Steinberg
Pro Series
Pro-16
Many of us will know the story of Steinberg, a German company conceived in 1983 by Manfred Rürup and Karl Steinberg. They were one of the pioneers of the MIDI sequencer, with their first commercial product being Steinberg Pro-16, a 16 track MIDI sequencer released for the Commodore 64 in 1984 under the name of Steinberg Research. Thus began Steinberg's musical legacy.
Pro-24
In 1986, with the arrival of the Atari ST and its built in MIDI ports, Steinberg adopted a new MIDI sequencer for the TOS platform, releasing Steinberg Pro-24, a 24 track MIDI sequencer which went through a few iterations closing out at Steinberg Pro-24 III in 1988.
Pro-12
Steinberg renamed itself in 1987 to Steinberg Soft- und Hardware GmbH, and late in 1988 remained focused on the Atari ST, offering a cut down version of its Pro-24 in the shape of Steinberg Pro-12 (aka Steinberg Twelve), a 12 track MIDI sequencer.
TrackStar
Interlude, post the initial Pro-24 for the ST, Steinberg released another MIDI sequencer called TrackStar for the C64. Aimed at the novice, it was released in '86 as an 8 track sequencer. It worked in two halves, the first 4 tracks were dedicated to synth parts, and the latter 4 tracks dedicated to drums.
Cubase
Cubase 1.0
In 1989 Steinberg were set to release Cubit, a redesigned and more powerful MIDI sequencer on the Atari ST platform, offering 64 tracks. The name Cubit, sometimes mistaken for Cubeat which came later, was allegedly formed from the literal meaning of 'from the elbow to the end of the middle finger,' to indicate the eye, mouse and computer relationship, literally meaning what you touch is what you move. Yet given there was a database software provider with an existing product with the name Cubit, Steinberg quickly changed the name to Cubase prior to release. Myth or not, it is said the French were also not keen on the name Cubit, with the French words Cul Bitte together loosely translating to a playground giggling 'Arse Cock'. Steinberg Cubase 1.0, built on the MIDI Realtime Operating System (MROS), offered arguably a more intuitive linear style of sequencing with more powerful arrangement and MIDI editing. This linear template can be traced to DAWs today.
Cubase 1.5 / 2.0
Early on in 1990 Steinberg released Steinberg Cubase 1.5, just 6 months later and introducing the Dynamic MIDI Manager, and again a little later in that year launching Steinberg Cubase 2.0, which introduced the Interactive Phrase Synthesiser (IPS) as well as score printing.
Cubeat
Again in the same year, an entry level version of Cubase was offered. Enter Steinberg Cubeat, still offering 64 tracks of MIDI sequencing, just without some of the bells and whistles like Drum Edit and Score Edit. Incidentally it was 1990 when Cubase became available for the Apple Mac, with initially Cubase 1.0. Nevertheless Cubeat 2.0 for Atari followed in 1991.
Cubase Lite
The first quarter of 1992 saw Cubase Lite released. Another trimmed down version of Cubase on the same lines as Cubeat, its apparent bigger brother. Yet Cubase Lite offered Score Edit, but with a calorie saving 16 tracks.
Cubase 3.0 / 3.1
The red machine marched on, and '92 saw Steinberg bringing to market Cubase on Windows for the PC, as well as Steinberg Cubase 3.0 for the ST range, an overhaul of previous iterations of Cubase incorporating the Modules menu. This version was ultimately updated to Cubase 3.1 (not 3.01, a legitimate version preceding in 1992) which came to market in '93, enhancing Mixer functions and general Editor functions. Version 3.1 ended with Steinberg Cubase 3.1 Special Edition released the first quarter of 1996, circa the time I purchased this version new (see Steinberg Cubase Lineage Table below). This timeframe makes it the last packaged Cubase for the TOS platform, albeit not the last versioned release. It offers the same features as the regular 3.1, but with the additional Falcon MIDEX driver, extra fonts and MROS Switcher.
