“By putting together hardware and software CI2+ provides everything needed for intuitive music production. With a high-quality audio interface, professional microphone preamps, a controller section, and the perfect software, CI2+ turns out to be a very nice bundle for ambitious beginners.”

— Beat, Issue 60, 2010

“The USB connection is great. The sound is great. It looks great.”

— Gearjunkies.com, 2010
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“Especially with regards to the included software, the CI1 and CI2+ audio interfaces are high quality, yet affordable solutions for those wanting to enter the world of digital music production.”

— KEYS, Issue 8, 2010

“Steinberg's CI2+ Production Kit provides everything you need to record and produce music, comprising both hardware and software.”

— PC Professionale, Issue 253, 2012

“The CI1… includes 'lite' LE versions of Steinberg's Sequel composition software and WaveLab 7 2-track editor. These are great little programs and make the CI1 an even better value, but I think the CI1 will also be of great interest to non-Cubase users who want a very affordable and robust Yamaha-made 2-in/2-out interface minus the AI hardware features.”

— Recording, 2010

“Thanks to the integrated controller section CI2+ is not only suited for ambitious beginners, but also for seasoned pros looking for a mobile solution to record their ideas on the fly.”

— Soundcheck, Issue 9, 2010

“With their new CMC Series of MIDI controllers, Steinberg have eschewed the all-in-one, do-it-all concept adhered to by most control surface manufactures in favour of a modular approach.”

— Computer Music, Issue 177, 2012

“Employing these controllers together with your DAW increases both comfort and usability. The Steinberg CMC controllers perform well, the functionality for which they have been designed makes work smooth and easy.”

— Computer Music Studio, Issue 4, 2012

“The modular approach allows for a huge variety of ergonomic placements for just about any setup. What's more, these clever little devices play nicely with other control surfaces.”

— Electronic Musician, Issue May, 2012

“… I’ve been able to use all of the controllers on actual sessions, and yes, they indeed make a difference… Steinberg has taken a novel approach to DAW control, and the CMC series delivers an ergonomic, cost-effective way to interact more fluidly with Cubase and Nuendo.”

— Harmony Central.com, 2012
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“The small price tag makes them available for every musician and the modular concept makes them stand out.”

— Musikermagasinet, Issue 2, 2012

“Any user working with these controllers will certainly be able to expedite their workflow…”

— Recording Magazin, Issue 3, 2012

“The functionality and flexibility of the CMC series is very impressive. Serious users will appreciate being able to build a control environment that suits their specific needs, while existing Cubase users on a tighter budget can start small and develop a system over time without too great an initial investment.”

— Sound On Sound, June 2012
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“Each CMC unit corresponds to a specific feature set from Cubase — it’s as if a part of the GUI has been taken from the screen and now sits nicely on your desk.”

— Studio, Issue 1, 2012

“It's an absolute compulsory upgrade for existing users, and very much worth checking out for everyone else.”

— Computer Music, Issue 188, 2013

“Steinberg impresses with Cubase 7: it is a strongly enhanced DAW, which stands out with its new MixConsole, flexible layout and channel strip, channel window, Chord Track and Composing Assistance, Voxengo's CurveEQ and a large stock of sounds and presets.”

— Interface, Issue 165, 2013

“Cubase 7 is an excellent upgrade packed with useful new features and tools, and though it may seem unwieldy to the uninitiated, it is built with Cubase users in mind.”

— Kitmonsters.com, 2013

“… what Steinberg has done with MixConsole is incorporate an awful lot of features into a single window, and in doing so dramatically improve workflow.”

— Music Tech, Issue 119, 2013

“So, ultimately, I don't think there's a good reason for existing Cubase users not to want to upgrade — but there are maybe a few reasons why users of other software might cast a curious eye over Steinberg's latest work.”

— Sound On Sound, Issue, 4, 2013

“We have to admit that this app from Steinberg comes as a real surprise. Stable, ergonomic, open and relatively rich in functionality, it looks to be the missing link between GarageBand and Auria...”

— Audiofanzine.com, 2013
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“Cubasis is a remarkably slick and polished iOS app and arguably the most complete mobile DAW produced to date. Steinberg has made an excellent job of re-creating the friendly and usable interface of Cubase on the iPad…”

— Music Tech, Issue 120, 2013

“Thanks to the many larger and smaller innovations, HALion has evolved from a mere sampler to a creative powerhouse. Its powerful sampling and synthesis engine, the versatile sound library, exciting MIDI tools and inspiring FlexPhraser as well as the high-quality effects appeal to composers, musicians and producers alike.”

