Plug-in Reference
Cristina Bachmann, Heiko Bischoff, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek 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 4 4 10 36 64 73 81 82 100 100 105 109 127 140 151 Included Effect Plug-ins Delay Plug-ins Distortion Plug-ins Dynamics Plug-ins EQ Plug-ins Filter Plug-ins Mastering Plug-ins Modulation Plug-ins Network Plug-ins Other Plug-ins Pitch Shift Plug-ins Reverb Plug-ins Spatial + Panner Plug-ins Surround Plug-ins Tools Plug-ins 160 160 162 165 166 173 178 178 180 181 181 184 184 185 186 186 187 191 194 MIDI Effects Arpache 5 Arpache SX Auto LFO Beat Designer Chorder Compressor Context Gate De
Included Effect Plug-ins The included plug-in effects are arranged according to their categories. NOTE Most of the included effects are compatible with VST 3. For more information, see the Operation Manual. Delay Plug-ins ModMachine ModMachine combines delay modulation and filter frequency/resonance modulation and can provide many interesting modulation effects. It also features a Drive parameter for distortion effects.
Included Effect Plug-ins Delay Plug-ins Delay If tempo sync is activated, this sets the base note value for the delay. If tempo sync is deactivated, the delay time can be set freely in milliseconds. Delay – Sync Activates/Deactivates tempo sync for the Delay parameter. Rate If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is deactivated, the modulation speed can be set freely with the Rate knob.
Included Effect Plug-ins Delay Plug-ins Filter Frequency LFO Modulation Freq Sets the cutoff frequency for the filter. It is only available if tempo sync for the Speed parameter is deactivated and the parameter is set to 0. Speed Sets the speed of the filter frequency LFO modulation. If tempo sync is activated, this parameter sets the base note value for synchronizing the modulation to the tempo of the host application. If tempo sync is deactivated, the speed can be set freely with the Speed knob.
Included Effect Plug-ins Delay Plug-ins Spatial Introduces an offset between the channels to create a stereo panorama effect for the filter resonance modulation. Turn clockwise for a more pronounced stereo effect. MonoDelay This is a mono delay effect that can either be tempo-based or use freely specified delay time settings.
Included Effect Plug-ins Delay Plug-ins NOTE If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the delay repeats are silenced. If the signal drops below the threshold, the delay repeats reappear. For a description of how to set up side-chain routing, see the Operation Manual. PingPongDelay This is a stereo delay effect that alternates each delay repeat between the left and right channels.
Included Effect Plug-ins Delay Plug-ins Spatial Sets the stereo width for the left/right repeats. Turn clockwise for a more pronounced stereo ping-pong effect. Mix Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send. NOTE If side-chaining is supported, the delay can also be controlled from another signal source via the side-chain input.
Included Effect Plug-ins Distortion Plug-ins Filter Lo Affects the feedback loop of the effect signal and allows you to roll off low frequencies. The button below the knob activates/deactivates the filter. Filter Hi Affects the feedback loop of the effect signal and allows you to roll off high frequencies. The button below the knob activates/deactivates the filter. Pan Set the stereo position for each delay. Mix Sets the level balance between the dry signal and the wet signal.
Included Effect Plug-ins Distortion Plug-ins Amplifier pop-up menu Click the amplifier name shown at the top of the amp section to open this pop-up menu. It allows you to select an amplifier model. This section can be bypassed by selecting No Amp. Drive Controls the amount of amp overdrive. Bass Tone control for the low frequencies. Middle Tone control for the mid frequencies. Treble Tone control for the high frequencies. Presence Boosts or dampens the higher frequencies.
Included Effect Plug-ins Distortion Plug-ins Mode Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle. Sample Divider Sets the amount by which the audio samples are decimated. At the highest setting, nearly all of the information describing the original audio signal is eliminated, turning the signal into unrecognizable noise. Depth (0 to 24 bits) Defines the bit resolution.
Included Effect Plug-ins Distortion Plug-ins Balance Sets the balance between the signal processed by the Drive parameter and the dry input signal. For maximum drive effect, set this to its highest value. Output Adjusts the post-gain, or output level, of the amplifier. Distortion Distortion adds crunch to your tracks. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo X X X X X X Boost Increases the distortion amount.
Included Effect Plug-ins Distortion Plug-ins Crackle Adds crackle to create that old vinyl record sound. RPM When emulating the sound of a vinyl record, this switch lets you set the speed of the record in RPM (revolutions per minute). Noise Sets the amount of added static noise. Distort Adds distortion. EQ Cuts the low frequencies, and creates a hollow, lo-fi sound. AC Emulates a constant, low AC hum. Frequency Sets the frequency of the AC current (50 or 60 Hz), and thus the pitch of the AC hum.
Included Effect Plug-ins Distortion Plug-ins Saturation Determines the amount of saturation and the generation of overtones. This leads to a small increase in input gain. Saturation On/Off Activates/Deactivates the saturation effect. Dual Mode Simulates the use of two machines. Frequency Range Low/Hi These parameters set the frequency range of the spectrum band to which the tape effect is applied. For example, to avoid the saturation of lower frequencies, set the Freq Low value to 200 Hz or 300 Hz.
Included Effect Plug-ins Distortion Plug-ins Quadrafuzz v2 Quadrafuzz v2 is a multi-band distortion and multi-effect plug-in for processing drums and loops but also for treatment of vocals, for example. You can distort up to 4 bands. 5 different distortion modes with several sub-modes are available.
Included Effect Plug-ins Distortion Plug-ins • To attenuate or boost the output level of each frequency band by ±15 dB, use the handles on top of each frequency band. Global Settings SB Switches between multi band and single band mode. Scenes You can save up to 8 different settings. If the default setting of a scene is active, the selected scene button lights up yellow. If you change the default settings, the button lights up green, indicating that this scene has customized settings.
Included Effect Plug-ins Distortion Plug-ins Tape This band mode simulates the saturation and compression of recording on analog tape machines. Drive Controls the amount of tape saturation. Tape Mode Dual Simulates the use of two machines. Tube This band mode simulates the saturation effects using analog tubes. Drive Controls the amount of tube saturation. Tubes Determine the number of tubes that are simulated. Dist This band mode adds distortion to your tracks. Drive Controls the amount of distortion.
Included Effect Plug-ins Distortion Plug-ins Decimator Controls the resulting bit-resolution. The lower the resolution, the higher the distortion effect. Mode Allows you to select one of the four operating modes. In each mode, the plug-in sounds differently. Modes I and III are nastier and noisier, while modes II and IV are more subtle. S&H Sets the amount by which the audio samples are decimated.
Included Effect Plug-ins Distortion Plug-ins Out Sets the output gain for the corresponding band. Pan Sets the stereo position for the corresponding band. Mix Sets the level balance between the dry signal and the wet signal. SoftClipper This effect adds soft overdrive, with independent control over the second and third harmonic. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – X X – Input (-12 to 24 dB) Sets the pre-gain.
Included Effect Plug-ins Distortion Plug-ins At the top of the plug-in panel, there are six buttons, arranged according to the position of the corresponding elements in the signal chain. These buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphone Position, Master, and Configuration. Below the display section, the selected amplifier is shown. The color and texture of the area below the amplifier indicate the selected cabinet.
Included Effect Plug-ins Distortion Plug-ins Maximizer Amount – Determines the loudness of the signal. Chorus Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo. Width – Determines the depth of the chorus effect. Higher settings produce a more pronounced effect. Phaser Rate – Allows you to set the sweep rate. This parameter can be synchronized to the project tempo. Width – Determines the width of the modulation effect between higher and lower frequencies.
Included Effect Plug-ins Distortion Plug-ins Tape Delay Delay – Tape Delay creates a delay effect known from tape machines. The Delay parameter sets the delay time in milliseconds. This parameter can be synchronized to the project tempo. Feedback – Sets the number of repeats for the delay. Mix – Sets the level balance between the dry signal and the wet signal. Tape Ducking Delay Delay – Tape Ducking Delay creates a delay effect known from tape machines with a ducking parameter.
Included Effect Plug-ins Distortion Plug-ins Sync Mode Some parameters can be synchronized to the tempo of the host application. The names of these parameters are underlined. Click a knob to activate or deactivate tempo sync. An LED at the top right of the knob indicates that sync mode is active. You can then select a base note value for tempo syncing from the pop-up menu above the control.
Included Effect Plug-ins Distortion Plug-ins Blackface Classic American clean tone. Tweed Clean and crunchy tones; originally developed as a bass amp. Deluxe American crunch sound coming from a rather small amp with a big tone. British Custom Produces the sparkling clean or harmonically distorted rhythm sounds of the 60s. The different amps keep their settings if you switch models. However, if you want to use the same settings after reloading the plug-in, you need to set up a preset.
Included Effect Plug-ins Distortion Plug-ins Input/Output Level Meters The input and output level meters on the left and the right of the Master section show the signal level of your audio. The rectangle on the input meter indicates the optimum incoming level range. In compact view, the input and output levels are indicated by two LEDs at the top left and right. Using the Master Controls • To activate/deactivate the equalizer, click the pedal-like On/Off button.
