Earlier this week, Steinberg released a maintenance update for its Cubase 14 music production software. Coincidentally, NoiseQuest’s Josh Turvey recently took some time to check out the latest major version of one of the most popular DAWs around. He shares his thoughts on the new additions in Cubase 14 Pro below.
Summary
The latest version of Cubase sees the iconic Digital Audio Workstation (DAW) maintain its status as an industry titan, crucially demonstrating that Steinberg is willing to venture into new territory and adopt modern workflows. Capable of virtually any conceivable music production task, Cubase 14 is a fully featured juggernaut that transcends music genre and industry sector.
Pros:
- The introduction of Cubase’s six Modulators is fun, refreshing, and sonically inspiring.
- The Drum Track and Pattern Sequencer bring much needed updates to essential production tasks and workflows.
- The implementation of new features is streamlined and seamlessly combines with Cubase’s legacy features.
- Steinberg’s decision to adopt the DAWProject format makes it easier to collaborate with other DAWs, such as Studio One and Bitwig.
- There is a generous inclusion of additional software and content, with SpectraLayers GO being a notable standout for creative and corrective audio processing.
- The updated Score Editor is robust and flexible.
Cons:
- Given Cubase’s age and stature, its feature-set can be overwhelming and intimidating to learn for newcomers.
- Some legacy instruments and effects, although excellent quality, feel outdated and in need of an update to better suit modern sensibilities.
Intro
Originally released in 1989, Steinberg’s Cubase ranks as one of the oldest DAWs still in use today. Given the exponential evolution of digital audio and the technological advancements made in the time since its launch, Cubase’s astonishing longevity is made more remarkable by the fact that it hasn’t undergone any major rebranding since its first release. Even following Steinberg’s acquisition by Yamaha in 2005, the German developer operates as a subsidiary that independently develops and markets all the products it creates—including Cubase.
From Cubase’s humble origins as a MIDI (Musical Instrument Digital Interface) sequencer for the Atari ST platform, to the pioneering introduction of Steinberg’s open-source ‘Virtual Studio Technology (VST)’ format in 1996, Cubase’s legendary status is permanently etched into audio folklore. The explosion of the ever-expanding plugin market is a glowing testament to Steinberg’s contribution to digital audio processing, and it’s an influence that few can match.
Below, we explore some of the latest features that breathe new life into Cubase as it seeks to remain at the cutting edge of an industry it helped to create.
New Features
During Cubase’s storied lifetime, its feature-set has swelled to a size that’s well beyond the scope of this review.
Before delving into some of the latest features, it’s worth pointing out that Cubase is a fully featured powerhouse that’s able to adapt to a multidisciplinary workflow. Therefore, composers and producers working in any area of the music industry can comfortably consider it a viable solution for their needs, with only the most demanding use-cases reaching beyond Cubase’s remit.
Modulators
Stealing the headlines of Cubase 14’s release is the introduction of six, independent Modulators (see image below). Their inclusion represents a seismic addition to the DAW because the creative potential they can yield has the power to radically impact creative and mixing workflows.
Clearly inspired by Bitwig, Steinberg’s adoption of this feature is a symbol of recognition that acknowledges the brilliance of Bitwig’s innovation, and it represents a bold step forward in Steinberg’s attempts to modernise and future-proof Cubase.
A brief description of each modulator’s function is provided below, but Steinberg has done a solid job in ensuring their seamless integration into Cubase’s architecture. Their implementation is intuitive and accessible, with each track capable of hosting multiple modulators, including duplicates of the same module. Once inserted onto a track, modulators can be used to add animation and movement to virtually any instrument or effect parameters—including those found in third-party plugins.
Crucially, modulators are also capable of modulating one another, so there’s ample opportunity to create complex modulation routings that bring life and variation to production, sound-design, and mixing use-cases.
- LFO: An independent Low Frequency Oscillator that can be routed to multiple destinations simultaneously as a continuous modulation source.
- Envelope Follower: A dynamic Envelope that reacts to the incoming audio source. Its side-chaining capability greatly enhances its utility, allowing users to build complex inter-channel relationships that respond dynamically to one another.
- Shaper: A user-definable, highly customisable curve that functions as either a single-shot or continuous modulation source.
- Macro Knob: A single knob that can assigned to multiple parameters simultaneously. Excellent as an automation source and for live performance.
- Step Sequencer: A configurable, stepped modulation source. Great for rhythmic modulation.
