Operation Manual
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Kevin Quarshie, Benjamin Schütte 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. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH.
Table of Contents 11 11 11 Introduction About the Program Versions Typographical Conventions 12 Part I - Getting into the Details 13 13 19 21 21 Setting Up Your System Setting Up Audio Setting Up MIDI Connecting a Synchronizer Setting Up Video 22 22 29 30 31 31 33 33 34 41 VST Connections VST Connections Window Renaming the Hardware Inputs and Outputs Adding Input and Output Busses Adding Child Busses Presets for Input and Output Busses Adding Group and FX Channels About Monitoring External Instrume
142 142 143 143 144 144 145 146 148 149 149 149 150 151 152 152 153 156 157 167 Track Handling Adding Tracks Removing Tracks Moving Tracks in the Track List Renaming Tracks Coloring Tracks Showing Track Pictures Setting the Track Height Selecting Tracks Duplicating Tracks Disabling Audio Tracks Organizing Tracks in Folder Tracks Handling Overlapping Audio Track Folding How Events are Displayed on Folder Tracks Modifying Event Display on Folder Tracks Working with Lanes Defining the Track Time Base TrackVer
337 337 338 339 340 341 344 346 349 350 350 ADR ADR and Marker Selection ADR Statuses ADR Modes ADR Panel ADR Setup Setting Up ADR Tracks Setting Up the ADR Environment Rehearsing Takes Recording Takes Reviewing Takes 351 353 353 355 357 364 365 365 368 373 376 377 378 383 409 412 412 MixConsole Setting Up the MixConsole MixConsole Toolbar Functions Menu Configuring the MixConsole Synchronizing Channel and Track Visibility Finding Channels Linking Channels VCA Faders Metering Input Levels Copying and Mov
37 638 638 640 642 656 657 Surround Sound Deliverables Available surround configurations Preparations Using the SurroundPanner V5 Using the MixConvert V6 plug-in Exporting a surround mix 658 658 658 659 659 662 664 666 667 687 Automation Automation Curves Static Value Line Write/Read Automation Writing Automation Data Editing Automation Data Automation Tracks Virgin Territory vs.
912 912 916 917 917 920 924 924 926 929 933 933 934 Chord Pads (NEK only) Chord Pads Zone Functions Menu Preparations Chord Assistant (NEK only) Assigning Chords to Chord Pads Moving and Copying Chord Pads Playing Back and Recording Chords Chord Pad Settings – Remote Control Chord Pad Settings – Players Chord Pad Settings – Pad Layout Chord Pads Presets Creating Events from Chord Pads 935 935 936 937 937 948 949 953 953 954 The Logical Editor, Transformer, and Input Transformer Introduction Opening the L
1144 1144 1144 1146 1150 1152 1155 1155 Audio editing to picture Introduction Video timeline and the grid Conforming production audio Adding sound design elements Conforming to picture changes Synchronize tempo maps to picture Using standard Nuendo tools for postproduction purposes 1163 1163 1164 1165 1165 1166 1167 1167 ReWire Introduction Launching and quitting Activating ReWire channels Using the transport and tempo controls How the ReWire channels are handled Routing MIDI via ReWire Considerations an
1315 1315 1315 1315 1316 1317 1317 Transcribing MIDI recordings About this chapter About transcription Getting the parts ready Preparing parts for score printout Staff settings Situations which require additional techniques 1318 Inserting Display Quantize changes 1320 The Explode function 1321 Using "Scores Notes To MIDI" 1359 1359 1359 1361 1364 1364 1365 1365 1367 1368 1369 1371 Polyphonic voicing About this chapter Background: Polyphonic voicing Setting up the voices Strategies: How many voices do I n
1447 1447 1447 1452 1460 Working with text About this chapter Adding and editing text symbols Different types of text Text functions 1466 1466 1466 1467 1467 1468 1469 1470 Working with layouts About this chapter Background: Layouts Creating a layout Opening a layout Layout operations Using layouts – an example Marker Track to Form The score and MIDI playback About this chapter Scores and the Arranger mode Working with mapped dynamics 1516 1516 1516 1519 1524 Tips and Tricks Overview Useful editing te
Introduction About the Program Versions The documentation covers two different operating systems, Windows and Mac OS X. Some features and settings are specific to one of the platforms. This is clearly stated in the applicable cases. If nothing else is said, all descriptions and procedures in the documentation are valid for both Windows and Mac OS X. The screenshots are taken from the Windows version of Nuendo with the Nuendo Expansion Kit (NEK).
Part I - Getting into the Details 12
Setting Up Your System Setting Up Audio IMPORTANT MPORTANT Make sure that all equipment is turned off before making any connections. Simple Stereo Input and Output Setup If you only use a stereo input and output from Nuendo, you can connect your audio hardware, for example, the inputs of your audio card or your audio interface, directly to the input source and the outputs to a power amplifier and speaker.
Setting Up Your System Setting Up Audio About Recording Levels and Inputs When you connect your equipment, make sure that the impedance and levels of the audio sources and inputs are matched. Using the correct type of input is important to avoid distortion or noisy recordings. For microphones, for example, different inputs can be used, such as consumer line level (-10 dBV) or professional line level (+4 dBV). Sometimes, you can adjust input characteristics on the audio interface or on its control panel.
Setting Up Your System Setting Up Audio 3. On the ASIO Driver menu, select your audio hardware driver. The selected driver is added to the devices list. 4. In the devices list, select the driver to open the driver settings for your audio hardware. 5. Open the control panel for the audio hardware in the following way: • On Windows operating systems, click the Control Panel button. • On Mac OS X operating systems, click the Open Config App button.
Setting Up Your System Setting Up Audio Offset Allows you to adjust the output or input latency time, if a constant offset is audible during playback of audio and MIDI recordings. Audio Channels Lists the available audio channels. Bits Per Sample Shows the number of bits per sample. Sync Reference Shows if the driver is used as sync reference. NOTE To take advantage of DirectX Full Duplex driver, the audio hardware must support Windows Driver Model (WDM).
Setting Up Your System Setting Up Audio Using Several Audio Applications Simultaneously If you want to use several audio applications simultaneously, you must allow other applications to play back via your audio hardware even though Nuendo is running. PROCEDURE 1. Select Devices > Devices Setup. 2. In the devices list, select the VST Audio System page. 3. Activate Release Driver when Application is in Background. RESULT The application that is currently active gets access to the audio hardware.
Setting Up Your System Setting Up Audio • Setting levels for each input. • Setting levels for the outputs so that they match the equipment that you use for monitoring. • Selecting digital input and output formats. • Making settings for the audio buffers. In most cases, the settings for the audio hardware are gathered on a control panel that can be opened from within Nuendo or separately, when Nuendo is not running. For details, refer to the audio hardware documentation.
Setting Up Your System Setting Up MIDI About Monitoring In Nuendo, monitoring means listening to the input signal while preparing to record or while recording. The following ways of monitoring are available. • Externally by listening to the signal before it reaches Nuendo. • Via Nuendo. • By using ASIO Direct Monitoring. This is a combination of the other methods.
Setting Up Your System Setting Up MIDI Showing or Hiding MIDI Ports You can specify if a MIDI port is listed on the MIDI pop-up menus in the program. PROCEDURE 1. Select Devices > Device Setup. 2. In the Device Setup dialog, select MIDI Port Setup from the Devices list on the left. 3. To hide a MIDI port, deactivate its Visible column. 4. Click OK. Setting Up All MIDI Inputs When you record MIDI, you can specify which MIDI input each recording MIDI track should use.
Setting Up Your System Connecting a Synchronizer Connecting a Synchronizer When using Nuendo with external tape transports, you most likely must add a synchronizer to your system. IMPORTANT MPORTANT Make sure that all equipment is turned off before making any connections. For information on how to connect and set up your synchronizer, refer to the documentation of your synchronizer.
VST Connections To play back and record in Nuendo, you must set up input and output busses in the VST Connections window. Here, you can also set up group and FX channels, external effects, external instruments, and the Control Room. The bus types that you need depend on your audio hardware, on your general audio setup, for example your surround speaker setup, and on the projects that you use.
VST Connections VST Connections Window Speakers Indicates the speaker configuration (mono, stereo, surround formats) of each bus. Audio Device Shows the currently selected ASIO driver. Device Port Shows which physical inputs/outputs on your audio hardware are used by the bus. Expand the bus entry to show all speaker channels. If the bus entry is collapsed, only the first port that is used by this bus is visible. The Device Port pop-up menu displays how many busses are connected to a given port.
VST Connections VST Connections Window The following columns are available for the bus list: Bus Name Lists the busses. Click the name of a bus to select or rename it. Speakers Indicates the speaker configuration (mono, stereo, surround formats) of each bus. Output Routing Lets you select the output routing for the corresponding bus. External FX Tab This tab allows you to create send effect or return busses.
VST Connections VST Connections Window Device Port Shows which physical inputs/outputs on your audio hardware are used by the bus. Expand the bus entry to show all speaker channels. If the bus entry is collapsed, only the first port that is used by this bus is visible. The Device Port pop-up menu displays how many busses are connected to a given port. The busses are shown in square brackets next to the port name. Up to three bus assignments can be displayed in this way.
VST Connections VST Connections Window External Instruments Tab This tab allows you to create input/output busses that can be used to connect external instruments. The following options are available above the bus list: +- All Expands/Collapses all busses in the bus list. Add External Instrument Opens the Add External Instrument dialog, where you can configure a new external instrument. Favorites Lets you store external instrument configurations as favorites that you can recall.
VST Connections VST Connections Window Delay Allows you to enter a value to compensate for an inherent delay (latency) of your hardware effect device during playback. You can right-click the Delay column for the instrument and select Check User Delay to automatically determine the delay value that is used for delay compensation. NOTE The latency of the audio hardware is handled automatically by Nuendo. Return Gain Allows you to adjust the level of the signal coming in from the external instrument.
VST Connections VST Connections Window • Talkback • Cue • Headphone • Monitor Presets Opens the Presets menu, where you can select bus configuration presets. The Store button allows you to save a bus configuration as preset. The deletes the selected preset. Delete button Control Room Activates/Deactivates the Control Room. Control Room Mixer Opens the Control Room Mixer window, where you can set up the Control Room. Configuration Displays the selected channel configuration.
VST Connections Renaming the Hardware Inputs and Outputs Renaming the Hardware Inputs and Outputs Before you set up busses, you should rename the default inputs and outputs of your audio hardware. This allows transferring projects between different computers and setups. For example, if you move your project to another studio, the audio hardware may be of a different model.
VST Connections Adding Input and Output Busses Activating and Deactivating Ports (Mac only) On Mac operating systems, you can specify which input and output ports are active. This allows you to use the microphone input instead of the line input or to deactivate the audio card input or output. NOTE This function is only available for built-in audio, standard USB audio devices, and a certain number of other audio cards. PROCEDURE 1. Select Devices > Device Setup. 2.
VST Connections Adding Child Busses Setting the Default Output Bus (Main Mix) The Main Mix is the default output bus to which each new audio, group, or FX channel is automatically routed. If only one bus is available, this bus is automatically used as the default output bus. PREREQUISITE Add an output bus. PROCEDURE 1. In the VST Connections dialog, right-click the output bus that you want to use as default output bus. 2. Select Set as Main Mix.
VST Connections Presets for Input and Output Busses • Automatically created presets tailored to your specific hardware configuration. On startup, Nuendo analyzes the physical inputs and outputs that are provided by your audio hardware and creates a number of hardware-dependent presets. • Your own presets. NOTE You can create default presets for input and output bus configurations. If you create a new empty project, these default presets are applied.
VST Connections Adding Group and FX Channels Adding Group and FX Channels Group channels and FX channels allow you to group bus configurations. Adding group and FX channels in the VST Connections window is identical to creating group channel tracks or FX channel tracks in the Project window. PROCEDURE 1. In the VST Connections dialog, click the Group/FX tab. 2. Do one of the following: • To create a group channel, click Add Group. • To create an FX channel, click Add FX. 3. Configure the channel.
VST Connections External Instruments and Effects External Instruments and Effects You can integrate external effect devices and external instruments, for example, hardware synthesizers, into the sequencer signal flow. Requirements • To use external effects, you need audio hardware with multiple inputs and outputs. An external effect requires at least one input and one output or input/output pairs for stereo effects in addition to the input/output ports that you use for recording and monitoring.
VST Connections External Instruments and Effects 3. In the Add External FX dialog, enter a name for the external effect and specify the send and return configurations. Depending on the type of effect, you can specify mono, stereo, or surround configurations. 4. Click Associate MIDI Device and select a MIDI device. You can also select MIDI Devices > Create Device and create a new MIDI device association. NOTE Delay compensation is only applied for the effect when you use MIDI devices. 5. Click OK.
VST Connections External Instruments and Effects Adding External Effects You can use the external FX bus as an insert effect or as a send effect, which is an insert effect on an FX channel track. PREREQUISITE Set up your external effects in the VST Connections window. PROCEDURE 1. In the Inspector, open the Inserts panel. 2. Open the Select Insert menu. 3. Select an external effect from the External Plug-ins submenu.
VST Connections External Instruments and Effects Activate Effect Activates/Deactivates the external effect. Bypass Effect Allows you to bypass the external effect. Measure Effect’s Loop Delay for Delay Compensation If this option is activated, Nuendo automatically determines the delay value that is used for delay compensation. This is the same function as the Check User Delay option in the VST Connections window. When you have defined a MIDI device for the effect, the corresponding device window opens.
VST Connections External Instruments and Effects Adding External Instruments PREREQUISITE Set up your external instruments in the VST Connections window. PROCEDURE 1. Select Devices > VST Instruments. The VST Instruments window opens. 2. Click Add Track Instrument . The Add Instrument Track window opens. 3. Select an external instrument from the Instrument pop-up menu. External instruments are indicated by an x icon in the list next to their names in the Instrument pop-up menu. 4.
VST Connections External Instruments and Effects Activate External Instrument Activates/Deactivates the external instrument. Bypass External Instrument Allows you to bypass the external instrument. Delay Allows you to adjust the delay for the external instrument. Return Gain Allows you to adjust the return gain for the external instrument. Sending MIDI Notes to External Instruments PREREQUISITE Set up your external instruments in the VST Connections window and add a MIDI track. PROCEDURE 1.
VST Connections External Instruments and Effects • To recall a favorite, click Favorites and select the configuration that you want to recall. Freezing External Instruments/Effects You can freeze external instruments and effects to save processing power. NOTE You must perform the freeze function in realtime. Otherwise external effects are not taken into account. When freezing external instruments or effects, you can adjust the corresponding Tail Size value in the Freeze Channel Options dialog.
VST Connections Editing the Bus Configurations Editing the Bus Configurations After you have set up all the required busses for a project you can edit the names and change port assignments. The bus configuration is saved with the project. Removing Busses PROCEDURE • In the VST Connections window, right-click a bus in the list and select Remove Bus. You can also select the bus and press [Backspace]. Changing Port Assignments You can change the port assignment of busses in the VST Connection window.
VST Connections Editing the Bus Configurations • To use letters from the alphabet, select the busses that you want to rename and enter a new name for one of the busses, followed by a space and a capital letter. For example, if you have three FX channels that you want to be named “FX A, FX B, and FX C”, you select all the channels and enter the name FX A for the first. All other channels are renamed automatically. The last letter that can be used is Z.
Project Window The Project window provides an overview of the project, and allows you to navigate and perform large scale editing. Each project has one Project window. The Project window is displayed whenever you open or create a new project. • To open a project, select File > Open. • To create a new project, select File > New Project. The Project window is divided into several sections: 1) Toolbar Holds tools and shortcuts for opening other windows and various project settings and functions.
Project Window Toolbar 3) Info Line Shows information about the currently selected event or part in the Project window. 4) Overview Line Shows events and parts as boxes and allows you to zoom and navigate in the project. 5) Inspector Shows controls and parameters for the first selected track. 6) Global Track Controls Shows the global track controls. 7) Track List Shows the tracks and their controls. 8) Ruler Shows the timeline and the display format of the project.
Project Window Toolbar Constrain Delay Compensation Allows you to minimize the latency effects of the delay compensation. Media & MixConsole Windows These buttons allow you to open or close the MediaBay, the Pool, the MixConsole, and the Control Room Mixer. State buttons These buttons show the mute, solo, listen, and automation states. Network Controls These buttons allow you to share or sync your project or to commit changes when using the network functions.
Project Window Toolbar Snap to Zero Crossings If this option is activated, it finds zero crossings when you split and size audio events. Snap Allows you to restrict horizontal movement and positioning to certain positions. Quantize Allows you to move recorded audio or MIDI to musical relevant positions. Performance Meter Shows the meters for ASIO time usage and hard disk transfer load. Toolbox The toolbox makes the editing tools from the toolbar available at the mouse pointer position.
Project Window Status Line Status Line The status line shows the most important project settings. • To show or hide the status line, click Set up Window Layout on the toolbar and activate or deactivate Status Line. The following information is shown in the status line: Audio Inputs Displays the connection state of your audio inputs. Click in this field to open the VST Connections dialog. Audio Outputs Displays the connection state of your audio outputs.
Project Window Overview Line • To show or hide the info line, click the Set up Window Layout button on the toolbar and activate or deactivate the Info Line option. Editing in the Info Line You can edit almost all event or part data on the info line using regular value editing. If you select several events or parts, the info line is shown in another color and only the information about the first item in the selection is displayed.
Project Window Ruler Ruler The ruler shows the timeline and the display format of the project. Initially, the Project window ruler uses the display format that is specified in the Project Setup dialog. • To select an independent display format for the ruler, click the arrow button to the right of the ruler and select an option from the pop-up menu.
Project Window Inspector Timecode Hours, minutes, seconds, and frames. The number of frames per second (fps) is set in the Project Setup dialog with the Frame Rate pop-up menu. You can also display subframes by activating Show Timecode Subframes (File > Preferences > Transport). Feet+Frames 16 mm Feet and frames, with 40 frames per foot.
Project Window Inspector Inspector Sections The Inspector is divided into a number of sections that each contain different controls for the track. Not all Inspector sections are shown by default. The available sections depend on the selected track type. • To hide or show sections, click on their names. Clicking the name for a hidden section brings it into view and hides the other sections. • To hide or show a section without closing the other sections, [Ctrl]/[Command]-click the section name.
Project Window Inspector Setting Up Inspector Sections You can set up the visible Inspector sections for all tracks of the selected track type. • To open the Audio Track Inspector Settings dialog, click the Open button at the bottom right of the Inspector. Inspector Settings Dialog Hidden Items This section displays sections currently hidden in the Inspector. Visible Items This section displays sections currently visible in the Inspector.
Project Window Global Track Controls Global Track Controls The global track controls area above the track list allows you to manage the tracks in the track list. 1) Filter Track Types Allows you to determine which track types are shown in the track list. 2) Number of Visible Tracks Displays how many tracks are hidden. Click this, to show all tracks that are filtered out on the Visibility Inspector tab. NOTE You cannot undo visibility changes.
Project Window Global Track Controls Filtering Track Types PROCEDURE 1. Click Filter Track Types above the track list. This opens the track types filter. 2. Click a dot to the left of a track type to hide it. RESULT Tracks of the filtered type are removed from the track list and the color of the Filter Track Types button changes to indicate that a track type is hidden. Finding Tracks The Find Tracks function allows you to find specific tracks.
Project Window Visibility Visibility The Visibility tab in the Inspector allows you to determine which individual tracks are shown in the track list. • To open the Visibility tab, click its tab in the Inspector. Showing/Hiding Individual Tracks The Visibility tab shows a list of all current tracks. Here you can show and hide individual tracks. • To show or hide a track in the track list, click a dot to the left of a track.
Project Window Track List NOTE • You can only synchronize the track visibility in the Project window with the channel visibility of one MixConsole. If you enable Sync Track/Channel Visibility for a second MixConsole, the first link is lost. • If you divide the track list, the top part of the list is not affected. Likewise, channels in the left or right zones of the MixConsole are not synchronized.
Project Window Event Display • To move any type of track from the lower track list to the upper and vice versa, right-click it in the track list and select Toggle Track List from the context menu. • To resize the upper part of the track list, click and drag the divider between the track list sections. • To revert to a single track list, click Divide Track List again. Event Display The event display shows the parts and events that are used in the project. They are positioned along the timeline.
Project Window Racks Racks The racks zone of the project window allows you to display the VST Instruments and the MediaBay. • To show or hide the rack zone, click the Set up Window Layout button on the toolbar and activate or deactivate Racks. • Click the VST Instruments tab to add and edit VST instruments from within the rack zone of the project window.
Project Window Zooming in the Project Window • When you are using the vertical zoom sliders, the tracks are scaled relatively. If you have made any individual track height adjustments, the relative height differences are maintained. • If the Zoom while Locating in Time Scale option (File > Preferences > Transport) is activated, you can also zoom by clicking in the ruler and dragging up or down with the left mouse button pressed. Drag up to zoom out; drag down to zoom in.
Project Window Zooming in the Project Window Zoom to Selection (Horiz.) Zooms in horizontally so that the current selection fills the screen. Zoom to Event This option is available only in the Sample Editor. Zoom In Vertically Zooms in one step vertically. Zoom Out Vertically Zooms out one step vertically. Zoom In Tracks Zooms in on the selected tracks one step vertically. Zoom Out Tracks Zooms out the selected tracks one step vertically.
Project Window Zooming in the Project Window The upper part of the menu lists the zoom presets. • To save the current zoom setting as a preset, open the Zoom Presets pop-up menu and select Add. In the Type In Preset Name dialog that opens, type in a name for the preset and click OK. • To select and apply a preset, select it from the Zoom Presets pop-up menu. • To zoom out so that the whole project is visible, open the Zoom Presets pop-up menu and select Zoom Full.
Project Window Snap Function The middle part of the pop-up menu lists any cycle markers that you have added to the project. NOTE Only the cycle markers that you create in the current project are available on the menu. If you select a cycle marker from this menu, the event display is zoomed in to encompass the marker area. You cannot edit the cycle markers in this pop-up menu. RELATED LINKS Markers Window on page 314 Zoom History You can undo and redo zoom operations.
Project Window Snap Function Setting the Snap Point You can set the snap point at any position of the audio event. PROCEDURE 1. Select an event. 2. Place the project cursor at a position within the selected audio event. 3. Select Audio > Snap Point To Cursor. RESULT The snap point is set at the cursor position. The snap point for an event is displayed as a vertical line in the Project window. NOTE You can also set the snap point in the Sample Editor.
Project Window Snap Function The following snap types are available: Grid If this option is activated, the snap points are set with the Grid Type pop-up menu. The options depend on the display format that are selected for the ruler. When you select Seconds as ruler format, the Grid Type contains time-based grid options. Grid Relative If this option is activated, events and parts are not magnetic to the grid. Rather, the grid determines the step size for moving the events.
Project Window Cross-Hair Cursor 1 3 4 2 5 …changes the order of events 2, 3, and 4. Magnetic Cursor This grid type lets the project cursor become magnetic. Dragging an event near the cursor causes the event to be aligned with the cursor position. Grid + Cursor This is a combination of Grid and Magnetic Cursor. Events + Cursor This is a combination of Events and Magnetic Cursor. Events + Grid + Cursor This is a combination of Events, Grid, and Magnetic Cursor.
Project Window Edit History Dialog Edit History Dialog In the Edit History dialog, you can undo all actions in the Project window as well as in the editors. You can also undo audio processes or applied plug-in effects. However, these are better removed and modified using the Offline Process History. The dialog contains a list of all your edits, with the most recent action at the bottom of the list. • To open the Edit History dialog, select Edit > History.
Project Window Edit History Dialog Working with Branches You can gather actions in branches. This way you do not have to undo every single action that you performed, instead you can undo whole branches. A branch is created when you have undone at least one action. All following actions you perform are then gathered in a new branch. • To activate branches, select File > Preferences > General and activate Use Undo Branches. • To see and edit the branches, select Edit > Edit History.
Project Window Edit History Dialog RESULT All inactive branches are removed, leaving only the active actions on a single, linear branch. AFTER COMPLETING THIS TASK You can now undo separate actions of the branch as usual in the upper part of the dialog.
Project Handling Creating New Projects You can create empty projects or projects that are based on a template. PROCEDURE 1. Select File > New Project. Depending on your settings, either the Steinberg Hub or the New Project dialog opens. 2. 3. Steinberg Hub only: In the location options section, select where to store the new project. • To use the default location, select Use default location. • To choose another location, select Prompt for project location.
Project Handling Steinberg Hub Steinberg Hub When you start Nuendo or create new projects using the File menu, Steinberg Hub opens. Steinberg Hub keeps you up to date with the latest information and assists you with organizing your projects. It consists of the News and Tutorials section and the Projects section. News and Tutorials section The News and Tutorials section displays Steinberg news, tutorial videos as well as links to the user forum, downloads, and Knowledge Base.
Project Handling New Project Dialog Location options This section allows you to specify where the project is stored. Open other This button allows you to open any project file on your system. This is identical to using the Open command on the File menu. Deactivating Steinberg Hub To start Nuendo or to create new projects without Steinberg Hub, you can deactivate it. PROCEDURE • Select File > Preferences > General and deactivate Use Steinberg Hub.
Project Handling About Template Files NOTE We recommend to save files only in the project folder, even though you can save them in any other location to which you have access. The project folder contains the project file and the following folders that Nuendo automatically creates when necessary: • Audio • Clip Packages • Edits • Images • Network • Track Pictures About Template Files Templates can be a good starting point for new projects.
Project Handling Project Setup Dialog 4. In the Attribute Inspector section, double-click the Value field of the Content Summary attribute to enter a description for the template. 5. Click the Value field of the Template Category attribute and select a template category from the pop-up menu. If you do not select a category, the new template will be listed in Steinberg Hub in the Templates category. 6. Click OK to save the template. Renaming Templates PROCEDURE 1.
Project Handling Project Setup Dialog IMPORTANT MPORTANT While most Project Setup settings can be changed at any time, you must set the sample rate directly after creating a new project. If you change the sample rate at a later stage, you must convert all audio files in the project to the new sample rate to make them play back properly.
Project Handling Project Setup Dialog Frame Rate Allows you to specify the timecode standard and frame rate for the project. When synchronizing to an external device, this setting must correspond to the frame rate of any incoming timecode. Get From Video Allows you to set the project frame rate to the frame rate of an imported video file. Audio Pull-up/Pull-down Allows you to adjust audio playback speed to match the video.
Project Handling Project Setup Dialog NOTE • When you record with effects, consider setting the bit resolution to 32 Bit Float. This prevents from clipping (digital distortion) in the recorded files and keeps the audio quality absolutely pristine. Effect processing and level or EQ changes in the input channel are done in 32 Bit Float format. If you record at 16 or 24 Bit, the audio will be converted to this lower resolution when it is written to a file. As a result, the signal may degrade.
Project Handling Opening Project Files • FLAC Files, Free Lossless Audio Codec, is an open source format. Audio files recorded in this format are typically 50 % to 60 % smaller than regular Wave files. NOTE If your recorded Wave file is larger than 4 GB and Use RF64 Format is activated on the When Recording Wave Files larger than 4 GB pop-up menu (File > Preferences > Record > Audio), your recording is saved as an RF64 file. This way, you do not have to worry about the file size during recording.
Project Handling Opening Project Files • By default, external projects are connected to the input and output busses automatically by default. If you open a project that was created on a computer with an ASIO port configuration different from the configuration of your computer, this can result in unwanted audio connections. You can deactivate the automatic connection of input and output busses in the Preferences dialog on the VST page. PROCEDURE 1. Select File > Open. 2.
Project Handling Opening Project Files 4. In the file dialog, select a location and click OK. All projects that are saved in this location are listed in the projects list. Depending on the size of the files, this may take a while. NOTE You can add the location to the MediaBay to speed up the displaying of results. 5. In the projects list, select the project that you want to open. 6. Click Open. Locations Menu The Locations menu allows you to manage the user locations.
Project Handling Saving Project Files Opening Recent Projects To open a recently opened project, do one of the following: • In the category bar of Steinberg Hub, click Recent, select a project from the projects list, and click Open. • Select File > Recent Projects and select a recently opened project. Re-Routing Missing Ports If you open a Nuendo project that was created on a different system with other audio hardware, Nuendo tries to find matching audio inputs and outputs for the input/output busses.
Project Handling Saving Project Files About the Auto Save Option Nuendo can automatically save backup copies of all open project files with unsaved changes. NOTE Only the project files are backed up. If you want to include the files from the Pool and save your project in a different location, you must use the Back up Project function. If you activate the Auto Save option (File > Preferences > General), Nuendo automatically saves backup copies of all open projects with unsaved changes.
Project Handling Reverting to the Last Saved Version Reverting to the Last Saved Version You can return to the last saved version and discard all changes that have been introduced. PROCEDURE 1. Select File > Revert. 2. In the warning message, click Revert. If you have recorded or created new audio files since the last version was saved, you are prompted to delete or keep the files. Choosing a Project Location In Steinberg Hub, you can specify where to save a project.
Project Handling Removing Unused Audio Files Removing Unused Audio Files You can use the Cleanup function to locate and delete unused audio files in the project folders on your disk. PREREQUISITE Make sure that you have not moved or renamed files or folders without updating the project files to use the new paths. Also make sure that the project folder does not contain audio files that belong to projects that are not saved in the project folder. PROCEDURE 1. Close all projects. 2. Select File > Cleanup.
Project Handling Creating Self-Contained Projects Preparing Archives The Prepare Archive function allows you to gather all files that are referenced by your project to ensure that these are in the project folder. This is useful if you want to move or archive your project. PROCEDURE 1. Select Media > Prepare Archive. If your project references external files, you are prompted if you want to copy them to your working directory.
Project Handling Creating Self-Contained Projects Back up Project Options Dialog This dialog allows you to create a backup copy of your project. • To open the Back up Project Options dialog, select File > Back up Project. Project Name Allows you to change the name of the backed up project. Keep Current Project Active Allows you to keep the current project active after clicking OK. Minimize Audio Files Allows you to include only the audio file portions that are actually used in the project.
Tracks Tracks are the building blocks of your project. They allow you to import, add, record, and edit data (parts and events). Tracks are listed from top to bottom in the Track list and extend horizontally across the Project window. Each track is assigned to a particular channel strip in the MixConsole. If you select a track in the Project window, the controls, settings, and parameters displayed in the Inspector and the track list allow you to control the track.
Tracks Audio Tracks Audio Track Inspector The Inspector for audio tracks contains controls and parameters that allow you to edit your audio track. The top section of the audio track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation.
Tracks Audio Tracks Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Show Lanes Divides the tracks in lanes. Freeze Audio Channel Allows you to freeze the audio channel. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Delay Allows you to adjust the playback timing of the track.
Tracks Audio Tracks Audio Track Inspector sections Apart from the basic track settings that are always shown, audio tracks provide other Inspector sections. These are described in the following sections. TrackVersions Allows you to create and edit TrackVersions. Chords Section (NEK only) Allows you to specify how the track follows the chord track. Inserts Section Allows you to add insert effects to the track.
Tracks Audio Tracks Strip Section Allows you to set up the channel strip modules. Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels.
Tracks Audio Tracks Cue Sends Section Allows you to route cue mixes to Control Room cues. Direct Routing Section Allows you to set up direct routing. Surround Pan Section Shows the SurroundPanner for a track (if used).
Tracks Audio Tracks Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track. Network Section Shows the network connection of the track. Device Panel Section Allows you to display and use device panels.
Tracks Audio Tracks Quick Controls Section Allows you to configure quick controls to use remote devices, for example. Audio Track Controls The Track List for audio tracks contains controls and parameters that allow you to edit your audio track. The track list for audio tracks contains the following controls: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation.
Tracks Instrument Tracks Show Lanes Divides the tracks in lanes. Bypass Inserts Bypasses the inserts for the track. Bypass EQs Bypasses the equalizers for the track. Bypass Sends Bypasses the sends for the track. Channel Configuration Shows the channel configuration of the track. Listen The listen indicator is lit if the track is in listen mode. Freeze Channel Opens the Freeze Channel Options dialog that allows you to set the Tail Size time in seconds.
Tracks Instrument Tracks Instrument Track Inspector The Inspector for instrument tracks contains controls and parameters that allow you to control your instrument track. It shows some of the sections from VST instrument channels and MIDI tracks. The top section of the instrument track Inspector contains the following basic track settings: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track.
Tracks Instrument Tracks Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Freeze Instrument Channel Allows you to freeze the instrument. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Delay Allows you to adjust the playback timing of the track. Show Lanes Divides the tracks in lanes.
Tracks Instrument Tracks TrackVersions Allows you to create and edit TrackVersions. Chords Section (NEK only) Allows you to specify how the track follows the chord track. Expression Map Section (NEK only) Allows you to use the Expression Map features.
Tracks Instrument Tracks Note Expression Section (NEK only) Allows you to work with the Note Expression features. MIDI Modifiers Section Allows you to transpose or adjust the velocity of the MIDI track events in realtime during playback. MIDI Inserts Section Allows you to add MIDI insert effects.
Tracks Instrument Tracks Instrument Section Shows the audio-related controls for the instrument. Notepad Section Allows you to enter notes about the track. Network Section Shows the network connection of the track. Device Panel Section Allows you to display and use device panels. Quick Controls Section Allows you to configure quick controls to use remote devices, for example.
Tracks Instrument Tracks Instrument Track Controls The Track List for instrument tracks contains controls and parameters that allow you to edit your instrument track. The track list for instrument tracks contains the following controls: Mute Mutes the track. Solo Solos the track. Track name Double-click to rename the track. Record enable Activates the track for recording. Monitor Allows you to route incoming MIDI signals to the selected MIDI output.
Tracks Instrument Tracks Bypass EQs Bypasses the equalizers for the track. Bypass Sends Bypasses the sends for the track. Instrument Allows you to select an instrument. Listen The listen indicator is lit if the track is in listen mode. Edit In-Place Allows you to edit MIDI events and parts on the track in the Project window. Lock Disables all editing of all events on the track. Channel Configuration Shows the channel configuration of the track.
Tracks MIDI Tracks MIDI Tracks You can use MIDI tracks for recording and playing back MIDI parts. Each MIDI track has a corresponding MIDI channel in the MixConsole. A MIDI track can have any number of automation tracks. • To add a MIDI track to your project, select Project > Add Track > MIDI. MIDI Track Inspector The Inspector for MIDI tracks contains controls and parameters that allow you to control your MIDI track. These affect MIDI events in realtime, on playback, for example.
Tracks MIDI Tracks Input Transformer Opens the Input Transformer dialog that allows you to transform incoming MIDI events in realtime. Record enable Activates the track for recording. Monitor Routes incoming MIDI to the selected MIDI output. For this to work, activate MIDI Thru Active in the Preferences dialog (MIDI page). Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track.
Tracks MIDI Tracks MIDI Track Inspector Sections Apart from the basic track settings that are always shown, MIDI tracks provide other Inspector sections. These are described in the following sections. TrackVersions Allows you to create and edit TrackVersions. Chords Section (NEK only) Allows you to specify how the track follows the chord track. Expression Map Section (NEK only) Allows you to use the Expression Map features.
Tracks MIDI Tracks Note Expression Section (NEK only) Allows you to work with the Note Expression features. MIDI Modifiers Section Allows you to transpose or adjust the velocity of the MIDI track events in realtime during playback. MIDI Inserts Section Allows you to add MIDI insert effects.
Tracks MIDI Tracks MIDI Sends Section Allows you to add MIDI send effects. MIDI Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track.
Tracks MIDI Tracks Network Section Shows the network connection of the track. Device Panel Section Allows you to display and use device panels. Quick Controls Section Allows you to configure quick controls to use remote devices, for example. MIDI Track Controls The Track List for MIDI tracks contains controls and parameters that allow you to edit your MIDI track. The track list for MIDI tracks contains the following controls: Mute Mutes the track. Solo Solos the track.
Tracks MIDI Tracks Record enable Activates the track for recording. Monitor Allows you to route incoming MIDI signals to the selected MIDI output. For this to work, activate MIDI Thru Active in the Preferences dialog (MIDI page). Channel Allows you to specify the MIDI channel. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Show Lanes Divides the tracks in lanes. Output Allows you to specify the output for the track.
Tracks Arranger Track Automatically apply updates If this button is activated, all changes that are committed to the tracks by other users are automatically applied. Get exclusive access If this button is activated, you have exclusive access to the track. To unlock a track, click the Get exclusive access button again. Commit changes on this track Commits the changes on this track to the network. ASIO Latency Compensation Moves all recorded events on the track by the current latency.
Tracks Arranger Track The arranger track Inspector contains the following settings: Track Name Double-click to rename the track. Edit Opens the Arranger Editor. Select Active Arranger Chain + Function Allows you to select the active arranger chain, to rename it, to create a new one, to duplicate or to flatten it. Current Arranger Chain Shows the active arranger chain. Arranger Events Lists all arranger events in your project. Click the arrow for an arranger event to play it back and start the live mode.
Tracks Chord Track (NEK only) Arranger Track Controls The Track List for the arranger track contains controls and parameters that allow you to edit the arranger track. The track list for the arranger track contains the following controls: Select Active Arranger Chain Allows you to select the active arranger chain. Current Item/Current Repeat Displays which arranger event and which repeat is active. Activate Arranger Mode Allows you to activate and deactivate the arranger mode.
Tracks Chord Track (NEK only) Mute Mutes the track. Record enable Activates the track for recording. Acoustic Feedback Allows you to audition the events on the chord track. For this to work, you need to select a track for auditioning in the track list. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Voicing library Allows you to set up a voicing library for the track.
Tracks Chord Track (NEK only) TrackVersions Allows you to create and edit TrackVersions. Notepad Section Allows you to enter notes about the track. Chord Track Controls The Track List for the chord track contains controls and parameters that allow you to edit the chord track. The track list for chord tracks contains the following controls: Mute Mutes the track. Select Track for Auditioning Allows you to select a track for auditioning the chord events. Record Enable Allows you to record chord events.
Tracks FX Channel Tracks Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. FX Channel Tracks You can use FX channel tracks for adding send effects. Each FX channel can contain up to eight effect processors. By routing sends from an audio channel to an FX channel, you send audio from the audio channel to the effects on the FX channel.
Tracks FX Channel Tracks Write Automation Allows you to write track automation. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Output Routing Allows you to specify the output bus for the track.
Tracks FX Channel Tracks Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels. Cue Sends Section Allows you to route cue mixes to Control Room cues.
Tracks FX Channel Tracks Direct Routing Section Allows you to set up direct routing. Surround Pan Section Shows the SurroundPanner for a track (if used). Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track.
Tracks FX Channel Tracks Quick Controls Section Allows you to configure quick controls to use remote devices, for example. FX Channel Track Controls The Track List for FX channel tracks contains controls and parameters that allow you to edit the settings for the effect. The track list for FX channel tracks contains the following controls: Track name Click once to show/hide the basic track settings section. Double-click to rename the track. Edit Opens the Channel Settings window for the track.
Tracks Folder Tracks Lock Disables all editing of all events on the track. Bypass Inserts Bypasses the inserts for the track. Bypass EQs Bypasses the equalizers for the track. Bypass Sends Bypasses the sends for the track. Channel Configuration Shows the channel configuration of the track. Folder Tracks Folder tracks function as containers for other tracks, making it easier to organize and manage the track structure. They also allow you to edit several tracks at the same time.
Tracks Folder Tracks Record enable Activates the track for recording. Monitor Routes incoming signals to the selected output. Group Editing Allows you to activate the group editing mode. Lock Disables all editing of all events on the track. Folder Track Controls The Track List for folder tracks contains controls and parameters that allow you to edit all tracks in the folder. The track list for folder tracks contains the following controls: Expand/Collapse Shows/hides the tracks in the folder.
Tracks Group Channel Tracks Group Channel Tracks You can use group channel tracks to create a submix of several audio channels and apply the same effects to them. A group channel track contains no events as such, but displays settings and automation for the corresponding group channel. All group channel tracks are automatically placed in a special group track folder in the track list, for easy management. Each group channel track has a corresponding channel in the MixConsole.
Tracks Group Channel Tracks Volume Allows you to adjust the level for the track. Pan Allows you to adjust the panning of the track. Output Routing Allows you to specify the output bus for the track. NOTE When you select the group folder track instead, the Inspector shows the folder and the group channels it contains. You can click one of the group channels shown in the folder, to have the Inspector show the settings for that group channel.
Tracks Group Channel Tracks Strip Section Allows you to set up the channel strip modules. Equalizers Section Allows you to adjust the EQs for the track. You can have up to four bands of EQ for each track. Sends Section Allows you to route the track to one or several FX channels.
Tracks Group Channel Tracks Cue Sends Section Allows you to route cue mixes to Control Room cues. Direct Routing Section Allows you to set up direct routing. Surround Pan Section Shows the SurroundPanner for a track (if used).
Tracks Group Channel Tracks Fader Section Shows a duplicate of the corresponding MixConsole channel. Notepad Section Allows you to enter notes about the track. Quick Controls Section Allows you to configure quick controls to use remote devices, for example. Group Channel Track Controls The Track List for group channel tracks contains controls and parameters that allow you to edit the settings for the group.
Tracks Group Channel Tracks The track list for group channel tracks contains the following controls: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track. Mute Mutes the track. Solo Solos the track. Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Mute Automation Deactivates the automation read function for the selected parameter. Automation parameter Allows you to select a parameter for automation.
Tracks Marker Track Marker Track You can use the marker track to add and edit markers that help you to locate certain positions quickly. • To add the marker track to your project, select Project > Add Track > Marker. Marker Track Inspector The marker track Inspector displays the marker list. The marker track Inspector contains the following settings: Track name Double-click to rename the track. Edit Opens the Channel Settings window for the track.
Tracks Ruler Track Zoom Allows you to zoom in a cycle marker. Add Marker Allows you to add a position marker at the project cursor position. Add Cycle Marker Allows you to add a cycle marker at the project cursor position. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track.
Tracks Ruler Track Ruler Track Controls In the track list for ruler tracks you can change the display format for the ruler. Right-click the ruler to open the display format pop-up menu. The following display formats are available: Bars+Beats Activates a display format of bars, beats, sixteenth notes, and ticks. By default there are 120 ticks per sixteenth note, but you can adjust this with the MIDI Display Resolution setting in the Preferences dialog (MIDI page).
Tracks Signature Track NOTE Ruler tracks are not affected by the display format setting in the Project Setup dialog. Signature Track You can use the signature track to add and edit signature events. The signature track’s background always shows bars. This is independent of the ruler display format setting. • To add the signature track to your project, select Project > Add Track > Signature. Signature Track Inspector The signature track Inspector displays a list of all time signature events.
Tracks Tempo Track Tempo Track You can use the tempo track to create tempo changes within a project. • To add a tempo track to your project, select Project > Add Track > Tempo. Tempo Track Inspector The tempo track Inspector displays a list of all tempo events. The tempo track Inspector contains the following settings: Edit Opens the Tempo Track Editor. Tempo event list Shows a list of all tempo events that allows you to edit tempo events and their positions.
Tracks Transpose Track New Tempo Points Type Allows you to specify whether the tempo should change gradually (Ramp) or instantly (Jump) from the previous curve point to the new one. Visible Tempo Upper/Lower Limit Allows you to specify the display range. This changes the display scale of the tempo track, but not the tempo setting. Transpose Track You can use the transpose track to set global key changes. • To add the transpose track to your project, select Project > Add Track > Transpose.
Tracks VCA Fader Track Network Section Shows the network connection of the track. Transpose Track Controls The track list for the transpose track contains parameters that allow you to control the transpose track. The track list for the transpose track contains the following settings: Mute Transpose Events Mutes the track. Keep Transpose in Octave Range Allows you to keep the transposition in the octave range and ensures that nothing is transposed by more than seven semitones.
Tracks VCA Fader Track VCA Fader Track Inspector The Inspector for VCA fader tracks shows the settings for the VCA faders. The Inspector contains the following basic track settings: Read Automation Allows you to read track automation. Write Automation Allows you to write track automation. Toggle Time Base Switches between musical (tempo related) and linear (time related) time base for the track. Lock Disables all editing of all events on the track. Volume Allows you to adjust the level for the track.
Tracks Video Track Notepad Section Allows you to enter notes about the track. Quick Controls Section Allows you to configure quick controls to use remote devices, for example. VCA Fader Track Controls The track list for VCA fader tracks contains controls and parameters that allow you to edit the settings for the VCA fader. The track list for VCA fader tracks contains the following controls: Read Automation Allows you to read track automation. Write Automation Allows you to write track automation.
Tracks Video Track Video Track Inspector The video track Inspector contains a number of parameters to control the video track. The video track Inspector contains the following settings: Reveal Video Window Opens the Video Player window. Mute Video Track Mutes the track. Lock Disables all editing of all events on the track. Show Frame Numbers Allows you to show each thumbnail with the corresponding video frame number. Show Thumbnails Allows you to activate/deactivate the thumbnails of a video track.
Tracks Loudness Track Video Track Controls The track list for the video track contains a number of parameters to control the video track. The track list for the video track contains the following settings: Mute Video Track Mutes the track. Lock Disables all editing of all events on the track. Show Thumbnails Allows you to activate/deactivate the thumbnails of a video track. Show Frame Numbers Allows you to show each thumbnail with the corresponding video frame number.
Tracks Loudness Track Loudness Track Inspector The loudness track Inspector shows the most important loudness meter displays. The loudness track Inspector shows the following values: Short Term Shows the loudness measured over a duration of 3 ms. Integrated Shows the average loudness measured from start to stop. The recommended value for the integrated loudness is -23 LUFS. This absolute value is the reference point for the relative LU scale where -23 LUFS equals 0 LU.
Tracks Customizing Track Controls The track list for the loudness track contains the following settings: Activate Loudness Calculation Enables the loudness calculation. Enable Recording of Loudness Curve Enables the creation of a loudness curve in real-time at the cursor position during playback. Short Term Shows the loudness measured over a duration of 3 ms. LUFS/LU Allows you to switch the loudness unit from LUFS (Loudness Unit, absolute values) to LU (relative values).
Tracks Customizing Track Controls Track Type Allows you to select the track type to which your settings are applied. Hidden Controls This section displays controls currently hidden in the track list. Visible Controls This section displays controls currently visible in the track list. Width If you click in this column, you can set the maximum length for the track name. Group Displays the group number. Add Allows you to move an item selected in the hidden controls list to the list of visible controls.
Tracks Customizing Track Controls Group Allows you to group two or more controls selected in the visible controls list that are adjacent to each other. This ensures that they are always positioned side by side in the track list. Ungroup Allows you to ungroup grouped controls in the visible controls list. To remove an entire group, select the first (topmost) element belonging to this group and click the Ungroup button.
Track Handling Adding Tracks PROCEDURE 1. Select Project > Add Track, or right-click the track list. 2. Do one of the following: • Add a track of a specific type. For some track types a dialog opens that allows you to insert several tracks at once. • To add a track based on a track preset, select Add Track Using Track Preset. The Choose Track Preset dialog opens that allows you to select a track preset. The number and type of added tracks depends on the selected track preset.
Track Handling Removing Tracks Configuration Allows you to set the channel configuration. Audio-related tracks can be configured as mono, stereo, or surround tracks, with almost any combination of channels (LCRS, 5.1, 7.1, 10.2, etc.). Speakers Shows the speaker names according to the track configuration. Track Name Allows you to specify a track name. Add Track Adds the track and closes the dialog.
Track Handling Renaming Tracks Renaming Tracks PROCEDURE 1. Double-click the track name and type in a new name for the track. 2. Press [Return]. If you want all events on the track to get the same name, hold down any modifier key and press [Return]. AFTER COMPLETING THIS TASK If the Parts Get Track Names option (File > Preferences > Editing) is activated, and you move an event from one track to another, the moved event will automatically be named according to its new track.
Track Handling Showing Track Pictures Showing Track Pictures You can add pictures to tracks to recognize your tracks easily. Track pictures are available for audio, instrument, MIDI, FX channel and group channel tracks. PREREQUISITE Adjust the track height to at least 2 rows. PROCEDURE 1. Right-click any track in the track list. 2. From the track list context menu, select Show Track Pictures. If you move the mouse to the left on a track, a highlighted rectangle appears.
Track Handling Setting the Track Height Factory Shows the factory content in the pictures browser. Pictures Browser Shows the pictures that you can assign to the selected track/channel. User Shows your user content in the pictures browser. Import Opens a file dialog that allows you to select pictures in bmp, jpeg, or png format and add them to the user library. Remove Selected Pictures from User Library Removes the selected picture from the user library.
Track Handling Setting the Track Height • To change the height of all tracks simultaneously, hold down [Ctrl]/[Command], click the lower border of one track, and drag up or down. • To set the number of tracks to view in the Project window, use the track zoom menu. • To set the track height automatically when you select a track, click Edit > Enlarge Selected Track.
Track Handling Selecting Tracks Snap Track Heights Changes the track height in fixed increments when you resize it. Selecting Tracks • To select a track, click on it in the track list. • To select several tracks, [Ctrl]/[Command]-click several tracks. • To select a continuous range of tracks, [Shift]-click the first and last track in a continuous range of tracks. Selected tracks are indicated by a light gray color in the track list.
Track Handling Duplicating Tracks Duplicating Tracks You can duplicate a track with all contents and channel settings. PROCEDURE • Select Project > Duplicate Tracks. RESULT The duplicated track appears below the original track. Disabling Audio Tracks You can disable audio tracks that you do not want to play back or process at the moment. Disabling a track zeroes its output volume and shuts down all disk activity and processing for the track.
Track Handling Handling Overlapping Audio • To hide/show data on a folder track, open the context menu for the folder track and select an option from the Show Data on Folder Tracks submenu. • To mute/solo all tracks in a folder track, click the Mute or Solo button for the folder track. NOTE Hidden tracks are played back as usual. Moving Tracks to Folder Tracks You can move your tracks to folder tracks to organize them and to perform editing on several tracks as one entity.
Track Handling Track Folding • Activate Show Lanes and click the desired take. RELATED LINKS Working with Lanes on page 153 Track Folding You can show, hide, or invert tracks that are displayed in the Project window event display. This allows you to divide the project into several parts by creating several folder tracks for the different project elements and showing/hiding their contents by selecting a menu function or using a key command. You can also fold in automation tracks this way.
Track Handling How Events are Displayed on Folder Tracks The following option also affects the track folding behavior: Deep Track Folding To activate this option, select File > Preferences > Editing > Project & MixConsole. If this option is activated, any folding settings that you make on the Track Folding submenu of the Project menu also affect the subelements of the tracks.
Track Handling Working with Lanes RELATED LINKS Event Display - Folders on page 1261 Working with Lanes The descriptions in the following paragraphs focus on cycle recordings with takes. However, you can also apply lane operations and comping methods on overlapping events or parts that you assemble on one track.
Track Handling Working with Lanes Assembling a Perfect Take You can play back, cut, and activate takes to combine the best parts of your recording in a final take. PROCEDURE 1. Select the Comp tool or the Object Selection tool. 2. Bring a take to front to select it for playback, and listen to it. 3. Audition different takes to compare them in more detail. 4. If necessary, cut your takes into smaller sections, create new ranges, and bring them to front. 5.
Track Handling Working with Lanes Assembling Operations Unless it is clearly stated, all operations can be performed in the Project window and in the Audio Part Editor. Snap is taken into account, and all operations can be undone. To assemble a perfect take, you can use the Comp tool, the Object Selection tool, or the Range Selection tool. • The Comp tool modifies all takes on all lanes simultaneously. This is useful if the recorded takes have the same start and end positions.
Track Handling Defining the Track Time Base Operation Comp tool Object Selection/Range Selection tool Resize Drag the resize handles. All Drag the resize handles. takes with the same start and end positions are affected. Resizing is constrained to the end or start of the adjacent takes. This ensures that you do not create overlaps accidentally. Correct timing (Slip Event) Select a take, hold down See left. [Alt]/[Option]-[Shift] (the tool modifier for Slip Event) and drag with the mouse.
Track Handling TrackVersions Musical track time base Time linear track time base NOTE Switching between linear and musical time base results in a very small loss of positioning precision. Therefore you should avoid switching repeatedly between the two modes. RELATED LINKS Editing tempo and signature on page 976 Defining the Default Track Time Base You can specify the default track time type for new tracks (audio, group/FX, MIDI, and marker tracks).
Track Handling TrackVersions TrackVersions are useful for the following tasks: • Starting new recordings from scratch. • Comparing different takes and comps. • Managing takes that were recorded in a multi-track recording. NOTE TrackVersions are not available for automation tracks. TrackVersions are included in track archives and project backups. When you work with the networking feature, only the active TrackVersion is committed.
Track Handling TrackVersions TrackVersions Inspector Section The TrackVersions Inspector section allows you to view and manage TrackVersions for a selected track. It is available for audio tracks, MIDI tracks, instrument tracks, and the chord track (NEK only). To open the TrackVersions Inspector section for a track, select the track, and in the Inspector, click the TrackVersions tab. 1) Name column Shows the version name. Double-click to change it. The name will be changed for all selected tracks.
Track Handling TrackVersions Creating New TrackVersions You can create new, empty TrackVersions for selected tracks. PROCEDURE 1. In the track list, select the tracks for which you want to create a new TrackVersion. 2. Select Project > TrackVersions > New Version. NOTE You can also use the TrackVersions Inspector (only available for audio tracks, MIDI tracks, instrument tracks, and the chord track (NEK only)) or the TrackVersions pop-up menu in the track list to create a new TrackVersion.
Track Handling TrackVersions Assigning a Common ID TrackVersions on different tracks that were not created together have different TrackVersion IDs. TrackVersions with different IDs cannot be activated together. To do this, you must assign a new version ID to these tracks. PROCEDURE 1. Select the tracks and activate the TrackVersions to which you want to assign a common version ID. 2. Select Project > TrackVersions > Assign Common Version ID.
Track Handling TrackVersions Activating TrackVersions on Multiple Tracks You can simultaneously activate TrackVersions on multiple tracks if these TrackVersions share the same ID. PROCEDURE 1. Select all tracks for which you want to activate a specific TrackVersion. 2. Click the arrow to the right of the track name to open the TrackVersions pop-up menu. 3. Select the TrackVersion that you want to activate from the list.
Track Handling TrackVersions Deleting TrackVersions You can delete the active TrackVersions for the selected tracks. PROCEDURE 1. Select the tracks and activate the TrackVersions that you want to delete. 2. Select Project > TrackVersions > Delete Version. NOTE You can also use the TrackVersions Inspector for audio tracks, MIDI tracks, instrument tracks, and chord tracks (NEK only) or the TrackVersions pop-up menu in the track list to delete the active TrackVersion for selected tracks.
Track Handling TrackVersions Copying and Pasting Selected Events between TrackVersions You can copy and paste selected events between different TrackVersions, even across multiple tracks. PREREQUISITE You have at least 2 TrackVersions, and you have split the corresponding events with the Cut tool, for example. PROCEDURE 1. Select the Object Selection tool. 2. Select the events that you want to copy. 3. Select Edit > Copy. 4. Activate the TrackVersion into which you want to insert the copied events.
Track Handling TrackVersions Renaming a TrackVersion PROCEDURE • In the TrackVersions Inspector section, double-click the TrackVersion name and enter a new name. The name is changed. If the available space in the track list is too small, the name is abbreviated automatically. Renaming TrackVersions on Multiple Tracks PROCEDURE 1. Activate all TrackVersions that you want to rename, and select the corresponding tracks. 2. Select Project > TrackVersions > Rename Version. 3.
Track Handling TrackVersions NOTE If you want to assign the same ID to TrackVersions, select Project > TrackVersions > Assign Common Version ID. TrackVersions vs. Lanes TrackVersions and lanes are individual features that complement each other. Every TrackVersion can have its own set of lanes. Creating Lanes from TrackVersions If your project contains TrackVersions and you want to continue working with lanes, using the Comp tool, for example, you can create lanes from TrackVersions. PROCEDURE 1.
Track Handling Track Presets Track Presets Track presets are templates that can be applied to newly created or existing tracks of the same type. You can create them from virtually all track types (audio, MIDI, instrument, group, FX, VST instument return, input, and output channels). They contain sound and channel settings, and allow you to quickly browse, preview, select, and change sounds, or reuse channel settings across projects. Track presets are organized in the MediaBay.
Track Handling Track Presets • Audio input gain and phase • MIDI insert effects • MIDI track parameters • Input Transformer settings • The VST instrument used for the track • Staff settings • Color settings • Drum map settings (NEK only) MIDI Track Presets You can use MIDI track presets for multi-timbral VST instruments. You can also use them for external instruments. When creating MIDI track presets you can either include the currently set channel or the currently set patch.
Track Handling Track Presets If you select more than one track when creating a track preset, the settings of all selected tracks are saved as one multi-track preset. Multi-track presets can only be applied if the target tracks are of the same type, number, and sequence as the tracks in the track preset, therefore, they should be used in recurring situations with similar tracks and settings. VST Presets VST instrument presets behave like instrument track presets.
Track Handling Track Presets NOTE • Once a track preset is applied, you cannot undo the changes. It is not possible to remove an applied preset from a track and return to the previous state. If you are not satisfied with the track settings, you have to either edit the settings manually or apply another preset. • Applying VST presets to instrument tracks leads to removal of modifiers, MIDI inserts, inserts, or EQs. These settings are not stored in VST presets. Loading Track or VST Presets PROCEDURE 1.
Track Handling Track Presets 3. In the Presets browser, select a multi-track preset. 4. Double-click the preset to load it. RESULT The preset is applied. Loading Inserts and EQ from Track Presets Instead of loading complete track presets, you can also apply insert or equalizer settings from track presets. PROCEDURE 1. Select a track, open the Inspector or the Channel Settings window, and click the VST Sound button on the Inserts or Equalizers tab/section. 2. Select From Track Preset. 3.
Track Handling Track Presets Creating a Track Preset You can create a track preset from a single track or from a combination of tracks. PROCEDURE 1. In the Project window, select one or more tracks. 2. In the track list, right-click one of the selected tracks and select Save Track Preset. 3. In the New Preset section, enter a name for the new preset. NOTE You can also define attributes for the preset. 4. Click OK to save the preset and exit the dialog.
Track Handling Track Presets 2. Click Preset Management in the top right corner of the Inspector section and select one of the presets. The Track Quick Control assignment changes and gives you access to the channel parameters. NOTE You can also make your own assignments and save them as presets and delete, rename, or reset the presets to the default assignments.
Parts and Events Parts and events are the basic building blocks in Nuendo. The tracks in the Project window contain parts and/or events. Different event types are handled differently in the Project window: • Video events and automation events (curve points) are always viewed and rearranged directly in the Project window. • MIDI events can always be found in MIDI parts, which are containers for one or more MIDI events. MIDI parts are rearranged and manipulated in the Project window.
Parts and Events Audio Handling Audio Handling When you work with audio files, it is crucial to understand how audio is handled in Nuendo. When you edit or process audio in the Project window, you always work with an audio clip that is automatically created on import or during recording. This audio clip refers to an audio file on the hard disk that itself remains untouched.
Parts and Events Parts Audio Regions An audio region is a section within a clip with a length value, a start time, and a snap point. Audio regions are shown in the Pool and are best created and edited in the Sample Editor. NOTE If you want to use one audio file in different contexts, or if you want to create several loops from one audio file, convert the corresponding regions of the audio clip to events and bounce them into separate audio files.
Parts and Events Auditioning Audio Parts and Events Creating Audio Parts There is no way of automatically creating audio parts on recording. On recording audio events are created always. You can create audio parts in the following ways: • To gather existing audio events into a part, select Audio > Events to Part. This creates an audio part containing all selected audio events on the same track.
Parts and Events Adding Events to a Track Adding Events to a Track To add events to a track, do one of the following: • Record. • Drag and drop files on the track.
Parts and Events Scrubbing Scrubbing Scrubbing can be quite a burden on your system. If playback problems occur, try deactivating the “Use High Quality Scrub Mode” option in the Preferences dialog (Transport–Scrub page). The resampling quality will then be lower, but scrubbing will be less demanding on the processor. This can be useful when scrubbing in large projects. You can adjust the volume of the Scrub function in the Preferences dialog (Transport–Scrub page).
Parts and Events Folder Parts Editing Folder Parts Any editing that you perform in the Project window to a folder part affects all the events and parts it contains. You can select several folder parts and edit them at the same time. The editing you can perform includes: • Moving a folder part. This moves its contained events and parts, possibly resulting in other folder parts, depending on how the parts overlap. • Using cut, copy, and paste. • Deleting a folder part.
Parts and Events Render in Place Render in Place Render in Place is a function that lets you render existing material to new audio material. Nuendo allows you to export audio material to wav. files.
Parts and Events Render in Place As One Event One or more tracks are created. These contain the events/parts that are combined to one event/part. Every combination is saved as a separate audio file. Dry (Transfer Channel Settings) If this option is activated, all effects and panner settings are copied to new audio tracks. Channel Settings If this option is activated, all effects are rendered into the resulting audio files.
Parts and Events Render in Place • One track with multiple outputs and either Dry (Transfer Channel Settings), Complete Signal Path, or Complete Signal Path + Master FX are selected. Tail Size Allows you to set a tail size in seconds or bars and beats for the rendered files. This adds time at the end of the rendered file to allow reverb and delay tails to fully fade out. Bit Resolution Allows you to set the bit resolution for the resulting material to16 bit, 24 bit, or 32 bit float.
Parts and Events Render in Place Rendering Tracks You can render selected tracks either via the Render Tracks dialog or by directly using the Render (with Current Settings) command. PROCEDURE 1. Select one or more audio, MIDI, or instrument tracks. 2. Select Edit > Render in Place > Render Settings. 3. Specify the render options. 4. Click Render. RESULT All selected source material is processed according to your render settings.
Parts and Events Render in Place The following settings are available: Dry (Transfer Channel Settings) If this option is activated, all effects and panner settings are copied to new audio tracks. Channel Settings If this option is activated, all effects are rendered into the resulting audio files. This includes insert effects, channel strip settings, group channel settings, or FX send channel settings. Panner settings are transferred to the new audio tracks.
Parts and Events Render in Place • One of the channels has a send. • One track with multiple outputs and either Dry (Transfer Channel Settings), Complete Signal Path, or Complete Signal Path + Master FX are selected. Tail Size Allows you to set a tail size in seconds or bars and beats for the rendered files. This adds time at the end of the rendered file to allow reverb and delay tails to fully fade out.
Parts and Events Render in Place To open the Export tab, make a selection of one or more audio events and/or MIDI parts, and select Edit > Render in Place > Render Settings > Export. The same rendering settings apply as on the In Place tab. For export render operations, you can additionally define file naming schemes by using attributes. You can define naming schemes in the Naming Scheme window. To open the Naming Scheme window, click the Open Naming Scheme button .
Parts and Events Render in Place 3) Result Drop attributes to this field and rearrange them by dragging. 4) Settings Select separator and counter settings. 5) Preview Displays a preview of your current settings. Defining Naming Schemes You can define naming schemes by putting in order attributes which build the structure of the file name of the exported audio files. NOTE If the Mix Down to One Track option is activated in the Render Selection dialog, the naming scheme feature is not available.
Parts and Events Render in Place • To remove all attributes, click the x icon on the right of the drop zone. The following attributes are available: Name This attribute adds the text you entered on the Render Selection dialog in the Name field to the resulting file name. NOTE The resulting file name only contains the text in the Name field of the File Name Settings in the Render Selection dialog, if no naming scheme defined.
Parts and Events Game Audio Connect Saving Naming Schemes You can save several naming schemes in the Naming Scheme window. Saved naming schemes are displayed on the Scheme pop-up menu. Every change that is made to the currently active naming scheme is saved immediately. PROCEDURE 1. Define a naming scheme by adding attributes to the drop zone. 2. Make separator and counter settings. 3. To rename the naming scheme, double-click on Default, type in the new name, and press [Enter].
Parts and Events Game Audio Connect An audio engine that is enabled for Game Audio Connect is able to quickly locate your audio parts, either on a local hard disc, in a network, or in a version control system. From your game audio engine you can select an audio asset and make Nuendo open the project that contains it. Game Audio Connect Window The Game Audio Connect window is the interface between the game audio engine and Nuendo. It displays the connected game audio engine and the selected audio asset.
Parts and Events Game Audio Connect Game Audio Connect Settings Dialog The Game Audio Connect Settings dialog allows you to make settings for the game audio engine and perforce to connect to Nuendo, which is the host in a network connection. To open the Game Audio Connect Settings dialog select Project > Game Audio Connect and click the Settings button. The following settings are available: Enable Game Engine Network Connection Allows your game audio engine to connect to Nuendo.
Parts and Events Game Audio Connect User Name Allows you to enter your Perforce user name. Password Allows you to enter your Perforce password. Exporting Audio Assets to a Game Audio Engine Game Audio Connect directly notifies your game audio engine if Nuendo has rendered and exported audio assets.
Parts and Events Game Audio Connect Setting up Game Audio Connect for Network Communication If Nuendo and your game audio engine run on different computers, you can use the Game Engine Connection settings to establish a network connection. In such a network connection, Nuendo serves as host. PROCEDURE 1. In your game audio engine, set the Nuendo network address to the IP address of the computer that is running Nuendo. 2. In Nuendo, open the Game Audio Connect Settings dialog. 3.
Parts and Events Editing Parts and Events Server Allows you to set the Perforce server address. User Allows you to enter your Perforce user name. Password Allows you to enter your Perforce password. Editing Parts and Events This section describes techniques for editing in the Project window. If not explicitly stated, all descriptions apply to both events and parts, even though we use the term “event” for convenience.
Parts and Events Editing Parts and Events RELATED LINKS Selecting with the Object Selection Tool on page 196 Select Submenu on page 196 Range Editing on page 213 Selecting with the Object Selection Tool PROCEDURE 1. On the Project window toolbar, click Object Selection. 2. In the event display, click the events or parts that you want to select. The standard techniques apply. Select Submenu • To open the Select submenu, select Edit > Select.
Parts and Events Editing Parts and Events Events under Cursor Automatically selects all events on the selected track(s) that are touched by the project cursor. Select Event This is available in the Sample Editor. Left/Right Selection Side to Cursor These two functions are only used for range selection editing. NOTE When Range Selection tool is selected, the Select submenu features other functions.
Parts and Events Editing Parts and Events Moving with the Object Selection Tool PROCEDURE 1. In the Project window toolbar, click Object Selection. 2. In the event display, click the events or parts you want to move, and drag to a new position. NOTE You can only drag events to tracks of the same type. 3. Optional: Hold down [Ctrl]/[Command] while dragging to restrict movement either horizontally or vertically. RESULT All selected events are moved, maintaining their relative positions.
Parts and Events Editing Parts and Events Moving via the Info Line PROCEDURE 1. In the event display, select the event or part that you want to move. 2. In the info line, double-click the Start field and enter a new value for the event start. The event is moved accordingly. Moving with the Nudge Buttons PROCEDURE 1. Right-click the Project window toolbar and activate Nudge Palette. The nudge buttons become available in the toolbar. 2.
Parts and Events Editing Parts and Events 2. Point on an audio event or part, press one of the modifiers and click. The mouse pointer will change its shape and the audio event or part will be aligned to the selection range. NOTE When the snap point is set, it will be used as a reference when you align events. RELATED LINKS Modifiers for Aligning to Parts, Events, and Selection Ranges on page 204 Aligning Audio Events or Parts to the Cursor PROCEDURE 1.
Parts and Events Editing Parts and Events You have several options for renaming events automatically using sequential numbers, timestamps and more. RELATED LINKS Renaming Clips or Regions in the Pool on page 577 Resizing Events Resizing events means to move their start or end positions individually. The following resizing modes are available: Normal Sizing The contents of the event stay fixed, and the start or end point of the event is moved to “reveal” more or less of the contents.
