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Re: sharing user sounds thread !

Sounds good.

Also could be useful for finding existing sounds.
I'm looking for a sparkly fairy dust kind of sound, like chiming little bells in the wind. I'm sure there are options in the media bay, but don't know where to start.

Surely could be a user sound section for these purposes.

Check the factory content, and filter to the layer presets. There are a few of these there, as I love those kinds of sounds too.
by Cantankerous
Mon Nov 18, 2013 8:13 pm
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Re: A macro for playback

You can use the the INS, SUPR and INTRO keys of the numeric keypad instead, they have many more options than the space bar alone.
by dorremifasol
Fri Nov 22, 2013 11:58 am
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Cubase 7.5 / 8 - 'Unlimited' Inserts

With the introduction of the mix console, its scaleability and the perceived change in its architecture .

do you think...

we will EVER see the introduction on a possible higher insert count that can take advantage of faster CPU's ?

by Majic
Wed Dec 11, 2013 11:48 am
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Loopmash FX

I was very curious about Loopmash FX. If I read correctly here on the forum some people thought it only worked on audio(tracks) But that's not the case... it also works on midi/vst/group channels etc.

Automating the several effects is also very convenient.
Just add an automation track below your audio/instrument/group channel and you can draw a line to trigger the right effect in a group. You can choose Effect group 1 (tapestop/vinyl) Group 2 (stutter) etc... Then determine the height of the line to trigger the desired effect with all the way down set to bypass...

I'm very happy with loopmash. I don't like assigning extra midi to trigger effects like it works with Effectrix. I myself use stutter and tapestop a lot so perhaps Loopmash is a better vst for me. Still testing a bit so not sure about it ;)

Just wanted to let you know because I read a lot about it...
by djpatb
Fri Dec 06, 2013 4:02 pm
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Re: Groove Agent SE4 is great!

I think GA and Battery are very different tools. GA is useful for drag and drop from within the project area. However, it doesn't allow you to cycle through a folder of samples for an individual pad, which is what makes Battery great and super fast to use.

I think I'll end up using both.

It's possible to step through a folder of samples in Media Bay - and quickly assign the sample/s to SE4
Or - you can use Replace Sample to Step through a Folder in SE4, See Below

1. Is it now possible to assign samples via a dropdown list (like in Padshop), or do you still have to drag'n'drop them from media bay?

2. Is sample layering possible? I mean stack layers, not only velocity-layers like in GA ONE.

3. Can each pad have its own insert effects, or are there only aux send buses?

4. Can GASE4 import GA ONE kits?
In: EDIT: Main
Right Click On A Sample
Choose Replace Sample
This will bring up a folder - Prelisten Samples is checked by default and you can step through a list of the samples in a folder - and replace instantly

Re: 2
In EDIT: Main
Under the samples - there's a drop down menu: Mode (Velocity, Layer, Round Robin, Random, Random Exclusive)
This will stack layers

Re: 3
Each pad/s can go to up to 16 separate outputs
There are 4 AUX Buses
Add FX here
And the Bus amount in EDIT: Amp
Under the sample are the AUX Buses

Re: 4
GA1 kits load into GA SE4

GA SE4 is a great update and a great drum / perc sample player.
I used to use Battery 3 a while back - but didn't upgrade to Battery 4 due to Undo (Ctrl Z) reported to be not working.
Undo and Redo work in SE4
Also - I think Media Bay is the Dogs Nutz for finding samples and worked great with GA1
However - this latest update is much more useful.
by Dave Wise
Thu Dec 05, 2013 12:04 pm
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Re: Perceived Loudness and Mixdown Levels.

very useful post that is, mate. cheers. when you say you like to make you mixes on the warmer side, what kind of PL are you looking at for your bounce before you send it to be mastered?

Thanks, glad to chat about this. It's my favorite engineering topic right now.

The K-Metering system has a small margin of wiggle room in it (not much). One can just tickle into the "yellow," for the RMS part, or could push it hotter well into yellow and pumping ever so slightly into the "red" zone (only during the loudest parts). I tend to do the latter.

Yes, my bounce / mixdown is K-14.

I do my own mastering, been studying it as a somewhat serious hobby for over 20 years now, and have a second, dedicated computer as a real-time master chain that i can mix into at the touch of a button.

It has several stages, each doing a small bit, until it levels up to the target "DR" number (Dynamic Range). I usually target around DR8 to DR6 for my final.

I've been studying a lot of Beatport releases, to see where they fall. I'm seeing a trend in the last year of somewhat of a Loudness War de-escalation. Some artists that were doing tracks as loud as DR4 in 2012, have pulled back to DR6. I think the faster tempo music trend (134 BPM and higher) is helping. Faster tempos can mean less sustain on a kick. Less sustain on a kick can yield a high DR number (more dynamic range). The "Trance-ification" of Electro and Progressive House, for example (or, the other way around. A.k.a. "Trouse"), is bringing those DR numbers up a bit. I think more artists are getting educated about it, as well.

