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
93
Fades, crossfades and envelopes
Play buttons
• The “Play Fade Out” and “Play Fade In” buttons allow
you to audition the fade-out or fade-in part only, without
the crossfade.
• The “Play Crossfade” button plays back the whole
crossfade.
You can also use the Transport play controls to play back
the crossfaded audio events. However, that method will
play back all unmuted audio events on other tracks as well.
Pre-roll and Post-roll
When auditioning with the Play buttons, you can choose
to activate pre-roll and/or post-roll. Pre-roll lets you start
playback before the fade area, and post-roll lets you stop
playback after the fade area. This can be useful for audi-
tioning the fade in a context.
• To specify how long the pre- and post-rolls should be,
click in the time fields and enter the desired time (in sec-
onds and milliseconds).
• To activate pre- and post-roll, click the respective but-
ton. To deactivate, click the button again.
Length settings
You can adjust the length of the crossfade area numeri-
cally in the “Length” field. If possible, the length change
will be applied equally to “both sides” of the crossfade
(i.e. Cubase tries to “center” the crossfade).
Presets
If you have set up a crossfade shape that you may want to
apply to other events, you can store it as a preset by click-
ing the Store button.
• To apply a stored preset, select it from the pop-up menu.
• To rename the selected preset, double-click on the
name and type in a new one.
• To remove a stored preset, select it from the pop-up
menu and click Remove.
Default buttons
• Clicking the “As Default” button stores all of the current
settings as the default crossfade. These settings will then
be used whenever you create new crossfades.
• The Crossfade Length setting is included in the Default
settings. However, it is only applied if the events to be
crossfaded don’t overlap – otherwise the crossfade will be
in the overlap area (see “Creating crossfades” on page 91).
• Clicking the “Recall Default” button copies the curves
and settings of the Default crossfade to the Crossfade
dialog.
Auto Fades and Crossfades
Cubase features an Auto Fade function that can be set
both globally, i.e. for the entire project, and separately for
each audio track. The idea behind the Auto Fade function
is to create smoother transitions between events by ap-
plying short (1–500 ms) fade-ins and fade-outs.
Making global Auto Fade settings
1. To make Auto Fades settings globally for the project,
select “Auto Fades Settings...” from the Project menu.
This opens the Auto Fades dialog for the project.
!
To be able to resize a crossfade this way, it must be
possible to resize the corresponding event. For ex-
ample, if the left crossfaded event already plays its
audio clip to the end, its endpoint cannot be moved
any further to the right.
!
As mentioned earlier, fades are calculated in real
time during playback. This means that the larger the
number of audio tracks with Auto Fades activated in
a project, the higher the demands on the processor.
!
Note that auto fades are not indicated by the fade
lines!