Parts and Events Editing Parts and Events • Use the Trim buttons (Nudge palette) on the toolbar. This will move the start or end position of the selected events by the amount set on the Grid Type pop-up menu. The sizing type currently selected applies to this method too, with the exception of Sizing Applies Time Stretch which is not possible with this method. • Use the Scrub tool. • Apply time stretch.
Parts and Events Editing Parts and Events Splitting Events You can split events in the Project window in the following ways: • Click with the Cut tool on the event you want to split. If Snap is activated, this determines the exact split position. You can also split events by pressing [Alt]/[Option] and clicking with the Object Selection tool. • Select Edit > Functions > Split at Cursor. This splits the selected events at the position of the project cursor.
Parts and Events Editing Parts and Events Modifiers for Aligning to Parts, Events, and Selection Ranges For aligning audio events or parts to events, parts or ranges, the following modifiers are available: Use [Ctrl]/[Command] to align the start of the audio event/part to the start of the selected event, part or range. This function is available when you move the mouse on the beginning of the non-selected event.
Parts and Events Editing Parts and Events Use [Ctrl]/[Command]-[Shift]-[Alt]/[Option] to copy the audio event/part and align its end to the end of the selected event, part or range. This function is available when you move the mouse on the end of the non-selected event. For aligning audio events or parts to the cursor, the following modifiers are available: Use [Ctrl]/[Command] to align the start of the audio event/part to the cursor.
Parts and Events Editing Parts and Events Duplicating Events can be duplicated in the following ways: • Hold down [Alt]/[Option] and drag the event to a new position. If Snap is activated, this determines to which positions you can copy the events. NOTE If you hold down [Ctrl]/[Command] as well, movement direction is restricted to either horizontal or vertical. That means if you drag an event vertically it cannot be moved horizontally at the same time.
Parts and Events Editing Parts and Events • To delete everything to the right of the cursor/selection range, select Edit > Range > Cut Tail. No data will be kept in the clipboard. Repeating Events can be repeated in the following ways: • Hold down [Alt]/[Option] and click the handle in the lower right corner of the last selected event and drag to the right. • Select Edit > Functions > Repeat to open a dialog, allowing you to create a number of copies (regular or shared) of the selected events.
Parts and Events Editing Parts and Events IMPORTANT MPORTANT When sliding the contents of an audio event, you cannot slide past the start or end of the actual audio clip. If the event plays the whole clip, you cannot slide the audio at all. Grouping Events You can treat several events as one unit by grouping them. • To group events, select the events (on the same or different tracks) and select Edit > Group. Grouped events are indicated by a group icon on the right.
Parts and Events Editing Parts and Events • To activate group editing, click the Group Editing button for a folder in the track list. If the group editing mode is activated and you select an event, a part or a range on a track inside the folder track, other events, parts or ranges that have the same start and end time and the same playback priority, are also selected and temporarily grouped.
Parts and Events Editing Parts and Events • To specify which of these properties are affected by the Lock function, use the Lock Event Attributes pop-up menu (File > Preferences > Editing). • To lock events, select them and select Edit > Lock. The events will be locked according to the options specified in the Preferences dialog. The padlock symbol indicates that one or more of the lock options are activated for the event.
Parts and Events Editing Parts and Events • To change the mute status of selected events, [Shift]-click them. Creating New Files From Events An audio event plays a section of an audio clip, which in turn refers to one or more audio files on the hard disk. However, you can create a new file that consists only of the section that is played by the event. PROCEDURE 1. Select one or several audio events. 2. Set up fade in, fade out, and event volume. These settings will be applied to the new file. 3.
Parts and Events Editing Parts and Events Events from Regions This function is available if you have selected an audio event whose clip contains regions within the boundaries of the event. The function will remove the original event and replace it with events positioned and sized according to the regions.
Range Editing Editing in the Project window is not restricted to handling whole events and parts. You can also work with selection ranges, which are independent from the event/part and track boundaries. Creating a Selection Range • To make a selection range, drag with the Range Selection tool. When the Range Selection tool is selected, you can select selection ranges options via Edit > Select.
Range Editing Creating a Selection Range Invert Inverts the selection. All selected events are deselected, and all events that were not selected are selected. Only used for event selection. In Loop Makes a selection between the left and right locator on all tracks. From Start to Cursor Makes a selection on all tracks, from the start of the project to the project cursor. From Cursor to End Makes a selection on all tracks, from the project cursor to the end of the project.
Range Editing Creating Different Selection Ranges Range to Previous Event Moves the selection range to the previous event head or tail on the selected tracks and turns selection range to a zero selection. Enlarge Range to Next Event Moves the right side of the current selection range to the next event head or tail on the selected tracks. Enlarge Range to Previous Event Moves the left side of the current selection range to the previous event head or tail on the selected tracks.
Range Editing Editing Selection Ranges 2. Click on the Range Selection tool again and select Selection B from the pop-up menu. This switches the selection ranges. 3. Define the destination range for selection B. RESULT You can now switch between the selection A and selection B ranges with the Range Selection pop-up menu. AFTER COMPLETING THIS TASK Deactivate the Range Selection tool. Otherwise, you might accidentally overwrite your defined selections.
Range Editing Editing Selection Ranges • By using the Move Left and Move Right buttons on the toolbar. These move the whole selection range to the left or the right. The amount of movement depends on the selected display format and the value specified on the Grid pop-up menu. IMPORTANT The contents of the selection are not moved. Using the Move Left/Move Right buttons is the same as adjusting the start and end of the selection range at the same time by the same amount.
Range Editing Editing Selection Ranges Paste Pastes the clipboard data to the start position and track of the current selection. Existing events on the tracks remain at their original position. Paste at Origin Pastes the clipboard data back at its original position. Existing events on the tracks remain at their original position. This option is available in Edit > Functions. Cut Time Cuts out the selection range and moves it to the clipboard.
Range Editing Editing Selection Ranges Inserting Silence You can insert empty track space from the start of the selection range. The length of the silence equals the length of the selection range. • To insert silence, select Edit > Range > Insert Silence. Events to the right of the selection range start are moved to the right to make room. Events that are intersected by the selection range start are split, and the right section is moved to the right.
Playback and Transport This chapter describes the methods for controlling playback and transport functions. RELATED LINKS Transport on page 1276 Transport Panel The Transport panel contains the main transport functions as well as many other options related to playback and recording. • To show the transport panel, select Transport > Transport Panel or press [F2].
Playback and Transport Transport Panel Record Mode Determines what happens to your recordings and to any existing events on the track when you are recording. This section also contains the automatic MIDI record quantize function. Locators Allows you to go to the left or right locator position, and to activate Auto Punch In and Auto Punch Out. Furthermore, you can set the left and right locator position numerically and specify a pre-roll and a post-roll value.
Playback and Transport Transport Panel MIDI Activity Allows you to monitor the MIDI input and the MIDI output signals. Audio Activity Allows you to monitor the audio input and output signals. Audio Level Control Shows clipping indicators and an output level control.
Playback and Transport Transport Panel 4. On the transport panel, click the Pre-roll Amount and the Post-roll Amount fields and enter the pre-roll and post-roll values. 5. Activate Use pre-roll and Use post-roll. 6. Activate Record. RESULT The project cursor rolls back by the time specified in the Pre-roll Amount field and playback starts. When the cursor reaches the left locator, recording is automatically activated.
Playback and Transport Transport Menu • To move to another playback position, turn the jog wheel to the left or right. The further you turn the jog wheel, the faster the playback speed. The original playback speed is the fastest speed possible. You can turn the jog wheel as many times as needed to move to a location. If you click the jog wheel during playback, playback automatically stops and scrubbing starts.
Playback and Transport Transport Menu Locate Next/Previous Event Moves the project cursor to the next or to the previous event on the selected track. Playback Functions Post-roll from Selection Start/End Starts playback from the beginning or end of the currently selected range and stops after the time set in the post-roll field on the transport panel.
Playback and Transport Setting the Project Cursor Position Retrospective Record Allows you to capture MIDI notes that you play in stop mode or during playback. Therefore, you need to enable the Retrospective Record option (File > Preferences > Record > MIDI). Edit Function Edit Mode If this option is activated, the project cursor automatically follows when you make selections or when you perform editing operations. In Stop mode, the project cursor is hidden from the event display.
Playback and Transport Left and Right Locators • If Locate when Clicked in Empty Space is activated (File > Preferences > Transport), you can click anywhere in an empty section of the Project window to move the cursor position. • Change the value in any of the position displays. • Use the position slider above the transport buttons in the Transport panel. The range of the slider relates to the length setting in the Project Setup dialog.
Playback and Transport Auto-Scroll Setting the Locators There are several ways to set the locator positions. To set the left locator, do one of the following: • Drag the left handle in the ruler. • Press [Ctrl]/[Command] and click at the position in the ruler. • Adjust the Left Locator Position value on the Transport panel. To set the left locator to the project cursor position, do one of the following: • Press [Ctrl]/[Command], and on the numeric keypad press [1].
Playback and Transport Time Formats Suspend Auto-Scroll when Editing If you do not want the Project window display to change when editing during playback, you can activate Suspend Auto-Scroll when Editing. The Suspend Auto-Scroll when Editing button is located to the right of the Auto-Scroll button. When this option is activated, auto-scrolling is suspended as soon as you click anywhere in the event display during playback. As a visual feedback for that, the Auto-Scroll button turns orange.
Playback and Transport Locating to Specific Time Positions Independent Time Displays You can show time displays that are independent from the global display format. To select an independent time display, do one of the following: • In the ruler of the Project window or any editor, click the arrow button to the right of the ruler. • Select Project > Add Track > Ruler to add a ruler track, and right-click the ruler.
Playback and Transport Metronome • – Locate Selection/Locate Selection End – Locate Next Marker/Locate Previous Marker – Locate Next Hitpoint/Locate Previous Hitpoint – Locate Next Event/Locate Previous Event On the Transport panel, change the value of the Primary Time Display. NOTE In the Preferences dialog on the Transport page, you can select different options for entering a timecode. • Use markers. • Use the arranger functions. • Use locators.
Playback and Transport Metronome Metronome Setup You can make settings for the metronome in the Metronome Setup dialog. • To open the Metronome Setup dialog, select Transport > Metronome Setup. Metronome Options Section In the Metronome Options section, the following options are available: Metronome in Record Allows you to activate the metronome click during recording. Metronome in Play Allows you to activate the metronome click during playback.
Playback and Transport Metronome Use Project Count Base Activate this to let the metronome play one click per beat according to the project count base. Use Count Base Activate this to set the rhythm of the metronome. For example, setting this to 1/8, gives you eighth notes (two clicks per beat). Use Time Sign. at Rec. Start Time Activate this to let the precount automatically use the time signature and tempo set at the position where recording starts. Use Time Sign.
Playback and Transport Metronome MIDI Port/Channel Allows you to select a MIDI output and channel for the MIDI click. You can also select a VST instrument previously set up in the VST Instruments window. Hi Note/Velocity Allows you to set the MIDI note number and velocity value for the first beat in a bar, the high note. Lo Note/Velocity Allows you to set the MIDI note number and velocity for the other beats, the low notes.
Playback and Transport Chase 8. Set the locators to the section that you want to record and activate recording. If you want to record several sections, set up cycle markers for all sections that you want to record. RESULT Your project is played back from the current project cursor position. When the project cursor reaches the position specified with the Count-In Clicks and Interval in seconds parameters, the count-in is triggered. It stops when the cursor reaches the left locator and recording starts.
Playback and Transport Chase The same thing can apply to other event types as well. The Chase Events settings (File > Preferences > MIDI) determine which event types are chased when you locate to a new position and start playback. Activated event types are chased.
Virtual Keyboard (NEK only) The Virtual Keyboard allows you to play and record MIDI notes by using your computer keyboard or mouse. This is useful if you have no external MIDI instrument at hand and you do not want to draw in notes with the Draw tool. When the Virtual Keyboard is displayed, the usual key commands are blocked because they are reserved for the Virtual Keyboard.
Virtual Keyboard (NEK only) Virtual Keyboard Options • Press the corresponding key on your computer keyboard. NOTE Press several keys simultaneously to enter polyphonic parts. The maximum number of notes that can be played at one time varies between the different operating systems and hardware configurations. AFTER COMPLETING THIS TASK Close the virtual keyboard to make all key commands available again.
Recording In Nuendo, you can record audio and MIDI. This chapter assumes that you are familiar with certain basic recording concepts and that some initial preparations have been made. • Set up, connect, and calibrate your audio hardware. • Open a project and set up the project setup parameters according to your specifications. Project setup parameters determine the record format, sample rate, project length, etc. that affect the audio recordings that you make during the course of the project.
Recording Basic Recording Methods NOTE The exact number of audio tracks that you can record simultaneously depends on your computer CPU and hard disk performance. Activate the Warn on Processing Overloads option (File > Preferences > VST) to show a warning message as soon as the CPU overload indicator lights up during recording. RELATED LINKS Editing - Project & MixConsole on page 1257 VST on page 1279 Activating Recording You can activate recording manually or automatically.
Recording Basic Recording Methods Stopping Recording • To stop recording and playback, click the Stop button on the Transport panel or use the corresponding key command, by default [0] on the numeric keypad. • To stop recording and continue playback, click the Record button or use the corresponding key command, by default [*] on the numeric keypad.
Recording Basic Recording Methods Using Pre-Roll and Post-Roll You can set up a pre-roll and a post-roll for recording. PREREQUISITE Select File > Preferences > Transport and activate the Stop after Automatic Punch Out option. PROCEDURE 1. Set the locators to where you want to start and end recording. 2. On the Transport panel, activate Auto Punch In and Auto Punch Out. 3. Activate Use Pre-roll and Use Post-roll. 4. Specify a Pre-roll Amount and a Post-roll Amount. 5. Click Record.
Recording Monitoring Re-Recording PROCEDURE 1. Activate Transport > Re-Record. 2. Activate recording. 3. Hit the Record button again to restart recording. RESULT The project cursor jumps back to the record start position and recording is reinitiated. Pre-roll and pre-count settings are taken into account. NOTE The previous recordings are removed from the project and cannot be retrieved using Undo. However, they remain in the Pool.
Recording Monitoring 3. Select File > Preferences > VST. 4. Open the Auto Monitoring pop-up menu and select a monitoring mode. RESULT The monitored signal will be delayed according to the latency value which depends on your audio hardware and drivers. You can check the latency of your hardware in the Device Setup dialog (Device > Device Setup > VST Audio System). RELATED LINKS VST on page 1279 External Monitoring External monitoring means listening to the input signal before it is sent into Nuendo.
Recording Monitoring 3. In the Device Setup dialog, select your driver in the Devices list on the left to display the driver settings for your audio hardware, and activate the Direct Monitoring checkbox. If the checkbox is grayed out, your audio hardware (or its driver) does not support ASIO Direct Monitoring. Consult the audio hardware manufacturer for details. 4. Select File > Preferences > VST. 5. Open the Auto Monitoring pop-up menu and select a monitoring mode. 6.
Recording Audio Recording Specifics 3. In the track list, activate the Monitor button. RESULT Incoming MIDI is echoed back out again. RELATED LINKS MIDI on page 1265 Audio Recording Specifics Preparations Selecting a Record File Format You can set up the record file format, that is the sample rate, bit resolution, and record file type for new audio files. PROCEDURE 1. Select Project > Project Setup. 2. Set up the settings for Sample Rate, Bit Resolution, and Record File Type.
Recording Audio Recording Specifics 4. Navigate to the folder that you want to use as record folder or create a new folder with the New Folder button. If you want to have separate folders for different types of material (speech, ambient sounds, music, etc.), you can create subfolders within the project Audio folder and assign different tracks to different subfolders. This way, all audio files will still reside within the project folder, which will make managing the project easier.
Recording Audio Recording Specifics Selecting an Input Bus for the Track Before you can record on your track, you must add and set up the required input busses and specify from which input bus the track will record. PROCEDURE 1. In the Inspector for the audio track, open the Input Routing pop-up menu. 2. Select an input bus.
Recording Audio Recording Specifics Audio Record Modes By selecting an Audio Record Mode you decide what happens to your recording and to any existing events on the track where you are recording. This is necessary because you will not always record on an empty track. There may be situations where you record over existing events, especially in cycle mode. • To select an Audio Record Mode, click the audio symbol in Record Mode section of the Transport panel and select a record mode.
Recording Audio Recording Specifics Recording a Mix of Separate Tracks You can create a downmix of separate tracks, bass drum, hi-hats, or snare, for example. This is done by selecting an output bus, a group bus, or an FX channel bus as an input for your recording. PROCEDURE 1. Set up your separate tracks and add a group track. 2. For each of the drum tracks, open the Output Routing pop-up menu and select the group track as output. 3.
Recording Audio Recording Specifics Specifying an Audio Pre-Record Time You can capture up to 1 minute of any incoming audio that you play in Stop mode or during playback. This is possible because Nuendo can capture audio input in buffer memory, even when not recording. PROCEDURE 1. Select File > Preferences > Record > Audio. 2. Specify a time (up to 60 seconds) in the Audio Pre-Record Seconds field. This activates the buffering of audio input, making pre-record possible. 3.
Recording MIDI Recording Specifics • Do not try to actively bring about this kind of situation to test this feature. Although the internal program processes have been improved to cope with such situations, Steinberg cannot guarantee that other parts of the computer are not damaged as a consequence. MIDI Recording Specifics Preparations The preparations described in the following sections mainly focus on external MIDI devices.
Recording MIDI Recording Specifics Setting the MIDI Input In the Inspector, you set the MIDI input for the track. PROCEDURE 1. In the track list, select the track to which you want to assign a MIDI input. 2. In the topmost Inspector section, open the Input Routing pop-up menu and select an input. The available inputs on the menu depend on the type of MIDI interface that you are using. If you hold down [Shift]-[Alt]/[Option], the selected MIDI input is used for all selected MIDI tracks.
Recording MIDI Recording Specifics Selecting a Sound You can select sounds from within Nuendo by instructing the program to send Program Change and Bank Select messages to your MIDI device. PROCEDURE 1. In the track list, select the track to which you want to assign a sound. 2. In the track list or the Inspector, open the Program Selector pop-up menu and select a program. Program Change messages give access to 128 different program locations. 3.
Recording MIDI Recording Specifics RELATED LINKS MIDI on page 1265 Record - MIDI on page 1272 Recording Different Types of MIDI Messages You can record different types of MIDI messages. • To specify which event types are recorded, select File > Preferences > MIDI > MIDI Filter and deactivate the options for the type of MIDI message that you want to record.
Recording MIDI Recording Specifics You can record Program Change Messages together or independently from the notes, that is, afterwards or before. You can record Program Change Messages on their own tracks, separately from the notes to which they belong. As long as you set the two tracks to the same output and MIDI channel, it will appear to the MIDI instrument as if you made the two recordings at the same time.
Recording MIDI Recording Specifics • To select a MIDI Record Mode, click the MIDI symbol in the left section of the Transport panel. • To close the MIDI Record Mode panel again, click anywhere outside the panel. MIDI Record Mode New Parts Existing parts that are overlapped by a new recording are kept. The new recording is saved as a new part. Merge Existing events in parts that are overlapped by a new recording are kept. The newly recorded events are added to the existing part.
Recording MIDI Recording Specifics Keep Last Each completed lap replaces the previously recorded lap. If you deactivate recording or press Stop before the cursor reaches the right locator, the previous take will be kept. If you do not play or input any MIDI during a lap, nothing happens, and the previous take will be kept. Stacked Each recorded cycle lap is turned into a separate MIDI part, and the track is divided into lanes, one for each cycle lap.
Recording Remaining Record Time Recovering MIDI Recordings Nuendo allows you to recover MIDI recordings. Enabling Retrospective Record The Retrospective Record setting allows you to capture any MIDI notes that you play in Stop mode or during playback and turn them into a MIDI part after the fact. This is possible because Nuendo can capture MIDI input in buffer memory, even when not recording. PROCEDURE 1. Select File > Preferences > Record–MIDI. 2.
Recording Lock Record NOTE The remaining record time is also shown in the status line above the track list. If you use individual record folders to store your tracks on different drives, the time display refers to the medium with the least storage space available. Lock Record The Lock Record function prevents you from accidentally deactivating the record mode. • Select File > Key Commands and in the Transport category, assign key commands to the Lock Record and Unlock Record commands.
Quantizing MIDI and Audio Quantizing means moving recorded audio or MIDI and positioning it on the nearest grid position that is musically relevant. Quantizing is designed to correct errors, but you can also use it in a creative way. You can quantize audio and MIDI to a grid or to a groove. You can also quantize multiple audio tracks simultaneously. Audio and MIDI can be quantized at the same time.
Quantizing MIDI and Audio AudioWarp Quantize NOTE If you use the Quantize function on an audio part, the event starts inside the part are quantized. AudioWarp Quantize If you want to quantize the content of your audio event by applying time stretch, use the “AudioWarp Quantize” function. This function quantizes the audio event by aligning the warp markers to the defined quantize grid. The following happens: • Warp markers are created at hitpoint positions.
Quantizing MIDI and Audio Quantizing MIDI Event Starts Quantizing MIDI Event Starts If you select MIDI notes in a part and use the Quantize function on the Edit menu, the MIDI note starts are quantized, that is, the starts of MIDI notes that do not match exact note positions are moved to the closest grid positions. The grid is set up on the Quantize pop-up menu. The note lengths are maintained. NOTE If you quantize MIDI parts, all events are quantized, even if none is selected.
Quantizing MIDI and Audio AudioWarp Quantizing Multiple Audio Tracks NOTE For this to work, the audio tracks must reside in the same folder track and the “=” button for Group Editing must be activated. Furthermore, at least one of the tracks must contain hitpoints. PROCEDURE 1. Create an edit group for the audio tracks that you want to quantize. 2.
Quantizing MIDI and Audio Quantize Panel Quantize Panel The Quantize Panel provides further parameters for defining how to quantize audio or MIDI. These parameters allow you to set up a more sophisticated quantization. Using the Quantize Panel, you can quantize audio or MIDI to the grid or to a groove. Depending on what method you choose, different parameters are shown on the Quantize Panel. There is also a set of common settings.
Quantizing MIDI and Audio Quantize Panel Grid Display In the middle of the Quantize Panel the grid display is shown. The green lines indicate the quantize grid, that is, the positions that audio or MIDI is moved to. Randomize This setting allows you to set a distance in ticks, so that your audio or MIDI is quantized to random positions within the specified distance from the quantize grid.
Quantizing MIDI and Audio Quantize Panel Options For Quantizing to a Musical Grid Grid On this pop-up menu you can determine the basic value for the quantize grid. Swing This parameter lets you offset every second position in the grid, creating a swing or shuffle feel. This setting is only available when a straight value is selected for the grid and Tuplet is off (see below).
Quantizing MIDI and Audio Quantize Panel Options for Quantizing to a Groove Groove quantizing is intended for recreating existing rhythmic feels by matching your recorded music to a timing grid generated from a MIDI part or an audio loop. To extract the groove from a MIDI part, from an audio loop, an audio event with hitpoints, or sliced audio, select the material and drag it onto the grid display in the middle of the Quantize Panel. Alternatively, you can use the “Create Groove Quantize Preset” function.
Quantizing MIDI and Audio Quantize Panel Orig. Position If you activate this option, the starting point of the quantizing operation is not the first bar of the project, but the original starting position of the audio or MIDI material used to find the groove. This allows you to synchronize material that does not start from bar 1 of the project.
Quantizing MIDI and Audio Quantize Panel • If one of the tracks has a higher priority, its hitpoint is used as the cutting position. • If the tracks have the same priority, the first hitpoint in the range is used. Offset With this parameter, you can determine an offset, allowing for slight variations of the cutting position. The Offset value determines how far before the actual hitpoint position an audio event is sliced. This is useful if you want to create crossfades at the slice positions.
Quantizing MIDI and Audio Quantize Panel Nudge Crossfade Left/Right Clicking these buttons moves the fade area in the audio event to the left or to the right in steps of one millisecond. This is useful if the Offset value in the section “Slice Rules” was not high enough, and you want to avoid that the crossfade cuts an attack. Length With this parameter you can specify the length of the crossfade area.
Quantizing MIDI and Audio Additional Quantizing Functions AudioWarp Quantize On/Off Click this button to deactivate AudioWarp quantizing. This enables the “Slice Rules” section. Create If you click the Create button, warp markers are created for all the tracks.
Quantizing MIDI and Audio Additional Quantizing Functions 3. On the Hitpoints tab, click the “Create Groove” button. The groove is extracted. RESULT If you open the Quantize pop-up menu on the Project window toolbar, you will find an additional item at the bottom of the list, with the same name as the file from which you have extracted the groove. You can select it as a base for quantizing, just like any other quantize value.
Fades, crossfades, and envelopes Creating fades There are two types of fade ins and fade outs in audio events in Nuendo: event-based fades that you create by using the fade handles and clip-based fades created by processing. RELATED LINKS Event-based fades on page 274 Clip-based fades on page 277 Event-based fades Selected audio events have triangular handles in the upper left and right corners. These can be dragged to create a fade in or fade out, respectively.
Fades, crossfades, and envelopes Creating fades If you adjust the shape of the fade curve in the Fade dialog, this shape will be maintained when you later adjust the length of the fade. • You can make the fade longer or shorter at any time, by dragging the handle. You can do this without selecting the event first, i. e. without visible handles. Just move the mouse pointer along the fade curve until the cursor turns into a bidirectional arrow, then click and drag.
Fades, crossfades, and envelopes Creating fades • If you select a range encompassing a middle section of the event, but not reaching neither the start nor the end, a fade in is created from the beginning of the event to the beginning of the selected range, and a fade out is created from the end of the selected range to the end of the event. IMPORTANT You can select multiple audio events on separate tracks with the Range Selection tool, and apply the fade to all of them simultaneously.
Fades, crossfades, and envelopes Creating fades Removing fades • To remove the fades for an event, select the event and select “Remove Fades” from the Audio menu. • If you want to remove the fades in a specific range only, select the fade area with the Range Selection tool and select “Remove Fades” from the Audio menu.
Fades, crossfades, and envelopes The Fade dialogs The Fade dialogs The Fade dialogs appear when you edit an existing fade or use the Fade In/Fade Out functions on the Process submenu of the Audio menu. The picture below shows the Fade In dialog; the Fade Out dialog has identical settings and features. If you open the Fade dialog(s) with several events selected, you can adjust the fade curves for all these events at the same time.
Fades, crossfades, and envelopes The Fade dialogs Presets In this section you can set up presets for fade in or fade out curves that you want to apply to other events or clips. • To apply a stored preset, select it from the pop-up menu. • To rename the selected preset, double-click on the name and type in a new one. • To remove a stored preset, select it from the pop-up menu and click Remove. As Default button This button is only available when editing fades made by dragging the fade handles.
Fades, crossfades, and envelopes Creating crossfades Creating crossfades Overlapping audio material on the same track can be crossfaded, for smooth transitions or special effects. You create a crossfade by selecting two consecutive audio events and selecting the Crossfade command on the Audio menu (or by using the corresponding key command, by default [X]). The result depends on whether the two events overlap or not: • If the events overlap, a crossfade is created in the overlapping area.
Fades, crossfades, and envelopes The Crossfade dialog Removing crossfades To remove a crossfade, proceed as follows: • Select the corresponding events and select “Remove Fades” from the Audio menu. • Use the Range Selection tool to select all fades and crossfades you wish to remove, and select “Remove Fades” from the Audio menu. • Select a crossfade by clicking, and drag it outside the track. The Crossfade dialog NOTE This section describes the default Crossfade dialog.
Fades, crossfades, and envelopes The Crossfade dialog Chaining Mode This setting determines how the audio to the right of the crossfade on the track behaves when you move the crossfade for an event. Note that the behavior is different depending on whether the next audio event on the track follows seamlessly or with a gap: • Until End – all following events on the track are moved. • Until Gap – all following events on the track up to the next gap are moved.
Fades, crossfades, and envelopes The Crossfade dialog Equal Gain Activate this parameter to adjust the fade curves so that the summed fade in and fade out amplitudes will be the same all along the crossfade region. This is often suitable for short crossfades. Equal Power Activate this parameter to adjust the fade curves so that the energy (power) of the crossfade will be constant all along the crossfade region. Equal Power curves have only one editable curve point.
Fades, crossfades, and envelopes The Crossfade dialog Default buttons Click the As Default button to store the current settings as default. These settings will then be used whenever you create new crossfades. Click the Recall Default button to apply the curves and settings of the default crossfade to the Crossfade dialog. Select Crossfade buttons These buttons allow you to select the previous/next crossfade area, provided that the current track contains more than one crossfade.
Fades, crossfades, and envelopes The Crossfade dialog For asymmetric crossfades you can move the overlap sliders separately to set up different overlap values for the fade in and fade out curves. This results in a Splice Point Offset. IMPORTANT MPORTANT Do not mistake the Overlap parameter for the length of the crossfade area of the events. Using the Nudge buttons When you use the Nudge buttons, you can decide whether they move the fade area or the audio clip.
Fades, crossfades, and envelopes The Crossfade dialog Resizing the crossfade area MPORTANT IMPORTANT To be able to resize a crossfade, it must be possible to resize the corresponding event. For example, if the fade out event already plays its audio clip to the end, its end point cannot be moved any further to the right.
Fades, crossfades, and envelopes Auto fades and crossfades • If “Symmetric Fades” is deactivated, the right handle of the fade out curve changes the length and splice point of the fade out curve, and the left handle of the fade in curve changes the length and splice point of the fade in curve. Auto fades and crossfades Nuendo features an Auto Fade function that can be set both globally, and separately for each audio track.
Fades, crossfades, and envelopes Auto fades and crossfades 5. To adjust the shape of the Auto Crossfade, select the “Crossfades” tab and make settings as in the regular Crossfade dialog. 6. If you want to use your settings in future projects, click the “As Default” button. 7. Click OK to close the dialog.
Fades, crossfades, and envelopes Event envelopes Event envelopes An envelope is a volume curve for an audio event. It is similar to the realtime fades, but allows you to create volume changes within the event, not only at the start or end. To create an envelope for an audio event, proceed as follows: PROCEDURE 1. Zoom in on the event so that you can view its waveform properly. 2. Select the Draw tool.
Arranger Track Introduction The arranger track allows you to work with sections of your project in a non-linear fashion, to simplify arranging to the maximum extent. Instead of moving, copying and pasting events in the Project window to create a linear project, you can define how different sections are to be played back, like a playlist. For this, you can define arranger events, order them in a list, and add repeats as desired.
Arranger Track Working with arranger events 3. On the Project window toolbar, make sure that Snap is activated and that the Snap Type is set to a mode that allows your arranger events to snap to appropriate positions in the project. Snap to events is activated, i. e. when drawing in the Project window, new events will snap to existing events. 4. On the arranger track, use the Draw tool to draw an event of the desired length. An arranger event is added, called “A” by default.
Arranger Track Working with arranger events Creating an arranger chain You can set up an arranger chain in the Arranger Editor or in the Inspector for the arranger track. The Arranger Editor is opened by clicking the “e” button in the Inspector or in the track list. PROCEDURE 1. Click the “e” button to open the Arranger Editor. On the right in the Arranger Editor, the available arranger events are listed, in the order they appear on the timeline.
Arranger Track Working with arranger events long – to turn our pattern into a “song” (or at least into a basic sketch of the song structure), these files must be looped. This is where the Repeats function comes in. If you want an event to repeat several times, proceed as follows: • Click in the Repeats field for an event, type in the desired number of repeats and press [Enter]. When playing back the arranger chain, the Counter column indicates which repeat of this event is currently playing.
Arranger Track Working with arranger events Editing the arranger chain In the arranger chain on the left, you can do the following: • Select multiple events by [Ctrl]/[Command]-clicking or [Shift]-clicking as usual. • Drag events to move them in the list. • Drag events holding [Alt]/[Option] to create copies of the selected items. The insert location for both move and copy operations is indicated by a colored insertion line.
Arranger Track Flattening the arranger chain In the Arranger Editor, the toolbar buttons on the right are used for this: Click this to rename the current arranger chain. Creates a new, empty arranger chain. Creates a duplicate of the current arranger chain, containing the same events. Removes the currently selected arranger chain. Only available if you have created more than one arranger chain.
Arranger Track Flattening the arranger chain Flattening options Sometimes it might be useful to keep the original arranger events even after flattening the arranger track. By using flattening options you can define which chain is flattened, where it is stored and how it is named together with other options. PROCEDURE 1. Click the Flattening options button. 2. In the window that opens, select the desired options. 3. You can now flatten the arranger track by clicking the Flatten button.
Arranger Track Live mode Current Project This is only available if you have selected “Current Chain” as Source. If you activate this option, the result of the flattening of the current chain will be saved in the current project. New Project If you activate this option, you can flatten one or several chains in a new project. In this case it might be useful to use naming options. If you activate “Append Chain Name”, the Chain Names will be appended in brackets to the project name.
Arranger Track Live mode 2. Switch into Live mode by clicking on the little arrow in the lower list of the Inspector to the left of the arranger event you want to trigger. The arranger event will be looped endlessly, until you click on another arranger event. This might be useful, for example, if you want to loop a guitar solo with a flexible length. In the Jump Mode pop-up menu, you can define how long the active arranger event will be played, before jumping to the next one.
Arranger Track Arranging your music to video The following options are available: None Jumps to the next section immediately. 4 bars, 2 bars When one of these modes is selected, a grid of 4 or 2 bars (depending on the setting) will be placed on the active arranger event. Whenever the respective grid line is reached, playback will jump to the next arranger event. An example: Let’s say you have an arranger event which is 8 bars long and the grid is set to 4 bars.
Arranger Track Arranging your music to video An example: PROCEDURE 1. Set up a project with a MIDI track and three MIDI parts. The first part should start at position 00:00:00:00 and end at position 00:01:00:00, the second should start at position 00:01:00:00 and end at position 00:02:00:00 and the third should start at position 00:02:00:00 and end at position 00:03:00:00. 2. Activate the Sync button on the Transport panel. 3.
Transpose Functions Nuendo offers transpose functions for audio, MIDI and instrument parts and for audio events. These allow you to create variations of your music or change the harmonics of an entire project or separate sections. Transpose can be applied on three levels: • To the entire project By changing the project Root Key on the Project window toolbar, the whole project will be transposed.
Transpose Functions Transposing your music Transposing your music In the following sections we will describe the different possibilities of transposing your music. Note that these can also be combined. However, we recommend you to set the root key first, before recording or changing transpose values on the transpose track. IMPORTANT MPORTANT As a general rule, always set the root key first when you work with content with a defined root key.
Transpose Functions Transposing your music The entire project will be played back with this root key. To do so, the separate loops are transposed to match the project root key. For example, if you have imported a bass loop in C and the project root key is set to E, the bass loop will be transposed up by 4 semitones. 3. With the root key set, record some audio or MIDI. The recorded events will get the project root key. 4.
Transpose Functions Transposing your music 3. Right-click the transpose track in the track list and select “Set root key for unassigned events” from the context menu. This sets the project root key for all parts or events not containing any root key information. This option is only available, if a project root key has been set. IMPORTANT If you work with drums or percussion, exclude these from being transposed by setting the “Global Transpose” setting on the info line to “Independent”.
Transpose Functions Transposing your music Changing the root key of single events or parts If you want to check if an audio event or part has root key information or if you want to change it, proceed as follows: 1) Open the Pool and display the Key column by activating the Root Key option on the View/Attributes pop-up menu. 2) Click in the Key column for the desired audio event and set the root key according to your needs. You can also check and assign root keys in the MediaBay.
Transpose Functions Transposing your music For example, you can brighten up your loops in C major by transposing them by 5 semitones, so that the subdominant on F major is played back, or you can turn your hit more interesting by transposing the last chorus one semitone upwards. PROCEDURE 1. Open the Project menu and select “Transpose” from the Add Track submenu (or right-click the track list select the corresponding option from the context menu). A transpose track is created.
Transpose Functions Other functions Transposing individual parts or events using the info line You can also transpose individual audio and MIDI parts and events using the info line (or the Inspector). This transposition will be added to the global transposition (i. e. the root key or the transpose events). PROCEDURE 1. Select the event that you want to transpose. 2. In the Project window info line, adjust the Transpose value as desired.
Transpose Functions Other functions When you activate “Indicate Transpositions” you will see how your MIDI part will be transposed. The Global Transpose setting If you are working with drum and percussion loops or special effects (FX) loops, you will want to exclude these from being transposed. This can be achieved by locking them using the Global Transpose setting. Proceed as follows: 1) Open your project.
Transpose Functions Other functions Have a look at the following example: 1) Set up a project with the root key in C. 2) Add a transpose track and enter transpose events with the values 0, 5, 7 and 0. 3) Record some chords with your MIDI keyboard. For our example, record C, F, G and C. The transpose events are not taken into account and the result of your recording will be C, F, G and C. No root key will be set. NOTE Recorded events are independent from Global Transpose.
Transpose Functions Other functions To understand the principle behind this, follow the example below: PROCEDURE 1. Create a MIDI part, enter a C major chord, open the Key Editor and activate “Indicate Transpositions”. This way you can observe and understand what happens when you change the transposition. 2. Add a transpose track and create a transpose event. By default, the transpose value is set to 0. 3.
Transpose Functions Other functions 4. Set the transpose value to 8 semitones. As “Keep Transpose in Octave Range” is activated, your chord will now be transposed to the nearest interval or pitch. Your chord has been transposed to the nearest pitch, this results in G#2/D#3/G3. IMPORTANT If you mainly work with audio loops, we recommend activating “Keep Transpose in Octave Range”.
Markers Markers are used to locate certain positions quickly. There are two types of markers: position markers and cycle markers. If you often find yourself jumping to a specific position within a project, you should insert a marker at this position. You can also use markers to make range selections or for zooming. Markers are located on marker tracks. For postproduction purposes, you can set up multiple marker tracks. This is useful for viewing and working with Edit Decision Lists and CSV files.
Markers Cycle Markers Setting the Locators Using Cycle Markers Cycle markers represent ranges in your project. You can use them for moving the left and right locators. PROCEDURE • To set the left locator to the cycle marker start and the right locator to the cycle marker end, perform one of the following actions: • Double-click on a cycle marker. • From the Cycle pop-up menu in the track list, select a cycle marker. RESULT The left and right locators are moved to encompass the cycle marker.
Markers Markers Window Markers Window In the Markers window you can view and edit markers. The markers on the active marker track are displayed in the marker list in the order in which they occur in the project. To open the Markers window, you have the following possibilities: • Select Project > Markers. • On the Transport panel in the marker section, click Show. • Use a key command (by default [Ctrl]/[Command]-[M]). 1) Locate arrow Indicates which marker is at the project cursor position.
Markers Markers Window 8) Auto-Scroll with Project Cursor Allows you to keep track of the locate arrow, even if your project contains a large number of markers. When this option is activated, the Marker window is automatically scrolled to keep the locate arrow visible. 9) Markers list Shows the markers in the order in which they occur in the project. 10) ADR Panel Shows the ADR functions. 11) Marker Preferences Shows the marker preferences. 12) Show ADR Panel Shows the ADR panel.
Markers Markers Window Navigating in the Marker List You can navigate in the marker list using your computer keyboard and select entries by pressing [Enter]. This is a quick and easy way to jump to markers during playback or recording. • To move to the previous/next marker in the list, press [Up Arrow]/[Down Arrow]. • To jump to the first/last marker, press [Page Up]/[Page Down]. • To step through the attributes of a marker, select a marker, then click again and press [Tab].
Markers Markers Window Cycle follows when locating to Markers This sets the left and right locators automatically to a position or cycle marker, when locating to this marker. This is useful if you need to set the locators on the fly, e. g. during recording for Punch In/Punch Out. Show marker IDs on marker track When this option is activated, the marker IDs are shown on the marker track.
Markers Markers Window Setting Up Attribute Columns If you want to show different attributes in the Markers window, you can set up the attribute columns. • To show other attributes, click Set up Attribute Columns, and select other attributes from the pop-up menu. The most common attributes for postproduction are listed in categories according to their usage: General, ADR, Dialog Spotting, Foley, SFX, Background, and User Defined (if available).
Markers Markers Window Sorting and Reordering Columns You can customize the display of the marker attributes in the marker list by sorting or reordering the columns. • To sort the marker list by a specific attribute, click on the corresponding column header. NOTE No matter by which attribute you sort, the second sort criterion will always be the position attribute. • To reorder the marker attributes, drag and drop the corresponding column headers.
Markers Markers Window Setting Up the Details View The Details view shows the details for the marker that is selected in the marker list. The details view supports line breaks which is useful for attributes with long texts. If more than one marker is selected, only the details for the first marker of the selection are shown. PROCEDURE 1. Click Show Details View. The Set up Attribute Columns for Details button is displayed next to the Set up Attribute Columns button. 2.
Markers Markers Window Setting up User Attributes PROCEDURE 1. Click Set up Attribute Columns and select Define User Attributes. 2. In the User Attributes dialog, click Add User Attribute (+). A new attribute is added to the attributes list. NOTE To remove a user attribute, select it and click Remove User Attribute (-). The attribute is removed from the list and the pop-up menu. 3. Enter a name for the new attribute and define its type. 4.
Markers Marker Track NOTE If you move a marker from one marker track to another by drag & drop in the Project window and the marker ID is already used on this track, the inserted marker automatically gets a new ID. Reassigning Marker IDs Sometimes, especially when setting markers on the fly, you may forget or miss to set a marker. When added later, this marker’s ID will not correspond to its position on the marker track. Therefore, it is possible to reassign the IDs for all markers on a track.
Markers Marker Track 5) Zoom pop-up menu If you select a cycle marker in this pop-up menu, the view zooms to the corresponding cycle marker. 6) Lock Locks the marker track. When a marker track is locked, you cannot edit the track and its markers. However, you can still rename the track or change its status (active/inactive). 7) Toggle Time Base Sets the track time base. 8) Network Controls 9) Marker event (inactive) Shows an inactive marker event.
Markers Marker Track Multiple Marker Tracks You can create up to 32 marker tracks. Multiple marker tracks are useful when working in a postproduction context. For example, they can be used to import Edit Decision Lists (EDLs) or import/export CSV files for Automatic Dialogue Replacement (ADR). A possible scenario would be to create a marker track with cycle markers for sections of the audio, and another marker track with important sync points in the video.
Markers Marker Track Working with Multiple Marker Tracks Let’s say you have a video project where the dialogue of two narrators is to be replaced. All you have to do is create different marker tracks for the individual narrators and set up the markers according to the video sections that need to be dubbed. PREREQUISITE You have added at least two marker tracks to the project and named them. PROCEDURE 1. Select File > Key Commands. 2.
Markers Marker Track 8. Trigger the Insert and name Marker key command at the position where the next dialogue section should be replaced. Repeat this procedure for all markers that you want to insert. Editing Markers on the Marker Track • To add a position marker, click Add Marker or use the Draw tool. • To add a cycle marker, click Add Cycle Marker • To select a marker, use the standard techniques. • To resize a cycle marker, select it and drag the handles.
Markers Importing and Exporting Markers Using Markers to Select Ranges Markers can be used in conjunction with the Range Selection tool to make range selections in the Project window. This is useful if you quickly want to make a selection that spans all tracks in the project. PROCEDURE 1. Set markers at the start and end of the section that you want to move or copy. 2. Select the Range Selection tool and double-click on the marker track between the markers.
Markers Importing and Exporting Markers NOTE Every track in the EDL results in a new marker track in Nuendo. One video track and up to four audio tracks of the EDL can be imported. Importing an EDL PROCEDURE 1. Create a new project. This is not strictly necessary, but helps you keep track of things. 2. Set up the project frame rate according to the frame rate of the EDL that you want to import. For EDL import, Nuendo supports the frame rates 24 fps, 25 fps, 29.97 fps, 29.97 dfps, 30 fps, and 30 dfps.
Markers Importing and Exporting Markers • Clip names Scenes can also be identified by their clip names. Recommendations When exporting EDLs from your offline editing system, keep the following rules in mind in order to achieve the best import results in Nuendo: • Export your EDL in CMX3600 format. Nuendo only supports the CMX3600 format. • Add clip names as comments to the EDL and use a consistent naming scheme. These names are used for naming markers and detecting scenes.
Markers Importing and Exporting Markers 2. Set up the project frame rate according to the frame rate of the EDL that you want to import. For CSV import, Nuendo supports the frame rates 24 fps, 25 fps, 29.97 fps, 29.97 dfps, 30 fps, and 30 dfps. 3. Select File > Import > CSV Marker. 4. Select the file that you want to import and click Open. 5. In the CSV Import - Encoding dialog, make your settings an click OK to apply them.
Markers Importing and Exporting Markers 7. In the Import Options dialog, select the tracks that you want to import by activating the corresponding tracks in the Import column to the left, or select all tracks by clicking the Select All Tracks button. 8. Click OK to import the CSV file and close the dialog. RESULT The data contained in the CSV file is imported into marker tracks in Nuendo.
Markers Importing and Exporting Markers 2) Separator Allows you to select the separator type of the CSV file that you want to import. 3) Preview Gives you visual feedback of how Nuendo interprets the data contained in the CSV file. NOTE If the data is not displayed correctly, try another encoding method. CSV Import - Attribute Selection 1) Column pop-up menus These menus allow you to assign marker attributes. You must assign at least Timecode In.
Markers Importing and Exporting Markers 5) Split using Column Allows you to specify by what column the markers are sorted. This specifies that all lines with the same value in the split column are imported into the same marker track in Nuendo. Exporting Markers as CSV File You can export the markers you set up in Nuendo as CSV (Comma Separated Values) files to use them as dispositions. These are useful in recording studios, as they allow you to determine for how long a specific narrator is needed, etc.
Markers Importing and Exporting Markers Export column Allows you to activate the tracks that you want to export. Select All Allows you to activate all tracks for export. Encoding pop-up menu Allows you to select an encoding format for your CSV file. The available formats are: UTF8, UTF16, Win-1252/Win Latin1, MacRoman, Mac Central European, and Shift JIS. Separator Activate one of the options to specify the kind of separator used in your file.
Markers Importing and Exporting Markers Export used attributes of these categories Allows you to select specific attribute categories only. RELATED LINKS Marker Attributes on page 317 Importing Markers via MIDI You can import position markers by importing MIDI files containing markers. This is useful if you want to use your marker tracks in other projects or if you want to share them with other Nuendo users. Any markers you have added are included in the MIDI file as standard MIDI file marker events.
Markers Importing and Exporting Markers NOTE To be able to export markers via MIDI export, your project must contain at least one marker track. RELATED LINKS Exporting MIDI files on page 1203 Importing Markers as Part of a Track Archive You can import position markers and cycle markers by importing track archives containing marker tracks. Select the tracks that you want to import in the Import Options dialog.
ADR The ADR panel allows you to perform ADR and language dubbing tasks. Sometimes, you must re-record dialogue from production tracks or dub them in a different language. When you do this, the original takes are played back to allow the dubbing actor to listen to the original production track as a guide. The actor can then rehearse the dialogue and re-record it. These tasks can be performed with the ADR functions that are located in the ADR panel of the Marker window.
ADR ADR Statuses If no marker is selected, the start position for any ADR status in Automatic mode is determined by the left locator. In Free Run mode, the start position is determined by the project cursor position. NOTE You can also select multiple markers, for example, to combine multiple takes. ADR Statuses The ADR statuses Rehearse, Record, and Review are transport functions that have been designed specifically for ADR tasks.
ADR ADR Modes ADR Modes You can select either Automatic mode or Free Run mode. NOTE The ADR modes take into account all settings in the ADR Setup window. Automatic This mode is activated by default. It allows you to record a take according to the position and length of the selected marker. In the different ADR statuses, the following happens: • If you click Rehearse, a locator range according to the position and length of the selected markers is selected in the Project window ruler.
ADR ADR Panel ADR Panel The ADR panel is located in the lower part of the Marker window. • To open the ADR panel, select Project > ADR Panel. 1) Locate Previous/Next Marker in Marker Window Allows you to select the previous/next marker in the marker list. If Sync Selection is activated in the Marker Preferences, the corresponding locator range is also selected in the Project window ruler. 2) Pre-Roll On/Off Allows you to activate/deactivate a pre-roll for the Free Run Mode.
ADR ADR Setup 10) Marker Preferences Allows you to show the marker preferences. 11) Show ADR Panel Allows you to show/hide the ADR panel. 12) Show Details View Allows you to show/hide the details view. RELATED LINKS ADR Modes on page 339 Signal Switchboard Tab on page 343 ADR Setup on page 341 ADR Setup General Tab 1) Pre-roll/Post-roll Allows you to enter a Pre-roll/Post-roll value. NOTE You can set a value for Audio Pre-Record Seconds (File > Preferences > Record > Audio).
ADR ADR Setup 4) Record File Naming Scheme Allows you to specify a naming scheme for the recorded files that is added to the track name as a suffix. 1) Pre-roll/Post-roll Allows you to enter a Pre-roll/Post-roll value. Video Tab NOTE You can set a value for Audio Pre-Record Seconds (File > Preferences > Record > Audio). The post record time corresponds to the post-roll time.
ADR ADR Setup 4) Show Dialogue during ADR/Always show Dialogue These options allow you to show the dialogue attribute of the selected marker. Activate Show Dialogue during ADR to display the Dialogue marker attribute as a video overlay in the Video Player window during one of the ADR modes. Activate Always show Dialogue to always display the dialogue marker attribute. 5) Take Length Indicator Activate this to show a take length indicator at the bottom of the Video Player window.
ADR Setting Up ADR Tracks 2) Cue selectors Allow you to switch to another cue channel. 3) Cue section Allows you to specify the track that you hear in the selected Cue channel during rehearse, record, and review. Furthermore, you can determine if you hear the signal during the preroll, take, and postroll phases. NOTE In the MixConsole, make sure that the Control Room and cue channels are set up correctly.
ADR Setting Up ADR Tracks Creating a Mic Track The mic track is designed to lead the signal that is to be recorded. For this to work, you must activate its Monitor button. PROCEDURE 1. Create an audio track for the mic signal. 2. In the Inspector, set the Input Routing pop-up menu to your microphone input bus. 3. Set the Output Routing pop-up menu to the output bus that is set as the Main Mix. 4. Activate Monitor for the mic signal track.
ADR Setting Up the ADR Environment Setting Up the ADR Environment Setting up your ADR environment includes importing files and defining takes, assigning ADR tracks, setting up the routing, configuring video overlays, and enabling automatic record for target tracks. Importing Files and Defining Takes Import your files and define the takes that you want to record by creating cycle markers. PROCEDURE 1. Select File > Import > Video File and navigate to the video file that you want to import. 2.
ADR Setting Up the ADR Environment Setting Up the Routing for Individual Mixes You can define which signals are heard during the different ADR phases and set up different schemes for the dubbing artist and the ADR operator, for example. The routing that you set up is automatically applied when you use the ADR modes. The settings are saved globally. PROCEDURE 1. On the ADR panel, click Setup. 2. In the ADR Setup window, click Signal Switchboard.
ADR Setting Up the ADR Environment RELATED LINKS General Tab on page 341 Enabling Dialogue Display in the Video Player You can display the dialogue that must be replaced or dubbed in the Video Player window or on a dedicated video output device. PREREQUISITE The Dialogue attribute is assigned manually or has been imported via a CSV file. PROCEDURE 1. In the Marker window, click Set up Attribute Columns, and activate ADR > Dialogue. The Dialogue column is displayed in the Marker window. 2.
ADR Rehearsing Takes RESULT You can now use the Target Track column of the Marker window to type in the number of the track. If you have imported this attribute with the take list, it is shown automatically. NOTE Only numbers are allowed as values for the target track attribute. Rehearsing Takes PREREQUISITE Define takes by creating cycle markers and set up the Signal Switchboard as required. PROCEDURE 1. In the markers list, select the marker for the take that you want to record. 2.
ADR Recording Takes Recording Takes PREREQUISITE The dubbing artist has rehearsed the take and is ready to record. You have record-enabled the track on which you want to record. NOTE To combine track selection and record-enabling, select File > Preferences > Editing > Project & MixConsole and activate Enable Record on Selected Audio Track. PROCEDURE • On the ADR panel, click Record. RESULT The take is recorded. Reviewing Takes PROCEDURE • On the ADR panel, click Review.
MixConsole The MixConsole provides a common environment for producing mixes in stereo or surround. It allows you to control level, pan, solo/mute status, etc. for audio and MIDI channels. Furthermore, it is a convenient environment for setting up the input and output routing for multiple tracks or channels at the same time. To open the MixConsole, you have the following options: • Press [F3]. • Select Devices > MixConsole. • On the Project window toolbar, click Open MixConsole .
MixConsole The MixConsole is divided into several sections: 1) Channel Selector Allows you to set up the visibility and positions of channels in the fader section. 2) Fader Section The fader section is the heart of the MixConsole. It is always visible and shows all channels in the same order as in the track list. 3) Channel Overview Displays all channels as boxes.
MixConsole Setting Up the MixConsole 5) Equalizer Curve Allows you to draw an EQ curve. Click in the curve display to open a larger view where you can edit the curve points. 6) Channel Racks Allows you to show additional channel controls as needed. 7) Pictures Opens the Pictures section that allows you to add a picture to the selected channel. Pictures can help you identify your MixConsole channels quickly. 8) Notepad In the Notepad section, you can enter notes and comments about a channel.
MixConsole MixConsole Toolbar Find Track/Channel Opens a selector that lists all tracks/channels. Filter Channel Types Opens the channel filter that allows you to show/hide all channels of a certain channel type. Channel Visibility Configurations Allows you to create configurations that are useful for switching quickly between different visibility setups. Channel Visibility Agents Allows you to select channels with specific properties. Show/Hide Channel Racks Activates/Deactivates the rack selector.
MixConsole Functions Menu Functions Menu Opens the Functions Menu, that allows you to make settings in the MixConsole. Functions Menu The Functions menu holds tools and shortcuts for settings and functions in the MixConsole. • To open the Functions Menu, click the Functions Menu button in the top right corner of the MixConsole. Scroll to Selected Channel If this option is activated and you select a channel in the Visibility tab, the selected channel is automatically displayed in the Fader section.
MixConsole Functions Menu EQ/Filter Transition Allows you to change the EQ/Filter Transition mode from Soft to Quick. Save Selected Channels Saves the settings for the selected channels. Load Selected Channels Loads the settings for the selected channels. Global Meter Settings Opens a submenu where you can set up the global meter settings. Reset MixConsole Channels Allows you to reset EQ, insert, and send effect settings for all or selected channels.
MixConsole Configuring the MixConsole settings to channels 1, 2, and 3, the settings saved for channel 4 are applied to channel 1, the settings saved for channel 6 to channel 2, and so on. 2. Select Functions > Load Selected Channels. 3. In the Load Selected Channels dialog, select the .vmx settings file and click Open. RESULT The channel settings are applied to the selected channels. NOTE When you apply loaded MixConsole settings to fewer channels, some of the saved settings are not applied.
MixConsole Configuring the MixConsole Zones Tab The Zones tab allows you to determine and lock the position of certain channels. • To lock channels on the left/right of the fader section, activate the left/right dots next to the channel names. Locked channels are excluded from scrolling and are always visible. Input Routing Configurations for Mono Channels • Mono input busses or individual channels within a stereo or surround input bus.
MixConsole Configuring the MixConsole Input Routing Configurations for Surround Channels • Surround input busses. • External inputs that are configured on the Studio tab of the VST Connections window. These must have the same input configuration. • Output busses. These must have the same input configuration and should not lead to feedback.
MixConsole Configuring the MixConsole Rack Selector The rack selector allows you to activate specific MixConsole functions, such as routing, insert, or send handling, that are organized in racks. • To activate the rack selector, activate Show Channel Racks. Channel Racks You can activate and deactivate the different channel racks in the MixConsole. • To open the Select Racks pop-up menu, click Select Racks.
MixConsole Configuring the MixConsole Track Quick Controls Allows you to add quick controls for instant access. Device Panels Allows you to view the available device panels. VCA Allows you to view and set connections to VCA faders. Rack Settings The Rack Settings pop-up menu allows you to make settings for the racks. • To open the Rack Settings pop-up menu, click *. Exclusive Expanded Rack Shows the selected rack exclusively and collapses the other racks.
MixConsole Configuring the MixConsole Show Quick Controls as Select Combined Destination & Value, if you want to show the destination and the value in one line. Select Separate Destination & Value, if you want to show the destination and the value in separate lines.
MixConsole Configuring the MixConsole 4. In the Add Configuration dialog, enter a name for the configuration. 5. Click OK. RESULT The configuration is saved and you can return to it at any time. Channel Visibility Agents Channel visibility agents allow you to show or hide all channels, selected channels, or channels with certain properties. To open the Channel Visibility Agents pop-up menu, do one of the following: • Click the Channel Visibility Agents button on the toolbar.
MixConsole Synchronizing Channel and Track Visibility Undoing/Redoing Visibility Changes You can undo/redo up to 10 visibility changes. PROCEDURE 1. In the MixConsole toolbar, click the Channel Visibility Agents button. 2. Select Undo Visibility Change or Redo Visibility Change. Synchronizing Channel and Track Visibility You can synchronize the channel visibility in the MixConsole with the track visibility in the Project window. PROCEDURE 1.
MixConsole Finding Channels Finding Channels The Find Track/Channel function allows you to find specific channels. This is useful if you have a large project with many channels or if you have hidden channels using the visibility features. PROCEDURE 1. Click Find Track/Channel in the MixConsole toolbar to open a selector that lists all channels. 2. In the search field, enter the name of the channel. As you type, the selector filters automatically. 3.
MixConsole Linking Channels On the display line, you can change the name of the link group by double-clicking and entering a different name. If you hold down a modifier key and double-click the name, the Link Group Settings dialog opens. The pop-up menu provides the following options: Unlink Selected Channels Only available for a selected link group. Select this option to remove the link between the channels. This removes the link group.
MixConsole Linking Channels NOTE If you link groups, insert and channel strip module linking is applied at the slot level. For example, if you change the settings for insert slot 3 on one channel, these changes are also applied to slot 3 on the other channels. Insert effects in other slots remain unaffected. Changing the Link Group Settings If you change a setting for a channel of the link group, the change is applied to the whole group.
MixConsole VCA Faders Removing Channels from Link Groups You can remove a channel from an existing link group. PROCEDURE 1. On the display line of the channel that you want to remove, open the pop-up menu. 2. Select Included in Link Group: and from the link group list, select None. RESULT The channel is removed from the link group. Using Quick Link You can activate the Temporary Link Mode to synchronize all touched parameters of selected channels. PROCEDURE 1.
MixConsole VCA Faders From a technical perspective, moving a VCA fader to a different dB level adds or subtracts the new value to or from the original values of the connected channels. EXAMPLE A channel has a level of -6 dB, the VCA fader is at the 0 position. If you move the VCA fader to a level of +3 dB, this value is added to the level of the connected channel. The connected channel now has a level of -3 dB. VCA Fader Settings VCA fader channels are different from the default fader channels.
MixConsole VCA Faders RELATED LINKS VCA Fader Automation on page 371 Creating VCA Faders You can create VCA faders in several ways. VCA faders can be created in the MixConsole and in the Project window. In the MixConsole, you have the following options: • You can create unassigned VCA faders in the fader section. They are placed at the right end of the fader section in front of the output channels. You can connect the VCA faders to channels using the VCA rack at a later stage.
MixConsole VCA Faders RESULT A VCA fader is created and placed to the right of the selected faders. In the Project window, the VCA track is placed below the selected tracks. RELATED LINKS Connecting Several Channels with VCA Faders on page 408 Nested VCA Faders VCA faders can control other VCA faders. If you use several VCA faders that control different channels, you can create another VCA fader that controls the VCA faders.
MixConsole VCA Faders • If the VCA fader and its connected channels have volume automation and you select Combine Automation of VCA and Connected Channel in the context menu of the VCA fader, the automation of the connected channels takes over the combined automation. The automation of the VCA fader is reset to its default position. The automation tracks of the connected channels show the combined automation. The automation tracks of the VCA fader show the default static value line.
MixConsole Metering Metering The MixConsole features a master meter and a loudness meter that can be shown to the right of the fader section. Displaying Meters PROCEDURE 1. In the MixConsole, click the Set up Window Layout button on the toolbar and activate Control Room/Meter. 2. Click the Meter tab at the top of the Control Room/Meter section. By default, the master meter is displayed. Master Meter The master meter is a multi-channel true peak meter.
MixConsole Metering 3) Alignment level standards Lets you select an alignment level (offset) for your scale. This is unavailable for digital and K-System scales. The broadcast meter scales DIN, EBU, Nordic, and British have a default alignment level of -18 dBFS. 4) Reset RMS and PPM Max Resets the measurement. 5) AES17 standard Activates the AES17 standard that adds an offset of 3 dB to the RMS value.
MixConsole Metering 1) Control Room view Activates the Control Room section in the MixConsole. 2) Loudness meter Shows the Momentary Max value as a green triangle in the left meter scale and the Integrated value as a gray triangle in the right meter scale. 3) Measure Loudness Activates the loudness measurement. 4) Switch between LUFS and LU Switches the meter scale between LUFS (absolute values) and LU (relative values).
MixConsole Input Levels The following parameters are available: Momentary Max Shows the maximum loudness measured over a duration of 400 ms. Short Term Shows the loudness measured over a duration of 3 ms. Integrated Shows the average loudness measured from start to stop. The period of measurement is shown in the Time display. The recommended value for the integrated loudness is -23 LUFS. This absolute value is the reference point for the relative LU scale where -23 LUFS equals 0 LU.
MixConsole Copying and Moving Rack and Channel Settings 3. Play back the audio and check the level meter for the input channel. The signal should be as loud as possible without exceeding 0 dB that is the clipping indicator for the input bus should not light up. 4. 5. If necessary, adjust the input level in one of the following ways: • Adjust the output level of the sound source or the external mixer. • If possible, use the audio hardware’s own application program to set the input levels.
MixConsole Fader Section The following applies: • To copy the rack settings from one rack to another, drag the rack and drop it on the rack to which you want to copy the settings. • To move the rack settings from one rack to another, press [Alt]/[Option], drag the rack, and drop it on the rack to which you want to move the settings. • To copy the channel settings from one channel to another, drag the channel and drop it on the channel to which you want to copy the settings.
MixConsole Fader Section NOTE If a channel is deactivated in the channel selector or if its channel type is deactivated, it is not shown in the fader section.
MixConsole Fader Section Stereo Balance Panner The stereo balance panner allows you to control the balance between the left and right channels. It is activated by default. Stereo Combined Panner With the stereo combined panner, the left and right pan controls are linked and keep their relative distance if you move them. It is available for channels with a stereo input and output configuration. • To activate this panner, open the context menu for a pan control and select Stereo Combined Panner.
MixConsole Fader Section Using Solo and Mute You can silence one or several channels using the Solo and Mute buttons. • To silence a channel, click Mute. Click again to deactivate the mute state for the channel. • To mute all other channels, click Solo for a channel. Click again to deactivate the solo state. • To deactivate the mute or solo states for all channels simultaneously, click Deactivate All Mute States or Deactivate All Solo States.
MixConsole Fader Section • To change the volume, move the fader up or down. • To make fine volume adjustments, press [Shift] while moving the faders. • To reset the volume on its default value, press [Ctrl]/[Command] and click a fader. For audio channels, the volume fader controls the volume of the channel before it is routed to an output bus, directly or via a group channel. For output channels the volume fader controls the master output level of all audio channels that are routed to an output bus.
MixConsole Working with Channel Racks Meter Position - Post-Fader If this option is activated, the meters show post-fader levels. Meter Position - Post-Panner If this option is activated, the meters show post-fader levels and also reflect pan settings. Reset Meters Resets the meters. Working with Channel Racks The Channel Racks section holds specific MixConsole functions, such as routing, insert, or send handling. These are organized in racks.
MixConsole Working with Channel Racks Setting up Routing PREREQUISITE Set up busses and group channels in the VST Connections window. PROCEDURE 1. On the MixConsole toolbar, activate Show Channel Racks. 2. Click Racks and activate Routing to show the Routing rack above the fader section. 3. Click one of the slots of the Routing rack to open the input or the output routing pop-up menu for a channel. 4. In the routing selector, select an entry.
MixConsole Working with Channel Racks Using Group Channels You can route the outputs from multiple audio channels to a group. This enables you to control the channel levels using one fader, apply the same effects and EQ to all channels, etc. You can also select a group channel as input for an audio track, to record a downmix of separate tracks, for example. PREREQUISITE You have created and set up a group channel track in stereo. PROCEDURE 1. Route the group channel track to an output bus. 2.
MixConsole Working with Channel Racks 3. Click to the left of the high-cut filter to activate the high-cut filter. You have the following options: • Drag the slider to adjust the cutoff frequency. The available range spans from 20 kHz to 50 Hz. • Click Select Filter Slope on the right of the high-cut filter to select a filter slope. You can choose between 6, 12, 24, 36, and 48 dB. The default value is 12 dB. 4. Click to the left of the low-cut filter to activate the low-cut filter.
MixConsole Working with Channel Racks Making Phase Settings Each audio-related channel and input/output channel has a Phase button that allows you to correct the phase for balanced lines and microphones that are wired backwards or that are out of phase due to their positioning. PROCEDURE 1. On the MixConsole toolbar, activate Show Channel Racks. 2. Click Racks and activate Pre (Filters/Gain/Phase) to show the Pre rack above the fader section. 3.
MixConsole Working with Channel Racks Moving Inserts to Post-Fader or Pre-Fader Position For each audio-related channel, you can add 6 pre-fader and 2 post-fader inserts. PROCEDURE 1. Right-click an insert effect in a pre-fader position. 2. From the context menu, select Move to Post-Fader Slot. To move a post-fader insert to a pre-fader position, open its context menu and select Move to Pre-Fader Slot.
MixConsole Working with Channel Racks Equalizers (EQ) The Equalizers (EQ) rack is only available for audio-related channels. It features a built-in parametric equalizer with up to 4 bands for each audio channel. Activating Equalizer Bands PROCEDURE 1. On the MixConsole toolbar, activate Show Channel Racks. 2. Click Racks and activate Equalizers to show the EQ rack above the fader section. 3. Click Activate Band to activate an EQ band.
MixConsole Working with Channel Racks 2) Curve Display Click on the display in a channel to show a larger version. The display is also available in the Inspector and in the Channel Settings dialog. If you activate Equalizer Curve in the Set up Window Layout pane, the curve is removed from the EQ rack and is displayed above the racks. Hovering with the mouse over the display shows a cross-hair cursor.
MixConsole Working with Channel Racks 3) Frequency Sets the center frequency of the frequency range to be cut or boosted. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically displayed in Hz. For example, a note value of A3 sets the frequency to 440 Hz. When you enter a note value, you can also enter a cent offset. For example, enter A5 -23 or C4 +49. NOTE Ensure that you enter a space between the note and the cent offset.
MixConsole Working with Channel Racks Channel Strip Modules The channel strips allow you to apply modules directly to specific channels. You can change the position of specific modules in the signal flow via drag and drop. Gate Allows you to silence audio signals below a set threshold level. As soon as the signal level exceeds the set threshold, the gate opens to let the signal through. Compressor Allows you to create smooth compression effects.
MixConsole Working with Channel Racks Range Adjusts the attenuation of the gate when it is shut. If Range is set to , the gate is completely shut. The higher the value, the higher the level of the signal that passes through the shut gate. Filter Frequency (50 to 20000 Hz) If Side-Chain is activated, this sets the filter frequency. Q-Factor (0.01 to 10000) If Side-Chain is activated, this sets the resonance of the filter. Listen Filter Allows you to monitor the filtered signal.
