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By Mark WherryAudio Warping brings real-time pitch-shifting and time-stretching to Cubase SX. Here you can see a multitrack audio Project where each Event is being 'warped' so that it stays locked to the Project's Tempo Track. Note the main text to see why the performance meter is interesting here, and also notice how much smaller tracks can now appear in the Project window in version 3.Cubase SX 3 is the latest incarnation of one of the best-known brands in sequencing software, offering many new features and tying up the loose ends from previous generations of Cubase. But with increased competition, most notably from Apple and Cakewalk, can Steinberg maintain their cross-platform advantage?For Stanley Adams, a day made a big difference.
For Steinberg, however, a year seems to make a far bigger difference. One area of Cubase that's been improved in SX 3 is the use of colour for tracks, channels and Parts, which has definitely been taken somewhere over the rainbow, way up high — and beyond — in this release. In past releases, the only way you could see what colour you had assigned to a track was to have a Part on that track set to Default Colour, but now there's a new Show Track Colours button at the top of the Track List that, when enabled, adds a block of colour framed behind the track's Level Meter to show what colour has been assigned, in a similar way to Logic. The track's colour is also displayed behind the track's name in the General section of the Inspector, and also on that track's channel on the mixer, just below the level meter. This definitely improves clarity, but I think it would help more on the mixer if there was some way of making the colouring vertically deeper as it becomes hard to distinguish colours when there are a large number of channels on screen, especially when the mixer is set to Narrow View.In addition to the Colour pop-up menu on the Project window's toolbar, you can now also assign a track's colour by clicking on the colour bar in the Track List or clicking on the small arrow in the General section of the Inspector. On the mixer, you can also change the colour by clicking on the colour bar just below the level meter.
The only thing I'd really like to see in terms of assigning colours to tracks is an automatic option, where the next colour in the list is assigned to a newly created track, cycling through the available colours, which could definitely save time.SX 3 also features a new Colour tool, which looks like a paint bucket and allows you to colour the currently selected Part (or Parts) via one simple click with the currently selected colour. The colour to be used by the Colour tool can be selected by clicking the small colour bar under the Colour tool, or you can choose the colour at the time you click on the selected Part (or Parts) by Shift-clicking instead, which displays a colour pop-up to pick a colour to colour the current selection. You can also change the selected colour based on the colour of another Part by clicking the Part with the Colour tool and the Alt/Option key held down, which changes the pointer into a ink droplet instead to sample the colour. I'll leave it there in case you feel like you've mistakenly stumbled across a review of Photoshop instead of Cubase — but It's safe to say that colour is not a problem with SX 3.The audio warping features will certainly appeal and be useful to many users, but I have to say that my favourite new feature in SX 3 is probably the Play Order Track. In the days before graphical arrange windows, most sequencers were pattern-oriented, meaning that you would sequence a collection of patterns and later choose a playback order for these patterns as a way of creating an arrangement.
C-Lab's (and later Emagic's) Notator on the Atari was possibly the best-implemented example of this, and since everyone has progressed to graphical arrange windows, various attempts at incorporating the better points of pattern-based sequencing have been made over the years. The original Cubase had Groups (not to be confused with SX 's Grouping of Tracks and Group Tracks), SX had Folder Tracks with Folder Parts that could potentially be used to contain whole songs, while Logic has (and Vision had) the 'arrange window within an arrange window' approach to Folders for pattern arranging.The Play Order Track in Cubase SX 3, however, is perhaps the best attempt yet to bring together the best aspects of both graphical arranging and pattern-based sequencing, building on a concept not dissimilar to Cubase 's original Groups.
As you might expect, a Play Order Track is an actual track that appears on the Project window, and it behaves in a similar way to the Marker Track in that you can only have one Play Order Track in a Project. The basic principle is that a Play Order Track contains Play Order Parts, which are created like any other type of Part in the Event Display, and via the Play Order Editor window or the Play Order Track's Inspector you can arrange the Play Order Parts into a Play Order. The Play Order Parts are by default named 'A' through to 'Z', although you can rename them, and a Part is added to the current order simply by double-clicking it, or dragging it from the list of Parts to the Play Order List in the editor window or Inspector.Here is the somewhat daunting editor window for a MIDI Device, where you can create Panels to be displayed in various parts of the application. Notice the main editor area in the middle, the subnode list to the left, and the available object pool to the right, which shows the styles of fader available for your Panels.You can specify how many times a Play Order Part should be played in a given entry on the Play Order List, so a typical Play Order might be to play 'A' twice, 'B' once, 'A' again, 'C', and, of course, 'A' to finish. Play Order Parts can overlap, whereby an overlapped Part is displayed smaller so you can see the different Parts more clearly, and it's possible to have multiple Play Order Lists in a Project. The icing on the cake with the Play Order Track is that once you have a Play Order you like, you can 'flatten' it out into one linear Project, removing the Play Order Track altogether, by clicking the appropriately named Flatten Play Order button in the editor window.In order to control the Play Order Track during playback, a new set of Transport controls is available to the Transport Panel and Project window's toolbar, in addition to the Play Order editor window. For a Play Order to play back you need to activate Play Order Mode with the appropriate button, and in this mode Cycle Mode becomes unavailable, meaning that you can either work with Play Order or Cycle Mode, but not both at the same time.
