Here's how to set up your own hardware–controlled channel strip in Cubase.
Controlling your synth's dynamics using MIDI, rather than audio plug-ins, can offer you greater flexibility and good results. Here's how you do it.
Cubase’s Track Lanes system is great for speedy comping, but Track Versions brings plenty more to the party...
Cubase is packed with as much functionality as Doctor Who's TARDIS for bending the laws of time, and while the basics are easy, it pays to explore a little deeper.
Reverb and delay are vital tools for mixing. We explain how to get the best from Cubase's bundled plug-ins.
We dive deeper than the presets to discover what you can do with Cubase 4's most complex bundled soft synth.
Links to the Mystic Synth audio examples that accompany June 2008's Cubase Notes.
The tools for audio slicing were overhauled in Cubase 4.1. Find out how to get the best from them.
There's more to Prologue than its presets — and it doesn't take long to create some excellent and unique patches.
Crafting the perfect mix is a difficult task, but often all you need is a bit of organisation to make things quicker, easier and more rewarding.
Cubase 4.1 brings a wealth of new features: we explore what you can do with the new side-chaining function.
These files accompany Cubase Technique article in the November 2014 issue.
Cubase has all the tools you need to add vocal glitching effects to your pop or EDM tracks.
Our recent explorations of the new software synthesizers introduced in Cubase 4 conclude with a tour around Spector...
Here are the URL links to the audio examples that accompany and enhance the July 2008 Cubase Notes article.
For some, the jury is still out on Steinberg's ambitious SoundFrame and MediaBay concepts, but for certain tasks they can definitely be useful — getting your loop library organised, for example...
Cubase's new routing options enable you to export multiple audio tracks in one go: we take you step by step through the process.
Kick drums and bass instruments underpin most contemporary popular music, and it sometimes pays to tweak performances so they work better together.
If you want to group tracks in Cubase, Group channels aren't always the best option. We explore what you can and can't do with the Link Channels function.
Having done your best to capture a high-quality recording of your vocals, how best do you go about processing them so they work in your mix?
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