MixConsole Working with Channel Racks Make-up (0 to 24 dB or Auto mode) Compensates for output gain loss that is caused by compression. If Auto is activated, the knob becomes dark and the output is automatically adjusted for gain loss. Tube Compressor This versatile compressor with integrated tube-simulation allows you to achieve smooth and warm compression effects. The VU meter shows the amount of gain reduction.
MixConsole Working with Channel Racks Side-chain Activates the external side-chain. Output (-48 to 24 dB) Sets the output gain. Gain Reduction LED Indicates the amount of compression of the signal. Attack (0.1 to 100 ms) Determines how fast the compressor responds. If the attack time is long, more of the early part of the signal passes through unprocessed.
MixConsole Working with Channel Racks 4) Freq Sets the center frequency of the frequency range to be cut or boosted. 5) Q Determines the width of the affected frequency range. Higher values give narrower frequency ranges. Tools Provides various tools. DeEsser This channel strip module reduces excessive sibilance, primarily for vocal and speech recordings. Basically, it is a special type of compressor that is tuned to be sensitive to the frequencies produced by the s-sound.
MixConsole Working with Channel Racks Solo Allows you to solo the frequency band to find the appropriate position and width of that band. Diff Allows you to listen to the sounds that the de-esser removes from the signal. EnvelopeShaper This channel strip module can be used to attenuate or boost the gain of the attack and release phase of audio material. You can use the knobs to change parameter values. Be careful with levels when boosting the gain and if needed reduce the output level to avoid clipping.
MixConsole Working with Channel Racks Output Allows you to adjust the output level. Saturation Amount LED Indicates the amount of saturation of the signal. Low-Frequency Sets the frequency range of the spectrum band to which the tape effect is applied. To avoid the saturation of lower frequencies, set the value to 200 Hz or 300 Hz. High-Frequency Sets the frequency range of the spectrum band to which the tape effect is applied.
MixConsole Working with Channel Racks Low-Frequency This is a low shelving filter with fixed frequency. High-Frequency This is a Hi Cut filter. Use the frequency fader to reduce harshness of the output signal. Tube Saturation This channel strip module simulates the saturation and compression of recording of analogue tube compressors. Drive Controls the amount of tube saturation. Output Gain Sets the output gain. Drive Amount LED Indicates the amount of drive of the signal.
MixConsole Working with Channel Racks Gain Reduction LED Displays the amount of gain reduction. Maximizer This channel strip module raises the loudness of audio material without the risk of clipping. Optimize Determines the loudness of the signal. Output (-24 to 6 dB) Determines the maximum output level. Set this to 0 dB to avoid clipping. Gain Reduction LED Displays the amount of gain reduction. Mix (0 to 100) Sets the level balance between the dry signal and the wet signal.
MixConsole Working with Channel Racks Saving/Loading Strip Presets You can save and load strip presets. Strip presets have the file name extension .strippreset. PROCEDURE • In the top right corner of the Channel Strip rack, open the Presets pop-up menu and perform one of the following actions: • To save the current settings as a preset, select Save Strip Preset and name your preset. • To load a preset, select Load Strip Preset and select a preset.
MixConsole Working with Channel Racks Adding FX Channels to a Send PROCEDURE 1. Right-click on the send slot to open the context menu. 2. Select Add FX Channel to Send. 3. In the Add FX Channel Track window, select the effect and configuration. 4. Click Add Track. RESULT The FX channel track is added in the Project window, and the send is automatically routed to it. Cue Sends Cue sends allow you to create discrete cue mixes that performers can listen to during recording.
MixConsole Working with Channel Racks Direct Routing The Direct Routing rack allows you to set and activate outputs for all selected channels at once. In addition to the main output you can set up 7 routing destinations that are positioned post-fader and post-panner in the signal path. This allows you to switch the destination of channels, and create different mix versions in one go. The direct routing features are available for audio, instrument, FX channel tracks, groups, and output busses.
MixConsole Working with Channel Racks Automating Destination Switches Especially in larger postproduction scenarios you often need to switch the output destinations for audio-related tracks. Automating these switches is especially useful for FX channel tracks that carry insert effects such as reverb that you want to apply to different stems. You can also automate switches, if a certain type of sound is sometimes part of the ambience stem and at other times needs to be fed to the SFX stem. PROCEDURE 1.
MixConsole Working with Channel Racks Automatic Downmixing The output in the first Direct Routing slot defines the channel width. Since the other destinations are positioned post-panner in the signal path, they have the same channel width to start with, and the signal needs to be converted accordingly by downmixing. Nuendo does that automatically. NOTE Always select the output with the widest channel configuration in the first slot.
MixConsole Working with Channel Racks Adding Track Quick Controls PROCEDURE 1. On the MixConsole toolbar, activate Show Channel Racks. 2. Click Racks and activate Track Quick Controls to show the rack above the fader section. 3. Click one of the slots to open the Quick Controls selector. 4. Click a parameter to select it. RESULT The selected parameter is loaded and automatically activated as Track Quick Control.
MixConsole Working with Channel Racks Device Panels You can display device panels, for example, for external MIDI devices, audio track panels, or VST insert effect panels. For information on how to create or import MIDI device panels, see the separate PDF document MIDI Devices. RELATED LINKS About Device panels on page 759 VCA The VCA rack allows you to set and view connections to VCA faders. The VCA rack allows you to connect channels to VCA faders. You can also let VCA faders control other VCA faders.
MixConsole Working with Channel Racks Connecting Channels with VCA Faders PROCEDURE 1. In the fader section of the MixConsole, create an unassigned VCA fader. 2. In the VCA rack of the channel that you want to connect to the VCA fader, click the top slot. 3. In the VCA selector, select the name of the unassigned VCA fader. RESULT The channel is connected to the VCA fader. The VCA rack slot of the channel displays the name and the color of the VCA fader.
MixConsole Using Channel Settings Disconnecting Channels from VCA Faders PROCEDURE 1. In the MixConsole, in the VCA rack of the channel that you want to disconnect, click the slot that displays the connected VCA fader. 2. In the VCA selector, select Not Connected. 3. Specify if the connected channels keep the combined automation. RELATED LINKS VCA Fader Automation on page 371 Deactivating VCA Connections You can deactivate the connection between VCA faders and channels temporarily.
MixConsole Using Channel Settings For audio-related channels, the following sections can be shown/hidden by clicking Set up Window Layout and activating/deactivating the corresponding options: • Channel Inserts • Channel Faders • Direct Routing • Channel Sends The Channel Strip and Equalizer are always available. The channel settings are especially suitable for the following actions: • Routing inserts This is done on the Routing tab in the Inserts section.
MixConsole Using Channel Settings • Panning sends This is done on the Panning tab in the Sends section. • Showing the output chain If you click Show Output Chain on the toolbar, the output chain is shown in the Channel Faders section. This allows you to keep track of more complicated output routings.
MixConsole Adding Notes to a MixConsole Channel • Select a channel in the MixConsole to select the corresponding channel in the Channel Settings window. This is the default behavior. If this is not what you want, open the Functions menu and deactivate Follow ‘e’ buttons or selection changes. • Select a track in the Project window to select the corresponding channel in the MixConsole and the Channel Settings window. This is the default behavior.
MixConsole Keyboard Navigation Navigating in a Section Once you have activated a section, you can use the computer keyboard as described below. In the channel racks section and in the fader section, controls that are selected for keyboard control are indicated by a red frame. • To navigate through the controls, use the arrow keys. • To activate or deactivate a switch, press [Return].
Control Room The Control Room allows you to divide the studio environment into the performing area (studio) and the engineer/producer area (control room). To open the Control Room Mixer you have the following options: • To open the Control Room in a separate window, select Devices > Control Room Mixer. • To open Control Room section in the MixConsole, select Devices > MixConsole > Set up Window Layout > Control Room/Meter and activate the Control Room View button.
Control Room Output Routing 5. Click the Audio Device column to set an audio device for the channel type. 6. Click the Device Port column to assign a port for the channel. IMPORTANT You cannot assign the same device port to a bus or channel and a Control Room channel at the same time. RESULT The Control Room functions are available for use. If you disable the Control Room, the configuration is saved and will be restored when you reenable the Control Room.
Control Room Control Room Channels IMPORTANT MPORTANT The state of the Exclusive Device Ports for Monitor Channels preference is saved together with the Control Room presets. Therefore, if you recall a preset, your current setting in the Preferences dialog might be overwritten. Control Room Channels Each Control Room channel type that you create defines an input or output of the Control Room Mixer.
Control Room Control Room Channels Phones Channel You can use the phones channel in the Control Room to listen to cue mixes. You can create 1 phones channel for a stereo configuration. It allows you to listen to the main mix or cue mixes or to external inputs on a pair of headphones. You can also use it for previewing. Cue Channels You can use cue channels for sending cue mixes, also known as headphone mixes, to performers in the studio during recording.
Control Room Control Room Mixer Talkback Channels You can use talkback channels for communication between the Control Room and performers in the studio. You can create up to 4 talkback channels and assign a mono input channel to each one of them. You can also use talkback channels as input source for audio tracks and record them. You can route them to each cue channel and use different levels. You can insert effects like a compressor or limiter on talkback channels.
Control Room Control Room Mixer External The External section allows you to use external inputs for monitoring external devices. It is only shown if you have added more than one external input in the VST Connections window. To switch to another external input, click the input name and select a new external input from the pop-up menu.
Control Room Control Room Mixer Monitor Sources The Monitor Sources section allows you to select which monitor sources are routed to the Control Room. 1) Multiple Monitor Sources Allows you to listen to several submixes at the same time. For this to work, you must activate the monitor sources that you want to include. 2) Monitor Sources Allows you to listen to a monitor source. If you want to listen to only one source, deactivate Multiple Monitor Sources.
Control Room Control Room Mixer 4) Activate Metronome Click Activates the metronome click. Use the Click Level and Click Pan controls to set the volume and the pan position of the metronome click. 5) Signal Level Allows you to set the signal level. Channels The Channels section shows the speaker arrangement of the Main Mix bus. You can use the solo functions to listen to individual channels of the Main Mix.
Control Room Control Room Mixer Monitors The Monitors section allows you to select and configure the monitor sets. Downmix Presets The Downmix Presets section allows you to configure downmix presets. 1) Assign Downmix Preset Allows you to configure a downmix preset for the monitor that is selected in the Monitors section. 2) Select Output Configuration Allows you to select an output channel configuration.
Control Room Control Room Mixer 2) Activate Metronome Click Activates the metronome click. 3) Source Selectors Allow you to select the source for the phones channel: monitor mix (Mix), external inputs (Ext), or the cue sends (Cues). The signal presence indicators in the upper left corner light up when the source channel is sending data to the Phones channel. 4) Phones Level Allows you to set the phones level.
Control Room Control Room Mixer 1) Activate Control Room Channel Allows you to activate/deactivate the Control Room channel. 2) Signal Level Allows you to set the volume for the Control Room output. This does not affect the recording input level or the Main Mix level for exporting mixdowns. [Ctrl]/[Command]-click to set the level to the reference level specified in the Preferences dialog (VST–Control Room page). 3) Signal Meter Shows the volume for the Control Room output.
Control Room Control Room Mixer 1) Monitor Selectors Allow you to select another monitor source. 2) Downmix Preset Selectors Allow you to select another downmix preset. 3) Activate Talkback Allows you to activate talkback for communication between the Control Room and the performers in the studio. Click to activate, click and hold for momentary mode. 4) Talk Off If you add more than 1 talkback channel, Talk Off becomes available. This allows you to deactivate all activated talkback channels.
Control Room Control Room Setup Control Room Setup The Control Room setup contains additional settings for the channels. • To open the Control Room setup, click the Setup tab at the bottom right of the Control Room. The Control Room setup is divided into a number of sections that you open by clicking their headers.
Control Room Control Room Setup Input Gain Setting up the input gain can be useful in the following situations: • To balance the level of external inputs, for example, CD players and other sources to the Main Mix level, for A/B comparisons. • To balance the level of your monitor systems, so that switching between sets of speakers does not change the playback volume. Input Phase Reversing the input phase can be useful for external inputs and monitor speaker outputs.
Control Room Setting Up a Cue Mix All solos including the Listen bus will come through the Control Room channel and allow analysis of individual sounds. A brickwall limiter in the last insert slot of the Control Room channel can prevent accidental overloads and damage to speaker systems. • Use the inserts for the talkback channel to control the dynamics of the talkback microphone. This helps protect performers’ hearing and ensures that everyone can be heard over the talkback microphone.
Control Room Adjusting the Overall Cue Send Level Cue Mix Context Menu Change Cue Sends Levels Allows you to adjust multiple send levels at the same time. Use Current Mix Levels Allows you to copy the fader levels of the selected tracks to the cue sends. This sets all cue send levels for the selected tracks to the level of the main channel fader. It also changes the cue send status to pre-fader, so that changes in the main mix do not affect the cue sends.
Control Room Adjusting the Overall Cue Send Level 5. Adjust the level as necessary. The level of all selected cue sends is adjusted by the set amount. 6. Click OK.
Metering Loudness Nuendo allows you to measure the loudness in compliance with the loudness recommendation R 128 of the European Broadcasting Union (EBU). Measurements that correspond to this recommendation consider loudness, loudness range, and maximum true peak level values. Loudness Measurement The following measurements are performed: • Integrated Loudness Average loudness that is measured over the whole track in LUFS (Loudness Unit, referenced to Full Scale).
Metering Loudness True Peaks When a digital signal is converted to an analog signal, EBU R 128 recommends that you rather measure an estimation of the real peaks instead of relying on digital peaks. This avoids clipping and distortion. Naming and Units The EBU R 128 proposes the following naming and units conventions: • A relative measurement, such as a value that is relative to a reference level, LU as Loudness Unit (1 LU is 1 dB).
Metering Loudness The following parameters are available: 1) Measure Loudness Allows you to activate the loudness measurement. 2) Switch between LU and LUFS Allows you to switch the meter scale between LU (relative values) and LUFS (absolute values). 3) Configure Loudness Settings Opens a dialog with further loudness settings. 4) Reset Loudness Allows you to reset the loudness measurement. 5) Momentary Max. Shows the maximum of all measured momentary loudness values.
Metering Loudness 9) True Peak Shows the true peak level of the audio. The maximum permitted true peak level in production is -1 dB. 10) Time Shows the duration of the integrated loudness measurement. Loudness Settings • To open the Loudness Settings dialog, select Devices > Control Room Mixer > Meter > Loudness > Configure Loudness Settings. The following parameters are available: 1) Select Preset Allows you to create, load, and remove loudness presets. 2) Momentary Max.
Metering Loudness 5) True Peak Allows you to specify a reference value and a tolerance value for the true peak level. If higher values are detected, the clipping indicator in the loudness meter turns red. 6) Switch between LUFS and LU Allows you to switch the meter scale between LUFS (absolute values) and LU (relative values). 7) Switch between EBU +9 Scale and EBU +18 Scale Allows you to switch the meter scale between EBU +9 and EBU +18.
Metering Loudness Loudness Track Controls 1) Activate Loudness Calculation Allows you to activate the loudness calculation. 2) Enable Recording of Loudness Curve Allows you to record the loudness curve on the loudness track. 3) Switch Between LU and LUFS Allows you to switch the meter scale between LU (relative values) and LUFS (absolute values). 4) Visible Loudness - upper/lower limit Allows you to adjust the visible loudness.
Metering Loudness 1) Short Term Shows the loudness that is measured over a duration of 3 s. 2) Integrated Shows the average loudness that is measured from start to stop. The period of measurement is shown in the Time display. The recommended value for the integrated loudness is -23 LUFS. This absolute value is the reference point for the relative LU scale where -23 LUFS equals 0 LU. 3) Range Shows the dynamic range of the audio that is measured from start to stop.
Metering Loudness Measuring Short-Term Loudness Offline You can record and display the short-term loudness for a defined section only on the loudness track using offline analysis. PREREQUISITE You have added the loudness track to your project. PROCEDURE 1. Set up the left and right locators to encompass the section that you want to analyze. 2. In the track list for the loudness track, activate Activate Loudness Calculation. By default, loudness calculation is deactivated for performance reasons. 3.
Audio Effects Nuendo comes with a number of effect plug-ins included. This chapter contains general details about how to assign, use and organize effect plug-ins. The effects and their parameters are described in the separate PDF document “Plug-in Reference”. IMPORTANT MPORTANT This chapter describes audio effects, i. e. effects that are used to process audio, group, VST instrument, and ReWire channels.
Audio Effects Overview VST 3 Standard The VST 3 plug-in standard offers many improvements over the previous VST 2 standard and yet retains full backwards compatibility. Nuendo is able to run plug-ins originally developed for different platforms: you can use a 32-bit plug-in with the 64-bit version of Nuendo under Windows 8 64 bit and Mac OS X 10.8. NOTE This functionality is provided to allow you to load older projects including their original plug-ins on current computers.
Audio Effects Insert Effects Plug-In Delay Compensation A plug-in effect may have some inherent delay or latency. This means that it takes a brief time for the plug-in to process the audio fed into it – as a result, the output audio will be slightly delayed. This especially applies to dynamics processors featuring look-ahead functionality. Nuendo provides full plug-in delay compensation throughout the entire audio path.
Audio Effects Insert Effects The signal passes through the effects in series from the top downwards, with the signal path shown below: As you can see, the last two insert slots (for any channel) are post-EQ and post-fader. Post-fader slots are best suited for insert effects where you do not want the level to be changed after the effect, such as dithering and maximizers – both typically used as insert effects for output busses.
Audio Effects Insert Effects 2. Move the mouse over the first insert slot, click on the arrow symbol that is displayed, and select an effect from the selector. RESULT The effect is loaded and automatically activated and its control panel opens. You can open the control panel for a loaded effect by double-clicking in the middle of the insert slot. • If the effect has a dry/wet Mix parameter, you can use this to adjust the balance between the dry signal and the effect signal.
Audio Effects Insert Effects • To deactivate an effect, hold [Alt]/[Option] and click its Bypass button. 1) This effect is deactivated. 2) This effect is bypassed. 3) This effect is activated. • To bypass all inserts for a track, click the “Bypass Inserts” button. This button can be found on the right of the header of the Inserts section in the Inspector. It lights up in yellow to indicate that one or more inserts of this track are bypassed.
Audio Effects Insert Effects Setting Up the Channel Configuration for the Plug-In You can apply a plug-in to specific channels in a multi-channel configuration. PROCEDURE 1. On the plug-in panel, open the Input Configuration pop-up. 2. Select the setup with the desired number of channels. The first entry is always identical with the channel configuration of the track. Below this you will find all possible channel subsets of the default configuration that are supported by Nuendo.
Audio Effects Insert Effects 3. Double-click on the diagram. The Routing Editor opens. 4. Make your settings by using the arrow buttons, the Link checkbox and by clicking the lines. Routing Editor The Routing Editor allows you to freely set up the routing for the individual channels. It shows the channels in the current configuration, with signals passing from top to bottom. • The gray field in the middle represents the actual effect plug-in.
Audio Effects Insert Effects • If you move inputs or outputs independently, you create a “cross-connection”. The audio on the Ls-Rs channels is processed in the plug-in and output on the L-R channels. Since the L-R channels are bypassed, this means the final L-R output will contain both the original L-R signals and the processed Ls-Rs signals. • If a channel is bypassed (a straight line is shown through the plug-in), you can click on the line to break the connection.
Audio Effects Insert Effects When should I use dithering? • Consider dithering when you mix down to a lower resolution, either in realtime (during playback) or with the Export Audio Mixdown function. A typical example is when you mix down a project to a 16-bit stereo audio file for audio CD burning. What is a “lower resolution” then? Well, Nuendo uses 32-bit float resolution internally, which means that all integer resolutions (16 bit, 24 bit, etc.) are lower.
Audio Effects Insert Effects RESULT The signal from the audio track is sent directly to the group, where it passes through the insert effect. NOTE You can also process mono audio tracks through stereo insert effects. Freezing Insert Effects for a Track Freezing insert effects for a track allows you to reduce processor power. • To freeze a track, click its Freeze button in the Inspector. • The Freeze Channel Options dialog opens, allowing you to set a “Tail Size” time in seconds.
Audio Effects Send Effects • To unfreeze a frozen track, click its Freeze button again. Send Effects Send effects are outside of an audio channel’s signal path, i. e. the audio data to be processed must be sent to the effect. To this end, Nuendo provides FX channel tracks. When you have created such a track, it is added to the track list and can be selected as a routing target in the Send slots of audio channels.
Audio Effects Send Effects 4. Click Add Track. An FX channel track is added to the track list, and the selected effect, if any, is loaded into the first insert effect slot for the FX channel (in that case, the lit Inserts tab for the FX channel track in the Inspector indicates that an effect has been assigned and automatically activated). RESULT All FX channel tracks you create will appear in a dedicated “folder” track in the track list.
Audio Effects Send Effects 4. In the control panel of the effect, set the wet/dry Mix control to all wet. This is because you control the balance between the wet and the dry signal with the effect sends. RESULT The handling and operation of insert plug-ins for FX channels is the same as for audio channels. You can adjust level, pan and EQ for the send in the Channel Settings window, the MixConsole or in the Inspector.
Audio Effects Send Effects • You can apply or remove a send to or from all the selected channels at once by holding down [Shift]-[Alt]/[Option] and selecting the desired effect from any of the effect slots. 3. Activate the On/Off button for the send. 4. Click and drag the send level slider to determine how much of the signal from the audio channel is routed to the FX channel. Setting the Send level You can also double-click and enter a value numerically.
Audio Effects Send Effects NOTE Use the channel’s Mute button to determine whether a send in pre-fader mode is affected. This is done with the “Mute Pre-Send when Mute” option in the Preferences dialog (VST page). NOTE The FX channels themselves have sends, too. Setting Pan for the Sends There are several possibilities to set up pan for the sends: • To position the send signal at center pan in the stereo FX channel (or anywhere you like), route a send from a mono channel to a stereo FX channel track.
Audio Effects Side-Chain Input 2. Click and drag the pan control for the desired send(s) in the display. You can reset the pan control to the center position by [Ctrl]/[Command]-clicking on the pan control. If the FX channel is configured in a surround format, the pan control will be a miniature surround panner. You can click and drag the “ball” in the miniature panner display to position the send in the surround field, or double-click in the display to bring up the surround panner.
Audio Effects Side-Chain Input IMPORTANT MPORTANT For detailed descriptions of the plug-ins that feature side-chaining, see the separate PDF document “Plug-in Reference”. NOTE Certain combinations of tracks and side-chain inputs may lead to feedback loops and added latency. If this is the case, the side-chain options will not be available. Side-chain and Modulation Side-chain signals bypass the built-in LFO modulation and instead apply modulation according to the envelope of the side-chain signal.
Audio Effects Side-Chain Input 4. On the control panel for the effect, make the desired effect settings and activate the Side-Chain button. Try out the effect settings to find out which settings will work best with your project. For detailed descriptions of the parameters, see the separate PDF document “Plug-in Reference”. 5. In the track list, select the second vocal track. 6.
Audio Effects External Effects 5. In the Inspector, open the Sends section, open the effects selector, and from the Side-chains mode, select the Compressor effect you created for the bass guitar track. 6. Adjust the Send level. This way, the bass drum signal triggers the compressor on the bass guitar track. RESULT When you now play back the project, the bass guitar will be compressed whenever the signals on the bass drum track exceed the threshold.
Audio Effects Comparing Effect Settings 1) Activate Effect 2) Bypass Effect 3) Read/Write Automation 4) Switch between A/B Settings 5) Copy A to B 6) Activate Side-Chain 7) Preset selector 8) Routing selector 9) Functions menu NOTE The included effects and their parameters are described in detail in the separate PDF document “Plug-in Reference”. Comparing Effect Settings You can compare two different parameter settings for an effect. PROCEDURE 1.
Audio Effects Effect Presets Setting B active Effect Presets In the MediaBay – or with certain limits in the Save Preset dialog – you can assign attributes to presets which allow you to organize and browse them according to various criteria. Nuendo comes with categorized track and VST presets that you can use straight out of the box. You can also preview effect presets before loading them which considerably speeds up the process of finding the right effect preset.
Audio Effects Effect Presets 2) Filters section Shows the available preset attributes for the selected effect. To show the Filters section, click Set Up Window Layout and activate Filters. 3) Results section Lists the available presets for the selected effect. Selecting Effect Presets Most VST effect plug-ins come with a number of useful presets for instant selection. PROCEDURE 1. Load an effect, either as a channel insert or into an FX channel. The control panel for the effect is displayed. 2.
Audio Effects Effect Presets 5. When you have found the preset that you want, double-click on it (or click outside the Presets browser). The preset is applied. • To return to the preset that was selected when you opened the Presets browser, click the “Revert to Last Setting” button. NOTE The preset handling for VST 2 plug-ins is slightly different. RELATED LINKS Earlier VST Effect Presets on page 463 Saving Effect Presets You can save your effect settings as presets for further use. PROCEDURE 1.
Audio Effects Effect Presets Default Effect Presets You can save a default effect preset with your parameter settings. This is loaded automatically when you open the effect. • To save a default preset, open the Preset Management pop-up menu, and select Save as Default Preset. • To recall a default preset, open the Presets browser and select Default. You can also open the plug-in context menu and select Default Preset > Reset to Default Preset.
Audio Effects Effect Presets Converting Earlier VST Presets PREREQUISITE You have created your own .fxp/.fxb presets with a previous version of Nuendo (or any other VST 2 application). PROCEDURE 1. Load any VST 2 effect you may have installed, and open the Preset Management pop-up menu. 2. Select Import FXB/FXP. 3. In the file dialog, locate the file and click Open. If you load a bank (.fxb), it will replace the current set of all effect programs.
Audio Effects Effect Presets 3. At the top of the Inserts tab, click the Preset Management button to open the pop-up menu for the inserts and select “Save FX Chain Preset”. This can also be done from the Channel Settings window using the Preset Management button at the top of the Inserts section. 4. In the dialog that opens, type in a name for the preset. 5. Select the track (audio/group/instrument/FX channel) to which you want to apply the new preset. 6.
Audio Effects Plug-In Information Window Plug-In Information Window The Plug-in Information window lists all the available MIDI plug-ins, audio-codec plug-ins, program plug-ins, project import-export plug-ins, and the virtual file system plug-ins. • To open the Plug-in Information window, select Devices > Plug-in Information. Update Makes Nuendo re-scan the designated plug-in folders for updated plug-in information.
Audio Effects Plug-In Information Window Managing Plug-Ins in the Plug-In Information Window • To make it available for selection, activate the checkbox in the left column. Only the enabled plug-ins will appear on the effect selectors. • To see where a plug-in is used, click in the Instances column. A pop-up opens and shows where each plug-in is used. NOTE A plug-in may be in use even if it is not enabled in the left column.
Audio processing and functions Background Audio processing in Nuendo can be called “non-destructive”, in the sense that you can always undo changes or revert to the original versions. This is possible because processing affects audio clips rather than the actual audio files, and because audio clips can refer to more than one audio file. This is how it works: PROCEDURE 1. If you process an event or a selection range, a new audio file is created in the Edits folder, within your project folder.
Audio processing and functions Audio processing • When an audio clip is selected in the Pool, the processing will be applied to the whole clip. • When you have made a selection range, the processing will be applied to this range only. Other sections of the clip are not affected. If you attempt to process an event that is a shared copy (i. e. the event refers to a clip that is used by other events in the project), you are asked whether you want to create a new version of the clip.
Audio processing and functions Audio processing Process button Performs the processing and closes the dialog. NOTE To perform the process, you can also press [Enter] or [Return]. Cancel button Closes the dialog without processing. Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters.
Audio processing and functions Audio processing Acoustic Stamp The Acoustic Stamp function is a convolution tool, which allows you to apply room characteristics (reverb) to the audio. This is done by processing the audio signal according to an impulse response – generally a stereo or mono recording of a very short signal (the impulse) in a room or other location. As a result, the processed audio will sound as if it were played in the same location.
Audio processing and functions Audio processing Play Impulse button Plays back the currently loaded impulse response. Channel selector If the currently loaded impulse response is a stereo file, this pop-up menu allows you to select whether the left channel, right channel or both (stereo) are used for the convolution process.
Audio processing and functions Audio processing Wet/Dry Mix These two sliders allow you to specify the balance between wet (processed) and dry (original) signal in the resulting clip. Normally the two sliders are “reverse-ganged”, so that raising the Wet mix slider lowers the Dry mix slider by the same amount. However, if you press [Alt]/[Option] and drag a slider, you can move it independently. This allows you to set 80 % dry and 80 % wet signal, for example. Be careful to avoid distortion.
Audio processing and functions Audio processing Envelope The Envelope function allows you to apply a volume envelope to the selected audio. The dialog contains the following settings: Curve Kind buttons These determine whether the envelope curve consists of spline curve segments (left button), damped spline segments (middle button) or linear segments (right button). Envelope display Shows the shape of the envelope curve.
Audio processing and functions Audio processing Gain Allows you to change the gain (level) of the selected audio. The dialog contains the following settings: Gain This is where you set the desired gain, between -50 and +20 dB. The setting is also indicated below the Gain display as a percentage. Clipping detection text If you use the Preview function before applying the processing, the text below the slider indicates whether the current settings result in clipping (audio levels above 0 dB).
Audio processing and functions Audio processing Merge Clipboard This function mixes the audio from the clipboard into the audio selected for processing, starting at the beginning of the selection. IMPORTANT MPORTANT For this function to be available, you need to have cut or copied a range of audio in the Sample Editor first.
Audio processing and functions Audio processing Noise Gate Scans the audio for sections weaker than a specified threshold level and replaces them with silence. The dialog contains the following settings: Threshold The level below which you want audio to be silenced. Levels below this value will close the gate. Attack Time The time it takes for the gate to open fully after the audio level has exceeded the threshold level. Min. Opening Time This is the shortest time the gate will remain open.
Audio processing and functions Audio processing Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters. For example, if you activate Pre-Crossfade and specify a value of 1000 ms, the processing is applied gradually from the start of selection, reaching full effect 1000 ms after the start.
Audio processing and functions Audio processing Phase Reverse Reverses the phase of the selected audio, turning the waveform “upside down”. The dialog contains the following settings: Phase Reverse on When processing stereo audio, this pop-up menu allows you to specify which channel(s) are phase-reversed. Pre/Post-Crossfade Some processing functions allow you to gradually mix the effect in or out. This is done with the Pre/Post-Crossfade parameters.
Audio processing and functions Audio processing • The root note is indicated in red. This has nothing to do with the actual key or pitch of the original audio, it just provides a way to display transpose intervals. You can change the root note by using the settings in the Pitch Shift Base section, or by pressing [Alt]/[Option] and clicking in the keyboard display. • To specify a transpose interval, click on one of the keys.
Audio processing and functions Audio processing Time Correction When this is activated, the pitch shift process will not affect the length of the audio. When this is deactivated, raising the pitch will shorten the audio section and vice versa, much like changing the playback speed on a tape recorder.
Audio processing and functions Audio processing Spline curve segment envelope The same envelope with damped spline segments selected The same envelope with linear segments selected Range This parameter determines the vertical pitch range of the envelope. If set to “4”, moving a curve point to the top of the display corresponds to pitch shifting by + 4 semitones. The maximum range is ± 16 semitones.
Audio processing and functions Audio processing Example Let’s say that you wish to create a pitchbend effect, so that the pitch is raised linearly by exactly 2 semitones in a specific part of the selected audio. PROCEDURE 1. Remove all curve points by clicking the Reset button. 2. Select a linear curve by clicking the Curve Kind button to the right. 3. Make sure that the Range parameter is set to 2 semitones or higher. 4.
Audio processing and functions Audio processing There are no parameters for this function. Note that you can check for DC Offset in an audio clip using the Statistics function. RELATED LINKS Statistics on page 499 Resample The Resample function can be used for changing the length, tempo and pitch of an event. The original sample rate of the event is listed in the dialog.
Audio processing and functions Audio processing The dialog contains the following parameters: Mode This pop-up menu determines what the function does: • Flip Left-Right Swaps the left and right channel. • Left to Stereo Copies the left channel sound to the right channel. • Right to Stereo Copies the right channel sound to the left channel. • Merge Merges both channels on each side for mono sound. • Subtract Subtracts the left channel information from the right.
Audio processing and functions Audio processing • Sign. If you use the tempo setting, specify the time signature here. Original Length section This section contains information and settings regarding the audio selected for processing: • Length in Samples The length of the selected audio, in samples. • Length in Seconds The length of the selected audio, in seconds. • Tempo in BPM If you are processing music, and know the actual tempo of the audio, you can enter it here as beats per minute.
Audio processing and functions Applying plug-ins Algorithm section In this section you can select a time stretch algorithm. The pop-up menu contains various presets sorted into category submenus based on the underlying technology: élastique, MPEX, and Standard. RELATED LINKS About time stretch and pitch shift algorithms on page 502 Applying plug-ins You can add plug-in effects in realtime during playback. However, sometimes it is useful to “permanently” apply effects to one or several selected events.
Audio processing and functions Applying plug-ins The process plug-in dialog for the StudioChorus effect The lower section of the dialog contains settings for the actual processing. These are common to all plug-ins. • If the lower section is hidden, click the “More…” button to display it. Clicking the button again (now labeled “Less…”) will hide the lower section.
Audio processing and functions The Offline Process History dialog Pre/Post-Crossfade These settings allow you to gradually mix the effect in or out. For example, if you activate Pre-Crossfade and specify a value of 1000 ms, the effect is applied gradually from the start of selection, reaching full effect 1000 ms after the start. Similarly, if you activate Post-Crossfade, the processing is gradually removed, starting at the specified interval before the end of the selection.
Audio processing and functions The Offline Process History dialog NOTE Due to the clip-file relationship, it is even possible to modify or remove some processing “in the middle” of the Process History, while keeping later processing! This feature depends on the type of processing performed. PROCEDURE 1. Select the clip in the Pool or one of its events in the Project window.
Audio processing and functions Batch Processing RELATED LINKS Restrictions on page 491 Status on page 575 Batch Processing on page 491 Restrictions • If there are no settings for the processing function, you cannot modify it. • If you have applied processing that changes the length of the clip (such as Cut, Insert or Time Stretch), you can only remove this if it is the most recent processing in the Offline Process History (at the bottom of the list in the dialog).
Audio processing and functions Batch Processing To set up a batch process, proceed as follows: PROCEDURE 1. Apply the desired processing to an audio event or selection range in the project. Note that you must apply at least two audio processes to be able to set up a batch process. From here, there are two ways to go: • Pull down the Audio menu, and from the Batch Processes submenu, select “Create from Process History…”, type in a name for the batch process in the dialog that opens, and click OK.
Audio processing and functions Freeze Edits Managing Batch Processes You can delete and rename created batch processes in the Manage Batch Processes dialog. • Open the Audio menu and select “Manage…” from the Batch Processes submenu to open the Manage Batch Processes dialog. The created batch processes are listed in the left column, and the operations each batch process contains are listed in the right column. • To remove a batch process, just select it in the list and click “Delete”.
Audio processing and functions Detect Silence • If the selected clip (or the clip played by the selected event) has several edit versions (i. e. there are other clips referring to the same audio file), the following alert will appear: As you can see, you do not have the option to Replace the original audio file in this case. This is because that audio file is used by other clips. Select “New File” to have a new file created in the Audio folder within the project folder.
Audio processing and functions Detect Silence Close Threshold When the audio level drops below this value, the function “closes”, i. e. sounds below this level are detected as “silence”. This value cannot be higher than the Open Threshold value. Set this value high enough to remove unwanted noise during “silent” sections. Linked If this checkbox is activated, the Open and Close Threshold values are always set to the same value. Min.
Audio processing and functions Detect Silence Compute The audio event is analyzed, and the waveform display is redrawn to indicate which sections are considered “silent” according to your settings. Above the Compute button, the number of detected regions is displayed. Auto If you activate the Auto checkbox next to the Compute button, the audio event is analyzed (and the display is updated) automatically every time you change the settings in the Detection section of the dialog.
Audio processing and functions The Spectrum Analyzer 3. Click “Preview” to listen to the result. The event is played back repeatedly in its entire length, but with the “closed” sections silenced. 4. Adjust the settings in the Detection section until you are satisfied with the result. 5. In the Output section, activate the “Add as Regions” or the “Strip Silence” option, or both. 6. Click the Process button. The event is split and/or regions are added.
Audio processing and functions The Spectrum Analyzer • Size of Overlap The overlap between each analysis block. • Window used Allows you to select which window type is used for the FFT (Fast Fourier Transform, the mathematical method used for computing the spectrum). • Normalized Values When this is activated, the resulting level values are scaled, so that the highest level is displayed as “1” (0 dB).
Audio processing and functions Statistics • Active When this is activated, the next Spectrum Analysis will appear in the same window. When deactivated, new Spectrum Analysis results will appear in separate windows. 5. If you move the mouse pointer over the graph, a cross-hair cursor follows the graph curve and the display in the upper right corner shows the frequency/note and level at the current position.
Audio processing and functions Statistics Min. Sample Value The lowest sample value in dB. Max. Sample Value The highest sample value in dB. Peak Amplitude The largest amplitude in dB. True Peak The maximum absolute level of the audio signal waveform in the continuous time domain. DC Offset The amount of DC Offset as a percentage and in dB. Resolution The current calculated audio resolution. Estimated Pitch The estimated pitch. Sample Rate The sample rate.
Audio processing and functions Measuring Loudness Max. True Peak Level The maximum value of the audio signal waveform in the continuous time domain. RELATED LINKS Remove DC Offset on page 483 Measuring Loudness The loudness track allows you to record and display the short-term loudness as a curve in the Project window. After calculating the loudness, you can: • Adjust the Visible loudness by clicking on the values displayed to the right of the track list, and dragging the slider that appears up or down.
Audio processing and functions About time stretch and pitch shift algorithms Creating a loudness curve in real-time during playback PROCEDURE 1. Activate the “Enable Recording of Loudness Curve” button. 2. Click the Play button to start playback. The short-term loudness level is measured in real-time at the cursor position, and the corresponding loudness curve is written to the loudness track. Creating a loudness curve for a defined section using off-line processing PROCEDURE 1.
Audio processing and functions About time stretch and pitch shift algorithms The following modes are available: • élastique Pro – This mode offers the best audio quality, without formant preservation. • élastique Pro Formant – This is the same as the Pro mode, but including formant preservation. • élastique efficient – This mode requires less computing powers, but has a lower audio quality than the Pro modes.
Audio processing and functions About time stretch and pitch shift algorithms NOTE When applying the Pitch Shift process, you can choose between the regular setting and a setting where the formants are preserved for each quality setting. Standard The Standard algorithm is optimized for CPU efficient realtime processing. The following presets are available: Standard – Drums This mode is best for percussive sounds, because it does not change the timing of your audio.
Audio processing and functions About time stretch and pitch shift algorithms Grain size The standard time-stretching algorithm splits the audio into small pieces called “grains”. This parameter determines the size of the grains. For material with many transients, use low grain size values for best results. Overlap Overlap is the percentage of the whole grain that will overlap with other grains. Use higher values for material with a stable sound character.
Sample Editor Window overview The Sample Editor allows you to view and manipulate audio by cutting and pasting, removing, or drawing audio data, and by processing audio. This editing is “non-destructive”: The actual file will remain untouched so that you can undo modifications or revert to the original settings at any time. The Sample Editor also contains most of the realtime time stretching functions in Nuendo. These can be used to match the tempo of audio to the project tempo.
Sample Editor Window overview NOTE The term “loop” is used throughout this chapter and in this context usually means an audio file with a musical time base. That means that the length of the loop represents a certain number of bars and beats at a certain tempo. Playing the loop back at the right tempo in a cycle set to the correct length will produce a continuous loop without gaps.
Sample Editor Window overview Show Audio Event When the “Show Audio Event” button is activated on the toolbar, the section corresponding to the edited event is highlighted in the waveform display and the Overview. The sections of the audio clip not belonging to the event are shown with a gray background. • You can adjust the start and end of the event in the clip by dragging the event handles in the waveform display.
Sample Editor Window overview VariAudio Segment Colors You can select a color scheme for VariAudio segments on the “VariAudio Segment Colors” pop-up menu on the toolbar. When working with several audio events, this makes it easier to see which segments belong to which event. The following options are available: Option Description Auto This is the default mode. All segments belonging to the same audio event get the same color.
Sample Editor Window overview Initially, length and position values are displayed in the format specified in the Project Setup dialog. • To show or hide the info line, click the “Set up Window Layout” button on the toolbar and activate or deactivate the Info Line option. RELATED LINKS Using the Setup options on page 1226 The Sample Editor Inspector On the left in the Sample Editor, you will find the Sample Editor Inspector. It contains tools and functions for working in the Sample Editor.
Sample Editor Window overview The VariAudio tab Disable Pitch Changes On this tab you can edit single notes of your audio file and change their pitch and/or timing, in a way that is similar to the editing of MIDI notes. Furthermore, you can extract MIDI from your audio. • If you click the “Disable Pitch Changes” button, any pitch modifications you have made are disabled, allowing you to compare the modified sound with the original sound of your audio. However, the display does not change.
Sample Editor Window overview The Process tab This tab regroups the most important audio editing commands from the Audio and Edit menus.
Sample Editor Window overview The ruler The Sample Editor ruler is located between the overview line and the waveform display. When the Definition tab is open, an additional ruler displays the musical structure of the audio file. RELATED LINKS Ruler on page 49 The waveform display and the level scale The waveform display shows the waveform image of the edited audio clip according to the wave image style set in the Preferences dialog (Event Display–Audio page).
Sample Editor General Functions • Select the “Show Half Level Axis” option on the context menu of the waveform display, if you want the half level axes to be shown.
Sample Editor General Functions Zoom to Selection (Horiz.) Zooms in horizontally so that the current selection fills the editor display. Zoom to Event Zooms in so that the editor shows the section of the clip corresponding to the edited audio event. This is not available if you have opened the Sample Editor from the Pool (in which case the whole clip is opened for editing, not an event). Zoom In/Out Vertically This is the same as using the vertical zoom slider (see above).
Sample Editor General Functions • If you have made a selection, this selection will be played back. • If there is no selection and “Show Event” is deactivated, playback will start at the cursor position. • If the Audition Loop icon is activated, playback will continue repeatedly until you deactivate the Audition Loop icon. Otherwise, the section will be played back once. NOTE There is a separate Play button for auditioning regions.
Sample Editor General Functions 3. Drag to the left or right. The audio is played back. The speed and pitch of the playback depend on how fast you drag. Adjusting the snap point The snap point is a marker within an audio event. It is used as a reference position when you move events with snap activated, so that the snap point is “magnetic” to whatever snap positions you have selected.
Sample Editor General Functions 3. Click on the “S” flag and drag it to the desired position. RELATED LINKS Correcting the local definition grid on page 529 Drawing in the Sample Editor It is possible to edit the audio clip at sample level by drawing with the Draw tool. This can be useful if you need to manually edit out a spike or click, etc. PROCEDURE 1. Zoom in to a zoom value lower than 1. This means that there is more than one screen pixel per sample. 2. Select the Draw tool. 3.
Sample Editor General Functions • The current selection is indicated in the corresponding fields on the Range tab of the Sample Editor Inspector. You can fine-tune the selection by changing these values. Note that the values are relative to the start of the clip, rather than to the project timeline. Using the Select menu On the Select menu on the Range tab and on the Select submenu of the Edit menu you find the following options: All Selects the whole clip.
Sample Editor General Functions All on Selected Tracks (Edit menu only) Selects all events on the selected track. Events under cursor (Edit menu only) Automatically selects all events on the selected track(s) that are “touched” by the project cursor. Select Event Selects only the audio that is included in the edited event. This is grayed out if you have opened the Sample Editor from the Pool (in which case the whole clip is opened for editing, not an event).
Sample Editor General Functions Cut, Copy, and Paste The Cut, Copy, and Paste commands (on the Edit menu, on the Process tab of the Sample Editor Inspector, or on the main Edit menu) work according to the following rules: • Selecting Copy copies the selection to the clipboard. • Selecting Cut removes the selection from the clip and moves it to the clipboard. The section to the right of the selection is moved to the left to fill the gap.
Sample Editor General Functions Creating a new clip or audio file from the selection You can extract a selection from an event and either create a new clip or a new audio file. PROCEDURE 1. Make a selection range. 2. Open the context menu and select “Bounce Selection” from the Audio submenu. RESULT A new clip is created and added to the Pool, and another Sample Editor window opens with the new clip.
Sample Editor General Functions RELATED LINKS Cycle Recording on page 241 Creating and removing regions PROCEDURE 1. Select the range that you want to convert into a region. 2. Click the “Set up Window Layout” button and activate the Regions option. The regions list is displayed on the right. 3. Click the Add Region button above the regions list (or select “Event or Range as Region” from the Advanced submenu of the Audio menu). A region is created, corresponding to the selected range. 4.
Sample Editor General Functions Editing regions The region selected in the list is displayed in gray in the waveform display and the overview line. There are two ways to edit the start and end positions of a region: • Click and drag the region start and end handles in the waveform display (with any tool). When you move the pointer over the handles, it automatically changes to indicate that you can drag the handles. • Edit the Start and End positions in the corresponding fields in the regions list.
Sample Editor General Functions Creating audio events from regions You can create new audio events from regions using drag & drop. PROCEDURE 1. In the list, click on the region and keep the mouse button pressed. 2. Drag the region to the desired position in the project and release the mouse button. RESULT A new event is created. You can also use the “Events from Regions” function from the Advanced submenu of the Audio menu.
Sample Editor Warping audio RELATED LINKS About time stretch and pitch shift algorithms on page 502 Musical Mode You can use the Musical Mode to tempo-match audio loops to the project tempo. Musical Mode allows you to lock audio clips to the project tempo by using realtime time stretching. This is very useful if you want to use audio in your project without worrying too much about timing. If you want to use Musical Mode, verify that the length in bars corresponds to the audio file you imported.
Sample Editor Warping audio 2. From the Algorithm pop-up menu on the toolbar, select the algorithm preset to be applied during realtime playback. 3. Listen to the loop and, if necessary, correct the Bars and Beats values on the toolbar. 4. Activate the Musical Mode button. Your loop is warped and stretched automatically to adapt it to the project tempo. The rulers reflect the change.
Sample Editor Warping audio 3. Select a range that is covering one or several bars. This selection should cover the section that you want to use in your project. The definition grid will be calculated for this section only. 4. Click the Auto Adjust button. The snap point is moved to the start of the selected range, which is now also the start position of the local definition grid. The lower ruler changes to reflect your edits. The transients, i. e.
Sample Editor Warping audio Correcting the local definition grid In some situations, you might not be able to get satisfying results with the “Auto Adjust” function. In this case you can manually modify the grid and tempo of your audio file. PROCEDURE 1. On the Definition tab, activate the Manual Adjust tool. 2. If the grid start does not correspond with the first main beat, move the mouse pointer to the beginning of the audio clip until the tooltip “Set Grid Start” is displayed.
Sample Editor Warping audio 8. Click and drag the green vertical line to the left or right to the position of the first downbeat of the following bar and release the mouse button. Repeat the last two steps for all bar lines that need to be corrected. 9. Now have a look at the single beats in between the bars. If you find an incorrect beat position, move the mouse pointer over the corresponding grid line so that the tooltip “Set Beat Position” and a blue vertical line are shown. 10.
Sample Editor Warping audio 4. Move the Swing fader to the right to offset every second position in the grid. RESULT This creates a swing or shuffle feel. Depending on how far you move the fader to the right and what grid resolution you chose, this function offers everything from half-note swing to 64th-note swing. RELATED LINKS About time stretch and pitch shift algorithms on page 502 Free Warp The Free Warp tool allows you to change the timing of individual positions in the audio material.
Sample Editor Warping audio IMPORTANT MPORTANT When you activate or deactivate Musical Mode or select another Resolution value, all your warp modifications are lost. NOTE Warp markers can also be created from hitpoints. RELATED LINKS Audio editing to picture on page 1144 Create Warp Markers on page 541 Correcting the Timing You can correct the timing using the Free Warp tool. PROCEDURE 1. Open the audio file that you want to process in the Sample Editor. 2.
Sample Editor Working with hitpoints and slices Editing warp markers • To stretch or compress the audio using a warp marker, select the Free Warp tool and position the pointer on the warp line in the waveform, click and drag. • To change the position of a warp marker in the audio, click and drag the warp marker handle in the ruler. This will change the warping. • To disable all warp modifications, click the “Disable Warp Changes” button on the AudioWarp tab.
Sample Editor Working with hitpoints and slices Purpose and preparation Hitpoints are useful to slice up audio to make it fit the project tempo or to create a situation that allows the song tempo to be changed while retaining the timing of a rhythmic audio loop. When you have successfully detected the hitpoints for an audio file, you can do a number of useful things: • Change the tempo of the audio material without affecting the pitch and audio quality.
Sample Editor Working with hitpoints and slices • There may be problems with sounds drowned in smearing effects, like short delays. Adjusting the tempo: warping vs. hitpoints and slices Both the warping features and the hitpoint detection can be used to alter the tempo and timing of audio material. Warping is very useful for continuous audio material without noticeable gaps between the individual sounds, for example, piano or vocal recordings.
Sample Editor Working with hitpoints and slices You can use the following parameters to filter hitpoints: Threshold This filters hitpoints by their peaks. This allows you to discard hitpoints of quieter crosstalk signals, for example. Minimum Length This filters hitpoints by the distance between two hitpoints. This allows you to avoid creating slices that are too short. Beats This allows you to filter hitpoints by their musical position.
Sample Editor Working with hitpoints and slices The default key commands for this are [Alt]/[Option]-[N] and [Alt]/[Option]-[B]. Editing hitpoints You can change the state of a hitpoint, insert new hitpoints manually, and move existing hitpoints. Hitpoints can have three different states: enabled, locked, and disabled. “Enabled” is the normal state a hitpoint has immediately after the detection.
Sample Editor Working with hitpoints and slices Resetting hitpoints Sometimes it can be useful to reset hitpoints to their original state, e. g. because you still want them to be affected by the Threshold slider. PROCEDURE • To reset hitpoints to their original state, press [Ctrl]/[Command]-[Alt]/[Option] so that the tooltip “Enable/Unlock Hitpoints” is shown and drag a rectangle over the hitpoints. RESULT All disabled and locked hitpoints within the area defined by the rectangle are reset.
Sample Editor Working with hitpoints and slices Slicing audio Once you have set up the hitpoints as needed, you can slice the audio by clicking the Create Slices button on the Hitpoints tab. Alternatively, you can select the “Create Audio Slices from Hitpoints” command from the Hitpoints submenu of the Audio menu. The following happens: • The Sample Editor closes. • The audio event is “sliced” so that the sections between the hitpoints become separate events, all referring to the same original file.
Sample Editor Working with hitpoints and slices Also consider activating auto fades for the corresponding audio track – fade-outs set to about 10 ms will help eliminate any clicks between the slices when you play back the part. If the project tempo is higher than the tempo of the original audio event, the slice events are overlapping. Activate auto crossfades for the track to smooth out the sound.
Sample Editor Working with hitpoints and slices Create Groove You can generate a groove quantize map based on hitpoints that you have created. RELATED LINKS Creating Groove Quantize Presets on page 272 Create Markers If an audio event contains calculated hitpoints, you can click the Create Markers button on the Hitpoints tab to add a marker for each hitpoint on the active marker track. If your project has no marker track, it will be added and activated automatically.
Sample Editor VariAudio The following options are available: Velocity Mode/Velocity • Dynamic Velocity Value – The velocity values of the created MIDI notes vary, according to the peak levels of the corresponding hitpoints. • Fixed Velocity Value – The created MIDI notes get the same velocity value. You can set this value using the Velocity field. Pitch/Length • Hitpoints do not contain any information about pitch or duration. Therefore, all created MIDI notes get the same pitch and note length.
Sample Editor VariAudio RELATED LINKS Changing the pitch on page 550 Warping segments on page 555 Understanding the waveform display in VariAudio When you open monophonic vocal recordings in the Sample Editor and activate the Segments or the Pitch & Warp tool on the VariAudio tab, your audio is analyzed and segmented to display the tonal portions, i. e. the notes sung or played. This process is called segmentation.
Sample Editor VariAudio NOTE The audio waveform displayed on the VariAudio tab is always shown as mono, even if you have opened a stereo or multi-channel file. The piano keyboard to the left of the waveform indicates the pitch positions. By moving a segment vertically, you can change its average pitch. Note pitches represent the perceived fundamental frequency of a sound. The note A4 is perceived to be of the same pitch as a sine wave of 440 Hz. The notation of pitches is a logarithmic frequency scale.
Sample Editor VariAudio • Options on the Select Process menu, on the Process tab of the Sample Editor Inspector, or in the Process submenu of the Audio menu that can be applied to selections. • Effect processing using the options on the Select Plug-in menu on the Process tab of the Sample Editor Inspector or in the Plug-ins submenu of the Audio menu. • Cut, paste, and delete, or drawing notes. IMPORTANT MPORTANT Because of the reanalysis any existing VariAudio data becomes invalid.
Sample Editor VariAudio RELATED LINKS Audio processing and functions on page 468 Editing selection ranges on page 520 Drawing in the Sample Editor on page 518 Segments mode If you activate Segments mode on the VariAudio tab, your audio file is analyzed and split into separate segments. IMPORTANT MPORTANT Due to the data gained during this process, the audio and thus the size of your project can increase. Furthermore, the analysis of long audio files might take some time.
Sample Editor VariAudio Changing the note start or end point If you find that a note starts or ends too early or too late, e. g. when the reverb of a note or a consonant is not included in the segment, proceed as follows: PROCEDURE 1. On the VariAudio tab activate Segments mode. 2. To change the length of a segment, move the mouse pointer over the start/end of the segment. The mouse pointer becomes a double arrow. 3. Click and drag the segment start/end to the left or right.
Sample Editor VariAudio RESULT The segment is cut accordingly taking Snap into account. IMPORTANT MPORTANT When the resulting segment pitch cannot be calculated because of an increase in non-tonal data, the segment will be deleted. NOTE There is a minimum size for a segment. Very short segments cannot be cut. Gluing segments IMPORTANT MPORTANT We recommend to correct the segmentation before pitching.
Sample Editor VariAudio Moving segments horizontally After cutting a segment it may be necessary to move segments horizontally, for example, if you notice that a note is at the wrong position. PROCEDURE 1. On the VariAudio tab activate Segments mode. 2. Move the mouse pointer over the upper border of the segment. The mouse pointer becomes a double arrow. 3. Click and drag the whole segment to the left or right. RESULT The segment is moved accordingly.
Sample Editor VariAudio Pitch & Warp tool If you activate the Pitch & Warp tool on the VariAudio tab, you can change the pitch and the timing of your audio. MPORTANT IMPORTANT Before changing the pitch or timing of your segments, make sure that the segments you want to change are correct. You can edit the pitch and timing of audio segments for corrective purposes but also creatively.
Sample Editor VariAudio There are three different modes that affect the way in which a note will snap to a certain pitch that can be accessed using the following modifier keys: Option Description Default modifier Absolute Pitch Snapping Pitches the segment to the [Ctrl]/[Command] next semitone. Relative Pitch Snapping None Snaps the segment in relation to its current deviation in cents, i. e.
Sample Editor VariAudio Quantize Pitch You can also quantize the audio pitch upwards or downwards to iteratively reduce the deviation from the nearest semitone position. PROCEDURE 1. Select the segments that you want to quantize. 2. Move the Quantize Pitch slider to the right. RESULT The selected segments are quantized iteratively. NOTE You can set up a key command for Quantize Pitch in the Sample Editor category of the Key Commands dialog.
Sample Editor VariAudio …activate the Pitch & Warp tool, point at the top right corner and drag upwards. Changing the Pitch-Curve for Segment Start or End If you want to change the pitch modulation only for the segment start or end, you can set an “anchor point” to specify which part of the segment is affected. PROCEDURE 1. Move the mouse pointer over the top border of the segment. The mouse pointer becomes an I-beam symbol. 2. Click at the position where you want to set an anchor.
Sample Editor VariAudio …to indicate that you can rotate the micro-pitch curve. 4. Repeat the steps above to set anchors and tilt the micro-pitch curve until you are satisfied with the result. If you want to remove a tilt anchor from a segment, hold down [Alt]/[Option], position the mouse pointer at the top border of the segment until it turns to a glue tube, and click. The tilt anchor is deleted.
Sample Editor VariAudio MIDI Input You can change the pitch on the fly by selecting the segment you want to change and pressing a key on your MIDI keyboard or using the Virtual Keyboard (NEK only). PROCEDURE 1. After having corrected the segmentation, select the segment for which you would like to change the pitch. 2. Activate the Pitch & Warp tool and click MIDI Input 3. Press a key on your MIDI keyboard or use the Virtual Keyboard (NEK only) to change the pitch of the segment. .
Sample Editor VariAudio To warp a segment, proceed as follows: PROCEDURE 1. On the VariAudio tab activate the Pitch & Warp tool. 2. To change the timing of a segment, move the mouse pointer over the start/end of the segment. The mouse pointer becomes a double arrow and the warp markers are displayed in the ruler. 3. Drag the start/end of the segment to the desired position. If the Snap button is activated, the segment border will snap to the grid.
Sample Editor VariAudio Editing Warp markers In some cases the beginning of the waveform does not correspond to the beginning of a segment, e. g. when the audio starts with non-tonal portions like breath sounds. But when it comes to warping, any changes you wish to make must affect the waveform as a whole. You can of course change the segmentation to achieve this, but if you want to pitch your audio afterwards, this would affect also any non-tonal portions of the audio.
Sample Editor VariAudio Now the beginning of the waveform matches the desired bar position. Editing warp markers can also be useful if you change the length of a segment that you have already warped. In this case, editing warp markers can help you synchronize your audio again. RELATED LINKS Understanding the waveform display in VariAudio on page 543 Reset This pop-up menu at the bottom of the VariAudio tab allows you to reset the modifications you performed with the Pitch & Warp tool.
Sample Editor VariAudio NOTE You can set up key commands for the reset and the reanalyze function in the Sample Editor category of the Key commands dialog. RELATED LINKS Key Commands on page 1168 Listening to your modifications You can listen to the results of your modifications using the following methods: • By activating Acoustic Feedback on the toolbar. The segments are played back so that you can easily audition your pitch modifications while editing. • By using the Play tool on the toolbar.
Sample Editor VariAudio NOTE • Before extracting MIDI from your audio you should correct the segmentation. Otherwise, you will have to correct segmentation errors later in the MIDI part. Transition changes, tilting of the micro-pitch curve, Quantize Pitch settings, and pitch corrections will also be taken into account. • If your audio event references only a section of the audio clip, only this section will be extracted.
Sample Editor VariAudio Option Description Fixed Velocity All created MIDI notes get the same velocity. Select a velocity value in the Velocity field. Dynamic Velocity Each created MIDI note gets an individual velocity value according to the amplitude of the audio signal. Volume A continuous volume controller curve is created within the MIDI Controller Curve part. You can select the MIDI controller to be used for the curve in the MIDI Controller field.
Sample Editor Generating Harmony Voices for Monophonic Audio Generating Harmony Voices for Monophonic Audio You can quickly harmonize monophonic audio using the “Generate Harmony Voices” function on the Audio menu. This function automatically performs a VariAudio analysis, copies your event the specified number of times, and adds the resulting voices on separate tracks in the Project window.
Sample Editor Flattening realtime processing Also use this function before applying any offline processing. When the flatten processing is applied, a copy of the original file is automatically created in the Pool so that the original audio clip remains intact. The flatten function takes the following into account: • Warp modifications, even when Bypass is activated. After the flattening, your Warp markers will be lost. However, you can undo this function as usual.
Sample Editor Flattening realtime processing Selecting an algorithm for the flattening When you flatten the realtime processing, you can use the MPEX 4 algorithm or the Realtime algorithm to process the audio. The MPEX 4 algorithm may produce better sound quality than the realtime processing. The Realtime algorithm corresponds to the algorithm preset selected on the Sample Editor toolbar.
Audio Part Editor The Audio Part Editor allows you to view and edit the events inside audio parts. Essentially, this is the same type of editing that you do in the Project window. Audio parts are created in the Project window in one of the following ways: • Select one or several audio events on the same track, and select Audio > Events to Part. • Glue together two or more audio events on the same track with the Glue tool. • Draw an empty part with the Draw tool.
Audio Part Editor Window Overview Toolbar The tools, settings, and icons on the toolbar have the same functionality as in the Project window, with the following differences: • A Solo button. • Separate tools for auditioning (Speaker) and scrubbing. • No Line or Glue Tube tools. • Play and Loop icons and an Audition Volume control. • Independent Track Loop settings.
Audio Part Editor Opening the Audio Part Editor Opening the Audio Part Editor The Audio Part Editor can display several parts at once, and you can also have more than one Audio Part Editor open at the same time. PROCEDURE 1. Select one or more audio parts in the Project window. 2. Double-click on any one of them or use the Edit-Open key command, by default [Ctrl]/[Command]-[E]. Double-clicking on an audio event in the Project window will open the Sample Editor.
Audio Part Editor Operations Operations Zooming, selecting and editing in the Audio Part Editor are done just as in the Project window. NOTE If a part is a shared copy (i. e. you have previously copied the part by [Alt]/[Option]-[Shift] and dragging), any editing you perform will affect all shared copies of this part. RELATED LINKS Project Window on page 43 Auditioning There are several ways to listen to the events in the Audio Part Editor.
Audio Part Editor Operations By Using Regular Playback You can of course use the regular playback controls while in the Audio Part Editor. Furthermore, if you activate the Solo Editor button on the toolbar, only the events in the edited part will be played back. Using Key Commands If you activate the “Playback Toggle triggers Local Preview” option in the Preferences dialog (Transport page), you can start/stop auditioning by pressing [Space]. This is the same as clicking the Audition icon on the toolbar.
Audio Part Editor Operations NOTE The events will be looped as long as the Loop button is activated and the Audio Part Editor window is open. RELATED LINKS Using the Setup options on page 1226 Scrubbing In the Audio Part Editor, the Scrub tool has a separate icon on the toolbar. Apart from that, scrubbing works exactly as in the Project window.
Audio Part Editor Options and Settings • You can zoom in on an active part so that it is displayed in its entirety in the window by selecting “Zoom to Event” from the Zoom submenu of the Edit menu. • The “Show Part Borders” button can be used if you want to see clearly defined borders for the active part. When this is activated, all parts except the active one are grayed out, making the borders easily discernible.
Pool Every time that you record on an audio track, a file is created on your hard disk. A reference to this file, a clip, is added to the Pool. The following rules apply to the Pool: • All audio and video clips that belong to a project are listed in the Pool. • Every project has a separate Pool. The way the Pool displays folders and their contents is similar to the way the Windows Explorer/Mac OS Finder display folders and file lists.
Pool Pool Window Pool Window The Pool window allows you to manage the media files of the active project. You can open the Pool in the following ways: • On the Project window toolbar, click the Open Pool Window button. If this icon is not visible, you must activate the Media & MixConsole Windows option on the toolbar context menu. • Select Project > Pool. • Select Media > Open Pool Window.
Pool Pool Window Toolbar 1) Show Info Activates/deactivates the info line. 2) Audition If this option is activated and you select a clip in the Pool, it is played back. 3) Audition Loop If this option is activated, the playback of the selected clip is looped. 4) Volume Lets you specify the playback volume. 5) View/Attributes Lets you activate/deactivate which attributes are displayed in the Pool window. You can also define custom user attributes.
Pool Pool Window Used Displays how many times a clip is used in the project. If there is no entry in this column, the corresponding clip is not used. Status Displays various icons that relate to the current Pool and clip status. The following symbols can be displayed: • Indicates the current Pool record folder. • Indicates that a clip has been processed. • Indicates that a clip is referenced in the project but missing from the Pool.
Pool Pool Window For video clips, it displays the frame rate, resolution, number of frames, and length. Type Displays the file format of the clip. Date Displays the date when the audio file was last changed. Origin Time Displays the original start position where a clip was recorded in the project. As this value can be used as a basis for the Insert into Project option in the Media or context menu, you can change it if the Origin Time value is independent (for example, not for regions).
Pool Working with the Pool Customizing the View You can set up which columns are shown or hidden and rearrange the order of the columns in the Pool. • To specify which columns are shown or hidden, open the View/Attributes menu on the toolbar, and activate or deactivate items. • To rearrange the order of columns, drag a column heading to the left or right. Working with the Pool NOTE Most of the Pool-related main menu functions are also available on the Pool context menu.
Pool Working with the Pool Rename Objects Dialog The Rename Objects dialog allows you to add prefixes, suffixes, and incremental numbers to names. You can also remove certain characters, include timestamp information, and more. In the Pool window, right-click a clip and select Edit - Rename Objects, or select a clip and select Edit > Rename Objects. Each of the fields found in the left section of the Rename Objects dialog can be used to add an element to the name for each object.
Pool Working with the Pool Sample Rate The sample rate of the audio file. Audio Tempo The audio tempo for the clip if it has been assigned. User Attribute Any of the custom attributes created in the Setup User Attributes dialog. NOTE • You can use a prefix to create a space that separates items in the generated name. • An example of the result is displayed at the bottom of the window. You can also save all of these parameters as a preset.
Pool Working with the Pool Inserting Clips into a Project Via Menu Commands PROCEDURE 1. In the Pool window, select the clips that you want to insert into the project. 2. Select Media > Insert into Project and select one of the insert options. If several clips are selected, choose whether to insert them on one track or each on a different track. NOTE The clips are positioned so that their snap points are aligned with the selected insert position.
Pool Working with the Pool Removing Clips from the Pool NOTE Removing clips from the Pool does not delete the corresponding file from the hard disk. PROCEDURE 1. In the Pool window, select the clips that you want to remove, and select Edit > Delete You can also press [Backspace] or [Delete]. 2. Depending on whether the clips are used by an event, you have the following options: • If the clips are used by an event, click Remove and then click Remove from Pool.
Pool Working with the Pool 3. Select Media > Empty Trash. 4. Click Erase. RESULT The files are deleted from the hard disk. Removing Unused Clips from the Pool You can find all clips in the Pool that are not used in the project. This allows you to quickly remove all unused clips. PROCEDURE 1. In the Pool, select Media > Remove Unused Media. 2. Do one of the following: • To move the clips to the Trash folder, select Trash. • To remove the clips from the Pool, select Remove from Pool.
Pool Working with the Pool RESULT All events that refer to the selected clips are now selected in the Project window. Locating Clips via Events in the Project Window You can find out which clip belongs to a particular event in the Project window. PROCEDURE 1. In the Project window, select one or more events. 2. Select Audio > Find Selected in Pool. RESULT The corresponding clips are located and highlighted in the Pool.
Pool Working with the Pool 4. Click the Search button. The search is started and the Search button is labeled Stop. • To cancel the search, click Stop. When the search is finished, the files that are found are listed on the right. 5. • To audition a file, select it in the list and use the playback controls to the left (Play, Stop, Pause, and Loop). If Auto Play is activated, selected files are automatically played back.
Pool Working with the Pool 6. Optional: To save your search filter settings as a preset, open the extended search pop-up menu, select Presets > Save Preset, and enter a name for the preset. Saved presets are added to the Presets submenu. 7. Optional: To remove a search filter settings preset, open the extended search pop-up menu, select the preset, and then select Remove Preset.
Pool Working with the Pool Locating Missing Files PROCEDURE 1. Select Media > Find Missing Files. 2. In the Resolve Missing Files dialog, decide if you want the program to find the file for you (Search), if you want to find it yourself (Locate), or if you want to specify in which directory the program will search for the file (Folder). • If you select Search, a dialog opens to let you specify which folder or disk will be scanned by the program.