- ModScripter: Users can create/script custom modulation sources. Steinberg has provided a sizeable factory library to get users started, which includes options to add randomisation.
The adoption of these six modulators is a fantastic addition that breathes new life into the veteran DAW. This is particularly true of Cubase’s older instruments and effects that may be limited in terms of onboard modulation sources. However, there’s hardly any aspect of the music production process that’s unable to benefit from having these tools in one’s arsenal.
Drum Track
Acting in a similar capacity to the Sampler Track that was introduced in Cubase 9, Drum Track (see image below) houses a dedicated Drum Machine that is geared towards modern drum production.
Taking cues from classic drum machines, Drum Machine offers powerful layering features, combining drum synthesis and one-shot sampling across 128 pads.
The instrument modules sound great and are simple to use, making it easy to craft drum sounds from scratch. Their architecture mimics the synthesis capabilities of vintage drum machines, so users can easily create synthetic drum sounds that evoke bygone eras. Each pad in Drum Machine is equipped with four layers, thus enabling users to easily blend between sampled and synthesised elements, such as vocal hits, found sounds, and other audio sources.
It’s worth noting that Drum Track offers a more streamlined and immediate workflow than the excellent Groove Agent, which is still necessary for tasks such as sample slicing and advanced audio manipulation.
Pattern Sequencer
Previous versions of Cubase required users to compose and edit MIDI using a traditional piano roll. Although Cubase’s implementation of this approach was well-designed and feature-rich, it was fairly one dimensional compared to other solutions on the market.
The addition of the Pattern Sequencer (see image below) seeks to address this, providing users with an alternative workflow that has gained popularity in other DAWs.
Whilst the benefits of using a step sequencer tend to serve drum and rhythm-based composition, there are times when it can be useful for melody creation and sampling. Cubase 14’s implementation of this feature is superbly executed, with various features to manipulate MIDI in interesting ways.
Multiple Patterns can be created and switched between within one MIDI clip, giving users access to features such as: Note Repeat, Velocity, Velocity Variance, and Probability. The sequence for each MIDI note can also be independently set, which makes it easy to create polyrhythms and irregular patterns. Additionally, it’s also possible to randomise the sequences and change their play direction, providing ample opportunity for further creative exploration.
Effects
Cubase 14 introduces a collection of new effects, with Studio Delay (see image above) and Auto Filter being notable standouts, mainly due to their versatility across a wide range of processing applications.
Shimmer (see image below) and Underwater are more specialised, but as creative effects, they have excellent potential for sound-design.
True to Steinberg’s reputation, all the new additions are of high quality, which reduces the need for users to turn to third-party solutions when processing their audio.
The effects are thoughtfully designed and simple to use, with their functionality greatly enhanced when paired with Cubase’s new modulators (mentioned earlier in the review). Whilst this is commendable, advanced users may wish to have deeper control and flexibility over each effect, so the inclusion of more processing algorithms and parameters would provide greater variety and customisability.
Workflow Enhancements
Multiple workflow enhancements have been added and upgraded, many of which offer subtle, but powerful, quality of life improvements when composing and editing.
The introduction of Velocity Variance and Play Probability into the Key Editor brings some of the Pattern Sequencer’s features directly into the piano roll, whilst the new Event Volume Curves (see image above) greatly enhances the process of gain staging.
Indeed, the volume curves are so effective at adjusting audio, that one hopes this implementation will be applied to some of the more creative aspects of audio processing, such as time-stretching, playback direction, and pitch-shifting.
Notable improvements have also been made to the Range selection tool, rapidly speeding up common editing tasks and making Cubase’s interpretation one of the better executions of this tool on the market.
Users can now also access the full Mixing Console in the lower panel of the main interface (see image above), which makes it substantially easier to access advanced mixing features without breaking one’s workflow.
Finally, the sample playback engine in the browser has been completely revamped (see image above), providing users with the ability to audition audio files in different keys and tempos. This turns the often arduous process of sample browsing into an active and creatively rewarding experience.
Other
The release of Cubase 14 also sees Steinberg adopt DAWProject (see image below), an open-source format that promises to usher in a new era for collaboration between DAWs.
Joining the ranks alongside Studio One and Bitwig, this is a big step forward for DAWProject because Cubase’s stature and reputation brings considerable cachet to the format, which may open the door to other developers jumping on board. From Cubase’s perspective, the adoption of DAWProject is yet another example of Steinberg demonstrating flexibility as they prime the DAW for future evolution.
