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Dongle Crack Pour Cubase Sx3 - citydver. Krantiveer 3 Movie Download Kickass Unusable is the word that springs to mind. And that's the problem. 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.

Steinberg Support

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. Very useful. 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. 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.

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.

Note the pop-up menu that appears, allowing you to choose a suitable User Panel to display. 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 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. 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.

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.

Converting Cubase VST songs (ALL/ARR) into CPR format – Steinberg Support

The forthcoming Mac OS 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 bit drivers for audio cards, with M Audio being the only manufacturer I know of to date who have released at least beta 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 bit operating system, so I'll follow this up in a subsequent SOS article when I can make some worthwhile comparisons.

However, Steinberg's suggested requirements for a smoother ride are to have a 2. 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.

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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. 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. 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 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. If Grid was set to Beat, the Event would snap to a position just off any beat it was moved to. Finally, values such as pitch and velocity can now be edited by selecting the value on the Event Infoline and triggering a new pitch or velocity on your MIDI controller, which is neat, and Cubase now gives audible feedback when you change the velocity of notes — essential for quickly finding a multisample's split point.

The VST Connections window, introduced in SX 2 as a more streamlined way of creating input and output busses that can be attached to physical audio hardware connections, has been expanded further in SX 3. One small improvement with multi-channel Group and FX channels is that you can now create mono child busses within the parent buss, making it possible to send from one channel to only the left or right channel in a stereo Group or FX channel, for example.

However, one further improvement I'd really like to see with Cubase 's internal routing is the ability to set the output of a Group channel as the input of an Audio channel, allowing you to record submixes within the mixer — a feature that even Pro Tools LE offers. The advantage of this over simply exporting is clearer when you want to record more than a couple of submixes simultaneously, at which point exporting each submix separately becomes a real pain.

The External FX tab allows you to more seamlessly integrate external effects units attached to your audio hardware into the VST environment, by configuring so-called External FX busses. An External FX buss consists of two separate busses: the Send buss, to specify which audio ports to send the signal to be processed by an external effects unit, and the Return buss, to set on which audio ports the processed signal will be returned. When you create an External FX buss you can set different widths for the Send and Return busses, so that you can have a mono send and a stereo return, for example, or a stereo send and a 5.

Once created, you can also set a separate send and return gain value, along with a delay in milliseconds, which is used to specify the time your effects unit takes to process the signal and send it back to Cubase. This value, if set higher than zero, can be used for the delay compensation features in Cubase so that the signal processed by your external hardware doesn't sound delayed behind other audio channels.

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After you've configured an External FX buss, your external effects hardware can be used just like it was a VST plug-in, as External FX busses show up in your list of plug-ins under a special 'External FX' folder in the pop-up menu. You can use your external unit as an insert on any one Audio channel you like, or as a send effect by setting up a FX channel and putting your External FX buss as an insert on that channel, just like you would for any other send effect in Cubase.

The External FX buss's editor window offers duplicates of the controls available in the VST Connections window for setting the send and return gains and the delay setting. Finally, the Studio tab provides just one feature at the moment, which is to configure the routing of a new Output buss referred to as the Audition buss.

In previous versions of Cubase, the audio output when previewing audio, such as when you're in the Import Audio file selector or playing back from the Sample Editor, was always routed to the first pair of outputs in the system directly, which was usually the main stereo output buss.

In SX 3, however, the audio output when previewing audio is instead routed to the new Audition buss, which is a definite an improvement and offers a little more flexibility. You can set which physical outputs on your audio hardware the Audition buss is output to just like setting up an Output buss , and the Mixer now includes an Audition channel so you can adjust the level of the audio you're previewing, or mute the signal completely. As in version 2, where it was first introduced, the VST Connections window continues to be useful way of setting up inputs, outputs, and other routings in SX 3.

However, when you're working with more than a couple of audio hardware ports, such as inputs and outputs with certain higher-end ASIO devices, it becomes frustrating that there isn't a better way of incrementing the input or output assignments when configuring the Input and Output busses.

For example, if you want to create 64 stereo Output busses using mono pairs one and two, three and four, and so on, there's no quick way of doing this, although you can at least create 64 stereo Output busses in one operation now, where you would have had to click the Add Buss button 64 times in SX 2.

On the plus side, there are now at least some handy features for assigning inputs and outputs to tracks and channels on the Project or Mixer windows. If you have multiple tracks or channels selected and you hold down Alt or Option while choosing an Output buss, that Output buss is assigned as the output for all selected channels.

