| Introduction | | | | editor (accessible by double-clicking any file or audio |
| One of the oldest sequencers, along with Logic | | | | segment) there's a new tab named VariAudio. When |
| (old-timers may remember the golden era of Pro 24 | | | | you activate it, the software starts a process of |
| and Notator), Cubase has over the years, imposed | | | | recognition for all the notes in the audio clip that you |
| numerous ergonomic, technological, and conceptual | | | | can then edit like a simple MIDI sequence. You can |
| standards on the competition. Releasing a new version | | | | change the pitch as well as the placement and |
| of Steinberg's flagship software is still an event in itself, | | | | duration of segments, while a curve shows formants. |
| although it must be admitted that today, the pretenders | | | | Ergonomically speaking, the integration is perfect: rolling |
| to the throne of the king of sequencers are quite | | | | the mouse over a note indicates its pitch and the |
| numerous. As a result, innovation and excellence are | | | | difference in pitch compared to the nearest half-step, |
| no longer unique to Cubase and, without even | | | | while a piano roll is superimposed to simplify |
| mentioning other sequencer heavy-weights (Logic, | | | | transposition. In comparison to the Melodyne Plug-in, its |
| Sonar, Pro Tools, Samplitude, Digital Performer and | | | | integration is seamless: it works in full screen and not in |
| Ableton Live), the last decade has seen many new | | | | a minimized window, there are no more worries about |
| challengers, with varying price tags and popularity, but | | | | conflicting shortcuts between Melodyne and Cubase, |
| packed with great features: Fruity Loops, Melodyne, | | | | and above all, no more headaches with bouncing the |
| Tracktion, Energy XT, Reaper ... | | | | audio just to be able to hear the result. There's only |
| In a market as competitive as this, it's obviously | | | | one thing that it's missing compared to Melodyne: |
| increasingly difficult to stand out. Cubase 4 had its | | | | VariAudio doesn't handle the amplitude of different |
| critics even though it launched the VST3 standard, | | | | segments, which means you can't change the volume |
| brought its effects and virtual instruments up to date, | | | | of each note it detects. Steinberg makes up for this, |
| inaugurated a new media management system and | | | | however, by incorporating a nice Audio to MIDI |
| you could finally move effects from one track to | | | | conversion feature. You can turn any mono audio clip |
| another by drag & drop. But it seemed more like | | | | into a sequence that can then be played by any virtual |
| they were trying to catch up to the competition rather | | | | instrument. Of course, depending on the quality of the |
| than really innovating ... Even the more original | | | | audio clip and detection limitations (with or without |
| innovations, like management of external hardware | | | | taking into account pitch bend), the result will be more |
| (particularly Yamaha's, since the Japanese | | | | or less faithful to the original, but by editing a little to |
| manufacturer had recently bought Steinberg) and the | | | | clean up the sequence you get results that are usable... |
| emergence of control room targeted features were | | | | How does it sound? Even if the quality of the |
| interesting, but did not effect all users and therefore | | | | algorithms used by VariAudio hold their own when |
| didn't necessarily justify the increased software price: | | | | compared to the competition, they're not up to par with |
| around $879! Fortunately, when the impressive Logic 8 | | | | Melodyne when dealing with extreme transpositions |
| came out for around $500 it forced Steinberg to | | | | (plus or minus one octave, for example). It all depends |
| rethink its rates and marketing strategy: you can now | | | | of course on what you're trying to transpose, some |
| find Cubase 5 for around $500! With relatively | | | | timbres work better than others, like electric bass, while |
| interesting updates: 4.1 and 4.5 (side chain management | | | | others that are more complex, like vocals, produce |
| for their effects, better routing management, additional | | | | artifacts (glitches, flange , etc..) when you transpose |
| sound banks for HALionOne, etc..), and this 5th version, | | | | more than 3 half-steps. It all depends on what you use |
| Steinberg is doing its best to seduce us. Let's get into | | | | it for: hidden in the mix, some transpositions are |
| details... | | | | undetectable, while if it's out in front of a mix or all |
| When I'm 64 | | | | alone it will more than likely not be usable. |
| The box is heavy and that's a good sign. In addition to | | | | Nevertheless, it's great to have a tool like this since it |
| the USB dongle and serial number that let you register, | | | | come in handy in many situations and it works quite |
| it actually contains 2 manuals: a quick start guide, and a | | | | well. |
| rather large comprehensive manual that does not, | | | | In the wake of VariAudio, which is an editing tool, |
