Hmmm. Fiddly but it seems to be fixable setting up a couple of your own workspaces.
My recent experience of it was with a template I had used for several small jobs where the window didn’t stay put when I changed editors or opened the mixer etc. Seems fixed now.
Cubase just reverts to the set Workspace Window every time the state reverts back to the set Workspace (usually the initial or default).
Now, I obviously can’t say this is a cure-all but it may cure some. Please give some feedback on whether I’m right or wrong because obviously if it is still a bug it still needs looking at.
If anyone is looking, just temporarily rename the Cubase project “PRO TOOLS HD XXL ULTIMATE GOLD EDITION” and they seen this in the window title and are happy.
That’ll do nicely. 
Don’t forget to mention how much you paid for the carbon-free, UV-impregnated, titanium-coated shape-memorising nanotechnology speaker cables you are using 
(doorbell wire).
The very fact that you ask such a question is the clearest indication that this is either (a) a wind-up or (b) worth watching. Did I just hear the microwave* go “ding”?
- Referring of course to my new 32GHz headphones
“But if you’re interested you can have it for half that price when the session is over and you like the result. Then you can take the cables with you and you’d be certain that if it doesn’t sound great it’s not the cables fault!”
“This plug-in will make you sound fantastic, but I need to activate it first. It needs a credit card number to unlock the license but I have one here from a session I did last week … I’m sure if you give me cash the guy won’t mind if we use his card, just for this one tune?”
Ok now I am just confused with what this about.
Huhh???
We’re just suggesting some ways to screw money from gullible people to whom the brand name “Pro Tools” is familiar but, while having no knowledge of the subject, believe it’s somehow superior and therefore everything else must be inferior.
Notice how we cleverly extended the proposition to include the decades-old “snake-oil” scam which is speaker cables, among other things.
I can’t yet bring myself to talk about my disappointment over the fact that Cubase 6 doesn’t have friendly native support for 9.3-surround 128-bit floating-pointy-hat revolution converb.
Don’t even get me started about how some 9V block batteries can seriously affect your distortion pedal’s midrange transparency … 
ok, ok I am with you now. I just could not find the connection. cool. 
MrSoundman wrote
9V block batteries can seriously affect your distortion pedal’s midrange transparency … >
So that’s it …I thought the midrange transparency was being masked by the distortion. Those damn PP3s have got a lot of tantrums to answer for… 
yep, durcell has more bite at the top end than eveready. But eveready has more detail and focus in the low/mids. Especially with pedals like octaves and fuzz. (if you need a smiley here to know this is sarcasm, get professional help immediately)
JMCecil,
I got professional help, but my fuzz is still the same. And no matter how hard I pedal I can’t get out of the low/midlands. Maybe I didn’t get help immediately enough, but you would think Steinberg would provide therapists in the dang help menu!
I think I’ve worked out why all my mixes sound cr*p!!!
I had the arrows on the speaker cables pointing the wrong way!!!
Please, what are Pro Tools? Are they like special spanners for really big nuts?
ProTools mixdowns have to be done in real-time. So if you have a 2 hour soundtrack or audio-book programme, you have to wait two hours to get the file, with the machine tied up.
This is better than a non-realtime mixdown (eg. Cubase), where the software would have to, er, rush the digital calculations.
Slo-Tools, like the operators! 
In the video…the art and science of audio recording…Alan Parsons can be seen using Cubase.
Good enough for me.