I love Cubase but... Reasons I'm leaving

Cubase
,
123

I’m not sure about my mental bandwidth, but I think I agree.

Stick with one DAW and learn the snot out of it. I use extra curricular tools such as Metagrid, a DAW controller, a MIDI Controller and multiple displays because it enhances speed and workflow. Sure there may be instances where more than 1 is beneficial. Users objectives and systems are often different.

To sound like a snob, users who proclaim they use several DAWs and know them all, I disagree…at least regarding Cubase. It’s just too deep of a DAW to master everything, and that includes Greg Ondo who on occasion, can get stumped.

Use what works best for you and move on.

And, as a user from Oregon, I follow the advice of Nike. Just Do It.

2 Likes
124

I totally agree.

I’ve been using Cubase for decades. It may not be the best DAW at everything, I’ll never know because I also believe it’s more beneficial of my time and brain capacity to try and be a master of the one DAW (don’t think I’ll ever be master) then stumbling about on many.

When I’m in creative mode the last thing I need is having to think about how do I do that or I need to open a different DAW to do that thing that it does better.

I’m not going to argue that it’s the best but I’ve certainly not found any real limitations or problems that can’t be worked around. I’ve used it professionally for recording, mixing, composition and sound design. I also do electronic and EDM type production on a hobby level…Seems to cover all, well for me anyway.

Just my two pennies worth.

2 Likes
125

You don’t need to know everything in a DAW though, only what your trying to do.

I’m not a film/Tv composer, so the Expression maps, Dorico elements, Using Timecode, is irrelevant to me.

Just like my car, I use it to get to A/B, I have never wasted time reading the manual on how the digital radio works, or the multiple variations of the air-con system, or how to change the front lights up to down in angle, waste of my time.

When you know what your trying to do, you only need to know 30% of the DAW.

Once you know your 30% and you have your Key commands for your tasks, your set. Each DAW is the same, you learn that little bit you need and off you go.

Its when you waste time doing things inside them that are pointless to your outcome, that cause people to struggle.

Cubase = learn 100% (wont need most of it)

Or

learn = Cubase33%, Ableton 33%, Bitwig 33%.

If your scoring for films/tv, you don’t waste time with endless sound design techniques & bouncing/rendering of file options.

You focus on your Expression maps, giant sample library’s and made to measure template set-ups of already proven sample libraries.

You don’t spend 5 hours inventing new sounds, when you have a 100GB library that Hans Zimmer uses.

I take the Steve Jobs | Apple, approach, learn what to say no to and learn what to say yes to. Everything is signal or noise. Important non important. If I can get what i need across 3 and only need to know 30% from each, then that’s better than knowing 100% of 1 but never needing 70% of it.

1 Like
126

I agree with some of this, but am chiming in to say that there are a big amount of composers like me who much prefer to create a large amount of our own sounds. Yes, samples are needed for plenty of things, but some of us sometimes have budgets to use real players when possible, and/or create/play a lot of instruments ourselves instead of using the same things so many also have.

Neither way is right or wrong–I’m just saying that there are plenty of composers who prefer to create their own sounds as much as they can.

127

Even when I score for a short adverts I often do plenty of sound design. But I never touch Expression Maps because I prefer to work in a different way.

Don’t assume that you know what people do in their professions if it’s not the one you are doing yourself.

2 Likes
128

Yes you do. Well most TV / film composers I know do.

2 Likes
129

Yeah, same here.

In an ideal world, we would have the ultimate library where everything sounds fantastic, and expression maps would seamlessly transition from a realistic articulation to the next.

Reality is that most sound like crap and take a huge amount of effort to make them sound somewhat realistic. So, same, no expression maps for me as I have to blend sounds to get to the result that is satisfactory.

Yep, can confirm that. especially bouncing and rendering is now equal to anything else in modern film scoring…(if you have a small budget, that is, I would be very amused if Zimmer were sitting in front of his Mac, reading exporting options),

1 Like
130

Considering the depth of Cubase feature and functions, and the multiple methods to achieve the same/similar results, I would never attempt a percentage guess.

However I disagree. I don’t think you are “set” knowing Key Commands and 30%…at least not me. It takes a lot more for me.

From Cubase VST 3.5 under Windows 95 and graphic cards that allow multiple monitors, its taken me many years to build my workflow, and it’s still a continual evolution today. Sure Key Commands are a start. What about macros? That can take time. How about creating specific PLE and LEs that enhance your custom workflow? Don’t forget adding Workspaces into the macros. Integrate Key Commands, with PLE/LEs and Workspaces in a macro using multiple displays then control all that under Metagrid which offer more macro functions than Cubase macros.

