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Digital Subscriptions > MusicTech > Apr-18 > What’s New IN CUBASE 9.5

What’s New IN CUBASE 9.5

To coincide with the release of the latest version of Cubase, Adam Crutedigs in to the new and updated features of iteration 9.5 of Steinberg’s DAW…


I cut my music-production teeth on Cubase, way back when it was merely a MIDI sequencer (not to mention the best reason for owning an Atari ST). And it’s still a major part of my armoury today, having matured into such a flexible DAW without sacrificing the core fundamentals that made it so good in the first place (and that defined the template on which practically all modern DAWs are based). This latest version has maintained the pattern of incremental improvement, but has some exciting additions, too.


If you’ve ever tried creating a smooth automation curve with Cubase, you’ll know that it’s something of a fiddle. A common method is to create a straight line between two control points and then manually create additional intermediate points, pulling them into an approximation of the desired automation curve. If you find later that you need to tweak, say, the value of the final control point in a curve, or the time over which the curve occurs, then it’s back to all of that fiddly positioning of intermediate points.

But not anymore! Cubase 9.5 allows us to create curved lines between control points, while updates to how the mouse tools work with the automation data makes editing multiple control points much simpler. For example, to create a curve between two control points, one simply clicks and drags the line between the points. If you wish to modify the position or value of either control point, just move it in the normal way and the relative shape of the curve will be maintained. If you want to modify multiple control points at the same time, use the Range tool to drag out a range selection within an automation lane, and then adjust by using the ‘handles’ that appear around the selection.

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About MusicTech

Emulating the artists that inspired us in our many music-making ventures is as much about rekindling those feelings as it is knowing how the sounds were created. In our cover feature this month we show you how to get impossibly close to the sonic signatures left by your musical heroes. Continuing the theme we present our newest feature ‘Recording Spotlight,’ where we speak to Peter Franco, engineer on Daft Punk’s Random Access Memories, and gain insight into the complex, painstaking work that went into creating this modern classic. Additionally, we sit down with dance-music producer Stefano Ritteri and rising UK production star Rhiannon Mair, get into the meat of Cubase 9.5 and get hands-on with all the latest gear, tech and software. We hope you enjoy the issue…