SONAR NOTES

FXpansion VST-DXi Adaptor

Published in SOS September 2002
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Technique : Sonar Notes

Selecting parameters in IK Multimedia's Amplitube for non-real-time automation.

This month, more on automating your DX and VST plug-ins, plus tips on using Sonar with Propellerhead's Reason via Rewire.

Hopefully by now you've had a chance to upgrade to version 2.0 of Sonar. If not, there's still plenty here for users of version 1.x (the only 2.0-specific tip here relates to playing back REX files through Sonar). Having lived with the upgrade for a few months, I definitely recommend it. One of the main reasons why, the DirectX instrument (DXi) Cyclone, will get the spotlight next issue.

Meanwhile, let's investigate the subject of automation. Sonar offers standard track automation -- ie. automation of volume, pan, aux sends, that sort of thing -- but can also automate signal processors and DirectX instruments (providing the manufacturers have included the proper 'hooks' in the

Current Versions     Sonar/Sonar XL: v2.0.

ir software). Effects automation can help add interest to a song -- as an example, I like to lower guitar EQ a bit in the mid-range when my singer comes in, and boost it during the solo. The effect of making the guitar less or more prominent via EQ can be more interesting than just doing volume changes.

I've been automating the DirectX effects included with Sonar for some time, but was amazed to find that if a VST effect has automatable parameters, they show up in Sonar when using FXpansion's VST/DXi Adaptor. If there are more than 16 automatable parameters (the maximum limit for some programs), all

Automating a plug-in via FXpansion's VST-DXi Adaptor.

of them -- not just 16 -- will be available.

The procedure for automating DirectX and VST plug-ins is identical. There are two automation methods; your choice depends on which method the plug-in manufacturer has decided to implement. One method is designed to capture real-time control changes, while the other is for non-real-time creation of automation envelopes. It's also possible in some cases to combine the two options, and record some envelopes in real time, but draw in others.

Here's how to record real-time automation moves. To begin, hold down the right mouse button and click on the Effects bin, then select the desired processor. Then click on the processor name and select Arm Parameter (if that option is greyed out, then there are no automatable parameters).

A dialogue box listing the automatable parameters appears. Tick the parameters for which you want to record automation, then close the box. You've now finished your preparation work.

Now enable the automation parameters you want to record, click on the Record Automation icon in the Transport toolbar, then tweak the controls in real time. Editable envelopes will appear in the track view after recording; nodes can snap to grid markings, which is very convenient when creating rhythmic effects. In the example above, Ohm Force's Predatohm plug-in is being automated via VST-DXi Adaptor.

To actually record the moves, click on the Record Automation icon in the Transport toolbar (if it's greyed out, that means that one or more tracks are in the standard record mode, which must b

The Envelope tool makes it easy to hide and show groups of envelopes, or all envelopes. Just click on the icon to the right of the Scrub icon.

e turned off prior to recording automation). Move the knobs, and when you stop the Transport, your automation edits will have been recorded. Play back, and the knobs will move to follow the envelopes.

Once the envelopes are there, you can edit them as you would any automation envelopes, deleting or adding nodes, raising and lowering entire envelopes, or even reassigning an envelope to a different parameter. To do this, click on the envelope line itself while holding down the right mouse button, select Assign Envelope, and tick the envelope to which the current envelope should be reassigned.

The envelope method of automation is equally straightforward. Hold down the right mouse button and click on the track (not an envelope) containing the effect, select Envelopes, and choose the Create Track Envelope option. This brings forth a menu that shows any 'standard' envelopes (aux send, pan, and so on) not already created, as well as another option for the effect itself.

The process of enabling non-real-time envelope drawing is similar to the real-time control method. However, as these envelopes are associated with the track, you access them by clicking on the track and holding down the right mouse button. In the picture on the right, parameters from IK Multimedia's Amplitube are about to be selected for automation.

When you choose the effect, a check box similar to the one for real-time automation appears. This time, ticking a box means that an envelope corresponding to that parameter will appear in the track. These start off as straight lines, but can be manipulated into any shape you want.

