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Re: So 7.5 is here (almost)

I guess most of the folks using Cubase for more than occasional "beatz creation" would agree on the priorities you I don't understand the sentiment that people that write and arrange music have to be grouped and dumbed down that.

Without the musicians what exactly do you have?


All in all that sums up the situation nicely.
I guess most of the folks using Cubase for more than occasional "beatz creation" would agree on the priorities you mentioned.

It's like Cubase is the turkey that's never properly done, but instead of finishing to cook it, Steinberg just adds more and more gravy on top of it.

Here's an idea: instead of having multiple Cubase versions based on how much stuff comes included, how about multiple versions targeted at different kinds of customers? You know, like a version for sound engineers, with none of the "beatz" nonsense but great and solid FX and --most importantly-- a super-stable engine, or a version for film composers, which is also super-stable but offers professional scoring features (you know, like Finale and Sibelius), professional video features, professional syncing features etc. And then a version for the "beatzmakers", that can very likely be the most successful but that trades stability for more and more "gravy", like a ton of loops, a gazillion VST's etc.

I'm pretty sure I only use 10% tops of what comes included with Cubase (instruments, FX, loops --which I NEVER use-- etc.), but I'm still paying for it. Again, without "beatzmakers" who are you sound engineering for? This attitude and lack of respect would not get a dollar from me.
by mpayne0
Sat Nov 30, 2013 4:31 pm
 
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Re: So 7.5 is here (almost)

I guess most of the folks using Cubase for more than occasional "beatz creation" would agree on the priorities you I don't understand the sentiment that people that write and arrange music have to be grouped and dumbed down that.

Without the musicians what exactly do you have?


All in all that sums up the situation nicely.
I guess most of the folks using Cubase for more than occasional "beatz creation" would agree on the priorities you mentioned.

It's like Cubase is the turkey that's never properly done, but instead of finishing to cook it, Steinberg just adds more and more gravy on top of it.

Here's an idea: instead of having multiple Cubase versions based on how much stuff comes included, how about multiple versions targeted at different kinds of customers? You know, like a version for sound engineers, with none of the "beatz" nonsense but great and solid FX and --most importantly-- a super-stable engine, or a version for film composers, which is also super-stable but offers professional scoring features (you know, like Finale and Sibelius), professional video features, professional syncing features etc. And then a version for the "beatzmakers", that can very likely be the most successful but that trades stability for more and more "gravy", like a ton of loops, a gazillion VST's etc.

I'm pretty sure I only use 10% tops of what comes included with Cubase (instruments, FX, loops --which I NEVER use-- etc.), but I'm still paying for it. Again, without "beatzmakers" who are you sound engineering for? This attitude and lack of respect would not get a dollar from me.

This is all over this thread. If you are an engineer then Cubase should only have features that you personally use. Away with all this creative compositional nonsense. I'd have to question how professional an "engineer" these people are if they think this way. In fact most of this thread is "how dare Steinberg design this software for anyone but me me me.
by vintagevibe
Sat Nov 30, 2013 5:48 pm
 
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Re: So 7.5 is here (almost)

It’s the same thing every time an update is announced…

Compiled *witch* List

1. It should be free… free.. free.. free… I want it to be free… Everything should be free… free… free… Everything except me because, well, because…
2. I hate these new features…. hate… hate… hate… hate these new features… I’ll never use them and they suck anyway event though I’ve never used them and don’t know a thing about them…
3. I want the old mixer back… Give me the old mixer… Give me the old mixer… I hate the new mixer… hate… hate… hate…
4. There should be 500 different versions of Cubase… No, 1000 versions, no 100,000 versions. One made specially for me… me… me… me…
5. Cubase sucks and I hate so I’m switching to Reaper/Pro Tools/Logic/Garage Band/MS Word… Until next week when I download the update because I hate Reaper/Pro Tools/Logic/Garage Band/MS Word…
6. All software except Cubase is perfect… perfect… perfect… perfect… It all works exactly perfectly… It even works when I’m not using it… And its free free free… And I have my own version of it that they gave me for free… And did I mention its perfect?


Steinberg does a damn fine job of building ridiculously complex software which sells at a ridiculously low price.
by cpechet1
Sat Nov 30, 2013 7:33 pm
 
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Re: So 7.5 is here (almost)

There are a lot of people on this forum that assume that they are talking for the majority of Cubase users. We want this and we don’t want this.