So, K-14 is way, way more DR that one needs for these genres. K-12 might be better, but K-14 works well because it's more friendly to input modeled plugins, at its natural signal strength, without having to gain it down.

If you did K-12, you'd probably want to drop the gain a few db before hitting modeled plugins (unless you wanted the effect). Also, some mastering engineers might find K-12 a bit too hot for their liking. So unless you're doing it yourself, K-14 would be more compatible with most ME's workflow and signal chains.

I experimented with K-20 and also "18" on Dorrough meters and finally landed on K-14. There's a certain quality to it that just lends itself well to electronic music.

I think part of the reason is that it's a really hot "18" and -18db signal level is what most of these plugins model on the inputs. So, it just hot enough to tickle the circuit-modeled saturation on the plugins, but not too much.

Also, K-14's peak control tends to play nice with buss compression. It triggers it enough to get some desirable pumping, but is controlled enough to keep it consistent and polished sounding.

K-metering also speaks about the overall tonal balance and in some ways is a very good guide to how the track is equalized. In fact, a tilt EQ in one direction or another can often be what's needed to hit the desired target dynamics.

In other words, it's hard to screw up a K-14 mix, tonally, cuz when you do, it jumps out of the K-14 spec toward K-12 (or in the other direction of K-20).

Get some good meters and study your favorite artists and mixes. Then a/b with your mix, with a rough "mastered level" dialed in, and compare against the same meters -- use your ears and your eyes. Then, when you remove those limiters and it returns to K-14, you'll know what the mix should sound like at K-14 and will have more confidence that it can, in fact, get to the DR8 to DR6 territory. Don't expect to do this with one plugin or one stage. A few stages, each doing as few db as possible, is what will get you there (and what the ME will be doing).
by Jalcide
Thu Jan 16, 2014 7:38 am
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Re: Feature Request: Test Generator as a VSTi instrument

I'm not sure if I should laugh that RETROLOGUE spits out a perfect oscillator.
Anyways, have you tested other waveforms or noise?
Retrologue spits out a sine wave equal indistinguishable from the sine wave generated by Steinberg's Test Generator. The OP specifically mentioned that he wanted to play back sine that what I looked at. As a "it comes in the tin, no money spent" solution, Retrologue is a more than reasonable solution.

But if you want to know how Retrologue's other waveforms perform...

Triangle: Retrologue matches the Test Generator. A slight bit of lag at the leading and trailing edges.
Saw: Retrologue show moderate harmonic ripple at the leading and trailing edges. The Test Generator's saw has pronounced harmonic ripple throughout the waveform. This was actually pretty crappy as far as sawtooth waveforms go. Particularly out of a "test" generator.
Square: Retrologue show minimal rise/fall time lag with moderate harmonic ripple at the leading and trailing edges. The Test Generator's square wave is quite reasonable. Minimal rise/fall time lag with no discernible harmonic ripple at the leading or trailing edges.

If you don't have an outboard oscilloscope, you can use Steinberg's MultiScope to get a reasonable idea of what's going on for yourself.
by Weasel
Sat Jan 25, 2014 9:24 am
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Re: Sound of Original Samples

number of grains = 1
duration =max (1000)
When grains with a Duration setting above 10 are used, the sound gets the pitch of the sample.
position is= max to left
no spreads or randoms
this should get you near to the original, but granular is not a sample player as you stated above
by roel
Wed Jan 22, 2014 2:22 pm
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Re: cubase 7.5 upgrade

7.5 does NOT replace 7. They can both be on a computer at the same time and are installed in separate folders. So you can choose which version you wish to use and when.
by playz123
Thu Feb 13, 2014 3:36 pm
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Re: Where do you click to focus the MixConsole?

there are a lot of great features in the new console, enough for me to deal with the gymnastics involved.
I'm probably gaining more in terms of desk efficiency than I'm losing by the navigation.
No arguments, it's down to personal workflow.
Fwiw, I do see some positive aspects in C7/C7.5.
And I spent way too many hours in my test install of 7.0, trying to make it work, I really wanted to.
After checking 7.07 I gave up, it's supposed to be the best Steinberg can do atm.
Or they would certainly not call it the final update, right ?

Let's take a quick look at 3 of the biggest complaints, there is a boatload of other stuff too.
-- Broken KC / GR focus - nobody ever came up with any positive reasoning for this extreme workflow killer, nobody, not even Steinberg, so I guess it's safe to call it a huge bug. Why has it not been fixed 1 1/2 years later, not even in 7.5 ?
-- Completely incomplete implementation of those "mixer view presets" with the complicated name, good idea on paper, first thing I tested in 7.0.0. Still not ready for use, 1 1/2 years later - not properly integrated with workspaces, buggy on project reload, not including all visual aspects of the mixer, and worst of all, not even a way of making them system-wide or even only transfer them between projects - I guess it's impossible to describe a sensible workflow using this placebo.
At the same time workspaces have not been upgraded to include all the new good or bad mixer features.
Bottom line - it's no-man's land, there is no reliable method of recalling a visual mixer state in 7.x anymore, 1 1/2 years later.
Epic fail.
-- Last for now, the plethora of mixer zoom issues, again, not tolerable for any serious work - though, admittedly, the Channel Kermit View has quickly become a running gag among clients - too bad it always happens in exactly the wrong moment, so for client work it was quickly back to 6.5, these things are not acceptable.
Kermit's still alive and well today, 1 1/2 years later. Clients don't see him anymore though.

