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
- The Transpose functions
- The mixer
- Control Room (Cubase only)
- Audio effects
- VST Instruments and Instrument tracks
- Surround sound (Cubase only)
- Automation
- Audio processing and functions
- The Sample Editor
- The Audio Part Editor
- The Pool
- The MediaBay
- Working with Track Presets
- Track Quick Controls
- Remote controlling Cubase
- MIDI realtime parameters and effects
- Using MIDI devices
- MIDI processing and quantizing
- The MIDI editors
- Introduction
- Opening a MIDI editor
- The Key Editor - Overview
- Key Editor operations
- The In-Place Editor
- The Drum Editor - Overview
- Drum Editor operations
- Working with drum maps
- Using drum name lists
- The List Editor - Overview
- List Editor operations
- Working with System Exclusive messages
- Recording System Exclusive parameter changes
- Editing System Exclusive messages
- VST Expression
- The Logical Editor, Transformer and Input Transformer
- The Project Logical Editor
- Editing tempo and signature
- 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
- Playing back and recording
- 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
- Printing from the Score Editor
- Exporting pages as image files
- Working order
- Force update
- Transcribing MIDI recordings
- 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
- Tips and Tricks
- Index
602
Designing your score: additional techniques
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-
bols 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 making 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 making 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.
5. If you use bar numbers, adjust them as described in
the previous example.
The final upbeat
Setting the number of bars across
the page
Automatically
• When you open a new combination of tracks for editing,
the number of bars across the page is determined by the
setting “Default Number of Bars per Staff” in the Preferen-
ces dialog (Scores–Editing page).
• In the Auto Layout dialog (see “Auto Layout” on page
606), you can set the maximum number of bars across the
staff.










