Bredo wrote:And please tell Steinberg how much more clearer and informative the Control Room mixer is in C6.5 than in C7.
Better and bigger meters, all inserts (or meters) with one click. Bigger and better faders etc....
All that aside, good work. Now I can send them to you when getting all the questions about the Control Room feature .
I've been using this feature for years, and it is one of the best feature in Cubase/Nuendo. Unique of its kind in the DAW world. This is for me maybe the biggest reason to stay with Cubase 6.5/Nuendo 5.5 IMO, as I don't like the new mixer (or the new Control Room mixer) in C7 and N6.
Bredo wrote:I made a macro to get it to work with my CC121 controller, but guess what.......
It contains only the default key command from Cubase 6.5: Mixer > Channels: Listen On/Off
I don't know about the Cubase 6.0 version.
SLD Music wrote: And I'm more and more convinced that when it comes to modern music making, workflow is almost as important as musicianship.
Anyway, thanks again!
SLD Music wrote:Thanks alexis--much appreciated.
As far as your question... You COULD route a hardware processor's returns to an external input, but I have hard time trying to figure out why you'd want to do it, or what advantage would be gained. The primary purpose of external inputs is to give you a way to route things to your control room (i.e. to your monitoring environment) so that they aren't a part of the main mix environment--allowing you to listen to them without affecting anything about your mix. There are several applications for external inputs in this regard. Although external inputs can ALSO be routed through the Cubase mixer by setting them up as an input to an audio track, you'd probably need to have a really special reason to route the returns of an external processor unit to an external input. Never say never, but I honestly can't think of a reason why you'd want to do that.
If you are indeed using your piece of hardware as an external processing device, I would set it up under "external FX" in VST connections, and then just use it as a traditional insert effect in the mixer (you can even use it in the control room inserts if you want).
SLD Music wrote:alexis,
Either one works. The only advantage to doing it at the control room channel as opposed to the monitor channel is that you only have to have one limiter, no matter what monitor your are listening on. If however, you are adding gain on the individual monitor channels (whether through the input gain, or inserts on the monitor channels), especially if its in any way unpredictable gain, AND/OR if there's a chance you'll be swapping around different monitors on your monitor channels, it might make sense to put the limiter there instead.
As for me, I just put the limiter on the control room channel--but if I have no inserts or input gain happening on my monitor channels. If I did, I might be tempted to put a limiter on the last insert slot of my monitor(s) as well. An even better, and more foolproof solution is to put a physical limiting device before the monitors AFTER you leave the interface itself. Some people do this. I'm not quite paranoid enough to go through the expense and trouble of going to that extreme though.
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