Ok for the record, I don’t need my Cubase 7 fixed. I work a busy little studio, recording rock, pop, jazz and even electronic and my Cubase 7.06 is rock solid, it also works fine with my 3rd party plugins as long as they are 64bit.
One of my small worries about upgrading to 7.5 is how stable 7.06 is, but of course I will keep working 7 until 7.5 has been well tested in my set up.

Even if you have a Ph.D. please don’t assume that you know what a recording engineer wants from his DAW. Stops, glitches, electro drum loops are often requested in the production during a mixdown from paying customers. I’m quite pleased with the new toys in 7.5 and for only 49 euros bargain.


Who said anything about me being an engineer? I'm a classically-trained composer with a Ph.D. "beatzmakers" are DJ's, remixers, whatever you want to call them, but they don't actually make music, just rearrange someone else's loops.
I’m 54 and I’m not a DJ or beatzmaker as you put it but I know many as I do classical musicians and one is as skilled as the other. Do you realise how arrogant as well as ignorant that made you sound.

Anyway SB thank you for realising that we have a choice of which companies DAW we use and for (IMHO) being heads above the rest.
by Mrhehon
Sun Dec 01, 2013 4:39 pm
 
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Re: 7.5 at Last!

Xtigma wrote:oh.. here is a question... how on earth do you remove a Rack instrument??? I can't seem to do it!

Hi Xtigma,

click on the name of the Instrument, a pop-up window will open where you can change the instrument. You have to select "No VST Instrument" to remove the one selected.

Regards
by Luis Dongo
Wed Dec 04, 2013 3:33 pm
 
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Groove Agent SE4 is great!

I have to say THANK YOU steinberg for including this great little sampler in cubase, it's an amazing tool, and I might even be replacing NI battery with it. Still Battery has a great modulation matrix with LFOs and enveloppes, but other than that GASE4 has everything else I think, a lot can be done with it, it's really awesome, worth the upgrade alone.

EDIT: another big difference with battery is there is no effects per cell/pad but only for the whole kit.
by patcub
Wed Dec 04, 2013 7:20 pm
 
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Macro for bouncing without any processing from the main-outs

Hi. I have made macros for bouncing the selected part without any processing from the main output. It's actually an updated version of a macro I had found on the internet a long time ago. I found myself using it a lot lately, so I had to share it.

There are two versions. The second version also mutes the part that's bounced. And that needs 3 project logical presets to be made.

To use it, firstly you must adjust the settings in your export window. Select main outs. "Import into project" and "Close after export" must be selected. Also give a name like "bounce" or anything, and click that arrow on the right, and select "auto update name". Actually, these are pretty basic settings.

Select the track and the part you want to bounce and fire the macro. 8-)

Here is the recipe :

Mixer - Bypass: Channel Strip on Main Mix
Mixer - Bypass: EQs on Main Mix
Mixer - Bypass: Inserts on Main Mix
Edit - Solo
Transport - Locators to Selection
File - Export Audio Mixdown
Audio Export - Sync Channel Selection with MixConsole
Audio Export - Increase Counter Start Value
Audio Export - Perform Audio Export
Navigate - Bottom
Edit - Deactivate All Solo States
Navigate - Up
Navigate - Bottom
Edit - Select None
Mixer - Bypass: Channel Strip on Main Mix
Mixer - Bypass: EQs on Main Mix
Mixer - Bypass: Inserts on Main Mix
by sonic74
Fri Dec 06, 2013 12:18 am
 
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Re: Macro for bouncing without any processing from the main-

And the advanced (!) version which mutes the bounced part also :D

Make three presets with the Project Logical Editor. (Attached screenshots) Beware that the 3rd one, named "select_bounced" has the setting below "Function = Select".

(EDIT: The next message has the links to these presets)

Having made these, here is the recipe to the macro:

Process Project Logical Editor - rename_as_bounced
Mixer - Bypass: Channel Strip on Main Mix
Mixer - Bypass: EQs on Main Mix
Mixer - Bypass: Inserts on Main Mix
Edit - Solo
Transport - Locators to Selection
File - Export Audio Mixdown
Audio Export - Sync Channel Selection with MixConsole
Audio Export - Increase Counter Start Value
Audio Export - Perform Audio Export
Navigate - Bottom
Edit - Deactivate All Solo States
Navigate - Up
Navigate - Bottom
Edit - Select None
Mixer - Bypass: Channel Strip on Main Mix
Mixer - Bypass: EQs on Main Mix
Mixer - Bypass: Inserts on Main Mix
Process Project Logical Editor - select_bounced
Edit - Mute Events
Process Project Logical Editor - rename_bounced_as_x
by sonic74
Fri Dec 06, 2013 12:32 am
 
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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?
Re:1
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
AFAIK
Each pad/s can go to up to 16 separate outputs
Otherwise:
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: Groove Agent SE4 is great!