This list could go on over pages, and we're not even talking controversial design decisions here, we're talking workflow-killing bugs, plain and simple. 1 1/2 years later. No improvements in sight, nothing, not even for 7.5.

ymmv as far as these things concern you personally, they are reality however, not caused by user error or system specs.
1 1/2 years later.
by Rhino
Thu Feb 20, 2014 1:35 am
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Re: Layer vs Zone

I'll give it a go....

A zone is what holds the core sound (synth or sample). I might have one zone for a snare, or 88 zones for a piano roll.

A layer (this is where I get confused) holds zones. I can use a layer to house similar zones, ex. I have kick, snare, HH - 3 zones all on one layer.
Or I can use layers to stack zones as velocity layers .
This too.
OR should I consider each set a layer. Kick is layer 1, Snare layer 2, so on.
Could do, yes.

Whenever you need to be able to select, effect, or operate on a set of zones independently, then Layers are what you use to 'group' the zones together in order to do that, e.g. :-

Organising -> quickly selecting sets of zones
Editing -> adjusting the parameters of several zones together
Effecting > add effects to groups of zones
Playing -> use modifiers to control which zones play.

Etc etc.

What exactly a layer contains is up to you, and will depend on what you want to do to, or how you want to treat those zones, how & where you use layers is not fixed in any way.

by fstaudio
Fri Feb 28, 2014 11:25 pm
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Re: Cubase 7.5 and HALion Sonic SE Content Downloads - SOLUT

OK, Ill ask it. If Ive downloaded the 7.5 Update and the HS stuff and it installs just fine, Do I have to download and install the ISO's as well since it seems theres a HUGE size difference?

Why are the updates with Cubase such a convoluted mess every time????? :?
by shanabit
Sun Dec 08, 2013 1:58 am
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Re: Can I set each kit piece to different channels?

This feature is only available in the full version of Halion Sonic. In the amplifier subpage of the edit page on every drum layer you can define a different output for each note. Together with lots of other functions these are not available in the free halion sonic SE that comes standard with cubase.

It makes sense to try out the 30 day demo of the full halion sonic to see if the vast amount of functionality's suits your needs, but i admit this could have been a very nice feature if it was opened for the SE version too.
The full Halion Sonic is quite a beast though but there are others in that segment of the market too.

If it's about multichanneling drums i would indeed rather point towards the new groove agent 2 that is specifically made for drums and actually has plenty of very decent kits and far more functionality than you will find in the halion sonic which is an overall workstation. Also the content available to GA2 is only limited to your imagination since the database is open for importing own samples.

kind regards,
by roel
Fri Mar 14, 2014 2:08 pm
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Re: assign flex phrases to trigger pads to create key switch

have found the solution. just for the record.

i have to use the snapshot variation (rightclicking) on each trigger pad to let the keyswitches function so that each triggerpad contains a different plex phrase. thus select a triggerpad, select a variation, take the snapshot
if i do this for each triggerpad (and each variation has a different plexphrase) i got the result.

the question remains though if someone knows how to assign different plexphrases to midi-notes so i can use them as keyswitches without the workaround of the triggerbuttons... that would be even better
by roel
Wed Mar 19, 2014 5:25 pm
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Re: assign flex phrases to trigger pads to create key switch

right click on the trigger button and choose snapshots variation
then you take a snapshot of the variation that is currently being used in the flex phraser

it is AWESOME to have different plex phrases on one keyboard layout and when you edit these phlexphrases yourself the possibilities are endless
but i do not find a way to assign the different phrases directly to the keyboard... that would even be greater
have not found a single preset that is using this... pffft..., but i`m still on the process of going trough things :-)

kind regards,
by roel
Wed Mar 19, 2014 7:30 pm
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Re: why so many new versions so fast

mpayne0 wrote:Keep it as simple as you need to keep your customer satisfied.

What if the customer is the same person using the DAW?

mpayne0 wrote:If that's a lifelong mission, you're doing something wrong, or perhaps in the wrong field.

For me it is certainly that, and I could not work without Steinberg Innovations.
by sycophant
Thu Mar 20, 2014 5:22 pm
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Re: why so many new versions so fast

Am I the only one that finds this just a tad bit comical? You don't exactly have to be the Rockefellers to afford an upgrade that might cost $100-$200 every year and a half or so...... I mean, is money really THAT tight? Skip a couple dinners out or a few dates at the movies these days and bam, you can afford the upgrade. It really just seems like such a trivial bone to pick for what are in some cases huge innovations in workflow and changes that make our life as users easier. And again.... if it's REALLY breaking your bank..... no one is forcing you, just don't upgrade. There is nothing stopping you from staying on the same platform you are currently on.... Is this seriously a major concern?
by bjones306
Fri Mar 28, 2014 11:54 am
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Re: Non latch keyswitch

Perhaps i'm not understanding what you need correctly, but toggling the Keyswitch Mode to Temporary will get you a non-latching KSW, that's what it's there for. See attached gif (converting a factory preset with key-switches to Temporary mode).
by fstaudio
Thu Apr 03, 2014 9:01 pm
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Re: How to insert one of the new synths into a program?

a quick search in the mediabay will learn you that for every engine in halion there is an init preset provided.
in the middle of the mediabay there is a small grey (or blue) field. this is the search field.
type in init and there you go.

kind regards,
by roel
Fri Apr 04, 2014 12:10 am
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Re: Tutorials for Halion 5 ?

