1984

Two fledgling programmers, Karl Steinberg and Manfred Rürup set up shop in Hamburg Germany to market a self-designed music program for the Commodore 64 computer called Multitrack Recorder. 40 or 50 copies are sold.

Shortly thereafter the company produces Pro 16, one of the very first 'sequencers' to grab the attention of musicians. Pro 16 is also available for Apple IIe/II+ computers.

1985

Pro 24 is introduced for the new, MIDI-built-in Atari ST computers. 16-bit technology has arrived!

1986

Commodore Amiga version of Pro 24 is introduced. At this time Steinberg is being distributed in UK by the Oxford Synthesizer Company, makers of the OSCar.

1987

Pro Twenty-Four III (spelling of the name “24” was the fashion in 1987) is released featuring, amongst other things, up to 4 tracks of simultaneous recording.

1988

Pro Twenty-Four III becomes the year's sequencer of choice. Steinberg opens its first US office and focuses on synth editors (Synthworks for Kawai K1, Yamaha DX/TX series, Roland D50, Ensoniq ESQ1 etc.).

1989

A new Operating System, M.ROS is unveiled enabling a single computer to undertake multi-tasking duties (sequencing, editing etc) for music production. The OS is available for Atari ST, Mac and PC and the first product to feature it is… Cubit!?

“Cubit” was the original name for what will become the Cubase platform.

Cubase finally emerges complete with score editing, Arrange Window, groove quantizing, macro sound editing, and a host of other features that helps establish this as the most complete and innovative sequencer in the world.

A red letter year for Steinberg with the setting up of Steinberg Digital Audio for the ahead-of-its-time Topaz Hard Disk Recorder project and Mimix, a retro-fittable mixer automation system.

1990

Cubase 2.0 is released for Atari ST and Mac, offering enhanced scoring facilities and Interactive Phrase Synthesis. A cut down version, Cubeat, is also released. Steinberg continues to support the Amiga computer platform, and a host of Synthworks synth as well as the general purpose Avalon sample editor.

1991

Audio finally gets in on the act with the release of Cubase Audio for Mac. Handling both MIDI and audio data in its Arrange window the phrase 'Total Intergration' is used for the first – though most definitely not the last – time. For more detailed audio editing a stand-alone Mac program Time Bandit is also released.

1992

Although there remain a few more years of life in the Atari platform with the release of Cubase 3.0, a separate Cubase for Windows is released along with an inexpensive PC to MIDI interface. Cubase Lite is launched, as is Tango, a jamming software application.

In a spirit of co-operation that reaches its logical conclusion some 13 years later, Steinberg teams up with Yamaha offering Cubase Audio as a 'front end' for Yamaha's proprietary, if sadly ill-fated CBX-D5 music computer.

1993

Now you see it, now you don't, now you see it again: Cubase Score is released for Windows offering Key, List, Logical, Drum, and of course Score editing and also printing facilities. A GM/GS Editor is also included.

Cubase Audio for both Windows and Atari are also released as is the forward-looking MIDI Xplainer, an on-line MIDI help system based loosely on HyperCard principles, plus an ADAT control interface.

1994

The Tango concept is taken a step further with MusicStation Digital Studio Kit (auto Acc. Backing band concept product) along with the DMC 16-bit audio Digital Music Card that comes with a GM compatible WaveTable synth.

1995

The PC application Waveplayer looks interesting with its ability to trigger samples from a MIDI Note Number (Acid ++ style) but more attention is paid to Cubase Score for Windows, and to another (initially Mac-only) sample tool, the ReCycle sample editor – Steinberg's first involvement with the Swedish Propellerheads team.

The long-awaited successor to the popular MIDI-sporting Atari ST arrives in the shape of the Falcon. The excitement, and the computer, would prove short-lived though.

1996

The big news at Frankfurt's Musik Messe is Steinberg's Cubase VST. Available initially just for Power Mac, 'TDM' style working where (for the moment) FX plug-ins can be used to embellish finally arrives on a 'sequencer.'

