Steinberg Cubase 7
Dukungan Music production system Cubase is a household name in many parts of the world — a byword for musical creativity using a computer. First released in , Cubase is the most successful music production system, having sold in almost countless numbers to musicians, producers and composers all over the globe. The Cubase philosophy puts the latest computer and audio technologies at the disposal of producers and musicians to venture into new artistic territory and give their creativity free reign.
Configuring a DAW
SX2 presented the Time Warp tool and saw the return of much classic Cubase functionality, while SX3 extended warping to audio and introduced the Arranger Track, Device Panels and in-place editing.
This time, the two most significant new features seem to go deeper into the program than any of the aforementioned developments. The Seven Ages Of Cubase Installing Cubase 7 is relatively easy, and, as with previous major releases, it’s possible to install Cubase 7 without disrupting an earlier 6. One slight change is that the installer now downloads the latest Cubase build from the Web during installation, so you’ll need to make sure your computer has an Internet connection or, alternatively, you can download this core Cubase installer from another computer and run it after the main installer has finished.
Thankfully, though, the Steinberg Hub can be disabled in General Preferences so that Cubase reverts to the older Project Assistant window. For those who work with large track counts, Cubase 7’s handy track search function might be worth the price of the upgrade alone. As you type into the search field, the list of tracks displayed is filtered to show only those containing the search string. As you type into the text field at the top of the pop-up, the list is filtered for tracks containing the search string.
You can then jump to your required track either by clicking or using the cursor keys and pressing Return. Then, if you’re editing in another part of the project, perhaps with different track heights and zoom factors, you can then toggle between the stored and current states by using the Zoom ZAP command. The fader section itself has been redesigned, and the mute, solo, listen and edit controls are now above the fader, while the automation and record and monitor controls are below.
You can now customise the fader-cap colours based on the channel type in Preferences, and there are horizontal zoom in and out commands so you can adjust the width of channels with more granularity than the two options available in the old Mixer window.
Disappointingly, though, it still isn’t possible to rearrange the order of channels: Perhaps the most useful section after the faders is the new Channel Racks section, which replaces the Extended view of the old Mixer. One thing you’ll notice as you move the mouse around the racks and, indeed, most aspects of the mixer is that the control or set of controls over which the mouse is hovering becomes highlighted with an outline.
The insert and send slots have been completely redesigned, and this new look has also been incorporated in the relevant Inspector sections in the Project and the Channel Settings windows see ‘Changing The Channel’ box. By default, not all the available slots for every channel will be visible, since Cubase much like Logic can now dynamically adjust the number of visible slots as needed. What’s perhaps not so neat, however, is the display of these slots.
One visual cue that is good, however, is that when you click and hold an insert slot, the available destinations to which the insert can be dragged become highlighted in green. As you drag the insert around, the slots light up to show where the insert will end up when you release the mouse.
Messiaen would doubtless have been grateful that Steinberg included un oiseau. And if you really want to be amused, reduce the horizontal zoom factor to watch the Channel Strips’ knobs undergo something resembling an eclipse. Maybe Steinberg’s developers could just have moved the controls to the pop-up graph window or something, since while their absence is felt there, it would be welcomed on the actual rack.
Again, this curve can be edited by simply clicking on it and adjusting the points in the pop-up. Cubase finally offers the ability to decide which controls are linked when grouping channels on the new mixer.
Actually, it would be kind of neat if Steinberg also incorporated this into the Project window much as you can see in the screenshots of Steinberg’s Nuendo Live , allowing you to scroll horizontally using the Overview Line and vertically using the Channel Overview.
Should Steinberg’s achromatic factory images not be to your liking, it’s possible to import your own user images, with most common image formats supported. Adjusting The Vertical Now we’ve discussed the vertical sections of the new MixConsole window, it’s time to consider the horizontal. The Channel Selector section appears on the left side of the window and offers controls for Visibility and Zones.