Pool Working with the Pool RESULT All missing files from the Pool and the corresponding events from the Project window are removed. Auditioning Clips in the Pool You can audition clips in the Pool using key commands, the Audition button, or by clicking in the waveform image for a clip. • Key commands If you activate the Playback Toggle triggers Local Preview option in the Preferences dialog (Transport page), you can use [Space] to audition.
Pool Working with the Pool You can use this to set a snap point for a clip, for example. When you later insert the clip from the Pool into the project, the defined snap point allows it to be properly aligned. RELATED LINKS Adjusting the snap point on page 517 Sample Editor on page 506 Importing Media The Import Medium dialog lets you import files directly into the Pool. To open the dialog, select Media > Import Medium, or click the Import button on the Pool toolbar.
Pool Working with the Pool RELATED LINKS Broadcast Wave files on page 1031 Importing ReCycle files on page 1192 Importing compressed audio files on page 1193 Video File Compatibility on page 1100 Importing Audio CDs in the Pool You can import tracks or sections of tracks from an audio CD directly into the Pool. This opens a dialog in which you can specify which tracks are copied from the CD, converted to audio files, and added to the Pool.
Pool Working with the Pool Split Channels/Split Multi-Channel Files If this option is activated, the stereo or multi-channel audio files are split into a corresponding number of mono files, one for each channel. NOTE If this option is activated, the imported files are copied to the Audio folder of the project’s working directory. If you import files via File > Import, the split files are inserted into the project and into the Pool as separate mono tracks.
Pool Working with the Pool RESULT A new audio file is created in the specified folder. The file has the name of the region and is automatically added to the Pool. RELATED LINKS Working with regions on page 522 User Attributes You can define your own attributes for elements in the Pool. This is useful if you have a large number of audio files in the Pool. You can use the attributes, for example, to sort items in the Pool. User attributes have their own columns in the Pool.
Pool Working with the Pool Changing the Pool Record Folder All audio clips that you record in the project will end up in the Pool Record folder. The Pool Record folder is indicated by the text Record in the Status column and by a red dot on the folder itself. By default, this is the main Audio folder. However, you can create a new Audio subfolder and designate this as your Pool Record folder. NOTE The folders that you create in the Pool are only for organizing your files in the Pool.
Pool Working with the Pool 3. Rename the folder. 4. Drag the clips to the new folder. Applying Processing to Clips in the Pool You can apply audio processing to clips from within the Pool in the same way as to events in the Project window. PROCEDURE 1. In the Pool window, select the clips that you want to process. 2. Select Audio > Process and select a processing method. RESULT A red and gray waveform symbol indicates that the clips have been processed.
Pool Working with the Pool NOTE Minimizing files clears the entire edit history. PROCEDURE 1. In the Pool window, select the files that you want to minimize. 2. Select Media > Minimize File. 3. Click Minimize. After the minimizing is finished, the file references in the stored project have become invalid. 4. Do one of the following. • To save the updated project, click Save Now. • To proceed with the unsaved project, click Later.
Pool Working with the Pool Working with Libraries You can use libraries to save sound effects, loops, video clips, etc., and transfer media from a library into a project by using drag and drop. • To create a new library, select File > New Library. You must specify a project folder for the new library in which media files will be stored. The library appears as a separate Pool window. • To open a library, select File > Open Library. • To save a library, select File > Save Library.
Pool Working with the Pool File Format Allows you to convert to Wave, AIFF, MXF, FLAC, Wave 64, or Broadcast Wave format. Options You can use the Options pop-up menu to set one of the following options: • New Files Creates a copy of the file in the audio folder and converts this new file according to the chosen attributes. The new file is added to the Pool, but all clip references still point to the original, unconverted file. • Replace Files Converts the original file without changing clip references.
Pool Working with the Pool Extracting Audio from Video File You can extract audio from video files. This automatically generates a new audio clip that appears in the Pool Record folder. NOTE This function is not available for MPEG-1 and MPEG-2 video files. PROCEDURE 1. In the Pool window, select Media > Extract Audio from Video File. 2. Select the video file from which you want to extract audio and click Open. RESULT The audio is extracted from the video file.
MediaBay With the MediaBay, you can manage all your media files and presets from multiple sources. To open the MediaBay, select Media > MediaBay, or press [F5]. The MediaBay is divided into several sections: 1) Define Locations Allows you to create presets for locations on your system that you want to scan for media files. 2) Locations Allows you to switch between the previously defined locations.
MediaBay Working With the MediaBay 3) Filters Allows you to filter the results list using a logical or an attribute filter. 4) Results Displays all found media files. You can filter the list and perform text searches. 5) Previewer Allows you to preview the files shown in the results list. 6) Attribute Inspector Allows you to view, edit, and add media file attributes or tags.
MediaBay Define Locations Section 2. Deactivate the checkboxes for the sections that you want to hide. You can also use key commands for this: use the [Up]/[Down] and [Left]/[Right] arrow keys to step through the checkboxes and press [Space] to activate/deactivate the selected checkbox. 3. When you are done, click outside the pane to exit the setup mode.
MediaBay Scanning Your Content • Dark blue indicates that a folder is excluded from the scan. • Orange indicates that the scanning process for the folder was interrupted. • Yellow indicates that a folder has not yet been scanned. VST Sound Node The VST Sound node is a shortcut to your user content and the factory content files, including the preset folders. The folders below the VST Sound node represent the directories in which content files and track presets, VST presets, etc. are stored by default.
MediaBay Locations Section • To rescan the selected folder and its subfolders, click the Rescan button in the Define Locations section. You can also right-click a folder and select Rescan Disk. • To rescan only the folders that have changed since the last scan, right-click in the Define Locations section, and select Quick Rescan Disk. Refreshing If you have modified attribute values or mapped a new network, you must refresh the corresponding folders.
MediaBay Locations Section 4) Remove Browse Location Definition Removes the selected browse location. 5) Deep Results If this option is activated, the media files that are located in the subfolders of the selected location are also displayed in the results list. Defining Locations You can define locations, that is shortcuts to the folders that you want to work with. These are shown in the Locations section. PREREQUISITE Set up the Define Locations section and scan the content. PROCEDURE 1.
MediaBay Results Section • To remove a location from the pop-up menu, select it and click the Remove Browse Location Definition button. • To show the files contained in the selected folder and any subfolders, activate the Deep Results button. When this button is deactivated, only the folders and files contained in the selected folder are shown. Results Section The Results list shows all media files that are found in the selected location.
MediaBay Results Section RESULT Depending on the track type, the following happens: • Audio files, MIDI loops, and MIDI files are inserted on the active track if this matches the file type or onto a new track if no corresponding track is active. The files are inserted at the project cursor position. • If you double-click a track preset it is applied to the active track if the track type matches the track preset. Otherwise, a new track is inserted, containing the settings of the track preset.
MediaBay Results Section • To change the order of the columns in the Results list, click on a column header, and drag that header to another position. • To delete a file, right-click it in the list and select Delete. The file is permanently deleted from your computer. MPORTANT IMPORTANT If you delete a file using the Windows Explorer/Mac OS Finder, it is still displayed in the Results list, although it is no longer available to the program. To remedy this, re-scan the corresponding folder.
MediaBay Results Section 2. In the Show Media Types dialog, activate the media types that you want to be displayed in the Results list. When you have filtered the list to show a particular media type, this is indicated by the corresponding icon to the left of Select Media Types button. When you have selected several media types, the Mixed Media Type icon is used. Show Media Types Selector You can activate the media types that you want to be displayed in the Results list.
MediaBay Results Section Track Presets When this option is activated, the list shows all track presets for audio, MIDI, and instrument tracks (file name extension .trackpreset). Track presets are a combination of track settings, effects, and MixConsole settings that can be applied to new tracks of various types. Plug-in Presets When this option is activated, the list shows all VST presets for instrument and effect plug-ins. Furthermore, EQ presets that you save in the MixConsole are listed.
MediaBay Results Section Performing a Text Search You can perform a text search in the Results list. If you enter text in the text search field, only media files whose attributes match the entered text are displayed. The Search Results field has the same function as the matches operator of the logical filter. However, the search is applied to all file attributes. • Click in the field and enter the text that you want to find.
MediaBay Previewer Section Not [-] [not b] When entering text preceded by “not” (or a minus sign), all files not containing b will be found. Parentheses [()] [(a or b) + c] Using parentheses, you can group text strings. In this example, files are found that contain c and either a or b. Quotation marks [“ ”] [“example text”] With quotation marks, you can define sequences of several words. Files are found if they contain this sequence of words.
MediaBay Previewer Section NOTE Some MediaBay-specific preferences affect the playback of media files. RELATED LINKS MediaBay Preferences on page 630 Previewing Audio Files 1) Transport Controls Let you start, stop, pause, and cycle the preview. 2) Preview Level Fader Lets you specify the preview level. 3) Auto Play New Results Selection If this option is activated, the selected file is automatically played back.
MediaBay Previewer Section Using Selection Ranges You can also specify selection ranges to only preview a particular section of an audio file and insert it into the project. NOTE Selection ranges cannot be used when the Align Beats to Project option is activated in the Previewer. • To select a range, move the mouse over the upper part of the waveform, so that it turns into a pencil, click and drag. • To adjust the borders of the selection range, drag the handles.
MediaBay Previewer Section 5) Align Beats to Project If this option is activated, the selected file is played back in sync with the project, starting at the project cursor position. Note that this can apply realtime time stretching to your MIDI file. NOTE If you import a MIDI file into your project for which Align Beats to Project is activated in the Previewer, Musical Mode is automatically activated for the corresponding track.
MediaBay Previewer Section Virtual keyboard in keyboard display mode. 1) Transport Controls Let you start and stop the preview. 2) Previewer Sequence Mode Menu Lets you load a MIDI file to apply the currently selected preset to the MIDI file. You can also select the Memo Recorder mode that continually repeats a given sequence of notes as a loop. 3) Preview Level Fader Lets you specify the preview level.
MediaBay Previewer Section RESULT The notes received from the MIDI file are played back with the settings of the track preset applied. NOTE The recently used MIDI files are kept on the menu, for quick access. To remove an entry from this list, select it on the menu and then select Remove MIDI File. Previewing Presets Using the Memo Recorder Mode The Memo Recorder mode continually repeats a given sequence of notes as a loop.
MediaBay Previewer Section Previewing Pattern Banks (NEK only) Pattern banks containing drum patterns can be created with the MIDI plug-in Beat Designer. 1) Transport Controls Let you start and stop the preview. 2) Preview Level Fader Lets you specify the preview level. 3) Keyboard The keyboard allows you to preview the selected pattern bank. In the Previewer section, choose a subbank (the number at the top) and pattern (a key), and click the Play button.
MediaBay Previewer Section Previewing Clip Packages 1) Transport Controls Let you start, stop, pause, and cycle the preview. 2) Preview Level Fader Lets you specify the preview level. 3) Auto Play New Results Selection If this option is activated, any file that you select in the Results list is automatically played back. 4) Align Beats to Project If this option is activated, the selected file is played back in sync with the project, starting at the project cursor position.
MediaBay Filters Section Filters Section With the MediaBay, you can perform very refined file searches. You have two possibilities: Logical or Attribute filtering. You can also save your filter settings in a MediaBay Aspect, which allows for a quick recall of particular searches. RELATED LINKS MediaBay Aspects on page 629 Logical Filter The logical filter allows you to set up complex search conditions that must be met to find files.
MediaBay Filters Section matches The search result must include the text or number entered in the text field to the right. You can also use boolean operators. Add apostrophes to find exact matches for the entered words, for example ‘drum’ AND ‘funky’. This option allows for a very advanced text search. in range If this option is selected, you can specify a lower and an upper limit for the search result in the fields to the right.
MediaBay Filters Section • To remove a filter line, click the corresponding - button. • To reset all search fields to their default settings, click the Reset Filter button in the top right corner of the Filters section. RESULT The Results list is automatically updated, showing only the files that correspond to your search conditions. Advanced Text Search You can perform very advanced text searches using boolean operators.
MediaBay Filters Section If you click the Attribute button, the Filters section displays all values found for a specific attribute. Selecting one of these values displays a list of files that contain this attribute value. 1) Attribute columns Let you select different attribute categories. If the columns are wide enough, the number of files that match this criteria is displayed to the right of the filter name.
MediaBay Attribute Inspector Performing a Context Menu Search You can search for other files with the same attribute as the selected. This way you can easily find all the files that have a value in common, for example, if you want to view all files that were created on the same day. • In the Results list or the Attribute Inspector, right-click a file, and select the attribute value that you want to search for from the Search for submenu.
MediaBay Attribute Inspector Dynamic Displays all available values for the selected files. Defined Displays a configured set of attributes for the selected media type regardless of whether corresponding values are available for the selected files. Configure Defined Attributes Activates the configuration mode in which you can set up the attributes are that are displayed in the Attribute Inspector. Configuration Mode When you click the Configure Defined Attributes button, the configuration mode is enabled.
MediaBay Attribute Inspector Attribute Shows the attribute name. Select Shows whether an attribute is activated or deactivated. Type Shows whether the value for an attribute is a number, text, or a Yes/No switch. Precision Shows the number of decimals displayed for number attributes.
MediaBay Attribute Inspector Media files are usually organized in complex folder structures to provide a logical way of guiding the user to certain files, with the folder and/or file names indicating the sound, recording location, etc. Tags help you finding a particular sound or loop in such a folder structure. Editing Attributes in the Attribute Inspector In the Attribute Inspector, you can edit attribute values of the various media files.
MediaBay Attribute Inspector Editing Attributes in the Results List You can edit attributes directly in the Results list. This allows you to assign tags to a number of loop files, for example. PREREQUISITE Allow Editing in Results List must be activated in the MediaBay Preferences. PROCEDURE 1. In the Results list, select the files that you want to make settings for. You can make settings for several files simultaneously. The only exception is the name attribute, which must be unique for every file. 2.
MediaBay Attribute Inspector • To set or remove the write protection attribute for a file, right-click the file in the Results list and select Set/Remove Write Protection. This is only possible if the file type allows write operations and you have the necessary operation system permission. • When you specify attribute values for a file that is write-protected, this is reflected in the Pending Tags column next to the Write Protection column in the Results list.
MediaBay Loop Browser, Sound Browser, and Mini Browser 4. Activate the attributes that you want to be displayed. You can edit several attributes in one go. 5. Click the Configure Defined Attributes button again to exit the configuration mode. Defining User Attributes You can define your own attributes and save these in the MediaBay database and the corresponding media files. Nuendo recognizes all user attributes that are included in media files. PROCEDURE 1.
MediaBay MediaBay Aspects MediaBay Aspects You can create configurations of the MediaBay window and save them as aspects. These can be recalled via the Media menu. This is helpful if you only want to work with certain sound effect files that reside in a particular location, for example. Every item in the MediaBay that can be configured can be part of a MediaBay aspect. You can specify which sections are visible, which media types are browsed for, which locations are being scanned, and so on.
MediaBay MediaBay Preferences Removing MediaBay Aspects PROCEDURE • Select Media > MediaBay Aspects > Remove Aspect. MediaBay Preferences The Preferences dialog in Nuendo contains a special MediaBay page where you can set up the MediaBay. These settings are also available from within the MediaBay. • To display the preferences, click the MediaBay Preferences button in the lower left corner of the MediaBay.
MediaBay MediaBay Key Commands Maximum Items in Results List Specifies the maximum number of files that are displayed in the Results list. This avoids unmanageably long lists of files. NOTE The MediaBay does not warn you if the maximum number of files has been reached. There might be situations where a certain file you are looking for cannot be found because the maximum number of files was reached. Allow Editing in Results List If this option is activated, you can edit attributes in the Results list.
MediaBay Working with MediaBay-Related Windows • To assign or modify a key command, click the corresponding key command. RELATED LINKS Key Commands on page 1168 Working with MediaBay-Related Windows The MediaBay concept can be found throughout the program, for example, when adding new tracks or when choosing presets for VST instruments or effects. The workflow in all MediaBay-related windows is the same as in the MediaBay.
MediaBay Working with MediaBay-Related Windows Applying Effect Presets If you have added an insert effect to a track, you can choose from a variety of presets via the Results browser for the effect slot. PROCEDURE 1. In the Inserts tab of the Inspector, click the Select Preset icon below the preset name. 2. In the Results browser, double-click a preset to apply it. Applying Track Presets You can choose from a variety of track presets. PROCEDURE 1.
MediaBay Working With Volume Databases Instrument Presets Results Browser The Results browser for instrument track presets lets you preview VST presets and apply them to your instrument track. To open the Results browser, right-click an instrument track, and select Load Track Preset. VST presets for instruments can be divided into the following groups: Presets Presets contain the settings of the entire plug-in.
MediaBay Working With Volume Databases Volume databases can be created for drives of your computer or for external storage media. They contain the same kind of information about the media files on these drives as the regular MediaBay database. NOTE When you launch Nuendo, all available volume databases are automatically mounted. Databases that are made available while the program is running have to be mounted manually.
MediaBay Working With Volume Databases Volume databases are automatically mounted when Nuendo is launched. They are shown in the Define Locations section and their data can be viewed and edited in the Results list. Removing a Volume Database If you have worked on another computer using an external hard disk and return to your own computer and connect the external device again as part of your system setup, you do not need a separate volume database for it any more.
Surround Sound Nuendo has integrated surround sound features with support for several formats. This support goes all the way through the audio path: all audio-related channels (i. e. audio and instrument tracks as well as group channels) and busses can handle multi-channel speaker configurations. A channel in the MixConsole can either carry complete surround mixes, or an individual speaker channel which is part of a surround setup.
Surround Sound Deliverables Deliverables The result of a surround mix in Nuendo is either the multi-channel audio sent from the surround output bus to your dubber, or (if you use the Export Audio Mixdown feature) audio file(s) on your hard disk. Exported surround mixes can either be split (one mono file per speaker channel) or interleaved (a single file containing all the surround channels).
Surround Sound Available surround configurations LRCS+LFE Same as LRCS but with an LFE subchannel added. Quadro+LFE Same as Quadro but with an LFE subchannel added. 6.0 Cine A Left-Right-Center front speaker arrangement with 3 (Left-Right-Center) surround channels. 6.0 Music This uses 2 (Left/Right) front channels with Left and Right surround channels and Left and Right Side channels. 6.1 Cine Same as 6.0 Cine but with an LFE subchannel added.
Surround Sound Preparations 8.1 Music Same as 8.0 Music, but including an LFE subchannel. 10.2 This is an experimental format with ten surrounding speakers and two LFE channels (a combination of two 5.1 setups, one at the top and one at the bottom of the room). This option is available from the 3D submenu. Auro 9.0 to 13.1 The Auro formats are innovative surround formats, in which the channels are arranged on two levels, thereby creating a three-dimensional effect.
Surround Sound Preparations Routing channels to individual surround channels If you want to place an audio source in one separate speaker channel, you can route it directly to that speaker channel. This is useful for premixed material or multi-channel recordings that do not require panning. • To do this, simply select an individual speaker channel in the Routing rack. • If a stereo audio channel is routed directly to a speaker channel, the left/right channels are mixed to mono.
Surround Sound Using the SurroundPanner V5 You should add a surround input bus in the following circumstances: • You have existing audio material in a specific surround format, and you wish to transfer this material into Nuendo as a single, multi-channel file. • You wish to record a surround setup “live”. • You have prepared surround premixes (e. g. stems) that you want to record on a new audio track with a surround configuration.
Surround Sound Using the SurroundPanner V5 NOTE In all miniature panner views you can scale down your movements by holding the [Shift] key while moving the sound source. This allows you to make fine adjustments.
Surround Sound Using the SurroundPanner V5 The plug-in panel Double-click on any of the miniature panner controls to open the plug-in panel in a separate window. The SurroundPanner V5 plug-in offers numerous possibilities to position any supported type of sound source, whether mono, stereo, or multi-channel. If you work visually oriented, you can simply drag the sound source around in the pan area. To help you execute very exact movements you can use modifier keys to limit the movement direction (e. g.
Surround Sound Using the SurroundPanner V5 Here, you can position the sound source using the mouse: • By clicking at the desired position in the pan area. When you release the mouse button, the sound source jumps to that position (with the positioning handle, i. e. the circle located in the center of the sound source, ending up where you clicked). • By clicking and dragging the positioning handle. Note that you do not have to click exactly on the handle in order to move it.
Surround Sound Using the SurroundPanner V5 Disabled speaker This speaker is disabled. • [Alt]/[Option]-click on a speaker symbol to disable that speaker (the speaker symbol is grayed out) so that no audio will be routed to this surround channel. The signal that would otherwise be sent to this speaker is distributed to the other speakers instead. For example, you can disable the center speaker for all stems of a film mix except the dialogue to make sure that only dialogue is sent to that speaker.
Surround Sound Using the SurroundPanner V5 The following modes are available: Icon Modifier key(s) Description - Standard mode, no restrictions apply. [Shift] Mouse movements are scaled to allow very fine movements. This is useful when panning in the miniature display in the channel, for example. [Ctrl]/[Command] Horizontal movements only. [Ctrl]/[Command]-[Shift] Vertical movements only. [Alt]/[Option] Diagonal movements only (bottom left to top right).
Surround Sound Using the SurroundPanner V5 • Automation data for the independent positioning mode is always written for the complete sound source, not for individual channels. This means it is not possible to record automation for one stereo channel and then add automation for the other stereo channel in a second go, for example.
Surround Sound Using the SurroundPanner V5 Left-right and front-rear panning These two controls are used to pan the sound source from left to right and front to rear, and vice versa. This can be useful when an object moves through the scene, e. g. a car driving through from the left to the right or a spaceship passing overhead. NOTE This is the same as restricting the movement direction using the [Ctrl]/[Command] and [Ctrl]/[Command]-[Shift] modifiers.
Surround Sound Using the SurroundPanner V5 Orbit Center This is the main control that allows you to perform the rotation. For example, you can use this if a person walks around in a scene and can still be heard when walking “behind the audience”. Counter Shot The Counter Shot control is used to rotate the sound source by exactly 180°, thereby “flipping” the surround image to the opposite side.
Surround Sound Using the SurroundPanner V5 The gray circle shows the theoretical path of the sound source when orbiting the center. Since the sound source cannot leave the pan area, it moves along the perimeter instead. At the maximum radius setting (a) the theoretical path lies outside the pan area so that the sound source stays on the perimeter all the time; at a smaller setting (b) the circle is smaller and the sound source moves inside the pan area in the corners.
Surround Sound Using the SurroundPanner V5 Center Distribution The Center Distribution control is used to distribute part or all of the center signal to the left and right front speakers. For example, this can be useful in the following situation: The center signal is panned directly to the center speaker and the Center Distribution is set to 0 %. However, the signal is too discrete for your liking, and you want to add part of the signal to the left and right front speakers to widen it.
Surround Sound Using the SurroundPanner V5 NOTE The Center Distribution value and the front divergence are combined. If the front divergence is set to 100 %, the Center Distribution has no effect. Scaling The Scale controls allow you to control the horizontal (Width) and vertical (Depth) expansion of the sound source. 100 % corresponds to the complete width or depth of the surround field. If you reduce both values to 0 %, the distance is reduced to zero and all source channels are centered in one spot.
Surround Sound Using the SurroundPanner V5 General plug-in controls The Bypass Effect button At the top left of the plug-in panel you will find a button to bypass the SurroundPanner V5. If this is activated, the input signals are directly routed to the output channels (in case of an identical input and output configuration). If the output configuration is different from the input configuration, the panner attempts to route the input signals to the appropriate output channels (e. g.
Surround Sound Using the SurroundPanner V5 Automation Most of the parameters in the SurroundPanner V5 plug-in can be automated just like any other channel or insert parameter. Recording automation for the Orbit controls and the independent positioning mode is handled differently, however. Automation data for these parameters is written as a combination of the front-rear panning, left-right panning and the Rotate Signal parameters. For the independent positioning mode, Scaling is added.
Surround Sound Using the MixConvert V6 plug-in IMPORTANT MPORTANT A panner instance cannot be opened in more than one window at once. If “Pinned window follows VST channel selection” is activated and you step through your channels (e. g. in the MixConsole), those channels with “auxiliary” windows are skipped. Constant power “What goes in, must come out again.” This principle can be taken literally with regard to the SurroundPanner V5.
Surround Sound Exporting a surround mix Exporting a surround mix When you have set up a surround mix, you can choose to export it using the Export Audio Mixdown function. You have the following export options when working with a surround configuration: • Export to “split” format, resulting in one mono audio file for each surround channel. • Export to interleaved format, resulting in a single multi-channel audio file (e. g. a 5.1 file, containing all six surround channels).
Automation In essence, automation means recording the values for a particular MixConsole or effect parameter. When you create your final mix, you will not have to worry about having to adjust this particular parameter control yourself, Nuendo can adjust this particular parameter control. Automation Curves Within a Nuendo project, the changes in a parameter value over time are reflected as curves on automation tracks.
Automation Write/Read Automation Write/Read Automation You can automation enable tracks and MixConsole channels by activating their automation write W and read R buttons. • If you activate W for a channel, virtually all MixConsole parameters that you adjust during playback for that specific channel are recorded as automation events. • If R is activated for a channel, all your recorded MixConsole actions for that channel are performed during playback.
Automation Writing Automation Data Automatic Writing of Automation Data Every action that you perform is automatically recorded on automation tracks which you can later open for viewing and editing. PROCEDURE 1. In the track list, click Show/Hide Automation for a track to open its automation track. 2. Click W to enable the writing of automation data on this track. 3. Start playback. 4. Adjust the parameters in the MixConsole, in the Channel Settings window, or in the effect control panel.
Automation Writing Automation Data 4. Click on the static value line. An automation event is added, read automation mode is automatically activated, and the static value line changes to a colored automation curve. 5. Click and hold to draw a curve by adding many automation events. When you release the mouse button, the number of automation events is reduced. NOTE To adjust the thinning out of events, select File > Preferences > Editing and change the Automation Reduction Level. 6. Start playback.
Automation Editing Automation Data Parabola mode If you click and drag on the automation track with the Line tool in Parabola mode, you can create more natural curves and fades. NOTE The result depends on the direction from which you draw the parabolic curve.
Automation Editing Automation Data Removing Automation Events • To remove an automation event, click on it with the Erase tool. • To remove multiple automation events, select them and press [Backspace] or [Delete] or select Edit > Delete. When Use Virgin Territory is enabled, this creates a gap. When disabled, the events within the range are removed.
Automation Automation Tracks • To tilt the left or the right part of the curve, click in the upper left or right corner of the editor. This is useful if the curve form is exactly the way that you want it, but the start or end needs to be boosted or attenuated a bit. • To compress the left or the right part of the curve instead, [Alt]/[Option]-click in the upper left or right corner of the editor.
Automation Automation Tracks Showing/Hiding Automation Tracks • Position the mouse pointer over the lower left corner of the track and click the arrow icon (Show/Hide Automation) that appears. • Right-click the track in the track list and select Show/Hide Automation from the context menu. • To open another automation track, position the mouse pointer over the lower left corner of an automation track, and click + (Append Automation Track).
Automation Virgin Territory vs. Initial Value 3. Select the Parameter. The parameter replaces the current parameter in the automation track. NOTE The replacing of the automation parameter is non-destructive. If the automation track contains any automation data for the parameter that you just replaced, this data is there, although it is not visible. By clicking on the automation parameter name in the track list, you can switch back to the replaced parameter.
Automation Automation Panel RESULT A gap is created, and new events at the beginning and the end of the selection range are created. These mark the end point of the automation curve to the left and the start of the next automation curve to the right of the gap. Defining a Terminator Point You can define any automation event on the automation curve as the terminator point of this part of the curve. This will automatically delete the line between this event and the next one, creating a gap. PROCEDURE 1.
Automation Automation Panel Read/Write Buttons In the upper part of the Automation panel, you will find the Read and Write buttons. These are used to globally enable or disable the Read and Write buttons on all tracks. • To enable all Read buttons on all tracks/channels of your project, click Activate Read for all tracks. • To disable all Read buttons, click Deactivate Read for all tracks.
Automation Automation Panel • If you click in the ruler to move the project cursor. This is user-definable and can be controlled via the Automation panel. RELATED LINKS Automation Settings on page 685 Touch Touch mode is useful in situations where you want to make a change lasting only a few seconds to an already set up parameter. • Touch writes automation data only for as long as you actually touch a parameter control. Punch out occurs as soon as you release the control.
Automation Automation Panel • Once your pass has started, the writing of automation data continues for as long as playback lasts or Write is enabled. • When you release the control, the last value is kept until you punch out. NOTE The automation mode for On/Off switches is always Auto-Latch even if another mode is selected globally or for the track. Cross-Over Cross-Over mode allows you to perform a manual return to ensure smooth transitions between new and existing automation settings.
Automation Automation Panel RELATED LINKS Automation Settings on page 685 Trim Trim allows you to to modify the automation curve from a previous pass. If you activate Trim, a trim curve is positioned in the middle of the automation track. NOTE Trim works for channel volume and cue send level adjustments. If you activate Trim, all editing and recording affects the trim curve. If you deactivate Trim, it affects the original automation curve instead. You can edit trim data like any other automation data.
Automation Automation Panel • To freeze your trim curve automatically when Trim mode is switched off, open the Automation Preferences and select On Leaving Trim Mode in the Freeze Trim pop-up menu. • To freeze your trim curve manually, open the Automation Settings and select Manually in the Freeze Trim pop-up menu. To freeze a specific parameter for the track click the parameter name and from the pop-up menu select Freeze Trim.
Automation Automation Panel Deleting Automation Spikes Editing automation points or inaccurate writing of automation data can result in situations where the values briefly return to their initial value, visible as spikes in the automation curve or as jumping faders. The Delete Automation Spikes function allows you to delete these spikes in the automation curve. NOTE In the Automation Settings, you can set a Spike Detection Range from 0 to 200 ms. PROCEDURE 1. On the toolbar, click Open Automation Panel.
Automation Automation Panel Fill Gaps with Current Value (Selected Tracks) This option is used with virgin territories. Select this option to fill any gaps in the automation curves of the selected tracks. The gaps are filled with the current value of the corresponding control. Create Initial Parameter Events This function creates and stores the initial automation values for each automatable parameter in the MixConsole.
Automation Automation Panel Automation Passes An automation pass begins with the first parameter that is written after activating Write automation and starting playback. It ends when playback stops, either when you click the Stop button or when the position cursor jumps to another position. This occurs when Cycle or Arranger mode is activated. You can undo automation passes in the Automation Pass history. Activating Automation Passes PROCEDURE 1.
Automation Automation Panel Undoing Branches A branch is a sequence of automation passes. In a branch each automation pass is represented by a rectangle with the number of the automation pass. Automation that you perform manually, as well as other edits and processes in between automation passes, are represented by smaller rectangles. These rectangles only serve as indicators, they cannot be used to undo the edits.
Automation Automation Panel 5. When you are done, click Activate Automation Passes to return to the regular Automation panel. NOTE The automation pass history is not saved with the project. If you close your project, the history is deleted. Join Options The Join options help you to resume write automation. This is useful, if several editors work on the same project simultaneously, and running automation passes are interrupted. NOTE The Join options are not available in Touch mode.
Automation Automation Panel Activating Auto Join Auto Join allows you to resume automation automatically. PROCEDURE 1. On the Automation Panel, activate Auto Join. 2. Start playback and watch the automation curve. All parameters from the last pass are punched in automatically at the position where you hit stop. The position is indicated by the Join indicator.
Automation Automation Panel 3. Move the fader until you have found the volume setting that you need and release the fader to punch out. The volume curve is set from the point of punch out back to where you punched in. The values written while moving the fader to find the right value are deleted, and the volume jumps at exactly the right moment from the value set in the first scene to the value found for the second scene. Activating To Start PROCEDURE 1.
Automation Automation Panel Activating Gaps PREREQUISITE You have set up virgin territories. NOTE When Trim is active, Gap has no effect. This is because Trim only modifies already existing data. PROCEDURE 1. On the Automation Panel, activate Touch, and activate Gaps to activate it as Fill option. 2. Start playback. 3. Move the fader until you have found the volume setting that you need and release the fader to punch out.
Automation Automation Panel 4. Release the mouse button. At the moment of release, a final automation event is created. The automation curve is written from this last event through to the end of the project. NOTE This procedure can be used with all the Fill options. Preview Options The Preview options allow you to find new settings without recording the steps needed to locate them. This is useful if you want to audition changes on automation values without deleting any of the original automation data.
Automation Automation Panel 7. When you are happy with the values found, click the Punch button to start the new automation pass. The new value setting is recorded, from the point where you punched in to your punch out position as defined by the automation mode setting. Punch vs. Punch on Play When using the Punch option as described above, starting playback and punching in are two separate actions. If you want to punch in when starting playback, activate Punch on Play.
Automation Automation Panel • Stereo panner • Surround panner (Left-Right, Front-Rear, LFE) • Insert plug-ins (only available for plug-ins with 32 or less parameters) Touch Assist ensures that touching one parameter in a group will touch all other parameters in that group as well. However, if you want to automate only one particular parameter, disable Touch Assist to prevent yourself from inadvertently overwriting any previously created automation data.
Automation Automation Panel Punch log data is always project-specific. You cannot export log entries to another project. Suspend Options This section on the Automation Panel allows you to exclude specific parameters from the reading or writing of automation data. This way, you have full manual control of these parameters. Suspend Read Suspending Read for a specific parameter during automation gives you full manual control of it.
Automation Automation Panel • To suspend the writing of automation data for all parameters/parameter groups, click the All button. NOTE When any of the options in the Suspend Write category are enabled, clicking All will disable these buttons. EXAMPLE Imagine the following situation: To help you concentrate while working on a particular track, you mute several other tracks.
Automation Automation Panel Use Undo Branches Activate this to gather automation passes in branches. Show Data on Tracks Activate this to show audio waveforms or MIDI events on automation tracks. The events are displayed only if Show waveforms (File > Preferences > Event Display > Audio) is enabled and if Part Data Mode (File > Preferences > Event Display > MIDI) is set to an option other than No data. Use Virgin Territory Activate this if you want to use virgin territories.
Automation MIDI Controller Automation • To freeze your trim curve manually, select Manually. • To perform a freeze whenever a write operation is finished, select On Pass End. • If you want the trim data to freeze automatically when the trim mode is switched off (globally or individually for a track), select On Leaving Trim Mode. RELATED LINKS Automation Passes on page 675 Virgin Territory vs.
Automation MIDI Controller Automation Modulation In this mode, the automation track curve modulates the existing part automation, with higher curve points emphasizing the automation values and lower curve points reducing the automation values even further. MIDI Controller Automation Setup In the MIDI Controller Automation Setup dialog, you can specify how existing MIDI automation is handled on playback and new automation data is recorded in a MIDI part or as track automation.
Automation MIDI Controller Automation Controller list Lists all MIDI controllers for which you can specify the record destination and the Automation Merge Mode separately. This gives you full control over the MIDI automation (destination as well as merge mode) in your project. Record Destination Click in the Record Destination column for a MIDI controller to open the pop-up menu where you can choose where you want recorded data of this particular MIDI Controller to end up.
VST Instruments VST instruments are software synthesizers or other sound sources that are contained within Nuendo. They are played internally via MIDI. You can add effects or EQ to VST instruments. Nuendo allows you to make use of VST instruments in the following ways: • By adding an instrument in the VST Instruments window. This creates a VST instrument channel, which can be played by one or several MIDI tracks routed to it. • By creating an instrument track.
VST Instruments VST Instruments Window The following controls can be found in the VST Instruments window: 1) Add Track Instrument Opens the Add Instrument Track dialog that allows you to select an instrument and add an instrument track that is associated to this instrument. 2) Find Instruments Opens a selector that allows you to find an instrument in the VST Instruments window.
VST Instruments VST Instruments Window The following controls are available on each instrument: 1) Activate Instrument Activates/Deactivates the instrument. 2) Edit Instrument Opens the instrument panel. 3) Freeze Instrument Freezes the instrument. This allows you to save CPU power. 4) Instrument Selector Allows you to select another instrument. Double-click to rename the instrument. The name is shown in the VST Instruments window in the Output Routing pop-up menu for MIDI tracks.
VST Instruments VST Instruments Window 1) Show/Hide VST Quick Controls Allows you to show/hide the VST Quick Controls for the instrument. 2) Set Remote-Control Focus for VST Quick Controls Allows you to activate the VST Quick Controls to remote-control the instrument. VST Instruments Window Context Menu The following functions are available in the VST Instruments window context menu: Always on Top If this option is activated, the VST Instruments window is always on top.
VST Instruments Adding VST Instruments Adding VST Instruments PROCEDURE 1. On the Devices menu, select VST Instruments. 2. Right-click on an empty area of the VST Instruments window. 3. From the context menu, select one of the following: 4. • Add Track Instrument • Add Rack Instrument From the instrument selector, select an instrument. • Click Add Track, if you chose to add a track instrument. • Click Create, if you chose to add a rack instrument.
VST Instruments Presets for Instruments Loading VST Presets You can load VST presets from the VST instruments window, from the instrument panel, or from the Inspector. PROCEDURE 1. 2. Do one of the following: • Select the track that contains the VST instrument and in the Inspector, click the Programs field. • In the VST Instruments window, click the Preset Browser button for the instrument, and select Load Preset.
VST Instruments VST Quick Controls Loading Track Presets You can load track presets for instrument tracks from the Inspector. PROCEDURE 1. 2. Do one of the following: • Select the instrument track and in the Inspector, click the Load Track Preset field. • Right-click the instrument track and from the context menu, select Load Track Preset. In the preset browser, select a preset from the list and double-click it to load it. RESULT The track preset is applied.
VST Instruments VST Quick Controls Connecting Quick Controls with Remote Controllers Quick Controls become powerful when used in combination with a remote controller. PREREQUISITE Your remote device is connected to Nuendo via MIDI. PROCEDURE 1. Select Devices > Device Setup. 2. In the Devices list, select Track Quick Controls or VST Quick Controls. This opens the respective section on the right. 3. From the MIDI Input pop-up menu, select the MIDI port on your computer.
VST Instruments Playing Back VST Instruments Activating Pick-up Mode for Hardware Controls Pick-up Mode allows you to change configured Quick Control parameters without accidentally modifying their previous values. Often, the parameter settings of your Quick Controls are initially different from the settings of your hardware controls, for example, when the hardware controls control, different Quick Controls on different tracks.
VST Instruments Playing Back VST Instruments VST Instruments and Processor Load VST instruments can consume a lot of CPU power. The more instruments you add, the more likely you will run out of processor power during playback. If the CPU overload indicator in the VST Performance window lights up or you get crackling sounds, you have the following options: • Activate Freeze for instruments. This renders the instrument into an audio file and unloads it.
VST Instruments About Latency NOTE To edit the tracks, parameters, or synth channels again, and to delete the rendered file, unfreeze the instrument by clicking the Freeze button again. Freeze Instrument Options The Freeze Instrument Options dialog opens when you click the Freeze button. It allows you to specify exactly what should happen, if you freeze an instrument.
VST Instruments Import and Export Options Delay Compensation During playback Nuendo automatically compensates any delay inherent in the VST plug-ins you use. You can specify a Delay Compensation Threshold in the Preferences dialog (VST page) so that only plug-ins with a delay higher than this threshold setting are affected. Constrain Delay Compensation To avoid Nuendo to add latency when you play a VST instrument in realtime or record live audio, you can activate Constrain Delay Compensation.
VST Instruments Import and Export Options 3. In the results list, select a MIDI loop and drag it to an empty section in the Project window. RESULT An instrument track is created and the instrument part is inserted at the position where you dragged the file. The Inspector reflects all settings that are saved in the MIDI loop, for example, the VST instrument that was used, applied insert effects, track parameters, etc. NOTE You can also drag MIDI loops onto existing instrument or MIDI tracks.
VST Instruments External Instruments RESULT MIDI Loop files are saved in the following folder: Windows: \Users\\AppData\Roaming\ Steinberg\MIDI Loops Mac: /Users//Library/ Application Support/Steinberg/MIDI Loops/ The default folder cannot be changed. However, you can create subfolders within this folder to organize your MIDI loops. To create a subfolder, click the New Folder button in the Save MIDI Loop dialog.
Installing and Managing Plug-ins Installing VST plug-ins Nuendo supports the VST 2 and VST 3 plug-in standards. You can install effects and instruments that comply with these formats. A plug-in is a piece of software that adds a specific functionality to Nuendo. The audio effects and instruments that are used in Nuendo are VST plug-ins. NOTE If an effect or instrument plug-in has its own installation application, you should use this.
Installing and Managing Plug-ins Plug-in Manager Installing VST 2 Plug-ins on Mac OS X Systems To install a VST 2.x plug-in on Mac OS X systems, quit Nuendo and drag the plug-in file to one of the following folders: • Library/Audio/Plug-Ins/VST/ This is only possible if you are the system administrator. Plug-ins that are installed in this folder are available to all users, for all programs that support VST 2.x.
Installing and Managing Plug-ins Plug-in Manager The lists of all effects or VST instruments are created automatically every time you start Nuendo. You can also initiate a rescan at any time. This ensures that these lists are always up-to-date. • You can create your own lists of effects or instruments for use in the selectors for effects or instruments. User-defined lists are called collections.
Installing and Managing Plug-ins Plug-in Manager Collection list By default, the window section to the right shows the Default collection, which contains all effects or VST instruments currently loaded by the program. The Default collection cannot be changed. You can compile your own collections of effects or VST instruments by clicking New Collection and dragging and dropping items from the list of all effects or VST instruments to the collection list.
Installing and Managing Plug-ins Compiling a New Effects Collection The Plug-in Manager Settings button opens a section at the bottom of the window in which all current paths to VST 2 plug-ins are listed. You can add or remove folder locations by using the corresponding buttons. Click Rescan All to rescan your computer for plug-ins. RELATED LINKS Plug-in Manager on page 705 Compiling a New Effects Collection You can create a new collection of effects or VST instruments for use in the plug-in selectors.
Track Quick Controls Nuendo can give you instant access to up to 8 different parameters, for example, track, effect, or instrument controls. This is done with the aid of the Quick Controls, set up on the Quick Controls tab in the Inspector for the corresponding track. The Quick Controls tab can be used as a kind of track control center, an area in which your most important parameters are assembled in one place.
Track Quick Controls Assigning Parameters to Quick Controls Assigning Parameters to Quick Controls The Quick Controls tab shows eight slots, one for each quick control. To start with, these slots are empty. Parameters can be assigned manually or retrieved automatically.
Track Quick Controls Assigning Parameters to Quick Controls NOTE These options are only available for VST 3 plug-ins that support this function. PROCEDURE • Right-click the parameter. • To assign the parameter to the next empty slot, select Add “x” to Quick Controls (where x is the name of the parameter). • To assign the parameter to a specific slot, select Add “x” to Quick Controls Slot (where x is the name of the parameter). Then select the slot from the submenu.
Track Quick Controls Assigning Parameters to Quick Controls Manual Assignment via the Inspector Tab You can assign track parameters manually. PROCEDURE 1. In the Inspector for your track, open the Quick Controls tab. 2. On the Quick Controls tab, click on the first Quick Control slot. A pop-up menu opens. It lists all parameters currently accessible for this particular track. 3. Double-click the parameter that you want to assign to the first Quick Control slot.
Track Quick Controls Assigning Parameters to Quick Controls If you have changed the parameter assignment or if you manually route a MIDI track to a VST instrument, you can retrieve the default assignments. PROCEDURE 1. In the Inspector for your track, open the Quick Controls tab. 2. Click Get Default QCs from Plug-in. Removing Parameter Assignments • To remove a parameter from a slot, double-click the parameter name to select it and press the [Delete] or [Backspace] key. Confirm by pressing [Return].
Track Quick Controls Connecting Quick Controls with Remote Controllers Saving/Loading Track Quick Control Assignments as Presets You can save and load your own Quick Control assignments as presets for audio, instrument, MIDI, FX, and group tracks. You can also use the factory presets. PROCEDURE 1. In the Inspector for your track, open the Quick Controls tab. For instrument tracks, the Track Quick Controls are automatically set to the 8 default VST Quick Controls of the loaded instrument by default.
Track Quick Controls Activating Pick-up Mode for Hardware Controls 7. On your remote control device, move the control that you want to use for the first quick control. 8. Select the next slot in the Control Name column and repeat the previous steps. 9. Click OK. NOTE In addition to using the Learn function to set up the table in the Quick Controls section, you can modify the values manually. The available options are identical to the ones available for the Generic Remote device.
Track Quick Controls Quick Controls and Automatable Parameters 3. Activate Pick-up Mode. 4. Click OK. Quick Controls and Automatable Parameters You can use Quick Controls not only to access certain parameters of the current track, but also to control all automatable parameters. This makes it possible to use the Quick Controls tab of a dedicated track as a kind of “mini mixer”, controlling parameters on other tracks.
Track Quick Controls Quick Controls and Automatable Parameters IMPORTANT MPORTANT Quick Controls that are assigned that way cannot work when saved as track presets.
Remote controlling Nuendo It is possible to control Nuendo via MIDI. A large number of MIDI control devices is supported. This chapter describes how to set up Nuendo for remote control. The supported devices are described in the separate PDF document “Remote Control Devices”. There is also a Generic Remote Device option, allowing you to use any MIDI controller to remote control Nuendo.
Remote controlling Nuendo Setting Up RESULT Now you have removed the remote unit input from the “All MIDI Inputs” group. This means that you can record MIDI tracks with the “All MIDI Inputs” port selected without risking to record the data from the remote unit at the same time. Selecting a remote device PROCEDURE 1. Open the Device Setup dialog from the Devices menu. 2.
Remote controlling Nuendo Operations A white stripe in the Project window and in the MixConsole indicates which channels are currently linked to the remote control device. IMPORTANT MPORTANT Sometimes communication between Nuendo and a remote device is interrupted or the handshaking protocol fails to create a connection. To re-establish communication with any device in the Devices list, select it and click the Reset button in the lower part of the Device Setup dialog.
Remote controlling Nuendo Operations Writing automation using remote controls Automating the MixConsole in Touch mode using a remote control device is done in the same way as when you operate on-screen controls in Write mode. In order to replace existing automation data for a control in Touch mode, the computer needs to know how long the user actually “grabbed” or used the control. When doing this “on screen”, the program simply detects when the mouse button is pressed and released.
Remote controlling Nuendo The Generic Remote device A note about remote controlling MIDI tracks While most remote control devices will be able to control both MIDI and audio channels in Nuendo, the parameter setup may be different. For example, audio-specific controls (such as EQ) will be disregarded when controlling MIDI channels. Accessing device panel parameters via remote control devices Nuendo allows you to control external MIDI devices through user device panels.
Remote controlling Nuendo The Generic Remote device 3. Select the Generic Remote device in the Devices list to the left. The settings for the Generic Remote device are displayed, allowing you to specify which control on your device should control which parameter in Nuendo. 4. Use the MIDI Input and Output pop-up menus to select the MIDI port(s) to which your remote device is connected. 5. Use the pop-up menu to the right to select a bank.
Remote controlling Nuendo The Generic Remote device Column MIDI Status Description Clicking in this column opens a pop-up menu, allowing you to specify the type of MIDI message sent by the control (e. g. Controller, Prog. Change Trigger). The NRPN and RPN controllers are part of the MIDI specification and present a way to extend the available control messages.
Remote controlling Nuendo The Generic Remote device Column Device Description Clicking in this column opens a pop-up menu, used for determining which device in Nuendo is controlled. The special “Command” option allows you to perform certain command actions by remote control. One example of this is the selection of remote banks. Channel/ This is where you select the channel to be controlled or, if the “Command” Category Device option is selected, the Command category.
Remote controlling Nuendo Track Quick Controls Importing and exporting remote setups The Export button in the top right corner of the Generic Remote Setup window allows you to export the current setup, including the Control configuration (the table at the top) and all banks. The setup is saved as a file (with the file extension “.xml”). Clicking the Import button allows you to import saved remote setup files.
Remote controlling Nuendo The Remote Control Editor Layout Section The main area of the editor is the Layout section. Layouts represent the hardware devices that are used to remote-control the plug-in parameters. Like these devices, a layout can have a number of pages. These pages contain a number of cells, which in turn contain controls. The available controls are a text label, a knob, and two switches.
Remote controlling Nuendo The Remote Control Editor Status Bar When you position the mouse pointer over an element in the editor window, the status bar shows information on what you can do with this element. Setting up the Standard Layout Click the “Set up Cell Layout” button to open the Cell Layout Configuration panel. Here, you can make the following settings: • Use the pop-up menu to specify the number of cells per page.
Remote controlling Nuendo The Remote Control Editor Control Type Settings for Knobs The following control types are available for knobs: Standard A standard knob with undefined LED style. Toggle Switch This is best used for parameters with two states, like On/Off buttons. LED Ring An LED ring is shown around the knob. The setting increases clockwise. LED Ring (counter-clockwise) An LED ring is shown around the knob. The setting increases counter-clockwise from right to left.
Remote controlling Nuendo The Remote Control Editor Control Type Settings for Switches The following options are available for switches: Momentary The assigned function is active for as long as you keep the switch pressed. Increasing Stepwise Pressing the switch steps through the available settings until the maximum is reached. Decreasing Stepwise Pressing the switch steps through the available settings in reverse order until the minimum is reached.
Remote controlling Nuendo The Remote Control Editor Assigning Parameters to Controls PROCEDURE 1. Click the L button on the toolbar to activate Learn mode for the editor. 2. In the editor, select the control that you want to assign to a plug-in parameter. A colored frame around a control shows that this control has the Learn focus. 3. Click on a parameter on the plug-in panel. This assigns that parameter to the control.
Remote controlling Nuendo The Remote Control Editor Editing the Layout In the Layout section, you can perform a number of editing operations and arrange the pages to your liking. Making Name Settings for the Cells The top three text fields in the Inspector can be used to specify the names for a cell. This is useful if you are working with hardware devices that have value fields that only display a limited number of characters, for example.
Remote controlling Nuendo Deactivating joysticks Adding/Removing a New Hardware Layout • To add a hardware layout for a particular hardware type, click the “+” button to the right of the tabs. • To remove a hardware layout, click the “x” icon of a tab. Changing the Settings in a Layout • To modify an existing layout, save the new settings by clicking the Apply button in the top right corner of the editor.
Remote controlling Nuendo Apple Remote (Macintosh only) Apple Remote (Macintosh only) Many Apple computers come with an Apple Remote Control, a small hand-held device akin to TV remote controls. It allows you to remotely control certain features in Nuendo. PROCEDURE 1. Open the Device Setup dialog and select Apple Remote Control from the Add Device pop-up menu. 2. In the list on the right, the Apple Remote’s buttons are listed.
MIDI realtime parameters and effects For each MIDI track, you can set up a number of track parameters, or modifiers, and MIDI effects. These affect how the MIDI data is played back, “transforming” MIDI events in realtime before they are sent to the MIDI outputs. On the following pages, the available parameters and effects are described. Keep in mind: • The actual MIDI events will not be affected – the changes happen “on the fly”.
MIDI realtime parameters and effects The Inspector sections • You can fold or unfold the sections individually by clicking on the section name. Clicking the name for a hidden section brings it to view and hides the other sections. [Ctrl]/[Command]-clicking the tab allows you to hide or show a section without affecting other sections. [Alt]/[Option]-clicking a tab shows or hides all sections in the Inspector.
MIDI realtime parameters and effects The Inspector sections Input transformer button Opens the Input Transformer dialog, allowing you to transform incoming MIDI events in realtime. Record enable button Activate this to make the track ready for recording. Monitor button When this is activated (and the “MIDI Thru Active” option is activated in the Preferences dialog, MIDI page), incoming MIDI will be routed to the selected MIDI output.
MIDI realtime parameters and effects The Inspector sections NOTE • Note that the functionality of the Bank and Program selector settings (used for selecting sounds in the connected MIDI instrument) depends on the instrument to which the MIDI output is routed, and how you have set it up in the MIDI Device Manager. The MIDI Device Manager allows you to specify which MIDI instruments and other devices are connected to the various MIDI outputs, thus making it possible to select patches by name.
MIDI realtime parameters and effects The Inspector sections MIDI Modifiers The settings on this tab affect the MIDI events on the track in realtime during playback. They will also be in effect if you play “live” with the track selected and record enabled (provided that “MIDI Thru Active” is activated in the Preferences dialog, MIDI page). This makes it possible, for example, to transpose or adjust the velocity of your live playing.
MIDI realtime parameters and effects The Inspector sections Note that the effect of changing the velocity depends on the sound and instrument. NOTE You can also adjust the velocity of events in individual MIDI parts using the Velocity field in the info line. The velocity shift in the info line (for the individual part) is added to the velocity shift you have set up for the whole track in the Inspector. Velocity Compression This function multiplies the velocity values with the factor you specify.
MIDI realtime parameters and effects The Inspector sections HMT: Follow (NEK only) Activating this button for a track applies Hermode Tuning to the notes played on this track. Hermode Tuning retunes the notes you play and creates clear frequencies for every fifth and third interval, for example. Retuning only affects individual notes and maintains the pitch relationship between keys and notes. The retuning is a continuous process and takes the musical context into account.
MIDI realtime parameters and effects The Inspector sections Editing Transpose and Velocity for MIDI Parts When one or several MIDI parts are selected, the info line contains transpose and velocity fields. • Adjusting the Transpose field transposes the selected parts in semitone steps. • Adjusting the Velocity field shifts the velocity for the selected parts. The value that you specify is added to the velocities of the notes in the parts.
MIDI realtime parameters and effects The Inspector sections Property Range Position -500 to +500 ticks Pitch -120 to +120 semitones Velocity -120 to +120 Length -500 to +500 ticks NOTE You can make independent settings for the two random generators. To deactivate the Random function, open the Random pop-up menu(s) and select “OFF”. Setting up ranges PROCEDURE 1. Open the Range pop-up menu and select one of the following four modes: Mode Vel.
MIDI realtime parameters and effects The Inspector sections 2. Use the two fields to the right to set the minimum and maximum values. These values will be shown as numbers (0 to 127) for the velocity modes and as note numbers (C-2 to G8) for the pitch modes. NOTE Note that you can make independent settings for the two Range functions. To deactivate the Range function, open the Range pop-up menu(s) and select “OFF”.
MIDI realtime parameters and effects MIDI effects • If a MIDI track is routed to a plug-in assigned to an FX channel track, an FX section is added to the Inspector. NOTE For an easy way to combine MIDI and VST instruments, check out instrument tracks. RELATED LINKS VST Instruments on page 690 Device Panel section This allows you to display MIDI device panels, which are control panels for external hardware. This is described in the separate PDF document “MIDI Devices”.
MIDI realtime parameters and effects MIDI effects Insert and send effects As with audio effects, there are two ways to route the MIDI events on a track to an effect: NOTE • If you add an insert effect, the MIDI events will be sent to the effect, which will process the data and pass it on to the track’s MIDI output (or to another insert effect). In other words, the MIDI events will be routed “through” the insert effect.
MIDI realtime parameters and effects MIDI effects Edit button (x4) Click this to bring up the control panel for the selected effect. Depending on the effect, this may appear in a separate window or below the insert slot in the Inspector. Clicking the button again hides the control panel. NOTE Effects that display their controls in the Inspector can be opened in a separate control panel window by pressing [Alt]/[Option] and clicking the Edit button.
MIDI realtime parameters and effects MIDI effects Edit button (x4) Click this to bring up the control panel for the selected effect. Depending on the effect, this may appear in a separate window or below the sends slot in the Inspector. Clicking the button again hides the control panel. Output pop-up menu (x4) This determines to which MIDI output the effect will send the processed MIDI events. Channel setting (x4) This determines on which MIDI channel the effect will send the processed MIDI events.
MIDI realtime parameters and effects MIDI effects • To remove a preset, select it and click on the “-” button (“Remove Preset”). At the left and right borders of the Presets pop-up menu you will also find MIDI In and Out activity indicators. Whenever the plug-in receives or transmits MIDI data, the left or the right indicator will light up, respectively. Applying a MIDI insert effect – an example Here is a step-by-step example of how to add a MIDI insert effect to a MIDI track: PROCEDURE 1.
MIDI realtime parameters and effects MIDI effects 6. Activate the Record Output to Track button above the insert effect slot. 7. Activate Record and use your MIDI keyboard or the virtual keyboard to play some notes. The notes are modified by the MIDI insert effect and recorded directly on the track. AFTER COMPLETING THIS TASK You can edit the recorded MIDI events, in the Key Editor, for example.
Using MIDI devices The MIDI Device Manager allows you to specify and set up your MIDI devices, making global control and patch selection easy. But the MIDI Device Manager also features powerful editing functions that can be used to create MIDI device panels. MIDI device panels are internal representations of external MIDI hardware, complete with graphics.
Using MIDI devices MIDI devices – general settings and patch handling Unfortunately, different instrument manufacturers use different schemes for how Bank Select messages are constructed, which can lead to some confusion and make it hard to select the correct sound. Also, selecting patches by numbers this way seems unnecessarily cumbersome, when most instruments use names for their patches nowadays.
Using MIDI devices MIDI devices – general settings and patch handling Note that there is an important difference between installing a preset MIDI device (“Install Device”) and importing a MIDI device setup (“Import Setup”): • The presets do not include any device mapping of parameters and controls and no graphic panels. They are simply patch name scripts. When you install a preset MIDI device, it is added to the Installed Devices list.
Using MIDI devices MIDI devices – general settings and patch handling Installing a preset MIDI device PROCEDURE 1. Click the Install Device button. A dialog opens listing all pre-configured MIDI devices. For now we assume that your MIDI device is included in this list. 2. Locate and select the device in the list and click OK.
Using MIDI devices MIDI devices – general settings and patch handling NOTE Note that if there already exists a panel for the device, opening the device might open this panel first. In this case, click on the Edit (“e”) button to open the Device window. About Patch Banks Depending on the selected device, you may find that the Patch Banks list is divided in two or more main banks. Typically, these are called Patches, Performances, Drums, etc.
Using MIDI devices MIDI devices – general settings and patch handling 2. Click the Program Selector field to display a pop-up menu, hierarchically listing all the patches in the device. The list is similar to the one displayed in the MIDI Device Manager. You can scroll the list up and down (if required), click the plus/minus signs to show or hide subgroups, etc. You can also use a filter function here. For this, enter the search term in the Filter field, e.g.
Using MIDI devices MIDI devices – general settings and patch handling Patch Structure Patches are structured as follows: • Banks are the main categories of sounds – typically patches, performances and drums, as described above. • Each bank can contain any number of groups, represented by folders in the list. • The individual patches, performances or drum kits are represented by presets in the list.
Using MIDI devices MIDI devices – general settings and patch handling • To remove an event, select it and press [Delete] or [Backspace]. IMPORTANT Different devices use different schemes for Bank Select. When you insert a Bank Select event, you should check the device’s documentation to find out whether to choose “CC: BankSelect MSB”, “Bank Select 14 Bit”, “Bank Select 14 Bit MSB-LSB Swapped” or some other option.
Using MIDI devices About Device panels Other editing functions • You can move presets between banks and folders by dragging them to the Patch Banks list. • You can remove a bank, folder or preset by selecting it in the Patch Banks list and pressing [Backspace]. • If you specify more than one bank, a Bank Assignment item is added to the pop-up menu at the top of the window. Use this to assign banks to the different MIDI channels.
Using MIDI devices About Device panels Opening a device setup PROCEDURE 1. Open the MIDI Device Manager from the Devices menu. 2. Click the “Import Setup” button. A file dialog opens. 3. Select a device setup file. The Device setup files are saved in XML format, for more information see the separate PDF document “MIDI Devices”. 4. Click Open. The Import MIDI Devices dialog opens where you can select one or several devices for import. A device setup file can contain one or several MIDI devices. 5.
Using MIDI devices About Device panels Showing panels in the Inspector PROCEDURE 1. In the Inspector, open the Device Panel section and click on the arrow on the right. A “Panels” folder is shown with the selected device in a node structure below it. If you open all the folders, you can select any individual panel from the device that “fits” into the Device Panel space. 2. Select a panel from the list. The panel opens in the Inspector.
Using MIDI devices About Device panels Automating device parameters Automation works just like for normal audio and MIDI tracks: PROCEDURE 1. Open the device panel by clicking the Open Device Panels button in the Inspector. 2. Activate Write automation on the device panel. You can automate the device by either moving knobs and sliders on the device panel or by drawing curves on the automation track for a selected parameter. 3.
MIDI Processing This chapter describes the various MIDI processing functions available on the MIDI menu. They offer various ways to edit MIDI notes and other events, either in the Project window or from within a MIDI editor. MIDI functions vs. MIDI modifiers In some cases, the result of a MIDI function can also be obtained by using MIDI modifiers and effects. For example, the operations “Transpose” and “Quantize” are available both as MIDI modifiers and as MIDI functions.
MIDI Processing What is affected by the MIDI functions? What is affected by the MIDI functions? Which events are affected when you use a MIDI function depends on the function, the active window and the current selection: • Some MIDI functions only apply to MIDI events of a certain type. For example, quantization only affects notes, while the Delete Controllers function only applies to MIDI controller events.
MIDI Processing Making your settings permanent • Select a root note and scale type for the new scale from the lower pop-up menus. Make sure to select the correct root note if you want to keep the result in the same key as the original notes, or select an entirely different key if you want to experiment. Use Range When this is activated, transposed notes will remain within the limit that you specify with the Low and High values.
MIDI Processing Making your settings permanent The following settings for MIDI parts are taken into account as well: • The Transpose and Velocity settings for parts displayed on the info line – the Volume setting is not taken into account. Merge MIDI in Loop The “Merge MIDI in Loop” function combines all unmuted MIDI events on all unmuted tracks, applies MIDI modifiers and effects, and generates a new MIDI part, containing all the events as you would hear them during playback. PROCEDURE 1.
MIDI Processing Making your settings permanent Erase Destination If this is activated, any existing MIDI data between the left and right locators on the destination track will be deleted. Include Chase If this is activated, events placed outside the selected part but relating to it will be included in the processing, e. g. a Program Change right before the left locator. Convert VST3 (NEK only) If this is activated, all VST 3 data within the selected area is converted to MIDI data.
MIDI Processing Dissolve Part Dissolve Part The Dissolve Part function on the MIDI menu allows you to separate MIDI events according to channels or pitches: • When you work with MIDI parts (on MIDI channel “Any”) containing events on different MIDI channels, activate the “Separate Channels” option. • To separate MIDI events according to pitch, activate the “Separate Pitches” option. Typical examples are drum and percussion tracks, where different pitches usually correspond to separate drum sounds.
MIDI Processing Dissolve Part The Dissolve Part function scans MIDI parts for events on different MIDI channels and distributes the events into new parts on new tracks, one for each MIDI channel found. This allows you to work with each musical part individually. PROCEDURE 1. Select the parts containing MIDI data on different channels. 2. Select “Dissolve Part” from the MIDI menu. 3. In the dialog that opens, select the “Separate Channels” option.
MIDI Processing Bounce MIDI Dissolving to lanes In the lower right section of the Dissolve Part dialog, you will find the “Dissolve to Lanes” option. When this is activated, the part will not be dissolved onto different tracks but onto different lanes of the original track, allowing for a better management of MIDI material that “belongs together”. This is useful when working with drums for example, as it allows you to split up a part into different drum sounds and edit these independently.
MIDI Processing Other MIDI functions Other MIDI functions The following items can be found on the Functions submenu of the MIDI menu: Legato Extends each selected note so that it reaches the next note. You can specify a gap or overlap for this function with the “Legato Overlap” setting in the Preferences dialog (Editing–MIDI page). When using Legato with this setting, each note will be extended to end 5 ticks before the next note.
MIDI Processing Other MIDI functions Pedals to Note Length This function scans for Sustain pedal on/off events, lengthens the affected notes to match the Sustain pedal off position, and then removes the Sustain Controller on/off events. Delete Overlaps (mono) This function allows you to make sure that no notes of the same pitch overlap (i. e. that one starts before the other ends).
MIDI Processing Other MIDI functions Compress/Expand Compresses or expands the “dynamic range” of MIDI notes by scaling the velocity values according to the Ratio setting (0 to 300 %). The principle behind this is that multiplying different velocity values with a factor higher than 1 (over 100 %) will also make the differences between velocity values greater, while using a factor lower than 1 (under 100 %) will make the differences smaller.
MIDI Processing Other MIDI functions The parameters have the following functionality: Minimum Length When the Minimum Length checkbox is activated, the note length is taken into account, allowing you to remove short notes. You can either specify the minimum length (for notes to be kept) in the value field or by dragging the blue line in the graphical length display below. • The graphical length display can correspond to 1/4 bar, one bar, two bars or four bars.
MIDI Processing Other MIDI functions Restrict Polyphony Selecting this item opens a dialog in which you can specify how many “voices” are used (for the selected notes or parts). Restricting the polyphony this way is useful when you have an instrument with limited polyphony and want to make sure all notes will be played. The effect is achieved by shortening notes as required, so that they end before the next note starts. Thin Out Data Thins out MIDI data.
MIDI Processing Other MIDI functions RELATED LINKS MIDI Controller Automation on page 687 Merge Tempo from Tapping on page 776 Reverse This function inverts the order of the selected events (or of all events in the selected parts) rhythmically, causing the MIDI music to play backwards. Note that the effect is different from reversing an audio recording. With MIDI, the individual notes will still play as usual in the MIDI instrument – it is only the order of playback that is changed.
MIDI Editors There are several ways to edit MIDI in Nuendo. You can use the tools and functions in the Project window for large-scale editing or the functions on the MIDI menu to process MIDI parts in various ways. To manually edit your MIDI data on a graphical interface, you can use the MIDI editors. • The Key Editor presents notes graphically in a piano roll-style grid. The Key Editor also allows for detailed editing of non-note events such as MIDI controllers.
MIDI Editors Changing the Default MIDI Editor 2. Do one of the following: • To open the Key Editor, select a MIDI track/event and select MIDI > Open Key Editor. • To open the Score Editor (NEK only), select a MIDI track/event and select MIDI > Open Score Editor. • To open the Drum Editor (NEK only), select a MIDI track/event and select MIDI > Open Drum Editor. • To open the List Editor, select a MIDI track/event and select MIDI > Open List Editor.
MIDI Editors Common MIDI Editor Functions 4. Click OK. Common MIDI Editor Functions You can use the tools and functions within the MIDI editors to process MIDI parts in various ways. Changing the Display Format for the Ruler By default, the ruler shows the timeline in the display format that is selected on the transport panel. You can change the display format for the ruler. Click the arrow button to the right of the ruler and select an option from the pop-up menu.
MIDI Editors Common MIDI Editor Functions • To activate/deactivate the corresponding option, select File > Preferences > Editing > Tools and activate/deactivate Zoom Tool Standard Mode: Horizontal Zooming Only. Using Cut and Paste You can use the Cut, Copy, and Paste options from the Edit menu to move or copy material within a part or between different parts. • To insert note events at the project cursor position without affecting existing notes, select Edit > Paste.
MIDI Editors Common MIDI Editor Functions Acoustic Feedback If Acoustic Feedback is activated, individual notes are automatically played back (auditioned) when you move or transpose them, or when you create new notes by drawing. This makes it easier to hear what you are doing. • To use acoustic feedback, activate Acoustic Feedback a MIDI editor.
MIDI Editors Common MIDI Editor Functions Sound Slot (NEK only) The note events get different colors depending on the articulation that has been assigned to the note in the Expression Map Setup dialog. Voice (NEK only) The note events get different colors depending on their voice (soprano, alto, tenor, etc.). Chord Track (NEK only) The note events get different colors depending on whether they match the current chord, scale, or both.
