What happens when you mix technical chatter on the Cakewalk forum, Samuel Beckett, and The Matrix? I’d wager you get something like the surreal video above. Prompted by the posting of technical details for a new update to Cakewalk’s SONAR production software for Windows, and empowered by a strange, new tool that generates eerie virtual reality from typed text, we get banter like this:

The arpeggiator is now on every track, so you are supposed to use it. It is one of the new rules of recording.

Yes, I came from the days of one-finger piano playing. This is a total blessing to me.

I’m going to take that as a challenge and base my review of SONAR 8.5 on using an arpeggiator and step sequencer on every track. And I’ll have to pronounce all those hard g’s in the voice over, clearly.

And no, this is not some twisted viral campaign on the part of the folks of Cakewalk; I’ve been assured that this came from a user.

Okay, what was this post originally about? Oh, yeah – the actual technical details of the SONAR 8.5 release. Noel Borthwick talks about all the details of the new SONAR release on the Cakewalk forums. Apparently, some people care deeply about whether this is SONAR 9 or 8.5 or some conspiracy theory there, but what interests me is the technical details of the software itself.

SONAR 8.5 Fine Print

Noel goes down to a code level. Interesting tidbits: working with Intel, Cakewalk was able to do a demo of SONAR running an absurd number of tracks, instruments, effects, and live video without pegging the CPU, with a tiny 2 ms of latency. The Cakewalk engineering effort also has put together what may be the most highly-optimized VST support and richest 32-to-64-bit bridging on any platform, anywhere.

Whatever the opposite of “marketing speak” may be, I think that’s what Noel has achieved, getting into a sort of developer-to-developer level discussion. It is still readable, and worth digging through.

See also: Intel Developer Forum details and video on the Cakewalk blog

I could talk more about that, but let’s just leave it at step sequencers and arpeggiators on every track, okay?

For many of us, our studio and our home are one and the same. The speakers we use to monitor mixes are the ones we use for rehearsals, improvisations, and casual listening. I first got interested in the Anthony Gallo A’Diva series speakers partly because I’ve long admired Gallo’s home speaker products, but also because the Gallos seemed to be comfortable walking this home/studio line.

Normally, engineers steer far clear of home audio equipment when it comes to monitoring. But producer Neal Pogue has been using the A’Diva speakers for just that, including five songs on the new Stevie Wonder album, and projects for Nelly Furtado, Indie Ari, Earth Wind and Fire, and Outkast. (See studioexpresso profile, or a 2004 interview in Electronic Musician for more about Pogue’s production background.) That’s pretty unusual for speakers aimed at the home market.

Having lived with a 2.1 set of the A’Diva Ti satellites for a while, I’m impressed, as well. The sound is uncolored and clear, with really gorgeous high-frequency definition. It makes these speakers sound both much larger than they are (you can fit them in your hand), and much more expensive. (They run just over US$200 a speaker, but you could easily fool someone into thinking they went for more.) That could make these ideal for complementing your existing set of monitors. I got to talk to Anthony Gallo, the speaker’s creator, about his background and, most importantly, why the speakers are spherical in the first place.

In answer to my earlier question, yes, people are using circuit simulation software to develop music software. Chris Randall of the very cool plug-in development house Audio Damage writes us:

We use SPICE when we’re modeling for Audio Damage products. We recreate the circuitry of whatever unit we’re modelling in order to better understand the signal flow; we also do some analysis using the SPICE model. (By “we” I mean Adam, of course. I sit in my office and play Rise Of Empires until he sends me a build to test.)

To which I say — hey, Rise of Empires sounds great! I’m sure you CDM readers can find something to do (like learning electrical engineering and circuit simulation software); I’m off to teach Chris how powerful my Persian Army is.

In all seriousness, I can’t wait to see Audio Damage’s upcoming recreation of the Mutron Bi-Phase effects pedal. (Warning: Bi-phase goodness, MP3s, and nostalgia after that link.) Any chance you’re busy simulating those circuits right now, Audio Damage?

And while we’re on the subject of geeky software meets cool musical applications, reader m15a spots this fantastic add-on to MatLab for analyzing and visualizing MIDI files. Can you say: slick visuals for your doctoral dissertation? (Oh, yes, I must be getting back to that one of these days. After one more Rise of Empires game, anyway.)

MidiToolbox: MIDI Analysis / Visualization for Matlab

Anyone got some nifty MIDI visualization images? Send `em in!

Please ensure your seat belts are tight and low across your waist, because here’s the most limited audience for a CDM post ever (and yet it’s still an interesting story). Ryan writes us:

Long-time reader, first-time commenter :-) I am a technical writer at National Instruments in Austin, TX. NI has a graphical programming language called LabVIEW. A couple months ago, we released the LabVIEW DSP Module, which is an add-on for LabVIEW that targets a DSP board we produce called the NI-SPEEDY 33. My friend Brady Duggan is a developer for the LV DSP Module and created a program that uses the DSP hardware as a synthesizer. The code is in LabVIEW but the program itself runs on the DSP chip embedded in the board.

You need a copy of LV, the DSP Module, and the NI-SPEEDY 33 board to run it, but in case any of your users have all this hardware & software, they can download the program [from National Instruments].