's into recording these days and for good reason. More and more cool, feature laden products at great consumer friendly prices. Review Review: Original Fuzz Tone by Maestro Chris Bereznay Is Maestro poised for a come-back? The Gibson owned effects pedal brand made famous by bands like the Rolling Stones is now being reborn with a re-issue of the original Fuzz Tone. You might remember the Fuzz Tone from tunes like "I can't get no satisfaction". Those of you that were rockin' back then will probably recognize it on a lot of other recordings as well. It's signature tone is quite unique and hard to miss. The Fuzz Tone is in a sturdy metal box with the battery accessible by loosening two screws on the side of the unit. Surprisingly, the unit takes an "AA" battery which Maestro claims is exactly the same as the original unit. There is a footswitch for engaging the pedal in the usual position on top of the unit and two parameter knobs on the front face of the unit. One knob controls volume and actually has an "off" position where the knob "clicks" into place - great for saving battery juice when not in use. The other knob controls the attack on the signal coming through the pedal. There's no AC jack for a wall wart, so this pedal might be a little interesting to work into your effects line-up if you insist on AC power. The pedal comes in it's original "retro" looking orange box with a copy of the original instructions from decades ago. The only thing missing is the "aged" look on the paper the original manual is printed on. If you're like me, you've been playing for quite a few years. As I get older I start taking an interest in a more "boutique" type of sound. This Fuzz Tone re-issue is neither clean nor consistent. Some of you might balk at that after having played with most of today's gear. This, however, is one of it's most endearing qualities. If you're looking for a smooth distortion - go elsewhere. If you're looking for a consistent tone - don't even bother. The Fuzz Tone is all about grit and grind. It's got one of the most unique sounds I've heard from a guitar effects pedal in some time and it seems a little different every time I turn it on. Bottom Line: Here's the deal folks. We get to see just about every new pedal, modeling unit and effects unit that hits the market. After a while, a lot of this equipment starts sounding the same and sometimes even looking the same. The Fuzz Tone re-issue is a breath of fresh air. It's different, it's cool and it's well built. I wouldn't recommend this pedal to everybody - you've got to be looking for this type of a tone. However, if you're in the market for new "dirty" pedal that doesn't sound like an over-processed, digital chip driven, run of the mill pedal check one out. These units are available only through MusicYo.Com. You can head on over there by clicking here: www.MusicYo.com. Music Gear ReviewsYamaha F310 Acoustic Guitars I got it at a guitar store, it was going to be my first guitar. I paid $200 for it. I like that it stays in tune for a good amount of time and it makes chords sound relatively good. After it gets worn for about a year it starts to buzz and sound like junk. chips easily I think I could have gotten a better deal I would not buy this again I would pay a little more for a better quality guitar. 2 OrangeTuna Larrivee LV-10 Acoustic Guitars guitar center beat every ones price- maybe because they messed up the order 3 times and delayed ordering this guitar for 6 months. It was ordered out of denver for $1800 We revied all the acoustic guitars we could find in 2 years at any price, but not one of a kind. Martins performed well- all of them, but the only magic (playability, feel, sound etc) came in the 28-45 series; lowdens-too quiet; lakewoods - excellent overall, but not enough magic; Santa Cruz- like Martins with the occasional sublime instrument, Froggy Bottom-sweet, but playability is not perfect. I list these to show the caliber of Larrivee: perfect and inspiring sound naturally or amped, Fort Knox solid, and the playability...Beethoven to Jimi Hendrix, Woody Guthery to Phish, Pink Floyd to well just slapping it around Larrivee Guitars shine at every thing. It was the ONLY guitar to be able be played sweetly or with rage and still sound...sublime. This guitar will move you. This is why we had to invent the Zuni Guitar Strap's - guitar of the year award and name Larrivee the winner. We are in no way connected with the Canadian company, so take the time to see what we mean and play one. Dislikes: well to be honest the ease at which this guitar is played tends to bring out the best of my ability leaving me wishing I could play more difficult pieces. Solid- You can find reviews back 10 years. they have no real complants. Short of one of a kind or rediculosly priced instruments Larrivee is the best out there. The good news is all larrivee models have this sublime quality so you budget may dictate to trim level, but not the quality. 