Cubase sx mac os x
If your Steinberg sequencer hangs or quits during the start up or while loading a specific project file, it is likely that an installed VST plug-in is causing trouble. This is how you can verify if a specific plug indeed is sabotaging Cubase. If the problem persists you know that it is obviously not related to a VST plug-in. In this case, just restore the original situation by puttting the quarantined plug-ins back to their original locations. In case moving the plug-ins did the trick, the source of error obviously is located in one of the quarantine folders. In order to find out the bad guy, move the most suspicious plug back to the original plug-in folder.
Restart your Steinberg sequencer and see if it still runs correctly. Repeat moving plug-ins and restarting the sequencer until you've finally isolated the trouble maker. In case you have a lot of plug-ins installed moving half of them at a time might speed up the search. Steinberg Support. Updating the eLicenser Control Center Initialising preferences Updating the sequencer Reinstalling the sequencer Updating device drivers Verifying memory usage Hiding the public VST plug-ins folder Further articles Updating the eLicenser Control Center The most common reason for license related problems is an outdated or corrupted eLicenser Control Center installation.
Fortunately, refreshing the preferences files is quite easy: Quit the sequencer. This folder contains all preference files of your sequencer. Since Mac OS X While the menu is folded out holding down the [alt] key options will show the 'Library' entry. Rename it for example, from 'Cubase 8. The folder will only be hidden safely, if the change will be done before the original folder name. If you find folders of previous versions of your program, make sure to hide or remove them, too. In general these steps will suffice: Go to Applications and trash the application file, for example "Cubase 8.
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Install the latest update available on the download page. In case your system is short of memory, you have the following options: Quit all redundant programs. For example, an internet browser running in background with some opened tabs can easily consume 1 GB RAM or more. 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.
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. 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. 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.
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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. Users of Cubase SX 's advanced Score editor will also welcome some new features, including improved slur handling and text importing, the ability to create and edit custom symbols, and the playback of structure symbols, such as repeat marks and da capo symbols.
And anyone with a Yamaha digital mixing console will benefit from Steinberg and Yamaha's Studio Connections initiative, which allows Yamaha's Studio Manager software to be integrated with total recall support in SX 3. We'll cover the use of Studio Connections in more detail in a forthcoming Cubase Notes column.
Finally, Cubase 's previous Window Layouts feature, which many users had problems with, has been completely replaced by a new Workspaces feature that is conceptually very similar to the Screensets implementation in Logic, but has some additional features to manage your Workspaces for additional flexibility.
STEINBERG Cubase SX 2.0.1 (Mac OS X/Win)
As with Window Layouts, the idea of Workspaces is to create presets for the way Cubase 's windows are arranged on screen at any one time, and this really works much more reliably now, especially when you're working with multiple monitors. Some existing Cubase users have been disappointed that they will have to upgrade to SX 3 in order to resolve issues they had with SX 2, such as problems that many experienced with crossfades, there being no intermediate SX 2 release.
At the end of the day, though, existing Cubase users who do pay to upgrade to SX 3 are unlikely to be disappointed with the purchase since there are so many other great new features aside from fixes that were requested in regard to SX 2. In terms of the competition, it's perhaps a shame that Steinberg haven't responded more aggressively to Apple's Logic Pro package, which bundles together all of Emagic's software instruments and effects.
While Apple have an advantage in being able to recoup revenue from computer hardware sales and Steinberg can't simply afford to give away their entire product line, including the SE versions of Steinberg's more popular VST Instruments might have been an interesting sweetener, encouraging users to upgrade to the full versions.
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Nevertheless, Cubase SX 3 brings Cubase back to a level where it can seriously be used for music composition and production, especially in the film and media industries where many previous users have either looked elsewhere or stuck with Cubase VST 5 in the absence of a suitable successor. Speaking of the Play Order Track, though, features like this in SX 3 make it feel like there is some genuinely musically interesting functionality in the application again, as opposed to purely utilitarian features like a new mix engine.
Improvements can be seen in almost all areas of Cubase in this new version, and while Steinberg hasn't quite got all of the loose ends tied up, this is undoubtedly a far superior sequencer to SX 2. What a difference a year makes; and the difference is you In this third version of SX, Cubase is now starting to feel like a mature sequencing application again, with almost all of shortcomings from previous versions addressed, and features that were lacking compared to previous generations of Cubase replaced with much improved solutions.
Colour Me Bad One area of Cubase that's been improved in SX 3 is the use of colour for tracks, channels and Parts, which has definitely been taken somewhere over the rainbow, way up high — and beyond — in this release. Automated Improvements 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. Pros Audio Warping allows audio to be time-stretched and pitch-shifted in real time, which offers an enhanced method of working with audio loops.
The Play Order Track offers a new, flexible approach to trying out different arrangement ideas. A large number of improvements that might not sound exciting, but will certainly improve your workflow. Cons Some of the synchronisation features still need a little attention. Use it when you want to avoid excessive pumping. New version as of , with more parameters.
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Attack and release are now separate and there are convenience parameters that make New York style compression easier to do. Parametric graphic equalizer with excellent response all the way up to Nyquist. It never clicks, and it handles deep bass well too. The Nyquist frequency is the highest representable frequency for a given sample rate. The trebliest of the treble. Most other digital eqs have great problems producing a natural sound here.