It also solves the problems associated with trying to produce a surround sound mix that will remain convincing (or as convincing as possible) irrespective of the surround configuration and speaker layout used for playback. For those who don’t know, Dolby Atmos is a multichannel surround sound technology that includes height channels alongside the regular front-back/left-right channels. There’s a small video window for both the old and new versions of the video file that allows you to see the visual changes, if any.Nuendo 11’s biggest headline-grabber is that it now has a built-in Dolby Atmos renderer. The ReConform window allows you to import the EDLs from the earlier and most recent edits, then compares the differences in the Change EDL window. Now with ReConform, the process of visualizing and adapting your Nuendo project to the EDLs (Edit Decision Lists) of newer versions is a breeze. The scenario is always the same: You receive what the editor assures you will be the final cut of the project, only to get a revised final cut the next day, or even a new, new, new final cut weeks after that. Also, Wwise and Perforce do not come with their own licenses, so they must be purchased separately. While Wwise is Windows-only, it’s ability to wrangle media from Nuendo is not platform-specific, meaning that you can run Nuendo on either a Mac or Windows-PC while running Wwise (or other middleware program) on a separate PC. Plus, the Perforce version control compatibility ensures that the DAW and the middleware are always referencing the most current versions of the shared media. This kind of two-way communication is really amazing to experience. (Notice the channel names in Nuendo are the same as the files imported into Wwise.) But the communication to the middleware doesn’t stop there, for you can also tell Wwise to open and edit an audio file in Nuendo, or even open an entire Nuendo project. Once I’d set up the Export window in Nuendo, all I had to do was hit the Export button and, voilà, the Audio File Import window appeared on my PC and automatically linked all the exported audio files. The Nuendo Channel Batch export window (left, Mac), and Wwise Audio File Import window (right, Windows.) You can either drop-and-drag media onto the Game Audio Connect window, or you can use the Nuendo powerful Channel Batch Export feature to render your audio and automatically import it directly into Wwise.įigure 1. Admittedly, I’m not a game developer, but after installing Wwise and Perforce (version management software) and connecting them to Nuendo, the advantages soon became clear. So Nuendo 7 has a new feature called Game Audio Connect that facilitates the connection to middleware. Programs like Wwise from Audiokinetic act as a media terminal between the DAW and the game engine.Īfter installing Wwise and Perforce (version management software) and connecting them to Nuendo, the advantages soon became clear. To that end, a new type of ‘ware’ has been added to the DAW ecosystem: middleware. Whether they’re played on a smartphone, game console, or modern multicore computer, they all need music and audio that is commensurate with the dazzling motion graphics. The video game industry is now a multi-billion (that’s billion with a ‘b’) dollar business. However, the NEK 7 adds many powerful features like scoring, VST Expression, List and Drum Editors, Chord Track and Chord Pads, Groove Agent SE 4 (with Acoustic Agent), Beat Designer, and the Retrologue, Prologue, Spector, and Mystic VST Instruments, all for the very reasonable price of $150.00. Previously, these popular tools only came in the NEK. Unlike earlier versions, Nuendo 7 now comes with the HALion Sonic SE2 and Padshop synth plug-ins. Even a handful of these features would make upgrading to Nuendo 7 a no-brainer, but since all of them were reviewed in our Cubase Pro 8 review, this review will concentrate on the new Nuendo-only upgrades. Now with Cubase in its eighth iterations (Cubase Artist and Cubase Pro), Nuendo 7 gets many of the same features like VCA Faders, Render-in-place, VST Bass Amp, new and revised multiband effect plug-ins, ASIO-Guard 2, VST Connect SE 3, and more. Later, the Nuendo Expansion Kit (NEK) gave users the synths and scoring found in Cubase. But Steinberg soon realized that making the interface of both products identical gave former Cubase users a very familiar landscape upon which to operate. Nuendo wvas built for the post-production market and didn’t need all the synths and scoring capabilities of Cubase. When Nuendo was first released several years ago, it looked a lot different from its music/producer-targeted brother, Cubase.
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