This makes sense, since looping or skipping a section while playing back a Play Order would really confuse matters. In addition to toggling Play Order Mode, the transport controls also enable you to step through each Play Order Part in the list, or each iteration of a given Play Order Part.All in all, the Play Order Track is an incredibly useful arranging tool that allows you to try out different arrangement ideas on an existing Project, or build up more abstract Projects that consist of sections arranged together with various Play Orders. A film composer, for example, could have all of his or her ideas and themes for a film in one Project and construct various ideas for cues from different Play Orders, saving a new Project when he has something that works and flattening the Play Order to work on the cue in more detail.My biggest problem with the Play Order Track, especially given the previous film-oriented example, is that there are some real issues to be resolved when running with video. If you're trying to use Cubase 's internal Video playback window, forget it!
The Video window will only play back assuming you have your first Play Order Part starting at the beginning of the Project; and even if this is the case, the video will only play back for the duration of that first Play Order Part. Unusable is the word that springs to mind.If you're running video on a separate machine slaved via MIDI Time Code (MTC), you have slightly more luck.
Cubase 's new 'MIDI Time Code follows Project time' option in the Synchronisation Setup window allows MTC to run continuously if disabled (see the 'That Sync'ing Feeling' box), which means you can run your Play Order back with video slaved via MTC — so long as you start from the beginning. And that's the problem. With this method of working, if you start playback part of the way through a Play Order, Cubase will start outputting MTC based on the actual SMPTE time position of the Project Cursor against the Ruler, ignoring the Play Order altogether. In other words, the Play Order Track doesn't work out what the SMPTE time would be based on the length of time that would have elapsed by that point based on the Play Order, which is a bit of a shame. Hopefully these issues will be resolved shortly so that media composer can make full use of this great feature.One feature long-time Cubase users might have missed in SX is Mixer Maps: the ability to create on-screen control panels to remotely access the parameters on your external MIDI hardware. But Mixer Maps are to be missed no longer because they've been reborn as MIDI Device Panels in Cubase SX 3, incorporated into the functionality of a newly designed MIDI Device Manager.
And the best thing about MIDI Device Panels in SX 3 is that, unlike the Mixer Maps of old, a MIDI Device Panel doesn't just have to appear in its own dedicated window, because you can also create Device Panels that appear in the new User Panel Section of the Inspector and Extended Channel Strip on the Mixer. Very useful.Rather than being incorporated into the lower part of the MIDI Device Manager window as before, MIDI Devices now have a dedicated editor window, which can be opened by selecting the device to be edited in the MIDI Device Manager and clicking Open Device. By default, the MIDI Device's editor window shows the Panel (if one is defined) for that device, and this window also incorporates Read and Write Automation buttons so you can read and write automation for MIDI Device Panels in exactly the same way you would for effect and instrument plug-ins, along with a Preset menu to store snapshots of parameters. Incidentally, this editor window can also be opened by clicking the Open Device button in a MIDI track or channel's controls or the Key Editor, just as you would usually click this button to open a VST Instrument's editor window for a track assigned to a plug-in.Clicking the MIDI Device editor window's Edit button switches the window into edit mode, where you can create or edit MIDI Device Panels, or configure banks and patch names in the same way you would in previous versions of the MIDI Device Manager. Creating your first MIDI Device Panel can seem a little daunting initially, although once you've built your first Panel (with a little help from the manual and other pre-made Panels), everything starts to make a little more sense.In the MIDI Device's editor, a hierarchical view of the Device is displayed in the top left of the window and Panels can be attached to a Device directly, along with any of that Device's Subnodes. A Subnode is basically a logical way of breaking down the complexity of a MIDI Device into smaller building blocks, and each of these building blocks is represented by a Subnode.
For example, a simple synthesizer might feature the following Subnodes: Oscillator, LFO, Filter and Amplifier. Each of these Subnodes has a collection of parameters associated with it and would also have a Panel attached for the appropriate controls.
