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
248
The Sample Editor
When you click Auto Adjust, the following happens:
• If you created a loop by defining a selection range in a longer
audio file, the snap point (S symbol) will be moved to the loop
start.
• In the waveform, vertical lines will be displayed. The thick lines
should match the bar positions and the thin lines the beat po-
sitions. You can adjust these lines by means of the Manual
Adjust tool, see below.
• In the Definition tab the Manual Adjust tool will be activated
(see “Manually adjusting grid and tempo of your audio” on
page 250).
• In the Playback tab the Straighten Up button will be switched
on (see “About the Straighten Up mode” on page 249).
5. Open the Playback tab to select an algorithm that
should be applied on realtime playback.
In this pop-up you can find various options that govern the
audio quality of the realtime time-stretching. There are pre-
sets for common types of audio material and an Advanced
option where you can manually set warp parameters:
Option Description
Drums This mode is best for percussive sounds, because it will not
change the timing of your audio. Using this option for pitched
audio will lead to noticeable artefacts. In this case, you can try
the Mix mode.
Plucked This should be used for audio with transients and a relatively sta-
ble spectral sound character (e.g. plucked instruments).
Pads Use this mode for pitched audio with slower rhythmics and a
stable spectral sound character. This will minimize sound arte-
facts, but the rhythmic accuracy will not be preserved.
Vocals This mode was optimized for slower signals with transients and
a prominent tonal character (e.g. vocals).
Mix This mode will preserve the rhythm and minimize the artefacts
for pitched material which does not meet the above criteria (i.e.
with a less homogenous sound character).
This will be selected by default for audio that is not categorized.
Advanced This allows for a manual tweaking of the time-stretching param-
eters. By default, the settings that are shown when you open the
dialog are those of the last used preset (except if the Solo mode
was selected, see below). The Advanced settings are described
in more detail below this table.
Solo This mode will preserve the formants of the audio. It should only
be used for monophonic material (solo woodwind/brass instru-
ments or solo vocals, monophonic synths or string instruments
that do not play harmonies).