| Steinberg Cubase 5 buy cheap | | | | grow to like LoopMash. |
| Cubase is 20 years old this year, so it's strange to | | | | Groove Agent ONE charts more familiar territory. It's a |
| think that it has only reached version 5. In fact, | | | | drum sampler with a solid collection of acoustic and |
| Steinberg rebooted the brand in 2002 when Cubase | | | | electronic kits plus reasonable scope to customise |
| VST 5 turned into Cubase SX. Its two-year turnover is | | | | them. Best of all, any audio loop can be chopped up |
| slow, though, and a lot has happened in the two years | | | | into individual hits, arranged across the MIDI keyboard |
| since version 4 was launched. | | | | and exported as a MIDI phrase, thereby creating an |
| Steinberg has responded with a swathe of inspired | | | | instant drum machine from a loop. It's not a new idea |
| new features, many of which will have a big impact on | | | | but it's great to have it fully integrated into Cubase. |
| the creative process. Pick of the bunch is VariAudio, a | | | | Channel Batch Export simplifies the procedure of |
| vocal pitch-correction editor in the style of AutoTune. | | | | exporting a mix as a series of WAV files for import |
| This type of effect has a mixed reputation: it's blamed | | | | into another application. Even fellow Cubase 5 users |
| for letting poor vocalists off the hook but it's so widely | | | | are unlikely to be able to share projects due to the |
| used now that few singers can live without it. | | | | ubiquity of third-party plug-ins, so it's good to see |
| VariAudio displays a line representing pitch, bound in a | | | | Steinberg focussing on it. The only hitch is that audio |
| succession of boxes, one for each note. This division | | | | may be clipped when exporting in this way - some |
| into discrete notes is the key to VariAudio's power, | | | | kind of clipping alert would be welcome. |
| allowing problem notes to be fixed without interfering | | | | Elsewhere, the Tempo Track is finally integrated into |
| with adjacent ones. | | | | the arrange window, which saves a lot of bother |
| It's easy to retain pitch inflections while retuning, or to | | | | when restructuring tracks with tempo changes. |
| deliberately iron them out. Add the ability to drag notes | | | | Cubase has also consolidated conflicts when MIDI |
| around the screen to change their pitch, timing and | | | | controller data and automation data is assigned to the |
| duration, and VariAudio eclipses Cakewalk Sonar's | | | | same parameter, with both now working in tandem. |
| V-Vocal for surgical vocal editing. Meanwhile, a new | | | | Despite this barrage of powerful new features, |
| Pitch Correct effect takes a more conservative | | | | Cubase still feels under-equipped in one key area: |
| approach, processing in real-time to a preset scale. | | | | plug-ins. Its eight instruments add up to a solid, functional |
| REVerence is a new convolution-based reverb effect. | | | | sound palette but they can't match the visceral |
| Convolution uses acoustic responses recorded in real | | | | excitement of Ableton Suite or Sonar Producer's |
| spaces to simulate reverberation authentically. There's | | | | instruments. Sonar also has the best-sounding effects |
| a strong library of responses provided, captured in | | | | plug-ins of the three, and it costs considerably less. |
| locations such as studios, churches, ballrooms and | | | | However, Cubase feels more polished than Sonar. It's |
| tunnels, and the ability to manipulate them is greater | | | | certainly much more pleasing on the eye, but this visual |
| than usual. However, there's a problem. Convolution | | | | flair is matched by more streamlined core editing tools. |
| reverb became widely available in 2004 and has been | | | | Those who value efficiency over lots of sonic gadgets |
| bundled with Sonar since 2005. We can't imagine there | | | | should consider Cubase Studio 5. It omits VariAudio |
| are many Cubase users who haven't already invested | | | | and LoopMash, various other obscure features and |
| in a third-party convolution plug-in. REVerence is | | | | some plug-ins including REVerence and the top-quality |
| welcome but its arrival is simply too late. | | | | EQ effect. However, at £333 including VAT it's an |
| Another late but this time worthy arrival is experimental | | | | excellent choice for those who want a |
| loop-mangling courtesy of LoopMash and Groove | | | | straightforward, professional recording application. |
| Agent ONE. LoopMash takes a series of loops, chops | | | | For those with the cash, the full-blown Cubase 5 is |
| them up into individual hits and creates hybrids out of | | | | more appealing than ever. Plug-ins aside, it no longer |
| them. Sometimes it sounds fresh and exciting, but | | | | feels underpowered compared to Sonar, with |
| mostly it's more like a random succession of trendy | | | | VariAudio and Groove Agent ONE in particular filling |
| noises. The highly graphical interface invites the user to | | | | some important gaps in its toolbox. As this old stalwart |
| interact intuitively rather than prescriptively, but so far | | | | turns five once again, this time around we don't |
| our experience has mostly involved poking the controls | | | | envisage Steinberg going back to the drawing board |
| in a bemused fashion. Even so, we think we might | | | | any time soon. |