User manual
Table Of Contents
- Table of Contents
- Part I: Getting into the details
- About this manual
- VST Connections: Setting up input and output busses
- The Project window
- Playback and the Transport panel
- Recording
- Fades, crossfades and envelopes
- The Arranger track
- Folder tracks
- Using markers
- The Transpose functions
- The mixer
- Control Room (Cubase only)
- Audio effects
- VST Instruments and Instrument tracks
- Introduction
- VST Instrument channels vs. instrument tracks
- VST Instrument channels
- Instrument tracks
- Comparison
- Automation considerations
- What do I need? Instrument channel or Instrument track?
- Instrument Freeze
- VST instruments and processor load
- Using presets for VSTi configuration
- About latency
- External instruments (Cubase only)
- Surround sound (Cubase only)
- Audio processing and functions
- The Sample Editor
- The Audio Part Editor
- The Pool
- VST Sound
- The MediaBay
- Track Presets
- Track Quick Controls
- Automation
- MIDI realtime parameters and effects
- MIDI processing and quantizing
- The MIDI editors
- The Logical Editor, Transformer and Input Transformer
- The Project Logical Editor
- Working with System Exclusive messages
- Working with the Tempo track
- The Project Browser
- Export Audio Mixdown
- Synchronization
- Video
- ReWire
- File handling
- Customizing
- Key commands
- Part II: Score layout and printing
- How the Score Editor works
- The basics
- About this chapter
- Preparations
- Opening the Score Editor
- The project cursor
- Page Mode
- Changing the Zoom factor
- The active staff
- Making page setup settings
- Designing your work space
- About the Score Editor context menus
- About dialogs in the Score Editor
- Setting key, clef and time signature
- Transposing instruments
- Working order
- Force update
- Transcribing MIDI recordings
- About this chapter
- About transcription
- Getting the parts ready
- Strategies: Preparing parts for score printout
- Staff settings
- The Main tab
- The Options tab
- The Polyphonic tab
- The Tablature tab
- Situations which require additional techniques
- Inserting display quantize changes
- Strategies: Adding display quantize changes
- The Explode function
- Using “Scores Notes To MIDI”
- Entering and editing notes
- About this chapter
- Score settings
- Note values and positions
- Adding and editing notes
- Selecting notes
- Moving notes
- Duplicating notes
- Cut, copy and paste
- Editing pitches of individual notes
- Changing the length of notes
- Splitting a note in two
- Working with the Display Quantize tool
- Split (piano) staves
- Strategies: Multiple staves
- Inserting and editing clefs, keys or time signatures
- Deleting notes
- Staff settings
- Polyphonic voicing
- About this chapter
- Background: Polyphonic voicing
- Setting up the voices
- Strategies: How many voices do I need?
- Entering notes into voices
- Checking which voice a note belongs to
- Moving notes between voices
- Handling rests
- Voices and display quantize
- Creating crossed voicings
- Automatic polyphonic voicing - Merge All Staves
- Converting voices to tracks - Extract Voices
- Additional note and rest formatting
- Working with symbols
- Working with chords
- Working with text
- Working with layouts
- Working with MusicXML
- Designing your score: additional techniques
- Scoring for drums
- Creating tablature
- The score and MIDI playback
- Printing and exporting pages
- Frequently asked questions
- Tips and Tricks
- Index
153
Control Room (Cubase only)
Inserts for the Talkback channel
The Talkback channel has a separate set of eight inserts.
In order to view and adjust them, the Talkback must be en-
abled via the TALK button located to the lower right of the
Control Room Mixer. Click once on the Talkback to latch it
on. The inserts for external inputs will now display the
Talkback inserts. Once the Talkback is disabled, the view
will revert back to external input inserts.
Monitor Inserts
Each Monitor channel has a set of six inserts. These in-
serts are all post Control Room fader level and are most
useful for surround decoding or brickwall limiting to pro-
tect sensitive monitor speakers.
Each set of monitors has its own Input Phase and Input
Gain settings available in the top section of the extended
Control Room Mixer. In addition, there are speaker solo
icons along with various soloing modes and speaker rout-
ing options in the Speaker Solo panel.
The Speaker Solo panel
Ö Use the speaker solos to test your multichannel speaker
system and ensure that the proper channels are routed to
each speaker.
Just below the configuration display, all settings for auto-
matic downmixing of multichannel sources are shown.
There are four down-mix presets. Some will automatically
configure themselves for the sets of monitors you have
defined. Each preset is adjustable by accessing the Mix-
Convert plug-in by clicking the small arrow icon above the
downmix presets section.
The Down-Mix Presets section.
Control Room operations
In traditional analog studios, the control room section of
the console contained the most used set of controls in the
whole studio. Often, the studio monitor level had all the
markings rubbed off from so much use.
The need to constantly be able to switch monitoring
sources, adjust the volume of monitors and route various
cue mixes and other sources to headphone systems is the
norm in most sessions. Meeting the needs of several per-
formers in the studio plus a producer and the engineer be-
comes a constant task that requires flexibility and ease of
operation. Communication between everyone must be
flawlessly clear without intruding on the creativity of per-
formers.
With all this in mind, the Cubase Control Room Mixer is
designed to fill those needs with a simple yet highly flexi-
ble solution. The virtual mixing environment of VST is the
ideal solution to the varied needs of a control room matrix.
With a virtual mixer, a high degree of customization and
precise settings are possible with the ability to completely
recall these settings at any time.
!
You can easily identify the inserts for the Talkback
since they have six pre-fader and two post-fader in-
serts while the external inputs only have six pre-fader
inserts. If the Control Room Mixer is fully expanded,
the name displayed at the very top of the Mixer will re-
flect which channel is currently in the Extended View.
!
Automatic configuration of the downmix settings fol-
lows a logical path. For example, if you have defined
one set of 5.1 monitors and another set of stereo
monitors, Cubase will create a 5.1 to stereo downmix
preset and another downmix to mono. You can mod-
ify all the settings for each downmix preset using the
MixConvert plug-in.
Click here to open the
MixConvert control panel.