Review: Sonar V-Studio 700

Review: Andrew Bencina

The VS-700C (and 700R)offer extensive control over the software. The 700C control interface is clearly laid out and well built, offering a physical interface that completes this DAW with sophistication and class.

IN THE RACK

All of these professional features would be wasted without some way to get your recordings into the box. This demand is ably satisfied by the new VS-700R USB 2.0 audio/MIDI interface. Arriving in its desktop configuration, it’s a snap to attach the supplied rack wings to the VS-700R and tuck it away in any standard 19-inch rack. Just be aware that the unit requires some breathing space to facilitate ventilation via the side-access fan-driven inflow and outflow ports. ‘Fans?’ I hear you gasp. While not overly noisy, these fans are certainly the most obvious shortcoming of the design, particularly when you consider the unit will be frequently placed on a desktop within easy reach (and earshot) of most users. The front of the unit features a range of well laid out LED indicators and meters and is otherwise completely absent of clutter, bar its solid power switch and rotary sample rate selector.

The rear of the VS-700R is another story, overflowing with I/O. It features: eight analogue inputs via either XLR or 1/4-inch connectors; a very healthy 14 analogue outputs, via 12 TRS 1/4-inch sockets and two main monitor XLRs; and an additional 12 channels of digital I/O via Adat, AES/EBU and coaxial connectors. It’s an impressive 20-in/26-out audio interface (18/24 simultaneous) capable of recording at up to 24-bit/192k. But wait, there’s more… I still haven’t mentioned the MIDI I/O and wordclock sync. To my ears the conversion in the 700R compares most favourably against the mainstay options available at a similar price-point. They didn’t quite replicate the open sound field I’m accustomed to from my go-to RME converters but they were solid and defined nonetheless. Any way you look at it, the VS-700R stacks up with the competition and it’s still got a few surprises hidden away.

The V-Studio rack also boasts eight mic preamps taken from Roland’s M-400 mixer. The preamps have recently received a coveted endorsement from the BBC, which has reportedly placed orders for custom units featuring just the mic preamps. The preamps can be controlled either from the V-Studio 700C console or directly from software. A single gain control is complemented by a range of additional features handled via onboard DSP: Phase, Low-Cut Filter, Stereo Link and a 20dB pad are all accessible both on screen and at the console, with 48V phantom power switchable on a per-channel basis. In addition, a DSP compressor is available on each channel as an insert prior to the signal hitting Sonar. Again, all parameters can be accessed via the software and the console. I must say I was pleasantly surprised by the quality of the preamps. Recordings of both vocals and acoustic guitar were full bodied and clear with a presence that sat very well in a mix.

And just when you thought you couldn’t squeeze any more out of one box you find that the VS-700R also houses the engine for Roland’s Fantom hardware synth. The Fantom can be inserted and edited on-screen like any other VSTi and offers an impressive range of 1400+ sound and effect patches. When Sonar’s really pushing your CPU, the ability to run numerous tracks of high-quality DSP synth outboard without having to connect a cable is a real blessing. I would suggest that the Cakewalk developers quickly revisit the unwieldy preset menu implementation on the Fantom plug-in, but otherwise this synth is the cherry on the cake.

ACROSS THE DESK

Like both Sonar 8 Producer Edition and the VS-700R, the VS-700C control surface would warrant an extended review of its own, were it not a part of this package. It’s been so popular in early demonstrations that it will shortly be available to Australian customers as a standalone device. The centrepiece of the V-Studio 700, it is the integration between the console and software that seems to have most excited users and press alike. At first glance the control surface is impressively constructed and well laid out with just a touch of the Starship Enterprise to delight the Kirk within. It’s broadly divided into five sections, each tailored to either mixing or editing duties. These controls are complemented by three two-line blue LCD displays and a welcome Location or Time display.

