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Steinberg cubase 4.5 free |
Steinberg cubase 4.5 free
With millions of users worldwide, Steinberg is one of the world's largest manufacturers of audio software and hardware. We are dedicated to empowering you — engineers, musicians, producers and composers — giving you the tools to do what you do best: making music and producing audio to the highest standard.
We ensure that nothing stands in the way of your creative process: from the initial spark of an idea right through to the finished project. We strive to feed the passion for music in everyone; to deliver applications and services that have a positive impact on you, your audience and the entire audio production industry.
In the world of music and other audio technology, Steinberg has always pushed the envelope. Since its inception, the company has striven to deliver unprecedented, inspiring tools and workflow solutions for sound creatives and professionals.
Every day we want to create something better than the day before. Because if we can, it means you can. Creator of the VST and ASIO standards, as well as other game-changing innovations, Steinberg created a success story which has cemented the foundation of today's experience and understanding in audio production, paving the way for a truly exciting future for music-makers.
In classrooms and professional studios alike, the name Steinberg is globally renowned for the highest quality music production and scoring software, virtual instruments, audio interfaces and much more. It is important that students learn their craft on the equipment that professionals use, so they are ready for the real world of the creative industries.
With versatile tools for all education levels, Steinberg will help you to teach or learn music theory, create beautiful scores, make great music and even develop your own plug-ins — all building a strong foundation for a rewarding creative career. Do you feel that audio and music software development is your vocation? Is working with sound all you ever wanted to do? Steinberg could hold many possibilities for you. I'm afraid that this is an unwieldily long review, and even at its length, I'm only touching on a few of the countless points worth discussing if you are considering Nuendo or its near-identical sibling Cubase as your primary DAW platform.
Although I use Nuendo, most of what I say here applies to Cubase too. Check Steinberg's website for details. So let me start by listing in one paragraph some of the more readily-graspable reasons why Nuendo 4. Non-proprietary project and audio file formats-I can import, export, and archive without worry. Integrated elastic-audio editing tools for pitch-shifting, time-stretching, and time-alignment to tempo map, video, MIDI, etc. Easy on the eyes-pseudo-3D is used only where it makes sense, and although color and contrast are customizable, the user interface looks fine out of the box; more importantly, it facilitates the user experience instead of hampering it.
Mono outputs-you're not forced to feed mono tracks to stereo outputs, where panning-law can inadvertently change levels; this is otherwise a dealbreaker if you're mixing out of the box on a large-format console. Comprehensive tools for managing project and media files, including a powerful renaming scheme that allows you to quickly record a bunch of songs, takes, or sections of a score into one project, and then rename and organize the media files later.
The geek in me wishes the renaming system allowed use of UNIX-style regular expressions. Built-in workflows for backing up projects without wasting disk space for unused media. Almost everything within the interface-window layouts, key commands, zoom levels, menus, etc. Cross platform-works on Mac OS X There is a technical preview for bit Vista, so you know there's a roadmap for the future.
Okay, moving on to some detail now On Windows, there's the added complication of driver-specific control panels with buffer-size settings and such. Because of Nuendo's extremely flexible routing capabilities, initial configuration took quite some time to get right.
Surprisingly, there seem to be no real shortcuts to do a sequential range of assignments, like other applications offer you. There are presets, and Nuendo 4. But there are no presets for external FX inserts e. MIDI configuration could have been just as daunting if not for an easily-understandable graphic layout with directional arrows for data flow for adjusting MIDI, synchronization, and machine-control parameters. But all this about setup complexity is a consequence of Nuendo being highly configurable for your specific preferences, more so than most applications.
The buses in turn can be assigned to physical device ports. When you change computers or change audio devices, you're not forced to hunt down all the broken connections in the application's mixer as you have to do in a less-configurable application like Pro Tools. It's worth noting here that you can assign multiple output buses to single device outputs.
Per-track bus assignment is easy, and thankfully, there are a number of range-specific shortcuts for making multiple assignments at once. Also, version 4 of Nuendo has vastly improved intra-application routing. For example, you can now route the output of Group or FX tracks to the input of an Audio track; not only is this a crucial feature for mixing out to stems an absolute requirement for post-production, but also quite handy if your mastering engineer prefers working with stems , but it also allows you to print the result of plug-ins or external processors on groups or effect returns, and then edit them as actual audio events as opposed to "freezing" the track to free up resources.
Additionally, groups can now be routed to other groups via outputs or sends without the previous requirement of destination groups being "to the right" of the source group in the mixer. Plus, Group channels can now be directly routed to FX channels and vice versa, and audio channels directly to FX channels.
Why these limitations existed in previous versions is beyond me. Three frames, each of which can be hidden, show input buses, tracks, and output buses. Unlike those in Pro Tools, input and output buses in Nuendo are just like other audio tracks in that they have a full complement of controls sends, inserts, panners, faders, etc.
In fact, they are represented as and operate pretty much like normal fader channels, with some understandable limitations e. Each fader channel has four parametric bands of built-in EQ quite handy if you're not doing anything outlandish in terms of sound-shaping , and there are eight sends and eight insert slots per channel.
Metering is very well done. Moving on, most operations in Nuendo are completed in the Project window. Above that is a very useful project overview that contains a zoomed-out image of all the events and parts in the project. You can click and drag on this area to navigate quickly through your project, and depending on what "hot areas" you click, there are different zooming behaviors-incredibly handy. Also very useful and difficult to give up once you realize its power is an info line just above the overview that not only displays details about the selected event, but also allows immediate editing of most of the listed parameters right there.
On the far left is the Inspector. Click on a track and all of the mixer-channel controls become available in the Inspector, with clickable headers to bring up each section of controls. Version 4 adds Quick Controls, a customizable section that lets you add in and change automatable parameters of your choice.
Tracks in the event area can be individually expanded vertically zoomed by dragging on track boundaries, or you can use a global track-height menu to change all track heights. There are also customizable hotkeys to handle all forms of zooming. Each track can be expanded to include one or more automation subtracks, and you're not limited to viewing only one automation track at a time.
Also, audio events and parts aggregated events can overlap each other, and when they do, you have the option of seeing the overlaps with "highest layer" event regions getting audio playback priority on a single lane, or you can enable multi-lane view on the track to see each "take" in its own lane. In multi-lane view, the track event closest to the bottom of the screen, at any given time, has playback priority and masks any events in lanes above it. Multi-lane view greatly facilitates comping compositing many takes into a single master playback edit , but unfortunately, the fact that the bottommost event always plays back can be problematic at times.
Similarly, if you slip the bottommost event in time, the playback of the track will of course change, so you'll need to copy that event to an even lower lane if you don't want to move the original event. Effectively, Nuendo's multi-lane implementation pretty much makes it impossible to edit and store multiple comps on a single track. There is a multi-lane Parts Editor that does provide much better comping capabilities, but it's in a separate pop-up window. In the end, I do think that Nuendo's multi-lane editing is better than single-lane-only Pro Tools , but I'd rather see a simple multi-lane manual-comping scheme like TASCAM MX-View's virtual tracks or the multi-playlist view in the upcoming Pro Tools 8 integrated in the main project window.
Otherwise, editing in Nuendo is a very efficient process.
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