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Published December By Mark Wherry Nuendo 4 in all its glory, playing back one of the many tutorial projects supplied with the application. Note the new Transpose track at the top of the track List that lets you globally transpose both MIDI and audio events during a period of time in the Project.
With impressive new automation features and free mixer routing, have Steinberg taken their flagship audio application to the top of the class? About seven and a half years ago I found myself standing at a Steinberg exhibition booth watching a demonstration of Nuendo 1.
It was pretty impressive. Here was a modern audio application with features that competitors could only dream about at the time, such as sophisticated multiple undo and surround support, running without the aid of any additional hardware. The Nuendo revolution never quite happened, though. Nuendo 3. Nuendo 4 incorporates nearly all of the features from Cubase 4, and perhaps the most significant of these new features for Nuendo users will be the Media Bay, which provides a comprehensive way of databasing and cataloguing audio assets.
As mentioned in the introduction, Steinberg originally added full, Cubase-level MIDI functionality to Nuendo in version 2; but in version 4 the company have decided to take out the Drum and Score editors, and to not include the four new VST Instruments supplied with Cubase 4.
These features are still available to Nuendo users, but only if they buy an optional Nuendo Expansion Kit NEK on top of the basic upgrade. A side note about the Score editor in Nuendo 4 is that you can now import and export MusicXML files, which is pretty neat, as it provides a way to share data with other score-writing applications, keeping symbols and other articulation markings intact. For existing Nuendo users, Steinberg offer two choices of upgrades to Nuendo 4: Um, right.
I think that Nuendo is sufficiently well-known at this point that a post-production professional is not going to overlook the program just because it also comes with score and drum editing features. This is important because mixers, especially in post-production, will need to deliver mixes as stems, where a stem is basically a submix of a number of related audio tracks.
For example, when music is delivered to a dub stage for mixing into a film, a mix is normally separated into a number of stems for groups of instruments like strings, brass, percussion and synths. If all the stems are played together at 0dB, this will be the mix as the music mixer intended it; but often the dubbing mixer will need finer control over certain sounds to help the music sit better with the dialogue and effects, and this is where having the mix as a number of stems rather than as one audio file comes in handy.
And while you could fake the idea of record busses by looping a number of outputs on your audio hardware to inputs, this could be a limiting approach and also threw up a bucketload of offset issues.
But now, finally, in Nuendo 4, group and FX channels can be used as inputs to audio tracks. FX channels are effectively the same as group channels, except for the fact that you can choose to add an insert effect automatically when you create an FX channel, and these channels are visually grouped together separately from group channels. On the other hand, I can see that some users may find the distinction helpful in separating FX channels for effects and group channels for submixing, even though it becomes less clear when you start putting inserts on your groups as well, such as when submixing drums.
This means if you want to record the output of an audio track to another audio track, you route the first track to a group and then set that group as the input for the other audio track.
The new routing capabilities in Nuendo 4 go well beyond just being able to route groups to audio tracks, though. The only slight limitation with the new routing features is that when you select a group or FX channel to be the input of an audio track, the group you select must be of the same channel configuration as the audio track. Despite this one limitation, Nuendo users will be or should be, at least having parties in the street for the new routing flexibility, which is a huge improvement over previous versions and adds a crucial ability to the application that had been noticeably absent for some time.
Now, if only you could route a channel to multiple outputs without having to use sends Like the Transport panel, the Automation panel can be customised so you can set which categories of controls you want to see.
But its design is quite different and seems almost tactile, with a large number of cleanly laid-out and well-sized buttons that give a clear indication as to the status of the automation controls. In fact, this panel seems crying out to be used in conjunction with a touchscreen. Previously, when you chose a mode for writing automation data, such as Touch or Auto-Latch, that mode would be global so the data created when you adjusted the controls of any track would be written using the same automation mode.
In Nuendo 3, enabling automation on a track would arm all controls on that track for automation. So if you were riding a volume fader in an automation pass and you suddenly wanted to trim the reverb send level on that track, both the volume and send level would generate automation data. To this end, Nuendo now offers a number of Fill options, of which Fill To End would aid the situation just described. Likewise, Fill To Start and Fill To Punch write the current value of a control being automated to either the start of the Project or the point at which you started the transport rolling for that pass, while Fill Loop writes the current value when the control being automated is released to the current loop region.
