Yamaha and Steinberg should make a new SPX Effects Hardware unit with integration into Cubase/Nuendo

Eventide released the H9000 not too long ago.

What about a new Yamaha SPX/Rev hardware processer with direct integration into Cubase? Project sync’d settings recall, presets (which could be browsed/selected from media bay), i/o, remote control from Cubase, automation, and some sort of programmability similar to Eventide VSIG.

I’m kinda surprised that the various music parts of Yamaha pretty much keep to their own silos. For example, I’d think it would be good for both companies if Steinberg & Line6 could tightly integrate Helix & Cubase.

Or even motorcycles and Wavelab, if you really want to dream…

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There is some integration between Montage and Cubase I think, from what I gathered… you could make an entire session on the Montage and then import it into Cubase… but i might have that wrong.

And then of course, Nuage and some Yamaha live mixers have integration. There are the Yamaha VCM plugins available in the Steinberg store.

I’m just surprised there hasn’t been more.

-Drum Pads/Controller for Groove Agent
-External FX processor with all the Yamaha algos from over the years (they even had the Rev1 Impulse recorder) akin to Eventide H9000 but with deep integration into Cubase - recall, io insert plugin, automation, patch editing/remote control, advanced editor akin to Eventides VSIG.
-Something that could compete with Eventide H9 pedal

Yamaha Rev1 Digital Reverb from 1983 | Vintage Digital

Why would a person choose a hardware FX unit over software if it’s supposed to be integrated into the DAW though?

@MattiasNYC For better stability at high speeds? :rofl: :roll_eyes:

Same reason people use UAD?

recording guitar or whatever with FX without any latency

Never said it exclusively is “supposed” to be integrated into the daw.

So basically you’re wishing for an audio interface with conversion and high-quality low-latency onboard DSP-powered FX, right?

Pretty much, that’s what the Eventide H9000 is:


  • Four quad core ARM processors: 16 DSP engines
  • Analog audio I/O: 8 channels
  • USB audio: 16 channels
  • AES/EBU, ADAT, S/PDIF: Up to 8 channels
  • Network audio options: 32 channels per expansion card. Three expansion slots for optional audio connectivity: Pro Tools, Dante and MADI available
  • Hardware Meters: 8 assignable LED meters - front panel version only
  • Emote control software app for Mac & PC is available as a standalone app or AAX, VST, AU plug-in
  • FX Chains: Innovative approach for setting up and managing complex effects
  • Direct I/O: World-class digital audio interface
  • Comprehensive Live Controls: MIDI, Expression Pedals, Auxiliary Switches and USB controllers
  • Preset portability: Store and recall presets using USB thumb drives
  • Network control & software updates: LAN and WiFi connectivity

Come to think of it, the Montage is already doing this to some degree… So their tech groundwork and development is already there

So, out of curiosity then: What is it that the a Steinberg interface doesn’t do that you need it to do?

(I don’t use Steinberg interfaces)

It doesn’t be an AD/DA converter and an FX unit separately.

It’s not a real hardware effects processor. There’s no architecture there, no modular ability, no algorithm patching.

A Steinberg interface is going to require a computer to edit, view the editor, and use.

I don’t want to pull my AD/DA converter out of my studio (where it needs to stay for other people to use) to use it in a different room, live, at another studio, at home, etc.

Don’t have to use up AD/DA io for FX. An FX unit might be taking a guitar signal, using it on 3 different algos, going to 3 different outputs, to 3 different guitar amps, being recorded into 1 mic using only 1 AD/DA.

I don’t want my rocketship controlled by my espresso machine to put it simply.

per your post, this was news to me… Should be interesting to see what they have planned in terms of crossover products, promotion, integration, algorithm/code porting… if any… I mean, there hasn’t been much so I’m not expecting much.

Whatever Steinberg Yamaha crossovers that have existed already have been done pretty stealthily for example, there is speculation that some of the REVerence reverbs are from the Yamaha SREV1 (different from the REV1).

And again, you have some Yamaha VCM plugins in the Steinberg store, but those were never expanded beyond the initial launch.

Yamaha Montage with integration/communication to Cubase.

Yamaha is building the AD/DA units, using their Dpres and VCM effects/DSP.