Those G3 videos are good but a bit limited. They are done by the guy Mark Struthers, he is very long winded, and belabours small points. He actually went so far to talk about synth osc and reverb settings in the Halion videos.

I have to agree with you on that. He tends to take the long way to get anywhere. When demonstrating something he'd often select several items to use as an example when one would work just fine and be quicker. Still watching 2 hours of video made the manual much more useful.

The problem with the manual is that it doesn't provide any overview to create context. It pretty much heads straight into every detail from the first page. This is great for reference, but not so good for establishing an initial understanding of what's going on - what is crucial to understand and what isn't. Compare the Halion manual with the Scores portion of the Cubase manual - another complex and not always intuitive topic. The Scores documentation starts off with a good overview that supplies context for all the details that come in later chapters. Having that context makes it easier to read the remaining manual and focus on what is important to you now and skip over (for the time being anyway) what isn't. The way the Halion manual is structured you can't really do that - you just get thrown into the deep end of the pool and hope you can teach yourself how to swim before drowning. Documentation that must be read slowly and carefully is not well constructed (I say this as someone who in a previous life hired tech writers to produce documentation).

The BFD3 videos are done by a guy named Eli Krantzberg who does a lot of the Groove 3 videos. He is much better than Mark - quick pacing, clear explinations and through. Looking forward to some of the other topics he's covered.
by raino
Fri Apr 04, 2014 12:10 am
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Re: Steinberg / Arturia V-Collection

The NSK is absolutely BRILLIANT !! One of the best plug-in's I ever bought without doubt. Sounds amazing and that's just after 10 x mins of messing around on it :mrgreen:

Yes I have a Suitcase and Stage Rhodes also.
by monsterjazzlicks
Thu Apr 03, 2014 2:46 pm
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Re: anyway to take effects off individual clips?

I have an individual clip (not a whole track) that I applied some compression to, and processed it. Is there anyway to remove that and have the clip go back to how it was originally recorded? I have already saved and closed the project.

Yes there is! It is called "offline process history" (C6 ops manual p254)
This keeps a track of all the processing applied to the clip (from within Cubase) and allows you to remove any of the steps or go back and change parameters of any of the steps. It's very powerful, but not many people seem to know about it.

Right click on the clip and select "Audio -> Offline Process History" (why they didn't put this on the "process" menu where folks can see it better is a mystery)
by OldFecker
Fri Apr 18, 2014 11:33 am
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Re: Steinberg Vintage Compressor

Heads up that this "Vintage" Compressor is in no way near the performance of the 1176 model the GUI implies. The primary fault being the shortest attack time is waaaay to slow to catch fast transient attacks (drums!). Compare to a 3rd-party 1176 emulation and you'll instantly know what I mean.
by jpgtr
Mon Apr 21, 2014 2:41 pm
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Re: vstsoundfile for checkup

Hey dutch555,

I have seen more requests on howto on the forum.
thinking about a sort of quickstart guide on sound development with halion with examples that you can download is a great idea if it is not allready here on the forum somewhere, but i did not find that yet.

It is time intensive to make those guides. So: if enough people like the sounds, i probably will indeed make a clarification for it. :) If you have specific questions, just pm and i reply quickly because i am here often.

But i am not a pro or so on sound dev. ;)

Meanwhile i did make one particular preset today because i saw that one being asked several times.
There is a new vstfile to download where a drumset from halion has been multichanneled over the 32 different outputs of halion 5. It is very easy to do. So check it out.

Since this Halion preset kit that was used in the example has multiple layers on a single midinote it is important to switch the editor from "sel" to "all" on top of the map editor + for easy editing select the "enable midi mapping selection options" so you can switch between the different combined zones on those midi keys easily with a keyboard.

The next thing is go to the zone editor and go to the amplifier and on the aux tab you can find the different output settings for each midi note (since you have selected "all" it will look a bit red coloured)
play each note sequentially and each time you can select a different output for the sounds mapped to that midi note. Very easy.

But remember to put the outputs active in the instrument rack if you want to hear anything.

I have also added a drum player and midi-player with some content too, so that you can make your vstpreset into a little groove agent with a lot of output channels.
nothing fancy with the grooves though since i copied them from the real groove agent, but it is an example
the standard added flexphraser can in the same way be used. activate it and choose those drum presets. Lots of things to discover with a factory content configuration. also: Go to the user environment and give it your touch...

