Thank you again. Your words are completely logical, and they increase my eagerness to speak.
One of the issues I personally struggle with is the one you mentioned.
Why do companies copy from each other? Surely, it’s to retain their existing users and attract new ones. And when they copy, why don’t they replicate each other’s brilliant features?
Why, for example, don’t they offer the sample rate of 768000 Hz, which Studio One has provided, in Nuendo? (Although it might be introduced in version 13.) This is an irreplaceable issue. It can’t be achieved with plugins or anything else. But the Vocoder, which was recently introduced, has been in production by other companies for years. You can take advantage of them, like Waves Ovox.
Or the Sandboxing feature. This is also a fundamental feature and needs to be built from the ground up. These things drive our progress, not building plugins.
First of all, I must say that Steinberg plugins are not excellent, and they destroy the signal. I only use a few plugins, including Supervision, and do not use any others. If you wish, I can provide a video, for example, to compare the performance of Steinberg’s Multiband Compression and Kilohearts’ Multipass.
Some people like to receive a massive list of plugins and instruments when they spend money on a DAW. It’s OK, but it has a few issues:
If someone is paying for Nuendo Pro, it’s highly likely they are a professional user. A professional user has professional income, so purchasing hardware-modeled processors like Plugin Alliance’s products should not be challenging for them. Therefore, it doesn’t make sense for this person to look for free plugins that come with the DAW.
If a user is an amateur, why would they need a Pultec EQ? Can they even tell the difference? An amateur would be better off working with a Graphic EQ to train their ears.
The question arises, for whom were the Pultec EQ and Vox Comp produced? In other words, who is Steinberg targeting with these tools?
Every company has its focus. That’s why we use Apple computers for added security in our work, but we turn to Audeze products for accurate sound reproduction. In other words, a professional wouldn’t work with Apple headphones because, at best, they can be considered for quality control (QC).
A professional user needs more than these embellishments, like a Sample Rate of 768k or Sandboxing, as I mentioned above. Not something like a Vocal Chain. What does a Vocal Chain solve now? Was there a problem with vocal mixing before it?
I personally appreciate many things that Steinberg has provided, but some of its actions are like child’s play compared to the behavior of an adult.
What Steinberg does is like getting decorations for a building that has fundamental issues with its wiring or plumbing. These actions reflect Steinberg’s lack of focus.
Fundamental issues need to be resolved. Sending in Cubase and Nuendo must be fixed. Limited Send. Limited Insert. Inability to group plugins should be resolved. If someone here had used this feature, they would understand how useful it can be. This feature can be accessed through DDMF Metaplugin, but it’s a bit complex. Complex compared to Ableton Live or Bitwig.
Or one issue that I have personally been waiting for for years, but none of the companies have taken any action, or at least I haven’t seen that it can be done.
To be able to create a chain on just one plugin without altering the original signal.
This means :
opening a reverb in the insert and then opening an EQ on the reverb, but not after it, rather on it. This means EQing the reverb without altering the original signal.
I’ve personally tried many times to be able to process or apply effects exclusively to the reverb or delay in the insert, but I couldn’t find a way. This feature needs to be built into the DAW from the ground up, or I had to settle for limited features within the plugin itself. The only option is to use Send, which is different from what I’m talking about.
Regarding capital return, I must also say that all companies are subject to us.
Subject to their users.
Without us, there will be no company.
We express our needs. They fulfill them. In return for this fulfillment, they receive compensation.
This is the law of supply and demand.
An oversupply for which there is no demand can lead to bankruptcy.
Steinberg has provided a professional platforms, but instead of powerful and unrestricted VST Plugins, it has offered products for which there are many professional alternatives.
For example, a professional never uses Iconica Sketch at any time. We program so we can hear something close to the final product before recording. Why should we use this product when there are companies like Spitfire Audio, Orchestral Tools, and other powerful companies in this field?
Unfortunately, Steinberg has lost its way. The company’s focus should be on host software with technical and visual integration.
It has been over a day now, and I’m waiting for someone to explain why the graphic design of Mix Console and other tools has been completely updated, but Control Room remains as it was in version 9. This has nothing to do with capital. Even a graphic designer with a $20 per hour wage can redesign it. I’m looking forward to hearing from friends, as long as they are logical and don’t divert the discussion.
Backbone, Groove Agent, Halion, or Padshop.
Instead of these, it would be better to create an environment like Grid, which is in Bitwig, and have all these as auxiliary tools within that environment. This makes much more sense. Like Midi Mapping, where we can customize everything for ourselves.
There are many limitations in MIDI effects, such as LFO, and it takes a long time.
I can’t accept that these issues would be difficult for a company with this popularity and income level.
Steinberg has lost many people due to the limitations I’m always talking about.
Removing these limitations attracts and retains customers, or making a Vocal Chain Plugin?
Which one has financial worth?
A lost customer for something else that has no relevance to their needs won’t come back. Those who left Cubase for Bitwig’s modularity won’t return to Cubase with a product like Vox Comp.
Remember that even companies themselves don’t exactly know what’s right.
In Steinberg’s brainstorming room, everything only makes things worse as time goes on.
I hope they pay attention to my words.
). But ultimately I do think Steinberg is actually doing what you are suggesting, but just at a conservative, very slow, or maybe even glacial pace. In the meantime, you can enjoy Bitwig for all the cool things it does, and maybe use it along side Steinberg products like I do! 
