Cubase 10 Best New Features Explained - Part 1

Cubase 10 Best New Features Explained - Part 1

In case you haven't noticed, Steinberg's Cubase 10 is out. You can download the free 30-day trial version to try the new features. The Cubase 10 Download link can be found on the Steinberg website. The download link for Cubase 10 Pro is at the bottom of the page.

Like every year the new version of Cubase offers a bunch of new tools and improvements. Since there is a lot of new stuff to talk about I broke up the top 10 items into 2 blog posts. In this post, I will show the first 5 of the best new features that improved my workflow greatly. Part 2 will cover an additional 5 features in an upcoming blog post.

1. Simplified Side-Chaining

The most common use of Side-Chaining is called "Ducking". It is commonly used by radio stations. As soon as the moderator speaks the music turns itself down automatically and after the moderator is done speaking the volume rises again. This is achieved by putting a compressor on the music with a side-chain...

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Logic Pro X: How to Create and Use VCA Faders and VCA Groups

Logic Pro X: How to Create and Use VCA Faders and VCA Groups

VCA Faders and VCA Groups arrived in Logic Pro 10.1 We use them in our mixing workflow here at Next Level Sound. You might be asking, "What is a VCA Fader? Why should I use one?," or, "How do I create and use a VCA Fader?"

What Is A VCA Fader?

The VCA (Voltage Controlled Amplifier) Fader comes from the "old-school" analog mixers (those big boards in studios like the SSL consoles) and is used as a channel gain. With a VCA the engineer can control multiple faders in a group with a single fader while preserving the level of each individual channel in the group.

Logic Pro X VCAs Grouped Together

[ VCAs Grouped Together ]

How Does A VCA Fader Work?

First, let's look at how a Standard Fader works. The amount of audio passing through a Standard Fader is determined by the position of the Fader itself. Moving it up or down determines how much or little of the signal passes through.

The VCA component of the Fader determines how much of the audio signal (level) will...

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How to Render Multitimbral Instruments in Cubase

How to Render Multitimbral Instruments in Cubase

I think you will agree with me when I tell you that rendering third-party virtual multitimbral instruments is way more complicated than it should be in Cubase, especially, when creating individual mono audio files. Instruments are considered multitimbral when they have more than just the one main stereo output.

At maximum VST instruments can have up to 16 stereo outputs or a combination of at least one stereo and up to 30 mono outputs depending on the instruments default settings.

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How to Customize Native Instruments Battery Output Settings

Let's talk about Native Instruments Battery Engine Output Settings, for example, which when customizing default to a minimum of 4 stereo outputs when trying to activate mono outputs. This setting cannot be changed.

Set Preferences for NI Battery Audio Outputs

NI Battery preferences settings

[ NI Battery preferences settings ]

Activate Outputs for NI Battery

NI Battery activate output settings

[ NI Battery activate output settings ]

When rendering...

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Cubase DSP Optimization

Cubase DSP Optimization - Maximize Your CPU's Performance in Cubase

Experiencing Issues During Playback in Cubase

Don't we all know it when we are in a middle of creating or mixing a song, and all of a sudden weird audio artifacts start occurring up to the point where the audio drops out for seconds which makes it impossible to finish any work? This can be so frustrating that it will drive you crazy. Just figuring out what causes it can take forever. So I decided to share some tips and tricks on how to optimize your workflow in Cubase so that you can focus on what's most important "Making Music".

In Cubase, you can see the Audio Performance window by pressing F12. This allows you to check for any performance issues in your DAW. When the Real-time Peak (bottom color bar in the image below) spikes to its max, that's when you hear the artifacts or audio dropouts.
Cubase Audio Performance Window
[ Audio Performance Window ]

The amount of calculations...

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Produce & Mix or Produce then Mix?


I thought this topic would make a good, and short read — as I have been asked these questions so many times:

The questions: When I mix as I produce, should I bounce out the dry stems or keep my channelstrip settings and FX? Should I keep my “production reverb”?

Should I bounce my mix stems with or without side-chaining? What about the mix buss inserts? Or should I just do simple raw production and then do a proper mix?

The answers of course to these questions can be very personal and contextual, but I want to share with you what I think works the best for both the production and mixing cycles.

I think the best practice when producing is to do only very basic channel stripping of individual elements, i.e. basic saturation, reductive EQ, and compression with the idea that you can and will do more later during the mix session.

While I think it’s fine to keep what I call “production reverb” (reverb is part of the sound design of a synth patch...

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How to survive a Big Mix

mixing and mastering Jun 12, 2018


It’s true. The best plugins use up the most CPU! It’s just the way it is, and that won’t change anytime soon.

And we all like to use the best plugins — and sometimes many instances. So what do we do? Buy a new computer each month? Buy monster Octo systems that cost tens of thousands of dollars?

No. Regardless of how big a system you put together, you will still run out of CPU at some point. So what do you do?

  • Max out your buffer size
  • Render tracks
  • Freeze tracks
  • Use UAD
  • Use Slate Digital Plugins
  • Bounce stems before Mastering.


In the audio preferences in any DAW, you will find a window to see your buffer size. When recording, keep it a low as possible to minimize latency, but when mixing and mastering, max it out!

This increase will give the CPU “more time to think” and will increase latency from the moment when you hit the spacebar until you hear the sound, but who cares?

Bigger buffer sizes eliminate...

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TOP-5 UAD Channel Strip plugins

mixing and mastering May 24, 2018

The best part about a channelstrip workflow is the ability to systematically build a sound and then to ergonomically jump back and forth between the parameters within the modules.

Since EQ, saturation, compression, and filtering are all interdependent, the ability to make quick adjustments between these fundamental realms makes mixing fast, free and creative.

In that light, here’s a look at UAD’s beloved channel strips:


SSL is a favorite sound for Dance, Pop, and Urban Music. Sonically it has a tight, bright saturation in the mids and highs and a dynamic low end. Rich in harmonics, the SSL has a tight, short “ring” that is also smooth. Absolutely wicked on drums.


The Manley VOXBOX has a number of personalities depending on how you drive it. It can be very clean or rich in tube saturation. It also comes with a very easy-to-use de-esser and a compressor that is before the pre-amp stage to minimize distortion. And a...

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FabFilter Pro R Explained

mixing and mastering May 24, 2018

This week FabFilter released their new Reverb plugin – FabFilter Pro-R.
Watch our new video tutorial that explains how this plugin works and how you can tweak your reverb 


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Managing your kick and bass with FabFilter Pro-MB

music composition May 24, 2018

Today in our Mixing with FabFilter series we’re going to talk about how to mix a big fat low end.

Part of the secret is moving the bass out of the way of the kick drum. I used to do this with the Vengeance Multiband Sidechain, but recently I’ve found that I have more control when I use a simple multi-band compressor. My favorite is the FabFilter Pro-MB, because it lets me see both the frequencies of both the kick drum and bass as I’m working. Here’s how:

1. Throw a Pro-MB on your bass track
2. Run the kick drum signal into the sidechain of the Pro-MB
3. Turn on the sidechain view in Pro-MB, so you’re able to see the frequencies of both the bass and kick drum together
4. Move just the low end of the bass out of the way every time the kick drum hits

Now your kick drum and bass both have space, and you’ve cleared out the traffic jam when they hit together. Suddenly your low end becomes bigger, cleaner, and punchier.

Watch FabFilter Pro-MB...

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Slate FG-Stress (Distressor) explained

Watch as Daniel Wyatt (Mixing and mastering mentor) does a walkthrough of the Distressor emulation from Slate Digital, the FG Distressor.


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