This is the new Steinberg control surface. (See the hands-on video at SonicState.) It’s built to integrate out of the box with Cubase 4, which if you’re a Cubase 4 user should be good. You or I might give it a name like “CubaseControl” or something, but Steinberg has seen fit to call it the CC 121, which sounds like it was lifted off of a MIDI specification. No matter — they can call it Eustice if it’s a good controller.

But that’s not the only odd thing about the CC 121. There’s a little light that goes on to say it’s “Cubase Ready.” (The marketing materials say this gives it “instant plug and play.” I’m not entirely sure why you need an LED for that, but I guess it’s comforting or something.) Then there’s the control layout, which has so much blank space that it looks a little like someone dropped a stack of encoders and buttons on a piece of paper and glued everything where it fell.

But the oddest thing about the CC 121 is the controller choices themselves. The whole point of previous single-fader control surfaces — at least, so I thought — was creating a compact device that can sit by your mouse. The point of the CC 121 seems to be, well, EQ. There are a full twelve dedicated EQ encoders. For everything else, there’s … uh … one knob. (It’s the one that says “VALUE” on the right side.) It is supposed to be a really smart knob, at least. Here’s how Steinberg describes it:

“Ultra-precision Advanced Integration controller knob with ‘point and control’ support: controls any visual Cubase 4 parameter, internal FX setting or VSTi parameter using mouse pointer selection”

Translation: you can click on any setting in Cubase and control it with our encoder, one setting at a time. Want to control more than one setting at a time? Say, delay time and wet/dry mix? Sorry. There are four buttons so you can change the function of the one value knob, but not the obvious solution of having any more than one knob. I know what you’re thinking. There’s blank space all over this unit, so why couldn’t you just have four “Advanced Integration Controller Knobs”? I think I have the answer: if you did that, you wouldn’t have room for the “Cubase Ready” light.

You may think I’m just using this opportunity to beat up on Steinberg and be snarky, but I’m not.

The Magic of Third Parties and Broad Compatibility

No, on the contrary, this illustrates something I’ve suspected for a long time. Just as most screenwriters shouldn’t direct their own films, software developers shouldn’t necessarily make hardware controllers for their own software. Sometimes the magic works; sometimes it doesn’t. Either way, having choices beyond those the software vendor chose is a good thing. Third-party hardware can work with more than one app (in case you ever use something other than Cubase), it can provide more choices (in case your needs are different than someone else), and it provides the much-needed perspective beyond the folks who built the software. You may not get the brand name of your DAW on the unit, but smart software can still make the out-of-box experience just as integrated. That doesn’t mean I think the software vendors shouldn’t try — as Alan Kay is often attributed as saying, “People who are really serious about software should make their own hardware.” But, even assuming he did actually say that, and assuming we should all listen to him, he didn’t say that you had to make that hardware for your own software, or that you’d be successful all of the time.

Someone out there I’m sure really, really loves tweaking EQ. Congratulations: the CC 121 is for you. For everyone else, you have not one but four excellent choices: Novation’s SL line, Frontier’s AlphaTrack and TranzPort, and PreSonus’ FaderPort. They all integrate fairly automatically with Cubase (even older versions which are incompatible with the CC 121), and give you lots of control. And that’s just compact control surfaces.

Not only that, but Novation, Frontier, and PreSonus all make hardware that works with other stuff not from Steinberg. The AlphaTrack, for instance, just added extensive support for GarageBand 4 (adding to a long list of other supported software), plus software you probably haven’t even heard of — SAWStudio by RML Labs and MultitrackStudio from Bremmers Audio Design. SAWStudio support didn’t grab the Messe headlines the way a Steinberg control surface did, but I’ll bet if you’re a SAWStudio user, you’re really excited. And that’s the point: we choose our software personally, so we should choose our hardware the same way.