Cubase Score
Cubase Score came along early 1994 and offered extra MIDI tracks, 128 tracks over Cubase's typical 64. As the name suggests, it also facilitated score printing, ironically introduced from Cubase 2.0 before it, but added a more integral scoring design and extra modules, such as the Arpeggiator, General MIDI and SysEx modules, as well as enhanced drivers for the Falcon. Cubase Score 2 followed in the same year, ending in version 2.0.7.
Cubase Audio
Cubase Audio / Cubase Audio CBX / Cubase Audio 16
Cubase Audio was released for the Apple Mac in 1991, and relied on the Digidesign Sound Tools digital recorders for the audio recording element at that time. In 1993 however, Steinberg released Cubase Audio for the Atari TOS line of computers, offering two distinct lines. One which supported the Yamaha CBX-D5 by way of any Atari TOS computer, and one which could take advantage of the Atari Falcon's digital recording ability.
Essentially Cubase Audio for the Falcon (unofficially Cubase Audio Falcon 1.0) was the same version which worked with the Yamaha CBX-D5 (unofficially Cubase Audio CBX 1.0), the CBX-D5 having also been released in 1993. The difference was the Atari and Yamaha CBX version had an extra set of files, the D5_MIX / D5MIXERS files, and required an additional piece of hardware, namely the Steinberg DMA to SCSI II to be able to connect a Yamaha CBX-D5 and a hard drive or two.
With the Atari Falcon, Cubase Audio offered D2D (Direct to Disk) recording by way of the Falcon's internal DSP, or externally courtesy of the additional FDI file, as well as MIDI sequencing.
Cubase Audio 16 (aka Cubase Audio Falcon 2.0) was released in 1994, and as its name suggests, doubled the original 8 tracks of audio to 16 tracks available for the Atari Falcon. Cubase Audio for the Falcon ended with version 2.0.6.
In 1996 an updated version of Cubase Audio marketed for Atari and the Yamaha CBXs was released, that being what is known as 'Cubase Audio CBX 1.1'. A version which branched off of the initial Cubase Audio for Atari and Yamaha CBX-D5, this version incorporated enhanced compatibility with the Yamaha CBX-D3, supported by the additional CBX-D3.DLD file which came with the software. The CBX-D3 was a cut down version of Yamaha's CBX-D5 which was released in 1994. Thus this version ended Cubase Audio for the Atari platform.
As mentioned, both Cubase Audio and Cubase Audio 16 for the Falcon, and what is referred to as Cubase Audio CBX are not vastly different products for the Atari platform, 8 to 16 track major update aside. Refer to Cubase - a music family article which was written the time CAF 1.0 was released.
Steinberg Cubase Lineage for the Atari TOS Series
All dates have been researched, verified against the software and / or against the once Cubase User Club and Basique (Club Cubase UK) periodicals. The prominent Commodore 64, Apple Mac and PC software versions are for context of Atari's history with Steinberg and Cubase only. Therefore, not every software title and version for these platforms are, or will be catalogued.
*The software date for the Special Edition is based upon Cubase 3.1. However I have now acquired all Basique magazines which once catalogued Cubase versions across platforms, bi monthly, and during the years of 1993 to '99. The first catalogue entry pinpoints the Special Edition as a package, to March / April 1996.
Killing Me Softly
Steinberg released many other music and MIDI related software titles for the Atari range, however those of particular interest include the Desktop Mixing DMP7, X-Syn, Avalon, Tango, AudioSpector, SoundWorks and the SynthWorks series. As a side note, like C-Lab, Steinberg had an educational series which included The Ear, Happy Music Atari MIDI Studio and MusiCal for example.
Steinberg Desktop Mixing DMP7
In 1987 Steinberg were commissioned to produce a software editor for the first affordable digital mixer from Yamaha, namely the DMP7. The Desktop Mixing DMP7 software allows graphical control over the DMP7's mixer functions via MIDI Time Code (MTC), and SMPTE via Steinberg's own SMP 24, or via its Time-Lock interface. A very forward thinking combination opening up the world of mixing automation via an Atari ST.