The Zones list adds an interesting feature to the mixer. In this view, each channel though not folders, in this case has two circular controls to the left of its name. Whereas the previous mixer window was basically divided into three parts — for inputs, channels and outputs — the new MixConsole offers the flexibility of customisable static zones that appear on either side of the mixer.
Toggling the left circle sets your chosen channel to dock in the left zone, and toggling the right circle It incorporates the Control Room Mixer window, with new metering and loudness analysis for the master output. Discussion of this recommendation is slightly beyond the scope of this article, though extensive documentation is available on the EBU’s web site https: Not every user is going to appreciate this level of detail for peak and loudness metering, and, in many ways, I’m surprised that Steinberg didn’t save this functionality exclusively for Nuendo users.
If you don’t want to work full-screen, you still have the option of opening three independent mixer windows. There’s also no way to name the groups, so you have to remember that group ‘3’ is drums, for example. One of the great things about Cubase is that Steinberg don’t just concentrate on production-oriented features. The only thing you can’t do is add your own chords, and, even though Steinberg’s list is extensive, it might have been nice to be able to do this.
By default, the Chord track has an Automatic Voicings mode enabled, and you can choose between three options to affect how chords are voiced: Piano, Basic and Guitar. Cadence and Common Notes. Cadence mode, which is the default, tries to pick something harmonically useful, where Common Notes simply suggests the next chord based on the number of notes it has in common with the previous chord.
For example, say you have six chords, where the first chord is C-minor and the last chord is F-major. But with the manual offering just 71 words of instruction on the use of this mode, there was no advice to guide me in the right direction, if, indeed, there is one. Another slight criticism concerns the way Chord events are shown on the Chord track.
Depending on the horizontal zoom factor of the Event Display and the height of the Chord track, Chord events can start to overlap and become impossible to read. There’s an option to use the Chord Event’s own custom voicing if you’ve disabled Automatic Voicings on the Chord track , or there is a range of style and theory-based ways to have Cubase adjust chord spelling for you.
However, you can’t use this command to add multiple Chord events — if you try this, Cubase will detect the most incomprehensible jazz chord known to man and insert it at the position of the first selected note. If you want to create Chord events for an entire sequence in one pass, you can use the Make Chords command instead. As well as using the Key Editor to create Chord events, you can also perform the reverse operation and re-spell an existing group of notes based on the current Chord event, thanks to the Match with Chord Track command.
Steinberg have also included some commands for chord manipulation that don’t require the Chord track at all. When you select multiple notes in the Key Editor, the Chord Type field in the Chord Editing section will recognise the chord and display what it is. Once Cubase has determined what chord is represented by the selected note, you can adjust the chord by clicking one of the chord type buttons. But what’s really neat is that because the recognition is based purely on selected pitches, this feature can work over time as well.
Before you release the mouse button, you have the option to drag vertically to adjust the pitch of the root note, or horizontally to extend the length of the notes in the chord. Once the chord has been added, you can use the inversion or drop notes buttons to adjust the voicing.
Overall, though, the Chord track and related functionality are welcome and brilliant additions to Cubase, which musicians of all levels will find useful and intriguing in equal measure. Lucky For Some? While it’s always the case that not every new feature of any update is going to appeal to every single user, this situation seems truer than ever with Cubase 7.
I’m sure there are going to be many users who never go near the Chord track functionality, for example, and perhaps even more who will never need loudness metering. Whether it’s big features, like the new mixer, or smaller improvements such as the search facilities for tracks, channels and plug-ins, there really is something for every Cubase user in this release.
For example, whereas to adjust the routing of inserts in the previous Channel Settings window you’d have to right-click and make sure Insert Routing was checked in the Customize menu, you now can simply tab between Plug-ins and Routing in the Inserts section.
You can still hide and show different parts of the interface, but this has been simplified to just three sections in the Window Layout Setup: Channel Inserts, Faders and Sends. The new Channel Strip controls share the main section with controls for the built-in EQ, and the EQ display now features dual spectrum analysers to illustrate the frequency of the signal before and after the EQ processing.
