Cubase 11.0.20 maintenance update

Cubase
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I’ve never been less happy with a version, in 18 yrs.
Seems like there’s a race to break everything. New features are not very useful when one’s muscle memory is useless because it was designed so differently than the very most recent version.
glad there is now a way to go backwards, I’m going back to a zero point version weirdly enough.

I think steinberg has a lot of people coding that have not the first inkling of its use in real life.

I haven’t had stability problems like this since I ran very underpowered systems, and that is far from true today.

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I agree.
Take Instrument Track Inspector Pinning items function not working for years for example. It should be taken out of the feature list or at least the feature should be written as ‘Pinning for Audio Tracks Only’
Now, I do not believe to fix this is harder than coding Backbone, Supervision or Squasher. IMHO Steinberg needs to balance more evenly the new features and fixes. Very little maintenance releases for a program that add constant features every year.

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The problem is that they are not temp, but permanent files. Steinberg has acknowledged the issue and promised a solution in 11.0.20, but that didn’t materialise.

The thread I refer to goes into some detail (Cubase 11 ARA folder is gigantic from using Melodyne) with lots of examples, but the short version is:
If you loop record for instance vocals with say 5 takes. You then comp that vocal using parts from one or all of the takes. Each time you then select a part of a take to edit that in Melodyne, Cubase doesn’t just make a copy of that part of the take, it doesn’t even just make a copy of that take, but it makes a copy of all 5 takes. That’s fine if it’d stop at that. But the next section you edit in Melodyne, can be from the same take as the previous take or any of the other 5 takes it makes another copy of all 5 takes.

Why doesn’t Cubase just make a copy of the part of the take that you’re currently editing, or at least just a copy of the take of which you’re editing a small piece? That would be logical to me. At least, if Cubase needs to make a copy of all 5 takes, at least reuse that copy for the other edits I want to make. There is no reason Cubase need to make another copy of all five takes just to edit 1 bar in a 16-bar loop. You end up with 79 bars of audio that you don’t need, for each 1 bar edit you make. Do an edit in each bar and you’ll end up with 1264 bars ((16*5-1)*16) of unused audio.

This may not sound like a problem, but when you have a typical 3 min pop song with a lead a few doubles and a number of harmonies, totalling say 20 tracks of vocals. All of a sudden you have an ARA folder that is 30-50GB, but the underlying audio folder may just be 1GB. Not only does that ARA folder becomes gigantic, but Cubase also isn’t able to handle it and even the most powerful computers grind to a halt, to the extent that something so simple as selecting an event takes many seconds or stop playing the project takes several minutes.

As you can see, it is unusable. And as a result, all Melodyne edits need to be printed and the original edits deleted/archived to be able to work with it. It makes workflows like these (Comping with Melodyne (ARA) - YouTube) impossible for anything but demonstration in a controlled environment.

You may say that you should commit your edits. True, but when you are in the middle of the creative process you shouldn’t have to think about that when you’re comping vocals, as you very quickly run into trouble if you’re not careful and print every single edit you do.

This makes the ARA implementation somewhat redundant, as it nothing more than an inline destructive workflow.

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These HiDPI aliasing effects occur because Cubase is not yet fully vectorized. This is not a bug, it is a huge effort to convert everywhere from bitmap to vector graphics. Of course I also hope that it will be even faster now to display HiDPI throughout ideally. But it is no reason to panic :sneezing_face:

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Was this addressed to me? :slightly_smiling_face: If so why?

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you was writing after this posting Cubase 11.0.20 maintenance update - #201 by mbernbrich

Sorry, should you have referred to something else. I still don’t really get along in this forum. This mega-thread without that one can prompt recognize correctly who refers to which things overloads me.

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@aaandima

Hey it’s cool :blush: really, no worries, I think I get you.

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It might have been worth doing a quick Google search before saying that.

John Powell is one of the biggest film composers around right now, and also composes classical music. Definitely not a ‘piano composer’.

Likewise Ramin Djawadi is a very successful TV/film composer, including a little known show called Game of Thrones.

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classical composers compose with pianos…

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I’m really not sure what your point is?

