Download key generator for Steinberg Cubase 5 and 5.1.2
(Install Instructions Included)
There's also some popular drum synth plugins maps for Addictive
Drums,Toontracks EZDrummer,And DFH kit's.
ASIO4All 2.1.0 x86 x64 Driver
All Steinberg legacy VST Plug-Ins to Cubase v5.1.2
Full .PDF Documentation Included
100 Quantize Grooves
HALionOne & VST Sound Collection
GM Drum Set
Groove Agent ONE & Content
REVerence Content 01
Steinberg Drum Loop Expansion 01
Steinberg HALionOne Additional Content Set 01
Studio Drum Set
Quicktime 7 Pro
Steinberg Virtual Guitarist FX VST
VST Expression Set
Complete VST Presets
Steinberg Cubase v5.1.2 UPDATE applying pitch quantising so that
notes are more in tune; and 'straightening' notes to remove wavering
pitch or suppress vibrato. You can shift the timing of notes, too.
Get under the hood of VariAudio and there are more subtle
adjustments to be made, such as altering the start or end pitch of a
segment, or 'tilting' its pitch curve; exporting the notes as MIDI
data; and setting the notes via MIDI. With the latter, you step
through segments with each key press.
There's also a real-time pitch correction effect called - wait for
it - PitchCorrect. You can quantise to a chromatic, minor or major
scale, or a custom one defined by clicking notes on the on-screen
It offers the expected features such as speed of retuning,
tolerance, transposition and formant-shifting. It's only a shame that
it doesn't offer diatonic (ie, in key) pitchshifting too.
Quality-wise, both VariAudio and PitchCorrect sound the business
The other new audio effect for Cubase 5 is a convolution reverb
named Reverence. It comes with a library of impulse responses, some
with surround versions too, and you can import your own.
Once loaded, you can view a waveform or spectrogram (frequency
response over time). You can set the pre-delay; scale the IR to set
the decay length; set the size of the room (this seems to work by
'skewing' the frequency response); set the mix between early and late
parts of the signal and where they're divided; apply EQ; and engage
auto-gain and reverse.
A matrix at the top of the GUI lets you recall up to 36 reverb
setups - very handy! Sonically, it's much like any other quality
convolution reverb; that is to say, excellent. Downsides are that it
introduces a small amount of latency, which can make it unsuitable for
live tracking/monitoring, and that the smooth parameter changing
sometimes means a delay before you hear the results of your tweaking.
Instruments and plug-ins
There are two new instruments in Cubase 5, both of a rhythmic bent.
The most unusual is LoopMash. The idea is that you throw in rhythmic
loops and they're chopped up, with the slices analysed for
Select a master loop, hit play, and slices are pulled from all the
loops to 'recreate' the master loop using different sounds. Sliders
determine how likely it is that a given loop's slices are selected.
There are further options, but that's the crux of it.
If your loops aren't already tagged with their BPM in MediaBay,
LoopMash doesn't always get the slicing right, so odd-length loops or
beats running at double-speed can occur. We often experienced a
confusing error complaining about the region being outside the file,
LoopMash is a groovy concept, but the bottom line is that getting
good results out of it is generally more hassle than it's worth.
The new Groove Agent One is a simple MPC-esque drum sampler. Sounds
are added to the 16 pads by dragging, and you can velocity-layer up to
eight on each (but you can't stack them to play back together). On a
per-pad basis, you can set levels, panning, looping, tuning,
assignment to the 16 stereo outs, filtering, amp envelope and more.
There are 43 good-quality kits supplied, and you can also import
Akai MPC files in .pgm format. One great trick is that you can slice a
loop in the Sample Editor, drop the resulting clips onto Groove Agent
One, and drag a MIDI clip that triggers the loop back onto the Project
Window, a la ReCycle.
Beat Designer is GA One's step sequencing counterpart (but it can
drive any other instrument, of course). It's a MIDI effect plug-in
with a resizable GUI (some of the other plug-ins could do with this!)
whereby you click to toggle cells on and off, and drag to change
velocity, shown by colour.
Each drum can use one of two swing settings, and there's an offset
lane for moving sounds ahead of or behind the beat. You can apply two,
three, or four-stroke 'flams' to each individual hit, with the timing
and velocity of them definable by the user. There are numerous options
for editing beats and transferring them to MIDI clips too.
The other new plug-ins is MIDI Monitor which, thanks to its List
Editor-style display, is handy for investigating MIDI issues.
Automation has received a kick in the pants for v5, with an
Automation Panel giving quick access to relevant functions, some of
which were previously only in Steinberg's high-end Nuendo DAW.
You can easily hide and show various types of automation, and
suspend (suppress) reading and writing of certain things; for example,
you could record automation of volume changes but not EQ tweaks.
The Trim mode is supposed to enable you to manipulate volume or aux
send automation, for situations where you want to apply a further
volume fade or similar. Unfortunately, it results in a curve with
unwanted spikes - Steinberg is aware of the issue and will fix it in
In previous versions, using the controller lane in a MIDI part and
track automation to control the same parameters could be problematic,
but a new rule-based system means you can specify what happens if
there's a conflict.
Another previous bugbear of ours was that the tempo curve and time
signature were defined in a separate window, but this has been solved
too, with dedicated Tempo and Signature tracks.
If you've ever used an orchestral library - or any instrument with
multiple articulations - you'll be familiar with drawing in
keyswitching notes or using CCs to flip between playing techniques.
While this seems sophisticated enough, Steinberg is taking it to the
next level with VST Expression. This gives an Articulation lane in the
Key Editor with named rows for each technique, and you paint in the
ones you want to use - the correct symbols appear in the Score Editor,
This new system uses Expression Maps to tell Cubase how to access
specific articulations of an instrument, and third-party vendors such
as Garritan say they'll be supporting VST Expression in future. In any
case, it's pretty easy to make your own maps.
One neat new bonus comes in the form of 14 real instrument patches
for the included HalionOne ROMpler, all of which sound great and come
with Expression Maps.
Other very welcome improvements include Channel Batch Export for
exporting multiple channels (perfect for creating stems); sorting of
VSTs by vendor/category for easier plug-in browsing; overhauled GUIs
for the MIDI plug-ins, Logical Editor and Input Transformer; and a
Remaining Record Time floating window.
Laptop users will appreciate the new Virtual Keyboard, which has a
two-octave mode, like a tracker. On the subject of small-scale setups,
we should mention that while a minimum display resolution of 1024x768
is recommended, the multi-windowed approach of Cubase really benefits
from a larger screen or, indeed, screens.