Cubase tries to load the container file with the special Nuendo impulse responses files (for Reverence). This is not possible because the Nuendo license is not connected to your mac and Cubase will display the warning message.
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Step 4: Download the software from the next screen which shows a new code titled 'Activation Code for Cubase LE Student Starter Pack', along with download links for Windows and Mac. With Cubase LE 8 registered in your MySteinberg account, you can find all necessary files for a complete installation under "My products" -> "Downloads".
Given that Cubase 7 was covered in some detail in the February issue earlier this year (/sos/feb13/articles/cubase-7.htm), this review will mostly focus on Nuendo 6-specific features, along with some of the general improvements that have been made since the Cubase 7 review was published.
The Track List isn't the only place in the program where the use of colour has been enhanced. As with every major new version, Nuendo 7 has once again got a little darker by default, to point where you wonder if the designers have those three words emblazoned on the office's favourite poster. And this time, as with Cubase 7, there's a bit of a Miles Davis influence as well.
In Cubase 7, and previous versions of Nuendo, you could struggle to tame the colour scheme with a variety of faders, in a process that resembled the experience of trying to balance separate hot and cold water taps in a shower. Those sliders have finally been eliminated and replaced by a more standard colour picker. This is mostly a good thing, in that you can now pick any colour scheme of which your interior decorator might approve for the Project window and other editors, leaving only a few traces of blue darkness.
However, Steinberg have gone one better than merely allowing you to plot a loudness curve in real time, since, let's be honest, it would be something of a pain if you had to replay the Project every time you wanted to re-plot the curve. So, instead, the Loudness track also has a Quick Analysis button, which lets you plot the Loudness Curve between the left and right locators with just a single click of the mouse. Although this analysis may take a few moments, depending on the speed of your computer and the range of the locators (since Nuendo is presumably performing what is essentially an offline bounce), it's certainly quicker than doing the same operation in real time. Once the curve has been plotted, the Short Term box on the Loudness track will be able to display the short-term loudness at the current position of the cursor. (However, this shouldn't be confused with the Short Term parameter in the Inspector, which only shows the short-term value during playback.)
The curve itself is plotted against a horizontal red line that represents the all-important -23LUFS level for broadcast audio, although if you prefer, you can switch the display, along with the Short Term and Integrated Inspector parameters, to LU (where 0LU is equivalent to -23LUFS). Another cunning trick in displaying the loudness curve is that you can adjust the range over which the curve is plotted by clicking and dragging on the values that appear at the top right and left of the track's header. This flexibility might be helpful in LU mode: by default, the lower and upper limits are -36 and +18LU, corresponding to the EBU +18 Scale, but there's a second scale in widespread use, known as the EBU +9 Scale (-18 to +9LU), and this can easily be configured, as can any other range in either LU or LUFS, by adjusting the range values on the Loudness track.
Having such comprehensive loudness metering built into Nuendo has two clear advantages. Firstly, while other solutions are available, both in software and hardware, they entail extra expense. Loudness metering plug-ins tend to cost several hundred in any currency, while dedicated metering hardware will set you back more than the cost of Nuendo. But secondly, and perhaps more importantly, while some other solutions also allow you to see loudness over time, none of them can integrate directly with the Project window. Being able to see the loudness curve alongside the other tracks in a project will make life easier for many engineers, especially those in broadcast who need to conform to ITU and EBU standards.
With the tracks assigned, monitoring configured, and the ADR Markers created or imported via CSV or EDL files, as with Nuendo 5, you're ready to rehearse, record, and review ADR items with the ADR Panel's dedicated buttons. Clicking Rehearse runs the take as though you were recording, but without actually recording, while Record carries out the recording (assuming your Microphone track is record-enabled on the Project window), and Review lets you hear the take back. One particularly nice thing about the Record mode is that you can keep recording different takes by pressing the Record button, and Nuendo will make use of the Project window's Lane feature to organise each different take.
Perhaps the most impressive thing about the ADR Taker is how well it has been integrated into the Nuendo workflow, from working with Markers to using the Control Room, and Steinberg's developers didn't stop there. Nuendo 6 also adds the ability to overlay information to the video player, such as timecode and other visual cues that might previously have been generated by a separate streamer box. In the ADR Setup window, there are a number of overlay options, such as whether you want a bar to swipe across the screen during the pre-roll or for a simple countdown to be displayed, and it's even possible for the current line of dialogue to appear at the bottom of the video player.
The control-surface hardware consists of two basic modules: Nuage Master and Nuage Fader. One of the main features of Nuage Master is a touchscreen with eight touch-sensitive, multi-function knobs underneath. These controls make it possible to adjust EQ settings, plug-ins, surround panners and other parameters, although not everything is done via the touchscreen. There's a jog wheel, of course, along with transport controls, Control Room controls, and even dedicated buttons for the new Mem and Zap commands.
Since the Master module has no faders of its own, the actual channel strip controls are provided in the Nuage Fader module, which offers 16 faders. This can be used with Nuage Master to build a large surface (with up to 48 faders) or simply on its own. Each Nuage Fader module also includes a utility section, providing common controls for setting what mixer parameters are being shown on the surface, as well as general automation, Control Room, Workspace parameters and more. But one of the more curious aspects is the way each module's metering system is implemented. For each Nuage Fader module you buy, you'll also need to purchase a 24-inch 1920x1200 display, because, when the system is configured correctly, Nuendo will show MixConsole-like displays that line up perfectly with the Channel Strips. This looks pretty neat in Yamaha's marketing literature, and I look forward to being able to check it out in person.
Anymix Pro integrates directly with the Nuendo mixer and can be selected (from one of now three available panners) on a per-channel basis, although it shouldn't be considered straightforward replacement for the v5 panner. One of the reasons why Steinberg have included Anymix Pro is that it offers sophisticated distance controls, which can perform both EQ and loudness adjustments as your input is panned, and also very simple and effective upmixing facilities.
Along with the newly improved MixConvert v6 downmixing plug-in, the addition of Anymix Pro means that Nuendo 6 arguably has some of the most flexible out-of-the-box surround mixing functionality of pretty much any audio workstation.
The International Telecommunications Union (ITU) recommendation for loudness measurement is based on a fairly simple frequency-weighting curve known as a K-Weighting (not to be confused with Bob Katz's K-System), which can be thought of as a high-pass filter of sorts. Channels are summed (LFE channels are omitted) with a weighting for any surround channels, and gated to prevent low-level signals skewing the measurement, which is output in LKFS (Loudness, K-Weighting, Full Scale).
To supplement R128, the EBU worked with manufacturers to develop a recommendation for loudness metering: EBU Mode. This comprises three modes for loudness metering: momentary, short-term and integrated. Momentary uses a 400ms window without any gating (so you can see a low-level reading) and makes it possible to see the loudness level for any given 'moment' in the audio, such as might be required for displaying an LU meter. Short-term uses a 3s window, also without gating, and is the mode Nuendo uses to plot the curve on the Loudness track. Finally, Integrated gives an integrated measurement with gating between start and stop times, for obtaining a loudness figure for a full programme. For more detail, Google the two recommendations or visit the ITU and EBU web sites.
Nuendo 6 combines the best (and the rest!) of Cubase 7 with some impressive new and specific functionality that, for certain applications, could make post-production professionals using other systems a little envious. 2b1af7f3a8