In Cubase 6, Steinberg attempted to streamline lanes and comp'ing, but missed the mark. The bottom-most unmuted lane is what actually played. Multiple takes on a single track acted as tape does - the most recent recording was what you heard - but the "Show Lanes" command revealed one lane per take, almost like a recording history. Prior to Cubase 6, Cubase's lane-based multi-take and comp'ing workflow was one of its long-running strengths. As I mixed these two records, I took notes, which I then turned into this scattershot, far-from-comprehensive review. During this time, I also used the same rig to mix four songs for Philadelphia's Ladder Devils, who tracked on their own and sent me files.
#CUBASE 11 REVIEW PRO#
Afterward, I did edits and overdubs with Pro Tools 9 (Tape Op #81) then for mixing, I consolidated and brought my files into Cubase 6.5 for Mac, with an RME Multiface and Universal Audio UAD-2 Quad (#67, #73, #76, #83). We tracked basics at Oakland's Sharkbite Studios to Pro Tools|HD 8.
I've used Cubase 6 since it was released in early 2011, and I upgraded to Cubase 6.5 shortly after its February 2012 release, as I was starting an LP for Tigon, one of my favorite weird/heavy S.F. I make rock records, and my techniques are more or less traditional (save for tracking and mixing in the box), so the only parts that really interest me are multitrack recording and mixing. It includes serious, deep support for multitrack recording and mixing, MIDI sequencing, loop manipulation, and scoring. Scott Evans: After nearly 25 years, Steinberg's Cubase is vast. His evaluation follows, with my thoughts interspersed. For this latest version of Cubase, I asked senior contributor and longtime Cubase user Scott Evans to be the expert commentator. This venerable DAW, which was introduced originally for the Atari ST in 1989, was last covered in Tape Op in 2010 (Tape Op #75) Garrett Haines and I cowrote the Cubase 5 review.
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