I’ll stick with 1, learn it, customize it and create work-arounds if need be. Of course that’s just me. Everyone is different. You get 3 and only need to know 30% from each. There is a lot that I know in Cubase that I don’t typically use. Some features, maybe once a year. But it’s good to be familiar for potential use in the future.

2 Likes
131

This can be true, at least within the scope of what they need out of the DAW.

The question is whether or not there is any material benefit to doing so, outside of being able to work in market segments that are dominated by a specific DAW (e.g. Pro Tools in the Post Production segment).

For producers, just pick whatever DAW has the features and UI/UX/Workflow that you like. No one mandates a DAW to them. Largely the same for composers. I know people who compose in FL Studio, and it works well for them.

1 Like
132

One major point that is being overlooked is how people view DAWs, they are not all equal.

I see Cubase/Nuendo as the digital version of a analogue Studer 24 Track tape machine.

I see Ableton, Bitwig, Reason as more like Instruments that have recording capabilities.

Reason actually took it a step further where you can now have the Reason rack inside any other DAW (proving my point).

If I could have Ableton as an instrument only option, this would be perfect.

So using Ableton & Bitwig, is for me like using a synth with a recorder on it, ultimately to get back into Cubendo which I see as a 24 track tape machine (more than 24 tacks if you need them).

If I write inside Cubendo, my drum machine options are

  1. Groove Agent 5
  2. Drum_machine

If I write inside Ableton, my drum options are

  1. Groove Agent 5
  2. Ableton Drumrack (exactly the same as Drum_machine)

I can still use Cubase tools inside Ableton, so I can get rough ideas down, to just export the midi into Cubendo, but have Ableton instruments as well if needed (which I can bounce/export the audio).

I can exploit Abletons really good groove pool options, and then drag the midi into Cubendo, and edit further in the Key Editor if needed.

To me this is no different than a graphic designer manipulating photos in Photoshop, then adding vector graphics to the photos in Illustrator, then adding motion and FX in After Effects.

And its no different than a band, going into a certain studio to record the band live, then going into another specific studio to let the vocalist lay on vocals, then going to another studio to do overdubs, then having it all sent to Los Angeles to get some mix engineer mix it, then sending it to a mastering engineer in New-York to master it.

1 Like
133

Weird comparison, considering Cubase has a way to do just about everything the other DAW’s do and vice versa.. Photoshop doesnt vectorize, and doesnt animate, and Illustrator is not even remotely close to being a ‘photo editor’ or having anything to do with motion or animation. Of course you’re going to need multiple tools to accomplish it, if that’s your end goal.

Adobe probably could have made one super app, but instead they like to milk you for every penny they can. I mean, what was the reason for having Pagemaker/InDesign AND Illustrator in the lineup?

2 Likes
134

the wonderful thing about Art/music is there’s no right or wrong way. Whatever works for the individual is what matters and if that means using 10 DAW’s to make your music then that’s fine. It’s also, IMHO not always about the fastest way of doing things either. we seem obsessed with getting things done quicker/more efficiently ….. we’re not making plastic coat hangers here folks….. we’re making Art/Music….. sometimes , as with many things in life, taking time, going slow is what’s needed.

:peace_symbol:

M

16 Likes
135

That’s where the way you look at the DAW is key.

A pro running a client based operation is looking at it from the standpoint of getting tasks done. Can I eq, compress, automate.

A music artist is looking at aspects like, I want to use Abletons | Operator synth, I want to create a synth pad in Bitwig super modulated then bounced to my own audio/sample.

136

<“Cubase is already somewhat visually busy.”>

No Kidding! I’ love an option to make the view more minimalist - more “Zen”

er…. like .. Ableton

137

:+1: :clap: :partying_face: This. Perfectly said.

138

One button song generation, you know it’s coming! :smiling_face_with_sunglasses:

1 Like
139

Whilst I love the sentiment and agree that in a perfect world art should never be rushed, unfortunately many of us who work professionally are expected to work and turn things around quickly, to ever tightening deadlines. If we don’t work fast enough then other people get hired instead, and we can’t pay our mortgages. In these scenarios what we don’t need is extra friction from our DAW, which I believe was the OP’s point…

1 Like
140

This thread is like the equivalent to an endless chain of dominant chords Richard-Wagner-style while the protagonist keeps on stating that he’s dying…

Not referring to a specific post here, it’s about the stamina of the whole thread.

6 Likes
141

At least Wagner eventually resolves the chord progression.

Since the OP has left the building this thread should have the door closed.

5 Likes
142

Are you diminishing this thread?

5 Likes