As you might expect, if you end up doing track automation and lots of effects automation, the track can become pretty cluttered with nodes and lines. To deal with this, click on the track while holding dow

VST-To-DX Freebie     As this is being written, Cakewalk are offering a 60-day trial version of the DirectiXer VST/DX Wrapper. Go to the Cakewalk home page at www.cakewalk.com to download it. For most readers, the offer should still be in effect by the time this issue arrives. If you haven't used VST/DX wrapper programs, you're missing out. In addition to pro software from software companies, there are lots of great freeware and shareware VST processors and VST instruments available on the web. Being able to use these with Sonar really expands your options. All the wrappers I've seen scan your main VST Plug-Ins folder in order to 'register' them as DX effects. As I have both Wavelab and Cubase installed on my computer, I use the 'VstPlugins' folder (located in my 'Steinberg' folder) for all my VST plug-ins, and tell the wrapper to scan there. If you install a VST plug-in, make sure it ends up in the correct folder. If not, you can physically drag the required DLL file into the target folder.

n the right mouse button, select Show Track Envelopes (found under the Envelopes menu), then untick any envelopes you don't want to see (they still affect the sound, of course). You can always re-enable them again later.

For envelope management on a grander scale, click on the Envelope Tool icon, and you'll see a list of possibilities for turning various combinations of envelopes on and off. For example, if you plan to do any intensive audio editing, it's helpful to select Hide All Envelopes to minimise distractions.

Sonar doesn't read REX files, but there are a few workarounds if you run Propellerhead's Reason as a Rewire device. If you're not familiar with how to get Rewire-compatible devices to work with Sonar, make sure you read last month's column for a complete description.

There are two main options: you can create a sequence in Reason that triggers REX files stored in Reason's Dr Rex file playback module (remember, under Rewire, the Sonar and Reason transports are locked together), or create a sequence in Sonar that drives the REX file. I prefer the latter, as it's more flexible. If the Reason REX file loops continuously, then you'll need to use track automation to bring the Dr Rex levels up and down. When driven by a MIDI file, you can modify the data within Sonar -- for example, just cut out a chunk if you want the sound to stop playing, or edit velocities to change dynamics. Here's the way I do REX files in Sonar.

First, I set up Sonar and Reason to function as Rewire devices, and ensure I've included at least one Dr Rex module in my Reason rack. Then, using Dr Rex's Browse option (accessed by clicking on the fold

Quick Tips     To change the range covered by the meters in the Track View, hold down the right mouse button, click on the meter, and select one of the six available scales. To trim a clip's length with single-sample accuracy, click on the clip with the right mouse button held down and choose Split. Select 'Samples' in the Time Format field, and enter the duration in samples in the Split at Time field. The loop will be split at that particular point; you can then discard anything to the right of the split point. 'Slip-editing' is the preferred technique for trimming beginnings and endings of audio files, because it's non-destructive, and you can always return to the unedited version. But if you do want to remove the hidden audio permanently, just select the clip, and then the Apply Trimming option in the Edit menu. If you do this with a Groove Clip, it will revert to a standard clip. To hide particular tracks, hit the 'M' key to bring up the Track Manager, and untick the tracks you don't want to see. The tracks aren't permanently hidden -- simply bring up the Track Manager again and re-tick tracks you want to see. To constrain a clip vertically when moving between tracks, hold the Shift key while moving or copying the clip.

er icon), I find a REX file I want to use. It's important to make sure that Sonar's Audio Engine is on (the engine icon in the transport bar should be 'pushed in'; otherwise there will be no sound!

I then load the file into the Dr Rex module. Some sample CDs with REX files also come with MIDI files for triggering the audio slices at the right times. If not, it's possible to make one by selecting the 'Export REX As MIDI File' option (in the File menu).

Moving on from Reason to Sonar, I first locate the controlling MIDI file for the REX file, and drag it into a Sonar MIDI track. Alternatively, it's possible to use Sonar's Open command to bring the MIDI file into a new document, and then drag the file over from there.

Next, the correct assignments for Reason need to be made in the Sonar MIDI track. The 'Out' parameter should say 'Reason', and 'Channel' should show the name of the currently selected Dr Rex module in Reason. Finally, I simply copy and paste the MIDI data needed to play back the REX file at the appropriate moments.

Once I've done all this, pressing Play on Sonar (or in Reason, for that matter) will play back the MIDI data in the Sonar track, which will in turn play back the 'slices' of digital audio in the REX player in Reason. The more I use Reason with Sonar, the more impressed I am with the Rewire process...check it out if you haven't done so yet.

Well, we're out of space already, and have lots more to cover. Here's your homework assignment: if you're not using WDM drivers, check the web to see if an update is available for your soundcard. It's worth the effort.