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Cubase: Macro Logical

Steinberg Cubase Tips & Techniques
Published September 2018
By Matt Houghton

When building Macros gets tough, the tough get going with Cubase’s Project Logical Editor.

In last month’s Cubase workshop, John Walden explained how Macros can be used to automate repetitive tasks — and I was reminded me of a surprisingly challenging recent Macro‑making experience of my own. So this month, I’ll dive a little deeper into Macros, exploring some limitations and workarounds. Hopefully, by taking you through how I overcame the challenges posed by one particular Macro, I’ll be able to help you design and troubleshoot some sophisticated Macros of your own.

Missing The Bus

When the Macro has been run, it’s easy to copy and paste the channel settings from the Stereo Out to your new Premix bus. When the Macro has been run, it’s easy to copy and paste the channel settings from the Stereo Out to your new Premix bus. The task I wanted to automate should have been simple: inserting a new ‘premix’ bus — a fancy name for a stereo Group track that sits between Cubase’s master Stereo Output track and the rest of your mix — into an existing project. The idea of a premix bus is that you can put all of your master‑bus processing on this bus, while leaving Cubase’s main Stereo Out track free of processing. This setup allows you to either send or directly route selected sources ‘around’ any bus processing you’ve set up.

For example, I often like to mix into some gentle mix‑bus compression — just 1‑2 dB of gain reduction to ‘glue’ the mix together. But often, what feels like the right setting for the mix as a whole can be a bit too much for the vocals or cymbals. There are various strategies to overcome this, but one is the...

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Published September 2018