1) yes there are 3 options of drag n drop from media bay : add, replace, and add to consecutive pads
2) you can assign each pad to an exclusive group, the two sounds won't play at the same time
by patcub
Thu Dec 05, 2013 1:04 pm
 
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Re: Default Send Levels?

MarcusBits wrote:wow, thanks Bredo :) .. It's amazing what you learn every day with this daw, can't believe I've missed that one in the prefs.

Ain't that the (frustrating) truth...

Also, did you know that you can COPY sends from one slot to another ?...

I sure didn't...
by Tp3
Fri Dec 06, 2013 3:29 pm
 
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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: C7.5 - Combining Lanes and Track Versions when comping!

Create Lanes from Versions!

1 - use versions as takes (like protools)( vrs 1 = take 1; vrs 2 = take 2)
2 - if you want to comp, use: Project/TrackVersions/Create Lanes From Versions.
3 -The App will create a new version with all takes, and you can comp like before.

The advantage, as I see, is that you will keep the takes in a more organized way.
Just another approach.
regards
Mario
by MGil
Fri Dec 06, 2013 10:47 pm
 
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[Solved]Cubase 7.5 & VST connect SE

Hi all,

Just thought I would let everyone know the problem I have been having with VST connect this weekend.

After getting it set up and working in 7.06, once I installed 7.5 I had a lot of connectivity and signal drop outs but the meter levels (studio & performer) were showing solid blue? I had a cable connection so it wasn't a Wi-Fi issue, and I had no other programes running!! Asio guard was unchecked and all the other option, discussed a few weeks ago, were looked at, but I couldn't work out what was happening! Was it just Christmas buying choking up the internet I wondered!!

I had a lot more problems this morning but then thought about the new hitpoint detection in 7.5. I figured that if 7.5 was detecting hitpoint transients on the fly, then there would have to be a bigger drain on resources. I un-checked the option in preferences and.......BINGO......all running smoothly again.

I will also post this on the Cubase forum, but I thought someone might find this useful if they are having similar problems with VST Connect!

Jim B
by Jim B
Sun Dec 08, 2013 5:29 pm
 
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Re: VST Connect SE 2 - How to setup midi recording

Hi,

to record a MIDI-Device which is connected to the Performer's Computer you have to select the Device in the settings tab first.

on the Performer side
--> connect the MIDI-device and install drivers if needed
--> open the performer app
--> click on the cogwheel symbol
--> click on the "config"-tab
--> click on "MIDI input" and select the connected MIDI-device

on the Cubase side
--> set up a VST Connect recording environment or use the template
--> establish a connection
--> create a new MIDI-Track and record enable it
--> set its input to "TB/Performer: Ins. 1. VST Connect SE - MIDI Out"

hit record and track the MIDI data of the performer in Cubase.

Cheers,
Dirk
by debugger
Mon Dec 09, 2013 12:48 pm
 
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Suggestion to reduce the number of clicks...

It would be wonderful if, when adding an instrument of FX channel, the plug-in field was already selected for you so you could started typing the name of the plug-in/instrument you want to load. As it stands at the moment, as soon as you create a channel the first thing you must do is click on the plug-in field. Unnecessary clicking!

Thanks for reading.
by Steve Helstrip
Wed Dec 11, 2013 10:24 pm
 
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Re: Tips Tricks And Workflow Goodness.

"floating" inspector bar, PT style ;)

make it allways on top and will automaticaly scroll during selecting track

http://www.gifti.me/i/b9qAm.jpg
by Tomek
Wed Dec 11, 2013 10:55 pm
 
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Today's session with 7.5

All I can really say is that it made my life a lot easier today and here's why:

Track versions: I was easily able to come up with alternate versions of song sections and takes on the fly and therefore saved a ton of time today!

GrooveAgent SE: Round-Robin mode came in super handy when dropping samples in on an acoustic kit(stellar) and saved me more time!