When you load this vstpreset for the first time the drumplayer and midiplayer and the flexphraser have been switched off, so select them in the program tree and then activate them if you want to use them.

note that this is just for posting an example of the multiple outs.
I had not enough outputs to assign all samples to a different output so the samples on the upper right of the keyboard are assigned to the standard output, but it is an example for some reason.
I am working on an improved example with efx and midi modifiers on each midi-note, but that is still several days to go before this is going to be posted. :)

have fun with it and then improve it !

download location:

name: power kit mchan example.vstrpreset

kind regards,
by roel
Wed Apr 23, 2014 5:09 pm
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Re: Claps and castanets

In Halion it is a bit more complex i think then in Halion Sonic.

In Halion the output is assigned to the zone (which is the basic level of the program structure), but a zone can have multiple busses. (zone editor, manual p.118)
The AUX tab allows you to send the zone to the four global AUX busses and to directly route the zone to one of the plug-in output busses. (AUX 1-4) you can send the zone signal to the global, or, if available, the local AUX busses. You can control the signal level that is sent to the busses with the knobs AUX 1-4.
HALion allows you also to route a zone directly to one of the output busses. In this case, the zone does not pass through the layer, program and slot busses.
The Sample editor plays back the raw samples without processing the synthesis structure. Therefore, its output is not automatically the same as the output of the zone that uses the sample.

For Halion Sonic, with it's fixed program structure it is a lot easier to do:

in the amplifier subpage you can select the output for each drum instrument or loop slice separately.
(in the manual see p.77.)

Don't forget to assign multiple outputs in the instrument rack too for both cases.

kind regards,
by roel
Tue Apr 22, 2014 1:52 pm
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Re: Steinberg / Arturia V-Collection

Just got to demoing the Jupiter 8, but I'm loading presets and when I try to adjust controls, I don't hear any changes. Is there something I need to know about this thing, or is it not working properly.

I'm going to get into a manual soon, but I thought this would have been something I could just play like any other synth.
I have only played it using a midi keyboard and changing the actual parameters directly with the mouse. This works fine. But I have not tried using a controller keyboard to alter the parameters.
by monsterjazzlicks
Sat May 03, 2014 1:30 am
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Re: Steinberg / Arturia V-Collection

I am trying the obvious ADSR. Nothing. It can't be that subtle. Maybe this is a demo limitation?

Not crazy about the presets, was hoping to find something called "Power Brass".

Why might you think you have a DEMO version ?? Did you only download a 'Trial' of it ??

I thought the Presets were mostly amazing apart from the ones which are (in my opinion) too 'modern' sounding. There are some Brass patches but not the one you mention.
by monsterjazzlicks
Sat May 03, 2014 1:39 am
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Re: Steinberg / Arturia V-Collection

No I am demoing it first, because I figured if I bought it, I would be looking at that combo deal and slapping myself if I ever were interested in 1 or 2 more.

Maybe they aren't quite what I'm looking for at the moment, a lot of appreg and modulation and whiny high pitch, while I'm looking for a classic synthy multi saw brass (without the long release). But there are a few I can work from, the "w JP_8_xx" are good classic-er sounds.

I'm hearing delay on some, but I don't see an FX page... is that from the appreg? I have never used this synth.

And by now I'm sure I'm limited to the patches but no controls.

Yes you are probably correct that its running in Demonstration Mode.

I agree, I am not at all interested in the modern presets with the Arp and heavy Mod patches. Its still very very good but I would have liked it to be a little more 'classic'.

I heard the exact presets you refer to regarding FX. Sounded like very heavy Delays. I will have a look into it as it also puzzled me.
by monsterjazzlicks
Sat May 03, 2014 1:56 am
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Re: Steinberg / Arturia V-Collection

First thanks for responding. I am literally right in the middle of it, and need to keep going. I will probably go ahead and buy it, and hope it works. If I feel good about it, I'll still probably then get the collection and take the loss.

One thing, the weird presets do give me a feel of the range of this synth, and I am not hearing anything cheap sounding. It can do 8 bit type to ambient to core mangle. Very dynamic, and it sounds 'Roland' whatever that means.
I spent 30 x mins playing thru the sounds on one occasion and was very impressed overall. For the most part, if I purchased a REAL Jupiter 8 then this is how I would hope it would sound. It certainly has the potential to sound as 'modern day' as you want it too judging by the presets in this genre. If you had a full controller keyboard then I am certain this would be a very powerful VST to play live. And I also felt very 'inspired' when I played on it.

I think you should purchase it but preferably in a 'bundle' as I did.

If I have to time I would like to post some demo's. But at the moment I am busy with trying to get my head around FM Synthesis ! :ugeek:
by monsterjazzlicks
Sat May 03, 2014 2:19 am
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GUI update for cubase 8 please!!.

It,s probably to late bud i just won,t to make a request on this topic.
Maybe there are a lot of people that don,t find this a top priority. Bud it wood be nice if the updated the GUI all around cubase like the main interface or the mixer. When i first saw cubase 7 i was like wow what is this. I,am a hardcore cubase user. Bud i,am not afraid to look around. Some of the other DAW,s and 3 party plugins out there got top notch GUI,s Comparing the to cubase GUI.

