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As it is, it seems to default to cataloguing everything it can find, so my Media Bay now displays thousands of fade files from Pro Tools Sessions, which I'm never going to need to import into Cubase. Second Opinion I happily use Pro Tools and Sonar when working with some musical collaborators, but in my own project studio, Cubase SX often with Acid Pro Rewired in has been my sequencing weapon of choice ever since the demise of Logic on the PC platform. Like most other regular SX users I was, of course, keen to see how some of the intriguing new features listed in v4 appeared in action. Like Sam, I installed my Cubase 4 upgrade alongside SX3 but, in my case, this was on my 'reviews' partition of a relatively new dual-core Athlon desktop system rather than a laptop. In whizzing through the headline new features — the new VST effects and instruments, for example — my initial impressions were very positive. In moving from Logic to SX, my green streak has always glowed a bit brighter whenever Logic 's built-in effects are discussed.
Steinberg's overhaul of the effects plug-ins bundled within Cubase is long overdue and what is supplied with version 4 is a considerable improvement. Though they're perhaps still not quite up to those currently supplied with Logic, I'd happily use the majority of them in my own work. I regularly use Halion 3 but, even so, Halion One is a welcome addition, and the flip side of its lack of editing potential is a simplicity that makes it more immediate. The full version of Halion is quite a complex beast, but with Halion One you just load your preset and play without getting too bogged down in the details — and the supplied sound set is very good. Prologue is also excellent, and there are also some fabulous presets within both Spector and Mystic — Spector 's Chainsaw Lead preset is wonderful for some keyboard self-indulgence! I have not yet spent much time exploring Sound Frame or the Media Bay but I can see the potential of both, and for anyone with a substantial collection of sample libraries, the latter certainly ought to repay the initial investment in time getting to grips with it.
In contrast, Track Presets and Instrument Tracks are instant time-savers, as is being able to drag and drop copies of effects to other channels in the mixer. Unlike Sam, on my particular system, I didn't experience any odd behaviour with this. I'd agree with Sam about the changes made to the user interface. Steinberg have done a good job of streamlining various aspects of the Project Window, for example, but the colour scheme is a little dark and the new VSTis, while sounding great, could perhaps have been wrapped in something rather more eye-catching. While I didn't experience some of the particular problems Sam mentions in the main review for example, Cubase found Halion Symphonic Orchestra on my system without any problems , in constructing a couple of trial projects, I did encounter the occasional bit of bad behaviour.
However, what I found a more significant issue was simply that the considerable number of new and re-worked features meant that my workflow was somewhat slower than in SX3. This is, of course, an issue that would disappear with further use but, for any upgraders, I would recommend staying with SX3 for anything that has a short deadline until you can devote time to fully bedding in Cubase 4 and becoming familiar enough with it to make it work for you. That said, I think Steinberg have taken some bold steps with this release and, while some of the new features may still require some fine-tuning, their potential is considerable. John Walden Sound Judgment? Sound Frame is probably the biggest conceptual leap in Cubase 's evolution since the invention of VST Instruments, and in principle I think it's an excellent, far-sighted idea. To me, it makes lots of sense to have this sort of functionality built into the application, allowing it to work at the track level, rather than having it restricted to a plug-in, as it is if you run NI's Kore within a host application.
The integration of preset management with Track Presets and the Media Bay has the potential to be a real step forward in ease of use and flexibility. In use, I found that Track Presets quickly showed their worth. In the past, of course, you had the option of creating template Projects, but the flexibility of the new system leaves them in the dust. Templates are only really useful if you know in advance what you're going to want. If your projects tend to evolve in unpredictable fashion, or you find yourself working on Projects created by other people, the ability to store and load track settings — and apply them to existing tracks as well as new ones — is a Godsend. Having said all that, the Sound Frame system is frustratingly incomplete at the moment. I could hardly believe my eyes when I discovered that the Track Preset system doesn't apply to FX or Group tracks, because, to my mind, that's where it would be most useful. If there's one thing most of us probably recycle across different Projects, it's global effects such as reverb and delay.
A related issue is that Track Presets don't store sends. I can see that this would be tricky to implement, because obviously it would be up to the user to ensure that the destinations for any sends were available in a Project where you loaded a Track Preset, but it does mean that a Track Preset won't capture a complete picture of any track that relies on auxiliary effects. Most vocal sounds, for example, involve reverbs or delays as well as compression and EQ. Unless you're willing to allocate a separate reverb to every vocal track by using it as an insert, there's no way that a Track Preset can store all that's important about the vocal sound. One solution would have been to save a Multi Track Preset consisting of audio tracks plus the FX tracks they send to, but this isn't an option, because Track Presets can't include FX or Group tracks.
