Steinberg’s Nuendo 11 DAW promises “a new gold standard for professional audio production”

Billed as “a new gold standard for professional audio production,” Nuendo 11 is the latest version of Steinberg’s top-flight DAW.

As you might expect, many of the new features are aimed at the pro market - ADM authoring for Dolby Atmos, for example. There’s also a new metering plugin suite known as SuperVision - this contains 20 different display modules for level metering, loudness measurement and analysis - and a Netflix Loudness Meter and Intelligibility Meter.

There are also Job Queues, which enable engineers to enter up to 20 different tasks in a list, and a number of sound design tools have been enhanced. SpectraLayers One, meanwhile, is a simplified version of SpectraLayers Pro 7, Steinberg’s spectral editing software. This gives you a spectrogram view of your audio tracks and includes selection, editing and display tools.

Steinberg Nuendo 11

(Image credit: Steinberg)

Some of these new features are the same as those found in Cubase 11, Steinberg’s other recent DAW release - remote recording plugin VST Connect SE 5 and Scale Assistant, which lets you lock to a specific scale, are also common to both applications. Improvements have also been made to the key and score editors, and Nuendo 11 comes with new sound content, too.

Steinberg’s Marketing Manager for Nuendo, Luis Dongo, commented: “We’re delighted to be launching Nuendo 11 during its twentieth anniversary year. It’s a major update and it has a lot to offer.

"Offering the ability to create content for Dolby Atmos, Netflix approved loudness metering, studio-grade instruments as well as the many other additions and improvements, Version 11 is a giant leap forward that provides new opportunities for producers and engineers working on commercial audio productions.”

Find out more on the Steinberg website. Nuendo 11 costs £859/€977 or €999 if you want the boxed version.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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