MIDI Editors Common MIDI Editor Functions None Deselects all note events. Invert Inverts the selection. All selected note events are deselected and all notes that were not selected are selected instead. In Loop Selects all note events that are partially or completely inside the boundaries of the left and right locators (only visible if locators are set). From Start to Cursor Selects all note evens that begin to the left of the project cursor.
MIDI Editors Common MIDI Editor Functions • To unmute a note event, click it or enclose it with the Mute tool. You can also select a note event and select Edit > Unmute. Muted notes are dimmed in the note display. Toggle Selections • To toggle selected elements within a selection rectangle, press [Ctrl]/[Command] and enclose the same elements within a new selection rectangle. Once you release the mouse button, the previous selection is deselected and vice versa.
MIDI Editors Common MIDI Editor Functions Editing Note Events on the Info Line You can move, resize, transpose, or change the velocity of note events on the info line using regular value editing. • To apply a value change to all selected note events, press [Ctrl]/[Command] and change a value on the info line. • To adjust the pitch or velocity of note events via your MIDI keyboard, click in the Pitch or Velocity fields on the info line, and play a note on your MIDI keyboard.
MIDI Editors Common MIDI Editor Functions If you select any of the other display formats, positioning is restricted to the displayed grid. Setting Velocity Values When you draw note events in the MIDI editor, the note events get the velocity value that is set in the Insert Velocity field on the toolbar. There are different methods to set the velocity. • Use the Edit Velocity tool modifier. The cursor changes into a speaker, and next to the note, a field with the Note Velocity slider shows the value.
MIDI Editors Common MIDI Editor Functions • To restrict editing operations to the active part, activate Edit Active Part Only. • To change the size of the part, drag the part borders. The part borders display the name of the active part. NOTE If the part that you open for editing is a shared copy, any editing that you perform affects all shared copies of this part. In the Project window, shared copies are indicated by an equal sign in the top right corner of the part.
MIDI Editors Key Editor Key Editor The Key Editor is the default MIDI editor. It displays notes graphically in a piano roll-style grid. The Key Editor allows for detailed editing of notes and non-note events, such as MIDI controllers. 1) Toolbar Contains tools and settings. 2) Status line Informs about the mouse time position, mouse note position, and current chord display. 3) Info line Displays note event information about a selected MIDI note. 4) Ruler Displays the time line.
MIDI Editors Key Editor Toolbar The toolbar contains tools and settings for the Key Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements. Static Buttons Set up Window Layout Allows you to show/hide specific window sections, for example, the Status Line, the Info Line, the Inspector, etc. Which sections are available, depends on the MIDI editor. Solo Editor If this button is activated, you hear only the edited MIDI parts during playback.
MIDI Editors Key Editor Zoom Allows you to zoom in/out. Hold [Alt]/[Option] and click to zoom out. Line Allows you to create a series of contiguous events. Time Warp Allows you to adjust the tempo track so that material with a musical time base can be matched to material with a linear time base. Independent Track Loop Independent Track Loop Activates/Deactivates the independent track loop for the edited part.
MIDI Editors Key Editor Nudge Palette Trim Start Left Increases the length of the selected element by moving its start to the left. Trim Start Right Decreases the length of the selected element by moving its start to the right. Move Left Moves the selected element to the left. Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left. Trim End Right Increases the length of the selected element by moving its end to the right.
MIDI Editors Key Editor Grid If this option is activated, the snap positions are set with the Grid Type pop-up menu. The available options depend on the display format selected for the ruler. Grid Relative If this option is activated, events keep their relative positions to the grid when they are moved. Events If this option is activated, the start and end positions of other events and parts are magnetic.
MIDI Editors Key Editor Move Insert Mode Activates/Deactivates the Move Insert mode. For this function, Step Input must be activated. Record Pitch If Step Input is activated, use this button to determine that the pitch is included when you insert notes. Record NoteOn Velocity If Step Input is activated, use this button to determine that NoteOn Velocity is included when you insert notes.
MIDI Editors Key Editor Current Chord Display When the project cursor is positioned over notes that form a chord, the chord is displayed here. Independent Track Loop A mini-cycle, affecting only the MIDI part that is being edited. If Independent Track Loop is activated, MIDI events within the loop range are repeated continuously. RELATED LINKS Setting Up the Independent Track Loop on page 569 Info Line The info line shows values and properties of the selected events.
MIDI Editors Key Editor Note Expression (NEK only) Contains functions and settings related to Note Expression. Chord Editing (NEK only) Allows you to enter chords instead of single notes. Quantize Allows you to access the main quantize parameters. These are identical with the functions on the Quantize panel. Transpose Allows you to access the main parameters for transposing MIDI events. Length Contains length-related options, similar to the Functions submenu of the MIDI menu.
MIDI Editors Key Editor Note Display The note display is the main area in the Key Editor. It contains a grid in which note events are shown as boxes. The width of a box corresponds to the note length. The vertical position of a box corresponds to the note number (pitch), with higher note events higher up in the grid. The piano keyboard helps you to find the right note number. Controller Display The area at the bottom of the Key Editor window is the controller display. It contains the controller events.
MIDI Editors Key Editor Operations Events other than velocity values are shown as blocks. The block corresponds to the event values. The beginning of an event is marked by a curve point. NOTE Unlike note events, controller events have no length. The value of a controller event in the display is valid until the beginning of the next controller event. Key Editor Operations This section describes the principal editing operations within the Key Editor.
MIDI Editors Key Editor Operations • To draw longer note events, click and drag in the note display. The length of the note event is a multiple of the Length Quantize value. If Length Quantize is set to Quantize Link, the note value is determined by the quantize grid. The Snap function is taken into account. Drawing Note Events with the Line Tool In the note display, the Line tool allows you to draw a series of contiguous note events along different line shapes.
MIDI Editors Key Editor Operations Moving and Transposing Note Events There are several options to move and transpose note events. • To move note events in the editor, select the Object Selection tool and drag them to a new position. All selected note events are moved, maintaining their relative positions. Snap is taken into account. • To allow only horizontal and vertical movement, hold down [Ctrl]/[Command] while dragging.
MIDI Editors Key Editor Operations • To move the start or end positions of the selected notes in steps according to the Length Quantize value on the toolbar, use the Trim Start/End buttons on the Nudge palette. • Select the note and adjust its length on the info line. • Select the Draw tool a note. and drag left or right within the note display to draw The resulting note event length is a multiple of the Length Quantize value on the toolbar.
MIDI Editors Key Editor Operations Splitting Note Events • To split the note at the position that you point, click on a note with the Split tool. If several notes are selected, they are all split at the same position. The snap setting is taken into account. • To split all notes that are intersected by the project cursor position, select Edit > Functions > Split at Cursor.
MIDI Editors Key Editor Operations Changing the Voicing of Chords (NEK only) PROCEDURE 1. In the Inspector, open the Chord Editing section. 2. In the note display, select the notes that you want to edit. 3. In the Chord Editing section, use the Inversions buttons and the Drop Notes buttons to change the voicing. RESULT The selected notes are transposed so that they fit the selected chord type.
MIDI Editors Key Editor Operations Triads Allows you to insert triads to the note display. You can also click one of the Triads buttons to transpose the selected notes so that they fit to the selected chord type. 4-Note Chords Allows you to insert 4-note chords to the note display. You can also click one of the 4-Note Chords buttons to transpose the selected notes so that they fit to the selected chord type. Inversions - Move highest note to bottom Inverts the highest note of a chord.
MIDI Editors Key Editor Operations Applying Chord Events to Note Events (NEK only) You can apply chord events from the chord track to notes in the MIDI editor. PREREQUISITE Create a chord track and add chord events. PROCEDURE 1. Open the MIDI editor. 2. In the Inspector, open the Chord Editing section. 3. Select Match with Chord Track. RESULT The first chord event of the chord track is applied to the selected notes. Only the basic chord type is applied. Tensions are not taken into account.
MIDI Editors Key Editor Operations Note Expression Data (NEK only) The Key Editor is the main editor for working with Note Expression. RELATED LINKS Expression maps (NEK only) on page 854 Editing Note Events via MIDI Since you can directly hear your editing results. Editing the properties of note events via MIDI can be a quick way to, for example, set the velocity value of a note event. PROCEDURE 1. In the Key Editor, select the note event that you want to edit. 2. Click MIDI Input on the toolbar.
MIDI Editors Key Editor Operations Step Input Step input, or step recording, allows you to enter note events or chords one at a time without worrying about the exact timing. This is useful, for example, when you know the part that you want to record but are not able to play it exactly as you want it. PROCEDURE 1. On the toolbar, activate the Step Input button. 2. Use the note buttons to the right to determine which properties are included when you insert the note events.
MIDI Editors Key Editor Operations Using the Controller Display The Controller Display displays the controller events. By default, the controller display has a single lane that shows one event type at a time. However, you can add as many lanes as you need. The use of several controller lanes allows you to view and edit different controllers at the same time. Each MIDI track has its own controller lane setup (number of lanes and selected event types).
MIDI Editors Key Editor Operations Setting up Available Continuous Controllers In the MIDI Controller Setup dialog, you can specify which continuous controllers are available for selection. NOTE The MIDI Controller Setup dialog can be opened from different areas in the program. The settings are global, that is, the setup you choose here affects all areas of the program where MIDI controllers can be selected. PROCEDURE 1. Select Controller Selection and Functions > Setup. 2.
MIDI Editors Key Editor Operations Handling Controller Lane Presets Once you have made up your controller lane setup, you can save it as a controller lane preset. For example, you can have a preset with one velocity lane and another preset with a combination of several controller lanes, such as velocity, pitchbend, or modulation. Saving a Controller Lane Setup as Preset You can save a controller lane setup via the Controller Lane Setup pop-up menu. PROCEDURE 1. Click the Controller Lane Setup button 2.
MIDI Editors Key Editor Operations Editing Events in the Controller Display All controller values can be edited with the Draw tool or the Line tool. If you have selected more than one controller event on a controller lane, the controller lane editor is displayed. • To edit events in the velocity controller display, use the Draw tool or the Line tool and drag the event. The Object Selection tool automatically switches to the Draw tool when you move the pointer into the controller display.
MIDI Editors Key Editor Operations NOTE If the speaker icon (Acoustic Feedback) is activated on the toolbar, the notes are played back when you adjust the velocity. This allows you to audition your changes. RELATED LINKS Controller Lane Editor on page 816 Editing Events in the Controller Display Using the Line Tool You can draw and edit events in the controller display with the Line tool. Line Mode In Line mode, you can draw events in a straight line.
MIDI Editors Key Editor Operations • To increase or decrease the exponent, press [Shift]. NOTE If Snap is activated the Length Quantize value determines the density of created controller curves. For very smooth curves, use a small Length Quantize value or deactivate Snap. To avoid over-dense controller curves which can cause MIDI playback to stutter, use a medium-low density.
MIDI Editors Key Editor Operations Editing Events using the Draw Tool You can draw and edit events in the controller display with the Draw tool. The Draw tool has the same functionality as the Line tool in Paint mode. • To change the velocity of a single note, click on its velocity bar and drag the bar up or down. NOTE When you move the pointer inside a controller lane, the event type value changes corresponding to the pointer movement.
MIDI Editors Key Editor Operations • To modify the settings for the dynamics symbols, open the Controller Selection and Functions pop-up menu and select Dynamics Mapping Setup. Moving and copying dynamics events is identical to working with with other events on the controller lane.
MIDI Editors Key Editor Operations RELATED LINKS MIDI Controller Automation on page 687 Automation Merge Modes on page 687 Poly Pressure Events Poly Pressure events are events that belong to a specific note number (key). That is, each poly pressure event has two editable values: the note number and the amount of pressure.
MIDI Editors Key Editor Operations Controller Lane Editor The controller lane editor allows you to perform additional scaling operations for selection ranges on existing controller curves. In the controller lane editor, the following smart controls appear on the borders of the editor: Editing mode To activate this mode Description Move Vertically Click in an empty area on the upper border of the editor.
MIDI Editors Key Editor Operations NOTE • The controller lane editor is not available for Articulation or Dynamics lanes. • For velocity lanes, the editor also opens if you select multiple MIDI notes in the note display. • To switch the controller lane editor to vertical scaling mode, press [Shift] and click on any of the smart controls. • To move the whole selection up/down or left/right, click on a controller event inside the editor and drag the curve.
MIDI Editors Drum Editor (NEK only) Deleting Events in the Controller Display IMPORTANT MPORTANT If there is more than one note at the same position, there is only one visible velocity bar. Make sure that you delete only the notes that you want to delete. • To delete events, click on them with the Erase tool or select them and press [Backspace]. You can also delete notes by deleting their velocity bars in the controller display.
MIDI Editors Drum Editor (NEK only) 1) Toolbar Contains tools and settings. 2) Status line Informs about the mouse time position, mouse note position, and current chord display. 3) Info line Displays note event information about a selected MIDI note. 4) Drum Editor Inspector Contains tools and functions for working with MIDI data. 5) Drum sound list Lists all drum sounds. 6) Drum map Lets you select the drum map for the edited track or a list of drum sound names.
MIDI Editors Drum Editor (NEK only) Toolbar The toolbar contains tools and various settings for the Drum Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements. Solo/Feedback Set up Window Layout Allows you to show/hide specific window sections, for example, the Status Line, the Info Line, the Inspector, etc. Which sections are available, depends on the editor.
MIDI Editors Drum Editor (NEK only) Auto Scroll Auto Scroll If this button is activated, the project cursor is always visible in the window. Independent Track Loop Independent Track Loop Activates/Deactivates the independent track loop for the edited part. Auto Select Controllers Auto Select Controllers If this button is activated and a note is selected in the editor, the corresponding controller data is also automatically selected.
MIDI Editors Drum Editor (NEK only) Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left. Trim End Right Increases the length of the selected element by moving its end to the right. Transpose Palette Move up Transposes the selected event or chord up by a half note. Move down Transposes the selected event or chord down by a half note. Move up more Transposes the selected event up by an octave.
MIDI Editors Drum Editor (NEK only) Events If this option is activated, the start and end positions of other events and parts are magnetic. This means that if you drag an event to a position near the start or end of another event, it is automatically aligned with the start or end of the other event. Shuffle Shuffle allows you to change the order of adjacent events. If you drag the first one to the right, past the second event, the two events change places.
MIDI Editors Drum Editor (NEK only) Record Pitch If Step Input is activated, use this button to determine that the pitch is included when you insert notes. Record NoteOn Velocity If Step Input is activated, use this button to determine that NoteOn Velocity is included when you insert notes. Record NoteOff Velocity If Step Input is activated, use this button to determine that NoteOff Velocity is included when you insert notes.
MIDI Editors Drum Editor (NEK only) RELATED LINKS Setting Up the Independent Track Loop on page 569 Info Line The info line shows values and properties of the selected events. If several notes are selected, the values for the first note are displayed in color. To show or hide the info line, click the Set up Window Layout toolbar, and activate or deactivate Info Line. button on the Length and position values are displayed in the selected ruler display format.
MIDI Editors Drum Editor (NEK only) • To fine-tune the distance between consecutive notes, use the Overlap slider. At 0 Ticks, the Scale Legato slider extends each note so that it reaches the next note exactly. Positive values cause the notes to overlap and negative values allow you to define a small gap between the notes. • To use the Legato function or slider to extend a note until the next selected note, activate Between Selected.
MIDI Editors Drum Editor (NEK only) • Program Change events • System Exclusive events • Articulations and Dynamics • Any type of continuous controller event Velocity values are shown as vertical bars in the controller display. Each velocity bar corresponds to a note in the note display. Higher bars correspond to higher velocity values. Events other than velocity values are shown as blocks. The block corresponds to the event values. The beginning of an event is marked by a curve point.
MIDI Editors Drum Editor (NEK only) Drum Sound List The drum sound list lists all drum sounds by name and lets you adjust and manipulate the drum sound setup in various ways. NOTE The number of columns in the list depends on whether a drum map is selected for the track or not. Pitch Actual note number of the drum sound. This is what links notes on a MIDI track to drum sounds. For example, with the GM Map, all MIDI notes with the pitch C1 are mapped to the Bass Drum sound.
MIDI Editors Drum Editor Operations (NEK only) RELATED LINKS Muting Notes and Drum Sounds on page 830 Drum Maps (NEK only) on page 831 Drum Map and Names Menus Below the drum sound list are two pop-up menus that are used for selecting a drum map for the edited track or, if no drum map is selected, a list of drum sound names. RELATED LINKS Drum Maps (NEK only) on page 831 Drum Editor Operations (NEK only) This section describes the principal editing operations within the Drum Editor.
MIDI Editors Drum Editor Operations (NEK only) Moving and Transposing Note Events There are several options to move and transpose note events. • To move note events in the editor, select the Object Selection tool and drag them to a new position. All selected note events are moved, maintaining their relative positions. Snap is taken into account. • To allow only horizontal and vertical movement, hold down [Ctrl]/[Command] while dragging.
MIDI Editors Drum Editor Operations (NEK only) • If a drum map is selected, the drum sound list has a Mute column. Click in the Mute column for a drum sound to mute that sound. • To mute all drum sounds other than the selected one, click the Solo Instrument button on the toolbar. RELATED LINKS Selecting a Drum Map for a Track on page 834 Drum Maps (NEK only) A drum kit in a MIDI instrument is most often a set of different drum sounds with each sound placed on a separate key.
MIDI Editors Drum Editor Operations (NEK only) Drum Map Setup Dialog This dialog allows you to load, create, modify, and save drum maps. To open the Drum Map Setup dialog, select Drum Map Setup from the Map pop-up menu or the MIDI menu. The list on the left shows the currently loaded drum maps. The sounds and settings of the selected drum map are displayed on the right. NOTE The settings for the drum sounds are the same as in the Drum Editor.
MIDI Editors Drum Editor Operations (NEK only) The Functions pop-up menu contains the following options: New Map Adds a new drum map to the project. The drum sounds are named “Sound 1, Sound 2, etc.” and have all parameters set to default values. The map is named “Empty Map”. To rename the drum map, click the name in the list and type in a new name. New Copy Adds a copy of the currently selected drum map to create a new drum map.
MIDI Editors Drum Editor Operations (NEK only) You can change all drum map settings except the pitch directly in the drum sound list or in the Drum Map Setup dialog. These changes affect all tracks that use the drum map. RELATED LINKS Drum Sound List on page 828 Drum Map Setup Dialog on page 832 Channel and Output Settings You can set separate MIDI channels and/or MIDI outputs for each sound in a drum map.
MIDI Editors Drum Editor Operations (NEK only) About I-Notes, O-Notes and Pitches Going through the following theory helps you make the most out of the drum map concept – especially if you want to create your own drum maps. A drum map is a kind of filter that transforms notes according to the settings in the map.
MIDI Editors Drum Editor Operations (NEK only) Setting Pitches of Notes According to their O-Note Settings You can set the pitch of notes according to their O-note settings. This is useful if you want to convert a track to a regular MIDI track with no drum map and still have the notes play back the correct drum sound. It’s a typical use case to export your MIDI recording as a standard MIDI file.
MIDI Editors List Editor List Editor The List Editor shows all events in the selected MIDI parts as a list, allowing you to view and edit their properties numerically. It also allows you to edit SysEx messages. 1) Toolbar 2) Status line 3) Event list 4) Filters bar 5) Ruler 6) Event display 7) Value display Toolbar The toolbar contains tools and various settings for the List Editor. • To show or hide the toolbar elements, right-click the toolbar and activate or deactivate the elements.
MIDI Editors List Editor Erase Allows you to delete events. Zoom Allows you to zoom in/out. Hold [Alt]/[Option] and click to zoom out. Mute Allows you to mute events. Trim Allows you to resize selected events by moving their start or end positions in steps according to the Length Quantize value. Auto Scroll Auto Scroll If this button is activated, the project cursor is always visible in the window.
MIDI Editors List Editor Nudge Palette Trim Start Left Increases the length of the selected element by moving its start to the left. Trim Start Right Decreases the length of the selected element by moving its start to the right. Move Left Moves the selected element to the left. Move Right Moves the selected element to the right. Trim End Left Decreases the length of the selected element by moving its end to the left.
MIDI Editors List Editor Events + Cursor This is a combination of Events and Magnetic Cursor. Grid + Events + Cursor This is a combination of Events, Grid, and Magnetic Cursor. Iterative Quantize On/Off Activates/Deactivates iterative quantize. Quantize Presets Allows you to select a quantize or a groove preset. Apply Quantize Applies the quantize settings. Open Quantize Panel Opens the Quantize Panel. Length Quantize Determines the event length for the Length Quantize function.
MIDI Editors List Editor Edit VST Instrument Edit VST Instrument If the track is routed to a VST instrument, use this button to open the VST Instrument panel. RELATED LINKS Using the Setup options on page 1226 Status Line The status line is displayed below the toolbar. It displays important information about the mouse position. To show or hide the info line, click Set up Window Layout activate or deactivate Status Line.
MIDI Editors List Editor Event Types Only events of the same event type as the selected type will be shown. This is the same as activating event types in the Hide section. Event Types and Data 1 Only events of the same event type as the selected type and with the same Data 1 value are shown. For example, if a note event is selected, only notes with the same pitch are shown. If a controller event is selected, only controllers of the same type are shown.
MIDI Editors List Editor Start Starting position of the event, displayed in the format selected for the ruler. Changing it has the same effect as moving the event. NOTE If you move the event past any other event in the list, the list is resorted. The list always shows the events in the order in which they are played back. End Allows you to view and edit the end position of a note event. Editing resites the note event. Length Displays the length of the note event.
MIDI Editors List Editor Operations Value Display The value display to the right of the event display is a tool for quick viewing and editing of multiple values, for example, velocities or controller amounts. The values are shown as horizontal bars, with the bar length corresponding to the value. To show or hide the value display, click Set up Window Layout and activate or deactivate Value Display. on the toolbar, The value that is displayed for an event depends on the event type.
MIDI Editors List Editor Operations Drawing Events The Draw tool allows you to insert single events in the event display. When you move the cursor inside the event display, its position is indicated on the status line. The snap function is taken into account. • To change the event type that you want to draw, select it from the Insert Event Type pop-up menu. • To draw an event, click in the event display. The note event gets the length that is set on the Length Quantize pop-up menu.
MIDI Editors List Editor Operations Editing in the Event List • To edit the values of several events, select the events and edit the value for one event. The values of the other selected events are also changed. Any initial value differences between the events are maintained. • To set the values of all selected events to the same value, press [Ctrl]/[Command] and edit the value for one event. • For SysEx events, you can only edit the Start position in the list.
MIDI Editors In-Place Editor Editing in the Value Display • To edit values in the value display, click and drag. The mouse pointer automatically takes on the shape of the Draw tool when you move it over the value display. In-Place Editor The In-Place Editor allows you to edit MIDI notes and controllers directly in the Project window, for quick and efficient editing in context with other tracks. The In-Place Editor expands the MIDI track to show a miniature Key Editor.
MIDI Editors In-Place Editor Static Buttons Acoustic Feedback If this button is activated, individual notes are automatically played back when you move or transpose them, or when you create them by drawing. Multiple Part Controls Edit Active Part Only If this button is activated, editing operations are applied only to the active part. Currently Edited Part This pop-up menu lists all parts that are currently open in the editor. This allows you to select a part for editing.
MIDI Editors SysEx Messages Transpose Palette Move up Transposes the selected event or chord up by a half note. Move down Transposes the selected event or chord down by a half note. Move up more Transposes the selected event up by an octave. Move down more Transposes the selected event down by an octave. Working with the In-Place Editor • To zoom or scroll the In-Place Editor, point at the left part of the piano keyboard display so that the pointer changes to a hand.
MIDI Editors SysEx Messages Bulk Dumps In any programmable device, the settings are saved as numbers in computer memory. If you change these numbers, you will change the settings. Normally, MIDI devices allow you to dump (transmit) all or some settings in the device’s memory in the form of MIDI SysEx messages. A dump is therefore, among other things, a way of making backup copies of the settings of your instrument: sending such a dump back to the MIDI device restores the settings.
MIDI Editors SysEx Messages Transmitting a Bulk Dump Back to a Device PREREQUISITE Route the MIDI track with the System Exclusive data to the device. Check your device’s documentation to find details about which MIDI channel should be used, etc. PROCEDURE 1. Solo the track. 2. Make sure that the device is set up to receive SysEx messages. 3. If necessary, put the device in Standby to Receive System Exclusive mode. 4. Play back the data.
MIDI Editors SysEx Messages For example: you open up a filter while playing some notes. In that case, you record both the notes and the SysEx messages that are generated when you open the filter. When you play back the recording, the sound changes exactly as it did when you recorded it. PROCEDURE 1. Select File > Preferences. 2. In the Preferences dialog, select MIDI > MIDI Filter and make sure that SysEx is deactivated in the Record section. 3.
MIDI Editors SysEx Messages • To the right of the main display, values are shown in ASCII format. • At the bottom of the dialog, the selected value is shown in ASCII, binary, and decimal formats. Adding and Deleting Bytes • To add a byte, open the MIDI SysEx Editor and click Insert. The byte is added before the selected byte. • To delete a byte, open the MIDI SysEx Editor, select a byte, and click Delete.
Expression maps (NEK only) Introduction About articulations Musical articulations, or expressions, define how certain notes “sound”, i. e. how they are sung or performed on a given instrument. They allow you to specify that a string instrument is bowed (not plucked), a trumpet muted (not played open), and so on. Articulations also define the relative volume of notes (to play some notes louder or softer than the others) or changes in pitch (create a tremolo).
Expression maps (NEK only) Introduction To trigger the necessary sound changes, use the following command and data types: Program Change Program Change messages can be used to instruct a connected VST instrument to switch from one program to another. Depending on the instrument, this can be used to play a different articulation. MIDI channel Multi-timbral instruments, such as Steinberg’s HALion, feature programs, usually representing different articulations. These can be accessed via MIDI channel messages.
Expression maps (NEK only) Using expression maps • When you want to play/record music in realtime and control articulation changes while playing. • When you open and edit projects from other users. By using expression maps, you can map the articulation information to a different instrument set or content library quickly and easily. NOTE You can also use the Note Expression functions to add articulations directly on your MIDI notes in the Key Editor.
Expression maps (NEK only) Using expression maps Expression maps that were saved separately You can also define your own expression maps. To load these, proceed as follows: PROCEDURE 1. In the Inspector for the selected track, select the Expression Map section, open the pop-up menu and select “Expression Map Setup…”. The Expression Map Setup window opens.
Expression maps (NEK only) Using expression maps The possibility to monitor the active slots is especially useful when recording articulations with an external device, such as a MIDI keyboard. This way, you can see whether the correct sound slot, i. e. the right articulation, is used. Expression maps in the Score Editor In the Score Editor, the articulations that are part of an expression map can be inserted like other symbols.
Expression maps (NEK only) Using expression maps You can insert and edit articulations in the Key, Drum, and In-Place Editors using the controller lane. This is much like regular controller lane editing. • To display the articulations set up in the selected expression map, open the pop-up menu to the left of the lane and select “Articulations/Dynamics”. • When “Articulations/Dynamics” is selected for a controller lane, the note beginnings are displayed as thin vertical lines in the controller display.
Expression maps (NEK only) Using expression maps Instead of selecting the Draw tool, you can also hold down a modifier key (by default [Alt]/[Option]) and click at the desired position. • To remove a direction, click on it with the Erase tool or select it and press [Delete] or [Backspace]. • To remove an attribute, click on it with the Draw tool. Note that you cannot select attributes in the controller lane without automatically selecting the corresponding note, too.
Expression maps (NEK only) Creating and editing expression maps Expression maps in the List Editor In the List Editor, the Articulations can be viewed and edited in the Comment column. The options are the same as on the Key Editor info line. Directions can be shown either as Text or as Graphic Symbols (like in the Score Editor). Either way, they are followed by the text “VST Expression” in brackets, so as to be easily recognizable and distinguishable from ordinary Score symbols.
Expression maps (NEK only) Creating and editing expression maps 2. To create a new map from scratch, click the “+” button at the top of the Maps list in the Expression Maps section of the dialog. A new map named “Untitled” is shown in the Expression Maps section. 3. Click on the map name and enter a meaningful name (e. g. “Cello” to set up an expression map for a cello).
Expression maps (NEK only) Creating and editing expression maps 2. Click in the first Articulation column (Art. 1) for the sound slot and select an articulation from the menu. A new entry is added in the Articulations section in the lower right corner of the window. 3. When adding articulations, the name of the sound slot is automatically set to the articulation. To change the name, click in the name field and enter a new name. The names of the sound slots are displayed in the Inspector for the track.
Expression maps (NEK only) Creating and editing expression maps You can make the following settings for the slots: In the Status column, you can specify a note-on, program change, or controller message. Additionally, you can make settings in the Data 1 and 2 columns (if applicable). If you have an instrument that uses key switches (for example Steinberg’s HALion Symphonic Orchestra), you can specify these key switches here.
Expression maps (NEK only) Creating and editing expression maps Type In this column you specify whether you want to add an “Attribute” (which only influences a single note, e. g. an accent) or a “Direction” (which is valid from the insertion position until it is replaced by another articulation, e. g. arco and pizzicato). Description Here, you can enter a descriptive text. For example, this can be the name of the symbol (e. g. Accent) or the long name of a direction (e. g. pizz and pizzicato).
Expression maps (NEK only) Creating and editing expression maps RELATED LINKS Expression maps in the Project window on page 857 Latch Mode This setting determines whether the remote key function reacts to note-off messages. • When Latch Mode is deactivated, the key you press on your MIDI input device is valid for as long as the key is held, i. e. the sound slot plays until the key is released. On release, the default (first) sound slot is played again.
Expression maps (NEK only) Creating and editing expression maps 3. On the Key Mapping pop-up menu, you can specify with which keys on your device you want to trigger the sound slots. You can choose whether you want to use all keys on the keyboard as remote keys, or whether only the white or black keys are used. 4. Click OK to close the dialog. Saving your settings When you have made the desired settings, you need to save the expression map.
Note Expression (NEK only) Introduction Note Expression offers a very intuitive way of controller editing in Nuendo. As an alternative to working with controller lanes in the Key Editor, controller data can be viewed and edited directly on the associated MIDI note events in the event display. With Note Expression, a note and its associated controller data are treated as a unit. When you quantize, move, copy, duplicate, or delete notes, all their associated controller information will follow.
Note Expression (NEK only) Introduction VST 3 controllers VST 3 controllers are provided by the VST instrument. Therefore, different controllers can be available, depending on the instrument. VST 3 controllers provide articulation information for each individual note. Unlike MIDI controllers (which are channel-specific), VST 3 controllers are note-specific and are suitable for polyphonic contexts. Articulating each note in a chord individually creates a much more natural feel.
Note Expression (NEK only) Setting up the Note Expression Inspector tab • If you want to listen to your editing, activate the Acoustic Feedback button on the Key Editor toolbar. Playback is triggered when you enter or change Note Expression data. All controllers that are present at the mouse position will be used during playback.
Note Expression (NEK only) Setting up the Note Expression Inspector tab If an asterisk (*) is displayed in front of a parameter name, data for this controller exists. The number to the right of a parameter determines the MIDI controller mapped to the parameter for recording. 1) In the CC column, the controller assignment is shown, if any.
Note Expression (NEK only) Setting up the Note Expression Inspector tab In the lower part of the Note Expression tab, the following global settings and parameters are available: MIDI as Note Expression If this button is activated, incoming MIDI controllers will be recorded as Note Expression data. Channel Rotation If this option is activated, individual MIDI channels are assigned to incoming MIDI notes and their controllers.
Note Expression (NEK only) Mapping controllers Filtering the list If you click on the Parameter column header, a pop-up menu opens, containing the following filter commands: Show only used Parameters Select this command to only display the parameters in the list for which data exists. Make all Parameters visible Select this command to display all available parameters in the event display.
Note Expression (NEK only) Mapping controllers The VST 3 parameter Tuning is automatically assigned to the pitchbend wheel of your MIDI controller. All other parameters are assigned by default to the first MIDI controller (CC1: Modulation). To manually specify the record mapping for the parameters, use the MIDI Learn function, or load a mapping preset, see below.
Note Expression (NEK only) Recording Using mapping presets When you have set up the mapping for a connected MIDI device, you can save these settings as mapping presets for future use, e. g. when working again with this device. PROCEDURE 1. Open the Parameter pop-up menu and select “Save MIDI Input Assignment”. 2. In the file dialog that appears, specify a name and a location for the file. A file with the extension “*.neinput” is created.
Note Expression (NEK only) Recording Channel Rotation Some input controllers can assign individual MIDI channels to incoming MIDI notes and their controllers. Each new MIDI note event gets its own internal MIDI channel and all controller that belong to this note event are created with the same MIDI channel. This allows a 16 voice polyphony, which is sufficient for most performances. The Channel Rotation mode allows a correct mapping of these data as Note Expression data per note event.
Note Expression (NEK only) Recording When you now start overdubbing, the values for all these controls are attached to the notes that are passed during overdub recording, replacing any existing controller data of the same type. 1) Reset Latch Buffer 2) Click here to activate Latch mode. RELATED LINKS Mapping controllers on page 873 Resetting the Latch buffer Whenever data is present in the Latch buffer, the “Reset Latch buffer” button becomes available.
Note Expression (NEK only) Editing Note Expression data Recording the sustain pedal When the sustain pedal (MIDI CC 64) of the connected MIDI device is held during recording, the following applies for VST 3 parameters (not for continuous MIDI controllers): • When a note-off event is received (when the key on the connected keyboard is released), this message is not sent to the VST 3 instrument but is instead created by the program when the sustain pedal is released.
Note Expression (NEK only) Editing Note Expression data To make settings in the editor, first select the parameter that you want to make settings for. How to do this depends on whether you want to modify existing data or enter new data from scratch: • If you want to enter new data from scratch, i. e. create events for a parameter that has not been used yet, you have to select this parameter in the Inspector to make it available in the editor.
Note Expression (NEK only) Editing Note Expression data RELATED LINKS Adding Events in the Controller Display on page 809 Editing Events in the Controller Display on page 810 Using Cut, Copy, and Paste • To cut, copy, and paste Note Expression data for a single parameter in the editor, use the corresponding commands on the Edit menu. It is also possible to copy and paste data between different parameters.
Note Expression (NEK only) Editing Note Expression data Moving Note Expression data • To move all or the selected data of the active parameter, click with the Object Selection tool in the editor (not in the stretch area at the bottom of the window) and drag. You can restrict the direction to vertical or horizontal by pressing [Ctrl]/[Command] while dragging. When you hold down [Alt]/[Option] while dragging, the data is copied instead. Fixed values • To enter or edit a fixed value (i. e.
Note Expression (NEK only) Editing Note Expression data Modifying the data using the smart controls The editor offers various modes for editing the Note Expression data. Most editing modes are activated by clicking the various smart controls, situated on the editor frame. 1) Smart controls Which editing is performed is reflected by the shape of the mouse pointer.
Note Expression (NEK only) Editing Note Expression data Editing mode To activate this mode… Description Scale Around Absolute Center Click the smart control in the This mode allows you to middle of the right border of scale the curve around the the editor. absolute center, i. e. horizontally around the center of the editor. This is useful for parameters which contain a center value or position, such as Pitchbend or panorama.
Note Expression (NEK only) Editing Note Expression data Setting the length of the release phase To determine the length of the release phase, drag the release length handle or enter the value manually on the info line. You can also modify the release length after having edited or recorded controller data. Only the controllers within the specified length will be heard during playback.
Note Expression (NEK only) Note Expression and MIDI Note Expression and MIDI Making global settings In the Note Expression MIDI Setup dialog, you can make some global settings for the use of the Note Expression functionality with MIDI. In this dialog, you can specify exactly which MIDI controllers will be used when recording Note Expression data, for example. PROCEDURE 1. On the MIDI menu, open the Note Expression submenu and select “Note Expression MIDI Setup…”.
Note Expression (NEK only) Note Expression and MIDI The dialog contains the following options: Controller Activate this option if you want to use MIDI controllers when working with Note Expression. In the table below, activate the MIDI controllers you want to use and deactivate the MIDI controllers that should be disregarded in the Note Expression context. If MIDI controller data for a deactivated controller is received in Nuendo, it will end up on the controller lane.
Note Expression (NEK only) Note Expression and MIDI IMPORTANT MPORTANT When you are editing the MIDI notes after recording them, it might be necessary to consolidate the controller data. Converting MIDI Controllers into Note Expression data You can also convert the MIDI controller data on the controller lanes into Note Expression data. PROCEDURE 1. Open the MIDI part in the Key Editor. 2. Make sure that the MIDI controllers to be recorded are activated in the “Note Expression MIDI Setup” dialog. 3.
Note Expression (NEK only) Note Expression and MIDI You can eliminate such controller conflicts using the “Consolidate Note Expression Overlaps” command on the Note Expression submenu of the MIDI menu. When you select this command, the following happens: • If notes overlap that contain data for the same controller, the controller values of the second note are used from the beginning of the overlap.
Note Expression (NEK only) HALion Sonic SE Trimming Note Expression data When you reduce the release length of a note after entering Note Expression data for the release phase, some of the data ends up behind the release phase, thereby becoming unused. • To keep only those Note Expression events that are actually used, select the notes and select “Trim Note Expression to Note Length” from the Note Expression submenu on the MIDI menu.
Chord Functions (NEK only) The chord functions provide you with many possibilities for working with chords. The chord functions allow you to: • Build chord progressions by adding chord events to the chord track. • Convert chord events to MIDI. • Use the chord track to control audio playback or MIDI playback. • Use the chord track voicing to change the pitches of your MIDI. • Extract chord events from MIDI data to get an overview of the harmonic structure of a MIDI file.
Chord Functions (NEK only) Chord Events Chord Events Chord events are representations of chords that control or transpose playback on MIDI, instrument, and audio tracks. Chord events alter the pitches of MIDI notes and VariAudio segments, if their tracks are set up to follow the chord track. Chord events have a specific start position. Their end, however, is determined by the start of the next chord event.
Chord Functions (NEK only) Chord Events Chord Editor The Chord Editor allows you to define or change chord events, and to add new chord events. • To open the Chord Editor, double-click a chord event. 1) Go to Previous/Next Chord Allow you to select the previous/next chord on the chord track for editing. 2) Add Chord Adds a new undefined chord event on the chord track. NOTE This works only if the last chord event on the chord track is selected.
Chord Functions (NEK only) Chord Events 6) Activate MIDI Input Allows you to define a chord by playing a chord on your MIDI keyboard. If the chord is recognized, it is reflected by the chord buttons and the keyboard display. Adding Chord Events PREREQUISITE Add the chord track. PROCEDURE 1. Select the Draw tool and click in the chord track. An undefined chord event named X is added. 2. Select the Object Selection tool and double-click the chord event. 3. In the Editor, select a root note. 4.
Chord Functions (NEK only) Chord Events • Define a chord extension, for example 7, 9, or 13. NOTE If you have activated Solfège in the Note Name pop-up menu (File > Preferences > Event Display > Chords), you can also enter chords in this format. You must capitalize the first letter and write “Re” instead of “re”, for example. Otherwise, the chord is not recognized. 4. Press [Tab] to add a new chord and define it.
Chord Functions (NEK only) Chord Events Adds a new undefined chord event on the chord track. NOTE This works only if the last chord event on the chord track is selected. 3) Suggestions Shows suggestions for the next chord. Click a chord suggestion to select it. 4) Complexity Filter Allows you to increase the complexity and thus the number of suggestions. The higher the complexity, the more suggestions you get.
Chord Functions (NEK only) Chord Events • To assign a chord to the selected chord event and play it, click it. The last three suggested chords that you clicked are shown with a highlighted frame. NOTE • If you move the mouse pointer over one of the suggestions in the Chord Assistant, a tooltip with suggestions for progressions is shown. • The Proximity mode underlies the same rules as the List mode.
Chord Functions (NEK only) Chord Events 5. • To display the suggestions in a list, click the List tab. • To display the suggestions in a graphic, click the Proximity tab. Click a suggestion to select it. RESULT The suggested chord is added as chord event to the chord track. Repeat the steps above to create as many chord events as required by your harmonic structure.
Chord Functions (NEK only) Chord Events The roman numerals mark the chords of the current key with their scale degree. You can use these chords to create typical chord progressions or you can use the other chords for more creative results. • To play a chord and assign it to the selected chord event, click it. The last three chords that you clicked are shown with a highlighted frame.
Chord Functions (NEK only) Scale Events RESULT The chord events on the chord track now trigger the sound of the assigned instrument on the MIDI or instrument track. Changing How Chord Events Are Displayed You can change how chord events are displayed. This is useful, if chord events overlap each other at low zoom levels, or if you do not like the font type. PROCEDURE 1. On the chord track, activate Resolve Display Conflicts. 2.
Chord Functions (NEK only) Voicings Editing Scale Events PREREQUISITE Add the chord track and chord events. Deactivate Automatic Scales in the chord track Inspector. PROCEDURE 1. On the chord track, activate Show Scales. The scale lane is displayed. 2. Select the chord event. A scale event is shown on the scale lane. 3. Do one of the following: • Click the first scale event on the chord track, and on the info line, select a Root Key and Type.
Chord Functions (NEK only) Voicings Setting up Voicings To set up voicings for the entire chord track, you can use the chord track Inspector. 1) Voicing library Allows you to select Guitar, Piano, or Basic as a voicing library. 2) Voicing library subset NOTE This is only available, if Guitar or Piano is set as voicing library. Allows you to select a preset voicing library subset. 3) Configure voicing parameters Allows you to configure your own voicing parameters for a specific voicing scheme.
Chord Functions (NEK only) Voicings NOTE The Start Voicing section for piano, guitar, and basic voicings lets you select a start voicing. This is only available for MIDI, instrument, and audio tracks, but not for the chord track, and only if you select Voicings in the Follow Chord Track pop-up menu. In the Style section for Piano voicings, you can set up the following parameters: Triads Sets a triad. Chords with more than three notes are not changed.
Chord Functions (NEK only) Converting Chord Events to MIDI Highest Note Sets the limit for the highest note, except the root note. In the Style section for Guitar voicings, you can set up the following parameters: Triads Sets a triad with four, five or six voices. 4-Note Chords Sets a 4-note chord with four, five or six voices without tensions. 3-String Triads Sets a three string triad. Modern Jazz Sets 4-note, 5-note, and 6-note chords, partly without root note, but with tensions.
Chord Functions (NEK only) Controlling MIDI or Audio Playback using the Chord Track Assigning Chord Events to MIDI Effects or VST Instruments PREREQUISITE Create a chord progression on the chord track and add a MIDI or instrument track to your project. PROCEDURE 1. In the Inspector for the MIDI or instrument track, open the MIDI Inserts section. 2. Click an insert slot and select Chorder from the Effect Type pop-up menu. The Chorder effect is activated, and its control panel opens. 3.
Chord Functions (NEK only) Controlling MIDI or Audio Playback using the Chord Track Using Live Transform Live Transform allows you to transpose the MIDI input live to a chord progression on the chord track. This way, you do not have to worry about what key you hit on your MIDI keyboard as the MIDI input is transposed to match chords or scales on your chord track in realtime. PROCEDURE 1. Create a MIDI or an instrument track and activate Record Enable. 2. In the Inspector, open the Chords section. 3.
Chord Functions (NEK only) Controlling MIDI or Audio Playback using the Chord Track RELATED LINKS Follow Chord Track Dialog on page 907 Follow Chord Track Modes on page 906 Follow Chord Track Modes This section of the Inspector allows you to determine how your track follows the chord track. The following options are available on the Follow Chord Track pop-up menu: Off Follow Chord Track is deactivated. Chords & Scales This maintains the intervals of the original chord or scale as far as possible.
Chord Functions (NEK only) Controlling MIDI or Audio Playback using the Chord Track Single Voice Maps MIDI notes and VariAudio segments to the notes of a single voice (soprano, tenor, bass, etc.) of the voicing. Use the pop-up menu below to select the desired voice. NOTE If you apply this mode to a selection of tracks that contain separate voices, you can set up one track as master and the others as voicing slaves.
Chord Functions (NEK only) Assigning Voices to Notes Using Map to Chord Track This allows you to match individual parts or events to a chord progression on the chord track. PROCEDURE 1. In the Project window, select the events or parts that you want to map to the chord track. 2. Select Project > Chord Track > Map to Chord Track. The Map to Chord Track dialog opens. 3. From the Mapping Mode pop-up menu, select a mapping mode.
Chord Functions (NEK only) Extracting Chord Events from MIDI Extracting Chord Events from MIDI You can extract chords from MIDI notes, parts, or tracks. This is useful, if you have a MIDI file and want to show its harmonic structure, and use this file as starting point for further experimenting. PREREQUISITE Add the chord track and create MIDI notes that can be interpreted as chords. Drums, monophonic bass, or lead tracks are not suitable. PROCEDURE 1.
Chord Functions (NEK only) Recording Chord Events with a MIDI Keyboard Create Chord Symbols Dialog This dialog allows you to determine, which MIDI data should be taken into account when extracting chord events from MIDI. Include Bass Notes Activate this, if you want your chord events to contain a bass note. Include Tensions Activate this, if you want your chord events to contain tensions.
Chord Functions (NEK only) Recording Chord Events with a MIDI Keyboard RESULT All recognized chords are recorded as chord events on the chord track. NOTE The chord track uses its own voicing settings. The recorded chord events may therefore sound different.
Chord Pads (NEK only) Chord pads allow you to play with chords, and to change their voicings and tensions. In terms of harmonies and rhythms, they allow for a more playful and spontaneous approach to composition than the chord track functions. You can: • Perform with chords in realtime via a MIDI keyboard. • Record your performance as MIDI events on a MIDI or instrument track or even on the chord track. NOTE We assume that you have a MIDI keyboard connected and set up.
Chord Pads (NEK only) Chord Pads Zone The chord pads zone holds the following controls: 1) Close Chord Pads Zone Closes the chord pads zone. 2) Current Player Shows the current player and opens a menu where you can select another player. 3) Chord Pad Each chord pad can contain a chord symbol. To change it, click the Open Editor control on the left edge of the chord pad. 4) Keyboard Shows which keys are played when you trigger a chord pad. To zoom the keyboard, click a key and drag up or down.
Chord Pads (NEK only) Chord Pads Zone 10) Show/Hide Chord Assistant (NEK only) Shows/Hides the Chord Assistant that shows suggestions of chords that match the chord that you specified as the origin chord. 11) Show/Hide Settings Shows/Hides the chord settings, where you can configure different players, the pad layout, and the remote assignment.
Chord Pads (NEK only) Chord Pads Zone 5) AV (Adaptive Voicing)/L (Lock) By default, all chord pads follow the adaptive voicing. This is indicated by an AV symbol. If you change the voicing for a pad manually however, Adaptive Voicing is deactivated. An L symbol indicates that the chord pad is locked for editing. 6) Voicing Allows you to set another voicing for the chord pad. 7) Tensions Allows you to add/remove tensions for the chord.
Chord Pads (NEK only) Functions Menu Functions Menu • Show Voicing Indicators Allows you to activate/deactivate the voicing indicators that can be displayed at the bottom of each chord pad. • Assign Pads from Chord Track Assigns the chord events from the chord track to the chord pads in the same order as they appear on the chord track. Chord events that have more than one occurrence are only assigned once.
Chord Pads (NEK only) Preparations Preparations Before you can start working with the chord pads, you must add a MIDI or an instrument track with an instrument loaded, and open the chord pads zone. PREREQUISITE You have installed and set up a MIDI keyboard. PROCEDURE 1. Select Project > Add Track > Instrument. 2. In the Add Instrument Track dialog, select an instrument, and click Add Track.
Chord Pads (NEK only) Chord Assistant (NEK only) The Chord Assistant has two modes: • Chord Assistant – Proximity • Chord Assistant – Circle of Fifths You must define an origin chord as follows: • Right-click the chord pad with the chord you want to use as origin and select Use X as Origin for Chord Assistant. The Chord Assistant shows suggestions for follow-on chords that you can assign to the chord pads.
Chord Pads (NEK only) Chord Assistant (NEK only) RELATED LINKS Chord Assistant – List on page 894 Chord Assistant – Circle of Fifths Mode The Circle of Fifths mode of the Chord Assistant shows the chords in an interactive visualization of the circle of fifths. The origin chord that defines the current key is shown in the center of the Chord Assistant. The tonic (I) of that key is displayed above the center. The outer circle shows the twelve major chords ordered in intervals of fifths.
Chord Pads (NEK only) Assigning Chords to Chord Pads Assigning Chords to Chord Pads Some chords are preassigned to the chord pads. But you can also assign your own chords. To assign chords to chord pads, you can use: • The chord Editor • The Chord Assistant – Proximity (NEK only) • The Chord Assistant – Circle of Fifths (NEK only) • Your MIDI keyboard • The chord events from the chord track You can overwrite the preassigned chords, or clear all chord pads first to start from scratch.
Chord Pads (NEK only) Assigning Chords to Chord Pads Assigning Chords with the Chord Assistant – Proximity Mode (NEK only) If you have a chord that you want to use as a starting point to find follow-on chords, you can use the Chord Assistant – Proximity mode. PROCEDURE 1. Right-click the chord pad that you want to use as a starting point and activate Use x as Origin for Chord Assistant.
Chord Pads (NEK only) Assigning Chords to Chord Pads Assigning Chords with the Chord Assistant – Circle of Fifths Mode (NEK only) If you have a chord that you want to use as a starting point for a chord progression, but you do not know how to create such a progression, you can use the Chord Assistant – Circle of Fifths. PROCEDURE 1. Right-click the chord pad that you want to use as a starting point and activate Use x as Origin for Chord Assistant.
Chord Pads (NEK only) Assigning Chords to Chord Pads Assigning Chords with the MIDI Keyboard If you know which chord you want to assign to a specific chord pad, you can use a MIDI keyboard. PREREQUISITE You have selected a MIDI track or an instrument track. PROCEDURE 1. Right-click the chord pad that you want to use for the new chord, and select Assign Pad from MIDI Input. The borders of the chord pad change their color to indicate that it is now ready for recording. 2.
Chord Pads (NEK only) Moving and Copying Chord Pads Moving and Copying Chord Pads You can swap the chord assignments between 2 pads or copy a specific chord and its settings from one pad to another. • To swap the chord pad assignment between 2 pads, click a chord pad and drag it to another chord pad. While you drag, the border of the destination chord pad changes its color. When you drop the pad on another, the chord assignments are swapped.
Chord Pads (NEK only) Playing Back and Recording Chords Recording Chords on MIDI or Instrument Tracks You can record the chords that are triggered through the chord pads on MIDI or instrument tracks. This way, you can play back and edit your performance at any time. PREREQUISITE You have connected and set up a MIDI keyboard, you have opened and set up the chord pads zone, and you have added an instrument or a MIDI track for which a VST instrument is loaded to your project. PROCEDURE 1.
Chord Pads (NEK only) Chord Pad Settings – Remote Control 5. On your MIDI keyboard, press the keys that trigger the chord pads. NOTE Use the keys that are not assigned to play and record other chords. RESULT The chord events are recorded on the chord track. NOTE The recorded chord events may sound different from the chord pad playback. This is because the voicing settings for the chord track differ from the chord pad voicings.
Chord Pads (NEK only) Chord Pad Settings – Remote Control 4) MIDI Learn Activates/Deactivates the MIDI Learn function to assign MIDI input to the Pads Remote Range and to the parameters Voicings, Tensions, and Transpose. 5) Activate Activates/Deactivates the remote key assignment for the parameters Voicings, Tensions, and Transpose. If this is deactivated, only the remote key assignment for the Pads Remote Range is active.
Chord Pads (NEK only) Chord Pad Settings – Remote Control You can change the voicing, tension or transposition of the triggered chord by enabling Activate in the lower part of the Remote Control tab and using the following default remote notes: Action Description Remote Note Voicings: Previous Plays back the previous voicing of the last played chord. C2 Voicings: Next Plays back the next voicing of the C#2 last played chord.
Chord Pads (NEK only) Chord Pad Settings – Players Changing the Pads Remote Range You can widen the pads remote range to access more chord pads. If you want to use a wider key range on your MIDI keyboard for regular playing, you can narrow the pads remote range. PROCEDURE 1. Select Show/Hide Settings > Remote Control to open the remote control assignments. 2.
Chord Pads (NEK only) Chord Pad Settings – Players 2) Legato If this is activated, the common notes of two subsequent chords are connected. 3) Player Selection Selects the player, and uses its voicing for the chord pads. 4) Plain Chords/Pattern Select Plain Chords to trigger all notes of a chord simultaneously, or select Pattern to break up the chords into their individual notes.
Chord Pads (NEK only) Chord Pad Settings – Players To lock the voicing for a chord pad, you can right-click the pad and activate Lock. This locks this pad for editing and remote control changes, and deactivates Adaptive Voicing. To unlock the chord pad again, right-click the pad and deactivate Lock. Using the Pattern Player You can determine how the triggered chord is played: as a plain chord, or according to a selected pattern.
Chord Pads (NEK only) Chord Pad Settings – Players Using Different Players on Multiple Tracks You can set up different players with different sounds on different tracks. If you record-enable these tracks and play the chord pads, each track uses a dedicated player. PROCEDURE 1. Select Project > Add Track > Instrument. 2. In the Add Instrument Track dialog, enter the number of tracks in the Count field, and select a VST instrument. 3. Click Add Track. The instrument tracks are added to your project.
Chord Pads (NEK only) Chord Pad Settings – Pad Layout Chord Pad Settings – Pad Layout The Pad Layout tab in the chord pad Settings allows you to change the layout that is used for the chord pads. By default, the keyboard layout is active, but you can change to a grid layout, if you prefer that. After changing the pad layout you may need to adjust the remote setup. • To the left of the chord pads zone, click Show/Hide Settings and activate the Pad Layout tab.
Chord Pads (NEK only) Creating Events from Chord Pads • To load only the chords of a chord pads preset, select Chord Pads Presets > Load Chords from Preset. In the same way, you can also load only the player configurations of a chord pads preset. This is useful if you have saved very complex player settings and want to reuse them on other chord pads without changing the currently assigned chords.
The Logical Editor, Transformer, and Input Transformer Introduction Most of the time you will perform your MIDI editing graphically in one of the MIDI editors. But there are times when you want more of a “search and replace” function on MIDI data, and that’s where the Logical Editor comes in. The principle of the Logical Editor is this: • You set up filter conditions to find certain elements.
The Logical Editor, Transformer, and Input Transformer Opening the Logical Editor About the Transformer MIDI effect The Transformer effect is a realtime version of the Logical Editor, allowing you to apply editing to the events played back from a track “on the fly”. The Transformer contains virtually the same settings and functions as the Logical Editor – where there are differences between the two, this is clearly stated on the following pages.
The Logical Editor, Transformer, and Input Transformer Window overview Window overview 1) Filter conditions list 2) Action list 3) Function pop-up menu 4) Apply button (not available in the Transformer) Setting up filter conditions General procedure The upper list is where you set up the filter conditions, determining which elements to find. The list can contain one or several conditions, each on a separate line. • To add a new condition, click the “+” button below the list.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Left bracket This is used for “bracketing” several lines together when creating conditions with multiple lines and the boolean operators And/Or. Filter Target Here you select which property to look for when finding elements. Your choice here affects the available options in the other columns as well.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions RELATED LINKS Combining multiple condition lines on page 968 Searching for elements at certain positions (Logical Editor only) on page 940 Conditions Depending on the Filter Target setting, the following options can be selected in the Condition column: Equal …has the exact same value as set up in the Parameter 1 column. Unequal …has any value other than the one set up in the Parameter 1 column.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Beyond Cursor (Logical Editor only) …is after the song cursor position (Position only). Inside Track Loop (Logical Editor only) …is inside the set track loop (Position only). Inside Cycle (Logical Editor only) …is inside the set cycle (Position only). Exactly matching Cycle (Logical Editor only) …exactly matches the set cycle (Position only).
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions The Logical Editor will then find all elements starting inside or outside this Bar Range, in all bars (within the current selection). Here, the Logical Editor will find elements starting around the second beat in each bar.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions NOTE System Exclusive events are not included in the table above, because they do not use value 1 and 2. Because value 1 and 2 have different meanings for different events, searching for value 2 = 64 would both find notes with the velocity 64 and controllers with the amount 64, etc.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Searching for controllers There is similar extended functionality when searching for controllers: If you have added an additional “Type = Controller” condition line, the Logical Editor will “know” you are searching for controllers. The Parameter 1 column will then show the names of the MIDI controllers (Modulation, Volume, etc.) when Value 1 is selected as Filter Target.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Searching for properties On the Filter Target pop-up menu, you will find an option called Property. This allows you to search for properties that are not part of the MIDI standard but rather Nuendo-specific settings. When the Property option is selected, the Condition column has two options: “Property is set” and “Property is not set”. Which property to look for is selected in the Parameter 1 column.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions In this example, the action will be performed when the note C1 is pressed (the “Note is playing” condition is only available in the Input Transformer and in the Transformer effect): Filter Target Condition Parameter 1 Type is Equal Note Last Event Equal Note is playing Parameter 2 36/C1 In this example, the action will be performed after playing the C1 note: Filter Target Condition Parameter 1 Parameter 2 Las
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions Parameter 1 Parameter 2 Searches for… No. of Notes in Chord (Part) Enter a value for the number …chords with the specified of notes in the chord. number of notes in the selected MIDI part. No. of Voices (Part) Enter a number for the number of voices of the chord. …chords with the specified number of voices in the selected MIDI part.
The Logical Editor, Transformer, and Input Transformer Setting up filter conditions The Logical Editor will find all events that are notes (regardless of their position) and all events starting at the beginning of the third bar (regardless of their type).bar. When you add a new condition line, the boolean setting defaults to And.
The Logical Editor, Transformer, and Input Transformer Selecting a function Selecting a function The pop-up menu at the bottom of the Logical Editor is where you select the function – the basic type of editing to be performed. Below, the available options are listed. Note that some options are not available in the Transformer effect. Delete Deletes all elements found by the Logical Editor.
The Logical Editor, Transformer, and Input Transformer Specifying actions Select (Logical Editor only) This will simply select all found events, highlighting them for further work in the regular MIDI editors. RELATED LINKS Specifying actions on page 949 Specifying actions The lower list in the Logical Editor window is the action list. This is where you specify any changes that are made to the found events (relevant for all function types except Delete and Select).
The Logical Editor, Transformer, and Input Transformer Specifying actions Option Description VST3 Value Operation (Logical Editor only) Allows you to perform common operations within the VST 3 value range (0.0 to 1.0) instead of the standard MIDI value range (0-127), for finer adjustments. NOTE The Position and Length parameters are interpreted via the time base setting in the Bar Range/Time Base column, with the exception of the Random setting, which uses the time base of the affected events.
The Logical Editor, Transformer, and Input Transformer Specifying actions For example, if the Action Target value is 17 and Parameter 1 is 5, the result of rounding will be 15 (the closest value that can be divided by 5). Another word for this type of operation would be “quantizing”, and it is actually possible to use it for this, by setting the Action Target to “Position” and specifying a quantize value with Parameter 1 (in ticks, with 480 ticks per quarter note).
The Logical Editor, Transformer, and Input Transformer Specifying actions Mirror This is only available when Action Target is set to Value 1 or Value 2. When this option is selected, the values will be “mirrored” around the value set in the Parameter 1 column. In the case of notes, this will invert the scale, with the key set in the Parameter 1 column as “center point”.
The Logical Editor, Transformer, and Input Transformer Applying the defined actions Applying the defined actions Once you have set up filter conditions, selected a function and set the required actions (or loaded a preset), you apply the actions defined with the Logical Editor by clicking the Apply button. MPORTANT IMPORTANT In the Logical Editor, processing is not performed until you click the Apply button.
The Logical Editor, Transformer, and Input Transformer The Input Transformer Organizing and sharing presets The Logical Editor presets are stored within the application folder in the Presets\Logical Edit subfolder. While these files cannot be edited “manually”, you can reorganize them (e. g. putting them in subfolders) like any files. This also makes it easy to share presets with other Nuendo users, by transferring the individual preset files.
The Logical Editor, Transformer, and Input Transformer The Input Transformer Handling the four modules The Input Transformer is really four separate transformers, or modules. • You select which module to view and make settings for by clicking the corresponding Module tab. Module 1 selected for viewing and editing. • The On/Off buttons next to the Module names determine which module(s) are active. Here, Module 1 is inactive and Module 2 is active.
The Logical Editor, Transformer, and Input Transformer The Input Transformer To remove a line, click it to select it and click the “-” button below the lists. • Clicking the columns in the filter condition list opens pop-up menus allowing you to specify the conditions to match. • Clicking the columns in the action list opens pop-up menus allowing you to specify how the found events are transformed (when Transform mode is selected).
Project Logical Editor On the Edit menu you will find the function “Project Logical Editor…”. This opens a Project Logical Editor for the entire project. It works similar to the Logical Editor on the MIDI menu. The most important difference is that the Logical Editor for MIDI works at the event level, whereas the Project Logical Editor works at the project level and is therefore a very powerful tool for “search and replace” functions in your entire project.
Project Logical Editor Opening the Project Logical Editor By combining filter conditions, functions, the specific actions, and additional macros, you can perform very powerful processing. IMPORTANT MPORTANT The Project Logical Editor allows all kinds of settings that may not always make sense. Experiment a bit before applying your edits to important projects. You can undo the operations by using the Undo command on the Edit menu.
Project Logical Editor Setting up filter conditions 3) Function and Macro pop-up menus 4) Apply button RELATED LINKS Working with presets on page 974 Setting up filter conditions General procedure The upper list is where you set up the filter conditions, determining which elements to find. The list contains one or several conditions, each on a separate line. • To add a new condition, click the “+” button below the list. The new line is added at the bottom of the list.
Project Logical Editor Setting up filter conditions For example, if the Filter Target is “Position” and Condition is “Equal”, the Project Logical Editor will look for all elements starting at the position you specify in the Parameter 1 column. Parameter 2 This column is only used if you have selected one of the “Range” options in the Condition column. Typically, this allows you to find all elements with values inside (or outside) the range between Parameter 1 and Parameter 2.
Project Logical Editor Setting up filter conditions Media type filter When the Filter Target is set to Media Type, the pop-up menu lists the available media types. Audio If no container type is specified, this finds audio events, audio parts and audio tracks. MIDI If no container type is specified, this finds MIDI parts and MIDI tracks. Automation If no container type is specified, this finds automation events and automation tracks.
Project Logical Editor Setting up filter conditions For media types, the following options are available: Equal This finds the Media Type set up in the Parameter 1 column. All Types This finds all Media Types. Searching for Container types PROCEDURE 1. Select Container Type in the Filter Target pop-up menu. This allows you to find parts, events or tracks. 2. Open the pop-up menu in the Parameter 1 column and select the desired option. 3.
Project Logical Editor Setting up filter conditions All Types This finds all Container Types. Combining Media Type and Container Type The combination of the filter targets Media Type and Container Type represents a versatile tool for logical operations: Here, the Project Logical Editor will find all MIDI and instrument parts in the project. Here, the Project Logical Editor will find all automation tracks (not events) in the project whose name contains vol.
Project Logical Editor Setting up filter conditions …it will find all tracks in the project whose name contains “voc”. NOTE To take maximum advantage of this feature, we recommend using a standard nomenclature in your projects (Drums, Perc, Voc, etc.). Searching for elements at certain positions PROCEDURE 1. Select “Position” in the Filter Target pop-up menu. This allows you to find elements starting at certain positions, either relative to the start of the project or within each bar. 2.
Project Logical Editor Setting up filter conditions Position filter For positions, the following options are available: Equal …has the exact same value as set up in the Parameter 1 column. Unequal …has any value other than the one set up in the Parameter 1 column. Bigger …has a value higher than the one set up in the Parameter 1 column. Bigger or Equal …has a value that is the same as or higher than the one set up in the Parameter 1 column.
Project Logical Editor Setting up filter conditions Inside Cycle …is inside the set cycle. Exactly Matching Cycle …exactly matches the set cycle. RELATED LINKS Setting Up the Independent Track Loop on page 569 Searching for elements of certain lengths PROCEDURE 1. Select Length in the Filter Target pop-up menu. This allows you to find elements of a certain length only. The Length parameter is interpreted via the time base setting in the Bar Range/Time Base column, i. e.
Project Logical Editor Setting up filter conditions Less or Equal …has a value that is the same as or lower than the one set up in the Parameter 1 column. Inside Range …has a value that is between the values set up in the Parameter 1 and Parameter 2 columns. Note that Parameter 1 should be the lower value and Parameter 2 the higher. Outside Range …has a value that is not between the values set up in the Parameter 1 and Parameter 2 columns. Searching for properties PROCEDURE 1.
Project Logical Editor Setting up filter conditions Combining multiple condition lines As described above, you can add condition lines by clicking the “+” button below the list. The result of combining condition lines depends on the boolean And/Or operators and the brackets. The bool column By clicking in the “bool” column to the right in the list, you can select a boolean operator: “And” or “Or”.
Project Logical Editor Specifying actions Maybe you want to find all audio parts and events that either contain the name perc or the name drums, but no other parts or events that contain the name drums? Then you need to add some brackets: Here, all audio parts or events will be found whose name contains perc or drums. NOTE Expressions within brackets are evaluated first. If there are several layers of brackets, these are evaluated “from the inside out”, starting with the innermost brackets.
Project Logical Editor Specifying actions Subtract Subtracts the value specified in the Parameter 1 column from the Position. Multiply by Multiplies the Position value with the value specified in the Parameter 1 column. Divide by Divides the Position value by the value specified in the Parameter 1 column. Round by This “rounds” the Position value using the value specified in the Parameter 1 column.
Project Logical Editor Specifying actions Round by This “rounds” the Length value using the value specified in the Parameter 1 column. In other words, the Length value is changed to the closest value that can be divided by the Parameter 1 value. Set to fixed value This sets the Length to the value specified in the Parameter 1 column. Set Random Values between This will add a random value to the current length. The added random value will be within the range specified with Parameter 1 and 2.
Project Logical Editor Specifying actions Hide Track Enables, disables or toggles the track visibility status. Name This lets you rename the found elements. Replace Replaces names with the text specified in the Parameter 1 column. Append Names will be appended with the string specified in the Parameter 1 column. Prepend The name will be prepended with the string specified in the Parameter 1 column.
Project Logical Editor Selecting a function Selecting a function The left pop-up menu at the bottom of the Project Logical Editor is where you select the function – the basic type of editing to be performed. The available options are: Delete Deletes all elements found by the Project Logical Editor. NOTE When you delete automation tracks and undo this operation by selecting Undo from the Edit menu, the automation tracks will be restored, but the tracks will be closed.
Project Logical Editor Applying the defined actions Applying the defined actions Once you have set up filter conditions, selected a function and set the required actions (or loaded a preset), you apply the actions defined with the Project Logical Editor by clicking the Apply button. Project Logical Editor operations can be undone just like any other editing. Working with presets The Presets section in the upper left section of the window allows you to load, save and manage Project Logical Editor presets.
Project Logical Editor Working with presets 2. Enter a name for the preset and click OK. The preset is stored. NOTE To remove a preset, load it and click the Remove Preset button. Organizing and sharing presets The Project Logical Editor presets are stored within the application folder in the Presets\Logical Edit Project subfolder. While these files cannot be edited manually, you can reorganize them (e. g. putting them in subfolders) like any files.
