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She supposed it started when her 11-year-old self picked up her first copy of A History of Magic, eager to gobble down any and all information she could about the new world she belonged to. Still, as much as spells and divination fascinated her, it was the tale of Harry Potter, the green-eyed wonder who had defeated the Wizarding World’s most terrible foe, that had captured her interest. As the years passed, Hermione’s adoration changed from that of a fangirl to a friend to finally something indescribable. Still, Hermione had never adored Harry more than right this moment: Standing together, hands clasped in comfort and solidarity, overlooking the scenery of some unknown Apparition point.
At first sight, Cakewalk's new virtual studio suite might seem like a Reason clone — but it's actually a highly individual product, which offers a new and unique approach to creating music from patterns, sequences and loops. The first thing you notice is the packaging: a transparent, minimalist plastic box that states 'I'm different'. Admittedly, Project5 (P5 for short) is superficially like Reason, as it contains soft synths and doesn't record digital audio.
P5 is sort of a 'normalised' version of general-purpose software, based on a pattern paradigm rather than linear recording.
The more I worked with P5, the more it felt like an instrument, complete with the learning curve required by a different kind of workflow.
The overall look has evolved beyond the usual Cakewalk treatment: data fields glow green, with muted blue and grey backgrounds reminiscent of Certain German Sequencers. The final fixed element is the Mix strip along the bottom, where you can set aux send levels, adjust track-redundant volume, pan and stereo width controls, and use the MIDI and Audio effects bins to insert MIDI or audio effects. Other windows (the P-SEQ Pattern Sequencer, pattern bin for viewing stored and current patterns, and the various soft synths) are more like modules that can dock or float, which is very handy for dual-monitor setups. P5 is based around patterns, and they all (except for Acidised audio) have their birthplace in P-SEQ, where you create, edit and import patterns, as well as add automation. The top half shows the Tracker, with a Tempo Delay processor and the Pattern Bin floating over it. But the more important aspect is the ease with which you can work with patterns in a single track. P-SEQ has its own pattern management strip to create patterns, send them to tracks, copy them and so on. This sample-based drum machine is like a junior version of the FXpansion DR008, with a more 'vintage', knob-driven interface (and you gotta love how the knobs light up when your cursor passes over them).
Presets include 808 and 909 kits, along with 18 others: seven trance kits and one-offs of various other styles. I really like the fact that you can ring-modulate or frequency-modulate the two bass drum modules, which you can also do with toms 1+2 and toms 3+4. You can save and load individual drum sounds, as well as kits; and almost all the parameters (including mute and solo) are automatable, which is a major plus with this type of device.
This analogue emulation synth is rich with programmable parameters and plays up to 64 voices.
Almost all stages can be disabled to save CPU power: running all the filters, oscillators and envelopes at maximum polyphony requires a fair amount of juice, but doing a simple bass part in mono mode takes up almost nothing. You can hard sync or ring-modulate the oscillators, change their relative phase, and apply two types of FM.
At first, I was somewhat disappointed with the sound, and found there was aliasing with certain patches, particularly with the filter opened up. Cyclone made its debut in Sonar 2.0, and lets you load standard or Acidised WAV files on 16 MIDI-triggerable 'pads'.
With Acidised files, Cyclone recognises the individual slices, and displays the sliced waveform in the waveform display window. Cyclone reminds me a bit of programs like Recycle and Phatmatik Pro, although they don't allow rearranging slices, which is one of Cyclone's coolest features.
P5 has over 90 DS864 programs including orchestral (solo and small section), some fine pianos, a toolkit of 'dream house'-oriented patches, Kodish Drum & Bass, several basses, and Afro-Cuban percussion from Q-up Arts' Latin Groove Factory. Editing sample velocity and pitch ranges is made a lot easier by the ability to zoom in by 200 and 400 percent to see more detail. To add Acidised loops (or just plain WAV files), you insert a Groove Player Engine instead of an instrument into a track.