| however, cover the effects nor virtual instruments | | | | Steinberg has also supplied pitch correction plug-in |
| included with the software, but which are covered in | | | | which, as its name suggests, automatically corrects the |
| PDF files. There are 4 DVDs: the DVD to install the | | | | pitch of the track you put it on (like Auto Tune), with |
| program, a DVD with sounds and samples, and two | | | | the possibility of restricting the audio to a certain scale |
| DVDs with a 90-day demo version of HALion | | | | or changing its tolerance, alter formants, etc.. The big |
| Symphonic Orchestra . Note that in addition to the | | | | difference with VariAudio is that this plug-in works in |
| manuals, the installation DVD includes a large number | | | | real time and does its job well as long as you use the |
| of tutorial videos that are very well done and address | | | | appropriate settings (shape, speed, tolerance, etc..). |
| all the key aspects of the sequencer. When you | | | | Pitch correction can also create some special effects: |
| consider that there was a time that Steinberg was | | | | Mickey Mouse (+ 2 octaves), Barry White (-2 |
| putting out manuals only in PDF format, we can only | | | | octaves), or by piloting the plug-in via MIDI like a virtual |
| thank the German company for having changed its | | | | instrument, or getting that 'Cher effect'. |
| ways. | | | | In short, between Pitch Correct, VariAudio and |
| The installation went smoothly, and after double clicking | | | | AudioWarp, you can really sculpt your tracks as if they |
| on the red icon, I was in familiar territory: the project | | | | were made of sonic clay. This is a very good point for |
| window. The first novelty of this version doesn't jump | | | | Cubase 5, which now holds its own in terms of audio |
| out at you, because it's invisible: Cubase now fully | | | | editing. Let's take a look at the effects and virtual |
| supports 64 bit technology. Wasn't this already the | | | | instruments that come with Cubase 5... |
| case? Yes and no, because even though Cubase 4 | | | | FX Machine |
| was compatible with 64-bit operating systems, the | | | | In Cubase 4, Steinberg updated the included effects, |
| code hadn't really been rewritten for this. It therefore | | | | and now there's no less than 58 audio plug-ins that |
| remained essentially a 32-bit application, but capable of | | | | come with Cubase 5. The selection of effects is |
| running on a 64-bit system, whereas Cubase 5 is now | | | | comprehensive and covers just about all needs: |
| available in full 64 bits. | | | | spectral processing (EQ, filters, wah, enhancer), |
| What's the big deal about 64 bits? It's simple: it | | | | dynamic (compressors, gates, expander, de-esser, |
| increases the addressable memory space. 32-bit | | | | transient designer), spatial (autopan, stereo Widener), |
| operating systems manage at best 3.2 GB of | | | | pitch ( octaver), modulation effects (chorus, phaser, |
| memory, while a 64-bit OS can theoretically go up to | | | | flanger, ring modulator), distortions, amp simulator, guitar |
| 128 GB (I say theoretically, because there presently | | | | tuner, signal generator, etc.. etc.. It should be noted that |
| exists no machine, available to the general public, that | | | | there's a slight redundancy: the same effects are |
| has that much RAM). A very important detail at a time | | | | sometimes available in both a mono version and a |
| when virtual ROMplers come with banks of tens of | | | | stereo version like the extremely annoying Wave |
| Gigas for rendering a single instrument (BFD, | | | | Effects bundles. Rather than having 4 different delays, |
| superiorDRUMMER 2, Vienna, EastWest Symphonic | | | | it would have been nice to get a single plugin that was |
| Orchestra, Ivory Piano, etc.) and simplifying the lives of | | | | a little more sophisticated... |
| those who do audio/video and need to manage huge | | | | The magical effect of Impulse |
| videos within their sequencer. | | | | However, Steinberg should be applauded for having |
| Low Tech Propellerhead! | | | | finally included a real high-quality reverb: Reverence |
| But not everything is rosy in the land of 64 bits. Even | | | | convolution processor, which takes over for the very |
| though Steinberg is committed to supporting Mac OS | | | | mediocre RoomWorks (which is still available). There's |
| X, Vista 64, and the upcoming Windows 7, no support | | | | not much to say about Reverence, whose features |
| for Windows XP 64 is officially expected (it doesn't | | | | are similar to other convolution processors (setting |
| necessarily mean that it won't work). Don't forget to | | | | different reverb parameters, 3 band parametric |
| check your plug-ins: some developers already feature | | | | equalizer, reverse mode, preview ...). It should be |
| 64-bit compatibility and Steinberg proposes, via VST | | | | mentioned that the plugin works in stereo or surround |
| Bridge technology, a way to use 32 bit plugins in the | | | | and it comes with a collection of impulse responses: |