Editing tempo and signature Background Whenever you create a new project, Nuendo will automatically set the tempo and time signature for this project. The tempo and signature settings can be displayed in two ways: either on dedicated tracks in the Project window or in the Tempo Track Editor. Tempo modes Before we go into detail about tempo and signature settings, you should understand the different tempo modes.
Editing tempo and signature Tempo and signature display A note about tempo-based audio tracks For tempo-based tracks, the start position of audio events on the timeline depends on the current tempo setting. However, it is important to realize that the actual audio (“within” the events) will play back as recorded, regardless of any tempo changes you make. Therefore, it is good practice to make the proper tempo and time signature settings before you start recording tempo-based audio.
Editing tempo and signature Tempo and signature display About the tempo and signature tracks The tempo track and the signature track allow you to view and edit tempo and signature data in the project context. • The Inspectors for these tracks show the positions and values of individual tempo curve points or signature events. • The signature track’s background always shows bars. This is independent of the ruler display format setting.
Editing tempo and signature Tempo and signature display The Tempo Track Editor has a toolbar, info line, and ruler just like other editors in Nuendo, plus an area for the display of time signature events and a tempo curve display.
Editing tempo and signature Editing tempo and signature Editing tempo and signature You can use the options of the Tempo Track Editor or the tempo and signature tracks to edit tempo and signature settings. The descriptions given below are valid in both cases. The only exception is the tempo recording slider, which is available only in the Tempo Track Editor.
Editing tempo and signature Editing tempo and signature Type of New Tempo Points set to “Jump” You can also click on the tempo curve with the Object Selection tool. This adds a single point with each click. NOTE Tempo values can also be automatically inserted by the Beat Calculator. RELATED LINKS The Beat Calculator on page 987 Snap Function on page 62 Selecting tempo curve points Curve points can be selected as follows: • Using the Object Selection tool. The standard selection techniques apply.
Editing tempo and signature Editing tempo and signature If you press [Shift] and use the arrow keys, you can select several points at the same time. Editing tempo curve points Curve points can be edited in the following ways: • By clicking and dragging horizontally and/or vertically with the Object Selection tool. If several points are selected, all of them are moved. If Snap is activated on the toolbar, this determines to which time positions you can move curve points.
Editing tempo and signature Editing tempo and signature Removing tempo curve points To remove a curve point, either click on it with the Erase tool or select it and press [Backspace]. The first tempo curve point cannot be removed. Recording tempo changes The Tempo Recording slider on the toolbar of the Tempo Track Editor allows you to record tempo changes “on the fly”: simply start playback and use the slider to raise or lower the tempo at the desired positions.
Editing tempo and signature Process Tempo • To edit the value of a time signature event, select it and adjust the value on the info line, or double-click the event and enter a new value. Note that there are two controls for the signature display; the left one adjusts the numerator and the right one adjusts the denominator. • To move a time signature event, click and drag it with the Object Selection tool. Note that you can [Shift]-click to select multiple events.
Editing tempo and signature The Process Bars dialog 3. In the Process Range fields, the specified range is shown, in Bars and Beats (PPQ) and in a time format, which can be selected from the Time Display Format pop-up menu. The range defined in step 1 will already be set, but you can edit the range by adjusting the values in the Process Range fields if you wish. Now you can either specify a new range length or a new range end time.
Editing tempo and signature The Process Bars dialog Bar Range The Bar Range display shows the bar range within the project as well as its length. Click on the right edge of the green indicator and drag it to the right to enlarge the range. You can also use the Start and Length value fields (see below). The arrow pair in this section marks the length of the current project. The area to the right marks the bar range that can be added (10,000 bars max.).
Editing tempo and signature The Beat Calculator Close Clicking this button without clicking on “Process” first will close the dialog without applying your settings. The Beat Calculator The Beat Calculator is a tool for calculating the tempo of freely recorded audio or MIDI material. It also allows you to set the tempo by tapping. Calculating the tempo of a recording PROCEDURE 1. In the Project window, make a selection that covers an exact number of beats of the recording. 2.
Editing tempo and signature Merge Tempo From Tapping Using Tap Tempo The Tap Tempo function allows you to specify a tempo by tapping: PROCEDURE 1. Open the Beat Calculator. 2. If you want to tap the tempo to some recorded material, activate playback. 3. Click the Tap Tempo button. The Tap Tempo window appears. 4. Tap the tempo on the Spacebar of the computer keyboard or with the mouse button. The tempo display will update the calculated tempo between each tap. 5.
Editing tempo and signature The Time Warp tool 6. Click OK. The project’s tempo is adjusted to the tapped notes. 7. Open the Project menu and select “Tempo Track” to check that the new tempo information is reflected in the tempo curve. NOTE Another way of creating a tempo map for freely recorded audio would be to use the Time Warp tool, see below.
Editing tempo and signature The Time Warp tool Dragging the start of the bar to the start of the audio event. While you are dragging, the track(s) you are editing are temporarily switched to linear time base. This means that the contents of the tracks remain at the same time positions regardless of the tempo (there is an exception to this in the Project window, see below). 4. When you release the mouse button, the musical position you clicked on matches the time position you dragged it to.
Editing tempo and signature The Time Warp tool This helps you see what’s going on, but you can also use this for editing the tempo track: • If you press the create/erase modifier key (by default [Shift]) and click on a tempo event in the ruler, it is deleted. [Shift] is the default modifier for this – you can adjust this in the Preferences dialog (Editing–Tool Modifiers page). • You can click on a tempo event in the ruler and drag to move it.
Editing tempo and signature The Time Warp tool Matching a musical score to video Here’s an example of how to use the Time Warp tool in “musical events follow” mode. Let’s say you are creating the music for a film. You have a video track, an audio track with a commentary and some audio and/or MIDI tracks with your music. Now you want to match the position of a musical cue to a position in a video film. The musical cue is located in bar 33. There are no tempo changes in the project (yet). PROCEDURE 1.
Editing tempo and signature The Time Warp tool When you drag, the ruler is scaled – and the music tracks will follow. 8. Release the mouse button. If you look in the ruler at the beginning of the project, you will see that the first (and only) tempo event has been adjusted. 9. Try playing back. The musical cue should now happen at the correct position in the video. Let’s say you need to match another cue to another position later on in the video.
Editing tempo and signature The Time Warp tool Using the Time Warp tool in an audio editor Using the Time Warp tool in the Sample Editor or Audio Part Editor is different from using it in the Project window, in the following ways: • When you use the Time Warp tool, a tempo event is automatically inserted at the beginning of the edited event or part. This tempo event will be adjusted when you warp the tempo grid with the tool. This means that material before the edited events will not be affected.
Editing tempo and signature The Time Warp tool 7. Click at that position in the event display and drag to the downbeat of the second bar in the recording. When you click, the pointer will snap to the ruler grid. By dragging the grid, you changed the tempo value in the tempo event at the first downbeat. If the drummer held a fairly consistent tempo, the following bars should now match pretty well, too. 8. Check the following bars and locate the first position where the audio drifts from the tempo.
Editing tempo and signature Tempo Detection Using the Time Warp tool in a MIDI editor This is very similar to using the tool in an audio editor: • When you use the Time Warp tool, a tempo event is automatically inserted at the beginning of the edited part – this tempo event will be adjusted when you warp the tempo grid with the tool. Material before the edited part will not be affected. • Only the default mode for the Time Warp tool is available.
Editing tempo and signature Tempo Detection The Tempo Detection Panel The Tempo Detection Panel contains the functions for analyzing the tempo of an audio event or MIDI part. It is opened via the Project menu. In the top section of the panel, the name of the selected event or part is shown. Below the name, the Analyze button is located. Click this button to start the tempo detection. The middle section contains several functions for correcting and fine-tuning the detected tempo curve.
Editing tempo and signature Tempo Detection RESULT • A rough tempo map based on the beat analysis is created for the selected audio clip. • A tempo and a signature track are added to the project. • The project will get a 1/4 signature, because the tempo detection only calculates a tempo based on beats, regardless of a musical signature. The signature can be modified later. • The Time Warp Tool is selected for fine-tuning or adjusting the newly generated tempo map.
Editing tempo and signature Tempo Detection The detected tempo is off by half a beat In some cases, the offbeat of a rhythm might be dominant enough to confuse the beat detection algorithm resulting in an offset. In that case it is necessary to shift the tempo events. • To shift the detected tempo events by half a beat, click the “Offbeat Correction” button.
Editing tempo and signature Adjusting the audio to the project tempo The material contains sections with different tempos In some cases, a track may include multiple sections with different tempo and the tempo detection might stop at the position of a tempo change or pause.
Editing tempo and signature Adjusting the audio to the project tempo 5. Click OK. The tempo information is now copied into the selected audio clips and the tracks are set to musical time base. Furthermore, Musical Mode is activated for the audio events.
Project Browser Window Overview The Project Browser window provides a list based representation of the project. This allows you to view and edit all events on all tracks by using regular value editing in a list. 1) Project Structure list 2) Time Format pop-up menu 3) Add pop-up menu and Add button 4) Filter pop-up menu 5) Event display Opening the Project Browser You open the Project Browser by selecting “Browser” from the Project menu.
Project Browser Window Overview Navigating in the Browser You use the Project Browser much like you use the Windows Explorer/Mac OS Finder for browsing folders on your hard disk. • Click on an item in the Project Structure list to select it for viewing. The contents of the item are shown in the event display. • Items with hierarchical substructures can be folded out by clicking the “+” symbols or the “closed folder” symbols in the Project Structure list.
Project Browser Editing tracks Importing files via the MediaBay You can also import audio, video and MIDI files into the Project Browser via the MediaBay using drag and drop. NOTE You can only import into existing tracks. This means, for example, that a video track has to exist in the Project window prior to importing a video file in the Project Browser.
Project Browser Editing tracks The list columns for audio events Name Allows you to change the name of the event. Double-clicking the waveform image to the left of it opens the event in the Sample Editor. File The name of the audio file referenced by the event’s audio clip. Start The start position of the event. If the event belongs to an audio part, you cannot move it outside the part. End The end position of the event. Snap The absolute position of the event’s snap point.
Project Browser Editing tracks The list columns for audio parts Name The name of the part. Double-clicking on the part symbol to the left of it opens the part in the Audio Part Editor. Start The start position of the part. Editing this value is the same as moving the part in the Project window. End The end position of the part. Editing this value is the same as resizing the part in the Project window. Length The length of the part. Editing this value is the same as resizing the part in the Project window.
Project Browser Editing tracks When editing the Track Data, the following parameters are available: The list columns for MIDI events Type The type of MIDI event. This cannot be changed. Start The position of the event. Editing this value is the same as moving the event. End This is only used for note events, allowing you to view and edit the end position of a note (thereby resizing it). Length This is only used for note events.
Project Browser Editing tracks Comment This column is used for some event types only, providing an additional comment about the event. The list columns for MIDI parts Name The name of the part. Start The start position of the part. Editing this value is the same as moving the part. End The end position of the part. Changing this is the same as resizing the part (and will automatically affect the Length value as well). Length The length of the part.
Project Browser Editing tracks Editing Note Expression data in the Project Browser (NEK only) In the Project Browser, you can view and edit the MIDI controller events or VST 3 events of a MIDI note with Note Expression data. To view and edit the Note Expression data content of a MIDI note, proceed as follows: PROCEDURE 1. In the Project Structure list, select the Note Expression subitem of the MIDI note that you want to view or edit.
Project Browser Editing tracks Creating MIDI events You can use the Project Browser to create new MIDI events. PROCEDURE 1. Select a MIDI part in the Project Structure list. 2. Move the project cursor to the desired position for the new event. 3. Use the Add pop-up menu above the event display to select which type of MIDI event to add. 4. Click the Add button. An event of the selected type is added to the part, at the project cursor position.
Project Browser Editing tracks Editing the video track When the video track is selected in the Project Structure list, the event display lists the video events on the track, with the following parameters: Name The name of the video clip that the event refers to. Start The start position of the event. Editing this value is the same as moving the event. End The end position of the event. Editing this value is the same as resizing the event, and will automatically change the Length value as well.
Project Browser Editing tracks ID The number of the marker. For regular (non-cycle) markers, this corresponds to the key commands used for navigating to the markers. For example, if a marker has ID 3, pressing [Shift]-[3] on the computer keyboard will move the song position to that marker. By editing these values, you can assign the most important markers to key commands.
Project Browser Editing tracks Editing time signatures When “Signature track” is selected in the Project Structure list, the event display shows the time signature events in the project: Position The position of the event. Note that you cannot move the first time signature event. Signature The value (time signature) of the event. You can add new time signature events by clicking the Add button. This creates a 4/4 event, at the beginning of the bar closest to the project cursor position.
Track Sheet Overview The track sheet provides a text-form “flow-chart” representation of the Project. It lists all audio (and video) tracks and their contents, and can easily be printed out. To open the Track Sheet window, select “Track Sheet” from the Project menu. The actual track sheet is displayed in the lower part of the window. It contains the following items: • The leftmost time column contains a list of time positions in the display format selected in the Project Setup dialog.
Track Sheet Overview • For each event, the start and end times are shown, with a vertical line binding the two together. Viewing the pages in the track sheet If your project is large (i. e. there are many tracks and/or many events) or if you are working with a large scale factor (see below), the resulting track sheet may have more than one page. The more tracks you have, the larger the number of pages next to each other (horizontally).
Track Sheet Overview Use this to adjust the actual size of the track sheet contents (including the font sizes). This will also affect the number of tracks and events shown on each page. • The slider in the lower right corner governs the display zoom. This affects how much of the track sheet is shown in the Track Sheet window – the printout is not affected.
Track Sheet Printing the track sheet No leading zeroes By default, the time positions of events will be listed in a syntax with “leading zeroes”. For example, if the display format is seconds, hours and minutes will be listed as “01”, “02” etc. If this is activated, the time column will not display the leading zeroes. Merge events if gap is less or equal… If events on a track are lined up end to end – i. e. there is no gap between them – they will be considered as a single event in the track sheet.
Export Audio Mixdown Introduction The Export Audio Mixdown function in Nuendo allows you to mix down audio from the program to files on your hard disk in a number of formats. In the Channel Selection section, you can choose which channels (or busses) to export. By activating the “Channel Batch Export” option you can choose to mix down several channels in one go. For each channel, an individual file will be created.
Export Audio Mixdown Mixing down to audio files To make a complete mixdown containing both MIDI and audio, you first need to record all your MIDI music onto audio tracks (by connecting the outputs of your MIDI instruments to your audio inputs and recording, as with any other sound source). Mixing down to audio files PROCEDURE 1. Set up the left and right locators to encompass the section you want to mix down. You can also set up a cycle marker accordingly. 2.
Export Audio Mixdown Mixing down to audio files 5. If you want to export a cycle marker range instead of the area between the left and right locators, activate the Export Cycle Markers option and select the corresponding markers. Only the cycle markers of the active track can be selected. On export, you get one audio file for each section defined by a cycle marker. Please keep in mind that working with channel batch export and cycle markers might lead to a high file number.
Export Audio Mixdown The Export Audio Mixdown dialog About the File Location section on page 1022 The available file formats on page 1028 About the Audio Engine Output section on page 1025 About the Import into Project section on page 1027 The Export Audio Mixdown dialog Below you will find detailed descriptions of the different sections of the dialog and the corresponding functions.
Export Audio Mixdown The Export Audio Mixdown dialog IMPORTANT MPORTANT When using multiple marker tracks, this section always shows the cycle markers from the track that has the focus. • To select the export range, activate the “Export Cycle Marker(s)” option and select the desired marker(s) from the list. A checkmark in front of the marker ID indicates that a cycle marker is selected.
Export Audio Mixdown The Export Audio Mixdown dialog • Activate the “Use Project Audio Folder” option to save the mixdown file in the project’s Audio folder. Naming Scheme Clicking the “Naming Scheme…” button opens a separate pop-up window. Here, you can choose a number of elements that will be combined to form the file name. Depending on the settings in the Channel Selection and Marker Selection sections, different elements are available.
Export Audio Mixdown The Export Audio Mixdown dialog NOTE By combining the available naming elements, you can make sure that all the files of a batch are exported with unique names. If you have set up a naming scheme that would result in identical file names, a warning message appears when you click the Export button. • To add an element, press the “+” button on the far right, and to remove an element from the naming scheme click the corresponding “-” button.
Export Audio Mixdown The Export Audio Mixdown dialog Resolve File Name Conflicts Exporting audio can result in file name conflicts with existing files that have the same name. You can define how file name conflicts are resolved. In the Export Audio Mixdown dialog, select one of the following options from the Resolve File Name Conflicts pop-up menu: Always Ask Always asks if an existing file should be overwritten or if a new unique file name should be created by adding an incremental number.
Export Audio Mixdown The Export Audio Mixdown dialog 32 bit (float) is a very high resolution (the same resolution as used internally for audio processing in Nuendo), and the audio files will be twice the size of 16 bit files. If you are making a mixdown for CD burning, use the 16 bit option, as CD audio is always 16 bit. In this case, we recommend dithering. Activate the UV-22HR dithering plug-in (see the separate PDF document “Plug-in Reference” for details).
Export Audio Mixdown The Export Audio Mixdown dialog About the Import into Project section In this section you will find several options for importing the resulting mixdown files back into the existing or into a new project: • If you activate the Pool checkbox, the resulting audio file will automatically be imported back into the Pool as a clip. Use the Pool Folder option to specify in which Pool folder the clip will reside.
Export Audio Mixdown The available file formats The available file formats • AIFF files • AIFC files • MXF files • Wave files • Wave 64 files • Broadcast Wave files • FLAC files • MP3 files • Ogg Vorbis files • Windows Media Audio Pro files (Windows only) IMPORTANT MPORTANT Note that the Wave 64 file format is the only format that allows you to export files with a resulting size of more than 2 GB.
Export Audio Mixdown The available file formats AIFF files AIFF stands for Audio Interchange File Format, a standard defined by Apple Inc. AIFF files have the extension .aif and are used on most computer platforms. For AIFF files the following options are available: Insert Broadcast Wave Chunk This allows you to include information about the date and time of creation, a timecode position (allowing you to insert exported audio at the correct position in other projects, etc.
Export Audio Mixdown The available file formats AIFC files AIFC stands for Audio Interchange File Format Compressed, a standard defined by Apple Inc. These files support compression ratios as high as 6:1 and contain tags in the header. AIFC files have the extension “.aifc” and are used on most computer platforms. AIFC files support the same options as AIFF files. MXF files (OP-Atom) MXF stands for Material Exchange Format. This is a container format for digital video and audio.
Export Audio Mixdown The available file formats Wave 64 files Wave 64 is a proprietary format developed by Sonic Foundry Inc. In terms of audio quality, Wave 64 files are identical to standard Wave files, but in the file headers Wave 64 files use 64- bit values for addressing where Wave files use 32-bit values. The consequence of this is that Wave 64 files can be considerably larger than standard Wave files. Wave 64 is therefore a good file format choice for really long recordings (file sizes over 2 GB).
Export Audio Mixdown The available file formats High Quality Mode option When this is activated, the encoder will use a different resampling mode, which can give better results depending on your settings. In this mode, you cannot specify the Sample Rate, but only the Bit Rate for the MP3 file. Insert ID3 Tag option This allows you to include ID3 Tag information in the exported file. Edit ID3 Tag button When you click this, the ID3 Tag dialog opens, in which you can enter information about the file.
Export Audio Mixdown The available file formats General Tab In the Input Stream section, you set the sample rate (44.1, 48 or 96 kHz) and the bit resolution (16 bit or 24 bit) of the encoded file. Set these to match the sample rate and bit resolution of the source material. If no value matches that of your source material, use the closest available value that is higher than the actual value. For example, if you are using 20 bit source material, set the bit resolution to 24 bit rather than 16 bit.
Export Audio Mixdown The available file formats Advanced tab • Dynamic Range Control These controls allow you to define the dynamic range of the encoded file. The dynamic range is the difference in dB between the average loudness and the peak audio level (the loudest sounds) of the audio.
Export Audio Mixdown The available file formats Media tab In these fields you can enter a number of text strings with information about the file – title, author, copyright information and a description of its contents. This information will then be embedded in the file header and can be displayed by some Windows Media Audio playback applications.
Networking Introduction This chapter describes how you can use Nuendo’s networking technology to collaborate with other users of Nuendo in a peer-to-peer network. The “owner” of a project can share it with any number of users via LAN (Local Area Network) connections and/or WAN (Wide Area Network) connections via standard network protocols. This allows several separate users to work on a project simultaneously and coordinate their efforts, as well as exchange ideas and suggestions.
Networking Networking protocol and ports Networking protocol and ports In addition to TCP/IP, the Nuendo networking technology uses the standard network protocol UDP (User Datagram Protocol - primarily used to broadcast messages over a network). Since the technology uses the standard protocols and calls of the operating system, no special hardware or drivers are required to use it, aside from a working NIC card.
Networking The network dialogs In this case, you must set up a port mapping from the external ports 6991 and 6992 to your internal ports 6991 and 6992 - i. e. the actual ports on your computer, as opposed to the ports of the subnet. If computers are in different NAT subnets If you want to collaborate with users whose computers reside in different subnets that use NAT (see above), it might be a good solution to set up a VPN (Virtual Private Network).
Networking Selecting a user name Selecting a user name When your computer meets the criteria for communicating with other computers (see above), this is how you quickly go about establishing network communication and share a project with others: PROCEDURE 1. Launch Nuendo. 2. Activate the network by opening the Network menu and activating the “Active” option. This establishes network communication and introduces your computer to any computers already present in the network.
Networking Selecting a user name 6. Click the “Share Project” option in the toolbar, or open the “Project Sharing and Permissions” dialog from the Network menu and activate the “Share Project” option. The project is now shared and all other users have full access to it. RELATED LINKS Creating a permission preset on page 1045 Sharing projects on page 1044 Selecting a user name – alternative method If you did not specify a user name or if you need to change it, proceed as follows: PROCEDURE 1.
Networking Setting up a network Setting up a network The following is a description of how to set up a network with both LAN and WAN connections. • For LAN connections, all computers must be part of the same network and communicate properly. • For WAN connections, all computers must have a working internet connection and a public IP address. If your intended network meets these criteria, proceed as follows.
Networking Setting up a network 5. Repeat this procedure for every user you want to connect to over the internet. NOTE If a computer is dynamically allocated an IP address by its internet service provider – as opposed to having a permanent IP address – you will have to repeat the above procedure each time the computer receives a new IP address! • You can remove a WAN connection by selecting it and clicking the “Remove WAN Connection” button.
Networking Setting up a network NOTE Information about users that are offline will not be updated. RELATED LINKS Selecting a user name on page 1039 Verify Communication Whenever project information needs to be updated over the network, Nuendo will first check if the connection with all project participants is still working. This check is performed in the background with a preset timeout period. When participants do not respond within this timeout period, a “Commit Failed” message is displayed.
Networking Sharing projects Transfer Status Transfer of network data always is performed in the background. If you want to check on the progress of your transfer processes, you can open the Transfer Status window by pulling down the Network menu and selecting “Transfer Status…”. As you upload or download project data, the Transfer Status window displays progress bars for every track in the project. The Transfer Status window features Cancel buttons for each of the transfer operations.
Networking Sharing projects Creating a permission preset In the User Manager dialog, read and write permission settings for users can be stored in permission presets. These can then be applied to other projects, i. e. the users will automatically get read and write permissions according to the settings stored in the permission preset. • Read permission allows users to view and play back shared projects or tracks but not make any changes to them.
Networking Sharing projects 8. When you have selected the user(s) you want to add, click the Arrow symbol to the left of the “User Pool” column. The users you selected will now be added to the “User” column in the middle of the dialog. The next thing to do is to define the read and write permissions for the added users. In the Read and Write columns, the read and write permissions for each user can be specified. By default each added user has both read and write permission. 9.
Networking Sharing projects • If “Guest” is added to a permission preset, anyone in the network can utilize the Guest permissions. Therefore, if you share a project that has Guest as a user, anyone in the network can join it with the corresponding permissions. NOTE If you want to share a project with everyone in a network and let everyone have both read and write permission for the entire project, the easiest and quickest way to do this is to use the Default Permissions preset as is.
Networking Sharing projects 5. Define the project read and write permissions for the added users, by checking and unchecking the Read and Write permission columns (“r”, “w”) as desired. Note that having write permission automatically means also having read permission. These settings are valid for the entire project. If you want to specify read and write permissions separately for each track.
Networking Sharing projects 4. When you are done, select the top item (the project name) in the “Project & Tracks” column again. Permission settings for separate tracks are not saved in a permission preset, but you can first load a preset with the project permissions and then make settings for separate tracks.
Networking Sharing projects Sharing a project Once you have set up all the users and their permissions – i. e. loaded a permission preset and/or manually added users and specified their permissions for this particular project – you can share the project. Using the “Project Sharing and Permissions” dialog PROCEDURE 1. If it is not already active, activate the network by checking the “Active” option on the Network menu. 2. Open the “Project Sharing and Permissions” dialog from the Network menu. 3.
Networking Sharing projects 3. Click the “Share Active Project” button. The “Share Active Project” button This will open the “Project Sharing and Permissions” dialog, to let you verify that all permissions are OK before sharing. You can then share the project in the dialog. When the active project is shared, it appears in the “My Shared Projects” folder.
Networking Joining projects About the project folder When you’re sharing a project, you have to decide whether the project folder for it should be located on your local hard disk, or – if you’re sharing the project over a LAN and have access to a common file server – if it should be located on the server. You should consider the following: • If the project folder is located on your hard disk, the files it contains will be copied to the other users’ hard disks, and their project folders.
Networking Joining projects To join a project, proceed as follows: PROCEDURE 1. Connect to the network by checking the “Active” option on the Network menu. 2. Open the “Shared Projects” dialog from the Network menu. 3. If necessary, click the “Rescan Network” button (the rightmost button on the toolbar). Nuendo scans the network for any updated information about online users and/or shared projects, and refreshes the Shared Projects dialog accordingly.
Networking Joining projects Downloading selected tracks When you click the “Download Selected Tracks” button, you can select which tracks from which shared projects you want to download to your computer. You will be asked whether you wish to create a new project. When you select No, the downloaded tracks will be added to your active project. Note that you cannot download tracks into a shared project.
Networking Working with shared projects Working with shared projects Any user who has write access to the project or separate tracks in it can make changes and commit these to the other users. The communication and transfer of updated files is handled mainly in the Network section for each track in the Inspector.
Networking Working with shared projects Committing changes To a track When you have made changes to a track, proceed as follows to commit them and make them known to the users in the network: PROCEDURE 1. Open the Network section for the track in the Inspector by clicking its tab. If you have set things up so that the commit button is available in the track list, you do not have to use the Inspector. 2. Click the button “Commit changes on this track”. The changes are committed to the network.
Networking Working with shared projects Loading changes When other users have made changes to a track and committed them over the network, the “Load available update” button in the network controls for the corresponding track lights up to indicate that you can load the changes and update the project. The “Load available update” button is located in the Network section of the Inspector.
Networking Working with shared projects • To unlock a track, click the “Get exclusive access” button again so it is no longer lit. The owner of a project can unlock a track, regardless of who locked it: • When you click the “Get exclusive access” button for a locked track that was not locked by you, a warning message appears. • When you are the owner of the project or track, select “Release Lock” to unlock the track. Other users can only click “Cancel” to leave the track locked.
Networking Further options Reconnecting participants to the Master Network project When several users have joined a Network project and this is unexpectedly disconnected from the network (i. e. it is not disconnected by e. g. deactivating the Network or by closing the project), these participants can be automatically reconnected. PROCEDURE 1. Open the Master project again. The program automatically searches 10 seconds for the other users in the network. When users are found, a dialog is displayed. 2.
Networking Further options Opening projects with network settings When you are loading a project containing network settings and the network is deactivated in Nuendo, the following dialog opens: • Click “Activate” to activate the network in Nuendo and try to reconnect the project. • Click “Remove” to remove all network settings. You can choose this when you do not want to work in the network any longer, or if you have e. g. older projects with corrupt network settings.
Synchronization Background What is synchronization? Synchronization is the process of getting two or more devices to play back together at the same exact speed and position. These devices can range from audio and video tape machines to digital audio workstations, MIDI sequencers, synchronization controllers, and digital video devices. Synchronization basics There are three basic components of audio/visual synchronization: position, speed, and phase.
Synchronization Timecode (positional references) Machine control is an integral part of any synchronization setup. In many cases, the device simply called “the master” will control the whole system. However, the term “master” can also refer to the device that is generating the position and speed references. Care must be taken to differentiate between the two. Master and slave Calling one device the “master” and another the “slave” can lead to a great deal of confusion.
Synchronization Timecode (positional references) • MTC (MIDI Timecode) is identical to LTC except that it is a digital signal transmitted via MIDI. • Sony P2 (9-Pin, RS-422) Machine Control also has a timecode protocol that is mainly used for locating and is not nearly accurate enough for speed and phase. It can be used in certain situations where there is no alternative. NOTE The Steinberg SyncStation is capable of using 9-Pin timecode in a very accurate manner.
Synchronization Timecode (positional references) Frame rate (speed) Regardless of the frame counting system, the actual speed at which frames of video go by in realtime is the true frame rate. In Nuendo the following frame rates are available: 23.9 fps This frame rate is used for film that is being transferred to NTSC video and must be slowed down for a 2-3 pull-down telecine transfer. It is also used for the type of HD video referred to as “24 p”. 24 fps This is the true speed of standard film cameras.
Synchronization Clock sources (speed references) NOTE When transferring material between various video formats and film, it becomes necessary to change the speed (frame rate) of one timecode standard so that video or film frames can line up in some mathematical relationship to the destination format. That is where all the various pull-ups and pull-downs come from. Certain frame rates were created as a result of applying a pull-down. For example, 23.976 fps is actually 24 fps pulled down by 0.1 %.
Synchronization Clock sources (speed references) Video sync Video sync signals are transmitted over BNC coaxial connections between devices and run at the frame rate of the video device. There are two types of video sync signals: • bi-level (also known as black burst) • tri-level (used for HD video) Complications arise when a video device is used as a speed reference. The video sync signal must be converted into an audio clock signal in order for audio devices to synchronize at the correct speed.
Synchronization Frame edge alignment (phase) Frame edge alignment (phase) There are 1600 samples of audio in one frame of video running at 48 kHz and 29.97 fps. Phase alignment adjusts the playback of Nuendo so that the precise sample of audio is lined up with the leading edge of the timecode frame. While it is possible to have very good sync without proper phase alignment, it will not be sample-accurate.
Synchronization The Project Synchronization Setup dialog The Nuendo Section At the center of the Project Synchronization Setup dialog is the Nuendo section. It is provided to help you visualize the role that Nuendo takes in your setup. It shows which external signals enter or leave the application. The only controls available in the Nuendo section are the transport controls and the Sync button at the bottom.
Synchronization The Project Synchronization Setup dialog Project Setup - Time The “Project Setup - Time” section has six settings that relate to timecode and playback speed in Nuendo. Project Start Time This setting determines the timecode value at the start of the project. For example, many video timelines start at 01:00:00:00 to allow for pre-roll and test tones prior to the one hour mark. In that case, a start time of 00:55:00:00 might be appropriate.
Synchronization The Project Synchronization Setup dialog Project Setup - Display Regardless of the technical needs of a project’s timeline, the user might want to see time information displayed in a different format. The settings in the “Project Setup Display” section allow you to change how Nuendo’s timeline is displayed, but not the underlying timeline itself. Display Format This setting determines how Nuendo displays time in the Project window and the primary display of the Transport panel.
Synchronization The Project Synchronization Setup dialog MIDI Timecode Nuendo acts as a timecode slave to any incoming MIDI timecode (MTC) on the port(s) selected in the MIDI Timecode Settings section, now visible to the left of the Timecode Source section. Selecting “All MIDI Inputs” allows Nuendo to sync to MTC from any MIDI connection. You can also select a single MIDI port for receiving MTC. 9 Pin Sync 1 & 2 Timecode polling over Sony’s 9-Pin RS422 protocol can be used as a timecode source.
Synchronization The Project Synchronization Setup dialog Steinberg SyncStation The SyncStation is a full-featured hardware synchronizer with extensive machine control capabilities that provides sample-accurate sync with a variety of external devices. Please refer to the documentation that comes with the unit for setup instructions.
Synchronization The Project Synchronization Setup dialog Jam-Sync When the Jam-Sync option is activated, Nuendo will ignore any changes in timecode once it has started playback. This can be useful in special situations, such as synchronizing to broken timecode. IMPORTANT When Jam-Sync is enabled, the “Drop Out Frames” value is ignored so that Nuendo does not stop if timecode is interrupted. Auto-Detect Frame-Rate Changes Nuendo can notify the user when the frame rate of timecode changes at any point.
Synchronization The Project Synchronization Setup dialog 9-Pin Control 1 and 2 When one of the 9-Pin Control options is selected and sync is enabled, transport commands from Nuendo are routed to the 9-Pin Device 1 or 2, as configured in the “Machine Control Output Settings” section. Steinberg ‘Time Base’ and Steinberg SyncStation When this option is selected and sync is enabled, transport commands from Nuendo are routed to a connected Time Base or Steinberg SyncStation unit (respectively).
Synchronization The Project Synchronization Setup dialog MMC Master panel The MMC Master panel can be opened from the Devices menu. In order to use the MMC Master panel, proceed as follows: • Open the Preferences dialog, select the MIDI Filter section and make sure SysEx is activated in the Thru section. This is necessary since MMC uses two-way communication (the tape recorder “replies” to the MMC messages it receives from Nuendo).
Synchronization The Project Synchronization Setup dialog ‘Try to Recognize Device’ vs. ‘Use Generic Device’ The RS422 9-Pin protocol can control a wide variety of devices. Each device may have differing features. Nuendo has a library of device profiles that can be used with 9-Pin devices. You can choose whether Nuendo will try to recognize the device by polling it and comparing that to its library, or you can use a generic device profile.
Synchronization The Project Synchronization Setup dialog Send ‘Shuttle’ instead of ‘FF/Rewind’ Many video decks respond differently to Shuttle commands or FF/Rewind commands. FF/Rewind commands often result in the tape being released from the heads and the motors entering a high-speed wind mode. This takes a great deal of time, and the machine cannot read the timecode on the tape while winding. Therefore position information is lost. Activate this option if shuttle commands are preferred.
Synchronization The Project Synchronization Setup dialog MIDI Machine Control When MIDI Machine Control is selected as the input source, several settings become available in the Machine Control Input Settings section: Option Description MMC Input Set this to the MIDI input that is connected to the master machine control device. MMC Output Set this to the MIDI output that is connected to the master machine control device.
Synchronization Synchronized operation MIDI Timecode Follows Project Time Activate this option to ensure that the MTC output follows Nuendo’s time position at all times including looping, locating, or jumping while playing. If not, MTC will continue on without changing locations at a loop or jump point until playback stops. Timecode Offset This option allows you to specify an offset to be applied to outgoing MTC.
Synchronization Synchronized operation Sync mode When you activate the Sync button, the following happens: • Transport commands are routed to the machine control destination output as specified in the Project Synchronization Setup dialog. Locate, Play, Stop, and Record commands will now be sent to an external device. • Nuendo awaits incoming timecode from the chosen timecode source defined in the Project Synchronization Setup dialog in order to play.
Synchronization Example Scenarios Nuendo can use its auto-punch feature to program Auto Edit functions of a VTR via 9-Pin control. The left and right locators in the Project window define the punch in and punch out of the Auto Edit. Provided that Nuendo is in Sync mode, pressing the Auto Edit button on the 9-Pin Device panel causes the punch-in to happen automatically. NOTE Auto Edits can only happen on a timecode frame. Punching in or out in between video frames is not possible.
Synchronization Example Scenarios • When the Sync button is activated, Nuendo sends MMC commands to the hard disk recorder. Nuendo can remotely start playback of the recorder. • The hard disk recorder is using audio clock from Nuendo’s audio interface as the speed reference. It is also possible for Nuendo to use the audio clock from the recorder. The audio clock is carried over the Lightpipe digital audio connection that also carries audio signals. • The hard disk recorder sends back MTC to Nuendo.
Synchronization Example Scenarios 4. In the “Machine Control Output Settings” section, assign the MIDI input and output ports that are connected to the hard disk recorder. Since MMC uses two-way communication, both MIDI ports should be connected. Be sure the MIDI filter does not echo SysEx data. 5. On the Transport panel, activate the Sync button. This routes transport commands to the hard disk recorder via MIDI and sets Nuendo as the timecode slave. 6. On the hard disk recorder, enable MMC and MTC.
Synchronization Example Scenarios When laying back digital audio to the VTR, the AES signal will already be in sync with the VTR’s digital audio inputs. • 9-Pin machine control is used to manipulate the VTR’s transport. The VTR can shuttle, locate, play, and record from commands issued by Nuendo. Also, Nuendo can arm audio tracks on the VTR for layback. • When the VTR enters play, LTC is fed back to Nuendo which locks to that incoming timecode.
Synchronization Example Scenarios 9. Set the left and right locators to the punch in and punch out points. Auto Edit uses the left and right locators to program the record in and out points of the VTR. 10. Ensure that the pre-roll and post-roll times are appropriate for the VTR. In most cases, the default values will be sufficient for the VTR to get up to speed before punching in. 11. On Nuendo’s Transport panel, activate the Sync button. This turns Nuendo into a timecode slave.
Synchronization Example Scenarios • Audio clock is generated out of the video reference signal. In this example, video sync is being fed to the SyncStation as both a speed reference and a phase reference. Word clock goes from the SyncStation to Nuendo and the digital console. • The console is the machine control master, sending 9-Pin control commands and status messages to the SyncStation. The console controls the playback in Nuendo via the SyncStation. Nuendo is the timecode slave.
Synchronization Working with VST System Link 3. In the “Machine Control Input Source” section, select the SyncStation option. Provided that the SyncStation is set to route record and track arming commands to Nuendo, this will allow the digital console to record-enable audio tracks in Nuendo and enter record mode via 9-Pin commands sent to the SyncStation. 4. On the Transport panel, activate the Sync button. Nuendo will await incoming timecode from the SyncStation. 5.
Synchronization Working with VST System Link Requirements The following equipment is required for VST System Link operation: • Two or more computers. These can be of the same type or use different operating systems – it does not matter. For example, you can link an Intel-based PC to an Apple Macintosh without problems. • Each computer must have audio hardware with specific ASIO drivers. • The audio hardware must have digital inputs and outputs.
Synchronization Working with VST System Link Synchronization Before you proceed, you need to make sure that the clock signals on your ASIO cards are synchronized correctly. This is essential when cabling any kind of digital audio system, not just VST System Link.
Synchronization Working with VST System Link The only exception to this procedure is if you are using an external clock – from a digital mixing desk or a special word clock synchronizer, for example. In that case you must leave all your ASIO cards in clock slave or AutoSync mode and make sure that each of them is listening for the signal coming from the synchronizer. This signal is usually passed through your ADAT cables or word clock connectors in a daisy chain fashion.
Synchronization Working with VST System Link Streaming digital audio between applications PROCEDURE 1. Create input and output busses in both applications and route these to the digital inputs and outputs. The number and configuration of the busses depend on your audio hardware and on your needs. If you have a system with eight digital i/o channels (such as an ADAT connection), you could create several stereo or mono busses, a surround bus together with a stereo bus, or any combination you need.
Synchronization Activating VST System Link Notes for Hammerfall DSP users If you are using RME Audio Hammerfall DSP audio hardware, the Totalmix function allows for extremely complex signal routing and mixing in the audio hardware. This can in some situations lead to “signal loops” in which case the VST System Link will not work. If you want to make absolutely sure this will not cause any problems, select the default or “plain” preset for the Totalmix function.
Synchronization Activating VST System Link 4. Activate the Active checkbox at the top left of the panel. 5. Repeat the steps above for every computer in the network. RESULT As the computers are made active, you should see the Sending and Receiving indicators flashing on each active computer, and the name of each computer should appear in the list at the bottom of the pane. Each computer is assigned a random number – do not worry about this, it is just so the network knows internally which one is which.
Synchronization Activating VST System Link • The Offset Samples setting allows you to adjust whether one machine will play slightly ahead or behind the rest. This is normally not needed, but occasionally with some hardware you may find that the lock is a few samples out. For now, leave it set to 0 – it will most likely be what you want. • The Transfer Bits setting allows you to specify whether you want to transfer 24 or 16 bits.
Synchronization Activating VST System Link Using MIDI As well as supplying transport and sync control, VST System Link also supplies up to 16 MIDI ports, with 16 channels each. PROCEDURE 1. Use the MIDI Inputs and MIDI Outputs value fields to specify the number of MIDI ports you need. The default value is 0 MIDI In and 0 MIDI Out ports. 2. In the Project window, create a MIDI track and open the Inspector (top section). 3.
Synchronization Activating VST System Link Hearing the network audio If you are using an external mixing desk, hearing your audio really is not an issue – just plug the outputs of each computer into the desired channels on the external mixing desk, start playback on one of the computers, and you are good to go. However, many people prefer to mix internally inside the computer and just use a desk for monitoring (or maybe not use any external mixer at all).
Synchronization Activating VST System Link NOTE If your audio cards have multiple sets of input and output connections, you can link up multiple ADAT cables and send audio via any of the busses on any of the cables. Internal mixing and latency One problem with mixing inside the computer is the latency issue we mentioned earlier.
Synchronization Activating VST System Link Application examples Using one computer for VST instruments In this example, one computer will be used as main record and playback machine, and another computer as a virtual synth rack. PROCEDURE 1. Record a MIDI track into computer 1. 2. Once you have finished recording, route the MIDI output of that track to VST System Link MIDI port 1. 3. On computer 2, open up the VST Instruments window and assign an instrument to the first slot in the rack. 4.
Synchronization Activating VST System Link 2. Add the desired effect as an insert effect for the track. Let’s say you add a high-quality reverb plug-in. 3. In the Inspector, select one of the VST System Link busses as input for the audio track. You want to use a separate VST System Link bus, which will only be used for this purpose. 4. Route the channel to the desired output bus.
Video Nuendo is a full-featured postproduction media tool that is capable of dealing with video content in several ways. You can work with video and create complete soundtracks from within Nuendo. The soundtrack can then be inserted into a video file, recorded onto video tape or exported as an audio file that can be married to the video or film later.
Video Before You Start RELATED LINKS Codecs on page 1101 Video Container Formats Video and other multi-media files come in a container format. This container holds various streams of information including video and audio, but also metadata such as synchronization information required to play back audio and video together. Data regarding creation dates, authors, chapter markings, and more can also be held within the container format.
Video Before You Start IMPORTANT MPORTANT The names of codecs and container formats can be confusing. Because many container formats have the same names as the codecs they use within the file, make sure to differentiate the container format or file type, for example .mov or .dv, from the codec used within it. If you are not able to load a certain video file, the required codec is probably not installed on your computer. In this case, you can search the internet (e. g.
Video Preparing a Video Project Dedicated Video Cards The use of a dedicated video card is also supported in Nuendo. These cards are normally used in video editing systems to capture video to disk and display it while editing. They usually have a high resolution and take some strain off the host CPU by providing video compression and decompression processing on the card. NOTE The Decklink cards by Blackmagic Design are automatically recognized by Nuendo. Video will be sent directly to its output.
Video Preparing a Video Project In the Import Video dialog, you can activate the “Extract Audio From Video” option. This imports any embedded audio streams to a newly created audio track positioned below the video track. The new track and the clip will get the name of the video file. The new audio event will start at the same time as the video event, so that they are in sync with each other.
Video Preparing a Video Project In order to match the two frame rates, you have to adjust the frame rate in the Project Setup dialog. PROCEDURE 1. Open the Project menu and select “Project Setup...”. 2. In the Project Setup dialog, click the “Get From Video” button. Provided that the video file has a frame rate supported by Nuendo, it is automatically detected and applied to the project.
Video Preparing a Video Project Thumbnail Memory Cache Size In the Preferences dialog on the Video page, you can enter a value for the “Thumbnail Memory Cache Size”. This determines how much memory is available for displaying “real” thumbnails. The currently shown image is buffered in the thumbnail memory cache. Whenever you move to another image and there is no memory capacity left, the “oldest” picture in the cache is replaced by the current one.
Video Playing Back Video • The thumbnail cache file is generated in the background so that you can continue working with Nuendo. Playing Back Video Video is played back together with all other audio and MIDI material, using the Transport controls. IMPORTANT MPORTANT • For playing back video files, you must have QuickTime 7.1 or higher installed on your computer. There is a freeware version and a “pro” version, which offers additional video conversion options.
Video Playing Back Video Setting Up a Video Output Device PROCEDURE 1. Open the Devices Menu and select “Device Setup...” to open the Device Setup dialog, and select the Video Player page. 2. In the Active column, activate the checkbox for the device that you want to use for playing back video. All devices in your system that are capable of playing back video are listed. The Onscreen Window device serves for playing back the video file on your computer monitor. 3.
Video Playing Back Video To compensate for this, you can activate the “Boost Video (Reduces Audio Performance)” option on the Video Player page in the Device Setup dialog. This excludes one of the available CPU cores from audio processing and reserves it for video tasks like decoding and playback. However, this may reduce the audio performance. NOTE For this option to have an effect, you must also activate the Multi Processing option in the Device Setup dialog (VST Audio System page).
Video Playing Back Video • The higher the resolution, the more processing power is needed for playback. If you need to reduce the processor load, you can reduce the size of the Video Player window, or lower the value on the Video Quality submenu. Setting the Aspect Ratio Resizing the Video Player window by dragging its borders may lead to a distorted image. To prevent this, you can set an aspect ratio for video playback.
Video Editing Video Editing Video Video clips are played back by events just as audio clips are. You can use all the basic editing operations on video events, just as with audio events. You can take a single event and copy it many times for the creation of mix variations. A video event may also be trimmed using the event handles to remove a countdown for instance. Furthermore, you can lock video events just like other events in the Project window, and you can edit video clips in the Pool.
Video Replacing the Audio in a Video File • By using the “Audio from Video File” option on the Import submenu of the File menu. This will insert an audio event starting at the project cursor position on the selected audio track. If no audio track is selected, a new one will be created. • By activating the “Extract Audio on Import Video File” option in the Preferences dialog (Video page). This will automatically extract the audio stream from any video file during import.
Video About Film Transfers RELATED LINKS Audio editing to picture on page 1144 Export Audio Mixdown on page 1018 About Film Transfers When working on film projects, video postproduction editors typically transfer the film footage to video for use with computer video editing systems. Once the film has been edited, it can be transferred back to film for presentation in theaters or may remain in video format for television broadcast and release on videotape or DVD.
Video About Film Transfers The Telecine Process A telecine machine is the device used to transfer film to videotape. It transfers images from each frame of film to frames of video in a very specific way. Having a clear understanding of this process will help alleviate the confusion surrounding pull-up and pull-down sample rates and keeping film audio in sync. Film Frames vs. Video Fields One of the first things that need to be understood is how video signals are formatted in general.
Video About Film Transfers Transferring Film to NTSC Video Transferring film at 24 fps to NTSC video at 29.97 fps presents a few more difficulties than the PAL transfer. Simply speeding up film to 29.97 fps would cause both the visual and audio elements to become too fast and high-pitched to be usable. There is no neat mathematical relationship between 24 fps and 29.97 fps. Another method was devised called the 2-3 pull-down.
Video About Film Transfers This is a block diagram of the 2-3 pull-down process. Notice that 4 frames of film are transferred to 5 frames of video using the 2-3 field technique. 5) The remaining film frames are transferred in this manner, alternating between 2 and 3 fields of video, until the end of the transfer. After four frames of film have been transferred this way, an even five video frames will be created. Over the course of one second, 24 frames of film and 30 frames of video will have gone by.
Video Compensating for Speed Changes IMPORTANT MPORTANT Many video editors working with NTSC video refer to 30 fps as “film speed” as opposed to 24 fps. The reason for this is, if you speed NTSC video (29.97 fps) up by 0.1 %, you are running at the same speed as the original film at 24 fps. Conversations regarding this can often get very confusing. Make sure that you have a clear understanding of the material you are working with when dealing with film transfers and frame rates.
Video Compensating for Speed Changes Either you receive an OMF, AES 31, or OpenTL file that contains audio from the original source tapes conformed to the edited video or you have to record the source tapes into Nuendo yourself. In both cases, you have audio in Nuendo that is edited to the picture but will not stay in sync with the video unless you pull down the sample rate. IMPORTANT MPORTANT • When Nuendo is running at a non-standard sample rate (47.
Video Compensating for Speed Changes Non-Standard Audio Pulls It is also possible to use pulled sample rates that do not fit one of the above scenarios. These sample rates would only need to be used in exceptional circumstances when an error has occurred elsewhere in the process of making a film. These settings can be used to correct for sync errors made at another studio or problems with video editing systems. Just about anything is possible.
Video Compensating for Speed Changes NOTE It makes no difference whether you make your Audio Pull-up/Pull-down settings in the Project Setup dialog or the Project Synchronization Setup dialog. If you use the Project Synchronization Setup dialog, your adjustment is reflected in the Project Setup dialog, and vice versa. Whenever you apply an audio pull to Nuendo from an external clock, also set “Audio Pull-up/Pull-down” to the corresponding setting.
Video Compensating for Speed Changes Altering the video playback speed is done in the Project Synchronization Setup dialog (“Project Setup - Time” section). You have two options: 0.1 % pull-up and 0.1 % pull-down. Video +0.1 % Pull-Up for NTSC Because NTSC video is running -0.1 % slower than the original film, pulling the video speed back up by +0.1 %, returns it to original film speed.
Video Compensating for Speed Changes Working with Video Tape Recorders Whenever you are interfacing Nuendo with external hardware, some additional computer hardware may be necessary. In the case of using video tape recorders (VTRs) with Nuendo, a device capable of dealing with SMPTE timecode, word clock, video reference clock, MIDI machine control, and Sony 9-Pin machine control protocols will be needed.
Video Compensating for Speed Changes Timecode burn-in window in a video image 1123
ReConform The ReConform function allows you to automatically adapt edited audio projects to new cut versions of video material. Post production often includes working on audio mixes with early cut versions of video material. When changed versions of the video material are delivered, you must manually identify the changed parts and adapt the audio mix accordingly. This can be very time-consuming. The ReConform function re-adapts the audio mix to the changed video material.
ReConform ReConform Dialog The ReConform workflow includes the following steps: 1) You import and compare different versions of EDLs. This creates a new EDL that contains the differences between your current project and how it is supposed to be to match the new video. This EDL is called Change EDL. NOTE If available, you can directly import a Change EDL. 2) You manually check and validate the entries in the Change EDL and make corrections where necessary.
ReConform EDLs 1) Old EDL that represents the current cut version of the video material. 2) New EDL that contains an updated version of the video material. 3) Change EDL that displays the changes between old and new EDLs and that includes a preview function. 4) Video preview that displays video frames of selected entries in the Change EDL. 5) Timeline that displays the entries of the old and the new EDL that are used to create the Change EDL.
ReConform EDLs Clip Name Clip name of the entry. EDL File The name of the EDL file from which this entry was read. TR Transition type of the entry. • C - Cut • D - Dissolve • W - Wipe SRC IN Start timecode of the entry in the original video file or clip. SRC OUT End timecode of the entry in the original video file or clip. DST IN Start timecode of the entry in the project. DST OUT End timecode of the entry in the project.
ReConform EDLs Each entry in the Change EDL specifies which parts of the current project version, indicated by the timecodes in the SRC IN and SRC OUT columns, are to be put at a different position in the new project version, indicated by the timecodes in the DST IN and DST OUT columns. If you select an entry in the Change EDL, the corresponding entries in the old and new EDLs are displayed in a different color.
ReConform EDLs Adding Notes to the Preview In the preview, you can create markers to add notes within the destination time range. For example, if you discover problems within the generated data of the preview, you can add notes to the Memos marker track that is automatically created when you activate the preview. The notes are transferred to the corresponding entry in the source version. PROCEDURE 1. Activate the DST button to display the destination version of the selected entry. 2.
ReConform EDLs 4. Optional: In the Add EDL to List dialog, specify a timecode offset for the destination times in the DST Offset field. In the Add EDL to Change EDL List dialog, you can also specify a timecode offset for the source times in the SRC Offset field. 5. Click OK. RESULT The EDL is displayed in the ReConform dialog. The timecode offsets are added. Deleting EDLs You can delete added EDLs from the ReConform dialog. PROCEDURE • In the EDL, click Delete .
ReConform EDLs 4. In the dialog, change the timecodes of the source and destination time ranges. You have the following options: • Activate either SRC IN and SRC OUT or DST IN and DST OUT and change only one of the timecodes. The other timecode is automatically adjusted. The range length remains the same. • Activate either SRC IN and DST IN or SRC OUT and DST OUT and change only one of the timecodes. The other timecode is automatically adjusted.
ReConform EDLs Generating Change EDLs You can generate a Change EDL from an old and a new EDL. PREREQUISITE You have added an old and a new EDL file to the ReConform dialog. PROCEDURE • Click Generate. RESULT The Change EDL is added to the ReConform dialog. It displays the changes between the old and new EDL files. Saving Change EDLs You can save a Change EDL that you generated with the ReConform function. PROCEDURE 1. Click Save Change EDL 2. Enter the name of the file. 3. Click Save. .
ReConform EDLs • Gaps without Inserts Consecutive entries with gaps are combined to a single entry if the gap length is identical in source and destination file and there is no New EDL entry that inserts a new video clip into this gap. • Gaps with Inserts Even if a New EDL entry inserts a new video clip into a gap, consecutive entries with gaps are combined to a single entry if the gap length is identical in source and destination file.
ReConform ReConform Settings RESULT The source and destination ranges of the entry are extended. EXAMPLE If you have a series of film scenes and in one shot, the director chose to use the picture of camera 2 instead of camera 1, this picture change is detected by the ReConform function. In the Change EDL, the original audio for the new picture shot is discarded and replaced by an empty area.
ReConform ReConform Settings Options for EDL Loading B-Roll Renaming If this option is activated, the roll names of all entries in a loaded EDL are searched for a trailing “B”. If a trailing “B” is found in any of the entry names and if the EDL contains an entry with the same name that has no trailing “B”, the B is deleted from the roll name. Change EDL Generating Options Match Name Allows you to decide if the roll name or the clip name of an event is used for creating the Change EDL.
ReConform ReConform Settings Processing Options You can use the following options to specify what the ReConform function must take into account. For every marker setting, a marker track is created in the Project window. Apply ReConform to Allows you to process all tracks or selected tracks. Create Virgin Territories If this option is activated, the ReConform function automatically creates automation gaps where required, for example, where new scenes have been inserted.
ReConform ReConform Settings Create Overlap Markers If this option is activated, overlap markers are created for audio events that overlap each other after the ReConform process. RELATED LINKS Restricting the ReConform Range on page 1137 Including/Excluding Overhanging Audio Events on page 1137 Examples for Markers on page 1139 Markers on page 312 Virgin Territory vs. Initial Value on page 666 Restricting the ReConform Range You can exempt project material from the ReConform process.
ReConform ReConform Settings You can specify the maximum number of overhanging frames. EXAMPLE In the illustration, video clip 1 is shorter than audio event 1. If you activate the Include Overhanging Audio Events option and move the video clip to another position, the audio event moves with the video clip. Its length remains unchanged. If the option is deactivated, the overhanging sections in audio event 1 are cut off.
ReConform ReConform Settings Examples for Markers The following examples provide an overview of the markers that can be created by the ReConform process. Dissolve/Wipe Markers A dissolve or wipe marker is created if either the old or the new EDL contains a dissolve or wipe transition between 2 video clips. In the illustration, such a transition is detected in video version 2 where a marker is added. In the Change EDL, this transition is converted into a cut.
ReConform ReConform Settings Automation Warning Markers Automation warning markers are created if changes in the video cut lead to strong differences in automation curves, such as jumps. In the illustration, the automation curve in version 1 increases gradually from clip 1 to clip 3. In version 2, clip 2 has been deleted, which breaks the automation curve and lets it continue at a different level. The ReConform process detects this and creates an automation warning marker at this position.
ReConform Video Preview event audio 2 is divided in 2 sections. One of these events remains as an audio snippet connected to clip 1. An audio snippet marker is inserted at the position of the audio snippet. The Audio Snippet marker track displays the position of the audio snippet. Video Preview You can preview new and recut video material in the Video section of the ReConform dialog. The video preview allows you to check if the ReConform process performs a correct recut of the available video material.
ReConform Video Preview Video Section The Video section in the ReConform dialog displays video frames of the selected entry in the Change EDL. 1) Open Video Preview Settings Opens the video preview settings. 2) IN/OUT Allows you to switch between first (IN) and last (OUT) video frame. A highlighted button indicates which frame is active. 3) Result Displays the first or last video frame of the recut video track including the corresponding timecode.
ReConform Video Preview New Video Track Configuration Allows you to select one or multiple video files from the Pool to be used as the recut video material. NOTE • If you see no files, you must add them to the Pool. • If you select several files, their timecodes may not overlap. RELATED LINKS Pool on page 572 Selecting Material for New Video Tracks You can select video material from the Pool to be used for the recut version. PREREQUISITE You have added the video files to the Pool. PROCEDURE 1.
Audio editing to picture Introduction Nuendo has been designed from the ground up as a production tool with features that are catered to working with video and film. The depth and versatility of Nuendo’s design allow you to work very precisely and yet retain the freedom and ease that allows greater creativity in creating music and sound design for film and video. In this chapter, real world situations that you would encounter while working with video will be explained.
Audio editing to picture Video timeline and the grid Film frames can be displayed as SMPTE numbers or in feet and frames (a traditional method used by film editors). Nuendo also offers a user-definable frame rate for specialized frame rates including Varicam HD video. RELATED LINKS Video on page 1100 Frame rate (speed) on page 1064 Subframes and days Nuendo can also display the time between frames by using the subframe division which divides each frame into 80 subframes.
Audio editing to picture Conforming production audio When the Project window’s time display is set to timecode, the grid options change. The choices are: • Subframe (1/80th of a frame) • 1/4 frame (20 subframes) • 1/2 frame (40 subframes) • 1 frame • 2 frames • 1 second These grid options allow editing, nudging and moving of events, fades and automation data in increments that relate to the video frames you can see.
Audio editing to picture Conforming production audio If you have already imported your audio file onto a track, proceed as follows to conform it to the video file: • Activate the Snap On/Off button, open the Snap Type pop-up menu, and select “Events”. When you now drag the audio event to the start of the video event, the two events are aligned automatically. Once the reference audio file has been inserted into position, check the sync of audio to video throughout the length of the project.
Audio editing to picture Conforming production audio EDLs EDLs (Edit Decision Lists) are lists of edits created by the video editing suite. These text files contain timecode and source tape information that can be used to align audio events to a reference video file in Nuendo. Each step describes a complete editing task including: • The type of edit (audio, video or both). • The source material (tape number, audio file name or video file name). • The start and ending source timecode values.
Audio editing to picture Conforming production audio An excerpt from a CMX EDL 7. Use the Range Selection tool to create a selection on the proper source track based on the two source timecode values. This can be done via manual entry in the info line. In this example, enter 00:21:29:19 for the range start and 00:21:35:21 for the range end. 8. Open the Edit menu and select Copy. The source material is copied into the clipboard. 9. Use the Range Selection pop-up menu to switch range selections.
Audio editing to picture Adding sound design elements Adding sound design elements Sound design elements can come from a variety of sources including sound effect libraries on CD or hard drives, field recordings and even the production audio source tapes. In order to add these sounds to your project, they must be imported into the Pool or recorded into Nuendo from a tape machine. NOTE Create various folders within the Pool to help organize all the sound files used in your Project.
Audio editing to picture Adding sound design elements Using the Range Selection tool, a four-point editing model can be used to cut out ranges of the work tracks and paste them onto the proper tracks lined up with specific video frames. PROCEDURE 1. Create a folder track and name it “Work Tracks”. This folder track will host several audio tracks that can be used as a scratch pad for editing sound effects and preparing them for use in the project. 2. Create several tracks to work on.
Audio editing to picture Conforming to picture changes instantly. This is really the key to this technique, allowing you to move quickly between source and destination audio while retaining two selections for editing. Adjusting events to picture Once audio events have been placed to picture, their fades, durations and positions can be fine-tuned. Nuendo’s nudge features are designed just for this type of use.
Audio editing to picture Conforming to picture changes Picture cut To make a picture change involving the removal of existing video, proceed as follows: PROCEDURE 1. Determine the starting point and duration of the section to be removed. This information should come from the video editor in the form of timecode values specifying the start point and duration of each cut. When several changes are made to a video, information about those changes comes in the form of a “change list”.
Audio editing to picture Conforming to picture changes The range has been defined for the cut on all tracks. 6. On the Edit menu–Range submenu, select “Cut Time”. This will remove the selected area and move all the following events to the left by the same amount, filling the gap. The audio should now play in sync with the new video from the edit point on to the end. The edit is complete. All events to the right have been moved to fill the gap.
Audio editing to picture Synchronize tempo maps to picture 3. In the Range Start field in the info line, enter the starting frame of the insertion. You can also locate the cursor to the starting frame and press [E] (“Left Selection Side to Cursor”). 4. In the Range Length field in the info line, enter the duration of the inserted video. This creates a selection of the same size as the inserted video. 5. On the Edit menu–Range submenu select “Insert Silence”.
Audio editing to picture Using standard Nuendo tools for postproduction purposes A spotting list is created by viewing a film or video and determining where certain sound effects and other audio elements will go during postproduction. The list consists of timecode values and descriptions of the sounds that will go there.
Audio editing to picture Using standard Nuendo tools for postproduction purposes Event envelopes For even more control, the event envelope provides another type of volume control over the audio event. Instead of controlling only fade ins and outs or the overall volume of the event, envelopes can alter the volume of audio anywhere within the event. To access the event envelope, select the Draw tool and simply click within any audio event. A volume envelope line appears with a new curve point.
Audio editing to picture Using standard Nuendo tools for postproduction purposes • Altering the first track number will change the number of the topmost track in the selection. • Altering the last track will change the number of the bottom track in the selection. All tracks in between these two will be included in the selection. The info line while using the Range selection tool. Notice the top and bottom track numbers at the right of the display.
Audio editing to picture Using standard Nuendo tools for postproduction purposes You can also use the “Cut Head” and “Cut Tail” functions on the Edit menu for the editing of ranges and events. Furthermore you can use the “Adjust Fades to Range” command on the Audio menu. IMPORTANT MPORTANT Range editing can affect any type of event in the Project window including video, MIDI, markers, and automation data.
Audio editing to picture Using standard Nuendo tools for postproduction purposes Edit Mode follows the snap point of each audio event. If the snap point has not been modified, it remains at the start of the event. It can often be necessary to align a portion of audio in the middle of the event. Adjusting the snap point to a position in the audio event that is timing sensitive will allow you to use Edit Mode to visually line up that position to the video.
Audio editing to picture Using standard Nuendo tools for postproduction purposes Edit Mode: Range Selection Tool with audio fading in If you want the audio to fade in, reaching full volume at a certain position in the video, and fade out at another position, here is a quick way of achieving this: IMPORTANT MPORTANT This assumes that the audio event is already positioned and sized correctly according to the video. PROCEDURE 1. In Edit Mode, select the Range Selection tool. 2.
Audio editing to picture Using standard Nuendo tools for postproduction purposes An EDL with source and destination timecode values.
ReWire Introduction ReWire is a special protocol for streaming audio between two computer applications. Developed by Propellerhead Software and Steinberg, ReWire provides the following possibilities and features: • Realtime streaming of up to 256 separate audio channels, at full bandwidth, from the “synthesizer application” into the “mixer application”. In this case, the “mixer application” is of course Nuendo. An example of a “synthesizer application” is Propellerhead Software’s Reason.
ReWire Launching and quitting Launching and quitting When using ReWire, the order in which you launch and quit the two programs is very important. Launching for normal use with ReWire PROCEDURE 1. First launch Nuendo. 2. Enable one or several ReWire channels in the ReWire Device dialog for the other application. 3. Launch the other application. It may take slightly longer for the application to start when you are using ReWire.
ReWire Activating ReWire channels Activating ReWire channels ReWire supports streaming of up to 256 separate audio channels. The exact number of available ReWire channels depends on the synthesizer application. Using the ReWire Device panels in Nuendo, you can specify which of the available channels you want to use. PROCEDURE 1. Open the Devices menu and select the menu item with the name of the ReWire application. All recognized ReWire compatible applications will be available on the menu.
ReWire How the ReWire channels are handled Tempo settings As far as tempo goes, Nuendo is always the master. This means that both programs will run in the tempo set in Nuendo. However, if you are not using the tempo track in Nuendo, you can adjust the tempo in either program, and this will immediately be reflected in the other. MPORTANT IMPORTANT If you are using the tempo track in Nuendo (i. e.
ReWire Routing MIDI via ReWire Routing MIDI via ReWire When using Nuendo with a ReWire-compatible application, additional MIDI outputs will automatically appear on the MIDI Output pop-up menus for MIDI tracks. This allows you to play the synthesizer application via MIDI from Nuendo, using it as one or several separate MIDI sound sources. The MIDI outputs for a Reason song. Here, each output goes directly to a device in the Reason rack.
Key Commands Introduction Most of the main menus in Nuendo have key command shortcuts for certain items on the menus. In addition, there are numerous other Nuendo functions that can be performed via key commands. These are all default settings. You can customize existing key commands to your liking, and also add commands for many menu items and functions that currently have no key command assigned.
Key Commands Setting up key commands Setting up key commands Adding or modifying a key command In the Key Commands dialog you will find all main menu items and a large number of other functions, arranged in a hierarchical way similar to the Windows Explorer and Mac OS Finder. The function categories are represented by a number of folders, each containing various menu items and functions.
Key Commands Setting up key commands 5. Alternatively, you can use the search function in the dialog to find the desired item. For a description of how to use the search function, see below. 6. When you have found and selected the desired item, click in the “Type in Key” field and enter a new key command. You can choose any single key or a combination of one or several modifier keys ([Alt]/[Option], [Ctrl]/[Command], [Shift]) plus any key. Just press the keys you want to use. 7.
Key Commands Setting up key commands • The “Main Menu” folder contains a number of subfolders, which each contain items found on the main menus in Nuendo. • The “Command Categories” folder also contains a number of subfolders, each of which contains a number of program functions not available on any of the main menus. All the items and functions in the subfolders can have key commands assigned to them.
Key Commands Setting up key commands Searching for key commands If you want to know which key command is assigned to a certain function in the program, you can use the Search function in the Key Commands dialog. PROCEDURE 1. Click in the search text field at the top left of the dialog and type in the function for which you want to know the key command. This is a standard word search function, so you should type the command as it is spelled in the program.
Key Commands Setting up key commands 2. Click New Macro. A new, unnamed macro appears in the Macros list. Name it by typing the desired name. You can rename a macro at any time by selecting it in the list and typing in a new name. 3. Make sure that the macro is selected, and use the categories and commands in the upper half of the dialog to select the first command you want to include in the macro. 4. Click Add Command. The selected command appears in the list of commands in the Macros section. 5.
Key Commands Setting up key commands 4. Click OK to save the preset. Your saved key commands settings are now available on the Presets pop-up menu. Saving partial key commands settings It is also possible to save partial key commands settings. This is useful for example if you have made settings that only relate to a specific project or settings that you wish to apply only in certain situations.
Key Commands Setting up key commands Loading earlier key commands settings If you have saved key commands settings with an earlier program version, it is possible to use them in this Nuendo version, by using the “Import Key Command File” function, which lets you load and apply saved key commands. PROCEDURE 1. Open the Key Commands dialog. 2. Click the “Import Key Command File” button to the right of the Presets pop-up menu. A standard file dialog opens. 3.