- Higher resolution (retina support)
- More detail in the GUI,s (interface processing plugins, metering)
- Economic layout (cleanup interface)

Hoping people will reply positive and keep topic going. Please add more suggestions to the list.
by marcus82
Fri Jul 04, 2014 12:39 am
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Channel EQ

-When enabling the high and low-pass make it visible like the other band when enabling.
-Give the user the option to change the colors of each band.
-Listen function for each EQ band on the channel eq so you can hear what the band are doing when boosting or cutting.
-Zoom function
-Different slopes for the high and low-pass.
by marcus82
Sun Jun 22, 2014 8:51 pm
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Re: [FR] Plugin container for inserts

Freddie H, Nomad Factory Magma cannot load Cubase track presets the way Steinberg native plugin will. Although it will load it's own presets for sure... So it is not exactly what I hope for.
Besides, I do not want another 3rd party plugin. Like reverb, there are plenty of 3rd party reverbs, still Steinberg is adding new reverbs, impulse and algorithmic.
It would be nice to have such plugin integrated in Cubase. It is convenient to have such plugin-wrapper integrated, to avoid all kinds of compatibility problems from version to version.
by sonicstate
Fri Jul 11, 2014 6:20 pm
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Making a Macro page ?

I never understand Steinberg and it's ideas when it comes to HALion.
Such a powerful instrument ,, but no new libraries, no real 3rd party development ..
HS is mostly locked out, most content HALIon 5 is locked out, Take
Dark Planet as a standalone plugin you can't get a midi file of the slice loop (just saying if you
want to use it in that format in a 3rd party daw, pointless )
Im guessing that you can't make a macro page of your own if developing a library.
Concentrate on the flagship products Steinberg !!! stop messing around with useless
light versions
by iRan
Tue Jul 22, 2014 3:25 pm
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Instrument Note Range Indication

It should have have option to show when you are writing out of the range of an instrument with presets that can be altered. The areas out of the range could have a red background in the editor (as the default color).
by CubeDAW
Tue Jul 29, 2014 2:07 am
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Re: For the love of music, please STOP making sound sets!

... and perhaps the Lord should have stayed focused on maintaining the universe instead of wasting time and resources on creating people - which attempt turned out to be OK at best ...
by BriHar
Thu Jul 31, 2014 10:13 am
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Re: Dongle Down! Can anyone help?


Usually, before a USB-eLicenser stops working, it is sometimes not recognised in the eLCC and acts weird.
In that case, put it in another port (perhaps reboot as well) and the license should be safely transferred.

Of course, if you happen to find your crystal ball... ;-)
by Fabio Bartolini
Thu Aug 21, 2014 1:59 pm
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Re: Cubase 7.5 / 8 - 'Unlimited' Inserts

6 inserts PRE and 2 POST are fine.
not going to make a direct judgement call on ones who think they need more. but if you can't get the sound you want with 2 or 3 plugins max, you might want to reconsider what you are trying to achieve.
both are essential and should be named after what they do, inserting pre and post fader.
if you can't understand what that means educate yourself on how a console works.
If I wanted a console I would buy one.

This is computer and software. And again, who are we to ask others to consider what they are doing. This is an art... for those who are composing, and even some engineers.

I simply do not understand that sentiment. It's like having limited layers in Photoshop. Sure I could, I used to.
But at this point do I need to consider what I'm trying to achieve? No I have never come across that.

I'm not arguing this anymore, if people don't get it, it's their issue.

You know there will always be some people who comes here to criticise what others will say !!!
They will stand as they are the "industry standart" ... and they want all to be like dem.
But we exactly want the opposite, not be like every others !!!

The worst is that people who think they wont benefit from a request/function, think (and say) "if i dont need it, i want nobody else to be able to use it" !!! THATS SO DUUUUUUUUUMB AND SELFCENTERED

We are on computers, they are getting better every minutes we talk, so why should i get some limitations??? (just cause 1 or 2 stupid idiots say "you wont need it" or "on my real console..."???? IF WE ASK FOR IT ITS BECAUSE WE NEED IT YOU IDIOTS)
by NoMad92
Thu Sep 04, 2014 9:46 am
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Re: Waves NLS vs. Slate VCC

Understood completely.
The Slate VCC and the Waves NLS (I cannot speak for Stetson as I do not own it) are designed for ease of use and fast results whereas Strip/Bus is for those who want to get into the depths as well as get up & running quickly.
Also potentially misleading is the use of words like "distortion" as although this is exactly correct (what we like from analogue desks turns out to be the distortions (and odd/even harmonics) & nonlinearities that get added to an audio signal as it passes through discrete electronic components like valves, FET's etc and the EQ distortions added by the classic Neve 1073 etc but it is all pleasing noise unlike digital distortion which is anything but.
Watching crosstalk when bypassing also makes sense too, although neither VCC or NLS actually have inter-channel crosstalk at all - never mind an adjustable one and it is there for those who really want to mess around - I would leave it off unless the interaction is wanted for some reason.