Because a Groove Clip can show up as audio in the P-SEQ window, I hoped you could split it as you would a MIDI pattern — P-SEQ begs to be used as an Acid-style 'trimmer' for cutting bits of an audio waveform and dragging them into the Arrangement pane, but this is not possible. A very minor inconvenience is that you can't drag and drop files into either the Groove Player Engine or track in which it resides, but need to use a file import option.
Fortunately, you can copy and paste automation data effortlessly, so if there are, for example, a dozen places in the song where you need to add a quick fade after slip-editing the end or beginning of the loop, you can do so pretty rapidly on a track basis; if the fade needs to be on every repeat of a loop, then you only need to apply it once, and all instances will be affected. Synchron32 includes a scrolling octave slider to display different note ranges, a controller amount knob for each step (and you can have more than one controller per step), flam and legato options for each step, and a bend amount control, also for each step. While this is extremely useful, I have two wish-list items: first, I'd like the window resizeable, as I often want to see more than one octave's worth of notes at a time.
There are a couple of cool extras: Synchron patterns can be triggered from a keyboard controller, which is useful if you want to create an elaborate patch that includes sequenced rhythms, or for live performance applications. There were a few rare occasions where exiting P5 caused the computer to crash; Cakewalk says this is most likely due to a driver or plug-in not releasing memory when P5 closes. Other than that, I also found a bug with the DS864 automation; if you close its Properties page, on playback any automation stops rendering. For a version 1.0, that's a pretty minor list of complaints, and I was very impressed with the overall stability. As someone who has used both Reason and Project5 extensively, I frankly see more differences than similarities. In terms of effects, P5 has the advantage: they're a bit more complete, and the automation is great. Beyond these obvious differences, though, the programs have different personalities and intentions. P5 comes with a bunch of effects, and their parameters are automatable, which is good news for Sonar fans who buy P5.
Classic Phaser has a rich-sounding 'quad' mode that gives wider imaging and more animation than the mono and stereo settings. Mod Filter features an envelope generator (which sounds like it's basically performing a mathematical integration, with attack and decay providing slew control) as well as tempo-sync'ed LFO mode offering sine, triangle, square and S&H. Para-Q is a basic dual-stage true parametric EQ, but of course, the ability to automate the parameters can make it an 'effect', not just a basic EQ processor. Project5's 'rack' effects are far from an afterthought, and their wealth of automatable parameters can add tremendous interest to a piece if you work the controls in real time.
Bandshift, a frequency shifter that changes tonality by adding or subtracting constants to the high and low bands.
Trace sounds like what happens if you over-apply a noise reduction algorithm so that it removes significant amounts of signal as well as noise; it adds a sort of underwatery effect. I don't have the vaguest idea what Accumulator does, but the end result is sliding tones, glisses, hard reverberation, and other really fun stuff. Transpose is a real time pitch-shifter that gives slurpy sounds when transposing down, and metallic, reedy sounds when shifting up.
Cakewalk purchased the VST-DX Adapter 'wrapper' technology from FXpansion, and P5 includes the latest version.
The process of 'wrapping' your VST devices is simple: run VST-DX Adapter 4, wait while it checks out your devices, then when it's finished, do any needed tweaks (for example, effects that respond to tempo sync should also be registered manually as instruments).
P5 can export in WAV or MP3 format, but the MP3 encoder costs $19 (obtainable through Cakewalk's web site; if you've already purchased an MP3 encoder for Sonar, though, the support folks will get you up and running with that).
Once you activate the MP3 encoder, you have several options not commonly available in other encoders — specifically, additional ways to trade off fidelity and bandwidth with different stereo modes and filter options.
The profile for one representative kind of P5 user would be someone who has a few Korg Electribes and wishes something with that kind of vibe and capability existed on a virtual level. Project5 is a distinct departure for Cakewalk, but it fills a niche that has not been addressed in this kind of way. Registered Office: Media House, Trafalgar Way, Bar Hill, Cambridge, CB23 8SQ, United Kingdom.
The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. While flying to LA for this weekend’s 3 person exhibit at Thinkspace Gallery, collage artist Derek Gores apparently got a little light-headed (home state of Florida not offering much in the way of high-altitude experience, you understand).
