C5 Lane Behavior - I've got SX3 ... is it the same?

Getting ready to do some hard core vocal recording in C6.0.5.

I’ve read that some people like Cubase 5’s lane behavior better than C6’s (especially regarding “protecting” a comp when coming back and recording a take later). I’ve still got SX3 loaded up - is the SX3 lane behavior like Cubase 5’s? Would there be any disadvantage to recording the vocal takes and comping in SX3, then bringing the final comp to C6.0.5?

Is the “audio engine” or anything else actually worse in SX3 than C6.0.5?

Thanks -

I find the new lane system very good for recording/comping vocals. But if you have to do small tweaks and moving things around, the old “fixed lanes” system performs much better IMO. I think SX3 has the fixed lanes system, so you should be good there.

R

Get the C6 demo.

Try reading topics Conman, he’s got 6 already.

Don’t have as much time as others. Can’t read everything. And if he’s got the demos why is he asking?

Hilarious, you are asking me instead of reading the 4 lines in the OP?

Unbelievable.
If you can’t be bothered to read the question, then don’t waste your precious time replying.

Hi - Along similar lines … I’m not even sure what goes into the sound of an “audio engine”, but does anyone know if it has been changed at the most basic level between SX3 and C5/6? The question has been posed before, but I couldn’t find a definitive answer:

http://www.gearslutz.com/board/music-computers/442995-cubase-sx2s-audio-engine-compared-cubase-5-a.html

http://www.gearslutz.com/board/music-computers/374467-does-cubase-4-5-sound-better-than-sx3.html

http://www.steinberg.net/forum/viewtopic.php?p=22045

http://www.gearslutz.com/board/music-computers/605253-cubase-6-has-different-sound-cubase-5-a.html

I remember a similar question years ago on this forum, maybe whether SX had a better audio engine than VST5.x, I think it went on for weeks and I don’t remember an actual definitive resolution. Maybe these questions aren’t able to be answered by us end users …

Thanks for any thoughts!

Ah! Don’t you love the fight pickers. :mrgreen: Sheesh! Kid’s in bedrooms eh? :mrgreen:

My point is, if he’s got those already then he can SEE what the situation is. Boys. You could also learn from READING THE THREAD TITLE. Doesn’t quite match the thread question. I wasn’t completely certain that he actually had the demo or knew it existed.

Hello - to clarify:

  1. I have SX3 and Cubase 6.0.5 (as in my post)
  2. I don’t have Cubase 5
  3. I’ve read Cubase 5 lane behavior is different than Cubase 6
  4. I am asking if Cubase 5 lane behavior retains SX3’s.

This will allow me to read about Cubase 5’s lane behavior and extrapolate to SX3.

Thanks -

Just give it a try: ftp://ftp.steinberg.net/Download/

Luck, Arjan

Bredo and Arjan P, thanks for that link. I thought it might be a commonly known fact(oid) about the when the lanes changed, wrong again! I’ll either do as you suggest, or if I run into problems in C6.0.5 pop over to SX3. So far so good, using the “parts” technique for overdubs at a different session - fingers crossed!

Thanks again for answering -

in C6 the lane behaviour is radically different from C5 for both audio and MIDI tracks.
(this is littered with new, undesirable behaviours - very frustrating and a total, unmitigated disaster for MIDI editing)
11 months later. I can’t believe nothing useful has been done to address our many, many issues with the new lanes :frowning:

C4 and C5 lane behaviour is the same as in SX3…

Thank you, FunkyDrummer!

BTW - the “Comp Protection Program” by way of locking them in parts when overdubbing in a new session
( https://www.steinberg.net/forum/viewtopic.php?f=19&t=13231 ) - that’s working so far for me (though I am the prototypical “not-power user”) - have you seen that, or are there still lane-mulitplication problems you’re having?

Lanes multiplication seems no longer a problem. Also, protecting a comp is the least of my problems. If I record a new part that “overwrites” a comp, I can just mute the new part and the comp comes back. No need for “parts”

There is a whole list of things that, while they might seem useful at first, start to get in the way once you dive down into the detail. (Like cutting one event cuts all the others too - this can save some time in the initial stages of comping, but once you zoom into the finer detail of the comp to polish it up, the auto features begin to get in the way and you must now use workarounds to stop them happening)

The best way is to try it and see. You may like it - but there is approx 75% chance you will hate it (based on the poll in the lounge)

Thanks for that, FunkyDrummer.

Can you please give a bit of detail about how you do that? It sounds like your mute is acting as a toggle between the new take and the comp … how do you hear a new version that incorporates both?

I’m guessing you edit the new take so all is muted but the part you want to incorporate into the final comp? I’m working on doing the “parts” bit, but if you’ve got a simpler way, that would be awesome to use instead.

Thanks again -

(P.S. - C6.0.5?)

By simply slicing the new take and unmuting segments of it (but to avoid cutting the other stuff that is already on the track, you now need to use a 3-step workaround for each and every single, solitary cut you make. That can be a lot of extra work. Pretty colours though.)

Honestly the best way is to try it out for yourself, my descriptions of this new system can only serve to confuse you even more.