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One of the hurdles to overcome when using VST Expression in Cubase 5 was that suitable Maps would first need to exist for instruments. Some Maps were made available by developers, but often users would need to create them manually. And while not exactly a task that would validate an application for Mensa, this extra step may have prevented some from garnering the full potential of Expression Maps. As you can probably start to appreciate, the Note Expression features in Cubase 6 have incredible sophistication and depth. I could easily spend the rest of this review explaining some of its other great aspects, such as the way you can convert existing controller data into Note Expression data, or how clicking and holding a note previews the note with any corresponding expression data. But alas, there just isn’t space. Even if the Note Expression features aren’t relevant to the way in which you personally use Cubase, what’s particularly great is how some of the editing functionality for Note Expression has been used in other areas of the program. For example, the way data can be manipulated in the Note Expression editor is so useful that Steinberg have duplicated this idea for controller and automation editing. Now, when you select controller or automation data, editing controls appear at the edges of the data, enabling you to tilt, scale and stretch the selected events, just as you can expression data. This is incredibly neat and clever.
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Has been added to your wish list!. Once you have a folder containing the required tracks, you can enable Group Editing on that folder. Now, if you select a part or event on a track within the folder, all parts and events on all tracks within that Folder sharing the same start and length times and playback priority (for when you have multiple takes on the same track) will be automatically selected — regardless of any other group settings that have been established. This basically means that edits applied to one track within the folder will be applied to all corresponding tracks within the folder, as long as they form part of a true multitrack recording. Should the folder contain parts and events that don’t conform to the same timings and priorities, Cubase will tersely inform you that ‘The tracks in this folder are not completely in sync. Group editing could fail!”. Another point that kept bothering me slightly with Dynamics Mapping is that there’s no interaction between this feature and, say, Expression Maps. So, using Expression Maps I can create a Sound Slot that puts a forte symbol on the Score; but this forte symbol has nothing to do with Dynamics Mapping Events that can also put forte symbols on the Score. Maybe I’m being a little picky about this: it seems like Steinberg are onto something with Dynamics Mapping, but the feature might need just a little bit longer in the oven.
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With the full versions of the Cubase, Nuendo and WaveLab host applications, the USB-eLicenser is usually included in the product package. For Steinberg VST instruments and many upgrades, the USB-eLicenser is not included and must be purchased separately, unless you already own one.
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If you open the Quantise Panel for the purpose of quantising audio, you’ll see an extra set of controls at the top for setting the so‑called Slice Rules. This is where you specify how slices are created from the Hitpoints, and you’ll see the name of the track containing the event for which Hitpoints were created in the Sample editor.Using an example file supplied by Steinberg, here you can see how Cubase creates slices on a multitrack drum recording. The white lines indicate where the audio events will be sliced, and the red lines show from which event the slice will be derived. What’s particularly neat is that Cubase 6 allows you to create different sets of Hitpoints on different tracks, and then create a master set of Hitpoints by setting Priorities for the different tracks in a manner that’s not so different to working with Loopmash. The reason this is important is that when you click the Slice button, all tracks will be sliced identically, so that everything stays in phase when you move things around. But since not every drum in the kit is going to be playing the same rhythm, adjusting the Priority settings between different tracks allows you to ensure that no beats are left behind. As you might expect, the real power in using lanes to compile the perfect take is the fact that Cubase’s editing tools can be brought to bear. Particularly useful is the Range Selection tool, which can be used to make small sections within a different take active without making the whole take active. Simply drag the required region on the required take, double‑click it, and only the highlighted region will become part of the master take. Piece of cake!Here you can see the new lane editing tools being used to comp a marimba part. Notice how Cubase compiles a master take on the main audio track, reflecting the different sections of the three takes that have been chosen. And since all the takes are audio events, you can also perform crossfades where necessary. With your drum tracks in a folder, the first step to quantised bliss is to create Hitpoints on one of the tracks. The Hitpoint detection algorithm is noticeably improved in Cubase 6, and it’s now visually much easier to adjust the threshold with the aid of two horizontal lines that indicate the point at which spurious Hitpoints are excluded. Another neat new Hitpoint feature is the Create MIDI Notes button, which converts Hitpoints into MIDI notes of a chosen pitch, with either fixed or dynamic velocities, based on the audio material. This is obviously quite useful for drum replacement.
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There are several ways to edit MIDI in Cubase. You can use the tools and functions in the Project window for large-scale editing or the functions on the MIDI menu to process MIDI parts in various ways. To manually edit your MIDI data on a graphical interface, you can use the MIDI editors.
