Using SoundFonts With a Sound Card in SONAR

Although Sonar supports DXi software samplers, many musicians still prefer using a SoundBlaster Live or Audigy sound card for SoundFonts. Playing SoundFonts through a sound card's hardware has several advantages over using a software synthesizer: There's no burden on the computer's CPU, the response time (latency) is immediate, and it's one less plug-in to fiddle with.

Recording a Vocalist Playing Acoustic Guitar

Point to Point III - Debra Soule

Vocals

The vocals on this song were recorded as several distinct chunks:

1. A single track of lead vocals on the verses and the bridge
2. Doubled lead vocals on the choruses backed with a single track sung an octave up
3.

Point to Point III - Debra Soule

Guitars

Most of the guitars on this track were cut with one mic on the guitar cab, and one mic in the room. Usually this is done to provide some mixing options - close and distant. However on this song I was able to use both tracks effectively.

For example, on the "tapping" guitar part that starts the song I could have only used one track, and panned it.

Point to Point III - Debra Soule

A Little Piano

Listening through the rough mix that Rob had provided me, it was apparent that there was a piano part that doubled the bass line. Since I had decided to base the verse around the bass part, this doubled line was very important.

Point to Point III - Debra Soule

Mixing the Drums

On this song I was presented with some unusual and creative drum tracks to mix. As Rob explained, the drum kit was made to sound very trashy. No mics were used on toms, as they were not played.

Point to Point III - Debra Soule

A Learning Experience

Mixing a CD remotely was a true learning experience. Usually, when tracking a CD, either I am producing the CD or I've been working with a producer since the outset, so I am either setting the artistic vision for the project, or I'm in constant contact with the person in charge of the vision.

Point to Point III - Debra Soule

The Guitars

The main guitar riff was played on a 1969 Les Paul through a Marshall Valvestate ½ stack. However, in order to get an extra level of overdrive it went through a Roland GP-100 before it got to the Marshall.