Here’s a quick review of the other compact control surfaces available — not only for Cubase, but a lot of other software, as well:

Ever since Apple’s Logic Pro bundled a huge library of synthesizers and effects into a DAW, its competitors have been gradually adding more instruments and sound processors. Even without Logic, the step is a pretty obvious one: there are only so many DAW features you can add from year to year to try to compel people to upgrade, so bundling extra sound toys is the other alternative.

Cubase SX4 hasn’t been officially announced, but while I was vacationing this weekend some SX4 screenshots were leaked online. Music thing has the story with convenient links to the images. Tom says the knobs look like Ableton, because he sees some two-dimensional knobs. (Here’s a tip: those knobs look more like Max/MSP, which in turn may have inspired Ableton to opt for 2D controls.)

Mostly, though, SX4 looks inspired by Logic Pro. Internal audio mixing is remiscent of Logic’s Environment, though it may be easier to use. The interface for Prologue looks just like the ES2 to me, and the visual style resembles instruments like Sculpture, sometimes approaching a direct rip-off. (Then again, sometimes software looks alike because UI services are outsourced to third parties; I don’t know whether that’s happened here or not.) The synthesizers themselves look interesting, with some spectral processing and synthesis options. I don’t imagine it’ll make you switch to SX4, but it could keep Cubase loyalists from switching to something else.

It’s just a glimpse, of course — it’s funny watching Cubase users pre-judge the entire SX4 upgrade based on some leaked, unofficial screen shots. I’d say take them as a small taste, and wait for the official stuff. Don’t expect the competition to stay still, either; aside from the imminent Ableton Live 6, I would expect Logic Pro to get a large update some time soon. Stay tuned.

Novation’s SL series seeks to finally liberate us from manually assigning MIDI controllers to software, by automatically assigning its generous set of controls and displaying parameters on a lovely high-contrast onboard display. It could be just the thing for laptop-based performers, but a lot of us already have more keyboards than we need.

If it’s just more control you want, the ZeRO SL, announced today, might appeal. It has the LED displays, transport controls, faders, knobs, rotary encoders, and trigger pads from the SL series, but it’s ultra-compact — no keyboard attached. That means it fits nicely by your computer, as pictured here, or serves as a controller for your favorite MIDI keyboard. (Apparently there’s a stand included for angling it up — sounds brilliant, and why don’t other makers do that?) The lack of X/Y pad might seem an obstacle at first, but that keeps the size small and focuses the hardware on the basic controls.

Okay, I’m behind on Steinberg. But the summer lineup from them is just making me yawn, I’m afraid:

Steinberg Studio Case II: Status: just announced. US$299, Windows/Mac September, watered-down versions of everything Steinberg makes. For entry level users, this could be a decent deal: Reason, by comparison, costs $450 and has a lousy sequencer and no audio recording. Ableton Live costs around $400 and doesn’t have as many instruments. But there’s nothing here to write home about: stripped-down versions of everything? Spend the extra couple of hundred bucks and get what you really need.

HALion String Edition: Status: just started shipping. This one appeals a little more to the snob in me: 9 GB, nothing but strings. Haven’t heard it yet, but it sounds like it could be first-rate. Of course, you’ll be missing several sections of the orchestra, but . . . wait . . . that’s kind of a problem, isn’t it? Then again, strings are usually the hardest to sample, so if you need some violins to supplement your existing sample library, maybe this is for you.

The Grand 2: Status: shipped in July. I missed this because I was busy with Native’s new product, Akoustik Piano. The Grand has a strong reputation, but also a lot of competition: aside from Native’s virtual piano, there’s the renowned PMI libraries, cheap offerings from M-Audio, Ivory, and basically a zillion sampled pianos everywhere from Logic to Kontakt to MOTU Mach Five. What’s cool here: key click, pedal and hammer sounds and four-channel surround implementation. Upgrades are just US$99, and the whole thing runs US$299, so it’s bargain priced, and unlike some Steinberg products, it supports VST, DXi and AU (though Digi fans, you’re stuck with ReWire — no TDM/RTAS). Only time will tell: I want to get The Grand and Akoustik Piano and others together and see which sounds best.

