You do not get much content (i.e only 16 VST Slots) and there are limits put in place that may affect your project but you can layer up to 48 tracks of audio which is more than enough for anyone starting out. It is a fantastic introduction into recording and sequencing audio. If you are purchasing the software for a professional environment or if you are not phased by the price tag then choose the full version of Cubase 9 because it has features that define it as one of the market leaders in the Digital Audio Workstation market.Ĭubase Elements 9 is aimed at begginers and priced for begginers. Features such as Mixconsole History, Cloud Collaboration, Plug-in Sentinel & much more make the extra cash spent more than worth it. However, there is a reason that the full version of Cubase costs almost twice as much as Artist. You can invest the money you save into a better pair of studio monitors or a midi controller. You sacrifice some high end functionality such as 5.1 surround mixing and advanced notation support but you still get a very capable sequencer with lots of audio effect and virtual instruments. The upshot of this is a plug-in that lets you build rhythmic, repeating movements that will enliven even the dullest of parts.If you are choosing a sequencer for a home studio then Cubase Artist is likely to be the best choice. You can create automation curves by editing nodes on a step sequencer-style grid, or you can insert curve segments from the library (16 segments are included, and there’s space for an additional 48 custom segments to be stored). Each module has one or more parameters that can be automated. The plug-in includes 14 effect modules – filter, overdrive, reverb, chorus and all the other favourites – which can be loaded into the plug-in in any order. The biggest hitter on the effects side of things is FX Modulator, a multi-effect processor with a powerful modulation generator. ![]() No new Cubase release would be complete without a new plug-in or two. The Project window can now use a different timing base for nudge commands than is being used for standard mouse editing too, which will save you from having to switch quantisation settings when all you want to do is nudge an event 10ms forward, for example. You can then tweak the style, size and layout of the widgets to customise the control panel. Cubase will detect each control and create an onscreen widget for it. Just open the MIDI Remote Manager, create a new script and wiggle the controls on your controller. But if your controller isn’t included (and you can’t find a suitable script online), no problem – creating new scripts is easy. A number of scripts are included, covering popular devices from Akai, Arturia, Novation and Korg. The new setup concerns MIDI Device scripts, which contain information about the individual features on a MIDI controller, and map these to an onscreen control panel. Of course, we’re now in a transition period, and it will take time for all eLicenser-controlled software to move to Steinberg Licensing, so you may not be able to completely ditch that dongle quite yet.Ĭubase’s method of mapping external hardware controllers to plug-in instrument and effect parameters has received a major and much-needed overhaul with the new MIDI Remote integration system. The new system is convenient and flexible, and not overly-restrictive. ![]() Online licence-management systems are not without their drawbacks but Steinberg has struck a good balance here. ![]() ![]() When the time comes to retire one of your activated computers, just remove the software activations and redeploy them to another machine. Activation is performed online but, once done, there’s no need for the computer to remain online – the activation will function indefinitely (Steinberg is in the process of developing an offline activation system too). The new system ties your software licences to your Steinberg ID and allows up to three computers to run the software. In place of the eLicenser is Steinberg Licensing. Recognising these and other issues, Steinberg is phasing the eLicenser system out across all of their products. Steinberg’s dongles have evolved over the years as computer connector technologies have come and gone but, all things considered, the flexible eLicenser system that Steinberg has used for years now has been as reliable as such technology can get.īut in a world where consumers expect to be able to download and use new software instantly, and where computers – especially laptops – are tending towards fewer external ports, the USB eLicenser dongle has become increasingly problematic. Ever since it first landed as a MIDI sequencer, Cubase has required a dongle – a hardware copy protection device that has to be connected to your computer in order for the software to run.
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