Included Effect Plug-ins Distortion Plug-ins • To toggle between the different views, click the down/up arrow button (Show/Hide Extended Display) at the top center of the plug-in frame. Changing the Amplifier and Cabinet Selection in the Compact View In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models. • To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu.
Included Effect Plug-ins Distortion Plug-ins At the top of the plug-in panel, the following buttons open different pages in the display section of the plug-in panel: Pre-Effects, Amplifiers, Cabinets, Post-Effects, Microphones, Configuration, and Master. These buttons are arranged according to the position of the corresponding elements in the signal chain. Below the display section, the selected bass amplifier is displayed. The color and texture of the area below the bass amp indicate the selected cabinet.
Included Effect Plug-ins Distortion Plug-ins Volume Pedal – Controls the level of the signal passing through the effect. Compressor Intensity – Sets the amount by which an input signal is being compressed. Compressor MB Lo Intensity – Sets the compressor effect in the low frequency band. Activate/ deactivate Auto Makeup Mode by clicking the LED at the top right of the knob. Hi Intensity – Sets the compressor effect in the high frequency band.
Included Effect Plug-ins Distortion Plug-ins Tone – Allows you to attenuate the low frequencies. Mix – Sets the level balance between the dry signal and the wet signal. DI Driver Level – Sets the output level. Blend – Blends between normal and tube emulation circuitry. With Blend at 0, Drive and Presence are not active. Bass – Boosts or attenuates low frequencies. Treble – Boosts or attenuates high frequencies. Presence – Boosts or attenuates upper harmonics and attacks. Drive – Sets gain and overdrive.
Included Effect Plug-ins Distortion Plug-ins Overdrive Drive – Overdrive creates a tube-like overdrive effect. The higher this value, the more harmonics are added to the output signal of this effect. Tone – Works as a filter effect on the added harmonics. Level – Adjusts the output level. Magneto II Drive – Controls the amount of tape saturation. Low/High – These parameters set the frequency range of the spectrum band to which the tape effect is applied.
Included Effect Plug-ins Distortion Plug-ins Using Effects • To insert a new effect, click the + button that appears if you point the mouse at an empty plug-in slot or at one of the arrows before or after a used effect slot. • To remove an effect from an effect slot, click the effect name and select None from the pop-up menu. • To change the order of the effects in the chain, click on an effect and drag it to another position.
Included Effect Plug-ins Distortion Plug-ins Tweed A classic vintage amplifier from the 50s, with a characterful and bright tone. Originally created for bassists, also used by many guitar players. iTech A modern amplifier, with a universal sound. The different amps keep their settings if you switch models, but amp settings are lost when closing VST Bass AMP. If you want to use the same settings after reloading the plug-in, you need to set up a preset.
Included Effect Plug-ins Distortion Plug-ins 57 Dynamic microphone with cardioid pickup pattern. 121 Ribbon microphone with figure-8 pattern. 409 Dynamic microphone with supercardioid pickup pattern. 421 Dynamic microphone with cardioid polar pattern. 545 Dynamic microphone with cardioid pattern that minimizes feedback. 5 Dynamic microphone with cardioid pickup pattern. 30 Reference and measurement microphone with omni directional polar pattern. 87 Condenser microphone with omni directional pattern.
Included Effect Plug-ins Distortion Plug-ins • To activate/deactivate the equalizer, click the pedal-like On/Off button. If the equalizer is active, the LED next to the button is lit. • To activate/deactivate an equalizer band, click the corresponding Gain knob. If a band is active, the LED to the left of the Gain knob is lit. • To tune your guitar strings, click the pedal-like On/Off button to activate Tuner and play a string.
Included Effect Plug-ins Dynamics Plug-ins Changing the Amplifier and Cabinet Selection in the Compact View In the compact view, a smart control on the lower border of the plug-in frame allows you to select different amplifier and cabinet models. • To select a different amplifier or cabinet, click the name and select a different model from the pop-up menu. • To lock the amplifier and cabinet combination, activate the Link/Unlink Amplifier & Cabinet Choice button.
Included Effect Plug-ins Dynamics Plug-ins Due to its fast attack time, Brickwall Limiter can reduce even short audio level peaks without creating audible artifacts. However, this plug-in creates a latency of 1ms. Brickwall Limiter features separate meters for input, output, and the amount of limiting. Position this plug-in at the end of the signal chain, before dithering. Threshold (-20 to 0 dB) Determines the level where the limiter kicks in. Only signal levels above the set threshold are processed.
Included Effect Plug-ins Dynamics Plug-ins Compressor This plug-in reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo Included with – – X X X X Side-chain support – – – X X X Compressor features a separate display that graphically illustrates the compressor curve that is shaped according to the Threshold and Ratio parameter settings.
Included Effect Plug-ins Dynamics Plug-ins Soft Knee If this button is deactivated, signals above the threshold are compressed instantly according to the set ratio (hard knee). If Soft Knee is activated, the onset of compression is more gradual, producing a less drastic result. Make-Up (0 to 24 dB or Auto mode) Compensates for output gain loss, caused by compression. If the Auto button is activated, the knob becomes dark and the output is automatically adjusted for gain loss. Attack (0.
Included Effect Plug-ins Dynamics Plug-ins Side-chain support Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – Close proximity microphone placement and equalizing can lead to situations where the overall sound is just right, but there is a problem with sibilants. Display Shows the spectrum of the input signal. • To adjust the frequency band, drag the border lines or click in the middle of the band and drag.
Included Effect Plug-ins Dynamics Plug-ins NOTE Make sure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account. Solo Solos the frequency band. This helps you to find the appropriate position and width of that band. Diff Plays back what DeEsser removed from the signal. This help you to adjust the frequency band, threshold, and reduction parameters, so that only sharp ssounds are removed, for example.
Included Effect Plug-ins Dynamics Plug-ins Side Activates the internal side-chain filter. You can now shape the input signal according to the filter parameters. Internal side-chaining can be useful for tailoring how the gate operates. Monitor Allows you to monitor the filtered signal. Live If this button is activated, the look-ahead feature of the effect is deactivated. Look-ahead produces more accurate processing, but adds a specific amount of latency as a trade-off.
Included Effect Plug-ins Dynamics Plug-ins Attack (-20 to 20 dB) Sets the gain of the attack phase of the signal. Length (5 to 200 ms) Sets the length of the attack phase. Release (-20 to 20 dB) Sets the gain of the release phase of the signal. Output Sets the output level. NOTE If side-chaining is supported, the effect can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the effect is triggered.
Included Effect Plug-ins Dynamics Plug-ins Threshold (-60 to 0 dB) Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed. Ratio Sets the amount of gain boost applied to signals below the threshold. Soft Knee If this button is deactivated, signals below the threshold are expanded instantly according to the set ratio (hard knee). If Soft Knee is activated, the onset of expansion is more gradual, producing less drastic results. Fall (0.
Included Effect Plug-ins Dynamics Plug-ins works better on material with few transients such as vocals, and Peak mode works better for percussive material with a lot of transient peaks. Live If this button is activated, the look-ahead feature of the effect is deactivated. Look-ahead produces more accurate processing, but adds a specific amount of latency as a trade-off. If Live mode is activated, there is no latency, which is better for live processing.
Included Effect Plug-ins Dynamics Plug-ins Hold (0 to 2000 ms) Determines how long the gate remains open after the signal drops below the threshold level. Release (10 to 1000 ms or Auto mode) Sets the time after which the gate closes (after the set Hold time). If Auto Release is activated, Gate automatically finds the best release setting for the audio material. Threshold (-60 to 0 dB) Determines the level where the gate is activated.
Included Effect Plug-ins Dynamics Plug-ins Q-Factor If the Side-Chain button is activated, this sets the resonance or width of the filter. Filter buttons (LP, BP, and HP) If the Side-Chain button is activated, you can use these buttons to set the filter type to low-pass, band-pass, or high-pass. NOTE If side-chaining is supported, the gate can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the gate opens.
Included Effect Plug-ins Dynamics Plug-ins Release (0.1 to 1000 ms or Auto mode) Sets the time after which the gain returns to its original level. If Auto Release is activated, the plug-in automatically finds the best release setting for the audio material. Output Sets the maximum output level. Maximizer Maximizer raises the loudness of audio material without the risk of clipping. The plug-in provides two modes, Classic and Modern, that offer different algorithms and parameters.
Included Effect Plug-ins Dynamics Plug-ins • Recover allows for a faster signal recovering at the beginning of the release phase. Optimize Determines the loudness of the signal. Mix Sets the level balance between the dry signal and the wet signal. Output Sets the maximum output level. Soft Clip If this button is activated, Maximizer starts limiting or clipping the signal softly. At the same time, harmonics are generated, adding a warm, tube-like characteristic to the audio material.
