User manual
Table Of Contents
- Table of Contents
- Part I: Getting into the details
- About this manual
- Setting up your system
- VST Connections
- The Project window
- Working with projects
- Creating new projects
- Opening projects
- Closing projects
- Saving projects
- The Archive and Backup functions
- Startup Options
- The Project Setup dialog
- Zoom and view options
- Audio handling
- Auditioning audio parts and events
- Scrubbing audio
- Editing parts and events
- Range editing
- Region operations
- The Edit History dialog
- The Preferences dialog
- Working with tracks and lanes
- Playback and the Transport panel
- Recording
- Quantizing MIDI and audio
- Fades, crossfades and envelopes
- The arranger track
- The transpose functions
- Using markers
- 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
- Introduction
- Working with the MediaBay
- The Define Locations section
- The Locations section
- The Results list
- Previewing files
- The Filters section
- The Attribute Inspector
- The Loop Browser, Sound Browser, and Mini Browser windows
- Preferences
- Key commands
- Working with MediaBay-related windows
- Working with Volume databases
- Working with track presets
- Track Quick Controls
- Remote controlling Cubase
- MIDI realtime parameters and effects
- Using MIDI devices
- MIDI processing
- 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 SysEx messages
- Recording SysEx parameter changes
- Editing SysEx messages
- The basic Score Editor – Overview
- Score Editor operations
- Expression maps (Cubase only)
- Note Expression (Cubase only)
- The Logical Editor, Transformer, and Input Transformer
- The Project Logical Editor (Cubase only)
- Editing tempo and signature
- The Project Browser (Cubase only)
- Export Audio Mixdown
- Synchronization
- Video
- ReWire
- File handling
- Customizing
- Key commands
- Part II: Score layout and printing (Cubase only)
- 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 clef, key, 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
20
Setting up your system
ASIO Direct Monitoring
If your audio hardware is ASIO 2.0 compatible, it may sup-
port ASIO Direct Monitoring (this feature may also be
available for audio hardware with Mac OS X drivers). In
this mode, the actual monitoring is done in the audio hard
-
ware, by sending the input signal back out again. How-
ever, monitoring is controlled from Cubase. This means
that the audio hardware’s direct monitoring feature can be
turned on or off automatically by Cubase.
Monitoring is described in detail in the chapter “Record-
ing” on page 89. However, when setting up, there is one
thing to note:
• If you want to use the external monitoring via your audio
hardware, make sure that the corresponding functions are
activated in the card’s mixer application.
Ö If you are using RME Audio Hammerfall DSP audio
hardware, make sure that the pan law is set to -3
dB in the
card’s preferences.
Setting up MIDI
This section describes how to connect and set up MIDI
equipment. If you have no MIDI equipment, you can skip
this section. Note that this is only an example – you might
need or want to hook things up differently!
Connecting the MIDI equipment
In this example we assume that you have a MIDI keyboard
and an external MIDI sound module. The keyboard is used
both for feeding the computer with MIDI messages for re
-
cording and for playing back MIDI tracks. The sound mod-
ule is used for playback only. Using Cubase’s MIDI Thru
feature (described later) you will be able to hear the cor-
rect sound from the sound module while playing the key-
board or recording.
A typical MIDI Setup
If you want to use even more instruments for playback, sim-
ply connect MIDI Thru on the sound module to MIDI In on
the next instrument, and so on. In this hook-up, you will al
-
ways play the first keyboard when recording. But you can
still use all your devices for providing sounds on playback.
Setting MIDI Thru and Local On/Off
On the MIDI page in the Preferences dialog (located on
the File menu under Windows and on the Cubase menu
under Mac OS X), you will find a setting called “MIDI Thru
Active”. This is related to a setting in your instrument
called “Local On/Off” or “Local Control On/Off”.
• If you use a MIDI keyboard instrument, as described earlier in
this chapter, MIDI Thru should be activated and that instru
-
ment should be set to Local Off (sometimes called Local Con-
trol Off – see the instrument’s operation manual for details).
!
Make sure that all equipment is turned off before
making any connections!
!
If you plan to use more than three sound sources, we
recommend that you either use an interface with
more than one output, or a separate MIDI Thru box
instead of the Thru jacks on each unit.










