![]() The channel strip’s components sound quite good and certainly are more than enough to do basics, even if it’s just to keep a track controlled while tracking, doing a headphone mix, or just doing a quick mix until you get into your preferred plugin. Having a ready-to-go channel strip that works even while recording or input monitoring can come in very handy. Click on a track and you get quick access to lots of parameters, automation, routing, sends, EQs, customizable quick controls, transposition, velocity thresholds, quantization, beat detection, and the channel strip. In many ways, what you are presented with on each track itself speaks volumes for what Cubase is all about. ( According to Steinberg, support for retina display is coming in the near future. Cubase is a creative environment, with a highly detailed user interface, and much of those lovely details end up looking blurry and pixelated on a retina display. Secondly, Apple has been putting retina displays in their computers since 2012, and now three years later, Cubase is not yet optimized for these displays. This fact alone might discourage quite a few people from ever trying Cubase. ![]() In Steinberg’s case, it’s also a dongle that a majority of consumers and pros don’t own, which means anyone who wishes to demo Cubase Pro 8, is required to have one of these eLicensers or go out and spend $25 to get one. I cannot understand how anyone developing new software today can force users to give up a USB port just to run the software.Īs of late, there’s been a big push to move towards cloud licensing, and other forms of copyright protection that do not require users to have a USB dongle - what companies like Adobe and Waves have done are terrific examples of this. There are two glaring issues that I have with Cubase Pro 8, and I would like to lay those on the table before diving into the many aspects that Steinberg got right in this DAW. ![]() Jump forward a few days, and I’m looking at the 1,337 page manual that’s included in Cubase Pro, thinking, “What have I done?” Did I really want to re-learn the methods I’ve come to love, or at least begrudgingly accept? Looking at the blank session, I took a deep breath, and dove in. So this opportunity seemed like a fortuitous one, and I gladly accepted. I’ve been reluctant to try adapting how I work for years. Inevitably, we develop a workflow that gets us working, and as we conform to this way of doing things, it can become increasingly more daunting to even consider trying anything else out. While my recording facility is primarily a Pro-Tools HD room, I was looking for a DAW that would fit nicely with the work I like to do away from the big room, mostly on a MacBook Pro - a program that would really make composing, writing, and exploring ideas easy and fun.Īll of us who regularly work with DAWs, regardless of which one we lean towards, can say there are features we love and others that we wish we could write out of the code immediately. However, as I began to think about essentially being forced to learn a new program, it seemed like the task could be worth pursuing.
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