— Beat, Issue 70, 2011

“HALion 4, the new release of the famous Steinberg sampler, features a renewed graphic interface and a range of new tools that make it one of the most interesting products in the market... HALion 4 has a brand-new engine, and from the creativity point of view, it's a sampler that is a big step ahead of its direct competitors.”

— Computer Music Studio, Issue 10, 2011

“The architecture of HALion is jaw-dropping and totally modular… The library is impressive… The variety and the quality of the sounds are worth the price alone.”

— Hispasonic.com, 2011
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“There are indeed a lot of possible ways to work with layers and samples… but it all takes place in one graphical interface its environment of which is as easy as only possible… Testing Halion 4 impressed us through the flexibility of its interface and the many features of this sampler / synthesizer / workstation, or whatever you want to call this instrument.”

— Interface, Issue 151, 2011
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“HALion 4 is not only a great sampler, but a full thorough-bread virtual analog synthesizer including three oscillators, a sub oscillator, ring modulator and noise generator. Not bad for a sampler!”

— Musikkpraksis, Issue 6, 2011

“One big difference between HALion 4 and competing samplers is that this one's got a integrated synth engine.”

— Musikermagasinet, Issue 10, 2011

“Version four of Steinberg's software sampler is a monumental update, with focus on playability and usability… The new features in version four are revolutionary and the hottest feature is without doubt the built-in synth engine that let's you create your own sounds without using samples.”

— Studio, Issue 8, 2011

“I don’t know any other VST instrument that delivers such a high-quality and universal sound library. HALion Sonic is truly comparable to a hardware workstation.”

— Amazona.de, 2010
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“HALion Sonic will be likely to influence the design of future workstations. With an exceptional sound quality, a wide range of synthesis and editing functions, and a huge library with studio-grade presets, HALion Sonic appears to be a silver bullet.”

— Beat, Issue 60, 2010

“On the ‘real’ instrument front, there’s a good array of electric guitars, and we were really impressed by the combination of acoustic guitar and FlexPhrases both for picking and strumming.”

— Computer Music, Issue 156, 2010
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“HALion Sonic is a fantastic tool that features high-quality sound content. The comprehensive library includes a wide variety of sounds suitable for various musical styles. Entry-level users with only a few sounds at hand as well as keyboardists are most likely to benefit from HALion Sonic’s huge library.”

— KEYS, Issue 9, 2010

“HALion Sonic is a splendid product, a workstation in the true sense of the word and way more advanced than its predecessors. With such a large and varied library you can produce tracks in almost any genre, and the editing facilities are all that many musicians and producers will ever need.”

— Music Tech, Issue 9, 2010

“The fusion of the two classics, HALion and Hypersonic, has been successful. HALion Sonic delivers convincing sounds for a wide range of styles and offers an intuitive users interface… if you not only want to create impressive projects, but also want to control your sounds effectively without buying an armada of virtual instruments, HALion Sonic is the go-to solution.”

— Professional Audio, Issue 10, 2010

“My expectations were not disappointed. I haven’t heard such a great-sounding yet versatile software instrument for a long time — and it’s very user-friendly as well.”

— Recording.de, 2010
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“Overall, it's a great product and it definitely has the workstation-feeling. The sounds are useful, inspiring and fun to play.”

— Soundsandgear.com, 2010
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“Nuendo Live has one purpose in life — to capture multi-channel audio reliably and quickly, to enable you to sound check, record from a desk, create an after-gig rough mix, or provide audio files for further processing — and as it's based on Steinberg's robust audio technology, it fulfills this purpose admirably.”

— Audio Media, Issue 262, 2012

“Padshop Pro utterly transforms samples: vocals are subjected to creepy deconstruction, and even clichés like pan pipes are mutated into ghostly locomotive engines.”

— Computer Music, Issue 184, 2012

“The sounds it creates range from fascinating to gorgeous; if Enya had Padshop Pro, she probably would have sold twice as many CDs.”

— Electronic Musician, 2013

“For the first time we can work with two brilliant plug-ins, just as if they were great analog hardware... VCM technology shows all its power, which is clearly reflected in these plug-ins.”

— Computer Music Studio, Issue 11, 2011

“The sound of the plug-in is simply amazing. The equalizer behaves super-smooth and musically in all its bands… Without a doubt, Yamaha and Steinberg did a great job with these plug-ins, making them two of the best plug-ins available.”

— Hispasonic.com, 2012
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“These are amazing plug-ins — and the price tag reflects this. The involvement of and endorsement by Rupert Neve is quite a coup, and the results are a pair of plug-ins that sound superb and will be of enormous use to any producer.”

