I pray for this one too.
Right now I am in the same position: I had created my tempo map, my markers are in place, everything. And now the director wants me to write music in a place that has not been planned before.
So I have to set the tempo. My cue is in bar 65. That means that everything up to this bar will be fine. But if I change the tempo(which I need to) in bar 65, then ALL markers, bars and frames are getting messed up.
Has anyone found a workaround for the time being?
A general bump to this topic.
In answer to the last post, you must put markers in time linear mode. That’s a basic.
I only do one cue per project because of this (timewarp) continuing limitation. It makes mixing time consuming. Last week I coordinated 48 cues for a 90 minute drama.
It would scare me to have all those eggs in one project.
The old cubase VST32 approach of songs and arrangements kinda solved all this.
You see, part of the reason we struggle to contain multiple cues in one project is speed of work. We want all sounds up at once. All mixing solutions up at once. I am forever contemplating over and over what to template, or slave off etc etc all in the interests of saving time. Of avoiding creating the same mix over and over.
On occasions were I have kept multiple cues running in one project (along with the painstaking care we professionals must take over maintaining a history of cue versions, as directors will often want to go back a version) I would keep physical notes of bars and TC positions in a notebook.
To isolate cues, buffer bars and tempo events are the only way. But at times adding bars is unavoidable and out comes that note book.
Please Steinberg read this one. If SB could realise my suggestion: a cue event track as described above, then Nuendi would truly see off (beat) DP.
In the meantime, proper multitrack presets that associate midi tracks with vat rack instances and mixer channels would help VASTLY when using common sounds through a multiple project job.
Thanks.
Great discussion …
+100 for a better way to handle this in Cubase!
Lee
How about this for a solution SB?
When working to picture everything should be locked to it. All the time … I’ve practically made a career out of helping productions do this! So my idea is that as soon as a Video track is added to a Project, the whole Project window becomes a Time Linear space. Any object in it stays where it is in relation to the picture. If picture edits are made ( Nuendo can do this… not sure about CB) all parts in the project move with the picture.
This takes care of Audio events (dialog, SFX, recorded music cues etc) and MIDI events which triggering against absolute picture frames. They’ll always play in sync.
The real problem is MIDI events which need an independent musical tempo timebase, which has to stay editable and quantsable.
So we ask SB introduce a new type of Track … a “Sequencer Track”. It is a track which can hold Parts/Events (i.e. containers just like an audio part) … each of which opens up into a multitrack MIDI sequencer. Within these Parts each has an independent Tempo map and Time signature map… so sequences can be recorded and tweaked endlessly within the Part …using our regular MIDI editors without affecting anything else in the project since the containing Part itself is always locked absolutely to the video timebase.
In this way one Sequencer Track could hold a series of Sequencer Parts (Cues presumably) each of which varied it’s Tempo and Time Signature against the picture, yet in the overall context of the image, the cue as a whole remains locked in place. If we adjusted the Part’s internal Tempo map the music would seem to change it’s relationship to the picture, but no parts would move … nothing else in the Project could go out of sync.
Additionally all this thinking about timebase being musical or time linear goes away. We just work in each Sequencer Part individually.
Of course multiple Sequencer Tracks could be implemented… for more MIDI channels and so on. Maybe they could be grouped too.
Without a Video track (i.e. just making music) it would afford all kinds of madness … simultaneous tracks with differing Tempos ( bit like my normal recordings … LOL), tracks with interacting Time signatures … all still able to be quantized and edited against each other with ease.
I think this would work … am I missing anything?
Best
Lee
… not missing anything - unless, of course, you don’t actually have a team of analysts/programmers and a large development budget to make available to SB for two or three years to work in parallel with the team dealing with the normal maintenace and development of Cubase. 
So we ask SB introduce a new type of Track … a “Sequencer Track”. It is a track which can hold Parts/Events (i.e. containers just like an audio part) … each of which opens up into a multitrack MIDI sequencer. Within these Parts each has an independent Tempo map and Time signature map… so sequences can be recorded and tweaked endlessly within the Part …using our regular MIDI editors without affecting anything else in the project since the containing Part itself is always locked absolutely to the video timebase.
Omg omg, we want this now !
… not missing anything - unless, of course, you don’t actually have a team of analysts/programmers and a large development budget to make available to SB for two or three years to work in parallel with the team dealing with the normal maintenace and development of Cubase
No no no no no no, Steinberg IS a big company, not a boutique one. They MUST have the task force for that kind of things. They have to do it, we don’t have to beg
f.e
If you say so - I simply assumed their staff were almost fully committed already.
So you can assure us that this new feature request can be implemented without delaying all the other work already in the pipeline or under consideration? - many far far smaller feature requests (and bugs) that haven’t been tackled yet, even though some are rather old.
Ok sequencer parts. Interesting concept but is that quite what we want?
The point is to maintain a mixer setup across a bunch of cues. Fine. And to be able to move “areas” of the project windo in time (ie shunt a cue, or prevent a cue form being shunted etc).
But within that cue, we want a lot more than just midi tracks. We want audio tracks too, some of which are most definitely musically based (live strings brought in from a session for example) and some of which are not and may be anchored to a cue point. Then there are marker tracks to consider…
Perhaps we arer thinking along similar lines, but my proposal (the idea of a “cue track”) I believe solves these issues. The cue track is in my mind, hierarchically a step above the tempo track. The cue track simply contains cue events, which are in effect huge markers that define a space in time.
So cue event 1, sitting on the cue track, would span from the beginning of cue one, which might be bar 9’ through to the end of that cue, say bar 125. The point being the user can define where the cue event is by simply drawing it in.
Now, with that cue event in place, bars and beats beyond that cue event have no meaning. It would be blank space as far as musical time is concerned, although linear time would continue.
The user could then grab that cue event, and move it to the right, delaying the entire cue. Or perhaps stretch it. Or even copy it.
The other tracks in the project would still continue, the mix would still be up etc etc .So imagine, having scored the first cue, one could then locate forwards to the next place in picture where a cue is need. Place a new cue event there, and bars would start from 1 again, tempos could be altered independently of any other cue event, and all the vst and others mixer elements created so far in the project would be up and ready to use.
What I feel is nice about this idea is that it is very “nuendo” in that it takes the idea of an event on a track as the fundamental form to be manipulated by the user. The event is of courses really a huge meta-event. Rather like the arranger track but not anchored to a tempo track. It CONTAINS a tempo track and is anchored to the TIMELINE of hours and minutes.
Anyway, my 2c.
B
I can read this post from 2011, its 2018 and still the same problems / workarounds etc. Steinberg clearly didn’t focus on the film composer side too much regarding this issue. It would be great when a solution is presented in the upcoming cubase version… Who knows ,maybe I will read this post again in 2025 and we are still struggling with the limitations of the time warp tool and no locking of tempo events to timecode etc…
BUMP!!!
A Lock-All-Tempo-To-Disgnated-Marker feature would be GOLDEN.
Which means, for every cue, there’s a marker. If we can LOCK them and PREVENT them from sliding all over the timeline when another cue’s tempo is changed, that is BEST.