| 64-bit version of the sequencer, but it's still highly likely | | | | reverbs only, no speaker simulators for guitarists, but |
| that one or two of your old effects that you've had | | | | since you can find many impulses on the net and |
| for ages in your VSTplugins directory will crash or | | | | import files in WAV or AIFF format, this is not a |
| refuse to start. Using the VST Bridge also consumes | | | | problem. |
| resources in proportion to the use of a true 64-bit | | | | So, the only criticism that can be made about this new |
| plug-in ... In addition to these small inconveniences, the | | | | reverb is the same one for all convolution processors: |
| major drawback of 64-bit is the incompatibility with | | | | Reverence is a real hog in terms of CPU consumption. |
| Propellerheads technologies: if you use Cubase 5 | | | | To work in stereo, it's not too bad, but to use it in |
| 64-bit in a 64-bit OS, you won't be able to use REX | | | | surround mode, it would be better to have an |
| file formats, nor the ReWire platform: so farewell using | | | | extremely powerful machine ... Nevertheless, Steinberg |
| Cubase with Reason, Ableton Live and Melodyne, | | | | really needed its own convolution reverb. If you already |
| amongst others... Of course, the Swedish developer | | | | have one, then you won't care, but if you don't, you'll be |
| will probably not leave the situation as it stands, but | | | | saving yourself some money... |
| currently, no announcement has been made on this | | | | Same for all the provided effect plug-ins which - and |
| issue ... What do we do in that case? Install the 32-bit | | | | this is their main strength - let you carry out a project |
| version of Cubase 5, which runs smoothly on a 64-bit | | | | from A to Z: nothing is missing and you can easily just |
| OS, until Propellerhead makes a move. This is annoying | | | | work with cubase 5 as is. As for the quality of the |
| of course, but it can't be blamed on Steinberg. Let's | | | | effects and processing, let's just say that there's |
| take a look now at features that will change the way | | | | nothing amiss but they aren't up to par with other third |
| you use Cubase. | | | | party plug-ins, especially in the EQ and dynamic |
| Cognito, Ergonomic Sum | | | | processor department (you'll find better plugins by In |
| There's no revolution in terms of interface, the German | | | | Flux, Sonnox, Wave, URS, PSP ... but for a price that |
| developer seems to have opted for, with this release, | | | | often exceeds that of the sequencer!), or the effects |
| making the interface simpler and increasing work flow. | | | | found in a Samplitude for example... |
| Take for example the new Automation panel that | | | | Groove Baby Groove! |
| brings together in a single window the main automation | | | | In Cubase 5, Steinberg features two new virtual |
| commands. One click now suffices to arm all the | | | | instruments and a MIDI plug-in dedicated to electronic |
| tracks in Read or Write modes, while you can choose | | | | rhythms: Groove Agent One, LoopMash, and Beat |
| to display or hide automation data, and engage | | | | Designer. |
| disengage playback or recording features by Type: | | | | Contrary to popular belief, Groove Agent One isn't |
| Volume, Pan, EQ, Sends, Inserts. The time saved is | | | | similar to the old Groove Agent, but is rather like the |
| considerable! | | | | LM4 ... with a look that evokes an Akai MPC. It's a |
| As for controls, a host of small improvements have | | | | Drum Sampler including 16 virtual pads which can be |
| been made, such as the presence of a virtual | | | | assigned to an AIFF, WAV, MPC, or different slices of |
| keyboard that allows you to play music from a | | | | a loop. Note that GA1 manages up to 8 layers per pad, |
| QWERTY keyboard (useful when you're on a laptop | | | | and you can have 8 banks of 16 pads. Pad |
| on the road, and you don't have a keyboard), or a free | | | | assignment is done by simple drag & drop from |
| application for iPod/iPhone which will let your remotely | | | | MediaBay, the audio editor, or project window but |
| control the transport bar via WiFi ... nice, you might say, | | | | unfortunately not from the desktop of Windows or |
| but not enough to justify an upgrade. Except that | | | | Mac OS. But when you put more than one file on the |
| Steinberg has also taken this occasion to fulfill the | | | | same pad, the software automatically creates the |
| wishes expressed by many users, by integrating, firstly, | | | | corresponding layers dynamically distributing velocity |
| an export of multiple audio files. | | | | ranges. As for editing, GA1 offers a lot of controls: |
| Total Export, Hallelujah! | | | | tuning/transpose sample, amplitude curve, multimode |
| Requested ages ago, the Total Export feature now | | | | filter (but not resonant, alas), reverse mode ... In short, |
| makes it possible to export multiple tracks in one shot. | | | | there's enough to keep you busy even if it would have |
| Until now in Cubase, when you wanted, for example, | | | | been nice if the edit section had been a little more |