Bottom line:

Studio Case II: Diet Steinberg? Ho-hum.

HALion String Edition: Why not a full orchestral edition?

The Grand 2: Verdict reserved until the Akoustik Piano shootout.

Remember when people singing bad covers of rock songs was called karaoke and didn’t involve a national television audience? Oh, for those more innocent times. Now we’re subjected to one musical reality TV show after another. The latest combines The Apprentice and Survivor (same producer), with American Idol; bands compete to be the lead singer of INXS — amusing, because I had no idea that band was still together. (I think they should have gone with Menudo, but what do I know?) And the name, which I can’t say without chuckling: Rock Star:INXS.

Two reasons this is CDM-worthy: first, anyone up for a Web-based electronic music reality show? (I think we should lock a bunch of musicians in a house for 2 months with nothing but a single Atari ST, personally.)

Second, behind-the-scenes this show has some serious music geek cred. Steinberg Nuendo powers all the audio mixes, for sending practice MP3s to the participants and the mixes you can buy on the Website. Music director Paul Mirkovich is a big Nuendo fan and veteran of Cher’s last tour; check out his soft synth arsenal: Steinberg The Grand, NI’s Reaktor, B4, Pro53, Giga Studio libraries through ReWire, Atmosphere, and Steinberg’s D’cota. Paul is obviously a fan of the “Go to Sam Ash and buy everything you see” strategy CDM appreciates so dearly. You’re one of us, Mate.

But wait, there’s more — the dude plays live with the Muse Receptor so he can go live with all the plugins.

Suggestion to networks: in future, cover the real musicians. They’re more interesting.

Want proof that you can’t keep on top of which DAW is best? Updates are now nearly round-the-clock, and point-one updates can bring serious features. Hot on the heels of MOTU’s free 4.6 upgrade to DP, Steinberg has over 50 new features in Cubase SL/SX 3.1, coming as a free download in August. Some of what’s new:

External hardware integration: Updated Studio Connections technology lets you monitor external hardware’s audio as if it were an internal VST. One caveat: this comes out of Steinberg’s ongoing partnership with its now-parent-company Yamaha, so your hardware manufacturer must rhyme with Lamaha.

Freeze; you’re surrounded! Dolby Digital and DTS Encoder support

Processor optimization for the latest multiprocessor Macs and PCs, plus optimization for new AMD and Intel DualCore processors and Hyperthreading (that last feature means you can now make the Kessel Run in . . . oh, never mind.)

“Equal Power” panner

MIDI delay compensation (more hardware integration, remember?), plus “freezing” of MIDI track playback

Got all that? This will have decidedly less mainstream appeal than some of the other updates announced this week, but for some Cubase hardcores and pros, it should come as good news. Of course, this update runs on Mac and PC only — sorry, Atari ST users.

Well, with the release of DP 4.6, it’s time to check in with how our DAWs are doing. These insanely-cool pitch features certainly mean it’s still in the ring. First, see my previous reviews:

Digital Performer 4.5 (review for Keyboard)

Giant Cubase 3 vs. DP 4.5 vs. Logic 7 Blowout (review for Macworld)

Live 4 (review for Macworld)

What the upgrades did: Logic 7.1 addressed my complaints about Logic 7 (latency compensation, the screwy UltraBeats presets, and easy drag-and-drop reordering of inserts). DP 4.6 added cool stuff I hadn’t even asked for, though it misses my one major complaint, which is there’s not even a simple virtual synth to make music with out of the box. Live 5 will take a perfect program and make it better, as near as I can tell, though it’s still not a total replacement for these other apps — no surround, no video, no power-user MIDI, no Pro Tools support. (That won’t matter to everyone, but to those for whom it does matter, you can probably afford to buy it and ReWire it!)