Included Effect Plug-ins Dynamics Plug-ins Note To Attack Determines to which extent the velocity values of the MIDI notes affect the attack time. The higher the value, the more the attack time increases with high note velocities. Negative values result in shorter attack times with high velocities. If you do not want to use this parameter, set it to 0. Note To Release Determines to which extent the velocity values of the MIDI notes affect the release time.
Included Effect Plug-ins Dynamics Plug-ins 2. Start playback. 3. If you use realtime MIDI, play a few notes on your keyboard. RESULT The MIDI notes trigger the Gate. The plug-in gates the audio signals. RELATED LINKS Setting Up MIDI Gate on page 50 MultibandCompressor MultibandCompressor allows a signal to be split into four frequency bands. You can specify the level, bandwidth, and compressor characteristics for each band.
Included Effect Plug-ins Dynamics Plug-ins NOTE To compensate for output gain loss that is caused by compression, MultibandCompressor uses an automatic make-up gain. If side-chaining is activated for a frequency band in the side-chain section, the automatic make-up gain is deactivated for this band. Frequency Band Editor The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after compression.
Included Effect Plug-ins Dynamics Plug-ins Attack (0.1 to 100 ms) Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to its original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.
Included Effect Plug-ins Dynamics Plug-ins Frequency Band Editor The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range. • To define the frequency range of the different frequency bands, use the handles at the sides of each frequency band.
Included Effect Plug-ins Dynamics Plug-ins Output (-24 to 24 dB) Sets the output level. Shaper Section You can specify the Attack, Length, and Release by moving breakpoints or using the corresponding knobs. Be careful with levels when boosting the gain. You can reduce the output level to avoid clipping. Attack (-20 to 20 dB) Sets the gain of the attack phase of the signal. Length (5 to 200 ms) Sets the length of the attack phase. Release (-20 to 20 dB) Sets the gain of the release phase of the signal.
Included Effect Plug-ins Dynamics Plug-ins Frequency Band Editor The frequency band editor in the upper half of the panel is where you set the width of the frequency bands as well as their level after expansion. The vertical value scale to the left shows the gain level of each frequency band. The horizontal scale shows the available frequency range. • To define the frequency range of the different frequency bands, use the handles at the sides.
Included Effect Plug-ins Dynamics Plug-ins Output (-24 to 24 dB) Sets the output level. Expander Section You can specify the Threshold and Ratio by moving breakpoints or using the corresponding knobs. The first breakpoint from which the line deviates from the straight diagonal is the threshold point. Threshold (-60 to 0 dB) Determines the level where the expansion kicks in. Only signal levels below the set threshold are processed. Ratio Sets the amount of gain boost applied to signals below the threshold.
Included Effect Plug-ins Dynamics Plug-ins Side-Chain Activates the internal side-chain filter. The input signal can then be shaped according to the filter parameters. Internal side-chaining is useful for tailoring how the gate operates. Side-Chain Activates the internal side-chain filter. The side-chain signal can then be shaped according to the filter parameters. Side-chaining is useful for tailoring how MultibandExpander operates. Monitor Allows you to monitor the filtered signal.
Included Effect Plug-ins Dynamics Plug-ins Attack (0.1 to 100 ms) Determines how fast the compressor responds. If the attack time is long, more of the initial part of the signal passes through unprocessed. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to its original level. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.
Included Effect Plug-ins Dynamics Plug-ins Side-chain support Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – This compressor features separate controls for Input and Output gain, Attack, and Release. In addition, there is a Punch mode which preserves the attack phase of the signal and a program-dependent Auto feature for the Release parameter. Input Determines the compression amount. The higher the input gain, the more compression is applied.
Included Effect Plug-ins Dynamics Plug-ins VSTDynamics VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor, and Limiter, covering a variety of dynamic processing functions. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo X X X X X X The window is divided into three sections, containing controls and meters for each processor.
Included Effect Plug-ins Dynamics Plug-ins Center (50 to 20000 Hz) If the Side-Chain button is activated, this sets the center frequency of the filter. Q-Factor If the Side-Chain button is activated, this sets the resonance or width of the filter. Monitor Allows you to monitor the filtered signal. Attack (0.1 to 100 ms) Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal passes through unprocessed.
Included Effect Plug-ins Dynamics Plug-ins Attack (0.1 to 100 ms) Determines how fast the compressor responds to signals above the set threshold. If the attack time is long, more of the early part of the signal (attack) passes through unprocessed. Release (10 to 1000 ms or Auto mode) Sets the time after which the gain returns to its original level when the signal drops below the threshold. If the Auto button is activated, the plug-in automatically finds the best release setting for the audio material.
Included Effect Plug-ins EQ Plug-ins EQ Plug-ins CurveEQ Voxengo CurveEQ is a spline equalizer for professional music and audio production applications. CurveEQ shows the filter response you are designing by means of a spline, that is, a smooth curvy line. This way you can see how the EQ alters the sound.
Included Effect Plug-ins EQ Plug-ins • To fine-adjust the Low, Mid, and Hi frequency bands, press Shift and drag the EQ points. • To set a parameter to zero, press Ctrl/Cmd and click it. • To change the Gain values, click them and move the mouse up or down. Low Gain Sets the amount of boost or attenuation for the low band. Low Kill (Activates Low Cut) Cuts the low band. Mid Gain Sets the amount of attenuation/boost for the mid band. Mid Kill (Activates Mid Cut) Cuts the mid band.
Included Effect Plug-ins EQ Plug-ins You can draw response curves in the main display by clicking and dragging with the mouse. You have to click one of the sliders before you drag across the display. At the bottom of the window, the individual frequency bands are shown in Hz. At the top of the display, the amount of attenuation/boost is shown in dB. Output Sets the overall gain of the equalizer. Flatten Resets all the frequency bands to 0 dB.
Included Effect Plug-ins EQ Plug-ins StudioEQ Studio EQ is a high-quality 4-band parametric stereo equalizer with two fully parametric mid-range bands. The low and high bands can act as either shelving filters (three types), or as peak filter (band-pass), or as cut filter (low-pass/high-pass). Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – X X X X – Gain (-20 to +24 dB) Sets the amount of attenuation/boost for the corresponding band.
Included Effect Plug-ins EQ Plug-ins Filter mode For the low and high band, you can choose between three types of shelving filters, a peak filter (band-pass), and a cut filter (lowpass/high-pass). If Cut mode is selected, the Gain parameter is fixed. • Shelf I adds resonance in the opposite gain direction slightly above the set frequency. • Shelf II adds resonance in the gain direction at the set frequency. • Shelf III is a combination of Shelf I and II.
Included Effect Plug-ins EQ Plug-ins Alt If you keep Alt pressed and drag the mouse, the frequency of the corresponding EQ band is modified. Ctrl/Cmd If you keep Ctrl/Cmd pressed and drag the mouse, the gain value of the corresponding EQ band is modified. Frequency Frequency is a high-quality equalizer with 8 fully parametric bands. The bands can act as either shelving filter, as peak or notch filter (band-pass), or as cut filter (low-pass/highpass).
Included Effect Plug-ins EQ Plug-ins Alt-click this button to reset all parameter values. Auto Listen for Filters If this option is activated and you edit a parameter of a band, the corresponding frequency range is isolated. This helps you to focus on a particular frequency range and allows you to locate unwanted frequencies in your audio. Global Settings Opens the settings dialog for the spectrum display. Show/Hide Keyboard Shows/Hides the keyboard below the graphical editor.
Included Effect Plug-ins EQ Plug-ins Linear phase mode avoids unwanted frequency dependent phase shifts of the audio signal that might occur with standard minimum phase equalizing. NOTE • Linear phase mode leads to an increase in latency. • In rare cases, for example, when using low cut filtering with a high slope for bass signals, also an unwanted pre-ringing effect may be audible. Equalizer Section Type You can choose between the EQ types Low Shelf, Peak, High Shelf, and Notch.
Included Effect Plug-ins EQ Plug-ins NOTE • You can adjust the Q parameter of a band in the graphical editor by pointing on the corresponding handle and turning the mouse wheel. • This parameter is not available for Cut 6 filters. Gain Sets the amount of attenuation/boost for the corresponding band. Invert Gain Inverts the value of the gain parameter. Positive gain values become negative and vice versa. Global Settings • To open the Global Settings, click Global Settings above the spectrum display.
Included Effect Plug-ins Filter Plug-ins Filter Plug-ins DualFilter This plug-in filters out specific frequencies while allowing others to pass through. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo X X X X X X Position Sets the filter cutoff frequency. If you set this to a negative value, DualFilter acts as a low-pass filter. Positive values cause DualFilter to act as a high-pass filter. Resonance Sets the sound characteristic of the filter.
Included Effect Plug-ins Filter Plug-ins 1. High Pass (6, 12, 18, 24 dB per decade) Eliminates low-frequency signal components. Several filter slopes are available. 2. Band Rejection (12, 24 dB/per decade) Lets all frequencies pass, except those in the stop band. Several filter slopes are available. 3. Resonance Factor Changes the resonance value of the filters. 4. x/y control Adjusts the Morph Factor and the Frequency parameters simultaneously. 5.
