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
607
Designing your score: additional techniques
2. If you wish the bar line to be shown with “brackets”,
activate the Brackets checkbox.
This is only relevant for repeat signs.
3. Click on the desired bar line type.
The dialog closes and the bar line type is changed.
4. If you do not want to display bar lines at the beginning
of the parts, open the Score Settings–Project page, on
the Notation Style subpage (Bar Lines category) and acti-
vate the option “Hide First Bar line in Parts”.
Ö The bar line types are part of the Project layer – any
changes you make will be reflected in all layouts.
Creating upbeats
By using the Pickup Bar feature
With this method, the upbeat actually contains exactly the
number of beats displayed. That is, if you have an upbeat
of one beat, your project starts with one bar in 1/4 time.
1. Change the time signature of the first bar to the length
of the upbeat.
2. Insert a time signature of the correct kind (the time sig-
nature used throughout the project) in the second bar.
To insert a time signature, select it in the “Time Sign” section in the sym-
bol inspector and click in the Score with the Pencil tool.
3. Enter the notes in the upbeat into the first bar.
The first bar before any adjustments.
4. Double-click the time signature for the upbeat bar.
The Edit Time Signature dialog appears.
5. Activate the option “Pickup Bar” and click OK.
Now, the time signature of the first bar takes on the look of
the second bar’s signature, while the time signature in the
second bar is hidden:
6. If you use bar numbers, double-click on the first bar
number and enter an offset of -1.
7. Adjust the display of bar numbers and hide the “0” in
the first measure.
By hiding rests
With this method, the first bar will actually have the same
time signature as the following bars – it will only look like
an upbeat bar:
1. Enter the notes in the upbeat into the first bar.
The first bar before any adjustments.
2. Hide the rests that precede the notes.
3. Drag the bar line between measure one and two to ad-
just the width of the bar.
After hiding the rest and dragging the bar line.
4. If you like, move the notes in the upbeat measure, us-
ing the Layout tool.