Doug: If it looks like a duck, and quacks like a duck, we have at least to consider the possibility that we have a small aquatic bird of the family anatidae on our hands.
Frank:  The act of painting is about one heart telling another heart where he found salvation. At present, I am mainly observing the physical motion of mountains, water, trees and flowers.
Doug: (glances at Egon) Isn’t it enough to see that a garden is beautiful without having to believe that there are fairies at the bottom of it too?
I remember as a kid my dad showing me those long exposure portraits of Abe Lincoln from the Civil War days, and thinking that you could sense the extra time in the picture. On the one hand, she was finally, finally, meeting the boy who had plagued her thoughts nonstop in the months prior to her arrival to Hogwarts. How could she not feel some level of unabashed adoration for the boy who she would forever associate with First Year jitters and the excitement of a new world?

Then people came upon particular combinations of modules that worked well together, and the 'normalised' synthesizer was born.
It includes a collection of essential instruments and effects, handles automation and external controllers, and can import and loop Acidised WAV files (and standard WAV files, although they won't time-stretch). There's a lot going on here, so it's no surprise many of the icons and controls are quite tiny. For example, with the horizontal scroll bar, clicking and dragging horizontally scrolls horizontally, as expected. Once the pattern is created, you can then transfer it over to a track for editing, looping, copying or just standard playback. You can create variations on a pattern (or patterns) within P-SEQ, then bounce them to the track at the current Now time. When step recording, you can specify the number of steps, note duration, whether velocity is constant or set by your MIDI controller, and toggle overwrite or sound-on-sound modes.
As P5 is Rewire-compatible, it also has the potential to serve as an instrument rack within Sonar, Cubase, Live, and so on. This defaults to a grouping of eight controls (although Registry editing can change the default number — mine is set to 16), and these controls can be assigned to parameters from their corresponding instrument. It loads kits included with P5, or LM4 kits; you can also make up your own kits from WAV, AIFF or LM4 samples, then save the kit. You can layer up to 32 samples per cell, each with adjustable gain as well as high and low trigger velocities.
They're useful, but the 'wow factor' enters when you automate the filter and envelope parameters — the drum parts start to really 'breathe'.
This is a good thing, because I found some of the timbres wonderful except for a dullness in the sound, or lack of punch.
Basic specs are four oscillators with variable width, multiple waveforms (sine, triangle, square, positive sawtooth, negative sawtooth, and noise), and a separate sub-oscillator that uses the selected waveform; there are also five six-stage envelopes (DADSR, with an additional Slope control that provides a post-sustain decay stage, along with three choices of slope curves), three LFOs with the same waveforms as the oscillators plus delay and phase controls, and separate modulation options for each envelope and oscillator. The interface, despite having to manage a large number of parameters, is easy to use; the ballistics on the controls are very smooth (it is possible to oil the shaft of a virtual potentiometer?), and support mouse wheel scrolling. This is also important because Psyn is not multitimbral, so for multiple sounds, you need to insert multiple Psyns. For wide-range hard sync effects, you can 'double up' the LFO modulation by using two sends to the same destination.
However, I had missed a very important feature: a right-click on the Psyn volume control lets you enable 'high quality' mode.
But in addition to letting you treat Acidised files as individual entities, Cyclone can also work with them at a 'granular' kind of level in the Pad Editor display (along the bottom of the window). If you like wave sequencing effects, you'll go nuts over this instrument: the multiple outputs and ability to do odd time signatures are icing on the cake. However, there's no velocity or pitch crossfading; and unlike higher-end soft samplers, there's no way to select multiple samples and edit them simultaneously, nor can you view the sample waveforms or set loop points. However, the DS864 window is not resizeable if you want to be able to see more of the keyboard range at a glance. The non-DP8 formats transfer sample key mappings and loop points faithfully, but there's no attempt to translate filter and envelope settings. However, if your Groove clips are saved in your Patterns folder as patterns or otherwise in the Pattern Bin, you can drag them into the arrangement.