| to make a CD of 16 audio tracks to give to a friend or | | | | developed (I wasn't able to change the playback start |
| a studio working under another sequencer without the | | | | and stop points of a sample) and there are no effects |
| OMF format, you had to do track by track, using the | | | | (distortion, delay, etc.). Although, you can apply these |
| Solo and Mute buttons: a waste of time! Now, in the | | | | effects in the mixer using different audio outputs, it's |
| Mixdown window, just check the little boxes for your | | | | less intuitive. Indeed, despite their resemblance, do not |
| outputs, audio tracks or instruments and effects tracks. | | | | expect to do, with Groove Agent One, a quarter of |
| The only thing missing in this window is the ability to | | | | the things you can do with FXpansion's Guru, but this is |
| enable/disable the effects inserted in tracks, so you | | | | normal after all for a program supplied with a |
| can easily deliver a dry track, although it can still be | | | | sequencer... |
| done in the mixer or project view. It would have been | | | | As for sequencing, you'll have fun with the new MIDI |
| nice if Cubase managed lossless audio formats | | | | plug-in named Beat Designer. Incorporating the |
| (Monkey Audio amongst others). Anyway, even if | | | | ergonomics and logic of a classic step sequencer (up |
| Steinberg is catching up with the competition more | | | | to 64 steps per pattern with different time signatures |
| than innovating on this point, this simple feature alone is | | | | possible), Beat Designer will allow you to quickly pilot |
| worth the upgrade from any version of Cubase to this | | | | Groove Agent One or any other synth or drum |
| new version... | | | | sampler. Its use is very simple: one click to add an |
| Up to Tempo | | | | event, one click to delete, and click and drag to change |
| Not so important for some, but essential for others, it | | | | velocity, while the sliders effect the "swing" feel. It's a |
| must be mentioned that there are two new types of | | | | nice little sequencer although, again, its combination with |
| tracks: Tempo track and Signature track which let you | | | | Groove Agent One is very far from offering the |
| program changes in tempo and time signature in your | | | | power and the ergonomics of a Guru ... |
| projects. Admittedly, Cubase already had a Tempo | | | | And lastly, the most original of the lot: LoopMash. No |
| editor in the past, but it was just an editor, which was | | | | sequences nor one shot samples, this time we're |
| not very ergonomic. Now, without even leaving the | | | | dealing with loops, with a concept that's not far from |
| project window, you can vary time signatures and | | | | PowerFX's Miracle or Guru (again). The idea is to |
| tempo with a click of the mouse. Unfortunately, | | | | combine the groove of a master loop with the sound |
| however, you can only have a single tempo and | | | | of 7 other loops, and matches similar elements across |
| signature track per project: you can't get a 3/4 track | | | | loops and beats, generating new "mash-ups" from any |
| and a 4/4 track playing simultaneously, or a track | | | | rhythmic audio material. The software is based on a |
| whose tempo would increase while the others | | | | sound recognition algorithm, so you can dose the level |
| remained at a fixed tempo, even if such examples are | | | | of each loop and you can record up to 8 scenes with |
| rather rare ... The addition of these two tracks should, | | | | one click. There aren't many settings, but that's OK |
| in any event, greatly simplify work for composers, who | | | | because this fact allows LoopMash to remain a simple |
| will also be delighted to discover the new range of MIDI | | | | and effective tool for finding original ideas, especially if |
| software. | | | | you try mixing melodic loops and drum loops. If electro |
| MIDI Plug-Ins | | | | is your cup of tea, you'll really like the idea. If however, |
| Let's start with MIDI plug-ins: they've been completely | | | | you tend towards Jazz or Rock, you probably won't |
| overhauled, and two new ones have been added: MIDI | | | | see much interest in this device, nor Groove Agent |
| Monitor, and Beat Designer (which will be talked about | | | | One or Beat Designer. |
| later) | | | | I want to point out what is now one of the only real |
| The MIDI Monitor plug-in lets you, as its name suggests, | | | | weak points that Cubase has compared to some of |
| keep an eye on all messages passing through the MIDI | | | | its competitors: the number of virtual instruments. |
| sequencer, making it an extremely valuable tool when | | | | Though Embracer, Monologue, Spector, or Halion One |
| it comes to diagnosing a failure or connection problem, | | | | might be very nice in and of themselves, they're a |
| since it allows you to export the logs into a TXT file. | | | | very far cry from the power and versatility of the |
| Very useful for automating complex programming. | | | | Z3TA +, Dimension Pro, and Rapture LE trio in Sonar, |