Additionally, Cubase’s Score Editor (see image below) has also been completely overhauled, bringing it closer in alignment with Steinberg’s professional scoring solution ‘Dorico’.
Improvements have been made across the board, so classical musicians are better equipped to recreate phrase-accurate, professional scores for orchestral pieces directly within Cubase, making this one of the most advanced score engines included within a DAW.
Finally, the upgraded Video Engine now supports both 4k and 8k resolution, reinforcing Steinberg’s reputation as a comprehensive scoring solution for media, film, and video games.
In Use
Cubase 14’s new features maintain Steinberg’s design ethos and seamlessly integrate with the workflows that the DAW has cultivated over the decades. Elements such as the Modulators, Drum Track, and Pattern Sequencer perfectly complement the existing environment, and the ease with which they can be implemented augments the creative process in a manner that feels intuitive and natural.
Cubase has long been synonymous with stability, receiving widespread acclaim for its reliability, which is a quality that has served to cement its status as an industry veteran. Long-term users will be delighted to know that Steinberg has maintained this pedigree with Cubase 14 by ensuring that none of the new features detract from a working experience that regulars have come to expect.
Given the DAW’s longevity and the features it’s accumulated over the years, new users may feel overwhelmed by all there is to discover in Cubase. Whilst it does take time to tailor the DAW to one’s workflow, Cubase is replete with multiple quality of life improvements designed to maintain focus and optimise creativity. From track versioning to mixer snapshots, retrospective recording, MIDI and Audio comping, scale awareness, ARA (Audio Random Access) support, spectral EQ comparison, score editing, and stem separation, Cubase is ready to adapt to any use-case or scenario.
Despite this comprehensive feature set, Cubase manages to avoid the feeling of bloat that often bogs down applications of comparable size. Although some processes feel circuitous by modern standards, the overall user experience is surprisingly light and snappy, even when engaging in process-heavy tasks. Across the board, Cubase’s architecture is largely intuitive and accessible, offering an experience that is familiar—mainly because it pioneered multiple conventions that other DAWs later adopted.
Overall, Cubase is a comprehensive and versatile solution that’s ready to adapt to multiple disciplines, genres, and use-cases. Whether producing music, or scoring for media, film, television, or video games, Cubase leaves no stone unturned in its ability to excel at any task.
Conclusion
With over three decades worth of momentum and evolution behind their flagship DAW, Steinberg deserves plaudits for their willingness to embrace modern innovations.
The addition of DAWProject and the Bitwig-inspired modulators showcases a flexibility that is rare for a DAW of Cubase’s stature, thus proving that Steinberg is primed and ready for its continual evolution. The latest edition retains all the hallmarks, features, and workflows that Steinberg has developed throughout the years, re-energising the DAW with tasteful modern flourishes that seamlessly integrate with Cubase’s familiar working environment.
Long-term users will likely celebrate the workflow enhancements many of the new features bring to the DAW, which demonstrates Steinberg’s desire to implement new ideas without resting on their laurels. Cubase 14 represents another excellent step forward for a product that remains at the top of its game with no signs of slowing down.
Technical Info
- Download, installation, and authentication is handled by the Steinberg Download Assistant. A user account is required, but the steps to get up and running are straightforward.
- Mac & PC are both supported.
- Comprehensive documentation is available online.
- The CPU usage is stable and well optimised. Stock instruments and effects run impeccably, and third-party plugins function smoothly as VST3s.
Disclaimer: This review was conducted on a MacBook Pro M4 Pro with 48 GB RAM and 1 TB SSD (macOS Sequoia 15.6.1). User experience with the reviewed software may vary with different technical specifications.
Alternatives
Users have an incredible selection of DAWs to choose from. The following list focuses on alternatives that offer a similar feature-set to Cubase. There are many popular modern solutions that aren’t listed below, mainly because their workflows differ significantly.
- Studio One (PreSonus).
- ProTools (Avid).
- Logic (Apple).
- Waveform Pro (Tracktion).
- MixBus (Harrison Audio).
- LUNA (Universal Audio).
Cubase 14 comes in various editions, and is available to purchase starting from 99.99 EUR/USD at the Steinberg online shop and from distributors such as Plugin Boutique and Best Service.
Josh Turvey is a musician, producer and an avid plugin enthusiast. He provides online, 1-2-1 tuition for guitar and music production for NoiseQuest.