Included Effect Plug-ins Filter Plug-ins PostFilter This effect allows quick and easy filtering of unwanted frequencies, creating room for the important sounds in your mix. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – – X – The PostFilter plug-in combines a low-cut filter, a notch filter, and a high-cut filter. You can make settings by dragging the curve points in the graphical display, or by adjusting the controls below the display section.
Included Effect Plug-ins Filter Plug-ins Low Cut Preview Use this button between the Low Cut Freq button and the graphical display to switch the filter to a complementary high-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies that you want to filter out. Notch Freq Sets the frequency of the notch filter. You can set the frequency either in Hz or as a note value. If you enter a note value, the frequency is automatically changed to Hz.
Included Effect Plug-ins Filter Plug-ins High Cut Slope Allows you to choose a slope value for the high-cut filter. High Cut Preview This button between the High Cut Freq button and the graphical display allows you to switch the filter to a complementary low-cut filter. This deactivates any other filters, allowing you to listen only to the frequencies you want to filter out. StepFilter This plug-in is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects.
Included Effect Plug-ins Filter Plug-ins Selecting New Patterns • Patterns are saved with the project, and up to 8 different cutoff and resonance patterns can be saved internally. Both the cutoff and resonance settings are saved together in the 8 pattern slots. • Use the Pattern Select knob below the Resonance grid to select a new pattern. New patterns are all set to the same step value by default. StepFilter Parameters Base Cutoff Sets the base filter cutoff frequency.
Included Effect Plug-ins Filter Plug-ins 3. Select another pattern slot. 4. Click the Paste button. RESULT The pattern is copied to the new slot, and can now be edited to create variations. ToneBooster ToneBooster is a filter that allows you to raise the gain in a selected frequency range. It is particularly useful if it is inserted before AmpSimulator in the plug-in chain, greatly enhancing the tonal varieties available.
Included Effect Plug-ins Filter Plug-ins Side-chain support Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – You can independently specify the frequency, width, and the gain for the Lo and Hi Pedal positions. The crossover point between the Lo and Hi Pedal positions lies at 50. WahWah Parameters Pedal Controls the filter frequency sweep. Pedal Control (MIDI) Allows you to choose the MIDI controller that controls the plug-in.
Included Effect Plug-ins Mastering Plug-ins If WahWah is selected on the Output Routing menu, MIDI data is directed to the plug-in from the selected track. Mastering Plug-ins UV22HR This is an advanced version of Apogee's renowned UV22 dithering algorithm, capable of dithering to 8, 16, 20, or 24 bits. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – X X X X – 8, 16, 20, 24 bit These buttons allow you to select the intended bit resolution for the final audio.
Included Effect Plug-ins Modulation Plug-ins Modulation Plug-ins AutoPan This auto-pan effect provides several parameters to modulate the left/right stereo position. You can use presets or create individual curves for the modulation waveform. The plug-in also allows for chopping effects by linking the modulation of left and right channel.
Included Effect Plug-ins Modulation Plug-ins • Triangle creates a ramp, that is, a linear movement from full right to full left and back. • Pulse creates an instant jump to full right, then to full left, and then back to center. • Random One Shot creates a random curve. Click this button again to create a new random curve. • Random Continuous automatically creates a new random curve after each period. Phase Sets the offset for the starting point of the curve.
Included Effect Plug-ins Modulation Plug-ins Chopper This effect allows you to create a tremolo with or without an additional panning effect. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo X X X X X X Waveform Allows you to select the modulation waveform. Depth Sets the intensity of the effect. This can also be set by clicking and dragging in the graphical display. Sync The button above the Speed knob activates/deactivates tempo sync.
Included Effect Plug-ins Modulation Plug-ins Chorus This plug-in is a single-stage chorus effect. It works by doubling the audio that is sent into it with a slightly detuned version. Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo Included with X X X X X X Side-chain support – – – X X X Rate If tempo sync is deactivated, this sets the sweep rate. Sync Activates/Deactivates tempo sync. Width Sets the depth of the chorus effect.
Included Effect Plug-ins Modulation Plug-ins Filter Lo/Hi Allow you to roll off low and high frequencies of the effect signal. NOTE If side-chaining is supported, the modulation can also be controlled from another signal source via the side-chain input. If the side-chain signal exceeds the threshold, the modulation is controlled by the side-chain signal’s envelope. For a description of how to set up side-chain routing, see the Operation Manual.
Included Effect Plug-ins Modulation Plug-ins Delay slider (1 to 4) Controls the relative delay amount for each voice. A value of zero means no delay for that voice. Natural Changes the pitch algorithm. Detune – Humanize Controls the amount of detune variation if Static Detune is deactivated. With Humanize, the detune is continuously modulated for a more natural effect. Static Detune Activate this button to use a static detune amount. Delay Governs the overall depth of the delay for all voices.
Included Effect Plug-ins Modulation Plug-ins Rate If tempo sync is activated, this is where you specify the base note value for synchronizing the flanger sweep to the tempo of the host application (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is deactivated, the sweep rate can be set freely with the Rate knob. Sync Activates/Deactivates tempo sync. Range Lo/Hi Set the frequency boundaries for the flanger sweep. Feedback Determines the character of the flanger effect.
Included Effect Plug-ins Modulation Plug-ins Metalizer This plug-in feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – X X X X X Feedback Determines the character of the metal effect. Higher settings produce a more metallic sound. Sharpness Governs the character of the filter effect.
Included Effect Plug-ins Modulation Plug-ins Output Sets the output level. Mix Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send. Phaser This plug-in produces the well-known swooshing phasing effect with additional stereo enhancement.
Included Effect Plug-ins Modulation Plug-ins Mix Sets the level balance between the dry signal and the wet signal. If the effect is used as a send effect, set this parameter to the maximum value as you can control the dry/effect balance with the send. Manual If this option is activated, the flanger sweep is static, that is, no modulation takes place. If the Manual button is deactivated, a knob is available, allowing you to change the sweep position manually.
Included Effect Plug-ins Modulation Plug-ins Oscillator LFO Amount Controls how much the oscillator frequency is affected by the LFO. Env. Amount Controls how much the oscillator frequency is affected by the envelope that is triggered by the input signal. Left of center, a loud input signal decreases the oscillator pitch, whereas right of center the oscillator pitch increases if it is fed a loud input. Waveform buttons Allow you to select the oscillator waveform: square, sine, saw, or triangle.
Included Effect Plug-ins Modulation Plug-ins Decay Controls how fast the envelope output level falls in response to a falling input signal. Lock L
Included Effect Plug-ins Modulation Plug-ins Speed Mod If the Speed Change Mode setting is set to the right side, this knob allows you to modulate the rotary speed. Speed Mod Control (MIDI) This pop-up menu allows you to select the MIDI controller that controls the Rotary speed. If you do not want to use MIDI realtime control, set this to Automation. If you select Pitchbend as MIDI controller, the speed changes with an up or down flick of the bender.
Included Effect Plug-ins Modulation Plug-ins Level Adjusts the overall bass level. Microphones Phase Adjusts the phasing amount in the sound of the high rotor. Angle Sets the simulated microphone angle. 0 = mono, 180 = a mic on each side. Distance Sets the simulated microphone distance from the speaker in inches. Final Settings Output Sets the output level. Mix Sets the level balance between the dry signal and the wet signal.
Included Effect Plug-ins Modulation Plug-ins Rate If tempo sync is deactivated, this sets the sweep rate. Sync Activates/Deactivates tempo sync. Width Sets the depth of the chorus effect. Higher settings produce a more pronounced effect. Spatial Sets the stereo width of the effect. Turn clockwise for a wider stereo effect. Mix Sets the level balance between the dry signal and the wet signal.
Included Effect Plug-ins Modulation Plug-ins Tranceformer In this ring modulator effect, the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics. A second oscillator can be used to modulate the frequency of the first oscillator, in sync with the Song tempo if needed. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – X X X X X Waveform These buttons allow you to select a pitch modulation waveform.
Included Effect Plug-ins Modulation Plug-ins Output Sets the output level. Mix Sets the level balance between the dry signal and the wet signal. Tremolo Tremolo produces amplitude modulation. Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo Included with X X X X X X Side-chain support – – – X X X Rate If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted).
Included Effect Plug-ins Modulation Plug-ins Vibrato This effect creates pitch modulation. Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo Included with X X X X X X Side-chain support – – – X X X Rate If tempo sync is activated, this is where you specify the base note value for tempo-syncing the effect (1/1 to 1/32, straight, triplet, or dotted). If tempo sync is deactivated, the modulation speed can be set freely with the Rate knob.
Included Effect Plug-ins Network Plug-ins Network Plug-ins VST Connect CUE Mix Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – X X – This plug-in is described in detail in the separate PDF document VST Connect SE. VST Connect SE Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – X X – This plug-in is described in detail in the separate PDF document VST Connect SE.