Key Commands Setting up key commands Using Alternative Key Sets As an alternative to saving and loading key commands settings as previously described, you can set up and save “alternative key sets”. This allows you to switch between different key commands settings “on the fly” while you are working in the program, instead of having to go into the Key Commands dialog to change them.
Key Commands Setting up tool modifier keys 2. Make the desired changes. 3. Click the Store Alternative Set button (the disk icon) in the Alternative Key Sets section. The key set is saved with the updated settings. Removing a saved Alternative Key Set • To remove a saved key set, select it in the list and click the “Remove” button (the trash icon) in the Alternative Key Sets section. A dialog opens asking if you want to remove the key set or cancel the operation.
Key Commands The default key commands The default assignments for tool modifier keys can be found in the Preferences dialog (Editing–Tool Modifiers page). Here, you can also edit them: PROCEDURE 1. Open the Preferences dialog and select the Editing–Tool Modifiers page. 2. Select an option in the Categories list, and locate the action for which you want to edit the modifier key. For example, the “Copy” action mentioned above resides in the category “Drag & Drop”. 3.
Key Commands The default key commands Automation category Option Key command Open Panel [F6] Redo Pass [Ctrl]/[Command]-[Alt]/[Option]-[Shift]-[Z] Read Automation for All Tracks On/Off [Alt]/[Option]-[R] Write Automation for All Tracks On/Off [Alt]/[Option]-[W] Undo Pass [Ctrl]/[Command]-[Alt]/[Option]-[Z] Chords Option Key command Chord Pads [Ctrl]/[Command]-[Shift]-[C] Devices category Option Key command MixConsole [F3] Video [F8] Virtual Keyboard (NEK only) [Alt]/[Option]-[K] VST
Key Commands The default key commands Option Key command Group [Ctrl]/[Command]-[G] Insert Silence [Ctrl]/[Command]-[Shift]-[E] Invert [Alt]/[Option]-F Left Selection Side to Cursor [E] Lock [Ctrl]/[Command]-[Shift]-[L] Move to Cursor [Ctrl]/[Command]-[L] Move to Front (Uncover) [U] Mute [M] Mute Events [Shift]-[M] Mute/Unmute Objects [Alt]/[Option]-[M] Open Default Editor [Ctrl]/[Command]-[E] Open Score Editor (NEK only) [Ctrl]/[Command]-[R] Open/Close Editor [Return] Paste [C
Key Commands The default key commands Editors category Option Key command Show/Hide Editors [Ctrl]/[Command]-[Alt]/[Option]-[E] Show/Hide Info Line [Ctrl]/[Command]-[I] Show/Hide Inspector [Alt]/[Option]-[I] Show/Hide Overview [Alt]/[Option]-[O] Show/Hide Rack [Alt]/[Option]-[T] Toggle Rack Tabs [Ctrl]/[Command]-[Alt]/[Option]-[T] File category Option Key command Close [Ctrl]/[Command]-[W] New [Ctrl]/[Command]-[N] Open [Ctrl]/[Command]-[O] Quit [Ctrl]/[Command]-[Q] Save [Ctrl]/[Com
Key Commands The default key commands Option Key command Toggle Location Tree [Ctrl]/[Command]-[Alt]/[Option]-Num [4] Toggle Locations [Ctrl]/[Command]-[Alt]/[Option]-Num [8] Toggle Previewer [Ctrl]/[Command]-[Alt]/[Option]-Num [2] MIDI category Option Key command Show/Hide Controller Lanes [Alt]/[Option]-[L] Navigate category Option Key command [Shift]-[Down Arrow] Add Down: Expand/Undo selection in the Project window to the bottom/ Move selected event in the Key Editor down 1 octave Add Lef
Key Commands The default key commands Option Key command Up: Select next in the Project window/ Move selected event in the Key Editor one semitone up [Up Arrow] Nudge category Option Key command End Left [Alt]/[Option]-[Shift]-[Left Arrow] End Right [Alt]/[Option]-[Shift]-[Right Arrow] Left [Ctrl]/[Command]-[Right Arrow] Right [Ctrl]/[Command]-[Right Arrow] Start Left [Alt]/[Option]-[Left Arrow] Start Right [Alt]/[Option]-[Right Arrow] Project category Option Key command Open Browser [
Key Commands The default key commands Option Key command Next Tool [F10] Play tool [9] Previous Tool [F9] Range tool [2] Object Selection tool [1] Split tool [3] Zoom tool [6] TrackVersions category Option Key command Duplicate Version [Ctrl]/[Command]-[Shift]-[D] New Version [Ctrl]/[Command]-[Shift]-[N] Next Version [Ctrl]/[Command]-[Shift]-[H] Previous Version [Ctrl]/[Command]-[Shift]-[G] Transport category Option Key command Auto Punch In [I] Auto Punch Out [O] Cycle [÷]
Key Commands The default key commands Option Key command Locators to Selection [P] Loop Selection [Alt]/[Option]-[P] Metronome On/Off [C] Nudge Cursor Left [Ctrl]/[Command]-Num [-] Nudge Cursor Right [Ctrl]/[Command]-Num [+] Panel (Transport panel) [F2] Play Selection Range [Alt]/[Option]-[Space] Recall Cycle Marker 1 to 9 [Shift]-Num [1] to Num [9] Record Num [*] Retrospective Record [Shift]-Num [*] Return to Zero Num [.
Key Commands The default key commands Workspaces category Option Key command New [Ctrl]/[Command]-Num [0] Reset [Alt]/[Option]-Num [0] Update Workspace [Alt]/[Option]-U Workspace 1-9 [Alt]/[Option]-Num [1-9] Workspace X [Ctrl]/[Command]-[Alt]/[Option]-Num [0] Zoom category Option Key command Zoom Full [Shift]-[F] Zoom In [H] Zoom In Tracks [Ctrl]/[Command]-[Down Arrow] Zoom In Vertically [Shift]-[H] Zoom Out [G] Zoom Out Tracks [Ctrl]/[Command]-[Up Arrow] Zoom Out Vertically [Shi
File handling Importing audio In Nuendo audio can be imported in a variety of different formats. For example, you can import tracks from audio CDs, or import audio files saved in different formats (compressed and uncompressed).
File handling Importing audio • When importing multiple files at the same time, you can select to convert the imported files automatically if necessary, i. e. if the sample rate is different than the project’s or the resolution is lower than the project setting. NOTE When you import 5-channel interleaved files that do not have the speaker arrangement metadata (“BEXT”), Nuendo always considers them as 5.0 format. Use Settings No Options dialog will appear when you import.
File handling Importing audio • To import the CD tracks into the Pool, select “Import Audio CD…” from the Media menu. This might be the preferred method if you want to import several CD tracks in one go. Selecting one of the Import Audio CD menu items brings up the following dialog: 1) Play 2) Stop 3) Play from Left Marker 4) Play to Right Marker 5) Start of selection handle 6) End of selection handle To import one or more tracks, proceed as follows: PROCEDURE 1.
File handling Importing audio 3. In the Windows version, select the data transfer speed from the Speed pop-up menu. While you normally want to use the fastest possible speed, you may have to select a slower speed for flawless audio extraction. 4. Activate the Copy checkbox for every audio file you want to import. You can also select a copy section for every file, see below. 5. Click on the Copy button to create a local copy of the audio file(s) or section(s).
File handling Importing audio • If you want to copy and import a section of an audio CD track only, select the track in the list and specify the start and end of the selection to be copied by dragging the handles in the copy selection ruler. NOTE Note that you can import sections of several audio CD tracks by selecting them in turn and adjusting the selection. The start and end settings for each track are displayed in the list. • You can audition the selected audio CD track by clicking the Play button.
File handling Importing audio Importing ReCycle files ReCycle by Propellerhead Software is a program designed especially for working with sampled loops. By “slicing” a loop and making separate samples of each beat, ReCycle makes it possible to match the tempo of a loop and edit the loop as if it was built of individual sounds. Nuendo can import two file types created by ReCycle: • REX files (export file format of the first versions of ReCycle, extension “.rex”). • REX 2 files (file format of ReCycle 2.
File handling Importing audio Importing compressed audio files Nuendo can import several common audio compression formats. The procedure is the same as when importing any non-compressed audio file, with one important thing to note: For most compressed file formats, Nuendo creates a copy of the file and converts this to Wave format (Windows) or AIFF format (Mac OS X) before importing it. The original compressed file will not be used in the project.
File handling Exporting and importing OMF files Exporting and importing OMF files Open Media Framework Interchange (OMFI) is a platform independent file format intended for the transfer of digital media between different applications. Nuendo can import and export OMF files (file extension “.omf”), allowing you to use Nuendo in conjunction with other audio and video applications.
File handling Exporting and importing OMF files 3. If you want to create copies of all the media files, choose the “Copy Media” option. By default, the copied audio files are placed in a subdirectory in the export destination folder. To specify a different location for the copied files, use the “Media Destination Path” field. 4. If you want to copy only the portions of audio files that are used in the project, activate “Consolidate Events”.
File handling Exporting and importing AAF files 3. If you choose to create a new project, a file dialog opens in which you can select the project folder. Select an existing project folder or create a new one. 4. The Import Options dialog opens, allowing you to choose a track for the import. • Activating the “Import all media files” option allows you to import media that is not referenced by events.
File handling Exporting and importing AAF files Exporting AAF files PROCEDURE 1. Select “AAF…” from the Export submenu of the File menu. 2. You can choose which tracks will be exported from your project by clicking in the export column for each track name in the list. A checkmark will appear next to each track that will be exported. You may also click the “Select All” button to select all tracks in the project for export. 3.
File handling Exporting and importing AAF files Importing AAF files PROCEDURE 1. Select “AAF…” from the Import submenu of the File menu, and select the AAF file that you want to import. 2. In the dialog that opens, select whether you want to create a new project for the imported files. 3. Select a directory or create one for the new project, and click OK. 4. In the dialog that opens, select the tracks you wish to import by clicking in the Import column next to each track.
File handling Exporting and importing AES31 files Particularly in broadcast workflows, MXF is often used to manage multi-track projects including video. To import MXF media, proceed as follows: PROCEDURE 1. Select “MXF…” from the Import submenu of the File menu, and select the MXF file that you want to import. 2. In the dialog that opens, select whether you want to create a new project for the imported files. 3. Select a directory or create one for the new project, and click OK.
File handling Exporting and importing OpenTL files • Any Mixer settings or automation made in Nuendo. • MIDI Tracks. The saved file will be an XML file (but with the extension “.adl”, for audio decision list) – this means you can open it in any text editor to check file references, etc. Importing AES31 files PROCEDURE 1. Select “AES31…” from the Import submenu of the File menu. 2. Navigate to the location of the AES31 file (extension “.adl”), select it and click Open.
File handling Exporting and importing OpenTL files Audio file formats are volume type dependent: for FAT32 this is BWF (*.wav) and for HFS+ this is SDII. OpenTL files can only be transferred within file systems of the same format which means that it is not possible to import an OpenTL project exported from Mac (HFS+) into a Windows system (FAT32) or vice versa, unless you use a conversion utility (e. g. MM-EDL). Nuendo for Windows supports OpenTL FAT32/BWF.
File handling Exporting and importing standard MIDI files • Supported sample rates (Hz): 44056, 44100, 44144, 47952, 48000, 48048, 42294, 42336, 45938, 45983, 46034, 46080, 50000, 50050, 88200, 96000 • Bit depth: 16, 24 • Audio file types: BWF (Broadcast Wave format), WAVE (Standard Wave), SDII (Sound Designer II, Mac only) • Volume formats: FAT32, NTFS, HFS+ • Automation support: clip based volume, breakpoint volume and mute • Fade support: fade in, fade out, and cross fade • Frame rates (Fps
File handling Exporting and importing standard MIDI files Exporting MIDI files To export your MIDI tracks as a standard MIDI file, open the File menu and select “MIDI File…” from the Export submenu. A regular file dialog opens, allowing you to specify a location and name for the file. When you have specified a location and a name for the file, click “Save”. The Export Options dialog opens, allowing you to specify a number of options for the file, e. g.
File handling Exporting and importing standard MIDI files Option Description Export Inserts If this is activated and you are using MIDI modifiers or any MIDI plug-ins as insert effects, the modifications to the original MIDI notes that occur as a result of the effect(s) will be included in the MIDI file.
File handling Exporting and importing standard MIDI files Importing MIDI files To import a MIDI file from disk, proceed as follows: PROCEDURE 1. Select “MIDI File…” from the Import submenu of the File menu. 2. If there is already an open project, a dialog opens in which you can select whether a new project is created for the file. If you select “No”, the MIDI file will be imported into the current project. 3. Locate and select the MIDI file in the file dialog that opens and click Open.
File handling Exporting and importing standard MIDI files Option Description Auto Dissolve Format 0 If this is activated and you import a MIDI file of type 0 into the project, the file will automatically be “dissolved”: For each embedded MIDI channel in the file, a separate track will be inserted in the Project window. If this is deactivated, only one MIDI track will be created. This track will be set to MIDI Channel “Any”, allowing all MIDI events to play back on their original channels.
File handling Exporting and importing MIDI loops Exporting and importing MIDI loops Nuendo allows you to import MIDI loops (file extension “.midiloop”) and to save instrument parts as MIDI loops. MIDI loops are handy, as they contain not only MIDI notes and controllers, but also the number of voices, the associated VST instrument and instrument track preset settings.
File handling Exporting and importing track archives Importing Tracks from a Track Archive You can import individual tracks from existing projects into your current project by means of track archives. The import options allow you to import tracks either as new tracks or as new TrackVersions of existing tracks. Track archives are saved as XML files. PROCEDURE 1. Select File > Import > Track Archive. 2. In the file dialog, select the XML file containing the required tracks and click Open.
File handling Exporting and importing track archives Import Allows you to select the tracks that you want to import into your project. Type Shows the track types of the available tracks. Track Name Shows the track names of the available tracks. Destination Allows you to select if a track is imported into your active project as a new track, or as a new TrackVersion of an existing track.
File handling Importing Audio Tracks from a Project Project Settings Shows the sample rate, the frame rate, and the project start time for both the imported tracks and your active project. Copy to Active Project Folder If this option is activated, the media files of the imported tracks are copied to your active project folder. If this option is deactivated, the media file path of the original project is referenced.
File handling Importing Audio Tracks from a Project 6. Optional: Activate Perform Sample Rate Conversion, if the sample rate of the imported media files is different from the sample rate of your project. 7. Click OK. RESULT The audio tracks are imported in your active project.
File handling Converting audio tracks (multi-channel to mono and vice versa) • If a track is imported as a new TrackVersion, this new track version contains all audio events of the imported track. The mixer settings of your active project are not changed. To select a track as destination for the imported track, click on the corresponding list entry.
File handling Converting audio tracks (multi-channel to mono and vice versa) • When you want to export the tracks of your project for further processing in an application that only supports mono tracks. • When you want to create a project from multi-channel tracks that are not stereo or surround (polyphonic mono). This format is often used for production sound, created by a field recorder, for example. • When you want to edit individual channels of a multi-channel file.
File handling Converting audio tracks (multi-channel to mono and vice versa) The option below allows you to decide how the created files will be named. • Activate “Use Numbers For File Names” if you want the tracks and files to get the name of the source track, followed by a number. This is useful if you are working with source files that do not contain stereo or surround material, but polyphonic mono audio.
File handling Converting audio tracks (multi-channel to mono and vice versa) • If you have recorded a stem of multi-mono surround tracks. Saving the recordings in one interleaved file allows you to assign this “stem” to one single channel in the Mixer (facilitating editing as well as giving you a better overview). NOTE • You cannot convert mono tracks containing audio parts. Only audio events are supported. • You cannot convert tracks containing events in Musical Mode.
File handling Converting audio tracks (multi-channel to mono and vice versa) RELATED LINKS Export Audio Mixdown on page 1018 Performing the conversion To convert several mono tracks into one or more multi-channel tracks, proceed as follows: PROCEDURE 1. If you only want to convert particular mono tracks, select them in the Project window. If you want convert all mono tracks in your project, you do not have to select them. 2. On the Project menu, Convert Tracks submenu, select “Mono to Multi-Channel…”.
File handling Clip packages Clip packages In postproduction it is common practice to create sounds by combining or “layering” several different sound components (e. g. for explosions, background atmospheres, or effect sounds). Usually, these sound combinations are being reused at a later stage. This might be in the same project (e. g. for recurring situations within one movie), or a different project (such as a later episode of a series or for a different production).
File handling Clip packages NOTE • Audio clips set to musical time base are always copied in entirety into the clip package. • If a clip package contains audio material from VST Sound archives, this is not copied into the clip package. In this case, a reference to the original VST Sound archive is saved. For these clip packages to work in another project or studio, the referred VST Sound files need to be present on the system.
File handling Clip packages • To save the clip package in another folder than the default folder, click on the button in the top right of the dialog to open a pop-up menu and select “Choose Folder…”. At the bottom of the menu, the last 5 locations are available. 4. In the Attributes Inspector section, you can specify certain attribute values for your clip package. To open the Attributes Inspector, click the button at the bottom left of the dialog.
File handling Clip packages • You can use the MediaBay context menu and select where to insert the clip package in the active project: at a specific timecode position, at the cursor, the left locator or at origin (the same position as in the original project). There is one thing to note: When importing a clip package that contains events from tracks set to musical time base, the musical positions (bars and beats) of the events and not the timecode positions are taken into account.
File handling Clip packages Clip packages in the MediaBay Clip packages can be managed like other media types in the MediaBay. You can filter the MediaBay Results list to show only clip packages. RELATED LINKS MediaBay on page 598 Clip packages in the Pool In the Pool, clip packages are available in a separate folder. • The Pool functions “Prepare Archive”, “Export Pool”, “Import Pool”, and “New Library” will include any clip packages you created or imported.
Customizing Workspaces Workspaces in Nuendo allow you to organize windows and specific dialogs for your common work routines. A workspace saves the size, position, and layout or setting of important windows and dialogs, such as the Project window, MixConsole, or Transport panel. You can define several workspaces. This allows you to quickly switch between different working modes, either through the Workspaces menu or by using key commands.
Customizing Workspaces Project workspace Allows you to save a specific layout of dialogs and windows that is saved with your current project. This allows you to open your project layout on other computers. Project workspaces are indicated by the letter P on your Workspaces menu. Workspace Templates Nuendo provides sample templates that you can use as a starting point for your own workspaces.
Customizing Workspaces Workspaces for External Projects You can determine the view of external projects when you open them in Nuendo. When you open external projects, which are projects that have been created on other computers, the window and dialog settings that you last used on your computer are applied by default. This can either be the last used view that was saved on your computer or one of your specified global workspaces.
Customizing Workspaces Editing Workspaces You can modify your created workspaces. NOTE To change a global workspace to a project workspace and vice versa, you must save it as a different workspace type. PROCEDURE 1. On the Workspaces menu, select the workspace that you want to modify. 2. Make your changes as required. 3. On the Workspaces menu, select one of the following: • To update your current workspace, click Update Workspace.
Customizing Using the Setup options Move Down Moves down a workspace by one position. Delete Deletes a selected workspace. Add Allows you to create a new workspace using the New Workspace dialog. NOTE • You can also click and drag a workspace to another position within a list. • You can move workspaces only within a list. For a global workspace to become a project workspace and vice versa, you must save it as a different type of workspace.
Customizing Using the Setup options The info line setup context menu The Setup dialogs If you select “Setup…” from the setup context menus, the Setup dialog opens. This allows you to specify which elements are visible/hidden and to set the order of the elements. You can also save and recall setup presets in this dialog. The dialog is divided into two sections. The left section displays the currently visible items and the right section displays the currently hidden items.
Customizing Configuring the main menu items Configuring the main menu items You can configure what items are shown on the main menus and submenus, and even hide entire menus. By customizing the menus you can hide items relating to program functions you never use, to customize the program according to your needs. For example, if you never use the Networking features in Nuendo, you can hide the entire Network menu from view.
Customizing Appearance For these items there is no entry in the Menu column. • If you set a main menu folder (as opposed to a menu item) to Off in the Menu column, the entire menu will be hidden from view. The exception to this is if the main menu folder contains non-removable menu items, in which case all hideable items on the menu will be set to Off, but the menu will still be visible. • The Command column sets the key command On/Off status for the corresponding menu item.
Customizing Appearance Allows you to adjust the default colors for the level faders of the channel types in the MixConsole. • MixConsole Racks Allows you to adjust the default colors for the racks in the MixConsole. • MixConsole Channel Strip Allows you to adjust the default colors for the channel strips in the MixConsole.
Customizing Appearance 2. Use the tools in the color selector pane to select a new color. The current and the new color are shown at the bottom of the pane. 3. Click outside the color selector pane to confirm your settings and apply your changes. Note that you must restart the application for some changes to take effect. • To copy a color and paste it on another element, even on another subpage, open the context menu in the color selector pane and select “Copy Color” and “Paste Color”.
Customizing Appearance Metering–Appearance Nuendo allows for precise color assignment of level meter values. On the Metering–Appearance page you can specify colors for quick identification of what levels are being reached. You can adjust the colors for the Channel Meter or the Master Meter. For the Master Meter you can only make changes for the Digital Scale scaling mode. Changes take effect when you click Apply or OK.
Customizing Applying colors in the Project window • To remove a handle, select the handle and click the Remove button, or [Ctrl]/[Command]-click the handle. Applying colors in the Project window You can use color scheming for an easier overview of tracks and events in the Project window. Colors can be applied individually to tracks and events/parts. If you color a track, the corresponding events and parts are displayed in the same color.
Customizing Applying colors in the Project window Applying track colors automatically In the Preferences dialog (Event Display–Tracks page), you can find the “Auto Track Color Mode” option. This offers you several options for automatically assigning colors to tracks that are added to the project. The following options are available: Use Default Track Color The default color (gray) is assigned. Use Previous Track Color Analyzes the color of the selected track and uses the same color for the new track.
Customizing Applying colors in the Project window RESULT The color is applied to the selected item. If you change the color of a track, the new color is used for all events on the track and for the corresponding channel in the MixConsole. NOTE If you assign a different color to individual parts or events, they no longer follow color changes of the track. Resetting the Default Color You can reset the color of a track, part, or event to the default color. PROCEDURE 1.
Customizing Applying colors in the Project window Color fields Click a field to open a color selector pane that allows you to specify a new color. Click Options for the following options. Append New Color Adds a new color button at the bottom of the color list. Insert New Color before Selection Adds a new color button above the selected color button. Remove Selected Color Removes the selected color. Reset Selected Color Resets the selected color to the factory settings.
Customizing Where are the settings stored? Reset Current Set to Factory Settings Returns to the standard color palette. Adding and editing individual colors In the Project Colors dialog, you can fully customize the color palette. To add new colors to the color palette, proceed as follows: PROCEDURE 1. Add a new color by clicking the Insert New Color button. 2. In the Project Colors section, click the newly created color field to activate the new color for editing. 3.
Customizing Where are the settings stored? NOTE It is a good idea to make a backup copy of your preference files once you have set things up the way you want! This way, if another Nuendo user wants to use his or her personal settings when working on your computer, you can restore your own preferences afterwards. • On Windows systems, preference files are stored in the following location: “\Users\\AppData\Roaming\Steinberg\\”.
Customizing Where are the settings stored? Disabling the Preferences Sometimes you might experience odd program behaviour that can be due to inconsistent preferences settings. In such a case, you should save your project and relaunch Nuendo. You can disable or delete the current preferences settings, and load the factory defaults instead. PROCEDURE 1. Quit Nuendo. 2. Launch Nuendo, and when the splash screen appears, hold down [Shift]-[Ctrl]/[Command]-[Alt]/[Option]. 3.
Optimizing Optimizing Audio Performance This section gives you some hints and tips on how to get the most out of your Nuendo system, performance-wise. Some of this text refers to hardware properties and can be used as a guide when upgrading your system. Look for details and current information on the Nuendo web site. Performance Aspects Tracks and Effects The faster your computer, the more tracks, effects, and EQ you are able to play.
Optimizing Optimizing Audio Performance System Factors That Affect Performance RAM The more RAM is installed in your computer, the better. IMPORTANT MPORTANT On computers running a Windows 32-bit operating system, a running application can address a maximum of 2 GB of RAM. On a Macintosh computer running 32-bit Mac OS X, this limit is 4 GB. The 64-bit versions of Windows and Mac OS X are able to assign considerably more than 4 GB of RAM to a running 64-bit application.
Optimizing Optimizing Audio Performance Hard Disk and Controller The number of hard disk tracks that you can record and play back at the same time also depends on the speed of your hard disk and hard disk controller. If you use E-IDE disks and controllers, make sure that the transfer mode is DMA Busmaster. Under Windows, you can check the current mode by launching the Windows Device Manager and looking for properties of the IDE ATA/ATAPI controller’s primary and secondary channel.
Optimizing Optimizing Audio Performance Multi Processing When Multi Processing is activated and there is more than one CPU in your system, the processing load is distributed evenly to all available CPUs, allowing Nuendo to make full use of the combined power of the multiple processors. • To activate Multi Processing, select Devices > Device Setup, select VST Audio System, and activate Activate Multi Processing.
Optimizing Optimizing Audio Performance ASIO-Guard The ASIO-Guard allows you to shift as much processing as possible from the ASIO realtime path to the ASIO-Guard processing path. This results in a more stable system. The ASIO-Guard allows you to preprocess all channels as well as VST instruments that do not need to be calculated in realtime. This leads to less dropouts, the ability to process more tracks or plug-ins, and the ability to use smaller buffer sizes.
Optimizing Optimizing Audio Performance 4. Select an ASIO-Guard Level. The higher the level, the higher the processing stability and audio processing performance. However, higher levels also lead to an increased ASIO-Guard latency and memory usage.
Preferences The Preferences dialog provides options and settings that control the global behavior of the program. Preferences Dialog The Preferences dialog is divided into a navigation list and a settings page. Clicking one of the entries in the navigation list opens a settings page. • To open the Preferences dialog, select File > Preferences. In addition to the settings, the dialog provides the following options: Preference Presets Allows you to select a saved preference preset.
Preferences Preferences Dialog Store Allows you to save the current preferences as a preset. Rename Allows you to rename a preset. Delete Allows you to delete a preset. Store marked preferences only Allows you to select which pages are included in the preset. Help Opens the dialog help. Defaults Resets the options on the active page to their default settings. Apply Applies any changes that you have made without closing the dialog. OK Applies any changes that you have made and close the dialog.
Preferences Appearance Saving Partial Preferences Settings You can save partial preferences settings. This is useful when you have made settings that only relate to a certain project or situation, for example. When you apply a saved partial preference preset you only change the saved settings. All other preferences will be left unchanged. PROCEDURE 1. Select File > Preferences. 2. In the Preferences dialog make your settings. 3. Activate Store marked preferences only.
Preferences Configuration Editors Allows you to adjust the default colors in the editors. MixConsole Faders Allows you to adjust the default colors for the level faders of the channel types in the MixConsole. MixConsole Racks Allows you to adjust the default colors for the racks in the MixConsole. MixConsole Channel Strip Allows you to adjust the default colors for the channel strips in the MixConsole. Configuration This section allows you to configure what items are shown on the main menus and submenus.
Preferences Editing RELATED LINKS Configuring the main menu items on page 1228 Editing Display Warning before Deleting Non-Empty Tracks If this option is activated, a warning message is displayed if you delete tracks that are not empty. Default Track Time Type This allows you to specify the default track time type for new tracks. When you change this setting, all new tracks will use the selected time type. • Musical All added tracks are set to musical time type. The respective button shows a note symbol.
Preferences Editing Link Editors When this is activated, the parts or events shown in the open editor windows will follow the selection that you make in the Project window. Parts Get Track Names If this is activated and you move an event from one track to another, the moved event will automatically be named according to its new track. Otherwise, the event will retain the name of the original track.
Preferences Editing This facilitates setting up automation that is related to a specific event or part, instead of a specific position in the project. For example, you can automate the panning of a sound effect event (having the sound pan from left to right, etc.) – if you need to move the event, the automation will automatically follow. The rules are: • All automation events for the track between the start and end of the event or part will be moved.
Preferences Editing On Import Audio Files This setting determines what happens when importing an audio file into a project: • Open Options Dialog An Import Options dialog opens when you import, allowing you to select whether you want to copy the file to the audio folder and/or convert it to the project settings. • Use Settings Allows you to set the following standard actions: Copy Files to Working Directory copies the files to the project’s audio folder before import.
Preferences Editing Time Stretch Tool Algorithm Use this option to select a default algorithm that is applied when using the Object Selection tool in Sizing Applies Time Stretch mode. This mode allows you to resize parts and events in the Project window and apply time stretch to their contents in the process, so that the audio material is adjusted to fit the new length of the part or event. The following settings are available: • MPEX – Preview Quality Use this mode only for preview purposes.
Preferences Editing • Increment/Decrement on Left/Right-Click In this mode, you can click with the left or right mouse button to decrease or increase the value. To edit values by typing in this mode, please double-click. Under Mac OS X, right-clicking is the same as [Ctrl]/[Command]-clicking. We recommend that you use a two-button mouse and set up the right button to generate a [Ctrl]/[Command]-click.
Preferences Editing Editing - MIDI Select Controllers in Note Range: Use Extended Note Context When this is activated and you move notes together with their controllers, for example, in the Key Editor, the extended note context will be taken into account. This means that controllers between the last selected note and the following note (or the end of the part) will also be moved. When this is deactivated, only the controllers between the first and the last selected note will be moved.
Preferences Editing • If Split MIDI Controllers is deactivated, no new controller events will be inserted. NOTE If you just split a part and play back the result, it will sound the same regardless of this setting. However, if you split a part and delete the first half or move the second half to a different position in the project, you may want to activate Split MIDI Controllers to make sure all controllers have the correct value at the beginning of the second part.
Preferences Editing Deep Track Folding If this option is activated, any folding settings that you make on the Track Folding submenu of the Project menu also affect the subelements of the tracks. For example, if you fold in a folder track that contains 10 audio tracks, of which 5 have several open automation tracks, all these audio tracks within the folder track will also be folded in.
Preferences Editing Editing - Tools Select Tool: Show Extra Info Activate this to show a tooltip for the Object Selection tool in the Project window event display. This tooltip indicates the current pointer position and the name of the track and event at which you are pointing. Warn before switching Display Domain (Timewarp Tool) If this is activated, a warning opens if you select the Timewarp tool and the ruler is not set to Bars and Beats.
Preferences Event Display Event Display The Event Display section contains several settings for customizing the display in the Project window. Show Event Names Determines whether the names of parts and events are shown. Show Event Data on Small Track Heights If this is activated, the contents of events and parts are shown, even if the height of a track is very small. Transparent Events When this is activated, events and parts are transparent, and shows only the waveforms and MIDI events.
Preferences Event Display Show Event Volume Curves Always If activated, event volume curves, as created by the fade and volume handles, are shown for all events, regardless of whether they are selected or not. When the option is deactivated, volume curves are only shown for selected events. However, note that you can still adjust fades and volumes for events that are not selected, by clicking and dragging the top left, middle, or right edge respectively.
Preferences Event Display Event Display - MIDI Default Edit Action Determines which editor is opened when you double-click a MIDI part or when you select it and press [Ctrl]/[Command]-[E]. Note that this setting is overwritten for tracks with drum maps if the Edit as Drums when Drum Map is assigned option is activated (NEK only). Part Data Mode Determines if and how events in MIDI parts are shown: not shown, as lines, as score notes, as drum notes, or as blocks.
Preferences General • Use Last Applied Color New tracks get the color that you last applied to an event/part. • Use Random Track Color Inserted tracks get random track colors. Event Display - Chords Pitch Notation • The Note Name pop-up menu lets you select between three ways of displaying chords. • The Naming Format pop-up menu lets you determine how MIDI note names (pitches) are displayed in editors, etc.
Preferences General Maximum Backup Files Allows you to specify how many backup files will be created with the Auto Save function. When the maximum number of backup files is reached, the existing files will be overwritten (starting with the oldest file). Show Tips If this is activated and you position the pointer over an icon or button in Nuendo, an explanatory tooltip is displayed after a second. Maximum Undo Steps Allows you to specify the number of undo levels.
Preferences MIDI General - Personalization Default Author Name Allows you to specify an author name that is used by default for new projects. This will be included as metadata when exporting audio files with an iXML chunk. Default Company Name Allows you to specify a company name that is used by default for new projects. This will be included as metadata when exporting audio files with an iXML chunk. MIDI This page contains settings that affect MIDI recording and playback.
Preferences MIDI If Chase not limited to Part Boundaries is activated, MIDI controllers are also chased outside the part boundaries, and the chase is performed on the part touched by the cursor as well as on all the parts to the left of it. Deactivate this for very large projects, as it slows down processes such as positioning and soloing. MIDI Display Resolution This allows you to set the display resolution for viewing and editing MIDI data.
Preferences MIDI Note that if a continuous controller (e. g. CC7) has been recorded but the Read button is deactivated for the automation track (i. e. the automation is effectively switched off for this parameter), only the part data for this controller will be exported. If this option is deactivated and the Read Automation button is activated, no continuous controllers will be exported.
Preferences MIDI NOTE To include other Inspector settings, you must convert the settings to real MIDI events and properties by using the Merge MIDI in Loop function for each track. NOTE Exported MIDI files include the tempo and time signature events of the Tempo Track Editor or, if the tempo track is deactivated, the current tempo and time signature. Import Options These options allow you to specify what data is included in imported MIDI files.
Preferences MIDI Auto Dissolve Format 0 If this is activated and you import a MIDI file of type 0 into the project, the file will automatically be “dissolved”: For each embedded MIDI channel in the file, a separate track will be inserted in the Project window. If this is deactivated, only one MIDI track will be created. This track will be set to MIDI Channel “Any”, allowing all MIDI events to play back on their original channels.
Preferences MediaBay Controller Allows you to prevent certain MIDI controller types from being recorded or thruput. To filter out a controller type, select it from the list at the top of the section and click “Add”. It will appear in the list below. To remove a controller type from the list (allow it to be recorded and thruput), select it in the lower list and click “Remove”.
Preferences Metering • If this option is activated, audio tracks show the metering signal from the input bus to which they are routed as soon as the track is monitor-enabled. Note that the tracks are mirroring the input bus signal, that is, you will see the same signal in both places. When using mapped metering, any functions, such as trimming, that you apply to the audio track are not reflected in its meters. • If this option is not activated, metering works as usual.
Preferences Record Record This page contains settings related to audio and MIDI recording. Select one of the available entries. Record - Audio Audio Pre-Record Seconds This allows you to specify for how many seconds any incoming audio you play is captured in buffer memory during playback or in stop mode. When Recording Wave Files larger than 4GB This allows you to specify what happens if you record Wave files that are larger than 4 GB. • To split the Wave file, activate Split Files.
Preferences Record Snap MIDI Parts to Bars Activate this to lengthen recorded MIDI parts automatically to start and end at whole bar positions. If you are working in a Bars+Beats-based context, this can make editing (Moving, Duplicating, Repeating, etc.) easier. Solo Record in MIDI Editors Activate this to automatically Record Enable a track when you open a part for editing in a MIDI editor. For all other MIDI tracks Record Enable is deactivated until you close the editor again.
Preferences Scores (NEK only) Scores (NEK only) This page allows you to make settings for the Score Editor. Please select one of the available entries. Scores - Colors for Additional Meanings Here, you can specify different colors to identify non-standard elements in the score. • Click in the Active column to activate this function for the respective element. • Click in the color field to the right to specify the desired color.
Preferences Scores (NEK only) Show Braces in Edit Mode Normally, braces are only shown in Page Mode. With this option activated they will also be visible in Edit Mode. “Apply” closes Property Windows Normally, when you open a Property window or any non-modal score dialog (e. g. Set Note Info or Score Settings), you can adjust the settings and click Apply to apply the changes without closing the window. When this option is activated, clicking Apply closes the window.
Preferences Transport Layout Tool Compatibility Mode The behavior of the Layout tool was different in older versions of Nuendo. Activate this option if you have an old project in which the Layout tool was used to ensure that the project is displayed as expected. Hide Notes beyond limits When this option is activated, any notes outside the Note Limits range set in the Score Settings dialog (Staff page - Options tab) will be hidden.
Preferences Transport Cursor Width Adjusts the width of the Project Cursor line. Return to Start Position on Stop If this option is activated and you stop playback, the project cursor automatically returns to the position where recording or playback last started. If this option is deactivated and you stop playback, the project cursor remains at the position where you stop playback. If you click Stop again, the project cursor returns to the position where recording or playback last started.
Preferences Transport • Use the Fast Wind Factor to set the wind speed multiple for fast winding. If you press [Shift] while fast forwarding or rewinding, the wind speed will increase. The increase in speed is a multiple of the Speed Factor. Meaning that if you set the Fast Wind Factor to 2, the wind speed will be twice as fast. If you set it to 4, the wind speed will be four times as fast, etc. You can set a value between 2 and 50.
Preferences VST Transport - Scrub Scrub Volume This lets you set the playback volume for the Scrub function in the Project window and audio editors. Use High Quality Scrub Mode When you activate this option, effects are enabled for scrubbing and the resampling quality is higher. However, scrubbing will be more demanding on the processor. Use Inserts While Scrubbing When you activate this option, you can activate insert effects for scrubbing with the shuttle speed control.
Preferences VST If Group Channels: Mute Sources as well is activated, muting a group channel will cause all other channels directly routed to it to be muted as well. Pressing mute again will unmute the group channel and all other channels directly routed to it. Channels that were muted prior to the group channel being muted will not remember their mute status and will be unmuted when the group channel is unmuted. NOTE Group Channels: Mute Sources as well does not affect how mute automation is written.
Preferences VST Auto Monitoring Determines how Nuendo handles monitoring (listening to the input signal during recording). The following options are available: • Manual This option allows you to turn input monitoring on or off by clicking the monitor button in the track list, Inspector, or MixConsole. • While Record Enabled With this option you will hear the audio source connected to the channel input whenever the track is record enabled.
Preferences VST • Always When this is selected, a corresponding MIDI track will always be created when you add a VST instrument. • Do not When this is selected, no MIDI track will be created when you add a VSTi in the VST Instruments window. This is the behavior from earlier versions of Nuendo. • Always ask to When this is selected, you will be asked whether a corresponding MIDI track is created when you add a VSTi in the VST Instruments window.
Preferences VariAudio Use Phones Channel as Preview Channel When this is activated, the Phones channel will be used for monitoring. When this is deactivated, the Monitor channel in the Control Room will be used. Dim Cue during Talkback When this option is activated, the cue mix heard in a studio will be dimmed (by the amount set in the Talkback Dim Level field in the Control Room) for as long as the Talkback channel is used.
Preferences Video Inhibit warning when applying Offline Processes When you are applying offline processes (e. g. with the Envelope or Normalize functions) to audio material that is used in several places in the project, a warning message is shown. This message can be deactivated: If you activate the Please, don’t ask again checkbox, the message will not be displayed in the future. To display this message again, and thus be informed whether the audio is used in other places, deactivate this option.
Part II - Score Layout and Printing (NEK only) 1285
How the Score Editor works About this chapter In this chapter you will learn: • How the Score Editor and MIDI data relate. • What Display Quantize is and how it works. Welcome! Welcome to scoring in Nuendo! The Score Editor has been created to allow you to get any possible piece of music displayed as a score, complete with all the necessary symbols and formatting.
How the Score Editor works MIDI notes vs. score notes Do not think of the Score Editor as a drawing program, but rather as an “interpreter” of MIDI data. MIDI notes vs. score notes MIDI tracks in Nuendo hold MIDI notes and other MIDI data. As you may know, a MIDI note in Nuendo is only defined by its position, length, pitch and velocity. This is not nearly enough information to decide how the note is to be displayed in a score.
How the Score Editor works Display Quantize Display Quantize Let’s say you used the Project window to record a figure with some staccato eighth notes. When you open the Score Editor, these notes are displayed like this: This does not look anything like what you intended. Let’s start with the timing – obviously, you were off at a couple of places (the third, fourth and last note all seem to be a 32nd note late).
How the Score Editor works Display Quantize RELATED LINKS Working with symbols on page 1402 Expression maps (NEK only) on page 854 Choose your Display Quantize values with care As explained above, the Display Quantize value for notes puts a restriction on the smallest note value that can be displayed. Let’s see what happens if we set it to quarter notes: With Display Quantize set to quarter notes Oops, this doesn’t look too good.
How the Score Editor works Display Quantize Unfortunately, this moves the first note to the same position as the second, since sixteenth note positions are not allowed.
How the Score Editor works Entering notes by hand vs. recording notes Using the Display Quantize tool With the “Q” tool, you can insert new Display Quantize values anywhere in the score. Inserted Display Quantize values affect the staff from the insertion point onwards. RELATED LINKS Inserting Display Quantize changes on page 1318 Permanent alteration of MIDI data As a last resort, you can resize, quantize or move the actual note events.
The basics About this chapter In this chapter you will learn: • How to open the Score Editor. • How to switch between Page Mode and Edit Mode. • How to set up the page size and margins. • How to hide and show the Symbols Inspector, the toolbar, and the extended toolbar. • How to set up the ruler. • How to set a zoom factor. • How to make initial settings for clef, key, and time signature. • How to transpose instruments. • How to print and export your score. Preparations PROCEDURE 1.
The basics Opening the Score Editor Opening the Score Editor Editing one or several parts To open one or several parts in the Score Editor, select the parts (on the same or on different tracks) and select “Open Score Editor” from the MIDI menu or “Open Selection” from the Scores menu. The default key command for this is [Ctrl]/[Command]-[R]. • You can also select the Score Editor as your default editor, allowing you to open it by double-clicking parts.
The basics The project cursor The project cursor The project cursor appears as a vertical line across the staff. When you open the Score Editor, the view is automatically scrolled so that the project cursor is visible in the window. This means you do not always see the beginning of the edited part when you first open the Score Editor. • Hold down [Alt]/[Option] and [Shift] and click anywhere in the score to move the project cursor there. This is handy when the project cursor is not visible.
The basics Page Mode IMPORTANT MPORTANT This section of the manual assumes you are in Page Mode. It is mentioned explicitly if something in this text specifically relates to Edit Mode. Changing the Background in Page Mode In Page Mode, you can specify different background textures for the score by selecting an option from the Background Texture pop-up menu on the toolbar. NOTE The background texture only affects the display and is not used for printing.
The basics Changing the zoom factor Changing the zoom factor There are two ways to change the zoom in Page Mode: by setting a zoom factor on the zoom pop-up menu or by using the Zoom tool (magnifying glass). Using the Zoom pop-up menu Above the vertical scrollbar to the right you can find a pop-up menu allowing you to set the zoom factor. By zooming in you can make detailed adjustments to symbols, etc. By zooming out you get a better overview.
The basics The active staff • Hold down a modifier key and right-click with the Zoom tool to open the Zoom context menu, and select the desired Zoom setting. Using the Mouse wheel You can also zoom by holding down [Ctrl]/[Command] and moving the mouse wheel. The mouse position is kept (if possible) when zooming in or out. The active staff One thing to note when you are working with multiple staves is the “active” staff.
The basics Designing your work space 3. If you need to, change the margins by setting the left, right, top and bottom settings. To make the settings permanent, save the project. If you want new projects to always start with certain page setup settings, you can create project templates.
The basics Designing your work space Configuring the window layout PROCEDURE 1. On the toolbar, click the “Set up Window Layout” button. 2. Activate the desired options. The status line The status line features the Mouse Time and the Mouse Note Position displays as well as the Current Chord Display, which helps you identify chords in the Score Editor note display. It can be hidden/displayed using the “Status Line” option in the “Set up Window Layout” pane.
The basics Designing your work space The filter bar This area contains checkboxes determining which indicators, handles, and other non-printed elements are shown in the score. It can be hidden/displayed using the Filters option in the “Set up Window Layout” pane. Showing and hiding elements Some of the elements in the score are not printed, but rather serve as indicators for layout changes, handles, etc. These elements can be hidden or shown in any combination by using the Filters options.
The basics Designing your work space The Cut Notes tool on page 1393 Splitting multi-rests on page 1483 Setting stem direction on page 1374 Manual adjustment of beams on page 1391 The Symbols Inspector This area contains symbol tabs, which are used to add symbols to the score. It can be hidden/displayed using the Symbols option in the “Set up Window Layout” pane.
The basics About the Score Editor context menus • To hide the rulers, select “Off” from the pop-up menu. The Position Info window To help you when positioning objects in the score, the Page Mode has a special Position Info window, in which you can view and adjust object positions numerically, in the unit selected for the ruler. To display the Position Info window, click in the ruler.
The basics Setting clef, key, and time signature NOTE If the “Apply closes Property Windows” option is activated in the Preferences dialog (Scores–Editing page), clicking the Apply button in a non-modal dialog closes the dialog. In other words, this makes a non-modal dialog work a bit more like a regular dialog. Setting clef, key, and time signature When preparing to enter notes into a score, you probably want to start out by setting the desired clef, key, and time signature for the staff.
The basics Setting clef, key, and time signature 6. Open the Time Signature tab of the Inspector and click on the symbol for the time signature value that you want to use. If you cannot find the desired time signature, you can use the Edit Time Signature dialog (see below). AFTER COMPLETING THIS TASK The settings you have made so far are valid for the entire track.
The basics Setting clef, key, and time signature RELATED LINKS By using the Pickup Bar feature on page 1485 Inserting and editing clefs, keys, or time signatures on page 1344 Composite time signatures and the For Grouping Only option For composite signatures, the numerator can be made up of up to four groups. For example, “4+4+3+/” on the upper line and 8 on the lower means the time signature is 11/8.
The basics Setting clef, key, and time signature • You cannot create composite time signatures using the signature track/Tempo Track Editor. RELATED LINKS Editing tempo and signature on page 980 Editing the clef On the clef context menu When you right-click on a clef symbol, a context menu with a list of all available clefs opens.
The basics Setting clef, key, and time signature On the Staff page of the Score Settings dialog PROCEDURE 1. Click on a staff to make it the active staff. 2. On the Scores menu, select “Settings…” to open the Score Settings dialog. Select the Staff page at the top to open the Main tab, showing the current settings for the active staff.
The basics Setting clef, key, and time signature 3. Activate the “Lower Staff” checkbox. 4. Set a clef for the lower staff. RELATED LINKS Split (piano) staves on page 1342 Strategies: How many voices do I need? on page 1364 Using Auto Clef On the Staff page of the Score Settings dialog you also find the Auto Clef option. If this is activated, the program automatically selects a treble clef or a bass clef for the staff, depending on the range of the notes in the part.
The basics Setting clef, key, and time signature • Hide If you select this, the key is hidden. • Properties If you select this, the Edit Key dialog opens. In the Edit Key dialog If the current key is anything but C major/A minor (no accidentals), you can set the key directly in the score: PROCEDURE 1. Double-click on the accidentals at the beginning of a staff. The “Edit Key” dialog opens. Double-click here… …to open the Edit Key dialog. 2. Use the scrollbar to select a key and click OK.
The basics Setting clef, key, and time signature 3. Click Apply. NOTE You can select other staves in the score and make settings for these, without having to close the Score Settings dialog. Setting the key for a split system If you have a split system with two staves you can set different keys for the upper and lower staff. PROCEDURE 1. Click in the system to make one of its staves the active staff. 2. Open the Score Settings dialog on the Staff page. 3. Set a key for the upper staff.
The basics Transposing instruments Transposing instruments Scores for some instruments, for example a lot of brass instruments, are written transposed. Therefore, the Score Editor provides a Display Transpose function. With this function notes are transposed in the score without affecting the way they are played back. This allows you to record and play back a multi-staff arrangement, and still score each instrument according to its own transposition. Setting Display Transpose PROCEDURE 1.
The basics Printing from the Score Editor Disabling Display Transpose You can also disable Display Transpose by deactivating the “Display Transpose” button on the Score Editor toolbar. This can be useful if you work with transposing instruments and want to show the concert key and not the scored key. Printing from the Score Editor When you have made all necessary changes to the score display and are satisfied with the result, you can go ahead and print your score, e. g. to hand out note sheets.
The basics Working order 3. Drag over the section of the score you want to include. The area is indicated by a black rectangle • You can adjust the size of the rectangle by clicking and dragging its handles with the Object Selection tool. • You can move the rectangle to another position in the score by clicking and dragging. To export the selected range, you have two possibilities: • Double-click inside the rectangle while it is selected.
The basics Force update You might for example use the Split Loop function from the Functions submenu on the Edit menu to split the parts across all tracks. • Arrange the tracks in the Project window in the order you want them displayed in the score. You cannot rearrange the order of systems in the Score Editor. However, you can go back and change the order in the Project window at any time. • When opening the Score Editor, begin with the adjustments described above.
Transcribing MIDI recordings About this chapter In this chapter you will learn: • How to prepare your parts for score printouts. • How to use the Display Quantize tool to handle “exceptions” in the score. • How to resolve parts that contain mixed notes and triplets. About transcription This chapter assumes you have a MIDI recording that you want to transform into a printable score. However, if the parts are fairly complicated, you probably need to perform some manual editing of the notes.
Transcribing MIDI recordings Preparing parts for score printout 3. Decide how much permanent alteration to the recording you can accept to make the score look good. If the answer is “none”, you should prepare your score from a copy of the track. See the section below. 4. Select all parts (on all tracks) that you want to work on. 5. Open the Score Editor. 6. Activate Page Mode.
Transcribing MIDI recordings Staff settings Staff settings The first thing to do after opening the Score Editor is to make initial staff settings. This is done in the Score Settings dialog, on the Staff page. There are three ways to open the Score Settings dialog: • Make the staff active, open the Scores menu and select “Settings…”. • Double-click on the blue rectangle to the left of the staff.
Transcribing MIDI recordings Inserting Display Quantize changes This single note in the Key Editor is displayed as two tied notes in the Score Editor. • Normally the program adds ties where necessary (if a note stretches over a beat), but not always. For a “modern” notation of syncopated notes (less ties) use the Syncopation feature.
Transcribing MIDI recordings Inserting Display Quantize changes Select the Display Quantize tool to open the Display Quantize dialog. 2. Activate the flags you need and set the quantize values as desired. 3. If you want to restore the settings to the ones used in the Score Settings dialog (Staff page), click the “Restore To Staff” button. 4. Move the mouse over the staff where you want to insert a new Display Quantize value.
Transcribing MIDI recordings The Explode function • To remove a Display Quantize change, either click its marker to select it and press [Backspace] or [Delete], or click on it with the Erase tool. RELATED LINKS Showing and hiding elements on page 1300 Adding Display Quantize changes Very often, the score is fine except for a few bars somewhere.
Transcribing MIDI recordings Using "Scores Notes To MIDI" Option 5. Description Split Note Use this to move all notes below a certain pitch to another track. When this is selected, it is pointless to specify more than 1 new track. Lines To tracks Use this when you want all musical “lines” to be put on one track each. The notes with the highest pitch remains on the original track, the notes with the second highest pitch are put on the first new track, and so on.
Transcribing MIDI recordings Using "Scores Notes To MIDI" RESULT Now that the notes have the exact lengths and positions that were previously only displayed, you can probably deactivate many of the options on the Staff page of the Score Settings dialog and delete Display Quantize settings, etc. If you find the operation did not give you the result you were after, you can undo your settings or go back to the original track, make a copy of that, and start over.
Entering and editing notes About this chapter In this chapter you will learn: • How to make various settings for how notes are displayed. • How to enter notes. • How to use tools and settings to make the score as legible as possible. • How to set up a split (piano) staff. • How to work with multiple staves. Score settings Before you start entering notes, you need to make some initial staff settings.
Entering and editing notes Score settings Applying settings and selecting other staves To make settings for another staff, simply make it active in the score (by clicking anywhere in the staff or by using the up/down arrow keys on the computer keyboard). NOTE Always click Apply before making another staff active – otherwise your settings are lost! Staff presets When you want to reuse settings made for one track in other tracks, you can save some time by creating a staff preset.
Entering and editing notes Note values and positions Clean Lengths Off No Overlap Off Shuffle Off Key As required Clef As required Auto Clef Activate this if you want the program to select a treble or bass clef automatically. Display Transpose value 0 Options tab settings As is Polyphonic tab settings Staff Mode: Single Tablature tab settings Tablature Mode deactivated NOTE It is very important that you understand how the Display Quantize values for notes and rests interact with the score.
Entering and editing notes Note values and positions Selecting a note value for input You can choose the length for entering notes as follows: • By clicking the note symbols on the extended toolbar. You can select any note value from 1/1 to 1/64 and activate/deactivate the dotted and triplet options by clicking the two buttons to the right. The selected note value is displayed in the Length Quantize field on the toolbar and also reflected by the cursor shape of the Insert Note tool.
Entering and editing notes Note values and positions The Quantize value is set on the toolbar on the “Quantize Presets” pop-up menu: • You can also assign key commands to the different Quantize values. This is done in the Key Commands dialog (in the category “MIDI Quantize”). • Just like in the other MIDI editors, you can use the Quantize Panel to create other Quantize values, irregular grids, etc. However, this is not often used when inputting score notes.
Entering and editing notes Adding and editing notes Eighth note triplet positions 2/2 1.1.1.0 1.1.2.40 1.1.3.80 1.1.5.0 1.1.6.40 1.1.7.80 4/4 1.1.1.0 1.1.2.40 1.1.3.80 1.2.1.0 1.2.2.40 1.2.3.80 8/8 1.1.1.0 1.1.2.40 1.2.1.80 1.3.1.0 1.3.2.40 1.4.1.80 Sixteenth note positions 2/2 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.1.5.0 1.1.6.0 1.1.7.0 1.1.8.0 4/4 1.1.1.0 1.1.2.0 1.1.3.0 1.1.4.0 1.2.1.0 1.2.2.0 1.2.3.0 1.2.4.0 8/8 1.1.1.0 1.1.2.0 1.2.1.0 1.2.2.0 1.3.1.0 1.3.2.
Entering and editing notes Adding and editing notes you press [Shift]-[Return], the insert position does not change, allowing you to enter chords. Entering notes with the mouse To add a note to the score, proceed as follows: PROCEDURE 1. Make the staff active. Notes are always inserted on the active staff. 2. Select the desired note value. 3.
Entering and editing notes Adding and editing notes Adding more notes PROCEDURE 1. If you want the next note to have a different length value, select the corresponding note symbol. 2. If you need finer positioning, or if the current value is too fine, change the Quantize value. 3. Move the mouse to the desired position, and click. Notes input at the same position are automatically interpreted as chords, see below.
Entering and editing notes Selecting notes • If two notes on the same position are too close to each other or if you want their “graphical order” in the score reversed, you can do this without affecting playback. • Stem direction and length is normally automatic, but you can set it yourself. • If you are scoring for piano and therefore (or for other reasons) need a split staff, there are special techniques for this.
Entering and editing notes Selecting notes You can drag to select notes on several voices or staves if you wish. 3. Release the mouse button. All notes with note heads inside the rectangle are selected. If you want to deselect one or more of the notes, hold down [Shift] and click on them. Using the keyboard By default, you can step through (and select) the notes in the staff using the left and right arrow keys. If you press [Shift], you can select a series of notes as you step through them.
Entering and editing notes Moving notes Moving notes In the following, you can find descriptions of the various methods to move notes, as well as related features. Moving by dragging PROCEDURE 1. Set the Quantize value. The Quantize value restricts your movement in time. You cannot place notes on positions smaller than the Quantize value. 2. Select the note(s) you want to move. You can select notes across several staves if you wish. 3. Click one of the selected notes and drag it to a new position.
Entering and editing notes Moving notes Moving across staves – the Lock button If you are editing several tracks, you may want to move notes from one staff to another. PROCEDURE 1. Make the desired Quantize settings and select the notes. Make sure to only select notes on the same staff. 2. Make sure that the “L” (Lock) button on the extended toolbar is deactivated.
Entering and editing notes Moving notes About the lock layers When you are moving and editing notes in the score, you might accidentally move other objects nearby. To avoid this, assign different types of objects to different “lock layers” (up to three) and instruct Nuendo to “lock” one or two of these layers, making them unmovable. There are two ways to set up which type of object should belong to which lock layer: • Open the Preferences dialog from the File menu and select the Scores–Note Layer page.
Entering and editing notes Duplicating notes • To display all the score objects that are associated with the layout layer, activate the Layout Layer (L) button. • To display all the score objects that are associated with the project layer, activate the Project Layer (P) button. • To get an overview of all layers, activate the Colorize Layer (A) button. This deactivates all other layer buttons and displays the score objects in different colors, where each color stands for a specific type of layer.
Entering and editing notes Editing pitches of individual notes • To copy notes, select them and choose Copy from the Edit menu (or use a key command, by default [Ctrl]/[Command]-[C]). A copy of the notes is made, and put on the clipboard. The original notes remain where they were. IMPORTANT MPORTANT The clipboard can only hold one set of notes. If you cut or copy and then cut or copy again, the notes copied to the clipboard first are lost.
Entering and editing notes Editing pitches of individual notes RELATED LINKS Moving across staves – the Lock button on page 1334 Using the Transpose Palette The Transpose Palette on the toolbar contains buttons for transposing the selected notes up or down in steps of one semitone or one octave. • To show the Transpose Palette, right-click the toolbar and activate “Transpose Palette” on the context menu.
Entering and editing notes Changing the length of notes Via MIDI PROCEDURE 1. On the toolbar, activate the MIDI Input button and the Record Pitch button to the right. If you also want to change the note-on and/or note-off velocity of the notes via MIDI, this can be done by also activating the corresponding velocity buttons. To edit notes via MIDI (pitches only), set up the buttons like this. 2. Select the first note that you want to edit. 3. Press a key on your MIDI keyboard.
Entering and editing notes Changing the length of notes By using the extended toolbar Using the extended toolbar is another quick way to set a number of notes to the same length: PROCEDURE 1. Select the notes that you want to change. 2. Hold down [Ctrl]/[Command] and click on one of the note icons on the extended toolbar. All the selected notes now get the note value on which you clicked. By using the info line You can also edit length values numerically on the info line.
Entering and editing notes Splitting a note in two Changing the display length If you want to change the displayed length of notes without affecting how they play back, the first thing to try is to adjust Display Quantize, either for the whole staff or for a separate section, using the Display Quantize tool. But you can also make display length adjustments to individual notes in the Set Note Info dialog: PROCEDURE 1. Double-click on the note. The Set Note Info dialog opens. 2.
Entering and editing notes Split (piano) staves Split (piano) staves Setting up the split staff PROCEDURE 1. Make a staff active. 2. Open the Score Settings dialog on the Staff page and select the Polyphonic tab. 3. From the Staff Mode pop-up menu, select Split. 4. Set the Split Point value to a suitable note. All notes below this note value are put on the lower clef, all above are put on the upper clef. Split mode selected.
Entering and editing notes Strategies: Multiple staves 3. Select the Polyphonic tab. 4. Change the Split Point value. 5. Click Apply. RESULT Now, some notes that were previously on the lower staff are on the upper, or vice versa. Strategies: Multiple staves As described above, when you have parts on several tracks selected in the Project window, these are put on one staff each, when you open the Score Editor. This allows you to work on several staves in parallel.
Entering and editing notes Inserting and editing clefs, keys, or time signatures Adding notes This is done just as on a single system. Please note the following: • When you enter a note, use the Mouse Note Position display (in the status line) to determine the pitch. Whether it ends up on the upper or lower staff has nothing to do with where you aim with the mouse. The Split Point setting always decides if a note goes on the upper or lower staff.
Entering and editing notes Inserting and editing clefs, keys, or time signatures 4. Click the mouse button to insert the symbol. IMPORTANT Inserting a symbol at position 1.1.1.0 is the same as changing the staff settings which are stored in the track. Inserting anywhere else adds the change to the part.
Entering and editing notes Deleting notes Moving clefs Clefs inserted into the score have an effect on how notes are displayed. If you for example insert a bass clef in the middle of a treble staff, the staff switches to show bass pitches. Therefore it is very important where you insert the clef. If you want to move the clef graphically, without disturbing the relation between the clef and the notes, proceed as follows: PROCEDURE 1. Select the Layout tool on the toolbar or context menu.
Entering and editing notes Deleting notes Using the Delete menu option or the keyboard PROCEDURE 1. Select the notes that you want to delete. 2. Select Delete from the Edit menu, or press [Delete] or [Backspace] on the computer keyboard.
Staff settings About this chapter In this chapter you will learn: • How to make staff settings. • How to work with staff presets. Staff settings Below follows a run-through of all staff settings, more detailed information about the ones already described and references to other places in the manual for some options. The Staff page has four tabs – here, the Main tab is selected.
Staff settings Making settings Making settings PROCEDURE 1. Open the Score Settings and select the Staff page. 2. With the dialog open, make the desired staff active. Click anywhere in a staff to make it active, or use the up and down arrow keys to step from staff to staff. 3. Select the desired tab and make all necessary settings.
Staff settings Staff names • There are a number of staff presets available, set up to suit various instruments, etc. The presets are accessed from the Presets pop-up menu on the Staff page of the Score Settings dialog or from the staff context menu, opened by right-clicking on the blue rectangle to the left of a staff. Use them as they are, or as starting points for your own settings.
Staff settings Key and clef Note that this is only displayed correctly, if you are in Page Mode and if “Show Staff Names to Left of Staff” is activated in the Score Settings dialog, on the Project–Notation Style subpage (Staff Names category). RELATED LINKS Staff names on page 1462 Key and clef The basic key and clef settings are described in detail in another section (see below). There is also a Lower Staff checkbox which is only used in conjunction with split (piano) staves and polyphonic voicing.
Staff settings Display Quantize and Interpretation Options Display Quantize values Notes and Rests • Generally, the Notes value should be set to a value equal to, or smaller than, the “smallest note position” that you want to be shown in the score. • The Rests value should be set to a value equal to, or smaller than, the smallest note value (length) you want to be displayed for a single note, positioned on a beat.
Staff settings Display Quantize and Interpretation Options 4. Set all the Interpretation Options. These are described in detail below. 5. Examine the score. 6. If necessary, use the Display Quantize tool to insert “exceptions” to the staff settings. RELATED LINKS Inserting Display Quantize changes on page 1318 If your music contains mixed straight notes and triplets PROCEDURE 1. Examine the score and decide if it mainly contains triplets or mainly “straight” notes. 2.
Staff settings Display Quantize and Interpretation Options Off Syncopation is off, with no exceptions. For a “modern” notation of syncopated notes, activate Syncopation. Without and with Syncopation Again, without and with Syncopation Note that you can insert “exceptions” to the Syncopation setting in the Score Settings dialog on the Staff page, by using the Display Quantize tool. You can also create tied notes in various combinations by using the Cut Notes tool.
Staff settings Display Transpose This recording in the Key Editor… …is displayed like this when No Overlap is deactivated… …and like this when No Overlap is activated. You can insert “exceptions” to the No Overlap setting on the Staff page of the Score Settings dialog, by using the Display Quantize tool. IMPORTANT MPORTANT Please note that there may be situations when neither of these alternatives is ideal. If you run into such a situation, it can probably be resolved by using polyphonic voicing.
Staff settings The Options tab NOTE The Display Transpose setting does not affect playback or the actual pitch of the notes – it only changes how they are displayed and printed. You can also insert Display Transpose changes anywhere in the score, by inserting a key change symbol and using the Transpose setting in the Edit Key dialog.
Staff settings The Options tab No Beams Activate this when you do not want any beaming at all on the staff (for example for vocal scoring). Beam Subgroups Use this when you want sixteenth notes displayed under a beam to be divided into groups of four notes. Without and with Beam Subgroups. 16th Subgroups Use this when you want even smaller subgroups of sixteenth notes. This setting has no effect if Beam Subgroups is deactivated. As above, but with 16th Subgroups activated.
Staff settings The Polyphonic tab Fixed Stems Activate this if you want all note stems to end at the same vertical position. This feature is perhaps most often used when scoring for drums. A drum pattern with Fixed Stem length activated The Up and Down parameters determine which position (relative to the top of the staff) is used for up and down stems, respectively. The graphical display helps you get your settings right.
Polyphonic voicing About this chapter In this chapter you will learn: • How to decide when to use polyphonic voicing. • How to set up voices. • How to automatically convert your score to polyphonic voicing. • How to enter and move notes into voices. Background: Polyphonic voicing Polyphonic voicing allows you to resolve a number of situations impossible to score properly otherwise: • Notes starting at the same position, but with different lengths.
Polyphonic voicing Background: Polyphonic voicing With a split system and with polyphonic voicing How voices are created Nuendo allows for up to eight voices. The first thing you do is to set them up. This includes “telling” the program which voices belong to the upper clef and which belong to the lower, how you want rests displayed for each voice, etc. The second thing you do is to move or enter notes into the voices.
Polyphonic voicing Setting up the voices There are also a few important things to note: NOTE When you make a note part of a voice, you are in fact changing its MIDI channel value. However, when you change the voice’s MIDI channel values in the setup dialog, this does not affect the notes’ MIDI channel setting. This can lead to serious confusion, since the relationship between the notes and the voices is affected. It might even make notes disappear (the program warns if this happens).
Polyphonic voicing Setting up the voices 5. To activate a voice, click in its “On” column, so that a checkmark appears. There are four voices on each staff, for a total of eight. If you activate one “upper” voice and one “lower” voice, you get a split (piano) staff. 6. If you have particular reasons to use specific MIDI channels, change the “Chan” settings for the voices. The program automatically sets each voice to a different MIDI channel.
Polyphonic voicing Setting up the voices If the “Some Notes Do Not Belong To Voices…” dialog appears When you click Apply, a warning may appear saying “Some notes do not belong to any voice and may be hidden. Correct these notes?”. This warning appears when the staff contains notes with MIDI channel settings which do not match any of the active voices. If you click the “Correct” button, these notes are moved to active voices. If you click “Ignore”, nothing is changed, and some notes are hidden.
Polyphonic voicing Strategies: How many voices do I need? Strategies: How many voices do I need? Well, it depends • If you are scoring for vocals, you simply need one voice for each voice, so to speak. • If you use voices for resolving the problem of overlapping notes, for example when scoring for piano, you need two voices each time two notes overlap. If three notes overlap, you need three voices.
Polyphonic voicing Checking which voice a note belongs to Voice 3 activated for insertion 6. Insert the notes as usual. 7. To switch to another voice, click the corresponding button. 8. To insert notes into a voice on the other clef, click on that clef and then select a voice using the buttons. RELATED LINKS Adding and editing notes on page 1328 Symbols and voices Later in this manual you will learn about symbols that can be added to the score.
Polyphonic voicing Moving notes between voices 3. On the submenu, select the voice to which you want to move the notes. Only the activated voices are available on the menu. You can also press [Ctrl]/[Command] and click a voice Insert button on the extended toolbar to move the selected notes to the corresponding voice. You can also assign key commands for this in the Score Functions category of the Key Commands dialog on the File menu.
Polyphonic voicing Handling rests 4. Click OK. The notes are distributed to different voices. RELATED LINKS The Explode function on page 1320 Alternative ways of handling voices Below we suggest further “advanced” ways of putting notes into voices. This is based on the relation between voices and MIDI channels, so please make sure that you understand how this connection works.
Polyphonic voicing Voices and Display Quantize • To avoid having several rests displayed in empty bars, you can activate the Rests–Reduce option for all voices (that have rests) except one. This option causes the program to hide rests in empty bars. • You can use the Hide feature to totally remove individual superfluous rests from the score. • You can use the Object Selection tool to manually move rests up/down or sideways to adjust the “picture”.
