Hi There,
I’m currently a Cubase 10 user and very interested in the Nuendo Crossgrade offer that includes Nuendo 10 when it comes out. One use I can see being useful is the Game Audio to easily compose music and have it switch to Wwise to test/implement.
Beyond that though, does Nuendo have features or in the past had features that are useful for Music Production that doesn’t end up in Cubase?
Nuendo’s extended automation and control room functionality are two reasons I prefer Nuendo for music production over Cubase.
For i know, there have never been features in Nuendo focussed on Music Production that were not available in Cubase.
It is mostly the other way around.
I think this will be always the case.
See https://www.steinberg.net/forums/viewtopic.php?t=96521#p534525 (N7 v CP8.5, a close overview). Otherwise, current version of N always has everything from CP, + all the Post features. Personally, one of my fav. small things is to be able to use the built-in loudness normalisation; using -16 LUFS. That’s rarely found elsewhere: Wavelab has a more extensive version but otherwise this usually requires an overpriced 3rd party plug with annoying licensing reqs. N10 has some tantalising new features for working with film (my main squeeze), then there’s the ADR features etc.
Do some of these new features for working with film benefit composing to picture that you can’t do in Cubase? Built in Loudness Normalization sounds neat.
I don’t think anyone really normalizes loudness for film specifically.
Absolutely; for pro-sumer /creative etc - eg: YouTube standards; for more ‘pro’, there’s a whole swag of lit. on that currently driven by Netflix in particular, see for example:
Netflix Sound Mix Specifications & Best Practices v1.1 at https://partnerhelp.netflixstudios.com/hc/en-us/articles/360001794307-Netflix-Audio-Mix-Specifications-Best-Practices-v1-0
Has Netflix Turned The Clock Back 10 Years Or Is Their New Loudness Delivery Spec A Stroke Of Genius? at https://www.pro-tools-expert.com/home-page/2018/8/23/has-netflix-turned-the-clock-back-10-years-or-is-their-new-loudness-delivery-spec-a-stroke-of-genius
ie, overall, the online /streaming environment. Otherwise ex. film, there’s also the various LUFS reference points for (eg) Spotify, iTunes, etc etc.
I was referring to composing to picture, not re-recording the whole movie.
As far as I know virtually nobody ends up using some sort of loudness normalized value when mixing music with all the other elements in films. I know I certainly never have. I just adjust the level to where it needs to be, and it never needs to be at some certain arbitrary value (nor specified value, since no specification mentions it to my knowledge).