Many long - time Cubase user were disappoint with the features and stability of adaptation 1.x of Cubase SX ( , March 2003 ) , but with versions 2 and 3 , Cubase SX has maturate .
Song origination is importantly faster in Cubase SX 3.01 , thanks to enhanced warp and arrangement features . With the Warp Tool , you may drag the tempo grid of your song to accommodate audio straight on the main windowpane . Cubase SX has enhanced its Hitpoints , a way to automatically key audio regular recurrence and let you slice up sound you ’ve read . With Hitpoints , you may well manipulate beat markers , quantize audio , quantize other tracks to a groove you ’ve pull from an audio track , and align MIDI event and audio beat to that vallecula ’s rhythm . Using a new Play Order cart track , which lets you describe in introductory birdcall structures to make quick system , it ’s passing easy to vary the structure of the overall mix . None of this is quite as loose as adjusting beats , loops , and placement in Ableton ’s Live ( , January 2005 ) , but if you already like the Cubase way of working , it ’s definitely a boon .
If you want to use your digital audio workstation as a virtual studio for integrating other software and extraneous hardware instrument and effects , Cubase is a strong option . It ’s unique in its unseamed integration of VST instrument and effects , other applications such as Live , Glaresoft ’s iDrum , and Propellerhead ’s Reason ( via Propellerhead Software ’s ReWire ) , and outside MIDI hardware ( via the updated MIDI equipment Manager ) . you may even integrate international audio hardware with the External FX chaw - in ( for slip in hardware gist as though they were software ) , Panels ( for easy , customizable access to hardware parameters from inside Cubase ) , and Yamaha Studio Connections ( for deep hardware - software integration , presently limited to a half - twelve Yamaha product ) . Taking vantage of these features involves a significant investing of prison term , and if your studio apartment is mostly software - based , you belike do n’t need them . If you do habituate a circle of external computer hardware , though , no other app offer quite as much control for power users .
I am let down that Steinberg support only its own VST format for chaw - ins and not Apple ’s Audio Units ( AU ) . There ’s no direction to wrap AU plug - indium so they work in Cubase , even though third - political party VST housecoat are usable for Digital Performer and Logic . Also , unlike Logic and Digital Performer , Cubase does not support Digidesign DAE ( Digidesign Audio Engine ) .
Macworld’s Buying Advice
SX 3 is probable to please Cubase devotees , but in a number of respects , it ’s playing grab - up to its competitors . Cubase ’s included instrument and personal effects ca n’t get to vie with the wealth of offerings in Logic . Cubase ’s ability to edit MIDI in the arrangement is a welcome addition ( and one still painfully omit from Logic ) , but it still bank on multiple window for many chore — a far yell from Digital Performer ’s young integrated window . Cubase ’s interface can also be uneven , with quirks such as unvoiced - to - name toolbar buttons and ungainly on - projection screen knobs that require you to move your mouse in a round apparent movement to change state them .
If you ’re in a cross - platform surroundings , though , Cubase is a strong choice , with Windows and Mac discs include in the same corner . And when it comes to robust studio integrating and MIDI power feature article , Cubase is still unconquered .
[ Peter Kirnis a composer , player , and educator . He teach computer music at Hunter College of the City University of New York and runs the day-after-day euphony - engineering blogcreatedigitalmusic.com . ]