When Preview mode is enabled in the Automation panel, you can enable individual controls for a Preview pass by either touching the control or enabling the Preview button on the automation track for that control. However, Preview mode allows you to do much more than simply preview an automation pass. Once Preview mode is active, three additional commands become available in the Automation panel: Suspend, Punch and Punch on Play.
The Preview Suspend command allows you to toggle between the current Preview position of an automation control and the original automation data that already exists for that control, which is, as you can imagine, incredibly useful. Punch lets you punch in and start replacing the existing automation from the current transport position, at which point Preview mode will become inactive.
When you punch in from Preview mode, Nuendo will store the values of all the controls that were enabled in Preview mode as an entry in the Punch Log, which is part of the Automation panel. The Punch Log is set to store 10 entries by default, although this value can be increased to if you wish. And once your last entry in the Punch Log has been created, Nuendo will start overwriting the entries at the beginning of the log.
Once a punch entry has been added to the log, you can recall it by clicking the Load button, and by enabling Punch on Play, the stored values for all controls in that punch will be written as automation the next time the transport starts playing, which is pretty neat. Preview mode is pretty powerful, but one area that can become frustrating is having to manually enable every single control you want to include in a Preview pass. One thing that would be nice, though, is a way of enabling all controls on the mixer for Preview mode with a single command, which would also make it easier to work with snapshots of the entire mixer.
Overall, the new automation features in Nuendo 4 are quite impressive. It perhaps goes without saying that a control surface will help you to get the most out of the new automation functionality, and assigning key commands or any customisable buttons on your surface to all of the new controls in the Automation panel is going to be essential. A Logical Project? Here you can see one of the presets that comes with Nuendo 4, which deletes Volume automation tracks.
While the new routing and automation features are tremendously useful, possibly my favourite feature in Nuendo 4 is the new Project Logical Editor, which enables you to manipulate objects in the Project window based on certain conditions. The Project Logical Editor looks like and works in exactly the same way as the Logical Editor, which is used for processing MIDI events, although these two editors work completely independently of each other.
The basic premise of the Project Logical Editor is that you can set a condition, and any object that matches this condition on the Project window can either be selected, deleted, or transformed according to the action you specify. The real power of the Project Logical Editor comes from the fact you can manipulate tracks, parts and events for almost every type of data: For example, say you wanted to delete all the automation tracks for the plug-in ModMachine.
Any presets you create with the Project Logical Editor can be assigned in Key Commands and be used as part of a macro command. As with the original Logical Editor, presets for the Project Logical Editor also show up in the key commands window, which offers two benefits.
Firstly, you can of course assign key commands to your Project Logical Editor presets; but secondly, and far more interestingly, you can create macros that combine these presets with other Nuendo commands. For example, say you wanted to record all of your stems within a Project. Using the Project Logical Editor, you could create presets that disabled record on all the tracks in your Project, another to record arm on all tracks that had a certain string in the name which would be used to identify those tracks as stems , and finally, one that deleted the stem identification string from the audio events that had been recorded.
By combining all these presets into a macro and adding the Record command before the final preset, you would have a very powerful way of recording stems by using just one command, which could itself be assigned to a key command or a control surface. The Project Logical Editor is a uniquely powerful feature that will easily enable professional users to create more efficient workflows, and probably cause a degree of envy amongst Pro Tools users.
But overall, the Project Logical Editor is terrifically handy. Many of these features, along with the Project Logical Editor, are also part of the recently released Cubase 4.
The new Quick Controls Inspector section allows you to assign eight track parameters for quick and easy access. This is a great way of making your most commonly used parameters more accessible, and a new Quick Controls device in the Device Setup window lets you assign MIDI commands to remotely control the eight Quick Controls on the currently selected track. On the plus side, the Quick Controls are at least part of a track preset, but I can definitely see situations where I might want to add the same Quick Controls to a track without having to apply an entire track preset.
