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SLM Loudness metering. The Grand. Virtual Piano. The new version Vintage Channel Strip. EQ and compression. The Vintage Channel Strip consists of three plug-ins, the EQ , the Compressor and the Compressor , reproducing the sound characteristics of several Vintage Open Deck. Four-in-one tape saturation plug-in. The recreation of analog tape characteristics has always been a demanding discipline.
Vintage Stomp Pack. Emulations of sought-after vintage guitar effects. The Vintage Stomp Pack includes several effect plug-ins that exactly reproduce the analog sound of the original vintage guitar effects. Based on the progressive Virtual bassist. Virtual bass player. Using dynamic phrases based on real performances by top studio bass players in 30 styles, Virtual Bassist covers almost every conceivable music genre, delivering Virtual Guitarist.
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Can you really lose 9lbs in 11 days? Learn whether the online diet generator is a scam or can it really help you lose weight. Want to learn the truth about FatLoss4Idiots? Get Fat Loss 4 Idiots download and learn how you can lose 9 pounds in 11 days. Within the Score window itself, the new Inspector button on the toolbar looks and functions just like the equivalent button in the Project window. Any of these palettes can be expanded within the Inspector panel simply by clicking on it just as you would moving between the Inserts, EQ or Sends panels for the currently selected audio track within the Project window Inspector.
Again, this brings considerable workflow improvements when you're constructing and editing notation. I've never had the pleasure! My own use is dominated by the need to score the occasional part for a solo string, brass or woodwind player to replace a sample-based part, or for creating guitar tablature, but even for these sorts of simple tasks, the improvements to the Score window are very welcome. Steinberg should get a pat on the back for keeping this section of the software — which is probably of interest to only a minority of the user base — moving forward in a positive direction.
Prologue is a subtractive synth that can do virtual analogue, but also has a few other tricks up its sleeve. It seems that Steinberg intend it to supersede the old Waldorf A1 synth bundled with earlier versions of Cubase — I always thought A1 was rather an under-rated instrument, but that's progress.
Anyway, Prologue is quite an impressive piece of kit. In addition to the usual sines and triangles, its three oscillators offer an interesting range of other waveforms including resonant pulses, vowel tones, formants and combinations of partials at different levels.
These can be sync'ed, frequency-, wave- and ring-modulated, detuned and combined with white or pink noise, before passing through Prologue 's filter. There's only one of these, but it's a good 'un.
A selector that seems to have fallen off a washing machine switches it between various low, high, notch and band-pass modes, with an internal dial adjusting cutoff frequency. Resonance is available, as is a Drive control that distorts the filter in pleasing fashion. There are two LFOs and four envelopes, each of which can be routed to more destinations than you would ever want to, as can velocity, modulation, aftertouch and keytracking.
Apart from being free, Prologue is quite reminiscent of Digidesign's newish Hybrid soft synth. It's not quite as versatile partly because the envelopes are simple ADSR designs or as convincingly analogue-sounding, but I've already found it a very valuable instrument. It'll take you a long time to exhaust the possibilities of Prologue , and for many people, its inclusion will make buying a third-party virtual analogue synth unnecessary. The two new Cubase -only synths, Mystic and Spector , recycle many of Prologue 's interface elements, including the four panels at the bottom that handle modulation and effects.
In synthesis terms, however, they're quite different, and in fact quite unlike any other soft synths I've seen. Although it's not described as a physical modelling synth, that might be the best way to understand how Mystic works. In essence, it creates sound by firing short impulses into a network of resonant comb filters. This technique has been used to model the behaviour of physical systems like guitars, where the impulse from a plucked string triggers resonances in the body of the instrument, but here it's targeted more at abstract sound design.
A trawl through the presets reveals some nice basses and leads, and lots of clangorous metallic pads and washes. Many of these sound impressive, at least until you switch off the effects. Mystic isn't over-burdened with controls, but the ones it has aren't always familiar, and it takes a while to get past the poke-and-hope stage of programming.
Before arriving at the network of comb filters, the impulse sound is shaped by an envelope generator and two parallel spectrum or formant filters. A variety of preset filter shapes is available, or you can draw your own responses with the mouse; for reasons I don't fully understand, the two are linked such that drawing in one creates an 'inverse' response in the other.