This is particularly neat, since it’s active whether the EQ is in use or not, and bypassing the EQ conveniently freezes the last plot. You can disable this automatic scale detection by disabling the Chord Track’s Automatic Scales feature, making it possible to specify your own scales from the Scale Assistant pop-up.
But, for the most part, I’m guessing most people won’t really need to worry about Scale events, since their usage seems somewhat secondary to that of Chord events, and they can easily be hidden by toggling the Show Scales button if you don’t want to see them. What About The Score Editor? Given how much effort Steinberg have put into adding chord-related functionality into almost every aspect of Cubase, it’s slightly surprising that more of this functionality didn’t make its way into the Score Editor.
Varying The Audio Again As mentioned at the beginning of this article, VariAudio was first introduced four years ago in Cubase 5, allowing notes to be detected in monophonic audio and then manipulated using Key Editor-like functionality. Cubase 7 features what Steinberg are calling VariAudio 2. For one thing, there are so many limitations on the situations in which it can be used. However, at the very least, ASIO-Guard will give you another option to exhaust when troubleshooting drop-outs or other poor performance.
By dividing an octave into 12 equal parts, this system was originally designed to make it possible for instruments — and particularly keyboard instruments such as organs — to be able to play harmoniously in any key and, thus, with any other instrument.
Other tuning systems do exist, but it’s rarely practical to use them. For one thing, you usually have to constantly retune your instrument based on the key in which you’re playing. HMT attempts to reduce the tonal imperfections found in equal temperament, but without breaking compatibility with instruments tuned to the equal-temperament system.
Turning on Follow will mean that notes on that track are retuned via HMT, and this will also activate the second option, Use for Analysis, which tells Cubase to feed notes from that track into the HMT algorithm to affect the overall retuning. Due to the dynamic nature of HMT, only instruments with Note Expression support are able to dynamically retune notes without having to re-trigger anything.
For more detailed information about HMT, including audio examples, visit www. Artistic Differences In addition to releasing Cubase 7, Steinberg have also updated the program’s junior sibling, Cubase Artist, with most — but not all — of the new features described in this review. Cubase Artist features the new MixConsole window, but without the Control Room or loudness metering features.
Although the Chord track is included, the Chord Assistant feature has been removed. Pros MixConsole adds an array of powerful new mixing functions. The Chord track is deeply integrated into many aspects of the program. Numerous improvements to enhance one’s general Cubase workflow. Cons Not all users will appreciate the aesthetic choices reflected in the new mixer’s design.
Prices include VAT.
Cubase Core Installer. Here you can download the Cubase 7 core installer separately if your main computer does not provide an active internet connection. This download updates an existing Cubase Artist installation to the latest version! Mac OS X · · , Windows 7 · Windows 8 · Windows Windows 7 · Windows 8 · Windows February 25, Update from Cubase / Cubase Artist Cubase / Cubase Artist · Update · MB.
SX2 presented the Time Warp tool and saw the return of much classic Cubase functionality, while SX3 extended warping to audio and introduced the Arranger Track, Device Panels and in-place editing. This time, the two most significant new features seem to go deeper into the program than any of the aforementioned developments. The Seven Ages Of Cubase Installing Cubase 7 is relatively easy, and, as with previous major releases, it’s possible to install Cubase 7 without disrupting an earlier 6.
What’s New in Cubase Artist 7
Reviews Cubase Artist 7 is a budget-conscious version of Steinberg’s latest audio editing suite. Its interface and audio quality are identical. It has fewer audio tracks but 64 is plenty for most users , fewer MIDI tracks is enough?
Watch: Cubase 7 Artist installation – trebuj.me
Download the full package of cubase artist 7 from the download area of the Steinberg website. Setup: Cubase Pro 10 on HP Z /Cubase. Cubase Artist 7 is a budget-conscious version of Steinberg’s latest audio editing suite. Its interface and audio quality are identical. It has fewer audio tracks (but. 7. Start Cubase 8 and select Cubase Artist 8. Disable steinberg hub in You can download the archive from the official site (but from any other.