Steinberg X-Syn
X-Syn, initially an editor / librarian from Beam Team from around 1987. It has a central editor programme, which can be extended in a modular manner with the purchases of extra instrument modules, thus being universal. Instruments supported include the Casio CZ series, Yamaha DX7 and TX7, DX21, DX27 and 100, the Yamaha TX81Z and FB01, Roland JX-8P, D-50, Ensoniq ESQ-1 and the Oberheim Matrix-6... In 1988 Beam Team was acquired by Steinberg, and so their software suite including X-Syn was developed and distributed under our German friends thereafter.
Steinberg SoundWorks
Steinberg SoundWorks, a series of dedicated MIDI sample editors. Further reading can be found here.
Steinberg SynthWorks
Steinberg SynthWorks were a series of dedicated editors / librarians for the likes of the Roland MT-32, D-10, D-20, D-110, Casio FZ-1 synth / sampler hybrid, Kawai K1, Yamaha SY77 and EMU Proteus to name but a few. Of course like all editors and librarians, the idea was to provide a mechanism for editing and saving patches in an organised manner for recall. It can be seen as the sister series to SoundWorks.
Steinberg Avalon
Late in 1989 Steinberg Avalon is introduced. Avalon being a sample editor, followed up in '91 with Avalon 2. More can be read here.
Steinberg Tango
Circa 1990 Steinberg acquired the rights to further develop Tango, an improviser, or if you will auto accompaniment software, originally created by musician Henning Berg for the Atari ST. Steinberg went to work giving it a polished UI, and in 1992 began distributing it as a part of the Steinberg suite of software for Atari. Based on algorithms, its aim is to listen to what the musician is playing, then responds musically by way of an answer. These 'sessions' can be saved as a MIDI file, or utilised by MROS and recorded directly into Cubase. In later years Henning Berg kindly released Tango 1.03 for the Atari ST as freeware.
Steinberg Spirit
In 1992, and with another mixing automation product, Steinberg released Steinberg Spirit for the Soundcraft Spirit Auto mixing desk. As you would imagine, Spirit allows for software control over the Soundcraft Spirit Auto's VCA MIDI capability. This gives the user a nice interface for example, to record and sync fader movements over MIDI, but moreover the ability to edit fader movement, and with MROS compatibility, nice!
Steinberg AudioSpector
In 1994 Steinberg released AudioSpector for the Atari Falcon, a realtime spectrum analyser. It allows the measurement and analysis of analogue and digital audio incoming, of course, to the Atari Falcon.
Rock Hard
They're rock hard dad! Indeed, so what of Steinberg's interesting hardware offerings?
Steinberg SMP 24
The Steinberg SMP 24 was released circa 1987, offering Steinberg Pro-24 running on an Atari ST SMPTE connection, as well as an extra 4 MIDI outputs, and 2 MIDI inputs. It includes tape transport controls for controlling Pro-24, as well as an LED display for displaying the SMPTE clock, dreamy! It was designed to work with Pro-24, hence the naming convention. From 1989 however Steinberg released a new EPROM, namely version 1.6. What is special about this new EPROM? Well, providing the internal EPROM is upgraded to version 1.6 onwards, the SMP 24 is able to work with MROS, and therefore Cubase which was released in the same year of '89 . Version 1.65 of the SMP EPROM can be found here.
Steinberg Time-Lock
Late in 1987 Steinberg released the Time-Lock interface. A pure and more affordable SMPTE sync device initially for Steinberg's own Pro-24 post version 2.1, and later also Cubase. There are 3 versions of the Time-Lock, an early version with the early Steinberg logo, the version opposite, both of which have SMPTE in and out and DIN Sync connections, and a later red livery version without the DIN Sync. All versions connect via the Parallel and second joystick ports.
Steinberg Mimix
Again with mixing automation, Steinberg announced Mimix in mid 1989. Another 'mixing editor' which can control a wider range of analogue mixing consoles via VCA, MTC and SMPTE from its hardware. Mimix is modular, and can be expanded to comprise of an 8 channel VCA module (expandable up to 8 modules), a 64 channel fader reader (FMC 64), and an 8 channel bypass switch box (MBS 8). Along with the Mimix software, ultimately giving the user a wealth of autonomy via the Atari ST, amazing for the late 80s!
