Plug-in Reference
Cristina Bachmann, Heiko Bischoff, Marion Bröer, Christina Kaboth, Insa Mingers, Sabine Pfeifer, Benjamin Schütte This document covers the plug-in effects and instruments included in Cubase 7, Cubase Artist 7, Cubase Elements 7, Cubase AI 7, Cubase LE 7, and Nuendo 6. This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images.
Table of Contents 5 The Included Effect Plug-ins 5 5 5 7 8 9 10 10 11 12 12 13 14 15 21 21 22 23 24 25 26 28 29 30 32 33 35 36 39 39 40 41 44 60 60 61 62 63 65 65 66 66 67 67 68 69 70 Introduction Delay Plug-ins ModMachine MonoDelay PingPongDelay StereoDelay Distortion Plug-ins AmpSimulator BitCrusher DaTube Distortion Grungelizer SoftClipper VST Amp Rack Dynamics Plug-ins Brickwall Limiter Compressor DeEsser EnvelopeShaper Expander Gate Limiter Maximizer MIDI Gate MultibandCompressor Tube Compressor Vi
121 MIDI Effects 121 121 123 125 126 134 137 138 140 140 141 141 143 144 145 145 146 149 152 Introduction Arpache 5 Arpache SX Auto LFO Beat Designer Chorder Compressor Context Gate Density Micro Tuner MIDI Control MIDI Echo MIDI Modifiers MIDI Monitor Note to CC Quantizer StepDesigner Track Control Transformer 153 The Included VST Instruments 153 153 161 161 162 164 173 174 177 185 185 186 193 200 201 202 204 212 Introduction Groove Agent ONE HALion Sonic SE LoopMash Getting Started LoopMash Parameters
The Included Effect Plug-ins Introduction This chapter contains descriptions of the included plug-in effects and their parameters. The plug-in effects are arranged in a number of different categories. This chapter is arranged in the same fashion, with the plug-ins listed in separate sections for each effect category. Ö Most of the included effects are compatible with VST 3. For more information, see the Operation Manual.
Delay Plug-ins ModMachine combines delay modulation and filter frequency/resonance modulation and can provide many interesting modulation effects. It also features a Drive parameter for distortion effects. The following parameters are available: Parameter Description Delay If tempo sync is on, this is where you specify the base note value for the delay (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the delay time can be set freely in milliseconds.
Delay Plug-ins Parameter Description Spatial Introduces an offset between the channels to create a stereo panorama effect for the filter frequency modulation. Turn clockwise for a more pronounced stereo effect. Q-Factor Sets the resonance of the filter. It is only available if filter resonance LFO tempo sync is deactivated and the Speed parameter is set to 0. When using tempo sync, the resonance is controlled by the Speed and Range parameters.
Delay Plug-ins Parameter Description Filter Lo Affects the feedback loop of the effect signal and allows you to roll off low frequencies from 10 Hz up to 800 Hz. The button below the knob activates/deactivates the filter. Filter Hi Affects the feedback loop of the effect signal and allows you to roll off high frequencies from 20 kHz down to 1.2 kHz. The button below the knob activates/deactivates the filter. Mix Sets the level balance between the dry and the wet signal.
Delay Plug-ins Parameter Description Spatial Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced stereo ping-pong effect. Mix Sets the level balance between the dry and the wet signal. If PingPongDelay is used as a send effect, set this to the maximum value as you can control the dry/effect balance with the send. Ö If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input.
Distortion Plug-ins Ö If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the delay repeats are silenced. When the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the Operation Manual. Distortion Plug-ins This section contains descriptions of the plug-ins in the “Distortion” category.
Distortion Plug-ins Parameter Description Cabinet pop-up menu This pop-up menu is opened by clicking on the cabinet name shown at the top of the cabinet section. It allows you to select a speaker cabinet model. This section can be bypassed by selecting “No Speaker”. Damping Lo/Hi Further tone controls for shaping the sound of the selected speaker cabinet. Click on the values, enter a new value and press the [Enter] key.
Distortion Plug-ins DaTube Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – This effect emulates the characteristic warm, lush sound of a tube amplifier. The following parameters are available: Parameter Description Drive Regulates the pre-gain of the amplifier. Use high values if you want an overdriven sound just on the verge of distortion. Balance Controls the balance between the signal processed by the Drive parameter and the dry input signal.
Distortion Plug-ins Parameter Description Spatial Changes the distortion characteristics of the left and right channel, thus creating a stereo effect. Output Raises or lowers the signal going out of the effect. Grungelizer Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – Grungelizer adds noise and static to your recordings – kind of like listening to a radio with bad reception, or a worn and scratched vinyl record.
Distortion Plug-ins SoftClipper Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – This effect adds soft overdrive, with independent control over the second and third harmonic. The following parameters are available: Parameter Description Input Regulates the pre-gain. Use high values if you want an overdriven sound just on the verge of distortion. Mix Setting Mix to 0 means that no processed signal is added to the original signal.
Distortion Plug-ins VST Amp Rack Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – X X X X – The VST Amp Rack is a powerful guitar amp simulator. It offers a choice of amplifiers and speaker cabinets that can be combined with stomp box effects. At the top of the plug-in panel there are six buttons, arranged according to the position of the corresponding elements in the signal chain.
Distortion Plug-ins Effect Option Description Limiter Threshold Determines the maximum output level. Signal levels above the set threshold are cut off. Release Sets the time after which the gain returns to the original level. Maximizer Amount Determines the loudness of the signal. Chorus Rate Allows you to set the sweep rate. This parameter can be synchronized to the project tempo, see “Sync Mode” on page 18. Width Determines the depth of the chorus effect.
Distortion Plug-ins Effect Option Description Tape Delay Delay Tape Delay creates a delay effect known from tape machines. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo, see “Sync Mode” on page 18. Feedback Sets the number of repeats for the delay. Mix Sets the level balance between the dry and the wet signal. Delay Tape Ducking Delay creates a delay effect known from tape machines with a ducking parameter.
Distortion Plug-ins Sync Mode For some controls, the sync mode can be activated to synchronize the corresponding parameter with the tempo of the host application. These plug-in parameters are then used to specify the base note value for tempo syncing (1/1 to 1/32, straight, triplet, or dotted). The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that Sync mode is active.
Distortion Plug-ins Cabinets The cabinets available on the Cabinets page simulate real-life combo boxes or speakers. For each amp, a corresponding cabinet type is available. However, you can combine amps and cabinets at will. Using Cabinets • To switch cabinets on the Cabinets page, click the model that you want to use. Select “No Cabinet” if you only want to use the amps and effects.
Distortion Plug-ins • To process the pre-effects, the amplifier, and the cabinets in full stereo mode, make sure that the plug-in is inserted on a stereo track, and activate the Stereo button. View Settings Two different views for the VST Amp Rack plug-in panel are available: the default view and a compact view, which takes up less screen space. In the default view, you can use the top buttons to open the corresponding page in the Display section above the amp controls.
Dynamics Plug-ins Dynamics Plug-ins This section contains descriptions of the plug-ins in the “Dynamics” category. Brickwall Limiter Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – Brickwall Limiter ensures that the output level never exceeds a set limit. Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1ms.
Dynamics Plug-ins Compressor Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – X X X X – Side-chain support – – – X X X – Compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Compressor features separate controls for threshold, ratio, attack, hold, release, and make-up gain parameters.
Dynamics Plug-ins Parameter Description Release Sets the time after which the gain returns to the original level when the (10 to 1000 ms or signal drops below the threshold. If the Auto button is activated, Compressor automatically finds an optimal release setting that varies Auto mode) depending on the audio material. Analysis (0 to 100) (Pure Peak to Pure RMS) Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both).
Dynamics Plug-ins Parameter Description Auto Automatically and continually chooses an optimum threshold setting independent of the input signal. The Auto option does not work for low-level signals (< -30 dB peak level). To reduce the sibilants in such a file, set the threshold manually. Release Sets the time after which the de-essing effect returns to zero when the signal drops below the threshold.
Dynamics Plug-ins Ö If side-chaining is supported, the effect can also be controlled from another signal source via the side-chain input. When the side-chain signal exceeds the threshold, the effect is triggered. For a description of how to set up side-chain routing, see the Operation Manual.
Dynamics Plug-ins Parameter Description Analysis (0 to 100) (Pure Peak to Pure RMS) Determines whether the input signal is analyzed according to peak or RMS values (or a mixture of both). A value of 0 is pure peak and 100 pure RMS. RMS mode operates using the average power of the audio signal as a basis, whereas Peak mode operates more on peak levels.
Dynamics Plug-ins Parameter Description Side-Chain button Activates the side-chain filter. The input signal can then be shaped according to set filter parameters. Internal side-chaining can be useful for tailoring how the gate operates. Center (50 to 20000 Hz) When the Side-Chain button is activated, this sets the center frequency of the filter. Q-Factor (0.01 to 10000) When the Side-Chain button is activated, this sets the resonance of the filter.