Included Effect Plug-ins Other Plug-ins Quantize Note Sets the note value on which the quantize grid of the effects is based. Performance Controls By clicking these buttons during playback, you can apply effects to your overall performance. An effect is applied as long as you keep the button pressed. NOTE The effects can be automated. The automation of effect parameters is described in the Operation Manual. Backspin Simulates a turntable backspin. Reverse Plays the slice in reverse.
Included Effect Plug-ins Other Plug-ins Plays the slice as if scratched. Slowdown Applies a slowdown. Tapestop 1 Simulates a tapestop, that is, slows the slice down, first lightly then abruptly. Tapestop 2 Simulates a tapestop, that is, slows the slice down, smoothly. Stutter Plays only the initial portion of a slice and repeats it 2, 3, 4, 6, or 8 times during one slice length. Slur Stretches the slice over 2 or 4 slice lengths. Cycle Sets up a short cycle over 4, 2, or 1 slice.
Included Effect Plug-ins Other Plug-ins Controlling LoopMash FX with a MIDI Keyboard PROCEDURE 1. Create an audio track and import an audio file, a drum loop, for example. 2. Insert LoopMash FX as an insert effect. 3. Play back the drum loop in a cycle. 4. Create a MIDI track. 5. On the Output Routing pop-up menu for the MIDI track, select LoopMash FX. RESULT You can trigger the different LoopMash FX performance effects with a MIDI keyboard.
Included Effect Plug-ins Other Plug-ins Pitch Sets the maximum pitch change. This parameter allows for very basic and effective sound variations. It is especially suitable for voices and tonal sounds but can also give good results on atonal noises. Impact Sets the maximum variations of attack and envelope settings. This parameter allows for variations of the onsets and transitions of sounds. Even sounds without hard attacks may get interesting variations. Color Sets the maximum amount of coloration.
Included Effect Plug-ins Pitch Shift Plug-ins NOTE You can also make this a permanent setting in the Preferences dialog (Editing-Audio page). 5. In the Direct Offline Processing window, set the values for Pitch, Impact, Color, and Timing. The selected events are modified on a random basis within the defined parameter values. RESULT You have created different sounding variations of your audio event.
Included Effect Plug-ins Pitch Shift Plug-ins Octave 2 Adjusts the level of the generated signal two octaves below the original pitch. A setting of 0 means that the voice is muted. Pitch Correct Pitch Correct automatically detects, adjusts, and fixes slight pitch and intonation inconsistencies in monophonic vocal and instrumental performances in realtime.
Included Effect Plug-ins Pitch Shift Plug-ins Tolerance Determines the sensitivity of analysis. A low Tolerance value lets Pitch Correct find pitch changes quickly. If the Tolerance value is high, pitch variations in the audio (for example, vibrato) are not immediately interpreted as note changes. Transpose With this parameter you can adjust, or retune, the pitch of the incoming audio in semitone steps. A value of zero means that the signal is not transposed.
Included Effect Plug-ins Pitch Shift Plug-ins Chord Track – Scale Select this option if you want the audio to be shifted to a scale of target pitches, using the scale information from the Chord track. NOTE You have to add a MIDI track in addition to the Chord track and assign Pitch Correct as output of the MIDI track. Formant Shift Changes the natural timbre, that is, the characteristic frequency components of the source audio.
Included Effect Plug-ins Reverb Plug-ins Detune Lets you detune the pitch of the incoming audio. Mix Sets the level balance between the dry signal and the wet signal. Spatial Creates an ambience effect. It introduces a light pitch offset to the incoming signal. Different offset values are used for the individual input channels in order to create a panorama effect. NOTE The created panorama effect can be unstable. For a stable panorama, deactivate the Spatial parameter.
Included Effect Plug-ins Reverb Plug-ins The early reflections are responsible for the spatial impression in the first milliseconds of the reverb. For emulating different rooms, you can choose between different early reflections patterns and adjust their size. The reverb tail, or late reverberation, offers parameters for controlling the room size and the reverb time. You can adjust the reverb time individually in 3 frequency bands. Pre-Delay Determines how much time passes before the reverb is applied.
Included Effect Plug-ins Reverb Plug-ins Low Cut Attenuates the low frequencies of the early reflections. The higher this value, the less low frequencies are present in the early reflections. High Cut Attenuates the high frequencies of the early reflections. The lower this value, the less high frequencies the early reflections will have. Delay Delays the onset of the reverb tail. Room Size Controls the dimensions of the simulated room.
Included Effect Plug-ins Reverb Plug-ins Density Adjusts the echo density of the reverb tail. At a setting of 100 %, single reflections from walls cannot be heard. The lower this value, the more single reflections can be heard. High Cut Attenuates the high frequencies of the reverb tail. The lower this value, the less high frequencies the reverb tail will have. Width Adjusts the output of the reverb signal between mono and stereo. At a setting of 0 %, the output of the reverb is mono, at 100 % it is stereo.
Included Effect Plug-ins Reverb Plug-ins This is done by processing the audio signal according to an impulse response – a recording of an impulse in a room or another location that recreates the characteristics of the room. As a result, the processed audio sounds as if it were played in the same location. Included with the plug-in are top quality samples of real spaces to create reverberation. NOTE REVerence can be very demanding in terms of RAM.
Included Effect Plug-ins Reverb Plug-ins Import Click this button to load your own impulse response files from disk. The files should have a maximum length of 10 seconds. Longer files are automatically cut. Program slots Use these slots to load all the impulse responses that you want to work with in a session. The selected program slot is indicated by a white frame. Used slots are shown in a different color. Double-clicking an empty program slot opens a browser window, showing the available programs.
Included Effect Plug-ins Reverb Plug-ins • When you want to save different parameter sets for the same impulse response so that you can later choose the set that best suits your needs. Programs Programs offer the following advantages: • Up to 36 programs can be loaded into the program matrix for instant recall. • A program provides a quick and easy way to save and recall the settings for a single impulse response, allowing for short loading times.
Included Effect Plug-ins Reverb Plug-ins Reverb Settings The reverb settings allow you to change the characteristics of the room. Main All values shown in the top row apply to all speakers or to the front channels if you are working with surround tracks. Rear If you are working with surround tracks up to 5.1, you can use this row to set up an offset for the rear channels. Auto Gain If this button is activated, the impulse response is automatically normalized. Reverse Reverses the impulse response.
Included Effect Plug-ins Reverb Plug-ins The Impulse Response Display The display section allows you to view the impulse response details and to change the length of the response. Play When clicking this button to apply the loaded impulse response, a short click is played. This provides a neutral test sound that makes it easier for you to know how different settings influence the reverb characteristics. Time Scaling This wheel lets you adjust the reverb time.
Included Effect Plug-ins Reverb Plug-ins EQ Settings In the Equalizer section, you can tune the sound of the reverb. EQ curve Shows the EQ curve. You can use the EQ parameters below the display to change the EQ curve, or modify the curve manually by dragging the curve points. Activate EQ This button to the right of the EQ parameters activates the EQ for the effect plugin. Low Shelf On Activates the low shelf filter that boosts or attenuates frequencies below the cutoff frequency by the specified amount.
Included Effect Plug-ins Reverb Plug-ins Hi Freq (5000 to 20000) Sets the frequency of the high band. Hi Gain (-24 to +24) Sets the amount of attenuation/boost for the high band. The Pictures Section In the Pictures section, you can load graphics files to illustrate the setting, for example, the recording location or microphone arrangement of the loaded impulse response. Up to five pictures can be loaded. NOTE Pictures are only referenced by the plug-in and are not copied to the project folder.
Included Effect Plug-ins Reverb Plug-ins Output Settings In the output section, you can control the overall level and determine the dry/wet mix. Output activity meter Indicates the overall level of the impulse response and its settings. Output This slider adjusts the overall output level. Out (-24 to +12) Raises or lowers the signal output of the plug-in. Mix (0 to 100) Sets the level balance between the dry and the wet signal.
Included Effect Plug-ins Reverb Plug-ins 2. Navigate to the file that you want to import, and click Open. The file is loaded into REVerence. The channels from an interleaved file are imported in the same order as in other areas of the program (for example, the VST Connections window), see below. 3. Make the appropriate settings and add a picture, if available. Pictures residing in the same folder as the impulse response file or in the parent folder are automatically found and displayed. 4.
Included Effect Plug-ins Reverb Plug-ins Channel The signal from this source… …was recorded with this microphone LL left source left microphone LR left source right microphone RL right source left microphone RR right source right microphone NOTE If your true-stereo impulse responses are only available as separate mono files, you can use the Export Audio Mixdown function to create REVerence compliant interleaved files (see the Operation Manual).
Included Effect Plug-ins Reverb Plug-ins PROCEDURE 1. Transfer you audio files to a location that you can access from the second computer (for example, an external hard disk). If you keep the files in the same folder structure as on the first computer, REVerence automatically finds all files contained in this structure. 2. Transfer any REVerence presets or programs that you need to the second computer.
Included Effect Plug-ins Reverb Plug-ins Input Filters Lo Freq Determines the frequency at which the low-shelving filter takes effect. Both the high and low settings filter the input signal prior to reverb processing. Hi Freq Determines the frequency at which the high-shelving filter takes effect. Both the high and low settings filter the input signal prior to reverb processing. Lo Gain Sets the amount of boost or attenuation for the low-shelving filter.
