Re: Sonar 7 Producer Edition Keygen Idm
Teodosio Shepperd
In this review, which covers only the Studio edition (see the note below), I'll take a look at the Sonar 7 package as a whole from the perspective of an active professional audio producer who is making the jump to Sonar from Final Cut Pro and Pro Tools. I've been testing Sonar in my production environment since it came out, so this review is based on my experience using it to produce narrative or long-form audio programs (with some composition of themes or short musical beds) for a news organization in Washington DC.
So if you're an intermediate or advanced DAW user (or just an ambitious novice) and you're wondering if Sonar 7 is for you, read on to find out if Cakewalk's latest and greatest is a good fit for your studio.
Note: Sonar 7 Studio Edition doesn't include all of the extras of the higher-priced Producer Edition. But for the most part, the functionality is the same between the two versions, and the difference is made up by a number of plug-ins and synths exclusive to the Producer Edition. Where the functionality is different, I'll mention it during those specific parts of this review. Also, see the end of this review for some special notes on the Producer Edition.
Many DAW features have become standardized over the past decade or so, to the point where a user familiar with one of these tools can expect to sit down at another and perform basic tasks without much difficulty. Sonar is no different, although it probably has more Cubase than Pro Tools in its DNA. Its heart is a track window containing all the clips on a timeline, and it's possible to perform almost every editing task from this window. You can even do so without activating the Inspector pane on the left, which acts as a single "mixer channel strip" for the selected track.
For audio clips, Sonar has several basic editing tools, but you'll probably spend much of your time with the default select tool. In this mode, grabbing a clip by the edges or corners allows you to trim or fade clips, or edit cross fades. Sonar also has dedicated tools for cutting or muting clips (including multiple-take layers, which is handy), as well as adjusting their automation curves. It's not as elegant as the Smart Tool from Pro Tools, but the system works fine once you adjust to it.
Cakewalk's original background is in MIDI sequencing, and it shows in Sonar. It's possible to open MIDI clips up in a variety of editors, including a musical staff and a standard piano roll, or to move and trim clips on the timeline just like audio regions. But Sonar also includes a piano roll view (PRV) mode for editing MIDI data in place on the timeline itself, and it has powerful tools for making this as usable as possible, so that you're rarely tempted to leave the track view. We'll discuss this in more detail later on.
In addition to that track view, there are a couple of other project-oriented windows that can be very useful. The console view, for example, makes mixing a little bit easier to visualize by representing the tracks as channel strips on a virtual mixing board. There are also specialized task windows, like the video view for doing post-production, or the navigator for moving around a large set of tracks (very similar to the same feature in Photoshop).
In what you'll soon see is a major theme for the program, Sonar allows these windows to be customized at an obsessive level of detail. They can be undocked from the confines of the main window (very useful on dual-display systems) or set into tabs under the track view. The contents can also be changed, with varying results for each view: the console's channel strips can be expanded or simplified greatly, and most display windows offer control over the view parameters, including font and format.
Overall, I adapted reasonably quickly to Sonar, and its learning curve didn't seem too steep for novice users, but it's true that it's not the gentlest introduction to digital audio production. The default screen presents users with a lot of icons, and the online help seems to have been updated in parts over the years, without much proofreading. The printed documentation is mostly limited to some basic tutorials, but the DVD does include a well-written manual as a mammoth 1,586 page PDF. I highly recommend that Sonar newbies copy the manual to their desktop and keep it open while learning the ropes.
Space-based imagery now provides the GIS professional with the ability to monitor isolated regions and minority groups at risk of environmental exploitation and human rights abuse. Increased economic globalization and climate change pressure will likely increase the frequency and intensity of regional ethnic and resource motivated conflict. Although the use of high resolution satellite imagery for monitoring human rights abuse was proposed even before the conflict in the former Yugoslavian state of Bosnia, only in the last decade has satellite imagery of sufficiently high resolution become available for mainstream human rights applications. Operators such as GeoEye have provided metric earth observation and analysis with satellites such as IKONOS 2, which travels in a roughly 423km altitude polar orbit around the earth.
