Arpeggios - Sonar vs. P5's

Comparing them is like comparing night and day. Project5s arpeggiator is quite an advanced arpeggiator and can use Project5 patterns as its "rythym" allowing you a lot of custom control over the sequences, as well as having more than a few preset patterns. Its much easier to use (IMO). The Sonar arpeggiator also comes with Project5.

Wow, I did not know the ion had 4 arpeggiators. Does the micron have the same. If so, that would be a "cheap" buy.

Sounds interesting. Did you consider the novation xiosynth? It is newer and is more up to date, but still does not have as many hands on controls as the ion. It does interface with a computer very well.

ORIGINAL: b rock

Right now, I'm trying to show some restraint, until I can bear to part with the chunk that a Dave Smith Poly Evolver will require. I don't know why I'm fighting that ... it's inevitable.

I'm waiting for at least 8 voices and 4 parts of multi-timbrality. If they could do 8 voices and 2 parts in the early eighties, I'm sure they can do it today. Ultimately a Dave Smith Poly Evolver w/ 16 voices and 4 MIDI parts would be the bomb. Price it at $3,000 or less.

In the meantime, and believe me I am a confirmed analog purist, I am very impressed with the Korg Radias range, which has now "evolved" (no pun intended) to the R3 (very inexpensive) and the EXB-Radias board for the new M3 workstation. True, not an OB-8, but a very warm, phat sound that more than any other hardware VA takes me back to those great times.

An R3 is definitely on my list.

I've been using the Ion for a few years now. Many of the alternatives mentioned weren't available at the time of purchase. Also, my setup has been evolving for much longer than that. So any new additions have to blend in with a quirky mix of analog KBs, rack modules and FX, homemade electronics, and newer pure digital. MIDI is often the common thread.

the way I understand it, is that the arps are fixed.

I'm not quite sure what you mean here. The 'patterns' are rhythmic overlays on whatever notes are played in. Those are effectively transformed into many more overlays by exposing more or less of the pattern length. Your keyboard chops control the 'rhythm over the rhythm' underneath. The length parameter is also the 'loop point' for the rhythmic qualities, so four running in parallel offers an astounding number of variations.

All of those can be adjusted as you play, as can the note order, spanning, tempo divider, etc. I mentioned flying in four Parts and blending the 4 distinct arps that come along. There's also storage for 512 presets, each with another base combination of four arpeggiators. For some situations, I've almost duplicated a preset audibly over a handful of preset slots. The difference being each has a unique base arpeggiator configuration. So, within four clicks on a foot pedal (program changes), 16 base arp setups figure in to the same performance situation.

It may sound complicated, but (believe me) I've set it up to be as easy as possible. Most of the time, I have to play keyboards with a slung guitar in the way.

To apply it: Process -> MIDI Fx -> Cakewalk FX -> Arpeggiator.
In a track: Right-click in the FX bin of a MIDI track. MIDI Plugins -> Cakewalk FX -> Arpeggiator.