New Multi-out instrument tracks: For the first time in Cubase I was able to load up superior drummer with 16 outs and my own processing on each channel; export selected tracks as an archive and open them up in the next song with everything right and ready to go...... Saved about 30 minutes because of this.

Project track visibility toggling: It speaks for itself and again, helped me navigate my 80+ track sessions much more efficiently.

I work with a lot of metal and "over-produced" rock bands and I can say that these additions have helped me out immensely today and I didn't have one moment of instability. Thank you Steinberg! Also, I must note that I am the furthest from a fanboy as there are still things that are driving me absolutely up the wall which I've discussed around these parts (much like most of you guys and gals). I have a few major albums out there and have a heavy workload with a constant flow of bands and I can say that these updates are major!!! I'll get my fire-retardant suit and prepare to get flamed now.
by outloaf
Thu Dec 05, 2013 10:57 am
 
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Macro feature instead of just Quick Controls!

Instead of just adjusting 1 parameter through 1 knob, I'd really love to see a macro control replacing this feature. It's WAY too simplistic.

So for example:

Macro 1 controlling: Cutoff of Sylenth1, Resonance of Halion Sonic SE, Cutoff of Halion Sonic SE and FM amount of Massive.

I can't imagine that this is too hard to get in. If you can control 1 parameter, you can control several more. Ableton has had this for ages (and its the only thing I really prefer in ableton over Cubase to be honest), it's insanely easy to create automations this way, instead of having to automate each individual control by itself and timing them all together to get a perfect result.

I really think that Quick Controls is pointless in Cubase, I never use it and I won't ever do it. It's just too damn simplistic and oldfashion.

Macro controls please!
by jontah
Mon Dec 16, 2013 1:32 pm
 
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Bounce In Place like "Bitwig"

Just saw this video and its one of the most intuitive features I have seen in a sequencer for a long time.

This would make Cubase OWN ALL other sequencers on the market.

http://www.youtube.com/watch?v=Dy-8u6EA ... e=youtu.be
by jayadams
Tue Dec 17, 2013 3:57 pm
 
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Re: Cubase 7.5 MAGNETO II sounds wonderful!

The more I use it, more I get addicted to it. :mrgreen:

It work and make miracles on separate tracks too in Cubase 7.5. So not only on the 2BUS.
"Track EQ", "MAGNETO II" and the "Transient Designer" on Channel Strip is one of my favorite plugins in Cubase 7.5.
I often prefer C7-Transient Designer over others like SPL Transient Designer, NI Transient Master, PX-64 Percussion Strip etc...


C7- "Transient Designer sounds really analog and musical like real hardware "Transient Designer".
The new "MAGNETO II" as good as the Premium-TwinTube that cost $2,099.00 hardware, $199 software that I have too.

http://spl.info/fileadmin/user_upload/produkte/analog_elementals/premium_twintube/Premium_TwinTube_web_1500.jpg

http://spl.info/fileadmin/user_upload/produkte/analog_elementals/twintube_twintube/TwinTube_TwinTube_web_1500.jpg

MAGNETO II gives you something else, an unique character and they must have done something special with this new plugin like used VCM technology to model this unit, otherwise I wouldn't like it as much as I do. I'm very fastidious when it comes to plugins and hardware. I only use what sounds best!


So now you know, all you that haven't update to 7.5 yet. Something special and awesome waiting for you in the new arsenals of plugins when you update to new Cubase 7.5.

"MAGNETO II" sounds like 1.000.000 dollar sound for sure. ;) :)


Best Regards
Freddie
by Freddie H
Thu Dec 19, 2013 10:56 pm
 
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Re: Can Cubase 7 use all 12-cores on the new Mac Pro

Planning to get the new Mac Pro, but the clock speed vs cores are a bit confusing to me. Is there official statement from Steinberg about this?

So if I were to get the 12-core, would Cubase 7 use all those cores or would it be a waste of money? Would the 12-core run more plugins, VST instruments and audio tracks than the 6-core with higher clock speed?

Yes, Cubase will "use" all the cores.

On these PC DAW choices, Cubase is second only to Reaper in its ability to scale across processors. Sonar is the worst at this. Studio One is in second to last place.

On Mac, this changes to somewhat of a tie between Logic and Cubase (Logic winning most of the time), Reaper still taking first place. Studio One last in place.

