Steinberg Cubase 7 review

Cubase has been our favourite music-production software for over a decade, thanks to its rock-solid reliability, high-fidelity audio processing and a focus on the traditional disciplines of music production: recording live performances, editing and mixing. Whereas consumer packages try to make music production more accessible to the casual user, Cubase is focused on providing precise, comprehensive controls for experienced users. This isn’t a software package you can just dip into every now and then. You must put time and effort in to mastering it.

Steinberg Cubase 7’s revamped mixer is packed with masses of powerful features – this is just a small selection

As for new features and updates, the mixer and pop-up channel editor have been overhauled, with new processing modules, a completely new cosmetic appearance and some clever time-saving tricks. These welcome timesavers include the ability to perform a text search for channels, copy and paste settings and save and recall views in the mixer, among others. The aim is to make multiple windows and menu commands less necessary, building more control into the mixer itself.

Steinberg Cubase 7 lets you add chord progression labels to the timeline

There are five new effects for version 7: a gate, compressor, transient designer, tape saturation and limiter. Conveniently, these effects are built into each mixer channel instead of being accessed through a separate module or effects unit. The controls are simpler than in the bundled VST effects, but having their controls integrated directly into the mixer or channel editor is a welcome timesaver. It also makes it easier to get an overview of complex mixes because you can see all effects settings on the mixer instead of having to open a pop-up editor. The channel EQ is more sophisticated than before, too, with high-pass and low-pass filters, as well as spectrum analysis to show the frequency response both pre- and post-EQ processing.

Consequently, the mixer is busier than ever, but it’s easier to make it appear full-screen on a second monitor (you can now use a context menu option to lock it to full-screen instead of resizing it) and there are numerous options to resize, reorganise and hide the various modules and channels. Acronyms abound, though, and the sheer volume of available controls means it isn’t for the faint-hearted.

The EQ section now includes a spectrum analyser to show what the EQ is doing to the audio

Our favourite new feature in this update is the Q-Link button, which temporarily links selected channels together so any changes are applied to all of those channels. This is a massive timesaver when handling a group of similar channels, such as those carrying backing vocals. It’s also possible to create permanently linked channels, or have limited sets of parameters across multiple channels. Linked changes are performed relative to their existing values, but hitting the Abs button (short for Absolute) makes the channels jump to the same value. This is the kind of flexibility and attention to detail we’ve come to expect from Cubase.

Another new feature is a track type called Chord Track, which lets the user specify the chord sequence in a piece of music. It can even suggest chords, although this isn’t the most fulfilling way to compose. Once the Chord Track is populated, MIDI parts can be forced to follow the chord progression. More impressively, the Chord Track can be used to generate harmony parts for a monophonic audio recording, which is great if you want to generate instant backing vocals, for instance. It harmonises using static chords rather than following the movement of the original recording, but the individual notes can be edited using Cubase’s powerful VariAudio editor.

Steinberg Cubase 7 lets you harmonise vocals using its new Chord tracks

Other new features include improved handling of independent headphone mixes for up to four performers, plus talkback facilities so the engineer can speak to the performers. This means you can tailor each mix to the particular needs of a performer, so they hear exactly what they need to hear. Output metering has been revamped to keep a close eye on perceived loudness, as well as the usual peak metering.

A technology called ASIO Guard claims to deliver more robust audio performance. Apparently, it pre-processes tracks by four to five times the buffer size for plug-ins and instruments. Our system was fine without it, but every little helps in the battle against latency and audio glitches.

The built-in virtual instruments can now use natural tuning rather than equal temperament. The difference is subtle, but it was often notably more sonorous. The controls for setting it up are comically cryptic, though. The PDF manual isn’t much help, but the YouTube videos detailing new features are a great help.

Sadly, there are still a few minor irritations, such as the inability to undo mixer changes. As an example, Cubase 7 ignores the mixer when you hit Ctrl-Z to undo a change and undoes the last edit made in the Project window instead. Thankfully, these irritations are few and far between. Cubase is polished and precise, and it seems the designers have implemented the kinds of functions that people really need rather than flashy gimmicks. Cubase 7 is designed for the fastest possible use by musicians, producers and engineers who know it inside-out. It makes few concessions for anyone else, but it clearly knows its target market well.