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Digital Subscriptions > MusicTech > Oct 2019 > ADDING SPACE TO YOUR MIX IN CUBASE 10


Reverb is a vital weapon in a producer’s arsenal and can play a key role in honing the sound and placement of parts within a mix. It’s good, then, that Cubase Pro comes with so many different varieties…

Reverb pulls things together in a mix, giving a sense of coherence and space and even if you’re creating a very dry, closesounding mix, a touch of reverb is still almost unavoidable. Once upon a time, if you wanted to add some reverb to a recording, there was no option but to use a naturally reverberant space. Either you could perform the original recording within that space, or you could set up speakers to play a previously recorded sound into the space and use mics to capture the results.

Thankfully, adding a bit of ‘verb to a sound these days is a much less protracted affair, but not all reverb plug-ins work in the same way. Cubase offers three different approaches to reverb generation spread across different plug-ins that come preloaded with the DAW.


The first of these reverbs is RoomWorks, which is included in Cubase Pro and available to buy from Steinberg’s store.

This uses the conventional digital reverb generation technique of creating a large number of repetitions of the input signal and sculpting these repetitions to create a natural tone and decay. RoomWorks doesn’t attempt to model any particular original circuitry, but does allow for detailed and intricate control over the generator for a very clean sound that works well on a wide range of material, but one that can be a bit lacking in character.

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About MusicTech

The art of writing songs is something that is all too often ascribed to some mythical gift that manifests itself within people at a certain age, with little thought given to the long periods of trial and error, dedication to the craft and persistence to forge a career in the industry that mark out many successful songwriters. In this issue, we have a thorough exploration of the topic, featuring a dissection of the building blocks of every hit song, as well as industry insight from a range of experts who illuminate the professional songwriting world of 2019. We discuss maintaining a career balancing writing with being an artist in your own right with Ed Harcourt and learn from Bernard Butler, Paul Statham and others about their approaches to educating the next generation of hit-makers. Elsewhere in the issue, we continue our journey through the world of synthesis. This time, we focus on wavetable and vector synthesis as well as a foray into the birth of drum machines and their intrinsic relationship with the synth world. We also put several of our go-to budget small-diaphragm condensers to the test in our very first microphone shootout. In our review section this month, we get rhythmic with IK Multimedia’s UNO Drum and wallow in the sonic delights of the Dreadbox Nyx V2 among many other new pieces of kit. Of course, we also have a range of tutorials and tips, too. I hope you enjoy the issue.