5 M.D. Miller Aria Nextar N-20H Electric Guitars I bought this lovely guitar from my local guitar shop where I take lessons, Twin Rivers Music of Columbus, OH. I paid $219 for the guitar. I bought it because it was in my price range, and for price/value ratio, this guitar sounds great. I also decided on this because it had already been sent to a custom shop for set up. The Aria packs a powerfull number of playing options. With triple pickups, the bridge being a humbucker, and the standard 5-position selector switch, I'd take this over a Fender any day. The humbucker has a coil-tap, for single operation as well. The guitar has impecable sustain, and will go as long as you'll let it. The action is nice and low as well, without any buzz, allowing for flawless rythym playing for fast riffs. Aria dosn't package as many custom options with this model as its others the main colors only being black and white. Other than that I'm quite satisfied The Nextar is boasts a solid Alder body, with Maple neck, and Rosewood fingerboard. It comes with no-name tuners and pickups which work great as is. This guitar for its price is one of the best values out there. For those of you weary about foriegn guitar makers, go out and try and Nextar, or even an Aria period, I'm sure you'll like what you hear. This guitar will play anything you want it to, it just wants to be heard. 4 Derek McLaughlin Martin D-35 Acoustic Guitars I bought this guitar brand new in 1970 for $350, which also included the case. When I purchased it, Martin was just running out of their stock of Brazilian rosewood, (because of the fire) so mine is unique in that the back center panel and sides were made of the Brazilian and the other 2 back panels are Indian rosewood. The only thing I don't like about my D35 is that I wish at the time I purchased a D45 for a couple of hundred dollars more. I find that I'm partial to all the abalone and fancies. My guitar was constructed with the same excellent craftsmanship that all Martin's have. The only work I've done to my Martin was to hand sand the top braces to a scallop for more tone and power. To accomplish this I used my 1940 Martin 0018's braces as a sort of pattern. 4 Wayne Washburn D47S Acoustic Guitars I got this guitar as a trade, straight up, for a Guild Songbird. Seemed very risky for me as the whole deal was over the internet. I did a lot of feeling the guy out and checked a few references over Ebay about him. It was totally nerve racking until I got the guitar into my hands. I was looking for an acoustic with a big sound. The Guild was nice amped up, but lacked the beef all by itself. After looking up this Washburn, it was totally not what I expected. US made in the Tacoma guitar plant, EXACTLY like the DM10, 'cept with the Washburn headstock. It has a nice satin finish, not the "dripping with laquer" finish of Korean guitars. An added attraction was that the guy had a Fishman seven band EQ and P/U installed. This guitar sounds beautiful hooked up. As with all my guitars, I have to be real picky to find a real fault, 'cause why would I keep it if I don't like it. For some reason the second string doesn't sound as bright as the rest when it is hooked up. It could also use a second strap button, but as I said, that's really scaping for faults. The front and back are solid sycamore, and the sides might be solid, but I don't know. It gives it a very similar sound as maple. As I said before, the satin finish is very light, which lends itself to a bight sound. It has the old style Washburn headstock, not the current Korean one, kind of big and gaudy, but a cool retro. Slim line satin neck gives it an easy reach for some barre chords, since I have big hands as it is. For what I had for the guitar, a Guild Songbird I had trouble getting $500 for, I thought it was a good deal. It's not the die-for kind of dread, but a great one to take out to gig or jam. My stay at home guitar is also a Washburn, J61 Jumbo, so this one sees a lot of play on the road. I've talked to guitar shop's guys who sell Washburn's, and they tell me this one is one of the best for the buck around, and I totally agree. 4 Steve Kull |
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