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Mac users will need at least an MHz G4 system, and while Steinberg recommend a dual The first time you run Cubase SX 2, you'll notice that the user interface has visibly changed quite a bit from the previous version, although this is mainly an aesthetic change influenced by the new 'look and feel' of Nuendo 2, and existing users shouldn't have too much problem finding their way around. The appearance of a user interface is always going to be a personal thing, but for the most part I do prefer the new, darker facade of SX 2.

In any case, it's now possible to configure the basic colour scheme via internal Themes, and you can also now adjust the colours used in the Project and editor windows via faders to fine-tune the contrast of the 'cycle intensity', 'work area brightness', horizontal and vertical lines, and so on.

A nice touch. Aside from appearance control, Nuendo 2 also allowed the user to extensively customise the user interface, and while SX 2 doesn't quite go so far as making it possible to reconfigure all the menu options, the most useful configuration options have been kept.


This means that in addition to simply enabling and disabling various parts of the much-expanded, Nuendo-derived Transport Panel, toolbar elements and Track Control buttons, you can now make presets of the various combinations. It's definitely useful to be able to configure the user interface for different situations, such as recording, editing and mixing, but as with Nuendo 2, I'd love to see future versions make it possible to create global combinations that encompass all the individual presets, rather than the user having to select different presets for different parts of the program manually.

Steinberg advertise Cubase SX 2 as having over new features, and a large proportion of these are found in the audio side of the application, thanks to the inclusion of the new VST 2. As you may already know, this is the same audio engine used in Nuendo 2, meaning that Cubase's Mixer now has multi-channel signal routing and delay compensation through the entire signal path.

Also, since the VST 2. As in the previous version of SX, the audio engine implemented in SX 2 is limited to six-channel paths, making it possible to do 5.

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However, this is a limitation few involved in music production will be concerned by, and 5. The new signal routing system also sees the VST Inputs and Outputs windows being amalgamated, rather sensibly, into the Device Setup window.

And, in addition to simply enabling and disabling the physical input and output ports on your audio system as before, you now need to configure input and output busses for audio-based Tracks in the new VST Connections window. While this extra step may seem a little complicated at first, it overcomes the problem of most ASIO drivers presenting ports as stereo pairs, which is especially important if you want to use a 5.

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These allow you to create a stereo output buss that outputs to the left and right channels within a Nuendo surround output buss, for example, and while it might have been a nice touch to have Child Busses in SX, especially for those who want to work in stereo and 5. FX Channels are, in effect, much the same as Group Channels, and, as with other audio-based Tracks, support up to eight insert effects. This means that it's now easy to chain effects on a single send — for instance to EQ a reverb — and it also puts the send effects controls and outputs directly onto the Mixer, saving you from opening additional windows.

The Mixer window offers many improvements, such as big, colourful VU metering. The Mixer window has also evolved in SX 2, and is, unsurprisingly, the same Mixer window found in Nuendo 2. Input and Output Channels can now be displayed in two split sections of the Mixer, allowing you to monitor and process the signals coming into and out of your audio hardware, both before and after they've been processed by the Audio Tracks.

By using insert effects on the Input Channels, you can now record an audio signal which has already been processed by a plug-in onto an Audio Track, and the Output Channels effectively eliminate the need for the dedicated Master Channel in previous versions of Cubase. Since the audio functionality of Cubase SX 2 is the biggest area of feature overlap with Nuendo 2, I recommend looking back to the original Nuendo review, as mentioned in the first part of this article, for a more detailed analysis of the new audio features in SX 2.

But overall, if you thought the audio features were great in SX 1, you're going to be requiring at least one change of underwear when you work with audio in SX 2. Many users' biggest criticism of the original version of SX was the lack of any features for manipulating tempo, beyond simply the ability to create a tempo change to bpm at bar 11, for example.

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So it's perhaps no surprise that one of major improvements in SX 2 targets this very area of the sequencer with the inclusion of a new feature called the Time Warp tool. The basic concept is of the Time Warp tool is that it enables you to drag any bar or beat location to any time location, which comes in very handy when you want to build a musically sensible structure of bars and beats around material that wasn't necessarily recorded against a strict metronome. If this description sounds a little vague, imagine that you want to use the score editor to represent a MIDI recording not played to a metronome click, or that you have some video with visual events that need to be tied to bar or beat locations, so-called hitpoints.