This was sort of a quest I was on last year. I recreated a very large project in all these DAWs.

Even though Reaper won, I just couldn't use it as my main DAW for nitpicky reasons.

Anyway, the real answer has to do with how you use your DAW.

For example, in Sonar, if you use many live effects on the stereo bus -- what it considers a "serial signal path" -- it will only process what can fit in ONE CORE. It can't split that up across the other cores, free as they may be.

Reaper, in this same example will do it perfectly due to how it does its "audio buffer scheduling / slicing."

Back to Cubase: I'm not sure, but it seems to do better than Sonar in this use-case but not as well as Reaper. So I'm not sure how much it suffered from this limitation that's confirmed in Sonar.

What's not a "serial signal path" from the DAW's standpoint? Well, that is probably unique to each DAW. For Sonar it's been confirmed that any VST instruments on individual tracks, escape the serial path and are now considered on "parallel signal paths" and then, in Sonar, can use other free cores.

How is this in Cubase? I was never able to really get an accurate answer.

One thing is probably true: while there are confirmed cases (Sonar) of DAWs, in certain use-cases, that can't muli-core scale, is the reverse true? Are there DAWs in certain use-cases that can only use part of a core and then seek out an unused core to jump to? I really, really doubt this. So...

To err on the side of caution, I think it would be better to have few, faster cores than more slower cores -- all things being equal. Obviously, in situations where the sheer number of cores provides more, total processing capacity, it has the potential to be a more capable machine.
by Jalcide
Fri Dec 20, 2013 3:05 am
 
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Re: Where'd the track-coloring thingy go?

That was in the inspector.

It is also available on the track:
Image
by SteveInChicago
Thu Dec 26, 2013 7:10 pm
 
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Re: How can I just record some piano midi and let Cubase fol

(Ah I've just seen that Thinkingcap has written, in two lines, what I have just used an entire paragraph for :P )..

Is this the full version of Cubase? (I'm not sure if the following is available in Cubase Artist/Elements)..
Anyways..
1) Once you have recorded your MIDI Piano Part, set the MIDI/Instrument Track from Musical Timebase to Linear Timebase (in the MIDI/Instrument track's Inspector, click on the "quarter-note" icon to change it into a "clock" icon).
(This has the result that Cubase's Tempo Track can now be modified without changing what you actually hear )
2) If you had the Tempo in the Transport Bar set to "Fixed", change it to "Track".
3) If necessary, drag your MIDI Part, such that the first downbeat corresponds with the appropriate downbeat in Cubase's Grid (in the simplest case, that would be, align the first played note with the start of a bar.. it is in fact a good idea, generally, to let Cubase have a couple of bars "breathing space" before the music starts anyways ;) )

There are now two methods available in Cubase (like Thinkingcap said ;) ) ..
(the first is maybe simpler, but the 2nd is probably more thorough, especially if the music isn't particularly rhythmic, with obvious downbeats).

Method #1..
Open the Piano track's MIDI Part in the Key Editor, select the Timewarp Tool, and working through from left to right, drag the bar lines, such that they correspond with the downbeats of your music (like I said, earlier, this will change Cubase's Grid to fit the music, without changing what is actually heard ).

Method #2..
4) Create a new MIDI track, routed to some percussive/metronome sound, put it into Record, and "tap" along to your recorded Piano track, playing, normally, quarter-notes, just as if you were "conducting" the music (it becomes quite easy to do this once you've gotten the hang of it, especially seeing as it was you who played the piano part in the first place. And, in any case, seeing as this "tapping" is just a regular MIDI track, you can edit it afterwards until you are satisfied that it fits your music nicely).
5) Put this "tapping" track into Linear Timebase also.
[EDIT] 5b) HughH has discovered a bug with the next two steps, if you have created your "tapping" from a combination of several tracks, or several Lanes on the same track..
If this is your case, then merge (glue) your tapping into a single track before proceeding! [/EDIT]
6) Select the MIDI Part that contains your "tapping", and set the Left and Right Locators to its boundaries.
7) Go to the MIDI Menu>Functions>"Merge Tempo from Tapping", and, in the dialog that opens, set "Tapping" to 1/4 (if that is what you had tapped ;) ), and checkmark the option "Begin at Bar Start".

That should be it ;) (You can now put your tracks back to Musical Timebase, if you wish, so you can now modify Cubase's tempo if desired, and the music will follow).