Steinberg 16bit D/A
Remaining busy in '89, Steinberg release the 16bit D/A board for Steinberg Avalon, allowing for samples to be instantly auditioned in stereo at 16-bit from the software, without the need for sample dumping to a sampler to audition in 16-bit.
Steinberg MIDEX / MIDEX+
Along came the Steinberg MIDEX in 1990, that's right, a MIDI and key expander for Steinberg's own Cubase, hence MID-EX. It connects to your Atari's cartridge port and of course adds extra MIDI ports (2 in / 4 out), and 4 cartridge or key slots. The MIDEX+ is exactly the same, but adds SMPTE connection.
Steinberg SMP II
With the introduction of Steinberg Cubase 3.0, in the same year of 1992 the SMP II was released. An 'evolution' of the SMP 24, shifting towards that beautiful livery, that Steinberg red. It omitted the tape transport controls of the SMP 24, however when such machines have to be close to the Atari anyway, I for one didn't think it was too much of a loss. Like the SMP 24 however, it of course came with SMPTE connection, as well as an extra 4 MIDI outputs, 2 MIDI inputs, and a larger LED display. Out of the box it is compatible with Steinberg's MROS products, which of course includes Cubase.
Steinberg DMA to SCSI / DMA to SCSI II
Early on in 1993 Steinberg released the DMA to SCSI, followed by the DMA to SCSI II. What are they? They are DMA to SCSI convertors, allowing for the Atari's DMA / ACSI port to be be split into a SCSI chain, and a DMA chain. The DMA to SCSI II is used primarily to connect an Atari ST using Cubase Audio to the Yamaha CBX-D5, also launched in early 1993, or the Yamaha CBX-D3, in turn released in 1994. The DMA to SCSI does not work with the aforementioned Yamaha units. Other differences between the DMA to SCSI and DMA to SCSI II are a slight update in the LED design, and a power supply increase from 5v to 7.5v DC.
Steinberg Falcon Anolog 8
With the advent of the Atari Falcon and Steinberg Cubase Audio, along came the Falcon Analog 8 in 1993. Produced by SoundPool, the FA8 is by definition a 16-bit DAC, and provides 8 individual analogue outputs by way of line level RCA phono connectors, for notably but not exclusively, Steinberg Cubase Audio.
Steinberg Falcon Digital Interface
Like the FA8, Steinberg introduced the Falcon Digital Interface in 1993 offering digital connectivity. Again produced by SoundPool, it provides 16-bit and 24-bit digital input and output at a sample rate of 44.1 and 48 kHz. Early versions were compatible at 16-bit only. Where the Cubase Audio Clock (C.A.C) provided with Steinberg Cubase Audio gives the same sample rate frequencies, the FDI adds both optical and coaxial digital connections. Like the C.A.C, the FDI extends the Falcon's DSP.
Steinberg ADAT Computer Interface
Not exclusive to Atari, the Steinberg ACI released in 1993 allows connection of your computer to an ADAT. With regards to Atari, this would be predominantly for Cubase Audio but not exclusive to, and the Atari Falcon via the appropriate ACI.DRV driver provided with CAF. Speculatively, providing the driver is placed and activated in MROS, it would be hard to find a reason why any Cubase and an ADAT would not be able to connect, MROS version compatibility aside. It allows synchronisation between Cubase Audio and an ADAT's digital sync, transmitting MIDI Machine Control (MMC) messages, giving control of the ADATs transport functions.
Steinberg Atari MIDI-3
Here we have the Steinberg Atari MIDI-3 which was released in late 1995, and came in Steinberg red, or grey. Also available on the PC platform as the Steinberg PC MIDI-3 on Windows 95, and as the name suggests, is a MIDI expander which connects to the Parallel port. It provides 3 MIDI outs, and 1 MIDI in via MROS and the STMI3_5.DRV driver, for ultimately Cubase. Third parties, namely Barrie from Keychange later configured and sold the PC version via the internal jumpers to work with Atari TOS systems, calling it the 'Proper Job' after Steinberg dropped support for the Atari platform.
This article is not a complete history, nor is it a complete catalogue of Steinberg's products for the Atari platform. It merely serves to highlight what I consider are the more interesting products which were available from the same for nostalgic and tributary purposes.
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