Dynamics Plug-ins Limiter Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – Limiter is designed to ensure that the output level never exceeds a set output level, to avoid clipping in following devices. Limiter can adjust and optimize the Release parameter automatically according to the audio material, or it can be set manually. Limiter also features separate meters for the input, output and the amount of limiting (middle meters).
Dynamics Plug-ins Maximizer Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – Maximizer raises the loudness of audio material without the risk of clipping. Optionally, there is a soft clip function that removes short peaks in the input signal and introduces a warm tube-like distortion to the signal. The following parameters are available: Parameter Description Output (-24 to +6 dB) Determines the maximum output level.
Dynamics Plug-ins MIDI Gate Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – Gating, in its fundamental form, silences audio signals below a set threshold level. When a signal rises above the set level, the gate opens to let the signal through while signals below the set level are cut off. MIDI Gate, however, is not triggered by threshold levels, but MIDI notes. Hence it needs both audio and MIDI data to function.
Dynamics Plug-ins The following MIDI Gate parameters are available: Parameter Description Attack Determines how long it takes for the gate to open after receiving a signal that triggers it. Hold Regulates how long the gate remains open after a note-on or note-off message (see Hold Mode). Release Determines how long it takes for the gate to close (in addition to the value set with the Hold parameter). Note To Attack Determines to which extent the velocity values of the MIDI notes affect the attack.
Dynamics Plug-ins MultibandCompressor Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – The MultibandCompressor allows a signal to be split into a maximum of four frequency bands, each with its own freely adjustable compressor characteristic. The signal is processed on the basis of the settings that you have made in the Frequency Band and Compressor sections.
Dynamics Plug-ins Using the Compressor Section By moving breakpoints or using the corresponding knobs, you can specify the Threshold and Ratio. The first breakpoint from which the line deviates from the straight diagonal is the threshold point. For each of the four bands the following compressor parameters are available: Parameter Description Threshold (-60 to 0 dB) Determines the level where Compressor kicks in.
Dynamics Plug-ins The following parameters are available: Parameter Description Drive (1.0 to 6.0) Controls the amount of tube saturation. Input (-24.0 to +48.0) Determines the compression amount. The higher the input gain setting, the more compression is applied. Limit button Increases the ratio of the compressor for a limiting effect. Output (-12.0 to +12.0) Sets the output gain. Attack (0.1 to 100.0) Determines how fast the compressor responds.
Dynamics Plug-ins VintageCompressor Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – Side-chain support – – – – X X – This is modelled after vintage type compressors. This compressor features separate controls for input and output gain, attack, and release. In addition, there is a Punch mode which preserves the attack phase of the signal and a program-dependent Auto feature for the Release parameter.
Dynamics Plug-ins VSTDynamics Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with Gate X X X X Compressor X X – Limiter Module Configuration VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor and Limiter, covering a variety of dynamic processing functions. The window is divided into three sections, containing controls and meters for each processor.
Dynamics Plug-ins Parameter Description Attack (0.1 to 100 ms) Sets the time after which the gate opens after being triggered. Hold (0 to 2000 ms) Determines how long the gate stays open after the signal drops below the threshold level. Release (10 to 1000 ms or Auto mode) Sets the time after which the gate closes (after the set hold time). If the Auto button is activated, Gate finds an optimal release setting, depending on the audio material. Input gain meter Shows the input gain.
Dynamics Plug-ins The Limiter Section The limiter is designed to ensure that the output level never exceeds a set threshold, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack and release parameters to prevent the output level from going beyond the set threshold level. The limiter adjusts and optimizes these parameters automatically according to the audio material. You can also adjust the Release parameter manually.
EQ Plug-ins EQ Plug-ins This section describes the plug-ins in the “EQ” category. DJ-EQ Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – DJ-Eq is an easy-to-use 3-band parametric equalizer that resembles the EQs found on typical DJ mixers. This plug-in is designed for quick sound fixes. To set the Low, Mid, and High frequency bands, you can: • Move the mouse over the curve display, and click and drag the EQ points.
EQ Plug-ins GEQ-10/GEQ-30 Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with –/– –/– X/– X/X X/X X/X –/– These graphic equalizers are identical in every respect except for the number of available frequency bands (10 and 30, respectively). Each band can be attenuated or boosted by up to 12 dB, allowing for fine control of the frequency response. In addition there are several preset modes available which can add color to the sound of the GEQ-10/GEQ-30.
EQ Plug-ins Filter mode Description Digi Stand In this mode the resonance of the last band depends on the sample rate. Classic Applies a classic parallel filter structure where the response does not follow the set gain values accurately. Variable Q Applies parallel filters where the resonance depends on the amount of gain. ConstQ u Applies parallel filters where the resonance of the first and last bands depends on the sample rate.
EQ Plug-ins When using the mouse to change the parameter settings, the following modifier keys can be used: Modifier key Description – When no modifier key is pressed and you drag an EQ point in the display, the Gain and Frequency parameters are adjusted simultaneously. [Shift] Keep the [Shift] key pressed and drag the mouse to change the Q-factor of the corresponding EQ band. [Alt]/[Option] Keep the [Alt]/[Option] key pressed and drag the mouse to change the frequency of the corresponding EQ band.
EQ Plug-ins Parameter Description Band 4 Inv button Inverts the gain value of the filter (see the description of the Invert button for Band 1). Band 4 Gain (-20 to +24 dB) Sets the amount of attenuation/boost for the high band. Band 4 Freq (200 to 20000 Hz) Sets the frequency of the high band. Band 4 Q-Factor (0.5 to 10) Controls the width or resonance of the high band. Band 4 Filter mode For the high band, you can select between three types of shelving filters, a Peak, and a Cut filter.
EQ Plug-ins CurveEQ Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – - X X – Voxengo CurveEQ is a spline equalizer for professional music and audio production applications. CurveEQ shows the filter response you are designing by means of a spline, that is, a smooth curvy line. This way you can see how the EQ alters the sound. CurveEQ implements spectrum matching technology that allows you to transfer the spectral shape of one recording to another.
EQ Plug-ins General Control Bar Parameter Description Presets selector Allows you to store and restore custom settings, see “Main Preset Manager” on page 54. Undo Allows you to undo changes. History Opens a change log that lists up to 32 changes in the order you have made them. Parameter changes are logged with the group name in parentheses, for example, “Gain (Ls) change”. Redo Allows you to redo changes that were undone.
EQ Plug-ins Parameter Description MIN-Phase Enables minimum-phase filtering instead of linear-phase filtering. Minimum-phase filtering sounds better at steeper EQ slopes because it lacks pre-ringing artifacts present in linear-phase filters. Furthermore, it does not add a considerable processing latency. Static & Match Opens the Static Spectrums Editor, where you can display static spectrums and perform spectrum matching.
EQ Plug-ins Equalizer – Group Editing You can perform editing operations on a group of control points. • To select several control points, click inside the equalizer control surface and drag a rectangle over the control points that you want to select. • To select all control points at once, right-click the control surface. • To deselect any currently selected points, click in the control surface.
EQ Plug-ins The band-pass filter’s curve is applied on top of the existing equalizer curve. This means that the curve you see when engaging the narrow-band sweeping is composed of the existing equalizer curve and band-pass filter’s own equalizer curve. Zooming • To zoom into the spectrum display, press [Alt]/[Option] and drag the control surface. • To zoom out of the spectrum display, press [Alt]/[Option] and double-click the control surface.
EQ Plug-ins Group Bar and Hint Line Parameter Description Group 1/2/3/4 These buttons represent the channel groups. You can select the channel group whose parameters are being edited or monitored. Only groups that are assigned to the internal channels in the Channel Routing window are shown. Solo Allows you to solo the output of the selected group. The state of the Solo button is not saved between project sessions and is not restored when the project is reloaded.
EQ Plug-ins Level Meter The level meter shows several bars that correspond to the channels (A, B, etc.) of the selected channel group. The level meter displays all available channels if the “Show All Channel Meters” button is activated in the Channel Routing window. Level meters can show a small horizontal white bar that represents the peak level. In output level meters, such as peak level, it can turn red.
EQ Plug-ins The Points parameter specifies how many equidistant points to use for matching. The more points you use the more precise the match will be. However, in many cases more precise match does not mean a better sounding match. It is suggested to try several values to determine which one sounds best. ! The EQ curve present on the screen affects the spectrum averaging process, so the EQ curve should be flat when spectrum data is being collected.
EQ Plug-ins Parameter Description Block Size Specifies the block size of the FFT (fast Fourier transform) spectrum analyzer. Higher block sizes provide more resolution in the lower frequency range, but decrease time coherence (time precision) in the higher frequency range; the higher frequency information becomes over-averaged. Also, at higher block size settings the spectrum is refreshed less frequently. This can be compensated by increasing the Overlap parameter.
EQ Plug-ins Static Spectrums Editor CurveEQ features a static spectrum display that can be controlled via the Static Spectrums Editor. You can select the display name of the spectrum slot, its color, and the shift in dB of the static spectrum. The static spectrum can be shown or hidden using the visibility checkbox. The shift in dB can be used for a more convenient placing of the static spectrum on the screen and it does not affect the shape of the spectrum.
EQ Plug-ins Preset Manager Main Preset Manager You can use the main preset manager to save and load plug-in state presets. Presets in the main preset manager are shared among all instances of the same Voxengo plug-in. All presets within the main preset manager are stored in user preset banks. Beside user preset banks two special banks exist: the Session Bank and Factory ROM bank. The Session Bank contains programs rather than presets. Each program in the Session Bank contains its own undo/redo change log.
EQ Plug-ins Channel Routing Window In the Channel Routing window, the following options are available: Parameter Description Routing Presets Opens a window that contains presets for the Channel Routing window, including channel labels. Show all Channel Meters Enables displaying of all channel meters and statistics counters regardless of the currently selected channel group. When this option is deactivated, only meters belonging to the currently selected channel group are shown.
EQ Plug-ins Parameter Description Group Assignments The plug-in allows you to assign its internal audio channels to logical channel groups. Each group is affected by its own set of parameter values (EQ shape, gain factor, overdrive setting, etc.). The current channel group is selected via the channel group selector. Individual audio channels can be assigned to different channel groups.
EQ Plug-ins Parameter Description Level meter settings – Density mode Activates the density metering mode. In this mode you can see levels at which a signal stays often. By examining the range of levels at which a signal stays, you can draw conclusions about the effective dynamic range of the material. Note that the signal level estimation is affected by the meter’s integration and release times. In this mode, the display of the signal level is also affected by the Peak Level hold time setting.
EQ Plug-ins Parameter Description Visual settings You can customize the look of the plug-in with the following settings: Flat Panels – When enabled, all buttons and panels of the plug-in look flat, without a gradient fill. Spotlight – Enables a wide light area that looks like a spotlight. Textures – Adds texture to the plug-in panel. Shadows – Enables shadows on graphical elements. Flat Level Meters – Enables the flat, non-blocky look of the level meters.
EQ Plug-ins When you point the mouse at a knob, an additional ring shows approximate parameter values at different knob positions. These values are also referred to as knob labels. Thousands are suffixed with an asterisk (2*). This ring can be disabled in the global settings window. Keyboard value entry Most readout values such as gain or frequency can be clicked to enter a new value. Value list selector This type of control allows you to choose a value or an option from the list.
Filter Plug-ins Filter Plug-ins This section contains descriptions of the plug-ins in the “Filter” category. DualFilter Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – The DualFilter effect filters out certain frequencies while allowing others to pass through. The following parameters are available: Parameter Description Position Sets the filter cutoff frequency. If you set this to a negative value, DualFilter acts as a low-pass filter.
Filter Plug-ins MorphFilter Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – Resonance Factor Morph Factor Frequency MorphFilter lets you mix low-pass, high-pass, band-pass and band-reduction filter effects, allowing for creative morphings between two filters. The following parameters are available: Parameter Description High Pass Eliminates low-frequency signal components. Several filter slopes are available.
Filter Plug-ins Parameter Description Low Pass Eliminates high-frequency signal components. Several filter slopes are available. (6, 12, 18, 24 dB/per Decade) Band Pass (12, 24 dB/per Decade) Allows signals falling within a certain frequency range to pass through. Several filter slopes are available.
Filter Plug-ins Parameter Description Low Cut Preview button This button is located between the “Low Cut Freq” button and the graphical display. Use it to switch the filter to a complementary high-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out. Spectrum Shows the spectrum before and after filtering. Notch Freq Sets the frequency of the notch filter. Notch Gain Adjusts the gain of the selected frequency.
Filter Plug-ins General Operation StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer tempo. Setting Step Values • Setting step values is done by clicking in the pattern grid windows. • Individual step entries can be freely dragged up or down the vertical axis, or directly set by clicking in an empty grid box. By click-dragging left or right, consecutive step entries are set at the pointer position.
Filter Plug-ins Parameter Description Output slider Sets the overall volume. Mix slider Adjusts the mix between dry and processed signal. ToneBooster Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful when inserted before AmpSimulator in the plug-in chain (see “AmpSimulator” on page 10), greatly enhancing the tonal varieties available.
Mastering Plug-ins The following parameters are available: Parameter Description Pedal Controls the filter frequency sweep. Pedal Control (MIDI) pop-up menu Allows you to choose the MIDI controller that controls the plug-in. Set this to “Automation” if you do not want to use MIDI realtime control. Freq Lo/Hi Set the frequency of the filter for the Lo and Hi Pedal positions. Width Lo/Hi Set the width (resonance) of the filter for the Lo and Hi Pedal positions.
Modulation Plug-ins ! Option Description Lo Applies a lower level of dither noise. Auto black When this is activated, the dither noise is gated (muted) during silent passages in the material. Dithering should always be applied post-fader on an output bus. Modulation Plug-ins This section contains descriptions of the plug-ins in the “Modulation” category.
Modulation Plug-ins Chopper Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – Chopper is a combined tremolo and autopan effect. It can use different waveforms to modulate the level (tremolo) or left-right stereo position (pan), either using tempo sync or manual modulation speed settings. The following parameters are available: Parameter Description Waveform buttons Set the modulation waveform. Depth Sets the depth of the Chopper effect.
Modulation Plug-ins Chorus Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – Side-chain support – – – X X X – This is a single-stage chorus effect. It works by doubling whatever is sent into it with a slightly detuned version (see also “StudioChorus” on page 77).
Modulation Plug-ins Cloner Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – The Cloner plug-in adds up to four detuned and delayed voices to the signal, for rich modulation and chorus effects. The following parameters are available: Parameter Description Voices Allows you to select the number of voices (up to four). For each added voice, a Detune and a Delay slider are added in the right half of the panel.
Modulation Plug-ins Parameter Description Delay – Humanize Controls the amount of delay variation when Static Delay is deactivated. With Humanize, the delay is constantly modulated for a more natural effect. The value range is from 0 to 100 (strongest delay variation). Static Delay button Use this button to activate/deactivate the Static Delay function. If activated, the set delay amount is static, and the Humanize knob is grayed out.
Modulation Plug-ins Parameter Description Manual knob Allows you to change the sweep position manually when the Manual button is deactivated. The value range is from 0 to 100. Manual button Use this button to activate/deactivate the Manual function. If activated, the flanger sweep is static, that is, no modulation takes place. Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal.
Modulation Plug-ins Parameter Description Output slider Sets the overall volume. Mix slider Sets the level balance between the dry and the wet signal. If Metalizer is used as a send effect, set this to the maximum value as you can control the dry/effect balance with the send.
Modulation Plug-ins Parameter Description Manual button Use this button to activate/deactivate the Manual function. If activated, the flanger sweep is static, that is, no modulation takes place. Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal. Ö If side-chaining is supported, the modulation can also be controlled from another signal source via the side-chain input.
Modulation Plug-ins Parameter Description Oscillator – Frequency Sets the oscillator frequency ±2 octaves within the selected range. Oscillator – Roll-Off Attenuates high frequencies in the oscillator waveform, to soften the overall sound. This is best used when harmonically rich waveforms are selected (square or saw, for example). LFO – Speed Sets the LFO speed. LFO – Env. Amount Controls how much the input signal level – via the envelope generator – affects the LFO speed.
Modulation Plug-ins The following parameters are available: Parameter Description Speed selector (Stop/Slow/Fast) Allows you to control the speed of the Rotary in three steps. Speed Change Mode Allows you to select whether the Slow/Fast setting is a switch (left) or a variable control (right). When switch mode is selected and Pitchbend is the controller, the speed switches with an up or down flick of the bender. Other controllers switch at MIDI value 64.
Modulation Plug-ins StudioChorus Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – Side-chain support – – – – X X – The StudioChorus plug-in is a two stage chorus effect which adds short delays to the signal and pitch modulates the delayed signals to produce a doubling effect. The two separate stages of chorus modulation are completely independent and are processed serially (cascaded).
Modulation Plug-ins Tranceformer Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – Tranceformer is a ring modulator effect, in which the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, in sync with the Song tempo if needed.
Modulation Plug-ins Tremolo Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – Side-chain support – – – X X X – Tremolo produces amplitude (volume) modulation. The following parameters are available: Parameter Description Rate If tempo sync is on, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
Modulation Plug-ins Vibrato Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X X – Side-chain support – – – X X X – The Vibrato plug-in produces pitch modulation. The following parameters are available: Parameter Description Rate If tempo sync is on, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is off, the modulation speed can be set freely with the Rate knob.
Pitch Shift Plug-ins Pitch Shift Plug-ins This section contains descriptions of the plug-ins in the “Pitch Shift” category. Octaver Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – This plug-in can generate two additional voices that track the pitch of the input signal one octave and two octaves below the original pitch, respectively. Octaver is best used with monophonic signals.
Pitch Shift Plug-ins Pitch Correct Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – X X X X – Pitch Correct automatically detects, adjusts and fixes slight pitch and intonation inconsistencies in monophonic vocal and instrumental performances in realtime. The advanced algorithms of this plug-in preserve the formants of the original sound thus allowing for natural sounding pitch correction without the typical Mickey Mouse effect.
Pitch Shift Plug-ins Parameter Description Scale Source – Internal If you choose the Internal option from the Scale Source pop-up menu, you can use the pop-up menu next to it to decide to which scale the source audio is adapted. The following options are available: Chromatic: The audio is pitched to the closest semitone. Major/Minor: The audio is pitched to the major/minor scale specified in the pop-up menu to the right. This is reflected on the keyboard display.
Pitch Shift Plug-ins PitchDriver Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – – X – PitchDriver was created for sound design purposes in postproduction. This plug-in can be used for extreme up or down pitching of voices or effect samples (for example, to create eerie monster sounds). Shifting the pitch with this plug-in does not keep the formants.
Reverb Plug-ins Reverb Plug-ins This section contains descriptions of the plug-ins in the “Reverb” category. REVerence Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – REVerence is a convolution tool that allows you to apply room characteristics (reverb) to the audio. This is done by processing the audio signal according to an impulse response – a recording of an impulse in a room or another location that recreates the characteristics of the room.
Reverb Plug-ins The following parameters are available: Parameter Description Program name In the upper left corner of the plug-in panel, either the name of the loaded impulse response file or the name of the program is shown. After loading an impulse response, its number of channels and the length in seconds are displayed for a few seconds. Browse button This button opens a browser window showing the available programs.
Reverb Plug-ins Presets Presets are useful in the following situations: • When you want to save a complete setup with different impulse responses for later use (for example, different setups for explosion sounds that can be reused for other scenes or movies). • When you want to save different parameter sets for the same impulse response so that you can later choose the set that best suits your needs.
Reverb Plug-ins Parameter Description Auto Gain button When this button is activated, the impulse response is automatically normalized. Reverse button Reverses the impulse response. Pre-Delay Controls the amount of time between the dry signal and the onset of the reverb. With higher pre-delay values you can simulate larger rooms. Time Scaling Controls the reverb time. Size Determines the size of the simulated room. Level A level control for the impulse response.
Reverb Plug-ins Parameter Description Activate Impulse Trimming button Use this button at the bottom right of the Impulse display section to activate impulse trimming. The Trim slider is shown below the Impulse display. Trim slider Allows you to trim the start and end of the impulse response. Drag the front handle to trim the start of the impulse response, or the end handle to trim the reverb tail. You can also use the mouse wheel for trimming. Note that the impulse response is cut without any fading.
Reverb Plug-ins Loading Pictures In the Pictures section you can load graphics files to illustrate the setting, for example, the recording location or microphone arrangement of the loaded impulse response. Up to five pictures can be loaded. The following parameters are available: Parameter Description Add button Opens a file dialog where you can navigate to the graphics file that you want to import. JPG, GIF, and PNG file formats are supported.
Reverb Plug-ins Working with Custom Impulse Responses In addition to working with the impulse responses included with REVerence, you can import your own impulse responses and save these as programs or presets. WAVE and AIFF files with a mono, stereo, true-stereo, or multi-channel (up to 5.0) configuration are supported. If a multi-channel file contains an LFE channel, this channel is ignored. REVerence uses the same channel width as the track it is inserted on.
Reverb Plug-ins The channels are defined as follows: Channel The signal from this source… …was recorded with this microphone LL left source left microphone LR left source right microphone RL right source left microphone RR right source right microphone Ö If your true-stereo impulse responses are only available as separate mono files, you can use the Export Audio Mixdown function to create REVerence compliant interleaved files (see the Operation Manual).
Reverb Plug-ins To access your impulse responses again, proceed as follows: 1. Transfer you audio files to a location that you can access from the second computer (for example, an external hard disk). If you keep the files in the same folder structure as on the first computer, REVerence automatically finds all files contained in this structure. 2. Transfer any REVerence presets or programs that you need to the second computer.
Reverb Plug-ins Parameter Description Reverb – Pre-Delay Controls how much time passes before the reverb is applied. This allows you to simulate larger spaces by increasing the time it takes for first reflections to reach the listener. Reverb – Reverb Time Allows you to set the reverb time in seconds. Reverb – Size Alters the delay times of early reflections to simulate larger or smaller spaces. Reverb – Diffusion Affects the character of the reverb tail.
Reverb Plug-ins Parameter Description Surround – Rotate This button is only available for surround configurations. When active, button the perspective of the room is shifted 90°. Surround – Balance This control is only available for surround configurations. Balance controls the relative levels between the forward and rear speakers. Positive values favor the front speakers and negative values favor the rear speakers. When the Rotate option is activated, these relationships shift 90°.
Spatial + Panner Plug-ins Parameter Description Diffusion Affects the character of the reverb tail. Higher values lead to more diffusion and a smoother sound, while lower values lead to a clearer sound. Hi Level Affects the decay time of high frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the midrange. Lowering the level percentage causes high frequencies to decay quicker.
Spatial + Panner Plug-ins Channel Order The plug-in uses the channel order of the host application unless the selected output configuration differs from the track configuration. ! Choosing an output configuration that differs from the current track configuration results in channel oddities. If the output configuration of the track is not a subset of the plug-in output configuration, for example, track = 6.1 cine and plug-in output = 7.
Spatial + Panner Plug-ins The Plug-In Panel The panel of Anymix Pro is divided into several sections, with the stage view taking the most space to display the position and movement of the input channels, output configuration, and distance-dependent filter values. On the right side, there are the controls for position and movement, and the bottom section of the plug-in panel contains the upmix controls. Ö The plug-in panel has two different display modes, panning and upmix.
Spatial + Panner Plug-ins Option Description Rotation Rotates the input group around its center point. Link Angle & Rotation Changes the rotation of the input group from self-centered to stage-centered. Depth Scales the input group vertically. Width Scales the input group horizontally. Link Depth & Width Keeps the aspect ratio between Depth and Width scaling. Ö By pressing [Shift] while using the controls, you can fine-adjust all parameters.
Spatial + Panner Plug-ins Restricting Movement You can use the double-arrow buttons at the top right of the stage view to restrict the direction of movement of the object in the stage view to orthogonal or diagonal, for easy automation. Ö In most cases objects move on very simple routes around the audience. By restricting the direction of movement, you can quickly create accurate movements.
Spatial + Panner Plug-ins Upmix The upmix feature of Anymix Pro is very useful if rearranging tracks with fewer input channels into a specific surround format is not enough. The upmix algorithm analyzes the incoming audio signal and separates it into parts of direct sound and ambient sound. While the direct sound parts are sent to the direct sound stream and can be placed at the virtual front speaker configuration, the ambient sound parts can be modified and arranged around the virtual stage.
Spatial + Panner Plug-ins Ö The position parameters for the input group and any created automation are preserved when the upmix is enabled. In upmix mode, the sound image created by the upmix algorithm can be moved around the stage and is also fully automatable. The parameters that you have adjusted for a single channel have no influence on the upmix, but they are kept and automatically reloaded when the upmix is disabled. Upmix Presets Anymix Pro comes with a set of preconfigured upmix presets.
Spatial + Panner Plug-ins Advanced Options The Advanced options can be opened using the top left button in the main plug-in panel. These options can be set for the plug-in instance by adjusting the values as needed.
Spatial + Panner Plug-ins Option Description LP Cutoff Sets the cutoff frequency for the generated LFE channel. LP Order Allows you to select the order, or slope, of the low-pass filter: 2nd order = 12 dB/octave 3rd order = 18 dB/octave 4th order = 24 dB/octave Ö Keep in mind that the amount of LFE can be adjusted for each input channel individually, see “Individual Channel Adjustment” on page 99.
Spatial + Panner Plug-ins StereoEnhancer Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – X X X X – This plug-in expands the stereo width of (stereo) audio material. It cannot be used with mono files. The following parameters are available: Parameter Description Width Controls the width or depth of the stereo enhancement. Turn clockwise to increase the enhancement.
Surround Plug-ins Surround Plug-ins This section describes the plug-ins in the “Surround” category. MatrixDecoder Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – – X – The MatrixDecoder reverses the Encoder process performed by the MatrixEncoder. It is used for monitoring how an encoded mix sounds when played back on a Pro Logic compatible system.
Surround Plug-ins MatrixEncoder Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – – X – The MatrixEncoder is intended for the Pro Logic compatible encoding of multichannel files. This is a process where a 4-channel surround mix is packed into two channels for broadcasting or a two-channel version for DVDs, for example.
Surround Plug-ins 3. Activate the MatrixDecoder, open the control panel and click the Steering Mode button. Now you can hear how the mix is reproduced in surround on a Pro Logic compatible system. • The Steering display shows an x within the surround field. The position of this x sign indicates the dominant direction of the mix, sometimes referred to as the dominance vector.
Surround Plug-ins First, the two surround channels are merged to make the mix compatible with LRCS. Then the four resulting signals are encoded as usual. This way, far fewer adjustments are necessary when working with 5.1 and LRCS at the same time. Using the MatrixDecoder with the 5.0 Surround Format Normally two surround speakers are used even when playing back LRCS. The two speakers then simply use the same material. The MatrixDecoder simulates this by delivering the surround channel to two outputs.
Surround Plug-ins Mix8To2 Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – – X – Mix8To2 lets you quickly mix down your surround mix format to stereo. You can control the levels of up to eight surround channels and decide for each channel up to which level it is included in the resulting mix. Ö Mix8To2 does not simulate a surround mix or add any psycho-acoustical artifacts to the resulting output – it is simply a mixer.
Surround Plug-ins MixConvert V6 Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – The MixConvert V6 plug-in can be used to quickly convert a multi-channel mix to a format with a different channel configuration, for example, to mix down a 7.1 cinema surround format to a 5.1 home theater format. MixConvert V6 can be used as an insert effect like other plug-ins but it also has special functions.
Surround Plug-ins Parameters The plug-in panel is divided into three sections: By default, only the center section is visible, the input and output channel displays can be shown to the left and right of the center section. • To show/hide the input or output channel configuration, click the corresponding arrow button. Controls in the Center Section The center section contains the main plug-in parameters as well as buttons for soloing several speakers in one go.
Surround Plug-ins Depending on whether you solo a channel in the input or output configuration, the following applies: - For output configurations, you can only hear the soloed speaker’s channel in the downmix. - For input configurations, you can hear the influence of the soloed speaker’s channel on the downmix.
Tools Plug-ins closer speaker so that the sound from it arrives at the same time as the sound from the more distant speakers. Note that MixerDelay has a wide range (up to 1000 ms) and fine adjustments are best made by numerically entering the delay time in centimeters for speaker alignment. ! The MixerDelay is not a mixer – the number of outputs is the same as the number of inputs. If you need to mix down a surround signal to stereo, use the Mix6to2, Mix8to2 or MixConvert V6 plug-ins.
Tools Plug-ins Frequency Spectrum Analyzer Mode (Freq.) • Click the Freq button so that it lights up. MultiScope now divides the frequency spectrum into separate vertical bands, which allows you to get a visual overview of the different frequencies’ relative amplitude. The frequency bands are shown left to right, starting with the lower frequencies. • If the source signal is stereo you can now select either the Left or Right channel for viewing, or Stereo for both channels to be shown in the window.
Tools Plug-ins Phase Correlator Mode (Scope) • Click the Scope button so that it lights up. The phase correlator indicates the phase and amplitude relationship between channels in a stereo pair or a surround configuration. For stereo pairs, the indications work in the following way: - A vertical line indicates a perfect mono signal (the left and right channels are the same). - A horizontal line indicates that the left channel is the same as the right, but with an inverse phase.
Tools Plug-ins SMPTEGenerator Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – This plug-in is not a real audio effect. It sends out SMPTE timecode to an audio output, allowing you to synchronize other equipment to your host application (provided that the equipment can sync directly to SMPTE timecode). This can be very useful if you do not have access to a MIDI-to-timecode converter.
Tools Plug-ins Parameter Description Link to Transport button When you activate this button, the timecode is synchronized to the Transport panel. Timecode in Still Mode button When you activate this button, the plug-in also generates SMPTE timecode in stop mode. However, note that this is not continuous timecode, but timecode generated at the current cursor position. For example, this can be useful when working with video editing software that interprets the absence of timecode as a stop command.
Tools Plug-ins TestGenerator Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – – X X – This utility plug-in allows you to generate an audio signal, which can be recorded as an audio file. The resulting file can then be used for a number of purposes: - For testing the specifications of audio equipment. For measurements of various kinds, such as calibrating tape recorders. For testing signal processing methods. For educational purposes.
Tools Plug-ins Tuner Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – X X X X X – This is a guitar tuner. Simply connect a guitar or other instrument to an audio input and select the Tuner as an insert effect (make sure you deactivate any other effect that alters pitch, like chorus or vibrato). When you play a note, the pitch is shown in the middle of the display.
MIDI Effects Introduction This chapter describes the included MIDI realtime effects and their parameters. How to apply and handle MIDI effects is described in the Operation Manual. Arpache 5 Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – A typical arpeggiator accepts a chord (a group of MIDI notes) as input, and plays back each note in the chord separately, with the playback order and speed set by the user.
Arpache 5 5. Set the “Key Range” parameter to 12. This makes the notes arpeggiate within an octave. 6. Play a chord on your MIDI instrument. Now, instead of hearing the chord, you hear the notes of the chord played one by one, in an arpeggio. 7. Try the different arpeggio modes by clicking the “Play Order” buttons. The symbols on the buttons indicate the playback order for the notes. The settings are described below.
Arpache SX Arpache SX Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – This is an even more versatile and advanced arpeggiator, capable of creating anything from traditional arpeggios to complex, sequencer-like patterns. The Arpache SX has two different modes: Classic and Sequence. Classic vs. Sequence Mode The Classic mode determines the basic behavior of the Arpache SX.
Arpache SX Parameter Description Length Determines the length of the arpeggio notes (in fixed note values or PPQ, if the PPQ button is activated). In Sequence mode you can also activate the “from sequence” option, see below. Max. Polyphony Determines how many notes should be accepted in the input chord. The “All” setting means there are no limitations. Sort by When you play a chord into the Arpache SX, the arpeggiator sorts the notes in the chord in the order specified here.
Auto LFO Option Description Arp. Style As above, but if there are fewer notes in the MIDI input, the missing notes are replaced by the last valid note in the arpeggio. Repeat In this mode, the chords played are not separated into notes. Instead, they are used as is, and only the rhythm of the dropped MIDI part is used for playback.
Beat Designer Option Description Density Determines the density of the controller curves that are sent out. The value can be set to “small”, “medium”, or “large”, or to rhythmically exact note values. The higher the note value, the smoother the controller curve. For example, if you set this to 1/16, a new controller event is sent out at every 1/16 note position.
Beat Designer Patterns and Subbanks The Beat Designer patterns are saved as pattern banks. One pattern bank contains 4 subbanks which in turn contain 12 patterns each. In the pattern display in the lower part of the Beat Designer, subbanks and patterns are displayed graphically. To select a subbank, click on a number (1 to 4) at the top of the display. To select a pattern within this subbank, click on a key in the keyboard display below.
Beat Designer Setting the Velocity When entering a drum step, the velocity setting of this step is determined by where you click: Click in the upper part of a step for the highest velocity setting, in the middle section for a medium velocity and in the lower part for the lowest velocity setting. This is a quick way of roughly setting the velocity on the fly while entering drum sounds. In the display, the different velocity settings are indicated by different colors.
Beat Designer The Pattern Functions Menu This menu contains the following editing functions: Option Description Shift Left Moves all steps of the current pattern on all lanes to the left. Shift Right Moves all steps of the current pattern on all lanes to the right. Reverse Reverses the pattern, so that it plays backwards. Copy Pattern Copies the pattern to the clipboard. Copied patterns can be pasted into another pattern subbank and even directly into the project.
Beat Designer The Swing Setting This parameter can be used to create a swing or shuffle rhythm, which allows you to add a more human feel to drum patterns that might otherwise be too static. This is done by offsetting every second drum step for a lane. If a triplet step resolution is used, every third drum step is offset instead. In the lower right section of the Beat Designer panel, you can find two Swing sliders. Dragging a slider to the right delays every second or third drum step in the pattern.
Beat Designer • When you add flams before the very first drum step in a pattern, this is indicated in the display by a small arrow in the top left corner of this step. This indicates that you have to treat this pattern with special care in playback and arranging. Starting playback at the normal pattern start would result in these flams not being played. • Use the vertical sliders to the right of the flam sliders to set the velocity for the flams. 4. Start playback to hear the flams you created.
Beat Designer Using the Drum Patterns in Your Project You can use the drum patterns created with the Beat Designer in two ways: either by converting them to MIDI parts on a MIDI or instrument track or by triggering the different patterns using MIDI notes. Converting Patterns into MIDI Parts You can convert the drum patterns created in the Beat Designer into a MIDI part by dragging them into the Project window. Proceed as follows: 1. Set up one or more patterns of the same subbank. 2.
Beat Designer You can trigger the patterns in the Beat Designer using Note On events. These can either be events on a MIDI track or be played live via a MIDI keyboard. Which pattern is triggered depends on the pitch of the MIDI notes. The trigger range is four octaves starting with C1 (that is, C1 to B4). Proceed as follows: 1. Open the Beat Designer for a track. Again, this can be a MIDI or an instrument track. 2. Click the Jump field to activate Jump mode.
Chorder Chorder Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – The Chorder is a MIDI chord processor, allowing you to assign complete chords to single keys in a multitude of variations. These can then be played back live or using recorded notes on a MIDI track. There are three main operating modes: “All Keys”, “One Octave”, and “Global Key”. You can switch between these modes using the Chords pop-up, see below.
Chorder The Chord Indicator Lane At the top of the keyboard display you find a thin lane with a small rectangle for each key that you can use to record a chord. These rectangles are shown in blue for all keys that already have chords assigned to them. Ö In Global Key mode the C3 key has a special marking instead since this is the only key used in this mode. Entering Chords To enter chords you need to switch to Learn mode.
Chorder • If you are entering chords with the mouse, the Chorder does not jump to the next layer automatically. You can select/deselect as many notes as you wish and then click on another layer or deactivate the Learn mode to continue. 4. Repeat the above with any other keys you wish to use. Using Layers The Layers pop-up menu at the bottom right of the window allows you to set up chord variations in the layer display above the keyboard.
Compressor An example: If you have a setup with 8 layers, and you enter the chord C in layer 3 and G7 in layer 7, you get the following result: chord C in layers 1 to 6 and G7 in layers 7 and 8. Resetting Layers In Learn mode, you can use the “Reset layers” button at the top left of the Chorder window to delete all notes in the different layers for the selected trigger key.
Context Gate Parameter Description Ratio Determines the rate of compression applied to the velocity values above the threshold level. Ratios greater than 1:1 result in compression, that is, less difference in velocity, while ratios lower than 1:1 result in expansion, that is, greater difference in velocity. What actually happens is that the part of the velocity value that is above the threshold value is divided by the ratio value. Gain Adds or subtracts a fixed value from the velocities.
Context Gate Poly Mode – Chord Gate When Chord Gate is activated, only notes in recognized chords are let through. • Two Recognition modes are available: Simple and Normal. In Simple mode, all standard chords (major/minor/b5/dim/sus/maj7 etc.) are recognized, whereas Normal mode takes more tensions into account.
Density note-off command is not send out and the corresponding note sounds until the note is played again, a new note is let through, or the Auto Gate Time is reached. This way you can trigger lots of different effects or notes using the high notes on you guitar without having to use an additional MIDI instrument.
MIDI Control MIDI Control Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – This generic control panel allows you to select up to eight different MIDI controller types, and use the value fields or sliders (which are displayed when you click on a value field while holding down the [Alt]/[Option] key) to set values for these.
MIDI Echo The following parameters are available: Velocity Offset This parameter allows you to raise or lower the velocity values for each repeat so that the echo fades away or increases in volume (provided that the sound you use is velocity sensitive). For no change of velocity, set this to 0 (middle position). Pitch Offset If you set this to a value other than 0, the repeating (echoing) notes are raised or lowered in pitch, so that each successive note has a higher or lower pitch than the previous.
MIDI Modifiers Length Decay This parameter lets you adjust how the length of the echoed notes should change with each successive repeat. The higher the setting (25 to 100), the longer the echoed notes, compared to their original notes. About Ticks and Note Values The timing and position-related parameters (Delay, Length and Beat Align) can all be set in ticks (or PPQ which denotes the same thing here). There are 480 ticks to each quarter note.
MIDI Monitor MIDI Monitor Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – The MIDI Monitor monitors incoming MIDI events. You can choose whether to analyze live or playback events and which types of MIDI data are to be monitored. Use this, for example, to analyze which MIDI events are being generated by a MIDI track, or to find suspicious events, such as notes with velocity 0 that certain MIDI devices might fail to interpreted as note-off events.
Note to CC Clear List Button The Clear List button to the left of the Show section allows you to clear the table of recorded MIDI events. Note to CC Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – This effect generates a MIDI continuous controller event for each incoming MIDI note. The value of the controller event corresponds to the velocity of the MIDI note, which is then used to control the selected MIDI controller (by default CC 7, Main Volume).
StepDesigner The Quantizer has the following parameters: Parameter Description Quantize Note Sets the note value on which the quantize grid is based. Straight notes, triplets and dotted notes are available. For example, 16 means straight sixteenth notes and 8T means eighth note triplets. Swing Allows you to offset every second position in the grid, creating a swing or shuffle feel. The value is a percentage – the higher you set this, the farther to the right every even grid position is moved.
StepDesigner Creating a Basic Pattern 1. Use the Pattern selector to choose which pattern to create. Each StepDesigner can hold up to 200 different patterns. 2. Use the “Step size” setting to specify the resolution of the pattern. In other words, this setting determines how long each step is. For example, if this is set to 1/16, each step is a sixteenth note. 3. Specify the number of steps in the pattern with the “Number of steps” setting.
StepDesigner Adding Controller Curves The Controller pop-up menu has two more items: two controller types. • You can select which two controller types (filter cutoff, resonance, volume, etc.) should be available on the pop-up menu by clicking the Setup button and selecting controllers from the lists that appears. This selection is global, that is, it applies to all patterns.
Track Control Proceed as follows: 1. Select a MIDI track or create a new one and activate the StepDesigner as an insert effect. 2. Set up several patterns as described above. 3. Press the Record button and press keys on your keyboard to select the corresponding patterns. The pattern changes are recorded on the MIDI track. 4. Stop recording and play back the MIDI track. You now hear the recorded pattern changes. Ö This only works for the first 92 patterns.
Track Control Control panel Description XG 1 Effect sends and various sound control parameters for use with instruments compatible with the Yamaha XG standard. XG 2 Global settings (affecting all channels) for instruments compatible with the Yamaha XG standard.
Track Control Control Description Attack Adjusts the attack time of the sound. Lowering this value shortens the attack, while raising it gives a slower attack. Middle position means no adjustment is made. Release Adjusts the release time of the sound. Lowering this value shortens the release, while raising it makes the release time longer. Middle position means no adjustment is made. Harm.Cont Adjusts the harmonic content of the sound. Bright Adjusts the brightness of the sound.
Transformer Transformer Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X X – The Transformer is a realtime version of the Logical Editor. With this you can perform very powerful MIDI processing on the fly, without affecting the actual MIDI events on the track. The Logical Editor is described in the Operation Manual. As the parameters and functions are almost identical, the descriptions for the Logical Editor also apply to the Transformer.
The Included VST Instruments Introduction This chapter contains descriptions of the included VST instruments and their parameters. Ö Most of the included instruments are compatible with VST 3. For further information, see the Operation Manual. Groove Agent ONE Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X – X Groove Agent ONE is an easy-to-use sample-based MPC-style virtual drum machine for creating beats and reconstructing loops.
Groove Agent ONE Groups and Pads The pads and all functions related to the associating and auditioning of sounds can be found in the right half of the Groove Agent ONE panel. Groove Agent ONE provides up to 128 pads, organized in eight groups of 16 pads. You can switch between the different groups by clicking on the corresponding group buttons (labeled 1 to 8) above the pads. Each pad is mapped to a particular MIDI note (C-2 to G8, which equals 128 notes). • The button of the active group is highlighted.
Groove Agent ONE Velocity • The velocity is determined by where on the pad you click: it is lowest at the bottom of the pad and highest at the top. • You can force all pads to a velocity value of 127 by activating the V-Max button in the Global section in the top right corner of the Groove Agent ONE panel. Resetting Pads You can find a Reset button in the Global section in the top right corner of the Groove Agent ONE panel.
Groove Agent ONE Slicing a Loop and Triggering Individual Sounds via MIDI Drag & drop to several pads has a number of uses. For example, it allows you to trigger individual sounds from an audio loop via MIDI. Proceed as follows: 1. Slice up a drum loop using the Sample Editor. Open the resulting audio part in the Audio Part Editor and press [Ctrl]/[Command]-[A] to select all audio events. See the Operation Manual for details about slicing. 2.
Groove Agent ONE • When a sample belonging to a preset cannot be found, Groove Agent ONE prompts you to locate the missing files. You can click either Ignore to skip this message, click Locate File to navigate to a specific folder containing the missing file(s), or click Search Folder to browse a specific folder and any subfolders that might contain the missing file(s).
Groove Agent ONE • By default, the parameters of the selected samples are adjusted in relation to their previous settings. If you want to set a specific value for all selected samples, [Ctrl]/[Command]-click the quick control to set an initial value, release [Ctrl]/[Command] and adjust the value. The parameter is set to the same value for all selected sample pads.
Groove Agent ONE Play Parameters The parameter controls on the Play page are copies of the parameters on the Voice, Filter, and Amplifier pages. The row of parameter controls below the LCD display shows six parameters: Parameter Description Volume The volume of the pad currently selected for editing. Pan The panorama setting of the pad currently selected for editing. Coarse Use this control to tune the pad by up to ±12 semitones. Cutoff Sets the filter cutoff frequency.
Groove Agent ONE Amplifier Parameters The row of parameter controls below the LCD display shows six parameters: Parameter Description Volume The volume of the pad currently selected for editing. Pan The panorama setting of the pad currently selected for editing. Attack Controls the amplifier envelope attack time. Release Controls the amplifier envelope release time. Reduce the release time to shorten the decay of sounds played in one-shot mode.
HALion Sonic SE HALion Sonic SE Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with X X X X X – X This VST instrument is described in detail in the separate PDF document “HALion Sonic SE”. LoopMash Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X – X LoopMash is one of a kind: a powerful tool for the slicing and instant re-assembling of any kind of rhythmic audio material.
LoopMash LoopMash and use them with Groove Agent One. LoopMash supports the undo and redo functionality, so that you can see and modify your steps in the Edit History dialog, as long as the LoopMash panel is open (for further information about the Edit History dialog, see the Operation Manual). Getting Started To give you a first impression of what you can do with LoopMash, we have created a tutorial preset. Proceed as follows: 1.
LoopMash How Does LoopMash Work? Whenever you import a loop into LoopMash, the plug-in analyzes the audio material. It generates so-called perceptual descriptors (information on tempo, rhythm, spectrum, timbre, etc.) and then slices the loop into eighth-note segments. This means that after you have imported several loops, LoopMash knows the rhythmic pattern of each loop and the location of various sounds that make up this pattern within each loop.
LoopMash LoopMash Parameters You can influence the process of constantly assembling a new loop with the various functions and parameter controls of LoopMash. Ö Note that many of LoopMash’s parameters can be automated. The automation of VST instrument parameters is described in the Operation Manual.
LoopMash Defining the Master Loop One track is always selected. This is the master track: it provides the rhythmic pattern that you hear, and it is the sounds of this loop that are replaced by slices selected from the other loops in the current LoopMash configuration. • To make a track the master track, activate the button to the left of the track display. Auditioning Slices To audition the slices, proceed as follows: • Click on the slice that you want to hear.
LoopMash • Move the slider to the right to select more slices from the corresponding track for playback, and to the left to reduce the number of slices for playback (set to middle position by default). The brightness of the slices changes when moving the similarity gain slider. The further to the right, the lighter the color, and the higher the playback priority for these slices. The vertical lines on the similarity gain slider correspond to the slices in this loop.
LoopMash • You can use a composite track as a clipboard, allowing you to include sounds from more than eight loops into your mash. You can use one track for importing and removing the loops that you want to search for sounds, and use the remaining seven tracks as composite tracks. This allows for including up to 32 sounds from up to 32 different loop files on each of the seven composite tracks. Ö Composite tracks are quantized according to the set tempo (see “Transport Controls” on page 168).
LoopMash Transport Controls Tempo field Play Locate Step left/right The transport controls can be found at the bottom of the LoopMash panel. Button Description Play Click the Play button to start or stop playback. Locate Click the Locate button to return to the beginning of the loop (bar 1/beat 1). Playback always starts automatically when clicking this button. Step left/right Clicking the Step left/right button steps backwards/forwards through the timeline, playing one slice at a time.
LoopMash Storing Your Configuration as Scenes On the Slice Selection and the Audio Parameters pages you find a row of 24 pads. To each of these pads, you can save one scene, that is, a combination of up to eight tracks with all parameter settings. By triggering the pads, you can quickly change between different scenes during your performance.
LoopMash Parameter Description Voices per Track This is the maximum number of slices that can be selected from a single track. The range is from one to four. The less slices can be picked from the same track, the more variety you get in the LoopMash output. Selection Offset Move this slider to the right to allow slices that are less similar to be selected for playback. This setting affects all tracks of this scene (see “Storing Your Configuration as Scenes” on page 169).
LoopMash Audio Parameters Click the Audio Parameters button (above the transport controls) to open the Audio Parameters page. With the options on this page you can influence the sound of the LoopMash audio output. The following parameters are available: Option Description Adapt Mode With Adapt Mode, you can adapt the sound of the selected slice to the sound of the master slice. The available options are: Volume – changes the overall volume of the selected slice.
LoopMash With the blue buttons and the yellow button, you can apply additional effects that cannot be applied to single slices: Button Description Cycle 4, 2, 1 Temporally sets up a short cycle over 4, 2, 1 slice, respectively. This short cycle is always set up within the loop range that is set in the ruler (see “Setting a Loop Range” on page 165). Setting up a cycle over 1 slice means that this slice is repeated until you release the button.
Mystic Mystic Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X – X The synthesis method used by Mystic is based on three parallel comb filters with feedback. A comb filter is a filter with a number of notches in its frequency response, with the notch frequencies harmonically related to the frequency of the fundamental (lowest) notch. A typical example of comb filtering occurs if you are using a flanger effect or a delay effect with very short delay time.
Mystic • When the signal is fed back into the comb filter, it goes via a separate, variable low-pass filter. This filter corresponds to the damping of high frequencies in a physical instrument – when set to a low cutoff frequency it causes high harmonics to decay faster than the lower harmonics (as when plucking a string on a guitar, for example). • The level of the feedback signal is governed by a feedback control. This determines the decay of the feedback tone.
Mystic • If you want to random calculate a spectrum filter curve, you can choose the Randomize function from the Preset pop-up menu. Each time you choose this function, a new randomized spectrum appears. Waveform Pop-up Menu The pop-up menu at the bottom of the waveform section (the central box at the top of the panel) allows you to select a basic waveform to be sent through filter contour A. The options are especially suited for use with the spectrum filter.
Mystic Level This determines the level of the impulse sound being fed into the comb filters. By default, this parameter is modulated by envelope 2. That is, you use envelope 2 as a level envelope for the impulse sound. • For a string-type sound, you want an envelope with a quick attack, a very short decay and no sustain (an impulse in other words), but you can also use other envelopes for other types of sounds.
Mystic Master Volume and Pan The master Volume controls the master volume (amplitude) of the instrument. By default this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators. The Pan knob controls the position in the stereo spectrum for the instrument. You can use Pan as a modulation destination. Modulation and Controllers The lower half of the control panel displays the various modulation and controller assignment pages available as well as the effect page.
Mystic The two LFOs have identical parameters: Parameter Description Speed This governs the rate of the LFO. If the sync mode is set to MIDI, the available rate values are selectable as note values, so the rate is synced to the sequencer tempo in various beat increments. Depth This controls the amount of modulation applied by the LFO. If set to zero, no modulation is applied. Waveform This sets the LFO waveform. Sync mode (Part/MIDI/Voice/ Key) This sets the sync mode for the LFO.
Mystic Assigning LFO Modulation Destinations To assign a modulation destination for an LFO, proceed as follows: 1. Click in the “Mod Dest” box for one of the LFOs. A pop-up menu appears in which all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations. 2. Select a destination, for example, Cut. The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set.
Mystic LFO modulation velocity control – an example: If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: • The harder you strike the key, the more the Cut parameter is modulated by the LFO. • If you enter a negative value for the velocity modulation amount, the opposite happens; the harder you play the less the Cut parameter is modulated by the LFO.
Mystic Decay After the maximum value has been reached, the value starts to drop. How long this takes is governed by the Decay time parameter. The Decay time has no effect if the Sustain parameter is set to maximum. Range is from 0.0 milliseconds to 91.1 seconds. Sustain The Sustain parameter determines the level the envelope rests at after the Decay phase. Note that Sustain represents a level, whereas the other envelope parameters represent times. Range is from 0 to 100.
Mystic Assigning Envelope Velocity Destinations You can also assign velocity-controlled Envelope modulation, that is, the modulation is governed by how hard or soft you strike a key. Proceed as follows: 1. Click in the “Vel Dest” box for one of the envelopes. A pop-up menu appears in which all possible velocity destinations are shown. 2. Select a destination. The selected velocity destination is now shown in the list. Beside the destination, a default value (50) has been set.
Mystic Controller Description Aftertouch Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a keyboard after the key has been struck, and while it is being held down or sustained. Aftertouch is often routed to control filter cutoff, volume, and other parameters to add expression. Most (but not all) MIDI keyboards send Aftertouch. Key Pitch Tracking This can change parameter values linearly according to where on the keyboard you play.
Mystic The parameters are as follows: Parameter Description Drive Sets the amount of distortion by amplifying the input signal. Filter This parameter sets the crossover frequency of the distortion filter. The distortion filter consists of a low-pass filter and a high-pass filter with a cutoff frequency equal to the crossover frequency. Tone This parameter controls the relative amount of low-pass and highpass filtered signal. Level This controls the output level of the effect.
Padshop SR Parameters With these buttons you can change the sample rate. Lower sample rates basically reduce the high frequency content and sound quality, but the pitch is not altered. This is a great way to emulate the lo-fi sounds of older digital synths! - If button “F” is active, the selected Part’s program plays back with the sample rate set in the host application. - If button “1/2” is active, the selected Part’s program plays back with half the original sample rate.
Prologue Prologue is modelled on subtractive synthesis, the method used in classic analog synthesizers. It has the following basic features: • Multimode filter Variable slope low-pass and high-pass, plus band-pass and notch filter modes – see “About the Filter Types” on page 192. • Three oscillators, each with 4 standard waveforms plus an assortment of specialized waveforms. See “Selecting Waveforms” on page 187. • Frequency modulation. See “About Frequency Modulation” on page 190. • Ring Modulation.
Prologue Selecting Waveforms Each oscillator has a number of waveforms which are selectable by clicking on the waveform name in the box located in each oscillator section. The following waveforms are available: Waveform Description Sawtooth This waveform contains all harmonics and produces a bright and rich sound. Parabolic This can be described as a rounded sawtooth waveform, producing a softer timbre.
Prologue OSC 1 Parameters Oscillator 1 acts as a master oscillator. It determines the base pitch for all three oscillators. Oscillator 1 features the following parameters: Parameter Description Osc 1 (0–100) This controls the output level of the oscillator. Coarse (±48 semitones) This determines the base pitch used by all oscillators. Fine (±50 cent) Fine tunes the oscillator pitch in cent increments (100th of a semitone). This also affects all oscillators.
Prologue Parameter Description Wave Mod (±50) This parameter is only active if the Wave Mod button is activated beside the waveform selection box. Wave modulation works by adding a phase-shifted copy of the oscillator output to itself, which produces waveform variations. For example if a sawtooth waveform is used, activating WM produces a pulse waveform. By modulating the WM parameter with for example an LFO, classic PWM (pulse width modulation) is produced.
Prologue Parameter Description Sync button (On/Off) When Sync is activated, Osc 3 is slaved to Osc 1. This means that every time Osc 1 completes its cycle, Osc 3 is forced to reset (start its cycle from the beginning). This produces a characteristic sound, suitable for lead playing. Osc 1 determines the pitch, and varying the pitch of Osc 3 produces changes in timbre. For classic sync sounds, try modulating the pitch of Osc 3 with an envelope or an LFO.
Prologue • If Osc 1 and 2 are tuned to the same frequency, and no modulation is applied to the Osc 2 pitch, nothing much happens. However, if you change the pitch of Osc 2, drastic changes in timbre can be heard. If the oscillators are tuned to a harmonic interval such as a fifth or octave, the ring modulated output sounds harmonic, other intervals produce inharmonious, complex timbres. • Deactivate Oscillator Sync when using ring modulation.
Prologue Parameter Description Shift Internally, each filter consists of two or more subfilters connected in series. This parameter shifts the cutoff frequency of the subfilters. The result depends on the selected filter type: For low-pass and highpass filter types it changes the filter slope. For band-pass and notch filter types it changes the bandwidth. The Shift parameter has no effect if either the 12 dB LP or 12 dB HP filter type is selected.
Prologue Modulation and Controllers The lower half of the control panel displays the various modulation and controller assignment pages available as well as the effect page. You switch between these pages using the buttons below the Filter section. The following pages are available: • The LFO page has two low frequency oscillators (LFOs) for modulating parameters. • The Envelope page contains the four Envelope generators which can be assigned to control parameters – see “Envelope Page” on page 195.
Prologue About the Sync Modes The Sync modes determine how the LFO cycle affects the notes you play: Parameter Description Part In this mode, the LFO cycle is free running and affects all the voices in sync. “Free running” means that the LFO cycles continuously, and does not reset when a note is played. MIDI In this mode the LFO rate is synced in various beat increments to MIDI clock. Voice In this mode each voice in the Part has its own independent LFO cycle (the LFO is polyphonic).
Prologue Assigning LFO Velocity Destinations You can also assign velocity-controlled LFO modulation, that is, the modulation is governed by how hard or soft you strike a key. Proceed as follows: 1. Click in the “Vel Dest” box for one of the LFOs. A pop-up menu appears in which all possible velocity destinations are shown. 2. Select a destination. The selected velocity destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.
Prologue • You can set envelope parameters in two ways; either by using the sliders or by click-dragging the curve in the Envelope curve display. You can also do this in the mini curve displays. • By default Envelope 1 is assigned to the master volume, and therefore acts as an amplitude envelope. The amplitude envelope adjusts how the volume of the sound changes from the time you press a key until the key is released. If no amplitude envelope were assigned, there would be no output.
Prologue • You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the [Enter] key. To enter negative values type a minus sign followed by the value. 3. Select a suitable envelope curve for the modulation. You should now hear the filter cutoff being modulated by the envelope as you play. 4. Using the same basic method, you can add any number of modulation destinations for the envelope. They are all listed in the “Mod Dest” box.
Prologue Event Page The Event page is opened by clicking the EVENT button at the top of the lower half of the control panel. This page contains the most common MIDI controllers and their assignments. The following controllers are available: Controller Description Modulation Wheel The modulation wheel on your keyboard can be used to modulate parameters. Velocity Velocity controls parameters according to how hard or soft you play notes on your keyboard.
Prologue Effects (EFX) Page This page features three separate effect units: Distortion, Delay and Modulation (Phaser/Flanger/Chorus). The Effect page is opened by clicking the EFX button at the top of the lower half of the control panel. • Each separate effect section is laid out with a row of buttons that determine the effect type or characteristic and a row of sliders for making parameter settings. • To activate an effect, click the “Active” button so that a dot appears.
Retrologue Parameter Description Filter A low-pass filter is built into the feedback loop of the delay. This parameter controls the cutoff frequency of this feedback filter. Low settings result in successive echoes sounding darker. Level This controls the output level of the effect. Modulation You can select between 3 basic modulation characteristics: - The Phaser uses an 8-pole all-pass filter to produce the classic phasing effect.
Spector Spector Cubase Cubase Cubase Cubase Cubase Nuendo NEK LE AI Elements Artist Included with – – – X X – X The synthesis in this synthesizer is based around a spectrum filter, which allows you to specify the frequency response by drawing a filter contour in the spectrum display. Slightly simplified, the signal path is the following: • The starting point is the sound generated by up to 6 oscillators.
Spector Sound Parameters Oscillator Section A/B Waveform Pop-up Menus This is where you select basic waveforms for the A and B output of the oscillators. The options are especially suited for use with the spectrum filter. Coarse and Fine These parameters provide overall transposition and tuning of the oscillators (common for all oscillators, A and B waveforms).
Spector Option Description 3 Osc 3 oscillators with the same pitch. 2 Osc 2 oscillators with the same pitch. 2 Osc 1:2 One oscillator with base pitch and one pitched one octave down. 1 Osc A single oscillator. In this mode, the Detune and Cut II parameters are not active. Detune Detunes the oscillators (in all oscillator modes except “1Osc”). Low values give gentle chorus-like detuning; raising the control detunes the oscillators by several semitones for clangorous special effects.
Spector • If you want to random calculate a spectrum filter curve, you can choose the Randomize function from the Preset pop-up menu. Each time you choose this function, a new randomized spectrum appears. Cut I and II These work much like cutoff frequency controls on a conventional filter: With the Cut controls at the maximum setting, the full frequency range is used for the spectrum filter; lowering the Cut controls gradually moves the entire contour down in frequency, closing the filter.
Spector • The Event page contains the common MIDI controllers (Mod wheel, Aftertouch, etc.) and their assignments – see “Event Page” on page 209. • The Effect page has three separate effect types available; Distortion, Delay, and Modulation – see “Effects (EFX) Page” on page 210. LFO Page The LFO page is opened by clicking the LFO button at the top of the lower half of the control panel. The page contains all parameters and the modulation and velocity destinations for two independent LFOs.
Spector About the Waveforms Most standard LFO waveforms are available for LFO modulation. You use Sine and Triangle waveforms for smooth modulation cycles, Square and Ramp up/down for different types of stepped modulation cycles and Random or Sample for random modulation. The Sample waveform is different: • In this mode, the LFO actually makes use of the other LFO as well. For example, if LFO 2 is set to use Sample the resulting effect also depends on the speed and waveform of LFO 1.
Spector • You can set positive and negative values by clicking on the value in the list, typing in a new value and pressing the [Enter] key. To enter negative values type a minus sign followed by the value. 3. Using the same basic method, you can add any number of velocity destinations for the LFO. They are all listed in the “Vel Dest” box. • To remove a modulation destination click on its name in the list and select “Off” from the pop-up menu.
Spector The Envelope parameters are as follows: Attack The attack phase is the time it takes from zero to the maximum value. How long this takes is governed by the Attack setting. If the Attack is set to 0, the maximum value is reached instantly. If this value is raised, it takes time before the maximum value is reached. Range is from 0.0 milliseconds to 91.1 seconds. Decay After the maximum value has been reached, the value starts to drop. How long this takes is governed by the Decay time parameter.
Spector 4. Using the same basic method, you can add any number of modulation destinations for the envelope. They are all listed in the “Mod Dest” box. • To remove a modulation destination click on its name in the list and select “Off” from the pop-up menu. Assigning Envelope Velocity Destinations You can also assign velocity-controlled Envelope modulation, that is, the modulation is governed by how hard or soft you strike a key. Proceed as follows: 1. Click in the “Vel Dest” box for one of the envelopes.
Spector Controller Description Velocity Velocity controls parameters according to how hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder. Aftertouch Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a keyboard after the key has been struck, and while it is being held down or sustained.
Spector Distortion You can select between 4 basic distortion characteristics: - Distortion provides hard clipping distortion. Soft Distortion provides soft clipping distortion. Tape Emulation produces distortion similar to magnetic tape saturation. Tube Emulation produces distortion similar to valve amplifiers. The parameters are as follows: Parameter Description Filter This parameter sets the crossover frequency of the distortion filter.
Diagrams The parameters are as follows: Parameter Description Song Sync This switches tempo sync of the Rate parameter on or off. Rate Sets the rate of the LFOs modulating the delay time. If Song Sync is activated the rate is synced to various beat increments. Depth This parameter controls the depth of the delay time modulation. Delay This parameter sets the delay time of the four delay lines.
Diagrams Mystic Spector 213 The Included VST Instruments