| Less esoteric but equally powerful, the other MIDI | | | | or the instruments offered in Logic Pro 8 (no rhodes, |
| plugins have had significant improvements made to | | | | no organ, etc.).. It would probably be less embarrassing |
| them, either on the graphical or functional level: like | | | | if Cubase shipped with a real software sampler (why |
| Chorder, which now has a MIDI Learn mode. Only | | | | isn't HALion included by default). All we get by default |
| regret: not having tools designed to simplify the MIDI | | | | is the Halion One ROMpler with sound banks ranging |
| programming for acoustic instruments to create | | | | from fair to very average. |
| realistic strumming or other techniques. Nevertheless, in | | | | In this regard, it would be nice if Steinberg had a more |
| the field of realistic MIDI programming, Steinberg has | | | | attractive offer, either through marketing or by licensing |
| not been idle, as shown by VST Expression, another | | | | (including versions of third party plug-ins) or why not |
| major innovation of version 5... | | | | buying, technology or products of small specialized |
| VST Expression: Express Yourself! | | | | developers. |
| So what is it? It's an interface that lets you intuitively | | | | Conclusion |
| manage and control (from the Piano Roll, the Drum Edit | | | | Cubase 5 is undoubtedly a success and shows |
| or score edit) the many articulations that are found in | | | | progress in several areas. More user-friendly, more |
| large symphonic sound banks (Vienna, Garritan, East | | | | powerful and better equipped, Steinberg's baby is alive |
| West Symphonic Orchestra, etc.).. Similar to the way a | | | | and well! Sure, we'd always like to have more |
| Drum Map simplifies editing drums, you can now | | | | (especially virtual instruments), but features like |
| create Expression Maps that will manage continuous | | | | VariAudio, VST Expression, Tempo/Signature tracks, |
| controllers (especially key switches) dedicated to a | | | | or the multitrack export feature make this an essential |
| particular playing technique (staccato, glissando, | | | | update. To the question "Should you upgrade from |
| tremolo, etc.).. Once an Expression Map is created, all | | | | version 4 or lower", the answer is a 1000 times yes, |
| you need to do is program in the changes in articulation | | | | but keep in mind that the Studio version of the |
| at the bottom of the Piano Roll (in the same space | | | | software doesn't include (and it's an important point) |
| used for continuous controllers), or use the appropriate | | | | VariAudio, amongst other things. |
| symbols in the score editor. | | | | If however, you don't have a sequencer or you intend |
| That's all it is, but it really simplifies things, as you'll soon | | | | to change, the problem is more difficult because after |
| realize with the HALion Symphonic Orchestra demo | | | | a quick web surf, it was pretty surprising to find out |
| version (limited to 90 days), or with the brass, guitars, | | | | that no brands except Magix, Cakewalk and Ableton, |
| and bass samples of HALion ONE Expression Set 01. | | | | have demo versions of their sequencers! And it's a |
| Like all good ideas, you wonder why nobody thought | | | | shame that you can't try before you buy at a time |
| of it before. In addition to simplifying programming, VST | | | | when the differences between sequencers is often |
| Expression also lets you transfer your sequences | | | | summed up by a few features and different |
| from one bank to another, as long as you have the | | | | work-flows. But, speaking as an unconditional Cubase |
| corresponding expression maps. It's on this very issue | | | | user these past fifteen years, I can't recommend |
| that one might have cause to complain, because even | | | | Cubase 5 enough... |
| though Cubase provides Expression Maps for HALion | | | | Positives: |
| One and HALion Symphonic Orchestra, it offers none | | | | - Full 64-bit! |
| for the heavy hitters of Symphonic samples. So you'll | | | | - VariAudio, efficient and fully integrated. |
| have to to roll up your sleeves and do it yourself, | | | | - VST Expression. |
| through a simple editor, or wait until the brands | | | | - Finally there's a multitrack export! |
| themselves or enthusiasts do the job for you, which | | | | - Finally a hi-quality reverb! |
| will probably happen sooner or later. But whether VST | | | | - Tempo and signature tracks, so much easier... |
| Expression becomes a standard adopted by other | | | | - A complete all-in-one solution. |
| sequencers is yet to be seen... | | | | - Printed manuals and video tutorials. |
| Vari Nice! | | | | - Groove Agent One, simple and effective. |
| The Total Export and VST Expression features may | | | | - Loopmash |
| be important additions to Cubase, but the feature that | | | | - The automation panel |
| has received the most attention in Cubase 5 is | | | | - The concept of an iPhone application to control the |
| definately VariAudio, which is basically a Melodyne-like | | | | sequencer |
| application integrated directly into Cubase. In the audio | | | | Drawbacks... |