According to Cakewalk, automatic fading for cropped loops will be available in a future patch.
Also, Synchron is handy for creating drum patterns because it displays the drum voice names in its note pane when patched before a drum synth.
I certainly prefer crashes on exiting rather than while working, so tracking down which rogue plug-in upsets P5 isn't an especially high priority for me. I alerted Cakewalk to this, who confirmed the bug and suggested a simple workaround until they post a patch: launch the Properties page for that instance of DS864 so that it is always 'floating'.
P5 doesn't have Reason's 'instant gratification' factor; with Reason, when you call up Redrum, you can immediately start generating patterns thanks to the integrated pattern generator.
With P5, if you played the drum part in via MIDI, it's not only in the track, it can be split, looped, and slip-edited, which is easier than moving data around in a standard sequencer.
Reason is a self-contained, easy-to-navigate environment, whereas Project5 is more 'virtual', decentralised, and accepts external instruments and effects. Most of the effects (with the exception of Spectral Transformer, described later) are somewhat standard, so I'll concentrate on their more unusual features.
As the threshold is also automated, you can assign this to a physical controller for effects such as raising the threshold on a drum loop to let through just the peaks of the snare and kick, then lowering it when you want percussion, hi-hat, and so on to come in as well.
Normally I don't use this kind of effect a lot, but it's a wonderful addition to the Npulse drum unit when you want to give its darker, 'analogue' sounds more presence. There's an overdrive effect and a manual mode, but thanks to automation, manually adjusting LFO and envelope parameters in real time gives a different type of 'manual' mode.
The bright cathedral really does sound like a bright cathedral, which is difficult for any reverb to pull off, let alone one bundled with an integrated studio program. I'm sure many of you have found the joys of altering delay feedback and level in real time, but throw EQ into the mix, and it's a whole different world. Admittedly, it sounds like the name of a Marvel Comics superhero, but it's actually based on phase vocoding, where audio is converted into a series of frames representing the spectra at a particular instant; these are then transformed to create the various effects. The bad news is that Spectral Transformer can be a CPU hog — you're not going to have one of these babies on every track.
This program looks at your VST Plug-ins folder, 'registers' each one (if it can — some VST plug-ins, like Steinberg's A1 synth, are keyed to a particular program), then somehow convinces DX-based hosts that the VST Instrument or effect is compatible. Another tweak is that you may need to specify a window size in pixels if the instrument size changes: VST-DX sometimes gets stuck on a smaller size. I was not able to figure out how to use the free MP3 encoder described in April's Sonar Notes — too bad.
Frankly, the differences were not that astonishing; compressed audio is compressed audio, and you can take that only so far. It seemed anything I wanted to do could be done more comprehensively, and with more detail, within Sonar. The change occurred when I learned to be a partner with the way P5 wanted to do things, rather than trying to force it into habitual work modes. You may not feel that way when you first dive in, but at some point, it hits you that this is either a different kind of musical instrument, or a different kind of music software. The program may not be for everyone, but those into pattern-based music will feel they've arrived in a world that understands their needs and dreams. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents.The views expressed are those of the contributors and not necessarily those of the publishers.
In his delirium, Gores was convinced that on board the plane were 5 of his idols and that now would be the perfect time for an impossible interview. My best guess was that I already know lots of boy stuff, and that girl stuff was more mysterious to me. One is everywhere reminded of similar movements in the human body, of similar impulses of joy and suffering in plants.
I think that is part of the origin of my interest in making my work not feel like just a frozen moment.
She still didn’t quite believe she would soon be joining the world where such things were possible.
When he learned that Hermione was also from the Muggle world, he delighted in debating the pros and cons of books and music. While not as versatile as modulars, they were more streamlined, efficient, and optimised for a particular kind of task. But the normalised synth analogy breaks down eventually too, because P5 is expandable with other VST and DX devices. It's important to bear in mind that Project5 is not limited to a specific music style, though its pattern-oriented workflow is generally associated with dance music. It forsakes hardware paradigms in favor of a more 'virtual' approach — you won't find patch cords here, but you will find a highly customisable and productive workspace. I tested P5 with both ASIO and WDM (using Creamware's Power Pulsar interface), and it worked equally well with both protocols.