The Sample Editor also sees some improvement in Nuendo 4, with a slightly redesigned user interface that now incorporates an Inspector. On the Project window, the Play Order track is now known as the Arrange track, and a new Transpose track has also been added that allows you to create Transpose parts that globally transpose both MIDI and audio data over a given range.
This makes it much easier to make fade adjustments when the event volume is fairly low and the fade handles would otherwise be masked by the event start and end handles. Another related new preference allows you adjust the fade handles by using the mouse wheel, which is also handy.
Mac users might get a kick out of the fact that the buttons on the Apple Remote can now be used to trigger any command in Nuendo, and both Mac and Windows users will benefit from improved Quicktime 7 support. An incredibly welcome change when loading Projects is that, if you already have a Project open and you start to open another, Nuendo will ask you whether you want to activate that Project or not.
This is an absolute Godsend for people who work with large and complicated Projects that can take several minutes to activate. Previously, if you wanted to drag and drop some data from another Project you would have to open it, wait for it to activate, drag and drop the data, and then close and reactivate the first Project. Conclusion Nuendo 4 is a significant release that addresses many long-term issues with the routing and automation functionality in the mixer, while adding other new and innovative features as well.
However, despite the confusion with the NEK, in many ways Nuendo 4 is really two versions worth of upgrades, if you count all the features included from Cubase 4, along with the features outlined in this review.
The great thing about virgin territories is that you can have a track enabled to read automation, but retain the ability to freely move controls on that track where there are gaps in the automation, without those controls jumping back to the value of the last automation event.
This setting can be seen in the Event Infoline when you have an automation event selected. When an event has the Terminator setting enabled, the automation line will be terminated with that event and a gap will be created until the next automation event occurs on that automation track.
This allows you to fill all gaps in the automation before the point you stop with the last value recorded in that automation pass for a given control. Cubase 4 was the first host application to support VST 3 plug-ins, and even though it was released over a year ago, until recently Steinberg have remained quiet on the subject of opening up VST 3 to third-party developers.
This was somewhat surprising, since the freely available nature of VST was arguably the reason it became so popular in the first place. VST 3 is actually a complete rewrite of the original VST protocol and has a number of advantages, such as sample-accurate automation, the ability for plug-ins to dynamically allocate their input and output configurations, and support for side-chaining. While this is a little bit more cumbersome than other approaches to side-chaining, it does offer one key benefit: You can also see that the Nuendo 4 process, at the top of the Processes list, really is running as a bit process.
Developers face quite a challenge these days in keeping up with support for the latest operating systems, not to mention the added complication of building native bit applications to satisfy those users who wish to take advantage of more memory. So companies like Steinberg, who develop software for both platforms, have definitely got their work cut out. While the bit version of Nuendo will also run on bit Windows, Steinberg additionally supply a bit Nuendo 4 preview version for users who have the bit version of Windows Vista; unfortunately the bit version of Windows XP is unsupported.
Since the Intel Mac transition is pretty much complete these days, this has become less of an issue for Mac users. However, there are still very few bit Windows plug-ins available that can work directly with Nuendo 4.
This approach works surprisingly well, although there is a performance penalty to be paid when running a plug-in with such a technique, especially on Intel Macs, where the Power PC code has to be translated for another processor architecture. In terms of audio hardware, Nuendo is compatible with any Core Audio device on the Mac including the built-in audio ports , while on Windows Steinberg recommend an audio device with ASIO support for low—latency performance.
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Published December By Mark Wherry Nuendo 4 in all its glory, playing back one of the many tutorial projects supplied with the application. Note the new Transpose track at the top of the track List that lets you globally transpose both MIDI and audio events during a period of time in the Project. With impressive new automation features and free mixer routing, have Steinberg taken their flagship audio application to the top of the class? About seven and a half years ago I found myself standing at a Steinberg exhibition booth watching a demonstration of Nuendo 1. It was pretty impressive. Here was a modern audio application with features that competitors could only dream about at the time, such as sophisticated multiple undo and surround support, running without the aid of any additional hardware.
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