Cubasis Audio a new budget 'MIDI-plus-audio' sequencer for Windows is also released, as is the first version of the audio editor WaveLab.

1997

Another big year: Cubase VST is delivered for PC, but everyone goes really crazy for the new Propellerheads design ReBirth the first of a deluge of stand-alone music generating applications and plug-ins to land over the next few years.

Genuine plug-ins (i.e. that need a host application like Cubase VST) really start to catch on as well.

1998

Cubase VST 4 for Mac is released, as is WaveLab 2. VST is all the rage and people are beginning to appreciate the benefits of another Steinberg invention, ASIO: a specifically music-orientated, and more flexible system than MicroSoft's MME, which had been the glue to hold pre-Cubase VST applications together with their host computers. The Chemical Brothers reveal the secret of their sound: basically, VST and WaveLab!

FireWire also piques everyone's interest. But will it catch on?

1999

VSTi's appear! Cubase VST 4.1 now offers a new rack for your virtual synthesizers. The somewhat cumbersome Neon is first out of the gate, closely followed by the Moog-like Model E.

In another foretaste of the future, Yamaha's 'guts of the 02R' DSP Factory proves extremely popular as a VST FX suite, but the Rocket Networks real-time Internet recording - also Big News this year - never gets off the ground.

2000

A new century and a new platform: Nuendo is launched as the professional's choice, complete with a 'Producer's Guild' of star artists and engineers at the helm. Nuendo is initially marketed as audio-based with MIDI, as opposed to VST's 'MIDI with audio.'

The Keyfax Phat.Boy is bundled with ReBirth under the name of Birth Controller, and Cubase VST 5 is launched.

2001

"Houston we have a problem." OK, a little unfair, but the hugely expensive and less than completely successful Houston controller in launched. Lots of VST activity in the shape of HALion sample player/editor, and LM4 2000 drum machine amongst others. The Midex 8 MIDI Interface is released.

The Propellerheads guys decide to take Fleetwood Mac's advice and 'go their own way' with their new virtual studio Reason.

2002

VSTs continue to dominate the landscape with the arrival of The Grand, Voice Machine, Warp, Virtual Guitarist, Wolfgang Palm's curious Plex and others. WaveLab 4 is released. At the end of the year Cubase SX is previewed.

2003

Long-time Steinberg partners Wizoo release HALion String Edition Vol 1. The VST and Stand-alone application Groove Agent is released. Less happily, Steinberg sells out to US video card specialists Pinnacle. Others such as Opcode and Passport have already disappeared and people wonder if this is the end for the independent sequencer manufacturer?

Cubase SX2 is released, incorporating Nuendo's recently developed audio engine. Nice!

2004

USB and Recording Software package System 4 is launched, as is another intriguing Wizoo design VST Hypersonic. The world's only remaining true cross-platform DAW, the stunning 64-bit Cubase SX3 is released.

After a tricky time with Pinnacle, Steinberg is purchased by Yamaha at the tail end of the year. Many years of close co-operation finally comes to a natural and eagerly anticipated conclusion.

2005

As Cubase SX3 and Nuendo 3 establish themselves as the leading cross-platform DAWs, new versions of HALion, Groove Agent, and The Grand are released, as is new VST, Virtual Bassist.

One of the first tangible benefits of the acquisition by Yamaha is Studio Connections, a joint initiative that smoothes the assimilation of hardware into the software DAW environment.

And SteinbergUsers.com is launched!

2006

Cubase Studio 4 and Cubase 4 are released at the end of the Summer offering plenty of brand new features such as MediaBay, a 'Motif' soundset inside of HALion One, and much more.

WaveLab Studio 6 appeared in November, heralding a reinvigorated push of the platform with multiple price-points and applications.

2007

Kept under an almost CIA level of secrecy prior to launch, Sequel, Steinberg's new instant music creating program is debuted at Frankfurt's Musik Messe in the Spring. The launch is big and glitzy, complete with Red Bull style "Sequel" power drinks, clothing, and other accessories.