SONAR 8.5, I’m sure at some point, was to be SONAR 9. There’s an enormous amount of functionality in this release. But I think the surprise is some of the stuff that won’t necessarily appeal to the widest audio production audience. Here’s a DAW that’s adding unusual new features for arranging tracks, putting an integrated arpeggiator on every track, beefing up its step sequencer (really), and dumping a bunch of class LinnDrum samples into the package. Those are the kind of treats we like in these parts.

SONAR is really a “DAW” in the traditional sense. It does everything. It doesn’t hide features. Given a choice between taking something out and putting something in, it puts the thing in. It has a lot of knobs and buttons. There are positives and negatives to the approach – it’s the reason some readers of this site return to software on game machines that has more in common with early Amiga software. But if you like the feeling of a packed studio, a tool like SONAR can be terrific. As much as I love Ableton Live for sound design and live performance, I find myself returning to something like SONAR for arrangement.

Even with its competitors packing in features, SONAR 8.5 is a tool that really loves MIDI, just as other software focuses on audio. And it’s one of the best-performing tools around. Because it’s so well-tuned for Windows, that means you can drop it onto a wide variety of PC hardware without spending a lot of cash. Most importantly, it could be the first software on any platform that convinces you to try a 64-bit OS – just at about the time you may be doing a fresh install of Windows 7.

Here’s a first run-down of what’s new in 8.5 that I’m personally most interested in:

Roger Linn, father of the modern drum machine and creator of some of its greatest models (including the MPC60 and MPC3000), really is working on a new generation. I’ve seen some of that design work, and I’m confident it’ll ship in some form. But announced yesterday, that shipment won’t happen third quarter this year. Also, it seems that, while this was always a LinnDrum and not a SmithDrum, the product is tending even further toward the Roger Linn side and not so much the Dave Smith side – especially with Dave Smith’s own synth business going great guns.

I will say, I prefer a few months’ delay with fewer compromises (or in this case, maybe a lower price). The big names in the industry have such firm release dates that often some significant functionality slips instead of the ship target. Part of the reason a lot of people don’t talk about projects before they’re done really isn’t competitive secrecy – it’s because the evolution of a hardware design can be unpredictable.

But so you can decide for yourself, here’s the published note from Roger:

The LinnDrum II (once the BoomChik) has become a somewhat mystical beast, looming over the horizon and taunting fans of synth and beat hardware. The collaboration between beat machine guru Roger Linn (of LinnDrum and MPC fame) and synth guru Dave Smith (of Dave Smith fame), the box has gone through various design revisions, each leaked and dissected by, well, people like me. Saturday brought a new set of news, as spotted by Tony Mission on Gearslutz.

Here’s what we know now:

We know that the LinnDrum will be a combination of Dave’s synthesis know-how and Roger’s approach to real-time sequencing and beatmaking. We know it’ll have digital and analog synth voices. We know it’ll do MPC-style real-time and 808-style step sequencing. It’s almost certain to retain onboard sampling, too. In fact, presumably the specs on Dave Smith’s site are still reasonably applicable.

What we don’t know is what the design will look like, or when it’ll ship. It won’t ship in 2008, so … 2009? The image above is not what the new LinnDrum II will look like. Roger released these images over the weekend, but they’ve already hit the wastebasket in favor a new design. On the design elements:

Sometimes in technology, the design of a product can have an impact beyond just the tool itself, and that’s easily the case with the Akai MPC. Even if you aren’t part of the device’s cult-like following, you’ve likely worked with software influenced by its approach to musical interaction. While we await the coming of creator Roger Linn’s new collaboration with Dave Smith, the LinnDrum II, it’s great to look back at the MPC itself, and the artists who stretched it to its musical limits, from hip-hop to classical. Current TV has a short documentary they’ve just sent us.

Current’s Parisa Vahdatinia describes it thusly:

I’d like to share with you a short piece we recently produced here at Current TV all about the MPC–a brief history, how it was created by Roger Linn, and how it’s effected contemporary music, followed with some interviews with Damu The Fudgemunk, P-Fritz, K-Murdock who share their sentiments on how the MPC has shaped their music.

I’m just going to have to imagine how great this piece is as I’m stuck on a train with only phone-as-modem access, so you get to sort of scoop me. As I wait, there are some great comments up there already, haiku-like:

“I mistook them for drum machines….”

“mpc is the hip hop guitar!”

Couldn’t have said it better myself. But it raises the question, given the endless variety of even pre-digital musical instruments, what’s next? That’s a question I know Roger cares about, which is why he helped us judge a design challenge last spring. I’m personally excited by the idea that some designs are already here, and more are likely to come out of someone’s studio, without the major product maker label on it.

Okay, now I’ve seen it. Good to be back off the train and able to download videos. It does come off strangely as an ad for Akai, but there’s another way to look at it — as an executive summary of how MPC users describe their axe. Talk to any MPC user, and you get a case study in why the design of integrated hardware matters to people. I believe those principles are absolutely applicable to the design of software, as well. And the immediacy of the monome is entirely related, as a computer-based instrument, to the MPC as a hardware instrument. It’s easy to get hung up on the philosophy of instruments, but what really matters to people is (surprise) sound and how they manipulate it.

We’ve been eagerly awaiting the LinnDrum II since it was called the BoomChik. We called the non-functional prototype one of the best products of this January’s NAMM – reasoning being that, based on what we heard from showgoers, a silent LinnDrum still beat more evolutionary blandness from the rest of the industry. But I’d be lying if I didn’t say some of us were getting a wee bit impatient waiting for some kind of news. Now that news appears to be here — a rough estimate on availability and pre-order details. (Updated: Specs had been posted previously, as Cory observes in comments, but let’s savor them one more time.)

Availability: Late 2008 (“our best estimate,” so that’s not set in stone)

Cost: US$1400 for the all-digital LinnDrum II, or $1800 for the LinnDrum II Analog with the addition of four analog voices as seen in the Prophet ‘08 and Evolver, plus 32 dedicated encoders

Pre-order list: No commitment, no money down; just email support@rogerlinndesign.com and you’re in. Will there be a baby shower at some point?

Dave and Roger have also posted updated specs on the two units. Highlights include: