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
23
Setting up your system
Some program functions may “eat up” all the available
memory, e. g. recording, the use of effect plug-ins, and the
pre-loading of samples (see also
“RAM requirements for
recording” on page 92 and “Smart plug-in processing” on
page 188).
Always keep in mind the RAM limitation of your operating
system when setting up your projects.
CPU and processor cache
It goes without saying that the faster the computer proces-
sor, the better. But there are a number of factors that affect
the apparent speed of a computer: the bus speed and type
(PCI is strongly recommended), the processor cache size
and of course, the processor type and brand. Cubase relies
heavily on floating point calculations. When shopping for a
processor, please make sure that you get one that is pow
-
erful in calculating floating point arithmetics.
Note also that Cubase features full support for multi-pro-
cessor systems. So, if you own a computer system with
more than one processor, Cubase can take advantage of
the total capacity and evenly distribute the processing
load to all available processors. For further information,
see
“Multi processing” on page 24.
Hard disk and controller
The number of hard disk tracks you can record and play
back at the same time also depends on the speed of your
hard disk and hard disk controller. If you use E-IDE disks
and controllers, make sure that the transfer mode is DMA
Busmaster. Under Windows, you can check the current
mode by launching the Windows Device Manager and
looking for properties of the IDE ATA/ATAPI Controller’s
primary and secondary channel. DMA transfer mode is en
-
abled by default, but may be turned off by the system
should hardware problems occur.
Audio hardware and driver
The hardware and its driver can have some effect on re-
gular performance. A badly written driver can reduce the
performance of your computer. But where the hardware
driver design makes the most difference is with latency.
This is especially true when using Cubase for Windows:
• Under Windows, ASIO drivers written specifically for
the hardware are more efficient than the Generic Low La-
tency ASIO Driver or a DirectX driver and produce shorter
latency times.
• Under Mac OS X, audio hardware with properly written
Mac OS X (Core Audio) drivers can be very efficient and
produce very low latency times.
However, there are additional features currently only available with ASIO
drivers, such as the ASIO Positioning Protocol.
Making settings that affect performance
Audio buffer settings
Audio buffers affect how audio is sent to and from the au-
dio hardware. The size of the audio buffers affects both
the latency and the audio performance. Generally, the
smaller the buffer size, the lower the latency. On the other
hand, working with small buffers can be demanding for the
computer. If the audio buffers are too small, you may get
clicks, pops or other audio playback problems.
• Under Mac OS X, you can adjust the size of the buffers
on the VST Audio System page in the Device Setup dia
-
log.
You may also find buffer settings in the control panel for the audio hard-
ware.
• Under Windows, you adjust the buffer size settings in
the control panel for the audio hardware (opened by click
-
ing the Control Panel button on the driver page in the De-
vice Setup dialog).
!
When a function has used up all the memory made
available by the operating system, the computer will
crash.
!
Again, we strongly recommend that you use audio
hardware for which there is a specific ASIO driver!