The Panel from each Subnode can later be used to build a full Device Panel using the templates feature, and the included Virus C MIDI Device Panel is a good example of this, as shown in the screenshots on the previous page.MIDI Device Panels can be displayed in both the Inspector and the Extended Channel Strip, as shown here with the example Virus C Panel included with SX 3. Note the pop-up menu that appears, allowing you to choose a suitable User Panel to display.To get you started with MIDI Device Panels, Steinberg include a selection with Cubase for devices such as Access's Virus C, Oberheim's Matrix 1000, Roland's JV1080, MC303, MC505 and XP50, and TC Electronic's Finaliser. Not all of these are recent units, of course, but they could be useful just for figuring out how MIDI Device Panels should be put together, even if you don't actually own one of them. Fortunately, old Mixer Maps from Cubase VST can be imported, although I didn't have a chance to try this myself, and hopefully, as with the Mixer Maps of old, suitable Panels from various enthusiasts will start appearing on the Web.The implementation of MIDI Device Panels is really well thought-out and consistent, enabling you to use VST Instruments and external MIDI hardware in much the same way in Cubase.
The ability to include Panels in the Inspector and the Extended Channel Strip is really neat, and I really hope Steinberg develop a feature like this for displaying certain controls from plug-ins in these areas of the application as well.One interesting new editing option for MIDI Parts in SX 3 in the Edit In-Place function, which, when enabled for a given track, presents a version of the Key Editor in that MIDI track's lane in the Project window. This means the actual MIDI Events get displayed on a piano-roll-style grid (just as you would expect) in the Project window, enabling you to edit MIDI Events directly on the Project window. This is a feature Pro Tools has had for some time in the absence of separate MIDI editor windows, and it can be pretty handy, especially since the Project window's implementation of the Key Editor also includes the ability to show one or more Controller Lanes for editing controller data.The new Edit In-Place function brings the Key Editor to the Project window, allowing you to edit the MIDI Events within a Part on the corresponding MIDI track's lane on the Project window. Notice how the Edit In-Place function also includes multiple Controller Lanes, just like the Key Editor.Since many of the toolbar functions are very similar between the Project window and Key Editor, the Edit In-Place function bases most of its operations, such as Snap and Quantise features, on the current settings of the Project window, and a selected note (or notes) on the Project window displays its information in that window's Event Infoline.
For the Key Editor functions that aren't duplicated on the Project window, a secondary pop-up toolbar can be displayed by clicking on a triangle that appears in the top-right area of the track in the track list, and this provides Audition and Edit Active Part toggles, a Part List pop-up menu, Insert Velocity and Length Quantise settings, and the colour mode to use for displaying notes and controller data. You can scroll the piano keyboard by dragging up and down to the left of the keyboard, and dragging left and right in this same space changes the vertical zoom factor used.The Edit In-Place feature can be used on multiple tracks simultaneously, and definitely comes in handy when you want to make a quick edit on a note without breaking the flow of using the Project window. The ability to line other Events up against certain notes is also very useful, since it's possible for all Events to now be displayed against one timeline — MIDI, Audio, Automation, Markers, and so on — except, sadly, for Tempo and Time Signature Events.When Edit In-Place is active on a track, the notes take priority over the Part that contains them, meaning that if you drag a selection box around a track you're editing, along with Parts on other tracks, it's the notes that will be selected on the track with Edit In-Place active, rather than the Part. Similarly, although you can resize Parts while using Edit In-Place mode, you won't be able to create new or move existing Parts, which is a shame. For future Cubase versions, it might be nice to be able to still work with Parts while Edit In-Place mode is active, especially since you can still see them in the lower area of the Track Lane.To help improve performance with the latest systems, SX 3 includes a number of specific optimisations, including better support for Intel's Prescott generation of Pentium 4s (which presumably means SSE3 support), and IBM's G5 processor used by Apple.
