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
223
Audio processing and functions
Transpose and Fine Tune
These parameters allow you to adjust the value of a curve
point numerically:
1. Click on a curve point to select it.
The selected point is shown in red.
2. Adjust the Transpose and Fine Tune parameters to
change the pitch of the curve point in semitones and
cents, respectively.
Pitch Shift Mode
These are the same parameters as on the Transpose tab,
see “Pitch Shift Mode” on page 221.
Example
Let’s say that you wish to create a pitch bend effect, so
that the pitch is raised linearly by exactly 2 semitones in a
specific part of the selected audio.
1. Remove all curve points by clicking the Reset button.
2. Select a linear curve by clicking the Curve Kind button
to the right.
3. Make sure the Range parameter is set to 2 semitones
or higher.
4. Create a point where you want the pitch bend to start
by clicking on the envelope line.
Since this is the starting point for the pitch bend, you want its pitch to be
zero (the envelope line should still be straight). If necessary, use the Fine
Tune parameter to set the curve point to 0 cents, because this point gov-
erns the start point, where you want the pitch transition to begin.
5. Create a new curve point at the horizontal position
where you want the pitch bend to reach the full value.
This curve point determines the rise time of the pitch bend effect, i.e. the
further away from the starting point the new point is positioned, the
longer it will take for the pitch bend to reach the full value, and vice versa.
6. With the second point still selected, use the Trans-
pose and Fine Tune parameters to set the pitch to exactly
2 semitones.
7. Create a new curve point to set the duration of the
pitch bend, i.e. the time the pitch should remain trans-
posed by 2 semitones.
8. Finally, create a point where you want the pitch bend
to end.
You don’t need to create a new point if you are at the end of the audio
file, since there is always an end point at the right side of the waveform
display.
9. If necessary, make additional settings in the Pitch Shift
Mode section, see “Pitch Shift Mode” on page 221.
10. Click Process.
The pitch bend is applied according to the specified settings.
Remove DC Offset
This function will remove any DC offset in the audio selec-
tion. A DC offset is when there is too large a DC (direct
current) component in the signal, sometimes visible as the
signal not being visually centered around the “zero level
axis”. DC offsets do not affect what you actually hear, but
they affect zero crossing detection and certain process-
ing, and it is recommended that you remove them.
There are no parameters for this function. Note that you can
check for DC Offset in an audio clip using the Statistics
function (see “Statistics (Cubase only)” on page 231).
!
It is recommended that this function is applied to
complete audio clips, since the DC offset (if any) is
normally present throughout the entire recording.