Polyphonic voicing Creating crossed voicings 5. Fill out the dialog. 6. Click Apply. RELATED LINKS Inserting Display Quantize changes on page 1318 Display Quantize and Interpretation Options on page 1351 Creating crossed voicings Often, for example in vocal scoring, you have crossed voicings on one system. You can of course move notes manually into voices to get the stem direction and other note properties right, but there is a quicker way. Let’s explain how to do this by example.
Polyphonic voicing Creating crossed voicings 7. Click OK. The notes have now been split in two “lines”, each in a separate voice. However, from the middle of the bar, notes that are in voice 1 should be in voice 2 and vice versa. 8. Select the two notes that you want to be moved from voice 1 to voice 2. Two notes in voice 1 selected. 9. Move the notes to voice 2. The quickest way to do this is to press [Ctrl]/[Command] and click the voice Insert [2] button on the extended toolbar.
Polyphonic voicing Automatic polyphonic voicing – Merge All Staves Automatic polyphonic voicing – Merge All Staves If you have already created some tracks which look and play back as they should, and you want to combine these into one track with polyphonic voices, there is a special function on the Scores menu for this: PROCEDURE 1. Open the tracks (up to four) in the Score Editor. 2. Open the Scores menu and select “Merge All Staves” from the Functions submenu.
Polyphonic voicing Converting voices to tracks – Extract Voices Converting voices to tracks – Extract Voices This function does the opposite of “Merge All Staves” – it extracts polyphonic voices from an existing track and creates new tracks, one for each voice. PROCEDURE 1. Open a track containing 2 to 8 polyphonic voices in the Score Editor. 2. Open the Scores menu and select “Extract Voices” from the Functions submenu. A number of new tracks is created and added to the display of the Score Editor.
Additional note and rest formatting About this chapter In this chapter you will learn: • How to control stem direction. • How to control beaming, and create cross-staff beaming. • How to make detailed adjustments to note appearance. • How to perform “graphic moving” of notes. • How to create grace notes. • How to create tuplets. Background: Note stems The direction of stems is governed by five things: • How notes are grouped under beams. • Any manual manipulation of beams.
Additional note and rest formatting Setting stem direction IMPORTANT MPORTANT If you have activated the “Fixed Stems” option on the Staff page of the Score Settings dialog (Options tab), a lot of the automatic stem length settings are ignored. However, you can still edit the stem length and direction of individual notes.
Additional note and rest formatting Setting stem direction Flipping the stems of notes grouped under a beam PROCEDURE 1. Select any note in the group. 2. Invoke Flip as described above. The entire group is now flipped. Before and after the flip. No matter which note you select, the entire group is flipped. IMPORTANT This does not work if you have adjusted the slanting of the beam by dragging. If you have, you must first reset the beam.
Additional note and rest formatting Stem length • Setting this pop-up menu to Up or Down is the same as using Flip Stems. • Setting this pop-up menu to Auto makes the program set the stem direction automatically. RELATED LINKS Using Flip Stems on page 1374 Stem length Adjusting stem length (Page Mode) PROCEDURE 1. Click on the end of the stem so that a handle appears. 2. If you want to change the lengths of several stems at the same time, hold down [Shift] and select these stems as well. 3.
Additional note and rest formatting Accidentals and enharmonic shift 2. Make sure that the “Stems/Beams” checkbox is activated on the filter bar. Now, below the notes where stems have been changed or beam slant adjusted manually, the word “Stem” appears. 3. Click on the “Stem” text to select it. 4. Press [Backspace] or [Delete] to remove it. Before and after deleting the “Stem” item.
Additional note and rest formatting Accidentals and enharmonic shift 2. In the “Outside the Scale” area, you can decide how five of the most common intervals outside the scale are displayed, as sharps or as flats. IMPORTANT If you activate the “Accidentals for Each Note” option in the Score Settings dialog, on the Project–Notation Style subpage (in the “H.W. Henze Style” category), all notes are displayed with accidentals (even tied notes).
Additional note and rest formatting Changing the note head shape Use this button when you want to enclose the accidental in parentheses. To remove these, select “off”. Changing the note head shape PROCEDURE 1. Select the notes for which you want to change the note head shape. Make sure not to select the stems, only the note heads. 2. Open the Set Note Info dialog.
Additional note and rest formatting Other note details Other note details Each note has a number of settings in the Set Note Info dialog. The Set Note Info dialog contains the following settings: Note Head Used for selecting custom note head shapes. Tablature on/off and number Used for creating or editing tablature. This feature can be used for individual notes or together with the automatic tablature function. Bows Used for adding bow up/bow down articulation.
Additional note and rest formatting Other note details No Dot Hides the dot from a dotted note. No Flag/Beam Activate this to hide the flags or beams of the selected notes. Bracket Head When this is activated, notes are displayed with brackets: Bracket Head on and off X Stem (Spoken) When this option is activated for a note, it is displayed with an x across its stem. This is normally used to indicate spoken words. Hide Note Activating this checkbox hides the selected notes.
Additional note and rest formatting Coloring notes RELATED LINKS Changing the note head shape on page 1379 Creating tablature on page 1506 Display Quantize values on page 1352 Using Flip Stems on page 1374 Grace notes on page 1396 Cue notes on page 1395 The Cut Notes tool on page 1393 Coloring notes You can assign colors to notes using the Event Colors pop-up menu on the toolbar. PROCEDURE 1.
Additional note and rest formatting Coloring notes Scores Colors for Additional Meanings If the Preferences dialog (Scores–Colors for Additional Meanings page) you can specify different colors for elements in the score in order to indicate that they are “special” in any way. You can for example choose a color for a “Moved Graphic” or a “Moved Slur”. These objects are colored accordingly when they are moved from their default positions. PROCEDURE 1.
Additional note and rest formatting Copying settings between notes Copying settings between notes If you have made various settings in the Set Note Info dialog for a note, and want to use these settings for other notes as well, there is an easy way to do this: PROCEDURE 1. Set up the first note as desired. This includes the settings in the Set Note Info dialog, but also any note-related symbols such as accents, staccato, articulation, etc. 2.
Additional note and rest formatting Handling beaming Using the Edit Time Signature dialog The time signature for the score naturally affects grouping. But you can control this yourself by creating a composite time signature used only for grouping: PROCEDURE 1. Open the Edit Time Signature dialog by double-clicking the time signature symbol for the staff. 2. Set up the numerator with the grouping you desire. If you for example want eighth notes in two groups of three and one group of two, enter 3+3+2.
Additional note and rest formatting Handling beaming Before and after grouping Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols. Grouping quarter notes or larger under a beam (“Brillenbass”) It is also possible to use the grouping feature for notes that are not displayed with beams (quarter notes, half notes, etc.). The result are so called “Brillenbass” symbols, commonly used for indicating repeated accompaniment patterns, etc.
Additional note and rest formatting Handling beaming 6. Click OK to close the dialog. Double-clicking on the “Grouping” text opens the Grouping dialog, allowing you to adjust the “note value” for the symbols. Creating an accelerando/ritardando To create an accelerando/ritardando, proceed as follows: PROCEDURE 1. Select the notes as described above and select “Accelerando” from the Group/Ungroup submenu. A dialog appears. 2. Use the radio buttons to select the desired combination (i. e.
Additional note and rest formatting Handling beaming 3. Press [Backspace] or [Delete]. The grouping is removed. If you need to remove all groups from the score, hold down [Shift] and double-click on the first “Grouping” text. This selects all “Grouping” symbols, so you can delete them all at once by pressing [Backspace] or [Delete]. Removing a note from a group There is no dedicated “ungroup” command, simply because it is not needed. A group can consist of one note if you wish. In other words...
Additional note and rest formatting Handling beaming Cross-staff beaming To create a beam that extends from one staff to another, proceed as follows: PROCEDURE 1. Set up a split or polyphonic voicing system or open the Score Editor with more than one track. 2. Set up a beam of notes (using the group command) and adjust their pitches so that they are correct even though some of the notes are on the wrong staff. Use the info line to edit the pitches if they are very low or high. 3.
Additional note and rest formatting Handling beaming Beam Subgroups off Beam Subgroups on On with 16th Subgroups activated Beam appearance and slant settings Global settings In the Score Settings dialog, on the Project page (Notation Style subpage), you can find the following three options for beam appearance in the Beams category: • Thick Beams. Activate this if you want beams to be displayed as thick lines. • Show Small Slants as Flat Beams.
Additional note and rest formatting Handling beaming Staff settings In the Score Settings dialog, on the Options tab of the Staff page, you can find a couple of settings for beams as well: Flat Beams Activate this when you do not want any slant at all, no matter the pitch difference of the notes under the beams. No Beams Activate this when you do not want any beams at all. Manual adjustment of beams For very detailed control you can manually adjust the beam slant: PROCEDURE 1.
Additional note and rest formatting About tied notes About tied notes Sometimes, notes are displayed as two or more notes tied together. Generally, there are three different occasions when this happens: • When a note is of an “uneven” length that cannot be displayed without tying together two or more notes of different note values. • When a note crosses a bar line. • When a note crosses a “group line” within a bar.
Additional note and rest formatting About tied notes RELATED LINKS Grouping on page 1400 The Cut Notes tool By using the Cut Notes tool, you can disable the automatic cutting mechanism in a bar, and insert manual cuts at any given position in the score. PROCEDURE 1. Select the Cut Notes tool. 2. Select a suitable quantize value from the “Quantize Presets” pop-up menu. As usual, this determines where you can click. 3.
Additional note and rest formatting Graphic moving of notes Flat ties If you prefer ties to be displayed as flat lines, rather than regular “curved” ties, activate the “Flat Ties” option in the Score Settings dialog, on the Project–Notation Style subpage (H.W. Henze Style category). Graphic moving of notes There might be instances where the “graphical” order of the notes is not the one you want. In this case, you can move notes without affecting the score or playback in any way.
Additional note and rest formatting Cue notes By using the computer keyboard You can assign key commands for moving objects graphically. In the Key Commands dialog on the File menu, the commands are found under the Nudge category and called Graphical Left, Graphical Right, Graphical Bottom, and Graphical Top (only the Graphical Left and Graphical Right commands apply to notes).
Additional note and rest formatting Grace notes A quick example Let’s say you have a flute part and want some cue notes for it: PROCEDURE 1. Switch on polyphonic voices and activate voice 1 and voice 2. 2. Set voice 2 to “Auto” stem direction and centered rests. 3. Set up voice 1 to be a cue voice, with hidden rests and stems pointing up. 4. Insert the cue notes into voice 1. Turning individual notes into cue notes PROCEDURE 1. Select one or several notes. 2. Double-click one of the notes.
Additional note and rest formatting Grace notes NOTE Grace notes are always positioned just before the next note on the staff. If there is no note after a grace note on the staff, the grace notes are hidden! Creating grace notes manually PROCEDURE 1. Locate the note for which you want a grace note. 2. Insert one or more new notes just before it. The note value and exact position of the note is not important. However, the pitch of course is.
Additional note and rest formatting Tuplets Editing a grace note PROCEDURE 1. Select one or several grace notes and open the Set Note Info dialog. 2. Select a note value for the stem. 3. Activate Crossed, if needed. When this is activated, the stem is crossed by a slanted line, to further indicate that the note is a grace note. 4. Click Apply. The settings are applied to the selected notes. 5. Close the dialog. Converting grace notes to normal notes PROCEDURE 1.
Additional note and rest formatting Tuplets • As display quantize. This is the method you use when the tuplet is recorded and plays back as you want it, but is not displayed correctly. Actually, in the first case, you make permanent alterations and set display quantize settings, all in one go. In the second case you only make display quantize settings. With permanent change to MIDI data PROCEDURE 1. Insert as many notes as the tuplet consists of. This would typically be 5, 7 or 9.
Additional note and rest formatting Tuplets Without permanent change to MIDI data PROCEDURE 1. Select the notes in the tuplet group. In this case, the notes play back correctly but are not displayed as a tuplet (yet). 2. Select “Build N-Tuplet…” from the Scores menu to bring up the Tuplets dialog. 3. Make settings in the dialog, as described above. 4. Click Quantize. Now the tuplet is displayed correctly. You can make additional settings for how the tuplet should appear, as described below. 5.
Additional note and rest formatting Tuplets Tuplet Brackets There are three possible settings for this option: • None: Tuplets never have brackets. • Always: Tuplets always have brackets. • …by the head: Brackets are shown only when the tuplets are displayed on the “head side”. Display Tuplet values by the Beams When this is activated, tuplets are displayed on the “beam side” of the notes instead of on the note head side.
Working with symbols About this chapter In this chapter you will learn: • What the different types of symbols are. • How to insert and edit symbols. • Details about special symbols. Background: The different layers A score page is always made up of three layers – the note layer, the layout layer and the project layer. When you add symbols, these are inserted into one of these layers, depending on the type of symbol.
Working with symbols Background: The different layers • Note-dependent symbols. Only a few symbols belong to this category, for example the arpeggio lines. In one way, these behave just like grace notes. They always precede a note or chord. If there is no note “after them” on a staff, they disappear. • All other note layer symbols (tempo, dynamics, chords, etc.). Their position is related to the bar. Whichever way you edit the notes, these symbols remain unaffected.
Working with symbols The Symbols Inspector Why three layers? There are several reasons for this division into layers: • Many of the symbols that are in the layout layer can be stretched to span over several staves, or for other reasons make more sense to think of as belonging to a certain group of tracks. • The layout layer is only one part of the bigger concept of layouts. Layouts allow you to easily extract parts from a full score and perform automatic formatting.
Working with symbols The Symbols Inspector The dialog is divided into two columns. The left column displays the currently visible tabs in the Inspector, and the right column displays the currently hidden tabs. • You can change the current show/hide status by selecting items in one column and using the arrow buttons in the middle of the dialog to move them to the other column. The changes are reflected directly in the editor.
Working with symbols The Symbols Inspector Working with symbol palettes You can open any of the Symbols Inspector sections as separate symbol palettes. Opening tabs as palettes PROCEDURE 1. In the Symbols Inspector, open the desired symbols tab. 2. Right-click on any of the symbols of the tab. Note that you have to right-click on a symbol. Right-clicking on a tab header opens a different context menu instead. 3. Select “Open As Palette” from the context menu. The selected tab is shown as palette.
Working with symbols The Symbols Inspector • Clefs etc. • Note Symbols • Dynamics • Line/Trill. Note that the arpeggios, hand indication and strum symbols are all “note-dependent”! • Other • Form Symbols. These symbols can be selected for the note layer, the layout layer, and the project layer. • Words • User Symbols When you place the mouse pointer on a symbol, a tooltip shows you information about the function.
Working with symbols Important! – Symbols, staves, and voices Important! – Symbols, staves, and voices Most symbols belong to a staff when inserted. Only note symbols, slurs and ties are an exception. They belong to notes and therefore to voices. It is extremely important that the correct staff is active when you insert a symbol (if you are editing multiple staves).
Working with symbols Adding symbols to the score About the Draw tool Unlike the other MIDI editors, the Score Editor toolbar does not contain a Draw tool. Instead, the Draw tool is “automatically” selected when you insert symbols. The following applies: • Normally, the Draw tool is automatically selected when you click on a symbol in the Inspector.
Working with symbols Adding symbols to the score • Center Note-Linked Symbols on Stems When this is activated, accents are centered on stems and not on note heads. Adding a symbol to several notes using the Draw tool You might for example want to add a staccato symbol to all notes within a few measures. PROCEDURE 1. In the Symbols Inspector, open the Note Symbols tab. 2. Select the notes to which you want to apply the symbol. 3. In the Symbols Inspector, click on the desired symbol. 4.
Working with symbols Adding symbols to the score Press the mouse button – drag – and release! You can change the size of most of the note symbols and dynamics in a score by right-click on the corresponding object and selecting the desired option from the Size submenu on the context menu.
Working with symbols Adding symbols to the score Please note that this does not necessarily mean that the symbol has to start or end exactly above/below two notes. Instead, what it means is that when you use the Layout tool to move the note graphically to adjust the look of the bar, the slur/tie moves with it. The same is true if you adjust the width of the measure – the slur/tie is adjusted accordingly.
Working with symbols Adding symbols to the score Inserting a slur over a selection of notes PROCEDURE 1. Select a span of notes. 2. Open the Scores menu and select “Insert Slur”. A slur is created, starting at the first selected note and ending at the last. The Bezier slur The Bezier slur is a special slur symbol, found on the Dynamics symbol tab. Unlike the regular slur, this symbol is made up of a bezier curve, allowing you to create more advanced curve shapes.
Working with symbols Adding symbols to the score Reduce Thickness Makes the Bezier slur thinner. Hide This hides the slur symbol. RELATED LINKS Hiding/showing objects on page 1480 Creating trills If you have recorded or entered a trill, Nuendo can help you display this properly: PROCEDURE 1. Select the notes that make up the trill. 2. Right-click on one of the notes and select “Build Trill…” from the context menu. 3. Select an option from the dialog that appears.
Working with symbols Adding symbols to the score Adding a keyboard symbol The Other tab contains a piano keyboard symbol, useful in educational scores, for example. The symbol has the following properties: • To insert the keyboard symbol, select it from the Inspector, click with the Draw tool at the desired position and drag a box to specify the approximate size of the keyboard. • After you have inserted the keyboard symbol, you can drag its edges to resize it vertically or horizontally.
Working with symbols Adding symbols to the score Adding guitar chord symbols A fretboard symbol of a guitar chord can be inserted anywhere in the score. Guitar symbols are found on the “Guitar Symbols” tab and the Other tab in the Symbols Inspector. • The Guitar Symbols tab contains all Guitar symbols of the current guitar library. If the symbol that you want to insert is among these, select it and insert it as you would any other symbol, see above.
Working with symbols Adding symbols to the score • Clicking the Insert Notes button inserts the actual notes in the chord into the score. You can also right-click on a guitar symbol and select “Insert Notes” from the context menu. You can edit the symbol at any time by double-clicking it, changing the settings in the dialog and clicking Apply. Note that you can also access the symbols that you defined in the guitar library by right-clicking a guitar symbol – see below.
Working with symbols Adding symbols to the score 3. To edit the chord symbol, double-click it in the list. This opens the Guitar Symbol dialog, as when editing a chord symbol in the score. • The symbol you create is also “interpreted” and its name is displayed to the right of the fretboard symbol. This can also be edited by double-clicking if you like. • To sort the available symbols in the library according to their root notes, click the Sort button.
Working with symbols Adding symbols to the score Adding an image file You can insert image files as symbols into the Score. This allows you to import logos, copyright symbols, images of finger positions, etc. PROCEDURE 1. In the Symbols Inspector, open the Other tab. Image files can be inserted on all three layers. 2. Click the Image File button to select the Draw tool. Click in the score at the position where you want to insert the file. A file dialog opens. 3.
Working with symbols Adding symbols to the score Using layout symbols Layout symbols and texts are inserted on the layout layer. When you are editing a layout containing several tracks, you can have inserted layout symbols and texts automatically copied to any combination of tracks in the layout. You decide which staves should display layout symbols and texts by ticking their “L” column in the Score Settings dialog, on the Layout page.
Working with symbols Selecting symbols Selecting symbols Almost all symbols can be selected by clicking on them. For symbols that have a length or size, one or more handles appear. A selected crescendo An exception to this are the slurs and ties which can be selected by clicking on the end points or by drawing a selection rectangle. Using the lock layers Sometimes it can be very hard to click on a symbol or other object in the score without accidentally selecting other symbols nearby.
Working with symbols Moving and duplicating symbols A checkmark for an object type means it belongs to that layer. If no checkmark is shown, you can select the object type from the pop-up menu to move it to that layer. Locking a layer To “lock” a layer, click on its lock layer button. In this figure, layer 2 is locked. Event types assigned to layer 2 cannot be selected, moved, or deleted. Visual indication of the layers Objects belonging to locked note layers are “grayed out” in the score.
Working with symbols Moving and duplicating symbols Moving and duplicating by using the mouse This is done much as with other objects in Nuendo. The following rules apply: • Note symbols and note-dependent symbols move with the notes/chords they belong to. In other words, if you move the note/chord, the symbols move with it/them. • Note symbols (like accents and lyrics) can only be moved vertically. Other symbols (like braces and brackets) can only be moved horizontally.
Working with symbols Moving and duplicating symbols The Position Info window If you need to fine-tune the graphical positions of symbols and other objects, you should use the Position Info window. This makes positioning easier in two ways: • You get a numerical indication of the exact position of the mouse pointer (and any object you are dragging). • You can move objects or staves by typing in position values. You display the Position Info window by clicking in the ruler.
Working with symbols Moving and duplicating symbols To Next Staff The distance between the active staff and the staff below it. Clicking and typing in a value moves the staves below the active staff. Dragging symbols across staves If you drag a symbol across the staves, you can see how the “active staff” indicator to the left follows the mouse pointer. Use this as an indication to make sure that symbols end up in the correct staff.
Working with symbols Moving and duplicating symbols 3. Double-click on the handle of the bar from which you want to copy or move symbols. The Bar Copy dialog appears. 4. Make sure that only the symbol types that you want to move/copy are checked. 5. If you have several subsequent bars to which you want to copy symbols, set the “Repeats” value to this number of bars. If you only want to copy symbols from one bar to another, make sure that “Repeats” is set to 1.
Working with symbols Changing length, size, and shape • If you activated other types of symbols, these are simply moved to the same graphical position in the “target” bar. • If you set “Repeats” to a number larger than 1, the same symbols are pasted into that number of bars (starting from the one you drag the bar handle to). • If you do not hold down [Alt]/[Option] when dragging the bar handle, the symbols (and other event types specified in the dialog) are removed from the “source” bar.
Working with symbols Changing length, size, and shape 2. Drag one of the handles. You may be restricted to vertically or horizontally only, depending on the type of symbol. IMPORTANT In the Preferences dialog (Scores–Editing page), there is a preference called “Keep Crescendo Symbols Horizontal”. When this is activated, crescendo and diminuendo symbols are never slanted. Resizing note symbols and dynamics PROCEDURE 1. Right-click on a dynamic or note symbol. 2.
Working with symbols Deleting symbols • By dragging the end points of a slur or tie, you can change its shape without affecting its “relation” to the notes it belongs to. In other words, the end point of the slur/tie keeps its relative distance to that note when the note is moved with the Layout tool or when the measure width is adjusted. • By holding down [Ctrl]/[Command] and dragging the end points of a slur or tie, it can be detached from the notes it belonged to.
Working with symbols Alignment Alignment Symbols can be aligned as in drawing programs. PROCEDURE 1. Select all objects that you want to align. 2. Open the Scores menu and select an option from the Align Elements submenu. IMPORTANT Note symbols like staccato and accents can only be aligned horizontally. The “Dynamics” option is a special function for aligning dynamic symbols. RELATED LINKS Aligning dynamics on page 1433 Symbol details This section further describes some of the symbol tabs.
Working with symbols Symbol details The Quick Staff Setup tab This tab combines the basic settings for Display Quantize, staff mode, as well as staff presets for quick access. RELATED LINKS Display Quantize values on page 1352 Setting up the voices on page 1361 About the polyphonic presets on page 1363 The “Clefs etc.” tab Clefs You can insert a clef symbol anywhere in the score. This has an effect on the notes, just as the first clef on the staff has.
Working with symbols Symbol details • You can select a font and size for time signatures in the “Font Settings” subpage of the Score Settings dialog (Project page). The default font for this is the included “Steinberg Notation” font.
Working with symbols Symbol details • When you have inserted a crescendo or diminuendo symbol, you can move it and resize it by dragging its handles. • The “dynamic crescendo/diminuendo” symbol (p < f) is special in that it actually affects the velocity of the notes as they are played back. • If the “Keep Crescendo Symbols ‘Horizontal’” option is activated in the Preferences dialog (Scores–Editing page), crescendo/diminuendo symbols are never slanted when you draw them, but stay horizontal.
Working with symbols Symbol details • You can also right-click on the octave symbol and select the “Extend (+)” or “Reduce (-)” command to extend it to the next chord or to reduce it. RELATED LINKS Transposing instruments on page 1311 Tuplet group symbols These are “graphical” tuplet group symbols, as opposed to the “real” tuplets. • After inserting a tuplet group symbol, you can double-click on its number and enter any number from 2 to 32.
Working with symbols Symbol details Pedal down and up symbols When you insert a Pedal down or up symbol, you also insert an actual MIDI event (damper pedal, control change 64) at that position. Similarly, inserting or recording a damper pedal event in another editor displays a pedal down/up symbol in the score. • If the “Hide Pedal Markers” option is activated in the Score Settings dialog, Project–Notation Style subpage (Miscellaneous category), all pedal markers are hidden.
Working with symbols Symbol details RELATED LINKS Adding a keyboard symbol on page 1415 Additional symbols If you click the “Other Symbol” button and then into the score, the “Select Symbol” dialog opens. Here you can choose note heads, accidentals and rests that work only as drawing elements, i. e. they do not insert any note data into the track. They do not affect MIDI playback! You can set the desired symbol font size directly in the Font Size field.
Working with symbols Symbol details Da Capo and Dal Segno symbols The “D.C.”, “D.S.”, and “Fine” symbols provide a quick way to insert some common play directions into the score. The symbols are text symbols – you can adjust which font is used on the Project page (Font Settings subpage) of the Score Settings dialog. • To have these symbols actually affect playback, insert them on the Project layer and use the Arranger mode.
Working with symbols Symbol details Tempo change according to note values symbol This symbol allows you to specify a tempo change as a change from one note value to another. The example above would mean “lower the tempo by a third”. To change the note value for either symbol, double-click or right-click it and select the desired note value from the context menu. User Symbols The User Symbols tab lets you create your own graphic symbols and use these in the score.
Working with symbols Symbol details 4. Select “New Symbol” from the Functions pop-up menu. An empty symbol field appears in the section to the left of the drawing area – this section corresponds to the actual User Symbols tab, showing all symbols that you have created. 5. Click the new empty symbol field on the left to make sure that it is selected. The drawing area is cleared. 6. Continue creating new symbols this way.
Working with symbols Symbol details You can double-click on a text object you have inserted to change its text or settings. Symbol Clicking with this tool brings up a dialog where you can select any of the existing score symbols and incorporate this (at the desired font size) into your own symbol. Set Color of Frame When this is selected, the Color pop-up menu is used to select the color for the object frame.
Working with symbols Symbol details Delete Symbol Deletes the current symbol from the tab. Export User Symbols… Allows you to save the current tab with all available symbols as a separate file on disk. Import User Symbols… Loads settings for a complete tab from disk. Note that this replaces the current settings. Export/Import Symbol… Lets you save or load individual symbols to/from disk. Importing a symbol replaces the current symbol on the tab. Delete Deletes the selected object(s).
Working with chords About this chapter In this chapter you will learn: • How to enter chord symbols manually and automatically using the “Make Chord Symbols” feature. • Which settings can be made for chord symbols. Inserting chord symbols To insert chord symbols in the score, you can insert them manually by using the Chord Symbol button in the Inspector. You can also let Nuendo analyze an existing recording and create the chord symbols.
Working with chords Inserting chord symbols 4. In the “Chord Type” field, specify a chord type. You can either enter it directly (for example, by typing a “7”) or select an option from the pop-up menu (click the arrow button to open it). 5. If you wish, specify a tension in the Tension field. Again, this can be done by typing or by using the pop-up menu. However, there are some special display options which you can only get by typing (see the table below).
Working with chords Inserting chord symbols Using Make Chord Symbols If you have already recorded the chords for a project, Nuendo can analyze them and create chord symbols: PROCEDURE 1. Open the recording in the Score Editor. If you want the chords to be inserted on another track, you can create an empty part on that track and open it along with the recording. 2. If you like, make display settings for the chords.
Working with chords Global chord settings All selected notes on all staves are taken into consideration. Whenever there is any change on any staff, the notes are reinterpreted and a new chord symbol is added. This means you should probably avoid having the melody track in the Score Editor when you use Make Chord Symbols, or you get a lot more chords than you expect, possibly with strange tensions. In addition to the above, the Quantize value is used.
Working with chords Global chord settings Chord Symbols Chord Symbols Font • Use the four size value fields to select sizes for the root, the type, the tension, and the bass of a chord. You can type in values or use the pop-up menus. Normally, you would want the “Root” size to be the largest and the “Tension” size to be the smallest. Options • If you want the root note to be aligned with the bass note, so that they are both displayed at the same vertical position, activate “Align Bass Note”.
Working with text About this chapter In this chapter you will learn: • Which different types of text are available. • How to enter and edit text. • How to set font, size, and style. • How to enter lyrics. Adding and editing text symbols This section describes the general procedure for adding and editing text symbols. There are several different types of text symbols, but the basic procedures are the same (except for block text symbols and page text symbols).
Working with text Adding and editing text symbols 5. Click the text symbol and click in the score at the position where you want the text to appear. If you are adding lyrics, you should click above or below a note (lyrics are centered around each note and positioned vertically to where you clicked). 6. Enter the text in the text box that appears. You can use [Backspace] to delete letters, and move the cursor with the arrow keys. 7. When you are done, press [Return]. The text appears.
Working with text Adding and editing text symbols • If the text is an advice about articulation or playing style, and you want it to apply from that point on in the score: In the Score Settings dialog (Text tab), you can find two settings that determine the appearance of the melisma lines for text symbols: • The Melisma Style pop-up menu is where you specify whether the line is solid or dotted.
Working with text Adding and editing text symbols 3. Select a font from the Font pop-up menu. How many and which fonts appear depends on what typefaces you have installed on your computer. IMPORTANT For regular text you should avoid the “Steinberg” fonts. These are the fonts Nuendo uses for all scoring symbols, etc. 4. Select a text size from the Size pop-up menu (or enter one manually in the text field). 5. You can also add one or several font options using the checkboxes and pop-up menus. 6.
Working with text Adding and editing text symbols Text attribute sets A text attribute set can be seen as a “preset” containing all font, size, and style settings. By creating text attribute sets for the settings you use most often, you can save a lot of time. Creating a text attribute set PROCEDURE 1. Open the Score Settings dialog on the Project page and select the Font Settings subpage. 2. Open the Attribute Sets tab. 3. On the Font Set pop-up menu, select the “Empty” set. 4.
Working with text Different types of text Editing text attribute sets If you edit the settings in a text attribute set, all texts using this particular set are affected. This is very practical, since it allows you to use the same number of “generic” sets for all your projects (for titles, comments, lyrics, etc.), and simply change the fonts, sizes, etc. for a different project if necessary. This also makes it easier to move projects between computers (which may not have the same fonts installed).
Working with text Different types of text Similarly, you can copy selected text by using the “Text To Clipboard” option from the context menu. Lyrics This type of text is inserted by selecting Lyrics on the Other symbol tab. You can insert this type of text only on note layers. When you insert lyrics, you should click below or above the note the syllable belongs to. The text then appears horizontally centered around the note and vertically positioned to where you clicked.
Working with text Different types of text – if this is not what you want, activate the “Don’t Center Hyphens” option in the Score Settings dialog, on the Project–Notation Style subpage (Lyrics category). Lyrics and measure widths When you first enter lyrics, the result may look crammed, since the words take up more space than the notes (the lyrics are also selected just after entering the last word, which makes them look a bit odd when overlapping).
Working with text Different types of text 5. Start over, by activating the next voice, clicking on the first note in that voice and proceeding as with the first voice. 6. If needed, adjust the position of the lyrics for each voice (see below). RELATED LINKS Entering notes into voices on page 1364 Moving lyrics If you want to move the lyrics up or down, for example to make room for a second verse, proceed as follows: PROCEDURE 1. Hold down [Shift] and double-click on the first word in the lyrics.
Working with text Different types of text 2. Click in the score where you want to insert the text. A regular file dialog appears. 3. Select a file (TXT or RTF) to import. 4. Click Open. The text in the file is inserted into the score. Options for inserted Block Text Right-clicking on inserted Block Text brings up a pop-up menu with the following options: Settings Brings up the RTF Settings dialog. You can also open this by double-clicking the Block Text.
Working with text Different types of text Draw Frame When this is activated, a frame is shown around the Block Text. Word wrap When this is activated, line breaks are used to fit the text in the Block Text symbol. Replace mode In this mode, the Block Text box is opaque, covering what’s under it. Trans mode In this mode, the Block Text box is transparent. Lay Text The Lay Text symbol allows you to insert layout text for multiple staves. This is available only on the layout layer.
Working with text Different types of text Entering page text PROCEDURE 1. Open the Other tab of the Symbols Inspector. 2. Click the Page Text symbol and click in the score. It does not matter where you click – the positioning is specified in the Page Text dialog. 3. Enter the text that you want displayed in the field at the top of the dialog. You can use special characters to add “variables” such as page numbers – see below. 4. Adjust the positioning settings for the text. 5.
Working with text Different types of text %p The current page number. %l (lower case L) The long staff name. %s The short staff name. %r The name of the project. For example, if you enter the text “%l, %r, Page %p”, these variables might be shown as “1st Violin, Quartet No.2, Page 12” in the score. Using the Score Settings (Text page) In the Score Settings dialog on the Text page, you can find a number of text-related settings.
Working with text Text functions • When you select text in the score and open the Selection tab, the selected words are shown in the text field. You can now change the wording of the text, and use the text format options to the left to change the appearance of the selected text. When you are done, click Apply to apply your changes to the selected text in the score.
Working with text Text functions Right-clicking one of the fields opens a context menu with a number of options: • Select “Edit” to open the Custom Text Editor dialog. • Select “New” to add a new empty symbol to the Words tab. • Select “Remove” to delete any unwanted symbols from the Words tab. • Select “Open As Palette” to open the Words symbol palette.
Working with text Text functions 6. Click OK. Now all occurrences of the “Find” words are replaced with the “Replace” words. Staff names You can make settings for staff names in several places: • In the Score Settings dialog on the Layout page, you specify whether the staff names are shown at all and whether to use the names of the actual edited tracks in the score. In a multi-track layout, you can choose for which tracks the staff names are shown by clicking in the “N” column for each track.
Working with text Text functions • You can define separate subnames for the upper and the lower staff in a polyphonic or split system. • You can fine-tune the vertical and horizontal position of staff names with some of the options on the Project–Spacings subpage of the Score Settings dialog. RELATED LINKS Staff names on page 1462 Bar Numbers Bar Number settings can be made in several places as well. General settings PROCEDURE 1.
Working with text Text functions First Bar Number – Vertical Offset Sets the vertical distance between the bar number and the bar line for the first bar on each staff. Other Bar Numbers – Horizontal Offset Sets the horizontal distance between the bar number and the bar line for all other bars. Other Bar Numbers – Vertical Offset Sets the vertical distance between the bar number and the bar line for all other bars.
Working with text Text functions Bar Numbers before and after changing their font settings. You can also define text attribute sets on the Font Settings subpage, as a means to quickly change text. Note that you can select a defined attribute set from the context menu opened when right-clicking on a text element.
Working with layouts About this chapter In this chapter you will learn: • What layouts are and what they contain. • How to create layouts. • How to use layouts for opening combinations of tracks. • How to apply, load, save and delete layouts. • How to import and export layouts. • An example of how layouts can be used. Background: Layouts Layouts can be viewed as “presets” containing settings for the layout layer: staff spacing, bar lines, layout symbols, etc.
Working with layouts Creating a layout • All settings on the Layout page of the Score Settings dialog. • The vertical spacing of the staves. • Bar line spacing. • Broken bar lines. NOTE Note that Project symbols, bar line types and bar number offsets are part of the Project layer, and appear in all layouts. RELATED LINKS The available symbols on page 1406 How layouts are stored Layouts are created automatically when you edit a single track or a combination of tracks.
Working with layouts Layout operations Layout operations The Score Settings dialog contains a Layout page, where you can make settings for the different layouts. To the left of the dialog, all existing layouts in the project are listed (this is the same list as in the Open Layout dialog, see above). The layout currently used is highlighted in the list. Opening the tracks in a layout To select another combination of tracks for editing, select the corresponding layout in the list.
Working with layouts Using layouts – an example Importing and exporting layouts By selecting a layout and selecting “Export” or “Import” from the Functions pop-up menu below the list, you can export or import a Layout. Note that all Staff settings are taken into account, when exporting or importing a layout. Working with Display Transpose You can specify for each staff in a layout whether it should use Display Transpose.
Working with layouts Marker Track to Form Marker Track to Form If you have created markers in the Project window which denote the start of each new “section” in your music (verse, bridge, chorus, etc.), you can automatically transfer these markers into the current layout. PROCEDURE 1. Open the Scores menu, open the Advanced Layout submenu and select “Marker Track to Form”. Now, rehearsal marks and double bar lines are inserted in the score, at the position of each marker. 2.
Working with MusicXML Introduction MusicXML is a music notation format developed by Recordare LLC in 2000 based primarily on two academic music formats. It allows the representation of scores in the current symbolic representation of western music notation, used since the 17th century. With Nuendo you can now import and export MusicXML files created with version 1.1. This makes it possible to share and exchange sheet music with people who are using score writing programs such as Finale and Sibelius.
Working with MusicXML Introduction Is MusicXML better than MIDI? The following sections inform you about the advantages of MusicXML and MIDI regarding note representation and sound. Advantages of MusicXML MIDI tracks hold MIDI notes and other MIDI data. A MIDI note in Nuendo is only defined by its position, length, pitch and velocity. This is not enough to decide how the note will be displayed in a score.
Working with MusicXML Importing and exporting MusicXML files Importing and exporting MusicXML files Nuendo can import and export MusicXML files, which makes it possible to transfer musical scores to and from applications that support this file format. However, there are some restrictions concerning the parameters supported by Nuendo.
Working with MusicXML Importing and exporting MusicXML files Importing and exporting Symbols Parameter Export Import Keys Yes Yes Clefs Yes Yes Time Signature Yes Yes Dynamics Yes Yes Ornaments Yes / incomplete Yes / incomplete Articulations Yes / incomplete Yes / incomplete Technicals Yes / incomplete Yes / incomplete Lyrics Yes Yes Chord Symbols Yes Yes Damper Pedal Yes Yes Dynamics Yes Yes Rehearsals Yes Yes Text Yes Yes Layout Text Yes N.A.
Working with MusicXML Importing and exporting MusicXML files Importing MusicXML files PROCEDURE 1. Open the File menu and open the Import submenu. 2. On the submenu, select “MusicXML…”. 3. In the file dialog that opens, locate and select the MusicXML file and click “Open”. 4. Another file dialog opens in which you can select the project folder for the new project. Select an existing project folder or create a new one by clicking “Create” and entering a name in the dialog. 5.
Designing your score: additional techniques About this chapter In this chapter you will learn: • How to change the staff size. • How to create multi-rests. • How to add and edit bar lines. • How to create upbeats. • How to set measure spacing and the number of bars across the page. • How to control staff and grand staff spacing. • How to use the Auto Layout dialog. • How to use the Reset Layout function. • How to break bar lines.
Designing your score: additional techniques Layout settings Layout settings The Layout page of the Score Settings dialog contains a number of settings that affect the display of the current layout. The track list The track list lists the tracks included in the layout and allows you to make the following settings: Brackets These two columns allow you to add braces or brackets, encompassing any number of staves in the layout. T This is relevant if the “Modern Time Sign.” option is activated to the right.
Designing your score: additional techniques Layout settings RELATED LINKS Adding brackets and braces on page 1493 Displaying the Chord Symbols from the Chord Track on page 1493 Equal Spacing Activate this option when you want a note to take up space according to its note value. When Equal Spacing is activated, two sixteenth notes take up as much space as one eighth note, for example. Size Changes the size of all staves.
Designing your score: additional techniques Staff size Modern Time Signature When this is activated, time signatures are shown above the staves rather than in them. You can set the size of the modern time signature in the Time Sign section on the Project–Notation Style subpage of the Score Settings dialog. When modern time signature is selected, you use the “T” column in the track list in the Layout page to specify for which tracks time signatures are displayed.
Designing your score: additional techniques Hiding/showing objects RESULT All staves now get the desired size. Staves that have individual size settings (see above) still are proportionally smaller/larger. This setting is part of the layout and can be used when printing a full score slightly smaller than the parts for each instrument, for example. Hiding/showing objects Any object on a page can be hidden, including notes, rests, symbols, clefs, bar lines, even entire staves.
Designing your score: additional techniques Hiding/showing objects Notes can also be hidden by selecting them, clicking the “i” button on the extended toolbar and ticking the Hide Note checkbox in the Set Note Info dialog. IMPORTANT If the Hide option in the filter bar is activated, hidden objects are shown in gray so that they are still visible and you can select them.
Designing your score: additional techniques Coloring notes 3. Press [Backspace] or [Delete]. The object appears. Undo is available if you change your mind. Showing all objects If you select “Hide/Show” from the Scores menu again, all hidden objects are displayed. • You can also use the Reset Layout function to permanently display hidden notes and objects.
Designing your score: additional techniques Multiple rests Multiple rests Multiple consecutive rests can be automatically displayed as multi-rests. A multi-rest over three bars PROCEDURE 1. Open the Score Settings and select the Layout page. 2. Set the Multi-Rests option to the number of empty bars that are “allowed” before Nuendo displays them as a multi-rest. For example, a value of 2 means that three or more consecutive empty bars are displayed as a multi-rest.
Designing your score: additional techniques Editing existing bar lines Multi-Rests – Church Style When this is activated, multi-rests are shown in “church style” (vertical bars), rather than with the regular, horizontal symbols. Multi-Rests – Numbers above Symbol When this is activated, the numbers are shown above the multi-rest symbol, instead of below it. Multi-Rests – Snap Rests moved with the Layout tool When this is activated, rests automatically snap to “intelligent” positions in the score (i. e.
Designing your score: additional techniques Creating upbeats 4. If you do not want to display bar lines at the beginning of the parts, open the Score Settings dialog on the Project–Notation Style subpage (Bar Lines category) and activate the “Hide First Bar line in Parts” option. NOTE The bar line types are part of the Project layer – any changes you make are reflected in all layouts. Creating upbeats The following methods describe how you can create upbeats in the Score.
Designing your score: additional techniques Setting the number of bars across the page 6. If you use bar numbers, double-click on the first bar number and enter an offset of -1. 7. Adjust the display of bar numbers and hide the “0” in the first measure. By hiding rests With this method, the first bar actually gets the same time signature as the following bars – it only looks like an upbeat bar: PROCEDURE 1. Enter the notes in the upbeat into the first bar.
Designing your score: additional techniques Setting the number of bars across the page Manually In Page Mode, you have full control over the number of bars appearing across the page, by using the Number of Bars dialog or the tools. NOTE If you want to use the “Max. number of Bars” option in the Auto Layout dialog, you should do this before you adjust the number of bars manually. RELATED LINKS Auto Layout on page 1494 Using the Number of Bars dialog PROCEDURE 1.
Designing your score: additional techniques Moving bar lines • To bring the bar back up to the previous staff, use the Glue tool to click on the last bar line on the upper of the two staves. This in fact moves all measures in the lower staff to the upper staff. Moving bar lines The following operations can be made using the regular Object Selection tool or the Layout tool. Moving a bar line If you drag a bar line to the left or right, the surrounding bars are adjusted proportionally.
Designing your score: additional techniques Moving bar lines Making an indent on one line • To create an indent, simply drag the first or last bar line on a staff. The sizes of all measures are adjusted proportionally. Before and after dragging the first bar line on the first staff Making indents on several lines If you hold down [Alt]/[Option] and drag the first or last bar line in a system, all following systems get the same indent.
Designing your score: additional techniques Dragging staves Dragging staves For the following operations, you can use the Object Selection tool or the Layout tool. NOTE Dragging staves can only be done in Page Mode. Adding space between two grand staves PROCEDURE 1. Locate the first staff in the lower of the two systems that you want to spread apart. 2. Click just to the left of the first bar line and keep the mouse button pressed. The entire staff is selected. 3.
Designing your score: additional techniques Dragging staves Setting the same distance between all grand staves PROCEDURE 1. Hold down [Alt]/[Option] and drag the first staff of the second system, until you have reached the desired distance between this and the first system. 2. Release the mouse button. The distances between all the systems are adjusted accordingly. IMPORTANT This operation affects the system you drag and all following systems.
Designing your score: additional techniques Dragging staves Moving one staff only You may want to move one staff without affecting any other staff in any way: PROCEDURE 1. Hold down [Ctrl]/[Command]. 2. Drag any staff as described above. Moving staves between pages By using the “Move to Next/Previous Page” commands on the Staff context menu, you can quickly edit the page breaks. Moving staves to the next page PROCEDURE 1. Locate and activate the staff you want to move to the top of the next page.
Designing your score: additional techniques Adding brackets and braces Adding brackets and braces Brackets and braces are added on the Layout page of the Score Settings dialog. The settings you make are specific for the current layout, i. e. you can have different brackets or braces set up for different track configurations. PROCEDURE 1. Open the Score Settings and select the Layout page. In the track list, you can find columns for braces ( { ) and brackets ( [ ). 2.
Designing your score: additional techniques Auto Layout 2. To edit a chord symbol, double-click it. NOTE Moving chord symbols in the staff only affects the display. The position of the chords on the chord track remains unaffected. RELATED LINKS Layout settings on page 1477 Chord Functions (NEK only) on page 890 Auto Layout This item on the Scores menu brings up a dialog with several options.
Designing your score: additional techniques Auto Layout Move Bars This option looks at the currently active grand staff, and attempts to adjust the measure widths, so that all notes and symbols get as much room as possible. The number of bars on the staff is not affected. • You can perform this function for several staves in one go, by dragging a selection rectangle over their left edges, and then selecting Move Bars.
Designing your score: additional techniques Auto Layout Move Bars and Staves This is a combination of “Move Bars”, “Move Staves”, and “All Pages”, plus automatic calculation of the number of bars across the page – the function tries to optimize the number of bars across the page for each staff (with the maximum number of bars as set in the dialog). Optimize All All of the above in one fell swoop. This procedure might take some time but usually yields great results.
Designing your score: additional techniques Reset Layout Reset Layout This function allows you to delete invisible layout elements, which in effect restores the score to default settings. PROCEDURE 1. Select “Reset Layout…” from the Scores menu. The Reset Layout dialog appears. 2. Activate the items you want to delete or reset to standard settings. 3. Click on “This Staff” to clean up the active staff only, or on “All Staves” to clean up all staves in the score.
Designing your score: additional techniques Breaking bar lines Breaking bar lines Sometimes you may not want a bar line to stretch all the way across a grand staff. If this is the case, you have the possibility to “break it”. Manually You can break the bar lines in one grand staff or in several grand staves and re-connect them. Breaking bar lines in one grand staff PROCEDURE 1. Select the Erase tool. 2. Click on a bar line connecting the two staves.
Designing your score: additional techniques Breaking bar lines Re-connecting broken bar lines If you have broken the bar lines, you can use the Glue tool to connect them again. PROCEDURE 1. Select the Glue tool. 2. Click on one of the bar lines in the staff above the broken bar lines. All bar lines between these staves in this grand staff are connected. To re-connect bar lines in several grand staves, hold down [Alt]/[Option] and click with the Glue tool.
Scoring for drums About this chapter In this chapter you will learn: • How to set up the drum map. • How to set up a staff for drum notes. • How to enter and edit drum notes. • How to use a single line drum staff. Background: Drum maps in the Score Editor When scoring for drums, you can assign a unique note head to each pitch.
Scoring for drums Setting up the drum map RELATED LINKS MIDI Editors on page 777 Use Score Drum Map on/off For the drum map settings to be used in the score, you need to activate the “Use Score Drum Map” option in the Score Settings dialog on the Staff page (Options tab). Setting up the drum map To set up the drum map, proceed as follows: PROCEDURE 1. Open the Score Editor for the drums track. This should be a MIDI track to which you have assigned a drum map. 2.
Scoring for drums Setting up the drum map 5. Make settings for the sounds/MIDI notes you need. IMPORTANT Please note that many different drum maps can be created for a project. Which one you get depends on which drum map is assigned to the edited track. These drum maps are totally independent of one another, i. e. each pitch can have different settings in different drum maps. Score related options Pitch This corresponds to the I-note of the sound in the drum map, and cannot be edited here.
Scoring for drums Setting up the drum map All head symbols are arranged in pairs – by default an “empty” head and a “filled” head. Just as with regular notes, the “empty” note heads are used with half notes and larger note values, and the “filled” heads are used with quarter notes and smaller note values. 2. To select a head pair for a drum sound/note, click in the Head symbol column to open the pop-up menu and choose the new head pair.
Scoring for drums Setting up a staff for drum scoring Setting up a staff for drum scoring PROCEDURE 1. Open the Score Settings dialog on the Staff page and select the Options tab. 2. Make sure that “Use Score Drum Map” is activated. 3. If you want a single line drum staff, activate the corresponding option. 4. If you want flat beams, activate the corresponding option. 5. If you want all stems to end at the same position, activate Fixed Stems and set a length for up/down stems.
Scoring for drums Using “Single Line Drum Staff” To decide which notes go where, proceed as follows: PROCEDURE 1. Open the Score Settings dialog on the Staff page and select the Options tab. 2. Activate “Use Score Drum Map” and “Single Line Drum Staff”. 3. Set up the two pitch values to decide which pitches go on the line. Notes below this range automatically wind up below the line and notes above wind up above the line.
Creating tablature About this chapter In this chapter you will learn: • How to create tablature, automatically and manually. • How to control the appearance of the tablature notes. • How to edit tablature. Nuendo is able to produce score in tablature format. This can be done automatically, by “converting” recorded MIDI information. You can also create a tablature staff from scratch and enter the notes “by hand”.
Creating tablature Creating tablature automatically 3. Activate “Tablature Mode”. 4. Select one of the predefined instruments from the pop-up menu. • If you are not using one of the predefined instruments, set the open tuning of each string using the value fields. You can create tablature for up to 12 strings. To disable a string, set it to Off, the lowest value. 5. If you want to use a capodaster, e. g. on the forth fret, enter the corresponding value in the Capo field.
Creating tablature Creating tablature manually Normally, the program automatically decides on which string to display a note, by looking at the pitch and then putting the note at the lowest possible string. You can then either manually move a note to the correct string, or use the “MIDI Channel 1–6” option to let the program move the notes automatically. PROCEDURE 1. Many guitar synthesizers are able to transmit each string on a different MIDI channel.
Creating tablature Tablature number appearance 8. Select the Insert Note tool and move the pointer over the score. 9. Press the mouse button and drag up and down until the note appears on the desired string with the correct fret number (you can also verify the pitch on the toolbar, as usual). When you drag up and down, the program automatically selects the lowest possible string. If you want a fret number higher than 4 on a guitar tablature, for example, you have to use “Move To String”, see below.
Creating tablature Note head shape Moving notes Moving notes in pitch in a tablature score is working the same way as entering notes manually, see above. Editing on the info line You can change the pitch of notes on the info line as usual. The string and fret number are updated automatically in the score. Note head shape If you only want to enter a fret number for your notes (Tablature mode off), you can use the Set Note Info dialog on regular notes. PROCEDURE 1. Double-click on the head of a note.
The score and MIDI playback About this chapter In this chapter you will learn: • How to use the Arranger mode to have the playback follow the structure of the score. • How to use the “mapped” Dynamics symbols. NOTE You can also play back articulations in the Score using the Expression Map and Note Expression functions.
The score and MIDI playback Working with mapped dynamics Working with mapped dynamics Apart from the dynamics symbols found on the Dynamics tab, you can also use 12 “mapped” Dynamics symbols. These make use of the Note Expression functionality in Nuendo. Mapped Dynamics symbols can be played back using three different methods: by modifying the velocity values in percentages, by sending volume controller messages or by sending additional generic controllers. These methods can also be combined.
The score and MIDI playback Working with mapped dynamics Change Velocities You can create dynamics by defining different velocities for the different symbols. PROCEDURE 1. Activate the “Change Velocities” checkbox in the lower section of the dialog. 2. Set up a percentage value (positive or negative) in the Velocity column to specify by how much the corresponding symbol will raise or reduce the current velocity value of a note.
The score and MIDI playback Working with mapped dynamics Send Controller You can also send an additional MIDI controller (except MIDI controllers 7 and 11, which are used for the “Send Volume” function). If you combine this with the “Send Volume” function, you can set up a sound which gets brighter as it gets louder, which is useful when working with strings or woodwind and brass instruments. PROCEDURE 1. Activate “Send Controller” and specify the controller you want to use in the pop-up menu.
The score and MIDI playback Working with mapped dynamics • When you insert a crescendo symbol which is not preceded by a Dynamic symbol, the “assumed” start value is mezzo forte (mf). • Likewise, if a crescendo symbol is not followed by a dynamic symbol, an end value will be calculated automatically. For a crescendo, this is one value above the start value, and for a decrescendo one value below the start value.
Tips and Tricks Overview This chapter provides useful information about editing techniques and answers to a number of questions that might arise when you use the Score Editor. For more information about the functions referred to, please use the index and check the previous chapters. Useful editing techniques Use this section to find out more about some editing techniques that help you to use the score functions more efficiently.
Tips and Tricks Useful editing techniques 4. Use the To Previous Staff or To Next Staff settings to specify the desired distance between the staves. All selected staves are spaced according to your settings. If you do this when the “Global staff Spacing with [Alt]/[Option]-[Ctrl]/[Command]” option is activated, all staves in the score are affected. Polyphonic voicing If you are working on a full score with more than one instrument in one staff (2 flutes, 2 trumpets, etc.
Tips and Tricks Useful editing techniques Using “Scores Notes To MIDI” This function converts the score data, as displayed, into MIDI data. Let’s say for example that you have set up the score so that it is displayed to 99 % the way you want it to be. Yet, that last 1 % forces you to deactivate some of the Staff Settings (like Clean Lengths, No Overlap, or Auto Quantize), which makes other parts of the score illegible. In this case, try using the “Scores Notes To MIDI” function.
Tips and Tricks Frequently asked questions Controlling the order and appearance of grace notes Normally, grace notes are beamed. Their order under the beam is controlled by their order in the track. It is enough to put a grace note one tick before the next grace note to make them appear in the desired order under the beam. Initially the grace notes are put in with a 32nd note beam. By double-clicking the note and changing the “flag” type in the Set Note Info dialog, you can change this.
Tips and Tricks Frequently asked questions I enter a note with one value and it is shown as a note with another value. Set the Rests value for Display Quantize to a smaller note value. Try deactivating Auto Quantize, especially if you do not have any triplets or triplets only. Notes are not displayed at the correct positions. Try changing the Notes value for Display Quantize. There are a number of short rests after my notes. Your Rests value for Display Quantize might be set to too small a note value.
Tips and Tricks Frequently asked questions One long note is shown as many tied notes. Do other notes occur at the same positions but with different lengths? Then you need to use polyphonic voicing. Are the note(s) syncopated? Then you should try the syncopation feature. Even though I’ve tried the above, notes are not tied as I want them. The way notes are tied in Nuendo follows basic notation rules. You may need to make exceptions to these rules, by using the Cut Notes tool.
Tips and Tricks Frequently asked questions When I select a note, nothing is shown on the info line. The note is probably tied to another note. This means that the second note does not really exist, it is just a graphic indication that the main note is long. Try selecting the main note instead. Symbols from the Layout Symbols tab are sometimes invisible when I open the score. This is not a malfunction. Those symbols are part of a layout.
Tips and Tricks Frequently asked questions A note symbol appears too far from the note I wanted it inserted on. Do you have activated the correct voice? Note symbols are inserted into voices, just like notes. The note I recorded is displayed with the wrong length. For example, I recorded a sixteenth and got a quarter note. You probably have the wrong Display Quantize value set. Open the Score Settings dialog and select the Staff page.
Tips and Tricks If you wish you had a faster computer The note has an accidental when it shouldn’t, or it doesn’t when it should. Maybe the note is simply of the wrong pitch? Click on it (using the Object Selection tool) and look at the info line. Move it to the correct pitch. If this is not the reason, maybe you have the wrong key set? And finally, you can also use enharmonic shifting.
Index A AAF files 1147, 1196 Accelerando 1387 Accents Above stems 1409 Accidentals About 1377 Distance from note 1380 ACID® loops 526 Acoustic feedback 781 Sample Editor 515 Score Editor 1334 VariAudio 559 Activate ’Link Panners’ for New Tracks 1279 Activate Project 78 Activate Read/Write for all tracks 668 Active (Activating network) 1039 Active TrackVersion 161 Adapt (Display Quantize) 1353 ADAT Lightpipe 1065 Add Track 142 Add Track dialog 142 Add WAN Connection 1041 Adding chords 893, 896 Adjusting aud
Index Audio events About 175 Aligning 199, 200 Auditioning 177 Creating from regions 525 Editing in Project Browser 1005 Editing in Sample Editor 507 Editing selections 520 Fade handles 274 Making selections 518 Processing with ReConform 1137 Showing in Sample Editor 507 Slicing 539 Volume handles 276 Audio files Adjusting to the project tempo 527 Exporting 1018 Removing unused 83 Audio hardware 1242 Connections 13 Externally clocked 16 Audio loops Musical Mode 526 Tempo matching 526 Audio parts Aligning 1
Index Automation passes 675 Activating 675 Deactivating undo branches 676 Undoing 675 Undoing branches 676 Automation tracks About 664 Assigning parameters 665 Hiding 665 Muting 666 Removing 665 Showing 665 Automation warning markers 1139 Auto-Scroll Crossfades 281 Sample Editor 507 Score Editor 1295 B Back up Project 83 Background Color Modulation 1260 Bank assignments 755 Bar handles 1425, 1517 Bar lines Breaking 1498 Indenting 1489 Moving 1488 Selecting type 1484 Bar numbers Offsetting 1464 Settings 14
Index Chord events 891 Adding 893 Adding chords 893 Assigning to MIDI effects or VSTis 904 Auditioning 898 Chord type 891 Converting to MIDI 903 Editing 893 Extracting from MIDI 909 Getting suggestions 896 Mapping offset 901 Resolving Display Conflicts 899 Tension 891 Voicings 900 Chord Font 1263 Chord Pad Controls 914 Chord Pad Settings Pad layout 933 Players 929 Remote Control 926 Chord Pads 912, 917 Adaptive voicing 930 Assigning Chords from the Chord track 923 Assigning Chords to Chord Pads 920 Assign
Index Continuous controllers Controller display 808 Controller lane 814 Continuous Fill Fill options 680 Control link 365, 367 Control Room 414 Adding channels 414 Channels section 421 Control Room channel 423 Cue channels 420 Downmix Presets section 422 Exclusive port assignment 415 External section 419 Input gain 426 Input phase 426 Insert effects 426 Main mix output 415 Mixer 418 Monitor Sources section 420 Monitors section 422 Opening 414 Outputs 415 Phones section 422 Routing 415 Setup pane 426 Contro
Index Designating a new pool record folder Pool 592 Detect Silence 494 Deviation (Display Quantize) 1353 Device panels About 759 Device ports Selecting for busses 30 Dim Cue during Talkback 1282 Diminuendo Drawing 1432 Keeping horizontal 1432 Disable ’Acoustic Feedback’ during Playback 1258 Disable Track 149 Display format Ruler 49 Display line Fader section 365 Display Object Selection tool after Inserting Symbol 1274 Display Quantize 1288 Auto 1353 In polyphonic voices 1368 Rests 1289 Tool 1291, 1318 Dis
Index Enable Record on Selected Audio Track 1257 Enable Record on Selected MIDI Track 1257 Enable Solo on Selected Track 1257 Enable Track 149 Enharmonic Shift Manual 1378 Enlarge Selected Track 146, 1257 Envelope Process 474 Realtime 289 EQ Channel racks 389 Presets 391 EQ position Strip module 392 EQ presets 391 Equal Gain Crossfades 281 Equal Power Crossfades 281 Equalizer curve MixConsole 351 Erase tool 784 Breaking bar lines in score 1498 Deleting notes in score 1346 Event display 843 About 57 Editing
Index Fit Page/Width 1296 Fixed lengths 771 Fixed stem length 1358 Fixed tempo 976 Fixed velocity 773 Flat ties 1394 Flip Crescendo 1432 Slurs and Ties 1428 Stems 1374 Folder parts 179 Editing 180 Folder tracks 119 Displaying events 152 Modifying event display 152 Follow Chord Track 906 Auto 906 Chords 906 Directly 907 Scale events 907 Single Voice 906 Synchronizing Track Data 907 Using 905 Fonts 1464 Score 1449 Frame count 1063 Frame rates Drop-Frame 1145 Mismatch 1104 Synchronization 1063 Video 1104 Fram
Index Input busses Adding 30 Renaming 29 Routing 384 Input gain MixConsole 386 Input levels 14 Input ports 18 Input Transformer 954 Inputs Meter position options 382 Insert Effects Adding to busses 447 Adding to Group channels 448 Insert effects 439 About 441 Bypass 443 Deactivate 443 Freezing 449 Routing 442 Insert into Project Video 1155 Insert markers 1139 Insert Reset Events after Record 1265 Insert Silence Sample Editor 520 Inserting and finding media Pool 585 Inserts FX chain presets 388 MIDI 746 Mix
Index List Editor 837 Editing events 846 Editing operations 844 Hiding events 841 Inserting events 845 Showing events 841 Status line 841 Toolbar 837 Listen MixConsole 381 Live transform Chord track 905 Loading changes 1057 Loading Multi-Track Presets 170 Locate When Clicked in Empty Space 1276 Locators Setting 228 Lock Event Attributes 209, 1250 Lock layers 1421 Lock Record 260 Logical Editor About 935 Actions 949 Filter conditions 937 Functions 948 Opening 936 Presets 953 Loop Audio Part Editor 569 Fill
Index MIDI devices Defining new for patch selection 753 Device Manager 752 Editing patches 756 Installing 754 Selecting patches 755 MIDI Display Resolution 1265 MIDI Editor Muting note events 783 MIDI editors Opening 777 Soloing 780 Zooming 779 MIDI effects About 745 Inserts 746 Presets 748 Sends 747 MIDI Export Options 1266 MIDI files 1202 MIDI Filter 1269 MIDI Import Options 1266 MIDI Input Chord editor 894 MIDI Input function Sample Editor 555 Score Editor 1339 MIDI Input Transformer 954 MIDI Inputs Set
Index Moving tracks 143 MP3 files Exporting 1031 Importing 1193 MPEG files 1193 MPEX algorithm About 503 Pitch Shift 479 Multi processing 1242 Multi-channel tracks Export 1018 Split 1212 Multi-Rests Creating 1483 Option 1478 Settings 1483 Splitting 1483 Musical expressions Editing 813 Musical Mode About 526 Adjusting audio loops 526 Pool 526 Musical track time base 156 MusicXML About 1471 Exporting 1475 Importing 1475 Mute MixConsole 381 Surround channels 645 Mute Pre-Send when Mute 1279 Muting events 210
Index Pattern banks Previewing in MediaBay 616 Peak meter display 373 Pedal symbols 1435 Pedals To note length 772 Performance Aspects 1240 Audio hardware 1242 CPU and processor cache 1241 Driver 1242 Hard disk and controller 1242 Optimizing 1240 RAM 1241 VST performance 1243 Permission preset Creating in Project Sharing&Permissions dialog 1048 Creating in User Manager dialog 1045 Loading 1049 Removing in User Manager dialog 1046 Permissions Default preset 1046 Presets 1045 Setting up for tracks 1048 Setti
Index Project scrubbing 223 Project Setup Synchronization settings 1068 Project Setup Dialog 73 Project window About 43 Creating VCA faders 370 Event display 57 Global track controls 53 Info line 47 Inspector 50 Overview line 48 Ruler 49 Snap 62 Snap to zero crossings 63 Status line 47 Toolbar 44 Toolbox 46 Track list 56 Zooming 58 Project workspaces 1222 Projects About project files 71 About template files 72 Activating 78 Auto save 81 Back up 83 Creating new 69, 71 Location 82 Locations 79 Missing ports
Index ReCycle files 1192 Redo Net Update 1057 Reducing the project size Pool 593 Reference file Pool 572 Reference Level 1282 Regions About 211, 522 Auditioning 524 Creating 523 Creating from hitpoints 523, 541 Creating with Detect Silence 496 Editing 524 Event or Range as Region 211 Events from Regions 211 Exporting as audio files 525 Removing 523 Rehearsal Marks 1436 Rehearse ADR 337 Remote control Key commands 721 Setting up 718 Writing automation 721 Remote Controllers Connecting with Quick Controls 69
Index Score 1355, 1487 Adding notes 1328 Bows 1380 Composite signatures 1305 Creating chord symbols 1444 Deleting notes 1346 Display markers 1470 Ending symbols 1437 Explode function 1320, 1366 Extended toolbar 1299 Force screen redraw 1314 Gluing notes 1340 Grouping signatures 1385 Hiding stems 1380 Lay text 1457 Layers 1402 Layout layer symbols 1403 Lock (L) button 1334 Locking layers 1421 Merging staves 1371 No Flag/Beam 1380 No Overlap 1354 Notes to MIDI 1321 Offsetting bar numbers 1464 Page number ind
Index Single Voice Follow Chord Track 906 Slices About 533 Creating 539 Slider Mode 1254 Slurs Adding 1411 Bezier slurs 1413 Direction 1428 Inserting 1413 Shape 1428 SMPTE Drop-Frame 1145 Timecode 1144 Time-of-day 1145 Snap 785 About 62 Sample Editor 507 Zero crossings (Sample Editor) 507 Snap MIDI Parts to Bars 1272 Snap modes 1334 Snap point Setting 63 Setting in Sample Editor 517 Snap Point To Cursor 63 Snap Slurs when dragging 1274 Snap to Zero Crossing Audio Part Editor 571 Snap to zero crossings Abou
Index Synchronize Plug-in Program Selection to Track Selection 1281 Synchronizing Track Data Follow Chord Track 907 Sys text 1457 SysEx Changing device settings remotely 851 SysEx Messages 849 T Tablature Automatic creation 1506 Capo 1506 Clef 1508 Editing 1509 Manual creation 1508 MIDI channels 1507 TCP/IP 1037 Telecine process About 1114 Template projects 72 Templates Renaming 73 Workspaces 1223 Tempo About 976 Calculating 987 Correcting the detected tempo 997 Detection 996 Editing 980 Editing in Projec
Index Track Quick Controls 726 About 709 Assigning parameters 712 Renaming 712 Replacing 712 Saving Assignments as Presets 172 Saving assignments as presets 714 Track Selection follows Event Selection 1250 Track Sheet 1014 Track Time Base 156 Track Zoom 147 Tracks About 86 Adding 142 Arranger 109 Audio 86 Chord 111 Coloring 144 Customizing track controls 139 Disabling audio tracks 149 Duplicating 149 Folder 119 FX Channel 114 Group Channel 121 Importing/Exporting 1207 Instrument 94 Loudness 137 Marker 127
Index VCA rack 407 Velocity Changing for note events 813 MIDI function 772 Velocity compression 739 Velocity shift 739 Verify Communication 1043, 1058 Verses (Lyrics) 1454 Video Adding Sound 1150 Adjusting audio events to picture 1152 Audio pull-up/pull-down 1117 Bi-level signals 1065 Codecs 1101 Conforming production audio 1146 Conforming to picture changes 1152 Device Setup 1107 Edit mode 1159 Editing 1111 EDL 1148 Event envelopes 1157 Event handles 1156 Extracting audio from 1111 Formats 1101 Four-point
Index Workspaces Adding 1224 Creating 1224 Editing 1225 Modifying 1225 Of external projects 1224 Organizing 1225 Saving 1224 Templates 1223 Types 1222 Updating 1225 Workspaces Organizer 1225 Write automation 659 Writing automation Automatically 659, 660 Manually 659, 660 Tools 661 Z Zero crossings Snap function 507 Zones MixConsole 357 Zoom Project window 58 Zoom Tool Standard Mode - Horizontal Zooming Only 1259 Zoom while Locating in Time Scale 1276 Zooming 1296 Mouse wheel 1297 Sample Editor 514 To cycl