Included Effect Plug-ins Reverb Plug-ins Damping Lo Freq Determines the frequency below which low-frequency damping occurs. Hi Freq Determines the frequency above which high-frequency damping occurs. Lo Level Affects the decay time of the low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes low frequencies to decay quicker.
Included Effect Plug-ins Reverb Plug-ins Efficiency Determines how much processing power is used for RoomWorks. The lower the value, the more CPU resources are used, and the higher the quality of the reverb. Interesting effects can be created with very high Efficiency settings (>90 %). Export Determines if during audio export RoomWorks uses the maximum CPU power for the highest quality reverb. During export, you may want to keep a higher efficiency setting to achieve a specific effect.
Included Effect Plug-ins Spatial + Panner Plug-ins Lo Level Affects the decay time of the low frequencies. Normal room reverb decays quicker in the high- and low-frequency range than in the mid-range. Lowering the level percentage causes low frequencies to decay quicker. Values above 100 % cause low frequencies to decay more slowly than the mid-range frequencies. Mix Sets the level balance between the dry signal and the wet signal.
Included Effect Plug-ins Spatial + Panner Plug-ins If the output configuration of the track is not a subset of the plug-in output configuration, for example, track = 6.1 cine and plug-in output = 7.0 music, the channels are routed as follows: 1 2 3 4 5 6 7 8 9 L R C LFE LS RS RSS/ RC LSS/ LC CS NOTE Channels that are missing in the output configuration are automatically skipped. 1 2 3 4 5 6 7 L R C LFE LS RS CS Plug-in output L configuration: 7.
Included Effect Plug-ins Spatial + Panner Plug-ins Panning Mode In the stage view, input channels are represented by red icons, output channels by gray speakers in the background. Moving the input channels outside the loudspeaker setup results in panning between the two nearest output speakers. The input channels that are placed at smaller distances are distributed to several output speakers.
Included Effect Plug-ins Spatial + Panner Plug-ins Link Angle & Rotation Changes the rotation of the input group from self-centered to stage-centered. Depth Scales the input group vertically. Width Scales the input group horizontally. Link Depth & Width Keeps the aspect ratio between Depth and Width scaling. NOTE To fine-adjust the parameters, press Shift while using the controls.
Included Effect Plug-ins Spatial + Panner Plug-ins Manual Delay Adds a delay to the selected input channel. Link Activate these buttons to link the corresponding parameters in the current plugin instance. Adjusting the value of a linked parameter changes the other linked parameters, too. IMPORTANT The individual input channel parameters cannot be automated from the host application, but the adjustments you make for each input channel are saved for each plug-in instance and panner in the session.
Included Effect Plug-ins Spatial + Panner Plug-ins • Sinusoidal The filtering starts approximately at loudspeaker distance and increases exponentially with distance. Select this curve type if movements in the center circle should have no audible impact on the distance-dependent filter. • Elliptical The filtering starts approximately at two thirds of the stage with an exponential attenuation curve.
Included Effect Plug-ins Spatial + Panner Plug-ins Stage View In upmix mode, the parameters are represented by segments of a circle in the stage view. NOTE The position parameters for the input group and any created automation are preserved when the upmix is enabled. In upmix mode, the sound image created by the upmix algorithm can be moved around the stage and is also fully automatable.
Included Effect Plug-ins Spatial + Panner Plug-ins • Ambience Delay. Furthermore, the following parameters on the Advanced panel are affected by the preset: • LFE Gain • LFE Low Pass Enable • LFE Low Pass Order • LFE Low Pass Cutoff Frequency • Output Gain. NOTE Upmix presets from the Cinema category are designed for the use with X-curve tuned speaker systems. The other presets are designed for listening environments with a flat speaker tuning.
Included Effect Plug-ins Spatial + Panner Plug-ins Delay Adds extra delay to the ambient sound stream to create the illusion of a very large space. Proximity The Anymix Pro plug-in supports the Proximity surround format. Proximity allows you to take a sound from the speakers and place it very close to the listener. To make this effect audible, you need an appropriate reproduction device, for example, a Proximity headphone system.
Included Effect Plug-ins Spatial + Panner Plug-ins Proximity Input, Variable Output Decodes the incoming Proximity signal and converts it to any standard output configuration other than 5.1. NOTE Convert 8.0 and 8.1 tracks to 7.1 before you encode to 7.1 Proximity. This prevents errors in the channel order. Proximity FX Level Provides the Proximity effect settings. Maximum Allows you to set the maximum Proximity effect level that is applied to the input sources.
Included Effect Plug-ins Spatial + Panner Plug-ins Advanced Options The advanced options can be opened using the top left button in the main plug-in panel. These options can be set for the plug-in instance by adjusting the values as needed. Distance Dependent Parameters Loudness Allows you to select whether the volume change that is to be applied depends on the position of the center point, or if the volume change is calculated for each input channel separately.
Included Effect Plug-ins Spatial + Panner Plug-ins LFE Parameters LFE Gain Sets a separate gain level for the LFE channel that is applied to the plug-in output. LP Enable Enables a low-pass filter that is applied to the LFE output channel after summing the signals from the input channels. LP Cutoff Sets the cutoff frequency for the generated LFE channel. LP Order Allows you to select the order, or slope, of the low-pass filter.
Included Effect Plug-ins Spatial + Panner Plug-ins Width Controls the width or depth of the stereo enhancement. Turn clockwise to increase the enhancement. Delay Increases the amount of differences between the left and right channels to further increase the stereo effect. Color Generates additional differences between the channels to increase the stereo enhancement.
Included Effect Plug-ins Surround Plug-ins Delay Increases the amount of differences between the left and right channels to further increase the stereo effect. Color Generates additional differences between the channels to increase the stereo enhancement. Mono Switches the output to mono, to check for possible unwanted coloring of the sound which sometimes can occur when enhancing the stereo image.
Included Effect Plug-ins Surround Plug-ins If your monitoring system is connected directly to your audio interface and lacks a bass management system, you can use Bass Manager in the Control Room inserts to adjust the signal levels and signal routing of the LFE and main speakers. Thus, small speakers can achieve full-range sound. Input/Output Level Meters Level In Shows the level of the input signal. Level Out Shows the level of the output signal.
Included Effect Plug-ins Surround Plug-ins Freq Sets the crossover frequency. Frequencies above this value are routed to the left and right channels or to the center channel. Gain Sets the amount of attenuation/boost of the signal that is routed to the left and right channels or to the center channel. +10 dB Boosts the level of the LFE signal by 10 dB. Subwoofer Solo Solos the subwoofer signal. Mute Mutes the subwoofer signal. Low Cut Additional low-cut filter for the subwoofer.
Included Effect Plug-ins Surround Plug-ins The MatrixEncoder is intended for the Pro Logic compatible encoding of multi-channel files. This is a process where a 4-channel surround mix is packed into two channels for broadcasting or a two-channel version for DVDs, for example. The MatrixEncoder takes four separate inputs (LRCS = Left, Right, Center, and Surround) and creates two final outputs: Left-total and Right-total (Lt and Rt).
Included Effect Plug-ins Surround Plug-ins 3. Activate the MatrixDecoder, open the control panel and click the Steering Mode button. Now you can hear how the mix is reproduced in surround on a Pro Logic compatible system. The Steering display shows an x within the surround field. The position of this x indicates the dominant direction of the mix, sometimes referred to as the dominance vector.
Included Effect Plug-ins Surround Plug-ins PROCEDURE 1. Create your mix for 5.1. 2. In the VST Connections window, create an output bus with a 5.0 channel configuration and route it to the physical outputs of your audio hardware. 3. Run the mix through the MatrixEncoder. RESULT First, the two surround channels are merged to make the mix compatible with LRCS. Then, the four resulting signals are encoded as usual. This way, far fewer adjustments are necessary when working with 5.
Included Effect Plug-ins Surround Plug-ins RELATED LINKS MatrixEncoder on page 142 Mix6to2 This plug-in lets you quickly mix down your surround mix format to stereo. You can control the levels of up to six surround channels and decide for each channel up to which level it is included in the resulting mix.
Included Effect Plug-ins Surround Plug-ins Mix8to2 This plug-in lets you quickly mix down your surround mix format to stereo. You can control the levels of up to eight surround channels and decide for each channel up to which level it is included in the resulting mix. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – – X – Surround Channels Volume Govern how much of the signal is included in the left and/or right channel of the output bus.
Included Effect Plug-ins Surround Plug-ins MixConvert V6 The MixConvert V6 plug-in can be used to quickly convert a multi-channel mix to a format with a different channel configuration, for example, to mix down a 7.1 cinema surround format to a 5.1 home theater format. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – – X X – MixConvert V6 can be used as an insert effect like other plug-ins but it also has special functions.