There is also support for the upcoming Windows XP 64-bit Edition, a preview version of which can already be downloaded from Microsoft's web site for users of either AMD's AMD64 or Intel's EMT64 platforms. The big difference here is the ability for Cubase SX to address up to 4GB of RAM, which is useful when running software samplers such as Halion that benefit from being able to address more memory, as opposed to the current 2GB limitations in Windows XP and Mac OS 10.3. The forthcoming Mac OS 10.4 Tiger release should overcome these issues for G5 users, as discussed in.Although I do have a dual-Opteron system on which I could have installed Cubase SX 3, there's something of a shortage of suitable 64-bit drivers for audio cards, with M Audio being the only manufacturer I know of to date who have released at least beta 64-bit drivers for AMD users. Unfortunately, I wasn't able to get my hands on a suitable card to make any useful comments about running Cubase SX on a 64-bit operating system, so I'll follow this up in a subsequent SOS article when I can make some worthwhile comparisons.In terms of requirements for running Cubase SX 3, Steinberg recommend a minimum of an 800MHz Pentium or Athlon processor running Windows XP with MME-compatible audio hardware, or an 867MHz G4 processor running Mac OS 10.3.3 or higher, 384MB RAM, a DVD-ROM drive, a free USB port for the copy protection, and a display resolution of at least 1024 x 768 pixels. However, Steinberg's suggested requirements for a smoother ride are to have a 2.8GHz Pentium or Athlon processor, or a dual-1.8GHz G5 Power Mac or better, 512MB RAM, ASIO- or Core Audio-compatible audio hardware for Windows and Mac users respectively, and a dual-screen setup with each display offering a resolution of 1152 x 864 pixels. However, there is still no support for accessing multiple audio I/O devices in the Mac version of SX 3.The performance of Cubase SX 3 is generally good, although large Projects can still take slightly longer to load than you might like, and once you start to work with Projects containing several hundred tracks, you'll notice it can take tens of seconds to add VST Instruments and effects plug-ins to the Project, which is apparently due to calculations required for Cubase 's plug-in delay compensation.
However, handling of large Projects, loading times, accessing the copy-protection device and delay compensation calculation has improved since SX 2, so at least Steinberg are going in the right direction. The Synchronisation Setup window has been redesigned in SX 3 to make it easier to understand the settings and how they interact with each other.The Synchronisation Setup window has been completely redesigned in SX 3 to improve clarity and demonstrate the logical flow of the various settings and how they affect other settings in the same window.
Along with this improvement is a noticeably better MIDI Machine Control (MMC) implementation, which now offers a new MMC Master window so that when Cubase is an MMC master you can monitor the incoming MTC loop back, in addition to remotely arming tracks. I tried using this feature with Cubase as my MMC master and Pro Tools as my MMC slave and all seemed to work well, although Cubase SX can also operate as an MMC slave with the MMC Slave Device available from the Device Setup window.
If I was being picky, I'd say it might be more convenient if the MMC Slave and Master settings were both in the Synchronisation Setup window.The MIDI Time Code Destinations group now contains a new 'MIDI Time Code follows Project time' option, which, when enabled, means that the outgoing MIDI Time Code should always match where the Project cursor is in the timeline. It's useful to disable this for features such as Play Order (discussed in the main text) or Cycle Mode, so you can try out different structural ideas while keeping a slaved machine playing back linearly without staying locked to the absolute SMPTE time in the Cubase Project. However, one curious thing I noticed is that even when this new option is enabled, once playback has commenced, locating a new playback spot in the Ruler has no effect on the slaved machine, so it keeps playing back as if nothing had changed.
You have to stop and restart the playback so that a slaved machine can relock. The MMC Master Device enables incoming MTC to be monitored and provides a way of remote controlling the transport of external devices.In addition to now appearing in the Project window, the Key Editor itself also features some useful improvements in SX 3. Perhaps the most important is that you can now see controller data in the Controller Lanes for Parts other than the active Part when you have multiple Parts displayed in the Key Editor at the same time.
This was particularly annoying in version 2 and it's great to see this has been addressed in the new release. One other nice thing about this new behaviour is that when you create controller data over a region from the active Part into a different Part, the controller data is created in the appropriate Part, rather than only in the active Part as before.The Controller Lane now features an incoming data indicator that displays the current value of the data on a given Controller Lane as it comes into Cubase, just like the similar feature in Cubase VST. So if you're editing volume in a Controller Lane, the incoming value of any volume data is displayed to the right of the Controller Lane, and if you're editing velocity, the current velocity of any notes you play on your MIDI controller will be displayed. Key command fans will appreciate the fact you can now access the first 16 Controller Lane presets via key commands, up from five in the previous version, although it would be really good if the actual names of the presets were used in the Key Commands window, as opposed to anonymously numbering the commands from one to 16.A new Snap option that comes in handy on both the Project and Key Editor windows is the Grid Relative mode, which means that when you move an Event, it snaps relative to its original offset from a grid position. For example, if an Event is just off the second beat of a bar, dragging with Snap set to Grid Relative and Grid set to Bar means that Event will snap to just off the second beat of any bar you try and move it to.