It's actually easier than it reads, especially after having done it a few times;). Good luck :).

Just to be completely exhaustive ( :oops: :) ) ..
Both those methods work with recorded Audio also, provided that you also, before doing any of the above, go into the Audio Pool, and switch off "Musical Mode" for each of the Audio clips.
by vic_france
Sat Dec 28, 2013 12:41 pm
 
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c7.5 is absolutely ROCK SOLID

Halion 5 with all 16 outputs being used .
Ga4 se with 12 outputs being used .
Padshop pro with the 4 instances being used .
Alchemy with 2 instances being used .
Uad plugin's .
Camel plugin's .
External fx x 2 .
External instruments x 8
AUTOMAP 7.0.3beta

NOT A HINT OF A HICK UP .

MIXDOWN ............. PERFECT


Since I was given the information how to stop Cubase crashing on exit I have not had one problem with C7.5 , you can all hate me for saying this but on my workstation this has to be the most stable Cubase ive ever used ! FACT .

im over the moon .

Don't turn this into one of your moaning whinging threads .This is a feel good thread for systems that are running correctly .
by G-string
Wed Jan 08, 2014 10:57 pm
 
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Re: Perceived Loudness and Mixdown Levels.

Not providing enough dynamic range for the mastering process is bad. Also, but not often discussed, providing too much dynamic range and not enough peak control on individual stems, is also not usually good.

A balance is usually best.

This is DnB not a -85 SPL film score. :D

But even a -85 SPL (K-20) film score needs dynamics and peak control. You can imagine how much anything else might need -- a lot.

Many engineers, myself included, have moved to K-Metering for tracking, buss / stem dynamics and what comes off the 2buss.

Alternatively, you can use Dorrough loudness meters, as its "20" and "14" are very compatible with K-20 and K-14, in terms of RMS weighting and min/max values, peak ranges, Crest and overall ballistics.

Bob Katz, "Loudness War" Grandfather, has even said that he would be delighted to get K-20 stems (that would naturally sum a few db hotter). K-20 is surprisingly "narrow" compared to how untamed tracks can often end up.

It takes a surprising amount of dynamics and peak control to get to K-20, even as wide as it is (and it's the spec for film, the widest of them all).

For DnB that's a bit too wide of a dynamic range, in my opinion. I would suggest K-14. James Wiltshire, and his engineering team, also recommends K-14 and has an excellent video discussing this: http://www.youtube.com/watch?v=7WigF9IDdcQ

Brainworx (Plugin Alliance) -- experts in the mastering process -- talk a little about this on their BX_Limiter plugin product page.

I also do modern electronic music styles, and lately have been enforcing a strict adherence to a "warm" K-14 stereo mixdown (pre-mastering / pre-pre-mastering) and it's working wonders on all my new stuff. Night and day, actually.
by Jalcide
Wed Jan 15, 2014 11:36 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: c7.5 is absolutely ROCK SOLID

The most stable Cubase I've had in years. I'm quite happy.

How stable is it? Really stable when you consider what it has to contend with.

Stable doesn't have to (and can never) mean "perfect." No DAW or any software is 100% free of bugs even when it controls 100% of the code. Cubase has to host all our beloved 3rd party plugins, from all parts of the globe, from all manner of software developers with their own level of expertise, skill and ways of coding. With multiple formats of those plugins, no less. In dual platform, no less. We won't even mention audio interfaces, drivers, or the OS and its layers, itself.

No technology service guarantees 100% up-time. Not even Tier 1 technology providers that get to enjoy multiple levels of redundancy, that a single computer does not.

Even the hardware is not 100% crash-free at a quantum physics level. Naturally occurring radiation and cosmic rays will statistically crash a computer with non error-correcting ram as much as once per month, per gigabyte (if left on).

For our modern computers, which many of us leave on for days at a time, with our non-server-grade, non-error-correcting memory (just about all of us here), this would translate into 32 times a month (for a system with 32 gigabytes), or about once a day, that we could statistically expect the computer to potentially crash, regardless of software ("potentially," because not all ram errors would result in a crash, but many do).

I've even had hardware sequencers lockup and require a power cycle.

A DAW would certainly be in a top ten list of the most sophisticated desktop software products created by humans. I put it at the top of that list, due to how many 3rd party programs it hosts and the real-time, latency-oriented nature of it.

