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
263
The Sample Editor
The MPEX3 algorithm allows you to select one of seven
different quality settings:
Ö Note that you can only select the MPEX 3 algorithm if
the time-stretching factor is between 0.5 and 2 through-
out the whole event. For audio that has been stretched
with a factor outside this range, only the Realtime algo-
rithm can be used.
• If the audio has been transposed, the dialog also con-
tains the option “Formant Correction”. Activate this if you
want to e.g. avoid a “chipmunk voice” effect.
3. Select an algorithm and click OK.
When the processing is finished, any loop that was previously stretched
in realtime or had been pitch-shifted will play back exactly the same, but
Straighten Up mode will be deactivated and the realtime pitch-shifting
will be set to 0.
The audio clip is now like any standard audio clip before
applying realtime processing, i.e. it will not follow tempo
changes. The flattening processing function is best used
when you have determined the tempo or key of a project,
but you can of course always adapt the audio to a new key
or tempo. In this case, it is better to revert back to the orig-
inal audio clip rather than to process the already pro-
cessed file again.
Option Description
Preview This mode should only be used for preview.
Mix Fast This mode is a very fast mode for preview. This works best
with composite music signals (mono or stereo material).
Solo Fast Use this mode for single instruments (monophonic mate-
rial) and voice.
Solo Musical Same as above but higher quality.
Poly Fast Use this for processing monophonic and polyphonic ma-
terial. This is the fastest setting that gives still very good
results. You can use this for drum loops, mixes, chords.
Poly Musical Use this for processing monophonic and polyphonic ma-
terial. This is the recommended MPEX default quality set-
ting. You can use this for drum loops, mixes, chords.
Poly Complex This high quality setting is quite processor intense and
should be used only when processing difficult material or
for stretch factors above 1,3.