— Music Tech, Issue 11, 2011

“After this review I find myself favoring this EQ and compressor in every production I make… The sound quality of the plug-ins is exactly as good as the hardware.”

— Musikermagasinet, Issue 11, 2011

“Steinberg and Yamaha have successfully managed to recreate two modern classics, under the guidance and with the blessing of Mr. Rupert Neve himself. The sound quality is exactly as good the hardware, which contributes a price tag well above that of most plug-ins. For that kind of money it's possible to buy a whole bunch of other EQs and compressors but they won't give you the exact same sound as the RND Portico plug-ins and hardware.”

— Sound On Sound, Issue December, 2011
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“My experience with the authenticity of simulated analog techniques using VCM technology has been very positive... the sound quality is also really good.”

— Studio Magazin, Issue 9, 2011

“You get a program that lets you express your musical ideas quickly and comes pretty close to shaping sounds the professional way.”

— Interface, Issue 154, 2011

“Overall Sequel 3 is a great teaching tool, very approachable and incorporating all the elements you need for achieving professional results with ease.”

— Music Teacher, Issue 1, 2012

“An already capable package receives… new features and polish. Sequel 3… continues to provide a good all-in-one solution for people who have been wondering where to start.”

— Sound On Sound, Issue 3, 2012
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“The UR28M has convinced us with the plenty of gain reserve it has to offer and the sound rendering of its preamps…”

— Audiofanzine.com, 2011
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“Its professional sonic character makes the UR28M a perfect tool for both acoustic and electronic productions.”

— Beat, Issue 83, 2012

“The UR28M is a pleasure to use and is capable of very good results when recording simple sources.”

— Future Music, Issue 247, 2011
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“The Steinberg (UR28M) interface has high-quality AD/DA converters. Comparable with the ones used in high-end audio interfaces... The interface is very easy to use and setting up and installation takes literally minutes.”

— Gearjunkies.com, December 2011
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“The sound quality of the converters is excellent and actually so is everything else. The UR824 is a really great studio interface with many inputs and outputs and expansion for even more channels. The UR28M is especially interesting for those who need a couple of good-sounding inputs and work with multiple monitors.”

— Interface, Issue 159, 2012

“Its ergonomic design virtually free from snags plus compact size make this audio interface with DSP meet the demands of many users.”

— Keyboards Recording, Issue 4, 2012

“… the rugged design, 192 kHz sample-rate, and wonderful sounding D-PRE mic preamps really set the UR22 apart from the crowd.”

— Macprovideo.com, 2013

“The analysis tools in WaveLab continue to be class leading — the 3D frequency analysis is a programmer's dream — if you like picking beats apart bar by bar you can spend hours breaking your sounds down by time and frequency, and rotate those graphs all night long.”

— Audio Media, Issue 258, 2012

“WaveLab is probably Steinberg's most cohesive and well-rounded product, capable of pretty much everything you could want from a modern audio editor.”

— Computer Music, Issue 159, 2010
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“Once you get into the new workspaces and concept in WaveLab 7, you wonder how you could ever live without it! WaveLab 7 is a huge step forward — especially regarding workflow, and the new way of working is simply better… If your choice of tools and demands exceed simple stereo-file editing there is no getting around WaveLab 7 as your preferred choice of audio editor.”

— Musikkpraksis, Issue 3, 2011

“WaveLab continues to be an excellent choice for audio editing and mastering on the PC — and now also on the Mac. It's not a music-creation tool, although it does support audio recording, but it expands on the audio editing capabilities of a DAW and provides much more detailed tools for audio analysis, repair and manipulation.”

— Music Tech, Issue 12, 2010

“Steinberg's WaveLab has spread its wings to become the only truly cross-platform stereo editing package — and in the process, it's undergone a comprehensive makeover.”

— Sound On Sound, Issue 26, 2010
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“In summary, these are fine tools that provide finishing touches to your work. The possibilities are endless and the prices reasonable. We liked them.”

— ISP Música, Issue 141, 2012

“Steinberg offers a selection of high-quality sounding plug-ins with Vintage Plug-in Collection and raises the bar for what's now possible to accomplish in the digital domain, and despite the high sound quality the CPU-tax is exemplary low.”

— Musikermagasinet, Issue 6, 2012

“The Vintage plug-ins… are highly recommended and especially interesting for those… who want to give their productions either that vintage touch or an improvement on what the usual DAW plug-ins can offer.”

— Proaudio.de, January 2012
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“The Yamaha Vintage [Plug-in] Collection has a very good sound quality and low CPU charge.”

— Sound & Recording, Issue 3, 2012