This also buggers up SMF exports!!!
This is tremendously aggravating for a million reasons if you use Cubase for MIDI but interact with real live musicians on projects that involve your CB data.
As the posts mention, when your project is in compound time (x/8), in order to have the CB metronome behave as a normal musician’s metronome (that is, pulsing dotted quarters), you need to do some complex and completely arbitrary math to derive the correct duple time and THEN tell CB that you want the click to beep on 3 multiples of 8.
That is, if you were in 6/8 (or 12/8 or 9/8 etc), and you wanted to record a piece of WRITTEN music where the tempo was specified dotted quarter equals 80, you would need to:
- Set your time signature to 6/8
- Multiply 80 x 3 and then divide by 2 to know that Cubase thinks this tempo should be stated as 120
- Go to the Metronome Setup dialog box and specify that the click should follow the specified count base of 3/8
Huge pain if you’ve got players sitting in front of you waiting for a count off…
This is just a PITA workflow buster but NOT the real problem. The REAL problem comes AFTER you’ve spent your time making an orchestral track with these players and you need to EXPORT the time signature and tempo data for another DAW user to import. (Say, a Pro Tools scoring session in another city.)
So you might save all your audio and send over the audio and a midi file for tempo and time sig data. Simple, right? (Let’s not even talk about the OMF problems.)
In an annoying “feature”, once you do a standard MIDI export, CB removes your 6/8, 9/8 and 12/8 measures and replaces them with x/4 measures, and assumes that it’s all mathematically the same, since two 6/8 measures can equal one 12/8, which is just another way of saying 6/4, right?
Enormous and expensive pain if your print project (generated by a different orchestrator) uses the score that you recorded at the beginning of this example - with compound meter like 12/8, 6/8 etc. For Cubase to arbitrarily respell those measures as multiples of simple meter (two eighths per pulse) and combine measures (two 6/8s becoming one 6/4) really screws up the recording session.
You’d have audio that sounded fine, but PT wouldn’t have the same measure numbers as the players, which gets expensive, if the engineer has to keep searching for the correct measure to keep up with the conductor.
In a perfect world, the solution would be to allow CB to base tempos on simple or compound meters, and then export your time signature data EXACTLY as spelled in the time signature track. Sort of like the way written sheet music has done it for the last 200 years or so.
9/8, dotted quarter = 72
Not 9/8, quarter = 108, but tap your foot every three eighths.