In these scenarios, the Time Warp tool provides possibly the most intuitive method yet seen in any sequencer of creating a tempo map, enabling you to make sense of time-based material in terms of bars and beats. The Time Warp tool can be used to drag bar and beat lines to align events at specific time locations with a musical timebase.

In its default mode, the Time Warp tool works by automatically switching all the Tracks in a Project to the Linear Timebase rather than the default Musical Timebase , so that all the Events in your Project retain their locations in time. As you drag the Time Warp tool, the preceding Tempo Event which will be at bar one if you haven't added any tempo changes already changes so that the bar or beat you're dragging will line up with the correct position in timecode.

One thing I found initially frustrating about dragging bar and beat lines with the Time Warp tool was that there's no indication as to what timecode location the bar or beat line is hovering over, in the way Cubase indicates the location when you're copying or moving objects. However, Steinberg are planning to sort this out in v2. New Tempo Events can be added with the Time Warp tool by clicking with the Shift key held down, and if you want to limit the area of the Project affected by the Time Warp tool, you can make a range selection before selecting the tool.

When you drag the Time Warp tool in a range selection, new Tempo Events are created automatically at the start and end points of the selection to isolate it from the rest of the Project, which is pretty useful. And another nice touch is that when the Time Warp tool is selected, the Project's Tempo Events are displayed as flags in the Ruler with their numerical values displayed. In addition to being available in the Project window, this default mode for the Time Warp tool can also be used in the Key, Audio Part and Sample Editors, which really is rather handy.

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The ability to use the Time Warp tool in the Key Editor is great for those writing to picture, and those cleaning up the timing of freely recorded MIDI Parts, while being able to use this tool in the Sample Editor makes it very easy to line audio up against the musical timeframe in the Project. However, there's also a second 'musical events follow' mode for the Time Warp tool that's only available in the Project window, and this effectively leaves the Tracks in Musical Timebase so that objects stay locked to their musical position in bars and beats, and so move about in time, as you drag the Time Warp tool.

Good though the Time Warp tool is, it does have a serious limitation, in that it doesn't allow for situations where you need to process multiple tempo changes with one command, such as the old Process command in Cubase VST's Master Track Editor.

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If, for instance, you have a Project that lasts one minute, but you later need to make the same Project last 55 seconds, there's currently no way to compress or expand a group of Tempo Events to make this kind of operation possible in SX. To overcome this situation, I think it would be good if you could hold down another modifier key while using the Time Warp tool to expand or compress the positions of a group of Tempo Events, perhaps marked by a range selection or from the position of the Project Cursor. However, I don't want to sound too negative about this feature. While it doesn't offer a true replacement for all the tempo functionality available in Cubase VST, the Time Warp tool is an innovative first step in the right direction, and I know Steinberg have plans to take develop this feature in future versions.

When Cubase SX first appeared, many users of previous Cubase versions complained about features that were 'missing' in SX compared to the Cubase they already knew; and in some cases, while alternative solutions were provided instead, some existing Cubase users felt they preferred the old way.

One such classic feature that returns to Cubase in SX 2 is the Toolbox, which displays the tools available in two rows of icons for a particular window, be it the Project window or an Editor, allowing you to choose another tool to work with. Personally, I didn't mourn the loss of the Toolbox in SX, but I know many people did, and I'm sure they'll be celebrating its return.

Cubase is an audio sequencer developed by Steinberg which includes everything necessary for a music composer to be able to create songs. This multi-track DAW works with audio and MIDI alike, allows you to sequence and record all kinds of audio sources and includes VST plug-ins and effects to let your imagination run wild.

If you like the world of music, you'll now be able to compose your own songs on your computer. Cubase is a professional range product with advanced features for audio composing.

Its editing and sequencing options throughout the timeline are unique, and the post-production tools will provide your work with the perfect finish. Furthermore, if you work with video you have to know that Cubase is also compatible with audiovisual editing. WaveLab Dorico. Nuendo SyncStation. Expansions for VST Instruments. Absolute Collection. Support Downloads Contact.

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