- #Steinberg nuendo 1.6 macros for mac#
- #Steinberg nuendo 1.6 macros mac os x#
- #Steinberg nuendo 1.6 macros archive#
- #Steinberg nuendo 1.6 macros software#
- #Steinberg nuendo 1.6 macros code#
Because of Nuendo's extremely flexible routing capabilities, initial configuration took quite some time to get right. My PC has two interfaces: an M-Audio ProFire Lightbridge (Tape Op #57) with 34 channels of I/O, and an RME HDSPe MADI card (#63) with 64 channels. On Windows, there's the added complication of driver-specific control panels with buffer-size settings and such. Nuendo's audio interface configuration can be daunting settings are spread across multiple panes/tabs within multiple windows. With hardware that supports ASIO Direct Monitoring in Windows, Nuendo-controlled near-zero-latency monitoring, independent of host-buffer size. (There is a technical preview for 64-bit Vista, so you know there's a roadmap for the future.) Works with pretty much any interface-on Mac, anything Core Audio, including built-in I/O on Windows, anything DirectX or ASIO, although the latter will give you lower latencies.
#Steinberg nuendo 1.6 macros mac os x#
Cross platform-works on Mac OS X 10.4+ and Windows 32-bit XP and Vista. The ability to open more than one project (and specify which one is active) so you can copy/paste between projects. Almost everything within the interface-window layouts, key commands, zoom levels, menus, etc.-is customizable, and it's relatively painless to switch between user schemes or even move them between workstations. (The geek in me wishes the renaming system allowed use of UNIX-style regular expressions.) Built-in workflows for backing up projects without wasting disk space for unused media. Comprehensive tools for managing project and media files, including a powerful renaming scheme that allows you to quickly record a bunch of songs, takes, or sections of a score into one project, and then rename and organize the media files later. Mono outputs-you're not forced to feed mono tracks to stereo outputs, where panning-law can inadvertently change levels this is otherwise a dealbreaker if you're mixing out of the box on a large-format console. Easy on the eyes-pseudo-3D is used only where it makes sense, and although color and contrast are customizable, the user interface looks fine out of the box more importantly, it facilitates the user experience instead of hampering it. Integrated elastic-audio editing tools for pitch-shifting, time-stretching, and time-alignment to tempo map, video, MIDI, etc. 32-bit floating-point audio engine that allows recording at up to 192 kHz, without fear of unknowingly overloading the mix engine importing, editing, and mixing to 384 kHz.
#Steinberg nuendo 1.6 macros archive#
Non-proprietary project and audio file formats-I can import, export, and archive without worry. Check Steinberg's website for details.) So let me start by listing in one paragraph some of the more readily-graspable reasons why Nuendo 4.2 is my DAW of choice:Īutomatic delay compensation throughout, no matter how much delay is required-the only time it's not 100% automatic is when you "ping" external hardware inserts so that Nuendo can calculate and then compensate for the number of samples it takes an impulse to loop back. (Although I use Nuendo, most of what I say here applies to Cubase too. Consequently, the system will grow with you without demanding a massive reinvestment each time your hardware expands.I'm afraid that this is an unwieldily long review, and even at its length, I'm only touching on a few of the countless points worth discussing if you are considering Nuendo or its near-identical sibling Cubase as your primary DAW platform.
#Steinberg nuendo 1.6 macros software#
That approach has the distinct advantage that the software isn't tied down by a preconceived hardware design, but it can be upgraded as computer technology develops and processors get faster. Advanced multiprocessor support is included. Every function - processing, mixing, routing, the whole works - runs on the computer's host processor or dual processors. With support for mono, stereo, and any surround format with a maximum of eight discrete channels, Nuendo is a great candidate for producing and mixing music, scoring and placing effects into a film or TV show, or creating a surround-sound design for a new video game.Īn important aspect of Nuendo is that it works entirely in a native-processing environment. In addition to handling large numbers of tracks and channel inputs, one of Nuendo's greatest strengths is its ability to mix in a variety of output formats.
#Steinberg nuendo 1.6 macros code#
It's based on a new native software code for recording, editing, and mixing as many as 500 tracks of MIDI and digital audio at rates of up to 192 kHz with 32-bit resolution (if you have the hardware for it). Aimed at the music, audio-for-film, video, and interactive-media markets, Nuendo 1.5 is a fully professional DAW.
#Steinberg nuendo 1.6 macros for mac#
One of the most anxiously awaited computer-based digital-audio workstations (DAWs) is the latest version of Steinberg's Nuendo for Mac and Windows.
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