Cubase products for sale | eBay.
Cubase LE is the perfect entry into the world of computer-based music production and offers powerful, yet easy-to-use software tools for all genres. Hello! I lost my Cubase LE 4 CD and I don’t know where can I download so that I can install it again, I have my e-soft licenser OK in my new.
Apr 22, · We cannot confirm if there is a free download of this software available. We recommend checking the downloaded files with any free antivirus. This software is a product of Steinberg Media Technologies GmbH. Also the program is known as “Cubase Studio”, “Cubase Studio4”, “Cubase Studio 4”. Pro Tools is a digital audio workstation (DAW) developed and released by Avid Technology (formerly Digidesign) for Microsoft Windows and macOS. It is used for music creation and production, sound for picture (sound design, audio post-production and mixing) and, more generally, sound recording, editing, and mastering Tools operates both as . Whatever you need, Cubase helps you to reach your full creative potential. From Hollywood blockbuster composers and Billboard Hot producers right through to keen beginners, the world of music production trusts the comprehensive feature set, straightforward tools and unrivaled sound of our acclaimed music production software.
Pro Tools operates both as standalone software and in conjunction with a range of external analog-to-digital converters and PCIe cards with on-board digital signal processors DSP. The DSP is used to provide additional processing power to the host computer for processing real-time effects , such as reverb , equalization , and compression  and to obtain lower latency audio performance.
Audio, MIDI , and video tracks are graphically represented on a timeline. Audio effects , virtual instruments , and hardware emulators—such as microphone preamps or guitar amplifiers—can be added, adjusted, and processed in real-time in a virtual mixer.
It features time code , tempo maps, elastic audio, and automation ; supports mixing in surround sound , Dolby Atmos and VR sound using Ambisonics. The Pro Tools TDM mix engine, supported until with version 10, employed bit fixed-point arithmetic for plug-in processing and bit for mixing.
Current HDX hardware systems, HD Native and native systems use bit floating-point resolution for plug-ins and bit floating-point summing. In , Avid switched Pro Tools from a perpetual license to a subscription model.
In , the two friends, sharing an interest in music and electronic and software engineering, decided to study the memory mapping of the newly released E-mu Drumulator drum machine to create EPROM sound replacement chips.
The Drumulator was quite popular at that time, although it was limited to its built-in samples. They started selling the upgrade chips one year later under their new Digidrums label.
The chips, easily switchable with the original ones, enjoyed remarkable success between the Drumulator users, selling 60, units overall. When Apple released its first Macintosh computer in , the pair thought to design a more functional and flexible solution which could take advantage of a graphical interface. Starting from the same year, a dial-up service provided by Beaverton Digital Systems, called MacMusic, allowed Sound Designer users to download and install the entire Emulator II sound library to other less expensive samplers: sample libraries could be shared across different manufacturers platforms without copyright infringement.
MacMusic contributed to Sound Designer’s success by leveraging both the universal file format and developing the first online sample file download site globally, many years before the World Wide Web use soared. With the release of Apple Macintosh II in , which provided card slots, a hard disk, and more capable memory, Brooks and Gotcher saw the possibility to evolve Sound Designer into a featured digital audio workstation.
They discussed with E-mu the opportunity of using the Emulator III as a platform for their updated software, but E-mu rejected this offer. Therefore, they decided to design both the software and the hardware autonomously. Motorola , which was working on its 56K series of digital signal processors , invited the two to participate in its development.
Brooks designed a circuit board for the processor, then developed the software to make it work with Sound Designer. A beta version of the DSP was ready by December The combination of the hardware and the software was called Sound Tools. Advertised as the “first tapeless studio”,  it was presented on January 20, at the NAMM annual convention. The system relied on a NuBus card called Sound Accelerator, equipped with one Motorola processor.
The card provided bit playback and Since audio streaming and non-destructive editing were performed on hard drives, the software was still limited by their performance; densely edited tracks could cause glitches. The core engine and much of the user interface of the first iteration of Pro Tools was based on Deck. The software, published in , was the first multi-track digital recorder based on a personal computer. It was developed by OSC, a small San Francisco company founded the same year, in conjunction with Digidesign and ran on Digidesign’s hardware.
The first Pro Tools system was launched on June 5, In , Josh Rosen, Mats Myrberg and John Dalton, the OSC’s engineers who developed Deck, split from Digidesign to focus on releasing lower-cost multi-track software that would run on computers with no additional hardware. Peter Gotcher felt that the software needed a significant rewrite.