It also contains return controls for the four aux busses, master stereo buss level with metering (no surround, sorry), and a button to show or hide the aux busses and master level controls in the SYN.OPS section.
But clicking and dragging vertically changes the zoom resolution, and dragging diagonally changes both. This works like a drawer, and has been extended somewhat to the left, obscuring part of Psyn but giving more room for viewing P-SEQ data.
Double-clicking on one of the patterns in the main part of the Bin transfers it to the lower Preview Bin for previewing. P-SEQ patterns within the same track can have different MIDI outs, which is useful with multitimbral instruments. My key to success with P5 is using P-SEQ as a scratch pad, then transferring the results over to the main arrangement page. There are separate drop-down menus for snap resolution and note duration, and a link option (cool!) so that changing either causes the other to acquire the same value. Several processing modules, such as the amplitude envelope and filter, help shape the individual sounds.

The modules have subtly different parameters to optimise them for the various sounds (for instance, the hats have tune and level controls, as does the tom control.
Modulation can be routed to individual or all oscillator levels and width, and individual or all filter cutoff and resonance, but not envelope parameters. But I'm also a big fan of the Unison button, which brings back fond memories of old Korg synths.
There's also a feedback control, but for some reason I couldn't get it to do anything particularly stunning. Each pad has controls for mute, solo, level, pan, load sample, sync to tempo, loop, velocity range, MIDI input channel, and root note. This is where you can rearrange the slices within each pad and move them to other pads, as well as delete, layer, and edit their pitch, level, and pan (although unfortunately, these parameters cannot be automated). With the right samples, a smattering of technique, and a good musical sense, you can do entire tunes with just this module. Add these to the 124 P-SEQ MIDI patterns, and you have more than enough to get started, even if your sample CD collection is modest. And although you can layer samples on the same keys, there's no easy way to select samples hidden underneath other samples.
I wish it was a 'drawer' you could drag on top of the controls for those times when seeing the key mapping is more important than seeing the controls.
A bigger problem is that you can't add a fade-out or fade-in to the audio clip, Acidised or not. Overall, being able to use Acidised files is a huge plus for the program, because it puts audio on the same pattern-oriented footing as the MIDI-based parts. You can also minimise it to keep the page active, but out of the way of whatever else you're doing. With Project5, you need to choose a drum module (Velocity or Npulse), load it into a track, then use the Synchron32 MFX or a keyboard controller to create a pattern. On balance, Reason has an edge on speed when creating parts, but P5 has the edge when editing them.
Reason's drum set uses samples only, while Project5 has a drum module for samples and another that's basically a 12-voice synthesizer. The approaches to sequencing are also very different; Reason follows a linear recording paradigm, whereas P5 is pattern-oriented. Although the documentation states there are four LFO waveforms including sample & hold, there's actually sine, triangle, and a pseudo-random but periodic effect. It can help create some glorious resonant, whooshing sounds quite unlike other flangers I've heard. Furthermore, although the help file points out the cool live performance effects you can get with Spectral Transformer, the heavy-duty calculations also mean increased latency.
VST-DX is pretty tolerant, and if something doesn't register initially, run the configuration utility a few more times and it probably will.
However, the MP3 encoder has some unusual features, like different types of stereo that use up less bandwidth, and separate high-and low-pass filters. But at low bit rates, some modes produced better sound quality with some types of program material. But reviews being what they are, I was of course obliged to explore the various nooks and crannies of the program. I felt as if I was a guitar player who saw a piano for the first time, and just assumed the way to play it was to open up the top, and pluck the strings. But I can also see this as a great tool for audio-for-video work, DJ tracks, and even New Age and ambient types of music.
And it's not just about dance music; one late evening an ambient, haunting sort of tune with lots of synchronised echo just kind of popped out while I was fiddling about with the program.
