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Digital Subscriptions > MusicTech > Nov 2019 > USING CHANNEL-STRIP PROCESSORS IN CUBASE 10

USING CHANNEL-STRIP PROCESSORS IN CUBASE 10

Studio consoles typically feature EQ on every channel and the best of them include per-channel dynamics and other processing, too. There’s no need to fill up your insert slots to mimic this in Cubase, though…

CUBASE TUTORIAL

When tracking and mixing, there’s a standard set of processors we’re likely to reach for: EQ, compression and often gating and limiting. Traditionally, before DAWs took over, analogue mixing consoles provided some or all of this functionality on every channel – practically all consoles include per-channel EQ and higher-end models often have dynamics and other processors thrown in, too.

Using insert plug-ins, modern DAWs can be configured with similar amounts of per-channel processing, but this isn’t without its drawbacks. Hunting through plug-in menus every time you need a simple EQ or compressor is tedious and there’s a limit to the number of inserts that can be added to a channel. And if you’re collaborating with others by sharing project files, it can be difficult to ensure that the plug-ins you are inserting will also be available on your collaborators’ systems.

Cubase’s channel strip offers a solution to all of these problems. In essence, it’s a set of additional channel-insert points, each with a predefined use, aimed at providing the same tool set as found on a high-end studio mixing console. While its biggest benefit is convenience, the plug-ins it uses are tightly integrated into Cubase and tend to be more efficient than more elaborate alternatives.

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About MusicTech

It’s pretty much certain that if you’ve bought this magazine, then you will have parted with some of your hard-earned cash on gear for your studio. And let’s be honest, it’s a safe bet you’re not done yet. Unfortunately, our wallets aren’t bottomless, but even though we might think we have to spend ever-increasing fortunes on new tech to enhance our studios, it’s actually far cheaper to branch into the world of free software. In 2019, there are near-mountains of free software available – tailored for each part of the production process. But it can be a time-consuming quest to amass (and test) the right tools for your needs. So in this issue, we’ve rounded up the very best freeware that you can download to create your own free virtual studio. You might have also noticed that this issue comes with an added extra! We’re celebrating a whopping 200 issues of MusicTech – and to mark the occasion, we’ve put together a brand-new, freshly written guide to mixing. We hope it will serve as a companion to you in the studio, should you need to refresh your knowledge of key principles, mixing approaches and more. Elsewhere, we’ve got the final part of our Synthesis Masterclass series, which details how the computer became the ultimate synth! We also speak to former Pulp bass player and now Grammy-nominated producer Steve Mackey about his diverse career and also to the astute people at Black Lion Audio, who have combined the very best of modern technology with vintage designs. In our reviews, we spend time with Behringer’s Odyssey and discover a faithful and competitively priced recreation of a classic. We’ve also got our usual in-depth tutorials, tips and guides, so I hope you enjoy our 200th issue!

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