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DAW software from Steinberg – Cubase Pro 11. Cubase is one of the most powerful music creation software packages in the world. With its unrivaled range of flexible tools, you can create any kind of music quickly and intuitively. It comes packed with a wide range of virtual instruments, effects and thousands of sounds. Whether you’re a professional composer or a music production beginner, Cubase provides you with everything you need for turning your ideas into music.
Cubase 11 follows up the highly anticipated landmark release with many significant improvements, additional inspiring tools and major workflow refinements. Whether you are looking for creative inspiration or new ways to speed up your professional workflow, the new features in Cubase 11 specifically cater to your needs.
All versions of Cubase share the same pristine sound quality and ease of use that make Cubase one of the world’s most popular recording and production solutions. Depending on the size and complexity of your projects, your feature requirements and budget, you can choose the Cubase version that fits you best. If you find that you need more facilities, of course you can upgrade.
Do you want to start creating your own music, bring your production up to a professional level, or streamline your workflow for short deadlines? Whatever you need, Cubase helps you to reach your full creative potential. From Hollywood blockbuster composers and Billboard Hot 100 producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of our acclaimed music production software.
Steinberg Cubase has a long and storied history in the music industry, first appearing on the Atari ST in the late 1980s before migrating to Macs and PCs. The latest version, Cubase Pro 10, is a powerful, ultra-flexible recording environment. It’s particularly well suited for MIDI composition with virtual synthesizers—and is, in our opinion, the smoothest of the major digital audio workforces, or DAWs at this—although it’s also a capable audio editing and post-production tool. Cubase’s mix console remains exceptional as well, particularly thanks to a new Snapshot feature (which we’ll get to below).
Cubase Pro’s strong MIDI roots are immediately evident. The Key Editor is simply wonderful. You can do just about anything during playback, including switching editing tools, deleting notes, and adjusting other notes. The Inspector offers transpose, quantize, length, and other useful tools that are easier to access here than in competing sequencers. A lane across the bottom makes it virtually instantaneous to edit volume or other MIDI control data. The floating Transport Bar is fully customizable; it’s easy to pop in or out individual modules as needed. The Harmony Generation and Chord Track help you harmonize vocals and assist in putting together chord progressions, something that some other DAWs have yet to implement effectively.
New for version 10 is VariAudio 3, a revamped iteration of the company’s tool for manipulating the pitch and time of audio. VariAudio 3 now includes the ability to edit at a micro-pitch level for more precise control of a vocalist’s drifts and transitions, and you can adjust the format shift to adjust the timbre of a voice after the fact. You still can’t manipulate polyphonic arrangements this way, but there’s still more on that front. For building complex vocal harmonies, a new Audio Alignment feature helps you sync them all together to a reference track, not just for the start of the audio but for the timing of each phrase. If you find fault with its choices, you can still make manual adjustments.
A relatively new addition is the Lower Zone, which lets you lock the Piano Roll editor, Mix console, or anything else you want below the arrange window. This was something Cubase had needed for a while, and it’s a feature that brings the UI more in line with competitors like Logic Pro X. By switching between cursor tools using the number keys, and by using Cubase’s various shortcuts that make workflow more quickly, I find it easier to play in, lay down, edit, and arrange MIDI clips with Cubase more than any other DAW. Dedicated buttons let you turn scrolling during playback on and off, and even whether you want the view to stop scrolling when you start editing.
Cubase Pro’s Score Editor includes enough notation tools that many people won’t need separate notation software. In addition to comprehensive symbol support, it also supports lyrics, drum notes, guitar tabs, and lead sheets, and it can import and export XML files. The Drum Editor and List Editor make quick work of editing rhythm and MIDI events, respectively, though the main Key Editor is so good that I rarely find myself opening these windows.
Recording audio, either from live instruments or virtual plug-ins, is a pleasure. The 64-bit audio engine supports 5.1 surround sound and 32-bit, 192KHz recording—still overkill for just about everyone—and has no instrument, MIDI, or audio track limitations, unlike the Editors’ Choice Avid Pro Tools. It’s simple to quantize audio material, and even to distribute sound to different musicians with Control Room. VariAudio is good enough to patch up off-key vocal lines at least via the Sample Editor, if not in real time (like Pitch Correct), which is more accurate anyway.