Pro Tools II, the first software release fully developed by Digidesign, followed in the same year and addressed its predecessor’s weaknesses. In , Pro Tools 2.
With TDM, up to four NuBus cards could be linked, obtaining a track system, while multiple DSP-based plug-ins could be run simultaneously and in real-time. The operation was finalized in This change of architecture allowed the convergence of Macintosh computers with Intel -based PCs, for which PCI had become the standard internal communication bus.
With the release of Pro Tools 24 in , Digidesign introduced a new bit interface the 24 and a new PCI card the d The d24 relied on Motorola processors, offering increased processing power and 24 tracks of bit audio  later increased to 32 tracks with a DAE software update. A SCSI accelerator was required to keep up with the increased data throughput.
Digidesign dropped its proprietary SCSI controller in favor of commercially available ones. Pro Tools 5 saw two substantial software developments: extended MIDI functionality and integration in an editable piano-roll view in the editor; MIDI automation, quantize and transpose  and the introduction of surround sound mixing and multichannel plug-ins—up to the 7. The migration from traditional, tape-based analog studio technology to the Pro Tools platform took place within the industry:  Ricky Martin ‘s ” Livin’ la Vida Loca ” was the first Billboard Hot number-one single to be recorded, edited, and mixed entirely within the Pro Tools environment,  allowing a more meticulous and effortless editing workflow especially on vocals.
While consolidating its presence in professional studios, Digidesign began to target the mid-range consumer market in by introducing the Digi bundle, consisting of a rack-mount audio interface with eight inputs and outputs with bit, Pro Tools, offering a solid and reliable alternative to analog recording and mixing, eventually became a standard in professional studios throughout the decade, while editing features such as Beat Detective introduced with Pro Tools 5. Pro Tools LE, first introduced and distributed in with the Digi interface,  was a specific Pro Tools version in which the signal processing entirely relied on the host CPU.
The software required a Digidesign interface to run, which acted as a copy-protection mechanism for the software. Pro Tools LE shared the same interface of Pro Tools HD but had a smaller track count 24 tracks with Pro Tools 5, extended to 32 tracks with Pro Tools 6  and 48 tracks with Pro Tools 8  and supported a maximum sample rate of 96 kHz  depending on the interface used.
Pro Tools 9, released in November , dropped the requirement of proprietary hardware to run the software. Core Audio allowed device aggregation, enabling using of more than one interface simultaneously. In all other cases, it ran as Pro Tools 9 standard, with a smaller track count and some advanced features turned off. In response to Apple’s decision to include Emagic ‘s complete line of virtual instruments in Logic Pro in and following Avid ‘s acquisition of German virtual instruments developer Wizoo in , Pro Tools 8 was supplied with its first built-in virtual instruments library, the AIR Creative Collection, as well as with some new plug-ins, to make it more appealing for music production.
Each card mounted 18 DSP processors, manufactured by Texas Instruments, allowing an increased computational precision bit floating-point resolution for audio processing and bit floating-point summing, versus the previous bit and bit fixed-point resolution of the TDM engine ,  thus improving dynamic range performance.
Signal processing could be run on the embedded DSP, providing additional computational power and enabling near zero-latency for DSP-reliant plug-ins. Two FPGA chips handled track playback, monitoring, and internal routing, providing a lower round trip latency. To maintain performance consistency, HDX products were specified with a fixed maximum number of voices each voice representing a monophonic channel.
Each HDX card enabled simultaneous voices at AAX was developed to provide the future implementation of bit plug-ins, although bit versions of AAX were still used in Pro Tools Notable software features introduced with Pro Tools 10 were editable clip-based gain automation Clip gain , the ability to load the session’s audio data into RAM to improve transport responsiveness Disk caching , quadrupled Automatic Delay Compensation length, audio fades processed in real-time, timeline length extended to 24 hours, support for bit float audio and mixed audio formats within the session, and the addition of Avid Channel Strip plug-in based on Euphonix System 5 console’s channel strip, following Avid’s acquisition of Euphonix in Pro Tools 11, released in June , switched from bit to bit software architecture with new audio and video engines, enabling the application and plug-ins to fully take advantage of system memory.
The new audio engine AAE introduced support of offline bouncing and simultaneous mixdowns multiple sources; dynamic plug-in processing allowed to reduce CPU usage when active native plug-ins don’t receive any input. Two separate buffers were used for playback and for monitoring of record-enabled or input-monitored tracks.