Included Effect Plug-ins Surround Plug-ins Parameters The plug-in panel is divided into three sections: By default, only the center section is visible, the input and output channel displays can be shown to the left and right of the center section. • To show/hide the input or output channel configuration, click the corresponding arrow button. The center section contains the main plug-in parameters as well as buttons for soloing several speakers in one go.
Included Effect Plug-ins Surround Plug-ins RELATED LINKS VST MultiPanner on page 140 Soloing Channels in the Channel Displays • To solo a channel, click the corresponding speaker icon. You can solo several channels at the same time. All other channels are muted. • To deactivate the solo state of a channel, click the corresponding speaker icon again. • To solo a channel exclusively, Ctrl/Cmd-click the corresponding speaker icon.
Included Effect Plug-ins Tools Plug-ins Delay Allows you to delay individual speaker channels. The delay times are shown in milliseconds and centimeters, making this feature very useful for distance compensation when playing back surround mixes on different speaker setups, etc. Level Allows you to fine-tune the volume balance between the surround channels. Volume Shows the level of the input signal. Routing Lets you select/switch the outputs for the channels quickly.
Included Effect Plug-ins Tools Plug-ins • Frequency Spectrum Analyzer (Freq) Oscilloscope Mode (Ampl) If Ampl is activated, the display shows signal waveform. Channel menu If the source signal is stereo, you can select the Left or Right channel for viewing, or Stereo for both channels to be shown in the window. If MultiScope is used with a multi-channel track or output bus, you can select any speaker channel for viewing, or All Channels to view them all at once. Freeze Freezes the display.
Included Effect Plug-ins Tools Plug-ins Frequency Spectrum Analyzer Mode (Freq) If Freq is activated, MultiScope divides the frequency spectrum into separate vertical bands, which allows you to get a visual overview of the different frequencies’ relative amplitude. The frequency bands are shown from left to right, starting with the lower frequencies. Channel menu If the source signal is stereo, you can select the Left or Right channel for viewing, or Stereo for both channels to be shown in the window.
Included Effect Plug-ins Tools Plug-ins Phase Correlator Mode (Scope) If Scope is activated, the phase correlator indicates the phase and amplitude relationship between channels in a stereo pair or a surround configuration. For stereo pairs, the indications work in the following way: • A vertical line indicates a perfect mono signal (the left and right channels are the same). • A horizontal line indicates that the left channel is the same as the right, but with an inverse phase.
Included Effect Plug-ins Tools Plug-ins Frequency Allows you to select the frequency area for viewing. SMPTEGenerator This plug-in is not a real audio effect. It sends out SMPTE timecode to an audio output, allowing you to synchronize other equipment to your host application (provided that the equipment can synchronize directly to SMPTE timecode). This can be very useful if you do not have access to a MIDI-to-timecode converter.
Included Effect Plug-ins Tools Plug-ins For example, use this when playing back video using an external device, where the video starts at a different timecode position than in your host. A scenario could be as follows: You have placed the same video several times on the timeline, in order to record different audio versions for that video one after the other.
Included Effect Plug-ins Tools Plug-ins 6. On the Transport panel, click Play. RESULT The external device is now synchronized and follows any position changes set with the transport controls. TestGenerator This utility plug-in allows you to generate an audio signal, which can be recorded as an audio file.
Included Effect Plug-ins Tools Plug-ins NOTE Ensure that you enter a space between the note and the cent offset. Only in this case, the cent offsets are taken into account. Gain section Allows you to set the amplitude of the signal. The higher the value, the stronger the signal. You can select one of the preset values, or use the slider to set a value between -81 and 0 dB. Tuner This is a guitar tuner. IMPORTANT Make sure that you deactivate any other effect that alters pitch, like chorus or vibrato.
Included Effect Plug-ins Tools Plug-ins • If a string is out of tune (for example, if the pitch for the E string is shown as Eb), tune the string so that the correct pitch is shown and the two arrows are in the middle. Repeat this procedure for each string. • To mute the output signal so that you can tune the strings in silence, activate the Mute button at the bottom middle of the plug-in panel. Digital View (Cubase Pro and Nuendo only) Note Displays the currently played pitch.
MIDI Effects This chapter describes the included MIDI realtime effects and their parameters. How to apply and handle MIDI effects is described in the Operation Manual. Arpache 5 A typical arpeggiator accepts a chord as input, and plays back each note in the chord separately, with the playback order and speed set by the user.
MIDI Effects Arpache 5 Length Sets the length of the arpeggio notes, as a note value related to the project tempo. • To create staccato arpeggios, set a smaller value for Length than for Step Size. • To create arpeggio notes that overlap each other, set a greater value for Length than for Step Size. Key Range Determines the arpeggiated note range, in semitones counted from the lowest key you play.
MIDI Effects Arpache SX 4. On the arpeggiator panel, use the Step Size setting to set the arpeggio speed. 5. Use the Length setting to set the length of the arpeggio notes. 6. Set the Key Range parameter to 12. This makes the notes arpeggiate within an octave. 7. Play a chord on your MIDI instrument. Now, instead of hearing the chord, you hear the notes of the chord played one by one, in an arpeggio. 8. Try the different arpeggio modes by clicking the Play Order buttons.
MIDI Effects Arpache SX One Shot Mode Activate this option if you want the phrase to be played only once. If this option is deactivated, the phrase is looped. Transpose With a setting other than Off, the arpeggio is expanded upwards, downwards, or both (depending on the mode). This is done by adding transposed repeats of the basic arpeggio pattern. Repeats Sets the number of transposed repeats. Pitch Shift Determines the transposition of each repeat.
MIDI Effects Arpache SX results in a list of numbers. For example, if the notes in the MIDI part are C E G A E C and they are sorted according to pitch, the list of numbers reads 1 2 3 4 2 1. Here, there are 4 different notes/numbers and 6 trigger positions. The MIDI input (the chord you play) generates a list of numbers, with each note in the chord corresponding to a number depending on the Sort by setting.
MIDI Effects Auto LFO Auto LFO This effect works like an LFO in a synthesizer, allowing you to send out continuously changing MIDI controller messages. One typical use for this is automatic MIDI panning, but you can select any MIDI continuous controller event type. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – Waveform Determines the shape of the controller curves that are sent out.
MIDI Effects Beat Designer Beat Designer Beat Designer is a MIDI pattern sequencer that allows you to create your own drum parts or patterns for a project. With the Beat Designer, you can quickly and easily set up the drums for a project, by experimenting and creating new drum sequences from scratch. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – Normally, you work on a short sequence, adjusting and modifying it while playing it back in a loop.
MIDI Effects Beat Designer In the pattern display in the lower part of the Beat Designer, subbanks and patterns are displayed graphically. To select a subbank, click a number (1 to 4) at the top of the display. To select a pattern within this subbank, click a key in the keyboard display below. Initial Settings The steps represent the beat positions in the pattern. You can specify the number of steps and the step resolution globally for a pattern.
MIDI Effects Beat Designer Removing Steps PROCEDURE • To remove a drum step, simply click on the corresponding field again. NOTE To remove a range of drum steps, click and drag over them. Velocity Settings When entering a drum step, the velocity setting of this step is determined by where you click: Click in the upper part of a step for the highest velocity setting, in the middle section for a medium velocity and in the lower part for the lowest velocity setting.
MIDI Effects Beat Designer • To mute or solo a lane, click the corresponding buttons to the left of the step display. IMPORTANT Lane operations always affect all patterns in the Beat Designer instance. Pattern Functions Menu Shift Left Moves all steps of the current pattern on all lanes to the left. Shift Right Moves all steps of the current pattern on all lanes to the right. Reverse Reverses the pattern, so that it plays backwards. Copy Pattern Copies the pattern to the clipboard.
MIDI Effects Beat Designer Insert Pattern at Left Locator Creates a MIDI part for the current pattern and inserts it in the Project window, at the left locator. Insert Subbank at Left Locator Creates a MIDI part for each used pattern in the subbank and inserts the parts one after the other, starting at the left locator. Fill Loop with Pattern Creates a MIDI part for the current pattern and inserts it in the Project window as often as needed to fill the current loop area.
MIDI Effects Beat Designer The first position slider specifies the flam position for all steps containing one single flam, the second slider the flam positions for all steps containing two flams, and the third slider the flam position for all steps containing three flams. Adding Flams PROCEDURE 1. Click in the lower left corner of the step you want to add a flam to. Little squares appear in the step when you point the mouse at it.
MIDI Effects Beat Designer Using the Drum Patterns in Your Project Converting Patterns into MIDI Parts You can convert the drum patterns created in the Beat Designer into a MIDI part by dragging them into the Project window. PROCEDURE 1. Set up one or more patterns of the same subbank. 2. In the lower part of the window, click on a pattern or subbank and drag it onto a MIDI or instrument track in the Project window.
MIDI Effects Chorder Triggering Patterns If you want to modify your drum patterns in Beat Designer while working on the project, you can trigger the patterns from within the project. You can trigger the patterns in Beat Designer using note-on events. These can either be events on a MIDI track or be played live via a MIDI keyboard. Which pattern is triggered depends on the pitch of the MIDI notes. The trigger range is four octaves starting with C1 (that is, C1 to B4). PROCEDURE 1.
