25 years at Steinberg

[memyselfandus]

25 years at Steinberg (translated)
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(MIDI Composer of Micro Music 1984)

Another sequencer I also developed yet for Roland, who sold the program with the known MPU four hundred and first This program pursued already strictly the tape-based approach. My (spread moderately) successful program at the time was probably the DX7 Bank Loader. But here the very few who bought the program at our company Micro Music. Hacking was too easy at this time.

I also once made a video of "sequencer 64", the C-64 passes, with its 3 votes (!) The then hit "Major Tom". I often get from my former customers, data cassettes on which I pride the pieces were presented, which were made with the program. Whole Bach fugues and Charlie Parker - numbers are then brought to life with the step input.

(Sequencer 64 of Commodore 1983 - Music part in the final third))



ATARI (the first Steinberg-years)

1985 I'm imposes on the canvassed Manfred, and had hired Steinberg Research. To get started The prospect of the first Atari Developer machine was too tempting. Since I had played a few times with man at sessions in Hamburg "Logo" mid-seventies and man was a truly gifted soloist on the Moog synthesizer, the chief-feeling man never came on.
Since it already has a C-64 sequencer Steinberg gave (Charlies PRO-16), I could only times only with my "educational" projects "Piano-partner" and "Guitar partner" end up in the range.

Steinberg had at that time with me exactly 5 employees.

Since Charlie Steinberg but the former "cash cow" PRO-16 had to keep it alive, I could concentrate fully on the ATARI and have within a few months the first version of the "Twenty-Four" (later also PRO-24) had done. You could then, in fact, create a self-taught and lone in the shortest time a commercial program. For me handed a textbook for the programming language "C" and the developer kit that came with the Atari ST.

A particularly gifted programmers I've never actually been and have always just appropriated me what you just required for the implementation of musical features. I played at the time still comparatively much itself and the programs used to write songs.
Since we were the first company that could provide a music program for the ATARI that preorders were high. The pirated initially talked also limited, as was "24" sold with a dongle.




Main Screen from the PRO-24 (here Version 2.1 1987 plays our previous fair demo)

Since no one could not foresee at Steinberg and also myself whether the ATARI would prevail at all (there was even the Commodore Amiga), I had agreed me a handshake with man on a 25 percent revenue share. My Status Steinberg was actually over the entire 25 years more or less vertragslos, there were no written agreements on my copyright to Cubase, only verbal agreements. For example, the original Cubase team has a revenue-participation waived in the hope of a future corporate participation.

This was followed by 3 "fat" PRO-24 years, as the company grew rapidly now and chronically navigated the financial abyss, I let myself wide strike of man, for no consideration instead of 25%, only 15% royalties to take (man, "so that the can get their money employee with his wife and children ... ") Unfortunately, this generosity was never rewarded, as man and Charlie later have steadfastly refused me to join the company.

With the PRO-24, we have also laid the foundation for our present enormous user community internationally. In principle, become independent as a project with the size of the customer base, since more than 80%, only the (partially genius) must be implemented customer suggestions.

After C-Lab had the Twenty-Four vigorously taken the market shares with the Notator, was taken next Cubase in attack. Since we wanted to make a new complex graphical user interface, the first time a team was assembled with fixed workspaces:

I have the engine of the PRO-24 for the new program improved (in principle was only placed on the data designs the PRO 24 to another user interface, the part or container structure with playback parameters of the PRO-24 / Cubase is then been copied by all competitors and continues to be found in all popular programs again.)
Wolfgang Kundrus took over the entire handling in the Arrange window
Stefan Scheffler - freshly hired by the school - programmed the Key and List Editor
Chris Mercer has initially made ​​the score editor, from the 2.0 version of the Michael Michaelis has taken
Charlie Steinberg was initially involved only peripherally rather to Cubase, he has the MIDI Kernal - the MROS contributed.

Back then, we all earned very little money, but the job was so interesting that we could not save us from applications.


CUBASE ATARI (here 2.1 version)


The Cubase versions 1:00 to 3:00 were all pure MIDI versions and the marketing battles were conducted by timing, quantize, Sync and speed.
My position in the team has always allowed me to happiness, to contribute in addition to pure MIDI engine also "esoteric" areas such as Groove and Quantize match, the IPS (Interactive Phrase Synthesizer), Style Trax and the Logical Editor."

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[CTStump]

Thank's for sharing.

I this day and age it's quite unique for a coder to stay with one company that long... in any software for that matter.

What kinda bugs me though, is when a developer leaves(for greener grass or other issues) the catterwalling of false claims that they have taken the recipe with him/her and then comes the outcry and dismay from the chorus of lisencee's feeling as though it's "Personal".

Some platforms continue while others fall by the wayside but one thing is always true in life and in software... if it works, it WORKs.

A lot of folks can say that about Steinberg.