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Staying on the subject of colour, Cubase now adopts Nuendo’s method of displaying track colours. Previously, you would enable track colours by clicking on a button at the head of the Track List, and a track-colours bar would appear next to each track’s meter. Now, track colours are always enabled, and shown in the area where the track number is displayed. This area used to be coloured according to track type (grey for MIDI, blue for audio, and so on), but I think it makes far more sense to display the track colour here. Cubase 6 is a great release, and it’s especially gratifying that Steinberg have tidied up some of the loose ends introduced with the slightly dubious 5.5 update last Summer. The user interface finally feels as though it’s gaining consistency, with a cleaner, luculent and more polished appearance, so much so, that returning to Cubase 5.5 after experiencing the improvements — particularly the new Inspectors in the Project, Score and Key editors — is really disorientating. The phrase ‘How could we ever have worked like this?” kept springing to mind, which, to me at least, is usually the sign of a good upgrade. Perhaps the best thing about Dynamics Mapping is that the Key editor’s Articulation Controller lane now incorporates a Dynamics lane, allowing you to see dynamic changes in both the Key and Score editors. However, in the Score editor, the Dynamics Mappings symbols are a new class of symbol, meaning that existing dynamics symbols have no affect on playback and will not show up in the Key editor. Another small issue is that there seemed to be no way to set the length of the Crescendo Events in the Key editor, which is slightly annoying.
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You will be directed to a page where you can Register your eLicenser/software and enter your Download Access Code. This code is found at the bottom of Software Download Instructions card included with your hardware (highlighted in orange). The card should look similar to the image below. Once entered, press Continue.
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The Steinberg EuCon Adapter for Cubase 6.5.0 and Nuendo 5.5.2 available here is required for the use of the AVID Artist and Pro Series Controllers. Like many other windows, the Key editor now has its own Inspector panel in Cubase 6, providing access to common editing commands for transposing, quantising and adjusting the lengths of notes.The Key editor now has an Inspector, allowing easy access to the Note Expression functionality. Notice how the VST3 Controls (from Halion Sonic SE) appear at the top, followed by the list of MIDI controllers. In the editor itself, you can see Note Expression data superimposed on the notes; the colouring of the lines represents the colour assigned to the VST3 Control in the Note Expression Section. Volume is red, tuning is yellow. To configure Note Expression on a track, a new Inspector Section has been added to both the Project and Key editor windows. The Note Expression Inspector Section shows a list of available parameters, and exactly which ones you see here depends on the instrument you’re using on a particular track. The VST3 controllers declared by a supporting instrument are shown first, followed by a list of MIDI controllers. Since Cubase was reborn nearly 10 years ago, Steinberg have offered the program in two different flavours to cater for users with different needs and budgets. Originally, the all‑bells‑and‑whistles version was known as Cubase SX, with Cubase SL being the capable younger brother. At version 4, Cubase SX became simply Cubase, while SL was rebranded Cubase Studio. This naming strategy remained for Cubase 5, with an entry‑level product known as Cubase Essential joining the family to bridge the pricing gap between Sequel, Steinberg’s Garageband‑like music application for beginners, and Cubase Studio.
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Cubase Pro is part of these download collections: Open VST, Play VST, Edit APE, Convert MIDI. LIMITATIONS IN THE UNREGISTERED VERSION. 30 days trial period. SYSTEM REQUIREMENTS. 64-bit Intel or.
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Cubase AI and LE Activation and Registration. Many Yamaha, Steinberg and third-party products are bundled with a version of Cubase AI or Cubase LE. Installation of these software titles are subject to Activation and Registration. This page gives you access to all the information you require in order to successfully activate and register your.
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Another change to Expression Maps in Cubase 6 is that you can now assign colours to Sound Slots in the Map. This makes it possible to colour data in the Key editor by the different articulations, so that legato notes might appear red, pizzicato blue, and so on. This is visually very helpful, but one slight quirk is that while the notes themselves are coloured, the actual Articulation Events in the Controller lane don’t follow the same colour scheme and remain a single colour. This makes it harder at a glance to understand what colour represents a given articulation, and it would be great if the Articulation Controller lane could also follow the ‘Colour by Sound Slot’ instruction. Copyright © Serial Realms , 2010-2022. Cubase 10 may not be the latest version of the software, but it is still very capable and should be up to the task of most hobbyists or independent music producers. If you need the very latest and fully featured DAW, Cubase 10 may not be the best option, but it should be noted that getting the latest and fully featured DAW would be considerably more expensive.
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March 22, 2022. Steinberg should extend the Cubase 12 refund period. 9. 302. March 22, 2022. My stereo out is clipping even though all channels playing at -10dbfs! 34. 176. March 22, 2022.