Unlike other generic control surfaces, it is intended that you won’t simply mix with the VS-700C but perform almost all editing functions with it too, doing away with the need for the RSI-inducing mouse and keyboard. My personal experience, however, would suggest otherwise. Having filled my available desk space with the console and consigned my keyboard to the shelf, I found I was continually returning to it to enter track names, project titles, as well as naming plug-in presets and exported files. The ability to enter text with the VS-700 console is most certainly an oversight based on the philosophy that accompanies it, one that I hope would be in some way addressed by future firmware updates and product designs.

Aside from this, using the console was a delight. At its heart are the channel strips, equipped with: 100mm motorised touch-sensitive faders; dedicated mute, solo, record-arm and channel select buttons; and a single rotary encoder assignable to any number of parameters. At the press of a selector this eight strip (plus master) section can be used to control a single track and its sends, a bank of tracks, buses, and the adjustment of mic preamp and compression settings from the rack – all with no further configuration beyond your standard driver install wizard. The constantly changing channel and parameter names displayed on the LCD above the console also enable you to keep track of what you’re doing. Having spent a great deal of time configuring other control surfaces this level of immediate feedback was refreshing to say the least.

EDIT SUITE

Editing is accommodated by a combination of Access buttons at your left hand and a Jog/Shuttle wheel at your right. The 16-button Access Panel is entirely configurable from the provided software and can be used to control most functions within Sonar. Four additional modifier buttons are also located here to expand the functions of other controls on the surface. At present you can save Access presets tailored for, say, comp’ing or using AudioSnap. It has, however, been widely requested that the modifier keys also affect the rest of the Access Panel, increasing the number of concurrently accessible functions from 16 to 64. While my initial attempts at using this aspect of the console were a little clumsy, I feel certain that with practice and familiarity, most tasks would become as natural as mouse gestures.

Surrounding the shuttle wheel on your right is an extensive transport and record section featuring punch and loop controls. Also provided here is a series of common project controls like Save, Undo and Enter. Above is the T-Bar, for controlling Sonar’s X-Ray plug-in view and other switchable parameters; and the surround controls including joystick. (It’s important to note that this system can also be further integrated with existing Edirol video editing hardware.) The right-hand panel is rounded out by controls for the two provided headphone outputs and the monitor output from the VS-700R. All three of these can be individually switched between a main and sub-mix. Alongside the headphone output on the front of the unit is also a very handy TRS line input with gain control which can be switched between line level and Hi-Z instrument input. Again, recordings of bass and electric piano were surprisingly clear and present with a solid bottom end the envy of many a direct input. The only gripe I have here is that the placement of both headphone sockets and instrument input means that at some point you will have cables running where you’d prefer them not to. Duplicating these connections on the rear panel would go a long way to solving this.

THE CLOSING ACT

The final and, for me, most usable features of the VS-700C are the channel strip controls: a series of 12 continuous attenuators and selector switches laid out for the immediate control of Sonar’s channel EQ. The ability to turn up your ears and filter any channel as you would with an analogue console without referring to the screen is very good. Switch the section into ACT (Active Controller Technology) mode and we’re rapidly approaching great. First implemented in Sonar 7, ACT maps all the parameters of the plug-in currently in focus to the control surface of your choice – in this case the channel strip controls. Every plug-in I opened was immediately controllable from this panel with no configuration required. Cakewalk is constantly adding to their ACT plug-in presets in an attempt to support all widely used products. However, if you do need to configure the system yourself it’s a simple one-time operation, with ACT remembering your assignments every time you open a new instance of the plug-in.

MONEY OR THE BOX

There’s no doubt that Cakewalk and Roland have delivered an impressive and viable new option for those who want a one-stop solution to their recording requirements. Integrated operation and support is a huge feather in the V-Studio 700’s cap and I can see many Windows users being tempted. Each of the three components included within the package has its own minor issues, but at least you can rely on any improvements being supported by all three. I don’t think you could honestly expect any more bang for your bank out this type of recording package; but perhaps when you compare the competition’s individual components, you may feel like spending a few less dollars. Either way, the V-Studio 700 does the job, just like a real studio.