Pro Tools workflow is organized into two main windows: the timeline is shown in the Edit window, while the mixer is shown in the Mix window. The timeline provides a graphical representation of all types of tracks: the audio envelope or waveform when zoomed in for audio tracks, a piano roll showing MIDI notes and controller values for MIDI and Instrument tracks, a sequence of frame thumbnails for video tracks, audio levels for auxiliary, master and VCA master tracks.
Time can be measured and displayed on the timeline in different scales: bars and beats, time or SMPTE timecode with selectable frame rates , audio samples, or film stock feet for audio-for-film referencing based on the 35 mm film format. Elastic Audio must be enabled to allow time stretching of audio clips. Audio and MIDI clips can be moved, cut, and duplicated non-destructively on the timeline edits change the clip organization on the timeline, but source files are not overwritten.
All other types of audio processing can be rendered on the timeline with the AudioSuite non-real-time version of AAX plug-ins. MIDI notes, velocities, and controllers can be edited directly on the timeline, each MIDI track showing an individual piano roll, or in a specific window, where several MIDI and Instrument tracks can be shown together in a single piano roll with color-coding.
Multiple MIDI controllers for each track can be viewed and edited on different lanes. Video files can be imported to one or more video tracks and organized in multiple playlists. Multiple video files can be edited together and played back in real-time. Video output from one video track is provided in a separate window or can be viewed full screen.
It also can show additional controls for the inserted virtual instrument , mic preamp gain, HEAT settings, and the EQ curve of supported plug-ins.
Audio can be routed to and from different outputs and inputs, both physical and internal. Internal routing is achieved using busses and auxiliary tracks; each track can have multiple output assignments. Audio, auxiliary, and Instrument tracks or MIDI tracks routed to a virtual instrument plug-in can be committed to new tracks containing their rendered output.
Virtual instruments can be committed to audio to prepare an arrangement project for mixing; track commit is also used to free up system resources during mixing or when the session is shared with systems not having some plug-ins installed. Multiple tracks can be rendered at a time; it is also possible to render a specific timeline selection and define which range of inserts to render. Similarly, tracks can be frozen with their output rendered at the end of the plug-in chain or at a specific insert of their chain.
Editing is suspended on frozen tracks, but they can subsequently be unfrozen if further adjustments are needed. For example, virtual instruments can be frozen to free up system memory and improve performance while keeping the possibility to unfreeze them to make arrangement changes. The main mix of the session—or any internal mix bus or output path—can be bounced to disk in real-time if hardware inserts from analog hardware are used, or if any audio or MIDI source is monitored live into the session or offline faster-than-real-time.
The selected source can be mixed to mono, stereo, or any other multichannel format. Multichannel mixdowns can be written as an interleaved audio file or in multiple mono files.
Up to 24 sources of up to 10 channels each can be mixed down simultaneously—for example, to deliver audio stems. AAF and OMF sequences embed audio and video files with their metadata; when opened by the destination application, session structure is rebuilt with the original clip placement, edits, and basic track and clip automation.
Track contents and any of its properties can be selectively exchanged between Pro Tools sessions with Import Session Data for example, importing audio clips from an external session to a designated track while keeping track settings or importing track inserts while keeping audio clips.
Pro Tools projects can be synchronized to the Avid Cloud and shared with other users on a track-by-track basis. Different users can simultaneously work on the project and upload new tracks or any changes to existing tracks such as audio and MIDI clips, automation, inserted plug-ins, and mixer status or alterations to the project structure such as tempo, meter, or key.
Pro Tools reads embedded metadata in media files to manage multichannel recordings made by field recorders in production sound. All stored metadata such as scene and take numbers, tape or sound roll name, or production comments can be accessed in the Workspace browser. Analogous audio clips are identified by overlapping longitudinal timecode LTC and by one or more user-defined criteria such as matching file length, file name, or scene and take numbers.
An audio segment can be replaced from matching channels for example, to replace audio from a boom microphone with the audio from a lavalier microphone while maintaining edits and fades in the timeline, or any matching channels can be added to new tracks.
Up to twelve Pro Tools Ultimate systems with dedicated hardware can be linked together over an Ethernet network—for example, in multi-user mixing environments where different mix components such as dialog, ADR, effects, and music reside on different systems, or if a larger track count or processing power is needed. Transport, solo, and mute are controlled by a single system and with a single control surface. Pro Tools software is available in a standard edition informally called “Vanilla”  providing all the key features for audio mixing and post-production, a complete edition officially called “Ultimate” and known as “HD” between and , which unlocks functionality for advanced workflows and a higher track count.