Don't let that put you off though, as this is all customizable & can be turned off if not wanted.
by neilwilkes
Tue Sep 16, 2014 3:27 pm
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Iro: Track Color Pack for Cubase

Hi everyone.

This is a neat little color pack I made for Cubase 7.5. For me, the default colors were not enough as I tend to have a lot of tracks, often with the same instruments, but with variations. It takes a considerable long time to make a set of new colors so I thought I would share it with you guys so you don't need to do this yourself. Am I not grateful? :D

The pack consists of 8 different main colors with 8 additional shades of each color. 64 colors in total!
Once you install the colors I suggest you do not tamper too much with the intensity/brightness as this can cause some of the colors to look alike. Yes, I did this myself and had to redo everything.

Please see the link to my blog for installation:

I do not have the privilege to test this on a mac or different versions of Cubase. If you are able to successfully apply these colors on another system please share how you did it.

Hope you enjoy it!

by seyoum
Thu Apr 24, 2014 11:23 pm
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VST 4: allow "control voltages", possibly outright moduls...

I'm dead serious here - it would be so great if we could, at some point, build our own modular systems with VST 4.0.

There is no reason why I should not be able to, for example, have a control voltage from Retrologue control Fabfilter Volcano.

And before I forget it:

Please allow routing in / out of arbitrary audio signals as well, please.

Usage example:

VCO mixer output from Retrologue goes into a delay plugin and from there back into Retrologues filter.
by TheNavigator
Sun Nov 09, 2014 7:39 am
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Re: Declutter/Clarify Mix Console Channel Selection Hitarea

I agree for the most part.

But for this:
Or I click in the Fader area, forgetting that for some reason it doesn't select the channel either, but instead moves the fader (with no Undo!), even though the fader, itself, wasn't clicked on.
It may help to set the Fader behaviour from, Jump to Touch, in the Preferences (should be the default, but for some strange reason, isn't).
Then you can click in the fader area.

PS. The first thing I do for every Cubase/Nuendo installation ;)

Hope this helps a tiny bit :)
by TSR
Thu Dec 11, 2014 5:31 am
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Re: Focus On MIDI For Next Build Cycle

I have literally never used a chord pad, chord track or any of that one-finger junk. I don't mean that to sound quite so harsh, but frankly, that's what music lessons were for. I agree SB has (apparently) expended a certain amount of effort on that stuff, but it has little to do with what I need because it seems like these are gizmos to help people -avoid- working with notes.

Basically, what -I- need are tools to make working with a lot of notes easier to do.

Like... being able to split, clone and bounce MIDI parts WHILE INSIDE THE KEY EDITOR.


I agree that MIDI could do with an overhaul. But I don't think it's been *that* neglected in recent releases. There were more composer-oriented features this time — circle of fifths, chord pads and so on. And MIDI improvements to the GA SE4 (MIDI output to follow soon apparently). Nor do I think it fair to say audio engineers have all they need. Believe me... I could write a very long list ;)
by suntower
Thu Dec 18, 2014 6:56 pm
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Re: EDM Producers: what is Cubase lacking most for you?

Edit: 0) Just learned of an issue that, if true, will be at the top of my list: Sample accurate automation! Appearently, sound card buffer size changes, change where automation aligns, slightly. If so, yikes!

1) Number one feature: Stability when projects get large -- they will. No excuses, no finger-pointing, just do whatever it takes to treat 5gb+ projects a like first class citizen.

2) Cubase needs more than 6 freezable inserts. Period. (And it needs more than 2 post-fader inserts.)

Sidebar / TL;DR: [This is not debatable. If you don't produce electronic music I don't wanna hear the mantra that 6 is enough for your recorded guitar -- it is. I don't wanna hear that more effects are bad engineering practices, they're not for newer dance genres that require extreme sound design. If you do produce electronic music and make this claim, I need to hear a link to your work and it better be of commercial quality and something modern and fresh one might imagine being sold in reasonable quantity on Beatport. A simple ambient track does not count. If you do, and it is, then please explain your workflow and I bet it involves lots of bouncing of audio. My argument revolves around not having to do that as much. If you're a "bouncer," great, then this feature doesn't harm you. There, I think I spared this thread from every indie rock guy coming out of the woodwork to proclaim 6 freezable inserts are enough for their overhead drums channel -- yes, it is. In fact, 3 inserts are probably enough. :lol: ]

3) Batch freeze/unfreeze. And its own "Settings Menu" like Render In-place has, so that one button (on, say, a surface controller) will perform the operation based on options set in its settings menu; i.e., no annoying dialog box / workflow stopper.

4) Render In-place needs:

a) Pre-fader option.

b) A Disable Track that disables all plugins (even post-fader inserts) and that doesn't cause crashing in subsequent freeze operations (a confirmed bug) and it also needs a menu item for it under Project so that it can be hardware surface controller initiated

c) A feature / option that remembers its first audio clip it bounced and will automatically replace it (and all its shared copies) on subsequent renders. Basically, make a change and have it automatically reflected across the entire project where that share audio clip exists.