Yamaha, Steinberg and Rupert Neve Designs collaborated on the Portico series plugins utilizing VCM for modelling, but nothing has been expanded after the initial launch (Rupert Neve Designs has a lot of products…)

then there is the Yamaha/Steinberg Nuage collab.

I guess perhaps, for future legality purposes… neither Yamaha nor Steinberg want the Yamaha name baked too deep into the Steinberg product infrastructure and vice versa? But I’m sure good faith safety deals/clauses could be made.

They also apparently own Ampeg (which imo, the name/brand was trashed with corporatism)

Everything is/has been in place for this new REV/SPX box…

First of all Yamaha still appears to be making the SPX2000
-It has a software editor macOs/win
-does up to 96khz, 24bit

There’s decades of algorithms
-SREV1 (convolution sampler)
-D1500 delay
-D5000 delay

All the tech and development that went into Motif and now Montage

Yamahas already been developing pretty advanced remote control apps/software
Software - Professional Audio - Products - Yamaha - Canada - English

they have their own converter technology, line/mic pre stages, virtual and analog signal distribution tech,

now add all the Line 6s tech and development, and things like the Helix rack.

all of Steinbergs VST effect development.

There’s a lot here that could be put into a pretty powerful box… all tied into and intelligent with Cubase/Nuendo…

I would think that it’s a pretty small market you’re describing.

Or it’s bigger than it was when these types of boxes first came out

1.) Drum Machine controller (integrated with Groove Agent)

2.) MIDI 8x8 Interface (With a few CV utility muti-purpose outs, ie, MIDI->CV in and out))

3.) Modern Multi-FX rack unit (All Yamaha algos, Line-6, VST, and a sampler/player)

hell no…
SPX90 and 900 were used in many live sound FX racks over the planet
and after all I haven’t seen more than two SPX2000 in the last 20 years
the last SPX I have seen 2014… unscrewed it from a live rig to sell it…

you’re talking about outdated, discontinued/breaking down/unserviceable products not being used live anymore? Ofcoarse there’s no market for them

Or I guess Eventide is on crack and making $10,000 boxes for no reason, spent their money on drugs instead of market research.

There are more studios today that can afford a $10,000 box, than there were ones that could afford a $2000 box 20 years ago. I didn’t say live.

Nonetheless Tash Sultana: H9000 Live & in the Studio | Eventide (eventideaudio.com)
people are using them live - Why? All the affects you create on your record, can then be taken on the road 1:1, controlled with a pedal or a lucid live sound engineer

I didn’t said that the Eventide guys did something wrong… but they’re not Yamaha…
You can still rent a SPX90 or a Rev7 in Abbey Road but the H3000 was standard in all studios

The point I was trying to make is, the old SPX900 or the SPX990 has much more units sold than a SPX 2000… so expensive hardware FX units is a dying business…

I think you’re missing my point and also sort of having a narrow “everything ITB today” perspective. Is Chris Lord Alge going to get an H9000? No. CLA is completely ITB, probably barely even using a console anymore if at all… But CLA is a career mix engineer who wants to work a session, get paid $100,000 and go home. He’s not playing with modular synths on a mix.

If expensive Hardware FX is a dying business, why did Eventide release the H9000 at $10,000 and continue to support it with downloadable updates and new features?

There’s nothing an H9000 can do that a computer can’t… except process in near real-time…

WIth peoples sessions loaded with VSTi and samplers, having effects is a bit of an issue. Even with a $30,000 computer.

Anyone who is doing deep sound design, programming, etc, etc. or Modular Synthesis, etc.

Or if you are doing film scoring and have 1,000 tracks taking up RAM, being able to offload more intensive effects onto an H9000 without adding any latency is a huge asset.

There are more people doing the above work than ever before, if you factor in the amount of streaming productions, video game production, Hollywood, Bollywood, the amount of indie films, etc.

And again, being able to take your entire effects touring without needing to rely on a computer and dealing with latency live.

So it’s just an inaccurate statement until computers become completely audio latency free, and generally more reliable… That being said, the H9000 is just a very dependable latency free computer with built in AD/DA.

Electronic musician Richard Devine H9000 spotlight - YouTube