The starter edition of Pro Tools called “First” was discontinued in In mids, Digidesign started working on a studio device that could replace classic analog consoles and provide integration with Pro Tools.
Surround Support No. Virtual Instruments 3. Effects Library GB 10 GB. AAX native No. Cubase LE is ready to meet the demands of high quality songwriting and production projects. Offering up to 16 audio tracks, up to 24 MIDI tracks for external instruments and up to eight instrument tracks for virtual instruments, Cubase LE has enough power to record as many as eight audio channels simultaneously. Exporting stereo mixes as MP3s is also possible. Cubase LE offers outstanding composition tools for your music creation, no matter how much musical knowledge you have.
Whether you need inspiration or if you get stuck when writing a chord progression, the fast and easy-to-use Chord Pads and the Chord Track with its included Chord Assistant mean there are no restrictions in bringing your musical idea to life. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses.
Metropolitan Museum Cleveland Museum of Art. Internet Arcade Console Living Room. Books to Borrow Open Library. Search the Wayback Machine Search icon An illustration of a magnifying glass. Sign up for free Log in. Cubase 6. April ; 33 years ago Windows , macOS. Originally called Cubeat, later on Cubit, but changed to Cubase due to trademark issues, this was the successor to Pro It required use of an Atari SM monochrome monitor, which gave a then impressive resolution of x, at a rock-solid Cubase 1.
Macintosh, this version relied on the TDM system from Digidesign for the audio portion. Release on Atari Falcon It was an incredible solution for the price at this time. Later versions enable track mode using audio compression. The Arrange Window was redesigned. Cubase Audio 1. Cubase Audio 3. This release provides extended hardware support not featured in other versions of cubase. Recording multiple tracks at once was possible. One of the last versions of Cubase that is still compatible with Windows 3.
This version was upgradeable to Cubase Audio XT. One of the last versions of Cubase still compatible with Windows 3. VST also included standards for plug-ins and virtual instruments, which were then also incorporated into third-party products. Up to realtime EQs. Professional effects rack with 4 multi-effect processors. Plug in interface for external plug-ins, allowing external audio technology to be integrated into the Cubase environment.
Professional score printing, up to 60 staves per page, 8-voice polyphony. Had a bug limiting memory in the host system to 64 MB on the PowerMac. Was eventually resolved with a patch. Windows Cubase VST provided up to 32 tracks of digital audio,  equalizers in real time, a fully equipped effects rack with four multi-effect processors, a master section and an open plug-in interface for additional real time effects and mastering tools.
Cubase Audio VST 3. Other new features include updated implementation of DirectX plug-ins, allowing the user to organize the list of installed plug-ins according to personal preferences. Support for Recycle export files. REX files. This allows the use of ‘recycled’ sample loops right in VST audio tracks without using a dedicated hardware sampler.
This version introduced VST 2. VST24 3. Macintosh only. Cubase VST24 4. Downloadable as a free upgrade to owners of VST24 4. Introduced VST 2.
Boxer TTL S.C. (en adelante Boxer) con domicilio ubicado en: calle Manuel E. Izaguirre 19, departamento 502, piso 5, Col. Ciudad Satelite Municipio Nucalpan de Juarez, C.P. 53100, Estado de México, en términos de la Ley Federal de Protección de Datos Personales en Posesión de los Particulares (LFPDPPP) del Reglamento de la Ley Federal de Protección de Datos Personales en Posesión de los Particulares (Reglamento), y de los propios Lineamientos del Aviso de privacidad (Lineamientos), este acto notifica a los titulares de los datos personales que posee, la forma y los términos en los que sus datos serán tratados.
El tratamiento de datos personales del titular, tales como: nombre, correo electrónico, teléfono, código postal, género y edad que obren en poder de Boxer, tendrán como finalidades necesarias: la validación de recepción de promociones de Boxer.
Como finalidades secundarias del tratamiento de datos se encuentran:
Boxer de ninguna forma comercializará con sus datos personales en actividades distintas a las señaladas en las finalidades del presente Aviso de Privacidad.