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Please log into your account to ensure that your wish list is private and saved for future visits. However, keyboards offering polyphonic pressure never really took off, partly because they were more expensive to produce. Another problem was that even though you could record polyphonic pressure messages into a sequencer, there was no really good way to edit that data. Previous versions of Cubase could edit polyphonic pressure messages in the List editor or via the Controller lanes, where each note pitch had its own lane, but these methods were far from ideal. VST Amp Rack follows very much in the style of Apple’s Amp Designer and Pedalboard plug‑ins, which were introduced with Logic Pro 9. Offering a prepossessing graphical representation of amplifiers, cabinets, mic positioning and stomp boxes, VST Amp Rack lets you customise a guitar sound to your heart’s content. And the sound it produces isn’t so bad either — certainly, it seems better than anything you could have come up with using Steinberg’s previous stabs at amp emulation — although, as a non‑guitarist, I’m perhaps not the best qualified to judge the nuances and feel of such a plug‑in.
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User manual. View the manual for the Steinberg Cubase Elements 6 here, for free. This manual comes under the category Software Licenses & extensions and has been rated by 1 people with an average of a 7.5. This manual is available in the following languages: English.
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At the end of the day, Cubase 6 is a formidable release. Cubase users will love it, of course; but some of the new features are sure to make followers of other music production software green with envy. Look for weaknesses in your home Wi-Fi and strangers piggybacking on your network.
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The downside of Cubase Pro is the lack of audio editing and post-production options. For these tasks you need to download another free audio editing software. The mix console deserves separate praise thanks to an upgraded Snapshot feature. The first thing that catches the eye is a profound MIDI basis. The Key Editors exceeds all expectations.
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Located around the border of the editor are a number of controls to manipulate the expression data within the frame. For example, you can scale the data vertically, tilt it left or right, or stretch it horizontally from any point in the timeline. If the editor is too small, you can increase its size vertically; but the horizontal size of the editor is based on the horizontal zoom factor of the Key editor. The reason for this is that the width of the Note Expression editor represents the length of data associated with a note, and by extending the editor horizontally, you can write expression data that will affect the release of a note. Anot her aspect of the Nuendo 5 aesthetic that’s been inherited by Cubase 6 is the way in which parts are displayed on the Project window. Previously, parts were drawn as solid blocks of colour, but now they’re drawn with illecebrous linear gradients, making it much easier to distinguish parts on different tracks, especially at small track heights.
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As I said already, once you use the Download Access Code, you can find your Activation Code in your MySteinberg account. Use it to activate your license in the eLCC application. Then you know for sure, if you are allowed to download Cubase LE11 or not. Just follow the instructions step by step.
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Please enable Cookies and reload the page. Once you’ve carved up the slices, you can move down the Panel to the newly refreshed quantise section, where you can quantise the audio events as if they were MIDI. And, once the timing of the Events has been refined, there’s the final Crossfades section, which makes it easy to smooth over any gaps that were created during the quantise procedure.
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The idea behind the Crossfades section seems to be that overlapping events are trimmed, gaps are covered up by stretching previous events, and neat little crossfades are applied to cover up the edits. While this worked reasonably well, I found that gaps were not always resolved, and sometimes I was better off doing the clean‑up manually.
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The screenshots are taken from the Windows version of Cubase. Key command conventions Many of the default key commands in Cu base use modifier keys, some of which are different depending on the operating system. For example, the default key command for Undo is [Ctrl] -[Z] under Windows and [Command]-[Z] under Mac OS X.
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Copyright 2022 Designtechnica Corporation. All rights reserved. Steinberg have once again tweaked the appearance of Cubase’s user interface for version six, building on some of the changes introduced in Cubase 5.5 and, especially, in recent versions of Nuendo (version 5 was reviewed in SOS October 2010: /sos/oct10/articles/nuendo‑). While some of these changes have not necessarily been welcome — see the Nuendo 5 review for comments on transparent panes and the lack of dividing lines for toolbar buttons — I have to say that, on the whole, I rather like the appearance of Cubase 6. The interface seems a little more refined, and the Inspector in particular has become much cleaner, adopting the curved Section headers reminiscent of those first seen in Nuendo 3, though I still wish it was possible to disable the recently introduced, limacine animation you now have to endure when opening and closing Inspector Sections. Featured in Cubase 6. Quality content.
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License activation, account sign up and product registration, installer download: Notes: This software version does not support 32-bit plug-ins. VST 2 plug-ins only run in Rosetta 2 mode on Apple silicon Mac. Cubase does not support VST 2 when running natively on Apple silicon Macs. Microsoft Basic Display Driver is not recommended.