So, yes, Cubase is pretty darn rock solid from where I sit. I'm in awe at how many plugins it juggles and how little it crashes.

iTunes crashes more than Cubase for me. Which gets funnier the more you think about it.
by Jalcide
Sat Jan 11, 2014 7:06 pm
 
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My "Pultec-like" colors for Cubase. Do you like it?

Here is...
cubase mix.JPG
cubase project.JPG
cubase mix.JPG
by steflor
Sun Jan 19, 2014 2:30 am
 
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Cubase iC Pro for Android available now!

Hello,

We are pleased to announce the release of Cubase iC Pro for Android!
The installation procedure is different than the installation of the iOS version. Here are the instructions:
http://www.steinberg.net/index.php?id=9927&L=1
Please follow the instructions carefully! There is also a 30-days trial available to check compatibility with your device.
by crohde
Tue Jan 21, 2014 11:03 am
 
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Re: Logical editor made me easy life with renaming tracks-Yh

http://i41.tinypic.com/28rms8p.png

Can you show us the preset?
yep ..i forgot about that ;)

in lower section(the target area) where is parameter 1(with the "the long train" string name in my example) u type the name you want to delete or replace.

in parameter 2 i left it empty so it replaces the name by nothing(deletes it actually), if you type a name in parameter 2 that name replaces the name in parameter 1.
by mozizo
Fri Jan 24, 2014 11:05 pm
 
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Re: Quick controls - Controlling multiple parameters at once

yeah, this would be great.

i can achieve it but it's kind of a pain to set up. remember that with quick controls, you can control parameters of any plugin, not just the ones inserted on the respective channel. this way, you can add a channel at the top of the arrange (you musn't move it then), and select it to quick control which ever plugin parameter in the project. then, set up a generic remote to control this channel's quick control slots 1-8 (yes, a generic remote's target can be a channel's quick control slider amount). then, set up a proprietary virtual MIDI channel (midiyoke, loopmidi et al), and set up midi channels to receive your MIDI controller's knob movement messages by one of the virtual MIDI ports. then go back to your newly created generic remote settings and select the virtual MIDI channel as the input for controlling the quick control slot amounts as mentioned above.

phew...

but yeah, this is a way to do it.

similarly, i can insert an audio > midi cc plugin, and have, say, a kick drum's audio envelope control (for instance) the wet slider inside a reverb plugin on another channel, as well as (for example) the feedback slider on a delay plugin on yet another channel. the drawback is, this only has a 128-step resolution (the resolution of a midi cc parameter*), and is hugely dependent on the current audio buffer size (at least on my system; the greater the buffer size, the more quantized and jittery the results are; plus, the resulting automation envelope differs slightly each time you try to capture it).

* or are there some parameters with a greater resolution, along with an audio > midi cc plugin that would convert the values?
by lukasbrooklyn
Tue Apr 02, 2013 9:54 pm
 
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Re: Project Logical Editor Select Selected Note every bar

Edit- In editing my graphic to fix what Vic pointed out, I realized I didn't even correctly understand what you wanted to accomplish, :oops: but now maybe I do. ;) To get you started.

Cubase does not have the command you mentioned, you would just enter the range within which you want to select notes. I changed the image I uploaded so it would do what you are asking. Note the values in the parameter columns.

When you want to edit velocity, change the Function to Transform, and the action in the lower pane will take place. In this example it would subtract 20 from the velocity of the notes determined by the filter in the upper pane.

http://thestevepage.com/img/Select16ths.png
by SteveInChicago
Wed Jan 29, 2014 10:18 pm
 
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Re: Tips Tricks And Workflow Goodness.

The listen keycommand only works when a mixer has focus. Here is how you can instantly toggle Listen on a selected track in the arrange while never having to bring up the mixer (this assumes one uses the control room):

set up a two command macro that first toggles the control room, and then toggles listen, and assign a kc to it. By toggling control room, the listen command at once becomes available, without the need to toggle the actual mixconsole, which the less you see of, indeed the better (also it is considerably faster).
by lukasbrooklyn
Tue Feb 04, 2014 5:35 pm
 
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Re: Workflow for Managing song sections?

Also don't forget that nothing is stopping you from having multiple projects open at once. Each can be a totally blank slate. If you have a LOT of plugins open (with samples), there might be a delay when switching between them (i.e. activating different project windows)...but other than that, no reason to stress.