Nothing overly spectacular about him–except for his unnaturally green eyes and she was certainly not going to dwell on those eyes. And Harry, her Harry, despite all the turmoil he himself was going through, gave his last ounce of support and strength to her. For instruments with multiple outs, each Track has a selector for choosing a particular output. The Mix section (lower left) has bins for MIDI and Audio effects, as well as aux send controls. In addition to letting you access Patterns stored on disk or those currently in use, P5 also saves patterns that were created in the current project but either deleted or never sent to a track (being MIDI data, these patterns take up virtually no disk space). Its approach is the opposite of, say, Sonar's: whereas Sonar can do linear recording then let you break that down into separate bits you can move around and edit, P5 is designed to let you create the little bits, then combine them into a bigger structure. However, the tom's Drive control is replaced by a Band-pass filter frequency control on the hats). Of course, there are all the standard features too: oscillator transposition, portamento, bend range, and so on. Even when out of high-quality mode, though, you can get some great sounds out of Psyn, especially with bass and evolving pads. If you need to do a lot of editing on a program with multiple layers, it's easiest to make each layer a separate program, and assign them all to the same MIDI channel so they play simultaneously. Speaking of which, a great envelope generator parameter called Time scales the envelope durations. With most files, this won't matter because the beginning and end should already have been trimmed and faded properly.
Subtractor doesn't have as many programming options as Psyn, while Malström is more innovative, yet P5 has the amazing Cyclone. Try setting two of these patches in series, such as Stereo Flanger Resonant followed by 12-Voice Ensemble. It's possible to compensate a bit by trading off detailed sound for speed, but the shortest delay I could get was 11ms.
And if you own any other Direct X programs (such as Sonar), they will also be able to use the VST Instruments and effects. There is a new Westin that catches room rates above $250, a Four Points by Sheraton which sells for $150 and a full service Sheraton Lima, which can be had for as low as $75. I look to find the strength and the individual on the canvas, even when it is out of my head. And if her heart broke for the Boy Who Had Never Really Lived, she just tucked it away, determined to ignore the rapidly developing feelings and focus on the fact that she finally had a friend.
His eyes, just as startling green as they were when she first saw them still spoke to her,  Just keep going.
The Track controls then affect this output, and you can even choose different effects for different outputs. This is considerate — I've often created patterns that seemed cool, but didn't fit in context so I deleted them. The presets included with it are fairly representative, but if you're into synth tweaking, it won't take you long to discover what Psyn can do. Assign this to your mod wheel for bass patches, and you can go from more percussive to more languid effects in real time. But if you slip-edit an audio file (to create a space for a breakbeat for example) and there's a click, you have to draw in a fade at that point in the track automation.
A partial workaround is that you can right-click in a track, specify a Synchron pattern, and 'roll it out' as you would any loop — but if you want to make small changes, you still need to go back to Synchron and actually build the changes into patterns.
I'd give Reason's NNXT sampler props for an easier-to-use interface, although functionally, the DS864 is fairly similar. This was the first time that I really noticed the lack of an 'apply effects to track so you can put them away and let the CPU not work so hard' function. You can't expand the track to see which outputs are in use; you'll have to scroll through the list.
The bottom line is that I suspect I'll be using this a lot as a DX effect within a digital audio editor to process audio, then bringing the results into P5 as a WAV or groove clip file. There was a large group of 20+ people in line wit 2 check in agents working through them slowly and individually.
I did not want to let it go and called for the GM but he was sleeping soundly.I got a room assigned but asked if any suites were available. My Starwood Platinum status shoudl give me access to the best room available at no cost incl. The agent found one and changed my room keys after another 10 minute wait.This was officially the slowest check-in of my life!
2 agents working a crowd of 45 people at night with lots of bureaucracy.The suite itself was huge and consisted of two big rooms.
My adventure to get a local SIM card would keep me busy for the rest of the morning (but that is for anther post).When I returned the GM had called and sent up a cheese plate.
It's about 20 minutes (without traffic) from Lima airport and a good place for a short Lima stay.

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