Control over the comb filters that do the donkey work is limited: you can offset their base frequencies, and adjust the amount of Feedback and Damping that is applied to the filter network. Nevertheless, this is clearly a pretty deep instrument with plenty to offer if you're into abstract textures and warped bell sounds. The twin spectrum filters also make an appearance in Spector , but here they're independent. Spectrum filters are often used in additive synthesizers, but Spector couldn't really be called that, as its oscillators offer only a tiny selection of preset harmonic spectra to work with.
However, variety is introduced — along with plenty of weirdness — by a pop-up menu which adds various configurations of stacked oscillators. For instance, one of the options is to have three oscillators stacked at the normal pitch, and three an octave below. The stacked oscillators can be detuned for a richer sound, and the more far-out configurations lead you quickly into highly inharmonic territory. It sounds simple, but as the presets show, it's capable of a surprising range of sounds.
There are some genuinely meaty analogue-style basses, plenty of tinkly bells, textures and pads, and some driving leads, though, again, many of these are rather dependent on effects.
I found it easier to get into programming Spector than Mystic , and quickly came up with some splendidly queasy Farfisa organ sounds. Both Mystic and Spector are unlikely to duplicate other synths you may already have. They're nice things to have around, they don't use excessive CPU power, and they might offer inspiration for that moment when you need something different.
However, I wouldn't miss them that much if they suddenly disappeared from my plug-in folder, and on their own, they wouldn't be enough to make me pay extra for the full version of Cubase. I doubt I'm alone in wishing that Steinberg had turned their development resources to issues like side-chaining and bussing instead. A high-end feature that's new in Cubase 4 , and not in the Studio version, is the Control Room, which has been available for a while in Steinberg's Nuendo 'media production system'.
Like some of the other new features in Cubase 4 , I suspect that this one will be really useful, but only to a smallish minority of users. In essence, the idea is to provide the same functionality that you would get in the master section of a large-format analogue desk. You can use the Control Room to create up to four separate cue mixes for performers, with talkback, and it can also be used to provide a folded-down stereo mix in parallel with a surround mix, so that you can check stereo compatibility on the fly.
In addition, it can bring up to six external playback sources such as DATs and CD recorders into a Cubase -controlled monitoring environment, and emulates features like Dim buttons that you often find on hardware monitor controllers. Studio channels carrying cue mixes for musicians live on their own separate Control Room mixer.
An extra page on the VST Connections dialogue is used to create Control Room channels and assign them to physical inputs and outputs on your audio hardware. Once you've done that, the channels appear on a separate Control Room Mixer window. Meanwhile, hitting the five-pointed star button on the main mixer reveals a new Studio Sends view.
Each channel has four Studio Sends, and you can have up to four Studio channels routed to separate physical outputs, enabling you to create four separate monitor balances for different musicians. Fortunately, there's an equivalent to Pro Tools' 'Copy Faders to Sends' command, so that you can replicate the main mix on the Studio Sends as a starting point.
The Control Room setup is retained until you change it, so there's no need to save it in a Project template. However, a major limitation is that ASIO Direct Monitoring doesn't apply to inputs routed through Studio Sends, so this cue-mix functionality is only really useful if your audio interface is capable of very low latency. I've only really scratched the surface of what the Control Room can do here: suffice it to say that it is powerful, but complex enough that you need to put some effort into setting it up and making it work for you.
File Name: SCX Armored Core 4 Screensaver PS3 v. File Name: 4elements. Disc Creator 4 v. File Name: mpegplayer-with-smr-decod er-julyv Fat Loss 4 Idiots For v. File Name: fatlos OCLC Cubase SX : the official guide. London: Sanctuary. Music technology workbook : key concepts and practical projects. Gurevitz, Steven. Indie Vision Music. Archived from the original on Retrieved 18 March The Oxford handbook of computer music.
Dean, R. Oxford: Oxford University Press. Record music at home or anywhere made easy. RN Media Group. Choosing and using audio and music software : a guide to the major software applications for Mac and PC. Oxford: Focal. Sound On Sound. November Archived from the original on 16 September Retrieved 24 June Archived from the original on 7 June Audio editing software.
Comparison of digital audio editors Comparison of free software for audio List of music software List of Linux audio software Comparison of MIDI editors and sequencers.
Comparison Category. Digital audio workstations. Hidden categories: CS1 maint: archived copy as title CS1 maint: multiple names: authors list Webarchive template wayback links Articles with short description Short description matches Wikidata.
I was hoping for this W7 RC1 to work, but it's not good for realtime audio. Why is Windows XP working so well? Why should we upgrade? To me it seems that Microsoft doesn't care for us musicians, and we are a lot of users! Should I order a MAC next time?
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