Configuring a DAW

Similarly, if you hold down Shift instead, the selected channels' outputs are incremented automatically from the chosen Output buss. So if you select four channels and set the first Output buss while holding down Shift, the other three channels will be assigned to the second, third and fourth Output busses respectively. Very useful indeed! 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. Event Envelopes can be created by clicking with the pencil tool on the audio Event in question Event Envelopes aren't available on audio Parts , and you can do this with either the Project window or the Audio Part editor.

The automation settings on the Project window's toolbar now offer an Automation Return Time, which sets the time in milliseconds over which a parameter should return to the previous setting once you release that parameter when in Touch Fader mode after writing new automation data. For example, this means you can now control the volume for the currently selected audio track with a standard MIDI volume fader, such as you might use to record articulation data in the Controller Lanes of MIDI tracks.

However, it's important to disable this option when you don't need it to avoid recording duplicate automation and controller data, although this is made easy as this preference can be toggled with a key command. This is usually the point in a Cubase SX review where I start to moan about the lack of tempo features for media-oriented composition, and how great this functionality used to be in previous generations of Cubase.

The Process Tempo window offers a way to scale multiple Tempo Events in one calculation — essential for film composers needing to hit specific frames when working with video.

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As discussed in this August's Cubase Notes , the Process Tempo feature provides a way of scaling the Tempo Events in your Project to make a certain number of beats fit within a certain amount of time. For example, if you have your last tempo change at bar five and you want bar nine to hit a specific timecode value, you can set your Start and End Points in the Process Range section of the Process Tempo window to bars five and nine, and then set the End Time in the New Range Section to the timecode you want bar seven to hit.

Cubase will adjust the tempo at bar five so that bar seven now hits the required frame. Although the Time Warp tool was invented to help provide a solution to this problem, the big problem with the Time Warp tool is that it can only adjust the previous Tempo Event. This is actually fine for the example given above, but suppose that there was a subtle tempo arc between bars five and nine and you wanted to keep this shape while still making bar nine hit the required time. Rather than just process the last Tempo Event, you want to be able to scale all of the Tempo Events between bars five and nine so the correct frame is hit, and this is when the Process Tempo feature really comes into its own.


Process Tempo is absolutely indispensable if you're trying to write frame-accurate music for picture, and I know that a great many film composers will rejoice in its return, especially with the new interface that really does make it easier to figure out what's going on. The Time Warp tool is still part of SX 3, of course, and now, finally, shows timecode when you're dragging a bar or beat on the Project window or one of the editors; and a timecode info box will now be displayed when moving an Audio Event's sync point in the Sample Editor with timecode selected in the Ruler.

Another small change is that when you change the start time of your Project, Cubase now asks you if you want the Events in the Project to keep their current time locations, or if the time locations should be adjusted to be relative to the new start time of the Project — just the same as in Pro Tools. Despite the new features that make the headlines for SX 3, some of the most welcome changes are in the smaller improvements that can be found in most areas of the application. In the Project window, for example, you can now click in any part of an Inspector Section's title to toggle between open and closed states, rather than just the part with a graphical symbol, and Sections can also be toggled via a set of new key commands.

On the subject of key commands, a set are now finally included for Logical Editor presets where you can either select a preset, if the Logical Editor is open, or operate on the current selection with a given preset if it's closed, as with the latest 2. Choosing the new Bars and Beats Time Linear option solves this by basing the display length of bars on the number of beats they contain instead.

Staying with the Project window, another very welcome improvement is in situations where you copy a MIDI Part so that a new track is created. The redesigned Metronome Setup window offers pitch controls for the metronome beep or the ability to use audio samples of your choice. The Metronome Setup window has been redesigned in a similar way to the Synchronisation Setup window, although it seems a little less logical, with the starting point for the settings beginning in the bottom left of the window, rather than having the top-down approach taken by the Synchronisation window.

However, the best thing about the new metronome window is the ability to either adjust the pitch of the now-infamous Cubase 'beep', or use your own samples for the Hi first beat of the bar and Lo every other beat , which are output via the Audition buss. It could be argued that the Studio tab in the VST Connections window should now include a separate Metronome buss as well, though, which could be useful when setting up cue mixes; but this current solution is a definite step in the right direction if you don't want to set up a VST Instrument to be your click source in every Project.

The Device Setup window has also been redesigned, with a new hierarchical Device List to the left of the window, which makes a great deal of sense. And you set Cubase 's internal Video Player window to display full-screen by right-clicking in the window. Another Device-related improvement is that control surfaces with touch-sensitive faders, such as Mackie Control, now include an Enable Auto Select option where the appropriate channel or track becomes automatically selected when you touch a fader on the control surface.

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