Mark Roos on Composing with Cubase | Steinberg Spotlights

Mark Roos on Composing with Cubase | Steinberg Spotlights



you I'm Mark Reuss New York city-based composer and I'm currently working on writing for blacklist murder one young and the restless' Kardashian's getting coffee with comedians with Jerry Seinfeld and I do that with Cubase and with Wavelab my setup here is all Steinberg everything that I have is tied in together so I used the ur8 24 from my audio interface for all of my recording I have it set up here so 1 through 8 everything is already wired so all of the mics are all set up they're ready to go I never have to switch anything all I have to do is just turn them on and hit the appropriate bus for the recording and I'm ready to go otherwise I'm using the continuous controller 1:21 and I also use the you are 22 for an audio separate audio interface and the you are 44 for my MIDI interface and then I used the PD pad controller for all of my groove agent and drum based patterns from Steinberg how I got my start as a composer was I was in a band way a lot of people are and I was bright writing music for a lot of commercials locally based companies in Utah and I got a call from the pro rodeo association asked me to write a spot for them and I was quite young I didn't know anything so I called my local music store and said how much did I charge and they said well why don't you charge $50 I thought that was a lot of money that was actually how I got my start so I started using Cubase about 12 years ago when I read an article on Hans Zimmer that he had stated that he was using Cubase and I thought well if he's using it I should check it out and so I did and my first Cubase was about 12 years ago I was a Cubase 3sx so I used Cubase for all of my tracking all of my recording and all of my MIDI and once I get done with that then I pull it into Wavelab everything that I send out goes through Wavelab as a mastering I am mastering pretty sets on everything for wave up it's amazing that's what I that's why using the Steinberg engine it just sounds amazing there is an audible difference between the Steinberg sound and other dogs other competing dogs so I can actually tell what da has been used based off of just the sound and with the Steinberg engine it just sounds so much better and I don't know what they've done but my clients notice the difference and they love the way the stuff sounds and it's gotten to the point where very often their workflow is sped up because I'm delivering to them exactly what they need and there's no edits there's not any boom eNOS and the bass there's nothing brittle about the way the highs are sounding which is atrocious in digital so really Steinberg products are my secret weapon the tools that Cubase and Steinberg has come up with are completely integrated and so it makes my workflow so much faster and so much easier so that I'm able to actually focus on creating and delivering the very very best products for my clients some of the tools that I use that all work together are for example pad Shop Pro which works seamlessly with steinberg's kaleidoscope which is new in mine and then I also use it with Holly on 6 I have a sample library inside of the media bay of probably 300,000 sounds they're all organized and customized I do a lot of field recording and so I'm able to pull any of those into any of my projects either directly into the project window or I can pull them into manipulate them in Patchogue Pro or in kaleidoscope and very often I actually just do all of my editing of the waveform specifically inside of the waveform using the render function I actually own and use everyday all of Steinberg's add on additional content I have and purchased every single thing that they have available that they make and I use it every single day again Steinberg is an integral part of my sound and it is the reason why people keep coming back so I had an opportunity to work with fellow composer Wayne Hankin on the good dinosaur Pixar film we had to create character that had dialogue without using any words we had to use all instruments so we recorded a whole bunch of ancient old flutes in all kinds of different scenarios and situations based off of the film using cue bases cycle recording we were able to create an uninterrupted creative environment where Wayne was able to be able to perform and record multiple takes of different situations for the character in the film so that we were able to deliver the emotional impact that was needed so one thing that I do and a lot of my pop productions is that once I get the actual main keyboard part down I go into the project window go go into chord track create chord symbols and then I create in a different MIDI channel and then I use that and actually create an accompaniment almost instantly that's piano based pan that off to the left at you know 75% off to the left and all of a sudden I have this really really full sound and I didn't play one chord so let me show you just really quick what the core track is doing here so here's my original piano you know this play is for you okay up here above is my core track now the core track you can see automatically intakes and detects all of the chord changes that have been occurring in this MIDI piano track okay what I've done is I've created an additional MIDI track and I'm using the grande 3 plug-in here and I've changed it so I'm actually using the Yamaha CP 80 sand and the reason I'm doing that and I've assigned it for the core track is so that I can hear on a difference on a Tambor basis what it's doing so here's my piano now I'm going to add the core track and bring it in for you so you can hear and then another really great thing that you can do with the core track is it if you watch here you have current court display and it will show and change according what's happening inside of the MIDI editor and I can change any of it Sant any of the chords on the court track as well so that's without the court track this with it in now you can see how it actually goes in in the whole production it's the core track this is the core track out so you can hear a big difference that's one of the things that I use that makes my composition stand head and shoulders above the crowd some of the biggest challenges that I experienced in writing music for television and for commercials is being able to understand exactly what the client wants and that means I need to be quiet and I need to do a lot of listening but once I actually hear what they're saying and also listen to what they're not seeing I'm able to use Cubase and Steinberg's products to deliver exactly what they want and that is an awesome feeling you

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