Hydra
16-Aug-02, 02:09pm
(in-case you were interested)
SL effectively replaces standard Cubase, just as SX now replaces Cubase
VST/32 and Cubase Score. Cubase and Cubase Score have now finished.
Cubase SL offers all the functionality you could ever need ... attractively
priced for semi-pro operators. Essentially, Cubase SL is the same
exceptionally powerful application as Cubase SX offering many of the same
limitless possibilities of Cubase SX.
Cubase SL sports an almost identical feature set as SX while providing ample
power for demanding, semi-professional production projects. Only the
exceptionally esoteric, boutique studio functions found in Cubase SX have
been omitted from SL. SL is ideal for users not requiring the advanced
feature set of the full SX application (targeted to the professional/highend
market) yet still provides a mature, smooth, fully-featured, production
environment.
Ideally matched to the performance of mid-range (single < 2000Mhz CPU's) PC
and Mac based systems, Cubase SL is possibly better matched to the
enthusiast/semi-professional end of the market than Cubase SX. Most of the
advanced specifications offered in SX will only be realised on advanced,
highly-specified computing environments generally beyond the budgets of
project studios.
Cubase SL will most likely find itself at home in Electronic dance music
production studios, instrumental-only contemporary producers, and semi
professional enthusiasts.
For around %50 of the RRP of Cubase SX, 90% of the functionality of Cubase
SX can be enjoyed by Cubase SL users that may otherwise not be in the market
for the new generation of the Cubase family.
PRIMARY DIFFERENCES:
Cubase SL includes ALL the VST effect and VST instrument plugins bundled in
Cubase SX with the exception of the SPL DeEsser. For those user's not
involved in the recording/tracking of vocal parts Cubase SL should most
likely be sufficient.
The 6 channel surround capabilities found in SX have been omitted from
Cubase SL. Cubase SL is thus better suited to straight-up music production
rather than applications requiring surround sound encoded mixes (e.g.
mixdown for Film and Television, DVD production).
5 Insert effect slots are offered per audio channel (instead of the 8
offered in Cubase SX). For most semi-pro applications, 5 insert effects is
well beyond ample (and probably beyond what most users will be able to run
in realtime on their host computer for the time being).
16 VST Instrument slots are available in SL (Cubase SX offers a massive 32
slot - possibly total overkill for most semi-professional productions) which
is hardly a limitation for users accustomed to the 8 slot restriction of
Cubase 5.x but is well matched to the computing performance of mid-range PC
and Mac machines.
The width of the individual channel objects in the audio mixer cannot be
sized differently on a per channel basis in Cubase SL (unlike Cubase SX).
This reduced functionality is primarily cosmetic and will not effect
usability for most users.
'Touch Fader mode' is the only automation mode offered in SL (Cubase SX adds
X-Over and Autolatch). These additional modes offered in SX would remain
unused for most users except owners of boutique, control-surface equipment
which generally wouldn't be in the budget of the user base Cubase SL is
pitched to.
The absence of score layout and printing functions will not missed by 90% of
users not working with session musicians, orchestras, etc ...
Although SL shares SX's Apogee UV22 noise shaping/dithering its successor,
Apogee's UV22HR word-length reduction algorithm for preserving the detail of
20 bit audio for delivery on 16 bit media using standard domestic 16bit
playback equipment, is only found in Cubase SX. For the semi-professional
market, most likely to outsource the mastering phase of broadcast quality
projects, this omission is unlikely to be missed. Studios producing "Super
CD Encoded" projects are best advised to invest in Cubase SX.
The Spectral Analysis and Statistical functions of Cubase SX have been
omitted as has the (small) convenience of inbuilt MP3 encoding (however may
be added later as an upgrade). Numerous external shareware/freeware
solutions available on the net offering these functions for users wishing to
access such functions on a casual/experimental basis.
Cubase SL shares the (very capable) timestretch algorithms of SX (and its
conveniently integrated new "Close Gaps" feature ideal for use in
conjunction with hitpoint operations) however omits SX's highly advanced
MPEX time stretching technology developed by Prosoniq based on artificial
intelligence, neural network models.