Envelope Events enable you to create volume data tied to specific audio Events before the audio is output through an audio channel, just like volume Dynamic Events in Cubase VST.Cubase VST implemented a feature called Dynamic Events, whereby you could attach volume and pan envelopes to individual audio Events that would alter the level of those audio Events relative to the overall level of the channel. Despite the fact you could have fade-in and out curves and an audio Event level control in previous versions, some users still missed the functionality of Dynamic Events and so SX 3 features Event Envelopes that enable audio Events to have their own volume envelopes — currently the pan Dynamic Events are still missing, although I don't think this is going to be a big problem.
Music Recording and Production SystemCubase SX3 takes music production to a new level by adding more than 70 new features including powerful Audio Warp Realtime Timestretching, an intuitive Play Order Track, convenient Inplace Editing and many new editing functions.With Cubase SX 3, a native music production system combines full-featured audio and MIDI recording and editing, virtual instruments and powerful audio mixing with the added flexibility of loop- and pattern-based arranging and mixing. Audio Warp: Realtime Time Stretching and Pitch Shifting offer extensive new audio editing and processing capabilities, including ACID® File support: loops automatically adopt a project's tempo; audio files can follow tempo changes in realtime.
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Intuitive Play Order Track for pattern-based arranging adds a new level of creative music editing. Divide your song into sections, and then re-arrange it on the fly.
Compare alternative versions of your song and then convert them back into a linear form for mixdown and mastering. New Inplace Editor supports ultra-fast direct MIDI event editing from within the project page. Edit MIDI events in context with audio or video. New MIDI Device Maps / Panels support direct access to external MIDI hardware with user-definable graphic editing panels. Import VST Mixer Maps or create your own editing panels, even for the Track Inspector or the mixer's channel strip. User-definable Workspaces (window layouts) help organizing your desktop.
Create and save a separate workspace for each step of the production process. Switch Workspaces on the fly, as if working on multiple computers or monitors. Studio Connections 'Total Recall' support (optional integration of Yamaha's Studio Manager 2). The first step into a new dimension of software/hardware integration.
This modular editing system builds a powerful bridge between the virtual and physical studio. Opening a project can recall an entire studio setup within seconds. External FX Plugins allow for direct integration of external hardware effects processors into the VST audio mixer. Use your favorite outboard gear just like plugins – including automatic delay compensation. Extended Freeze function for virtual instruments and audio tracks with added flexibility and improved performance.
Freeze virtual instruments with or without insert effects. Then automatically unload the instrument to free up RAM. Freeze audio tracks with insert effects to free up even more CPU performance.
New part-based Volume Envelopes for direct control of dynamics. Fix level problems on the fly without wasting automation tracks. Then move events with their volume envelopes. User-definable Color Coding for tracks and VST mixer channels provides more clarity and better orientation – especially in complex projects. Logical Editor presets can be now assigned as key commands.
MIDI feedback for velocity editing in controller lane of the key editorFixes:. Audio export on multi processor machines should work now without drop outs and occasional lockups. MIDI quantize: Fix for groove quantize multiple parts several times. OMF: Fix for potential OMF import problem on OSX (not finding the files). Score: Fix for a crash when opening score editor while another one is already opened - Score: Fix for problems when moving events between different contexts. I've got Cubase 4 full version and I wanted to try out the SX3.1.1 trial version (as this SX3.1.1 was used on my recorded work in the UK by cave studios).I now have the project with me so I wanted to check out the plugins.However, I have not been able to open the download SX3.1.1 yet. I hope to purchase this version if found grate.love to have the full compatible series.
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Would appreciate your advise and the way about this very DAW (Cubase SX 3.1.1). ThanksI've got Cubase 4 full version and I wanted to try out the SX3.1.1 trial version (as this SX3.1.1 was used on my recorded work in the UK by cave studios).I now have the project with me so I wanted to check out the plugins.However, I have not been able to open the download SX3.1.1 yet. I hope to purchase this version if found grate.love to have the full compatible series. Would appreciate your advise and the way about this very DAW (Cubase SX 3.1.1).
This is not Good, I've got a great machine- Mac twin/2.5.Can't get it to load. Crashes, tried everything, system re/install.permissionsre/install.called Steinberg helpline.' Ng' they said it was a mac problem. Called Mac, talked to Pakistan,destroyed all my prefrences.Thus, the Re-install.I'm seriously thinking goin' to Logic Pro.Been with Cubase since it looked like a black&white spreadsheet, but dead i n the water is still just that.I upgraded in Jan. It's May yamaha owns her now Iv'e got my motif.but I can't hold on much longer.jupitor.