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Btw, in 11.0.20 they fix Automation annoying feature, when you move between 2 point.
Thx

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The point is (like a classical composer) they probably score more from a piano and traditional scoring approach than they do from technology approach thus they could pretty much use any basic DAW that has a pianoroll and score editor.

If I were Junkie XLs or Hans Zimmers assistant, I wouldn’t want to manage their complex setups with anything other than Cubase… No other DAW would really make sense for that.

I never got into Game of Thrones, seen a couple scenes that’s it.

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Thank you very much for the CB11 masterpiece, continuous updating and bug-fixing.
All works very well here. (Win10, RTX2070S)

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“Dissatisfied” because the behavior of the lower zone has been changed since v10, which IMO makes it a very frustrating user experience on a laptop. I’m hoping that for future releases they either revert back to the way it behaved in v9.5, or allow the chord pads to open in a new window as per the sampler track and mix console.

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I agree with your first sentence. I think most would agree except maybe new DAW users. I have been saying the same since Cubase SX. Especially the CubaseSX through C8 versions adding functions that 3rd parties do better.

Regarding your 2nd sentence, thanks for saying “seem” but remember the following:

  1. Cubase is an old DAW with layers of programs built upon older programs.

  2. Cubase I think is the most feature-rich DAW available. This can be a double edged sword. For reference, PT features is a skeleton compared to Cubase features. StudioOne, (from what I read) still has a lot of missing features compared to Cubase. Also there are many different groups of Cubase users. Saying "affects us" could mean you, or your user group, but not necessarily a majority of Cubase users. Again, due to the feature build, Cubase is used in so many different ways by many different users.

Who has collected more user data about their own product? You or Steinberg?

  1. A seemingly very simple bug fix, even a GUI, or maybe just a simple on/off switch, or close window function, is not always easy to fix. If it’s an easy fix, and costs little, do you think the developers just sit around and laugh at us peons? (see item 1 above.) Do you think they do not read these forums or understand the bugs?

  2. Like any business, you have X amount of annual dollars. This industry is pro-sumer driven. It is not driven by professionals. Even EveAnna Manleys higher end hardware realized this, and said yes to UAD. Given X amount of dollars, you want your biggest return for your investment. This means new sales as well as keeping customers hankering for bug fixes before new features. It’s a delicate balancing act in a very competitive market. Who understand this market better? A segment of Cubase users or a developer backed by Yamaha who has done extensive data research and plans for the future to survive? It’s apparent Gibson didn’t do this.

I would love more “repairs before new features.” But that would require a much higher priced DAW. If you aren’t willing to pay that higher price, which most users aren’t willing to pay, then settle for what currently exists in this very competitive market which again…is pro-sumer not professional driven.

The few professionals I see using Cubase have learned to adapt to or create work-arounds. I’m guessing the big names like Hans and Tom do the same. If that’s too much of a hurdle, then that’s the point you look to the competition.

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In most cases either a pencil and stave printed paper or Sibelius/Dorico. Very few “classical” composers would use Cubase.

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WTF?: 2o tracks of vocals for a typical three minute pop song. Seems to me that, perhaps, a workflow review might be in order. Then again, working with vocalists who can actually sing might help. Either / or / neither / both; just saying…

… But I guess it’s safe to assume that these typical three minute pop songs are never performed live.

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Lead Vocal can be two tracks for different parts, double 1, double 2, harmony left, harmony right, harmony center, harmony doubles, vocal fills 1, vocal fills 2,

already half way there and you can easily x2 all the above to make it 20.

Actually, the better the singer, the easier it is to do more with them. There is a skill to singing doubles and good singers know how to make them sound right… otherwise you’re better off using a doubling effect or offsetting pitch/timbre in melodyne

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If you have verse, chorus and bridge all with doubles that’s halfway there - doesn’t sound too mad to me. Most rock/indie/alternative stuff I’ve worked with are in the 12-15 vocal track range. You add Harmonies and some scratch vocals in easily top 15 - and it’s more organised having them as separate tracks with their own processing too.

They can all feed into a single vocal bus, for ease of course. :slight_smile:

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