The Automation panel provides easy access to Nuendo’s automation features, and the clear colouring makes it very easy to see the current automation state with a casual glance.To begin with, all of the controls for accessing Nuendo’s automation features, such as the Return Time parameter, previously on the Project window’s toolbar, and the Automation Reduction Level preference, have been placed into the new Automation panel. These will be of particular benefit to those using one of Euphonix’s control surfaces, such as the MC or System 5 MC. This is important because mixers, especially in post-production, will need to deliver mixes as stems, where a stem is basically a submix of a number of related audio tracks. For some time, one of the biggest criticisms of Nuendo’s mixer has been the lack of flexible bussing, and specifically, of a way to route the output of a Group to the input of an audio track. The funny thing is that, as you’ll see from the rest of the review, Steinberg are actually doing a great job of tailoring Nuendo to suit the needs of the post-production professional, without needing to confuse the issue further. Arguably this has always been Steinberg’s problem in separating Cubase and Nuendo - the company sees both products as flagship products for different markets, even though they’re the same application at heart. It’s somewhat perverse that, even though Nuendo is more expensive than Cubase, you still need to spend more money to get the functionality included with the less expensive application.
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I think that Nuendo is sufficiently well-known at this point that a post-production professional is not going to overlook the program just because it also comes with score and drum editing features. While the motive is presumably to further distinguish Nuendo’s post-production abilities from Cubase’s music creation heritage, it seems a bit clumsy to do this now by removing features that have been part of Nuendo for over four years. I have to say that I really don’t understand what Steinberg hope to achieve by introducing the NEK.
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However, Steinberg’s rather amusing position (as presented by moderators on Nuendo’s official forum) was that the upgrade price for Nuendo 3 users upgrading to version 4 was £270 $399, but you could opt to pay less if you didn’t need certain features. As many users have pointed out, it seems slightly odd that an upgrade removes features you already paid for unless you pay another £100 $150 to get those features back again. For existing Nuendo users, Steinberg offer two choices of upgrades to Nuendo 4: one with the NEK for £270 $399, and one without for £170 $249.
(A side note about the Score editor in Nuendo 4 is that you can now import and export MusicXML files, which is pretty neat, as it provides a way to share data with other score-writing applications, keeping symbols and other articulation markings intact.) After raising the cost of Nuendo to £1450 $1999 with version 3, Steinberg have now lowered that price to £1250 $1799 for version 4, with the NEK costing an additional £200 $299. It’s customary to start a review of a new upgrade by looking at the features that have been added, but in this case we need to take a moment to discuss features that have been removed. For more information about the features that have been inherited from Cubase 4, be sure to read Sam Inglis’s review in last December’s SOS.
Nuendo 4 incorporates nearly all of the features from Cubase 4, and perhaps the most significant of these new features for Nuendo users will be the Media Bay, which provides a comprehensive way of databasing and cataloguing audio assets. Nuendo 3.1 added features for audio pull-up and pull-down, and Nuendo 3.2 introduced the Control Room, which provided comprehensive monitoring and talkback facilities without the need for an external mixer. With Nuendo 3, Steinberg really made an effort to add features to the application that would appeal to the post-production market, such as AAF support for interoperability with other audio workstations, support for playing back video via dedicated hardware, and compatibility with tools such as Gallery’s ADR Studio.
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