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Digital Subscriptions > MusicTech > Jun 2019 > USING FOLDERS, GROUPS AND LINK GROUPS IN CUBASE 10


Cubase offers various methods for combining multiple tracks so that they can be edited, mixed and/or processed as though they are a single track. Let’s examine how these can streamline your projects and workflow


At its heart, Cubase is focused on music creation, but that doesn’t stop it from performing well with spoken/voice-centric projects, mastering, audio post-production for TV and film and all the rest of it.

No matter what sort of material you’re producing, though, it’s very common to end up with large numbers of parts, tracks and channels filling up your Project and MixConsole windows, especially in the latter stages of production. Not only can this slow your progress, it can lead to slip-ups when editing parts and adjusting mix parameters, and can lead to inefficient use of the host system’s resources.

Helping you to work around such problems are Folder tracks, Group tracks, and Link Groups, all of which can be used individually or together. Knowing the best option(s) to use in different situations lets you set things up in a streamlined way before you start laying tracks. It’s a much quicker way of working than juggling and moving tracks, channels and processors once your project has grown in size.


Folder tracks allow tracks in the Project window to be ‘nested’ into a single encompassing track. On the timeline, a Folder track shows a part that’s a visual representation of the tracks within the Folder, and any edits made to this Folder part are applied simultaneously to the other tracks within the Folder. In addition, enabling a Folder track’s Group Edit Mode causes edits made on any track within that folder to be duplicated to all other tracks within the folder.

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About MusicTech

In this issue, we look ahead, and analyse two massively exciting innovations that are already fundamentally affecting the music-making and listening worlds. In our cover feature this month, we explore the history, science and music-production implications of virtual reality. VR headsets are becoming increasingly popular and with a wide range of music-themed VR applications available to buy or in development, we ask whether making music in virtual space will rival the traditional DAW-based method, and how composing with virtual reality in mind requires a whole new approach to mixing. Elsewhere, we explore the astounding new realm of hologram performance, speaking to those companies that have used modern optics technology to, in a sense, resurrect deceased musicians and send them back out to the live arena. We discuss the technology behind – as well as the ethical implications of – holograms. Also in this issue, we speak to the legendary Howard Jones, LA’s genre-defying Battle Tapes as well as video-game sound designer Matt Boch, who explains how, when working on the recent game Ape Out, he approached soundtracking in an incredibly unique way. We review the latest tech from Universal Audio, Elektron, EastWest and Korg and also bring you a buyer’s guide to turntables, should you want to try your hand at a spot of DJ’ing. I hope you enjoy the issue.