For comping an audio track, Steinberg includes a dedicated, drag-and-drop-based Comp Tool, which speeds up assembling takes and lets you create new tracks on the fly. Combine this with Cubase’s group editing, and you can quickly execute backing vocal edits or even multitracked drums. There are separate track and lane solo functions, plus a Cleanup-lanes command to eliminate event overlaps in one shot. Recording automation moves is equally smooth, with its easily triggered read, touch, write, and latch modes. PreSonus Studio One is also pretty sweet for fast audio editing workflow, although my preference here will always remain Pro Tools (despite needing additional steps for some tasks).
Instruments and Effects
Cubase includes eight instruments with a total of more than 3,400 patches between them. Some highlights: Retrologue 2 is a classic subtractive analog synthesizer that now has three oscillators, 24 filter types, eight voices, a sub and noise oscillator, and a modulation matrix and basic effects section. There are 700 presets, with plenty of thick pads, five distortion modes, analog-style detuning, and fat bass and lead sounds. There’s not enough room here to go into too much depth, but Replicant Pad is straight out of Blade Runner-era Vangelis, while Warming Fireplace has smooth, gradual attacks and decays for a thick layer of analog. There are some great saw wave patches, too, including Rock Monster Saws and Poly Saws, in case you want to cheese out on the 1980s, which I always do.
Padshop is a 400-preset granular synth dedicated to atmospheric and evolving pad sounds, with two layers of up to eight grain streams each, plus built-in distortion, modulation, and decay. Spector is another synth with some serious kick. The built-in delay in Contemplate lets you create instant Sasha textures with the right chords, while Assault sounds like several 1970-era analog oscillators are exploding in your speakers with each key press. In addition to the usual loop editing and slicing LoopMash offers, it comes with a library of presliced loops and lets you fiddle with the random and intensity sliders. This is a lot of fun right out of the box, and unlike with some other tone generators, you can just set this one, trigger it, and forget it.
Cubase picked up direct sampling capabilities with Sampler Track, which offers plenty of editing tools and a library of several hundred pieces of audio to get you started. Halion Sonic SE 3, Steinberg’s bundled workstation synth plug-in, is packed with realistic acoustic instrument samples, fat basses, smooth pads, and useful leads. It’s a solid do-it-all sample playback plug-in for anyone who needs something to get started with. It even has its own built-in virtual analog synth called Trip. Even the venerable Groove Agent SE got an upgrade; it now includes a new ‘The Kit’ acoustic drum kit and 20 Beat Agent kits.
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- ASIO Guard 2 makes use of a low level of putting off most straightforward on tracks. Here put off exists, while longer tracks used for playback tracks. saves computational sources.
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- Internal buffering ASIO Guard has been prolonged to increase the speed of sound processing.
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- On analog VCA controls, the faders control the channel gain the usage of DC voltage and allow you to flow a group of faders the use of one grasp fader.
- VCA faders in Cubase PRO Crack no longer most straightforward assist to create complicated mixes, however, they also let you automate the workflow with a blended VCA fader that connects the VCA fader automation curve to the fader or fader automation curve.
- Mac OS X: Mac OS X Version 10.9 / 10.10
- Windows: Windows 7 *** / Windows 8.X *
- Intel Core or AMD twin middle CPU
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More than 80 plug-in effects come with Cubase Pro. There are plenty of included reverb, compression, EQ, delay, and mastering tools. A DJ-EQ plug-in offers three bands with kill switches for breaks and twists, while MorphFilter models low and high-pass resonant filters and morphs between them—throw this one on a weak synth preset and watch the fireworks. Guitar players may love VST Amp Rack, which includes dozens of presets across the board, plus Maximizer and Limiter stompbox effects for adding punch and definition, complete with oversize input and output level meters. All told, Cubase’s plug-ins are at least up to snuff for serious composition and mixing work.