Los datos personales en poder de Boxer son recabados de manera licita e informada y podrán ser transferidos a cualquier tercero con los que Boxer tenga o llegare a tener una relación jurídica, en caso de que así lo estime necesario, para ello se hará del conocimiento del tercero que los trate, las finalidades con las que fueron obtenidos y por lo tanto con las que los podrá usar y/o tratar, procurando su confidencialidad, seguridad física y el establecimiento de procedimientos a seguir en caso de vulneraciones. Aquellos datos personales que obtenga Boxer a través de sus Clientes (Usuarios), de terceros o de fuentes de acceso público, serán tratados con la misma finalidad con la que fueron recabados por el responsable original y con alguna de las finalidades descritas en el presente aviso de privacidad.
Boxer responde a cualquier autoridad de manera enunciativa mas no limitativa: financiera, judicial, fiscal, penal, administrativa, por lo cual, en caso de requerimientos de dichas autoridades podrá transferir los datos personales.
Para realizar este tipo de transferencias de datos no se requiere de su consentimiento por estar permitidas en términos de la LFPDPPP.
Boxer mantendrá en su poder los datos personales a los que se refiere el presente Aviso de Privacidad, hasta por un periodo de al menos 10 (diez) años, o durante el tiempo que la relación jurídica entre el Titular de los Datos y Boxer, ya sea directa o indirecta permaneza vigente.
Los datos personales tratados por Boxer tendrán un tratamiento confidencial y limitado a la finalidad con la que son recabados, procurando en todo momento su seguridad física, controles de acceso, idoneidad y mantenimiento constante en las instalaciones, repositorios, medios físicos, ópticos o cualquier otro medio en los que sean almacenados.
Cualquier vulneración a los datos personales sujetos a la LFPDPPP o a los repositorios físicos o electrónicos en donde éstos sean almacenados por Boxer, serán notificados en su página de Internet, a través de medios masivos de comunicación y/o directo al titular de los Datos.
Los titulares de los Datos, como titulares, tienen derecho a (i) acceder a sus datos personales en posesión de Boxer y conocer los detalles del tratamiento de los mismos, (ii) rectificarlos en caso de estar desactualizados, ser inexactos o estar incompletos, (iii) cancelarlos cuando considere que no están siendo utilizados conforme a los principios, deberes y obligaciones aplicables, u (iv) oponerse al tratamiento de los mismo para fines específicos. Estos derechos se conocen como los Derechos ARCO.
Para el ejercicio de sus Derechos ARCO por favor envíe la solicitud al correo electrónico firstname.lastname@example.org. La solicitud deberá contener la siguiente información y documentación:
Nombre y copia de identificación oficial vigente del titular y/o su representante legal. En el caso del representante legal se deberá acompañar del documento con el que se acredite su personalidad. Los documentos deberán ser escaneados y adjuntados al correo electrónico para verificar su veracidad.
La descripción clara y precisa de los datos personales respecto de los cuales se busca ejercer los Derechos ARCO, así como el derecho o derechos que se desea ejercer, lo cual podrá hacerse en el texto del correo electrónico o en un documento adjunto escaneado. Dicho documento deberá estar debidamente firmado al final del mismo y rubricado al calce de cada una de las hojas.
Señalar expresamente el deseo de recibir la contestación de Boxer a su petición a través del correo electrónico que usted nos proporcione.
Cualquier otro elemento o documento digitalizado que facilite la localización de los datos personales.
En el caso de solicitudes de rectificación de datos personales, el titular de los datos deberá indicar, además de lo señalado anteriormente, las modificaciones a realizarse y aportar la documentación que sustente su petición.
Tratándose de solicitudes de acceso a datos personales, procederá la entrega previa acreditación de la identidad del solicitante o representante legal, según corresponda.
Boxer emitirá la respectiva contestación y se tramitará la solicitud en los plazos establecidos por la LFPDPPP. En los casos de solicitudes de cancelación u oposición de datos personales, Boxer de procederá al bloqueo y supresión de los datos, no obstante los conservará exclusivamente para efectos de las responsabilidades nacidas del nuevo tratamiento.
Boxer se reserva el derecho de efectuar modificaciones o actualizaciones a los términos y condiciones del presente Aviso, para la atención de cambios legislativos, políticas internas, nuevos requerimientos para la prestación u ofrecimiento de servicios y prácticas del mercado.
Dichas modificaciones estarán disponibles para los titulares de los datos a través de su página de Internet. En el Aviso se incluirá la fecha de la última actualización del mismo.
Al proporcionar sus datos personales, usted otorga su consentimiento para que éstos sean tratados en los términos de este Aviso y con estricto apego al mismo, a la LFPDPPP, su Reglamento y a las disposiciones aplicables.
La fecha de la última actualización al presente aviso de privacidad: 19 de mayo de 2021.