I was invited by Survival International, a human rights organization focused primarily on indigenous groups around the globe, to look closely at the Grasberg mine complex in Irian Jaya (West Papua). This request followed previous studies I had been involved with in southern Sudan and Zimbabwe (1-2). We applied to the GeoEye Foundation for satellite imagery data covering this region.
The intention of this particular human rights study was to monitor mining corporation activities in these poorly documented regions. Very few maps and data are available for these areas due to their inherent inaccessibility. It should be noted that severe passive opposition (such as placarded marches, public awareness, use of national and international media, etc.) and active opposition (including deliberately damaging equipment, damaging fuel lines, etc.) near the Grasberg mine has resulted in concerted media interest world-wide. Access to this region is significantly restricted. The recent deaths of two U.S. journalists and the West Papuan leader, Kelly Kwalik, close to the mine in late December 2009 only served to heighten existing tensions in the Irian Jaya region. Kwalik had advocated passive resistance to the occupation of tribal homelands by Indonesian military forces.
A key challenge for confirming human rights abuse allegations is a rapid response to the claims and reports, which often lack precise locations on the ground. Effective and timely response by the international media and non-governmental organizations (NGOs) is hindered by not knowing the size of affected areas, or distribution of numbers of people affected. Furthermore, there is often unwillingness by the local governments to permit access to foreign press members who might verify poor living conditions or provide humanitarian relief to potential "enemies of the state." These fears create a xenophobic response to outside influences. This is evidenced by the rapid response of the international community in the aftermath of Cyclone Nargis in 2008, which was sadly short-circuited to a great extent by the reticence of the Burmese authorities to receive aid.
There has been considerable concern about the indigenous Amungme and Komoro tribes, with the expansive growth in the Grasberg mine. This mine is operated by Rio Tinto (a U.S. registered company) as a 40% joint venture partnership with Freeport McMoran Copper and Gold (FCX) run in partnership with the Indonesian Government. PT Freeport Indonesia (PTFI) is a subsidiary of the U.S. company, Freeport McMoran Copper and Gold Inc. Freeport McMoran Copper and Gold Inc. is listed on the New York Stock Exchange, and PTFI is listed on the Jakarta Stock Exchange. This mine is the largest gold mine in the world and the third largest copper mine - a significant factor in the Indonesian economic sector.
A relatively recent (2006) and comprehensive report (3) by WAHLI - the Indonesian Forum for Environment, the environmental watchdog of Indonesia - stated significant concerns over Rio Tinto's continued failure to address human rights and workers' rights, as well as shortcomings in environmental protection. The report listed the following: legal breaches, copper wastage and pollution, engineering inadequacies, vegetation smothering, tailings toxicity, estuary habitat destruction, contamination of estuary food chain and ecological disruption.
WALHI's recommendations were very forthright. It recommended that the government immediately enforce national environmental law by halting Freeport-Rio Tinto operations until breaches were remedied, undertake its own thorough and regular sampling, re-examine tax and royalty arrangements, and establish an independent panel to define various issues including processing and waste management. Local communities protesting against environmental and cultural damage by the mine's expansion and operations have been subject to a range of measures including harassment, torture and even murder. It is on such grounds that the Norwegian Pension Fund finally disinvested from Rio Tinto in 2008. For the Amungme and Komoro tribes, the reduction of the once magnificent Mt. Grasberg, one of the largest peaks of the Sudirman range of West Papua, to an intensely excavated plateau has been quite devastating. Tribes were forcefully relocated, leaving thousands of indigenous people removed from their traditional farming and food gathering territories. Moving Amungme to the more tropical lowlands brought people without natural malarial immunity into contact with malaria carrying mosquitoes, which has led to an increase in mortality rates.
The vast Grasberg copper and gold mine (figure 1), at over 2.6M hectares, was first prospected thoroughly by Dutch geologists in the 1930s. It comprises several delicate ecosystems - alpine meadow, wetland and mangrove forest - which make this environmental site world-renowned for its range and diversity of flora and fauna. The mine is seen at the left with glaciers at the right. The accelerated rate of mine and infrastructure development and consequential environmental destruction are set against a backdrop of rising tension. The strong indigenous desire for West Papuan independence, which began during the Indonesian occupation in the1960s, places Grasberg's Freeport mine as a strong contender for the worst case of environmental and human rights abuse of any mining project currently underway in the world.