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
431
Synchronization
Cubase as MMC slave (Cubase only)
This is set up in the MIDI Machine Control Slave section.
Simply specify the MIDI ports and the MMC Device ID.
Some mixers support the MMC-Master protocol for con-
trolling external devices, including Tascam DM-24, Yamaha
DM2000 and SSL. This means that Cubase can be used
as a “recorder”, where track arming and transport com-
mands can be sent from the master device. In addition,
some digital audio workstations (DAWs) can only operate
in MMC-Master mode.
Sync Options
The following Sync options are available in the Project
Synchronization Setup dialog:
Lock Frames
Using this field you can set how many frames of “correct”
timecode Cubase should receive before attempting to
“lock” (synchronize) to incoming timecode. If you have an
external tape transport with a very short start-up time, you
could try lowering this number to make lock-up even faster
than it already is.
Drop Out Frames
On an analog tape with timecode, dropouts may occur. If
a drop-out is very long, Cubase may (temporarily) stop. In
the Dropout Frames field you can set how long a drop-out
(in frames) should be tolerated until Cubase decides that
the tape isn't good enough to synchronize to. If you have a
very stable timecode source, you may lower this number
to make Cubase stop more swiftly after the tape recorder
has been stopped.
Inhibit Restart
Some synchronizers will still transmit MIDI Time Code for
a short period after an external tape machine has been
stopped. These extra frames of timecode can sometimes
cause Cubase to restart suddenly. Inhibit Restart allows
you to control the amount of time in milliseconds that Cu-
base will wait to restart (ignoring incoming MTC) once it
has stopped.
Working with VST System Link
VST System Link is a network system for digital audio that
allows you to have several computers working together in
one large system. Unlike conventional networks it does not
require Ethernet cards, hubs, or CAT-5 cables; instead it
uses the kind of digital audio hardware and cables you
probably already possess in your studio.
VST System Link has been designed to be simple to set
up and operate, yet give enormous flexibility and perfor-
mance gains in use. It is capable of linking computers in a
“ring” network (the System Link signal is passed from one
machine to the next, and eventually returns to the first ma-
chine). VST System Link can send its networking signal
over any type of digital audio cable, including S/PDIF,
ADAT, TDIF, or AES, as long as each computer in the sys-
tem is equipped with a suitable ASIO compatible audio in-
terface.
Linking up two or more computers gives you vast possibil-
ities:
• Dedicate one computer to running VST instruments while re-
cording audio tracks on another.
• If you need lots of audio tracks, you may simply add tracks on
another computer.
• You could have one computer serve as a “virtual effect rack”,
running CPU-intensive send effect plug-ins only.
Since you can use VST System Link to connect different
VST System Link applications on different platforms, you
can take advantage of effect plug-ins and VST instru-
ments that are specific to certain programs or platforms.
Preparations
Requirements
The following equipment is required for VST System Link
operation:
• Two or more computers.
These can be of the same type or use different operating systems – it
doesn’t matter. For example, you can link an Intel-based PC to an Apple
Macintosh without problems.
• Each computer must have audio hardware with specific
ASIO drivers, installed and working.