5) Ability to rearrange frozen tracks. And unlike Studio One's implementation, it shouldn't flatten shared copies during the process. That's a destructive, lossy process that entirely defeats the purpose of its championed reversibility.

6) Add a feature to Track Versions that incorporates Automation. Without it, it's useless to us. We use automation on every track.

7) Remote Device Editor needs to not be tied to the "ordinal position" of channels. Adding a single channel breaks the Remote Device. It should be tied to some internal ID of the channel. This one simple "fix" would make Remote Devices useful again.

8) Automation needs real Bezier curve tools.

9) Better ways to implement VST2 compatible Sidechains, or at least a friendly way to implement the Quad-channels.

10) Options to remove all annoying dialog messages in favor of "Setting Menus" that provide options and defaults. Basically, anything that has a dialog box, that could conceivably be something someone would want similar defaults for, time after time, should be accommodated so that the dialog does not ever pop up (unless the user goes into prefs or settings to disable it or change an option).

11) Better support for Drag-and-drop of samples, MIDI, presets, plugins, etc.

12) A gain plugin. Some of us don't like to automate faders, use the Trim feature or use VCA fader groups, we just want a gain plugin to automate ourselves. We use freeware plugins, but it would be nice to have a stock one for this.

13) A "audio transporter" plugin with a transmitter and receiver to send audio from anywhere in Cubase to anywhere else (feedback loops and all).

14) An overhaul of the Audio Pool. It's bright, ugly, needs a better layout, more features and integration.

15) A smarter low-latency-mode feature that allows the user to choose which inserts to power down.

16) A simple way to power off (not bypass, power off) all inserts on a track (not Disable Track).

17) Better ways to multitask and cut and paste between two or more projects. It's not reliable now and no one with a real project of any size uses this.

18) Better ways to import/export tracks, channels, presets, mixer settings, etc.
by Jalcide
Wed Feb 11, 2015 8:41 pm
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Re: Mixer undo and unlimited insert slots.

It's just so strange that the inventor of ASIO and VST should have its flagship product limited to 6 freezable inserts + 2 non-freezable.

I really do think it's a corporate culture thing. The measuring stick being, if Cubase can produce a little 12 track indie rock demo for a corporate video, for the project managers at Steinberg moonlighting on it, after hours, mission accomplished.

I still can't help notice that those with more involved sound design needs, the signed, hardcore, professional electronic music producer using Cubase, seemed to have developed a laughably "destructive" workflow where everything is bounced again and again and again. Six freezable inserts is more than enough when it's multiplied by 3 bounces.

These guys have even said on camera, in their tutorials, etc. that they like "committing" via the bounce, that it helps push them forward. They love to drive the point home by deleting the original track.

There is a whole "staying tight on the grid with audio" philosophy that has sprung up to further embolden the practice.

And so no one complains.

The project managers moonlighting with their band on the side: 8 inserts are enough.

Even after this small band adds "a keyboardist" to the group, the technical demands increase by one stereo track. With maybe a little EQ and compression on it (if that). Done. They're never going to want more.

The attitude is further bolstered by professional audio engineers in the forums, again mostly acoustic oriented, who love to point out that "you're doing it wrong" if you need more than 3 inserts.

These guys have never had to make a layered, modern kick drum from sine waves in their life. They have no idea how complex the sound design can get on each channel.

Then we have the hardcore dance producer who bounces after each edit, who is still on Cubase 5: 8 inserts are enough.

The European psytrance producers still on Cubase 5, on ten year old computers, monitoring the mix on 50 dollar multimedia speakers -- veritable prodigies for doing so well with so little (and always proud to point out how crappy their setups are) -- are never going to want more. They'll still be on Cubase 5 in five more years. It's like their rite of passage; of due paying. They've mastered the art of irreversibility of audio.

What a weird skill to have to be good at when we have computers.

It's maddening.

There is no voice of reason in this fight, except this sad little thread.

I'd like to give in and join the crowd, just bounce after each edit and "commit," but I'm just not skilled enough for that kind of destructive workflow yet.

What's even more baffling is understanding why I cling to Cubase so much. I should be using Ableton or Bitwig.

It's just I've been using it since the '90s (and yet still suck enough that I can't "commit to the bounce"). :lol:

I guess I shouldn't quit my day job. :lol:
by Jalcide
Fri Feb 27, 2015 4:39 am
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Plug-in Manager Greatness!!!

Now that I can use C8, I've taken some time to set up the plug-ins manager. All I can say is wow! I can now insert my favourite/most used plug-ins in just 2 clicks. What a game changer!
by Steve Helstrip
Fri Mar 13, 2015 6:58 pm
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Halion 5 movies

Hi Folks,

I noticed in another thread, some users wanted access to free Halion training movies.

I'm guessing 99% of you here won't need it, but I'm putting together a Halion 5 training course. The first few movies are here:

1 -
2 -
3 -
4 -
5 -
by wodehouse
Sun Mar 08, 2015 9:57 pm
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