Meanwhile, the implementation of Sound Frame through the program is still quite inconsistent. If the idea is to let you choose sounds, rather than plug-ins, how come you can't browse presets just by clicking on an insert slot? As it is, the principle of choosing sounds only applies to Track Presets, and not to individual plug-in slots; and applying a Track Preset to an existing track wipes out any plug-ins that are already inserted on that track. I'd like to be able to simply hit an insert slot and choose, say, a delay sound, without caring which delay plug-in makes that sound. Hopefully this will be developed in future releases of the program. Finally, when it comes to choosing sounds, Sound Frame suffers from the same problem as Kore: Naturally, Steinberg have done a good job of Tagging the presets that come with their new plug-ins, but at the time of writing, they hadn't yet released the Sound Frame SDK to other developers, and there are no third-party effects and instruments that come with the necessary metadata to support the whole 'choosing sounds rather than plug-ins' concept.
Except, that is, for those made by Native Instruments, who have spent thousands of man-hours creating such metadata for their own products — but in a different format. Are they going to open up this metadata so that it can be accessed through Sound Frame, and risk making their own Kore system redundant? Or are we going to end up with two incompatible systems, which would completely undermine the whole idea of both? Native Instruments told me that Steinberg had not consulted them during the development of Sound Frame, and that they haven't yet decided whether to make Kore Sound's metadata compatible. Let's hope for everyone's sake that a universal standard can be established. There are certainly some obstacles to be overcome first, not least the fact that many third-party plug-ins with large preset libraries are multitimbral and use their own internal preset-handling systems. It's not clear how, say, Sampletank or Kontakt could be made to work well with Sound Frame without fairly radical changes.
There are new VST Instruments, which I'll come to in a minute, but more important to many users will be the selection of bread-and-butter effects and processors. Many of the old plug-ins supplied with SX3 have now been superseded by better equivalents, and not before time. Studio EQ — confusingly, not available in Cubase Studio — is, as the name suggests, intended as a premium-quality equaliser. It's included as a plug-in, but also replaces the old channel EQ in the full Cubase. Two of the four bands are conventional parametric EQs, and those at either end can be switched to shelving, filter or peaking response. Sonically, it's an improvement on what went before. The sound is smooth and I'd happily use it in a real project, though I have third-party EQs that I still prefer. You have to hit a button to switch each band on individually before you can use it, which gets old fast.
I had one Project where the Studio EQ plug-in refused to load and save presets correctly, which was odd. Also limited to the full Cubase is Mod Machine, which uses modulated delay lines to create everything from short, ambience-style reverb patches, through conventional filtered delays and tape delay sounds, to chorus, flanging and all sorts of wibbly weirdness. Three other delays — Mono, Stereo and Ping-Pong — are included in both versions of the program, and seem versatile enough to take care of all everyday delay requirements. I never got on with the older Double Delay plug-in, so these are very welcome. The stock of delay-based effects is further boosted with a new surround-capable, dual-stage Studio Chorus, which is a definite highlight. This is a very simple but quite nice-sounding little plug-in that can add thickness and warmth to a sound. New, too, are a basic Loudness Maximiser and a simple Transient Designer-style Envelope Shaper, while Steinberg's Multiband Compressor has been updated to offer independent control over time constants for each band; none of these is available in Cubase Studio.
An Amp Simulator is now included in both versions of the program. It doesn't rival any of the third-party alternatives, but its simplicity makes it handy for getting a mix quickly when your brain is paralysed by the thousands of parameters in Guitar Rig. Meanwhile, Cubase and Cubase Studio users envious of Logic 's Sub Bass plug-in can now employ a simple Octaver, and there are a couple of oddities, such as Tone Booster, Wah-Wah and two graphic equalisers, plus a handy guitar tuner. However, there are no new reverbs. Overall, the quality of the new effects and processors is a marked improvement, though there are no show-stoppers like Space Designer in Logic Pro. I'd be happy to mix with these, for the most part, but I suspect they still won't see that much use if you have a good set of third-party alternatives like one of the Waves, TC or Universal Audio bundles.
Also, though it's good that the new plug-ins share a common look, I wish it was less sombre — they look as though they're permanently switched off! New Instruments Steinberg do seem to be making a serious attempt to rival Logic Pro in the synth stakes, with no fewer than four new VST Instruments making an appearance. The full Cubase also comes with the Monologue and Embracer plug-ins that were part of the SX3 package though these won't be available to Intel Mac users , plus two rather unusual new synths called Mystic and Spector. All of them are, if anything, even gloomier in appearance than the new effects, but I suppose it's the sound that counts. Halion One, for me, is the highlight of the Cubase 4 upgrade. It combines sample-playback technology derived from Steinberg's Halion with a 300MB sound set sourced from Yamaha's Motif range of keyboard workstations, and it sounds great.
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