Fun fact: You can copy and paste parts from one project to another, and if the same instrument is not in the other project, it will automatically create an instance of that instrument WITH ITS INSERTS AND EQs ETC to accommodate the part in question 8-) I do this all the time to re-use parts in other projects.
by meta-redundant
Tue Feb 04, 2014 10:56 pm
 
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Re: Tips Tricks And Workflow Goodness.

Thanks for this excellent thread!

Maybe a bit off topic, but real time savers

- replace your HD with an SSD
- move to 64bit (W7, Cubase, plugins)
- say goodbye to any plugins that cause crashes
- use a wireless keyboard with key commands for recording (arm, rec, play/pause, go left, undo) so you have kind of remote control

Key commands have been mentioned already. If you have trouble remembering them, invent some system and make them somewhat failsafe. For example, my first level key commands are all non-destructive (mainly zoom an transport functions), so I won't accidentally delete an entire project by just hitting the wrong key. Shift is mainly for audio functions (like gain, pitch), and CTRL will mostly open editors. I always try to associate a word with the letter of the key, so it's not so hard to remember. Maybe not your preferred way, but I think you get the picture...

Pondstreetstudios
by Pondstreetstudios
Sun Feb 16, 2014 2:56 pm
 
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Re: Tips Tricks And Workflow Goodness.

For Windows O/S: Here is a way to restart a USB midi device that was plugged in before starting Cubase and was running properly but somehow got disconnected during the session.

Once you discover your USB is disconnected and not working do the following procedure:
1) Shut off your USB midi device
2) Re-plugin your USB midi device
3) Turn on your USB midi device
4) Go to Devices>Device Setup...>MIDI Port Setup
5) Find your USB midi device in the list and uncheck the box "In ALL MIDI" this will make the state "Inactive"
6) Recheck the "In ALL MIDI" box to make the state "Active"
7) Hit OK

You would think just hitting the "reset" button instead of doing steps 5 & 6 would work but it doesn't work for me. :?:

Regardless, you should be all set.

Sincerely,
by Prock
Wed Feb 19, 2014 9:40 pm
 
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Re: Tips Tricks And Workflow Goodness.

Check it out in the Inspector.
by SteveInChicago
Sat Mar 08, 2014 11:19 pm
 
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Iro: Track Color Pack for Cubase

http://seyoum.net/pictures/Logo.jpg

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

http://dawlab.net/pictures/Iro.jpg

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: http://www.dawlab.net/2014/04/26/iro-2-0/


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!

Seyoum
by seyoum
Thu Apr 24, 2014 11:23 pm
 
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Re: Tips Tricks And Workflow Goodness.

If you press right-click to open the tools menu and hold it pressed for about 5 seconds (it feels long), you can resize the shape of the toolbox. This lets you get to your tools with a shorter movement of the mouse.
Too bad we can't reorder them or make the snap point closer to the center.
by Soul-Burn
Tue Oct 29, 2013 11:01 pm
 
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Re: Octaver

The easiest way is by using the Transformer Insert FX on the desired Instrument (or MIDI) track.
Set it up like this..

Upper section..
Type Is___Equal___Note

Lower section..
Value 1___Add___12 (Parameter 1)___(Parameter 2 is inactive in this case)

Function = "Insert".

(Be aware that only the original note is actually recorded .. this is a playback function ;) )
by vic_france
Sun Jul 20, 2014 11:27 pm
 
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CUBASE 7.5 Generic Remote Cheat-Sheet

Hello everyone!

Today I want to share with you some of my recent work regarding Cubase and Generic Remote.
I am in the middle of creating some custom mappings for my orchestral templates here and I feel overwhelmed how much can be done with it to speed up the process of creating/producing/mixing - you name it. I was always using Generic Remote but never on such a scale as now. Since I have found navigating thru all the little windows there very annoying and I haven't found any complete list of all the options available in any Cubase manual, I created my own! It is a cheat-sheet helping me programming all my mappings I need for the work to be done.
The file is .JPEG and around 5MB heavy.
I hope everything will be clear for you once you take few minutes to go thru it.
I plan to do some video tutorials on that subject so if there are any particular questions -shoot.
Have fun with it!
Cheers!
http://www.picturelockaudio.com/CUBASE_7.5_Generic_Remote__Finally_%28Almost%29_All_Options_On_One_Page%20.jpg
by 24dBFS
Fri Jul 25, 2014 9:53 pm
 
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