Who’s winning? Okay, let me take these incredible subtle, complex programs and give you really simplistic advice. If you’re looking for a Pro Tools replacement that lets you do more with less pain, or you’re scoring new Peter Jackson movies, get DP. If you want the best all-around value in synths and instruments and you believe he/she who dies with the most software toys wins, get Logic. If you’re on Windows, and you want surround and power audio features, get SONAR. If you’re starting out, or you want to perform live, or you just want the most elegant app for audio and MIDI creation, get Live. If you’re cash-strapped, get Tracktion. I love Cubase, but unless you’re cross-platform, I’ve had a harder time finding things that make me want to use it. Existing users certainly could do worse, but I can’t see picking up Cubase anew.

Bottom line: with DP, Logic, and SONAR there are plenty of reasons to use DAWs that aren’t named Pro Tools as your primary, pro environment. And if you are happily using Pro Tools, great — just do me a favor, give that Ableton Live thing a try, now that it’s included with Pro Tools. You’ll find it’s a great addition to your Pro Tools arsenal.

It’s two, two, two Cubase stories in one. Here goes:

Cubase.net forum will require USB key number: Don’t like entering serial numbers and the like when you’re installing software or talking to tech support? Now you may need them just to post to a forum. The revised forum policy on Cubase.net requires users to add their USB key number (the dongle’s identifier) to a hidden field in their user profile. Refuse to comply, and you won’t be able to post Cubase SX-related technical questions. Users of Cubase software without a key, like Cubase LE, can continue to post normally, and all the general chat is still open. But ongoing piracy lockdowns just keeping getting more annoying for those of us who have legit investments in our software. (via gearjunkies) And in other Cubase news . . .

Cubase LE/SE installers incompatible with Tiger: No, Cubase itself is compatible with Mac OS X 10.4. The problem seems to be the installers: if you’ve got a pre-installed copy of LE or SE 1.07, you’re fine, but you can’t install anew on a Tiger system. See Steinberg’s forum post. A fix is promised.

There's nothing quite like a 3-way. I reviewed Steinberg
Cubase SX 3.01, Apple Logic Pro 7.01, and MOTU Digital Performer 4.52
for Macworld.com; read the complete review and conclusions.

Of course, a really fair comparison of all-purpose DAW software would
be more like Cubase vs. Logic vs. DP vs. Cakewalk SONAR vs. Ableton
Live vs. Mackie Tracktion vs. Digidesign Pro Tools LE vs. Steinberg
Nuendo vs. Pro Tools TDM vs. . . . but any reviewer's head
would immediately explode if they had to do that. Even with just three
products, the complexity and nuance of each has to wrangle with limited
word counts. These are all deep products.

That said, there are some conclusions here in terms of how these
compare. I won't spoil the ending — go check it out. And since
Macworld.com doesn't have comments, you can conveniently flame me here.

Okay, this is just getting ridiculous.

Avid announced today that it will acquire Pinnacle,
one of Avid's few remaining competitors in media production technology.
At the ultra-high-end broadcast level, Avid already nearly owns the
market, and Pinnacle will complete that integration. Meanwhile, you can
expect Avid to make a big play for the consumer market with Pinnacle's
consumer-level offerings. Add this to Avid / Digidesign's purchase of M-Audio last year.

It's pretty much Avid vs. Sony vs. Apple at this point in the video
market. No tears shed here, because Sony's Vegas and Apple's iMovie and
Final Cut are in my mind preferable to Pinnacle's offerings.

One thing that is clear: Steinberg
just dodged a huge bullet. If Steinberg had been part of this deal,
Digidesign would almost certainly have wanted to kill Steinberg's Pro
Tools competitors. On the other hand, the buyout probably wouldn't have
happened at all: Pinnacle shrank when it sold off Steinberg to Yamaha,
making it riper for a takeover deal the company was likely courting
anyway.

In other news, CDM is proud to announce we've been acquired by Sony and
are discontinuing all our coverage of other products. Just kidding. I
think.