SL effectively replaces standard Cubase, just as SX now replaces Cubase
VST/32 and Cubase Score. Cubase and Cubase Score have now finished.
Cubase SL offers all the functionality you could ever need ... attractively
priced for semi-pro operators. Essentially, Cubase SL is the same
exceptionally powerful application as Cubase SX offering many of the same
limitless possibilities of Cubase SX.
Cubase SL sports an almost identical feature set as SX while providing ample
power for demanding, semi-professional production projects. Only the
exceptionally esoteric, boutique studio functions found in Cubase SX have
been omitted from SL. SL is ideal for users not requiring the advanced
feature set of the full SX application (targeted to the professional/highend
market) yet still provides a mature, smooth, fully-featured, production
environment.
Ideally matched to the performance of mid-range (single < 2000Mhz CPU's) PC
and Mac based systems, Cubase SL is possibly better matched to the
enthusiast/semi-professional end of the market than Cubase SX. Most of the
advanced specifications offered in SX will only be realised on advanced,
highly-specified computing environments generally beyond the budgets of
project studios.
Cubase SL will most likely find itself at home in Electronic dance music
production studios, instrumental-only contemporary producers, and semi
professional enthusiasts.
For around %50 of the RRP of Cubase SX, 90% of the functionality of Cubase
SX can be enjoyed by Cubase SL users that may otherwise not be in the market
for the new generation of the Cubase family.
PRIMARY DIFFERENCES:
Cubase SL includes ALL the VST effect and VST instrument plugins bundled in
Cubase SX with the exception of the SPL DeEsser. For those user's not
involved in the recording/tracking of vocal parts Cubase SL should most
likely be sufficient.
The 6 channel surround capabilities found in SX have been omitted from
Cubase SL. Cubase SL is thus better suited to straight-up music production
rather than applications requiring surround sound encoded mixes (e.g.
mixdown for Film and Television, DVD production).
5 Insert effect slots are offered per audio channel (instead of the 8
offered in Cubase SX). For most semi-pro applications, 5 insert effects is
well beyond ample (and probably beyond what most users will be able to run
in realtime on their host computer for the time being).
16 VST Instrument slots are available in SL (Cubase SX offers a massive 32
slot - possibly total overkill for most semi-professional productions) which
is hardly a limitation for users accustomed to the 8 slot restriction of
Cubase 5.x but is well matched to the computing performance of mid-range PC
and Mac machines.
The width of the individual channel objects in the audio mixer cannot be
sized differently on a per channel basis in Cubase SL (unlike Cubase SX).
This reduced functionality is primarily cosmetic and will not effect
usability for most users.
'Touch Fader mode' is the only automation mode offered in SL (Cubase SX adds
X-Over and Autolatch). These additional modes offered in SX would remain
unused for most users except owners of boutique, control-surface equipment
which generally wouldn't be in the budget of the user base Cubase SL is
pitched to.
The absence of score layout and printing functions will not missed by 90% of
users not working with session musicians, orchestras, etc ...
Although SL shares SX's Apogee UV22 noise shaping/dithering its successor,
Apogee's UV22HR word-length reduction algorithm for preserving the detail of
20 bit audio for delivery on 16 bit media using standard domestic 16bit
playback equipment, is only found in Cubase SX. For the semi-professional
market, most likely to outsource the mastering phase of broadcast quality
projects, this omission is unlikely to be missed. Studios producing "Super
CD Encoded" projects are best advised to invest in Cubase SX.
The Spectral Analysis and Statistical functions of Cubase SX have been
omitted as has the (small) convenience of inbuilt MP3 encoding (however may
be added later as an upgrade). Numerous external shareware/freeware
solutions available on the net offering these functions for users wishing to
access such functions on a casual/experimental basis.
Cubase SL shares the (very capable) timestretch algorithms of SX (and its
conveniently integrated new "Close Gaps" feature ideal for use in
conjunction with hitpoint operations) however omits SX's highly advanced
MPEX time stretching technology developed by Prosoniq based on artificial
intelligence, neural network models.