MIDI Effects Chorder There are three main operating modes: All Keys, One Octave, and Global Key. You can switch between these modes using the Chords pop-up menu. For every key, you can record up to 8 different chords or variations on so-called layers. Operating Modes In the lower left section of the Chorder window, you can choose an option from the Chords pop-up menu to decide which keys in the keyboard display are used to record your chords.
MIDI Effects Chorder RELATED LINKS Using Layers on page 176 Entering Chords PROCEDURE 1. Activate the Learn button at the top of the Chorder window to activate Learn mode. The chord indicator lane is now tinted red, indicating that it is active. The keyboard display in Learn mode The second layer in Learn mode 2. Select the key to which you want to assign a chord by clicking on it on the keyboard display or by pressing the key on a connected MIDI keyboard.
MIDI Effects Chorder Using Layers The Layers pop-up menu at the bottom right of the window allows you to set up chord variations in the layer display above the keyboard. This works with all three modes and provides up to 8 variations for each assignable key, that is, a maximum of 8 different chords in Global Key mode, 12 x 8 chords in One Octave mode and 128 x 8 chords in All Keys mode. The different layers can be triggered by velocity or interval. PROCEDURE 1.
MIDI Effects Chorder • Empty layers are filled from bottom to top. • If there are empty layers below the first layer with a chord, these are filled from top to bottom. An example: If you have a setup with 8 layers, and you enter the chord C in layer 3 and G7 in layer 7, you get the following result: chord C in layers 1 to 6 and G7 in layers 7 and 8. Resetting Layers PROCEDURE • In Learn mode, click Reset layers at the top left of the Chorder window.
MIDI Effects Compressor Compressor This MIDI compressor is used for evening out or expanding differences in velocity. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – Threshold Only notes with velocities above this value are affected by the compression/ expansion. Ratio Sets the amount of compression applied to the velocity values above the set threshold. Ratios greater than 1:1 result in compression. Ratios lower than 1:1 result in expansion.
MIDI Effects Context Gate This effect features two modes: in Poly Mode the Context Gate recognizes certain chords that are played and in Mono Mode only certain MIDI notes are let through. Poly Mode Polyphony Gate Allows you to filter MIDI according to the number of pressed keys within a given key range. This can be used independently or in conjunction with the Chord Gate function. • The Key Range Limit sliders set the key range. Only notes within this range are let through.
MIDI Effects Density • Notes below the Minimum Velocity threshold value are gated. Auto Gate Time If there is no input activity, you can specify the time, after which note-off messages are sent for the notes that are playing. Panic Reset Sends an “All Notes Off” message over all channels, in case of hanging notes. Learn Reset If this is activated, you can specify a reset trigger event via MIDI. Whenever this specific MIDI event is sent, it triggers an “All Notes Off” message.
MIDI Effects MIDI Control This generic control panel affects the density of the notes being played from or through the track. If this is set to 100 %, the notes are not affected. Density settings below 100 % randomly filter out or mute notes. Settings above 100 % randomly add notes that were played before. MIDI Control This generic control panel allows you to select up to 8 different MIDI controller types and set values for these.
MIDI Effects MIDI Echo The effect does not echo the actual audio, but the MIDI notes which eventually produce the sound in the synthesizer. Velocity Offset Allows you to raise or lower the velocity values for each repeat so that the echo fades away or increases in volume (provided that the sound you use is velocity sensitive). Pitch Offset If you set this to a value other than 0, the echoing notes are raised or lowered in pitch, so that each successive note has a higher or lower pitch than the previous.
MIDI Effects MIDI Echo This makes it easy to find rhythmically relevant delay values, but still allows for experimental settings in between. Delay Decay Adjusts how the echo time changes with each successive repeat. The value is set as a percentage. • If this is set to 100 % the echo time is the same for all repeats. • If you raise the value above 100 %, the echoing notes play with gradually longer intervals, that is, the echo becomes slower.
MIDI Effects MIDI Modifiers MIDI Modifiers This plug-in is essentially a duplicate of the MIDI Modifiers section in the Inspector. This can be useful, for example, if you need extra Random or Range settings. Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – The MIDI Modifiers effect also includes the Scale Transpose function that is not available among the track parameters.
MIDI Effects Micro Tuner Inputs Section In this section, you can choose whether to monitor live events or playback events. Show Section Here, you can activate/deactivate the different types of MIDI events. If you choose Controller, you can also define which type of controller to monitor. Data Table In the table in the lower section of the window, you see detailed information about the monitored MIDI events. Buffer Pop-up Menu This is the maximum number of events that is kept in the list of monitored events.
MIDI Effects Note to CC Micro Tuner lets you set up a different microtuning scheme for the instrument, by detuning each key. • Each detune slider corresponds to a key in an octave (as indicated by the keyboard display). Adjust a detune field to raise or lower the tuning of that key, in cents (hundreds of a semitone). • You can set the root note that is taken as a reference for the detuning. • You can adjust all keys by the same amount by keeping Alt pressed.
MIDI Effects StepDesigner Quantizing is a function that changes the timing of notes by moving them towards a quantize grid. For example, this grid may consist of straight sixteenth notes, in which case the notes all get perfect sixteenth note timing. NOTE The main Quantize function in your Steinberg DAW is described in the Operation Manual. Quantize Note Sets the note value on which the quantize grid is based. Straight notes, triplets. and dotted notes are available.
MIDI Effects StepDesigner 1. Shift octave up/down 2. Shift steps left/right 3. Number of steps 4. Step size 5. Swing 6. Controller pop-up menu 7. Pattern selector Creating a Basic Pattern PROCEDURE 1. Use the Pattern selector to choose which pattern to create. Each StepDesigner can hold up to 200 different patterns. 2. Use the Step size setting to specify the resolution of the pattern. This setting determines the step length. 3.
MIDI Effects StepDesigner • To remove a note from the pattern, click on it again. NOTE Each step can contain one note only – StepDesigner is monophonic. RESULT If you now start playback in your host application, the pattern plays as well, sending out MIDI notes on the track’s MIDI output and channel (or, if you activated StepDesigner as a send effect, on the MIDI output and channel selected for the send in the Inspector). Adding Controller Curves PROCEDURE 1.
MIDI Effects StepDesigner If a bar is set to its maximum value, the corresponding note is the full length of the step. • To make notes longer, you can tie two notes together. This is done by inserting two notes and clicking in the Tie column for the second note. If 2 notes are tied, the second note is not triggered – the previous note is lengthened instead. Also, the second note gets the same pitch as the first note. You can add more notes and tie them in the same way, creating longer notes.
MIDI Effects Track Control Note that you can also press a key on your MIDI keyboard to change patterns. For this, you have to set up the StepDesigner as an insert effect for a record enabled MIDI track. Press C1 to select pattern 1, C#1 to select pattern 2, D1 to select pattern 3, D#1 to select pattern 4 and so on. You can record these pattern changes as note events on a MIDI track. PROCEDURE 1. Select a MIDI track or create a new one and activate StepDesigner as an insert effect. 2.
MIDI Effects Track Control settings. If your instrument is compatible with GS or XG, the Track Controls effect allows you to adjust sounds and effects in your instrument from within your host application. The Available Control Panels You select the control panel from the pop-up menu at the top of the effect panel. The following panels are available: GS 1 Contains effect sends and various sound control parameters for use with instruments compatible with the Roland GS standard.
MIDI Effects Track Control Cutoff Adjusts the filter cutoff frequency. Resonance Sets the sound characteristic of the filter. With higher values, a ringing sound is heard. Express Allows you to send out expression pedal messages on the track’s MIDI channel. Ch. Press Allows you to send out aftertouch (channel pressure) messages on the track’s MIDI channel. This is useful if your keyboard cannot send aftertouch, but you have sound modules that respond to aftertouch.
MIDI Effects Transformer Resonance Sets the sound characteristic of the filter. With higher values, a ringing sound is heard. XG 2 In this mode, the parameters affect global settings in the instruments. Changing one of these settings for a track affects all MIDI instruments connected to the same MIDI output, regardless of the MIDI channel setting of the track. Therefore, it might be a good idea to create an empty track and use this only for these global settings. Eff.
MIDI Effects Transformer The Logical Editor is described in the Operation Manual. As the parameters and functions are almost identical, the descriptions for the Logical Editor also apply to the Transformer. Where there are differences between the two, this is clearly stated.
Included VST Instruments This chapter contains descriptions of the included VST instruments and their parameters. NOTE Most of the included instruments are compatible with VST 3. For further information, see the Operation Manual. Groove Agent SE Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – X X X X X This VST instrument is described in detail in the separate PDF document Groove Agent SE.
Included VST Instruments LoopMash LoopMash is a powerful tool for slicing and instant re-assembling of any kind of rhythmic audio material. With LoopMash, you can preserve the rhythmic pattern of one audio loop, but you can replace all sounds of this loop with the sounds from up to seven other loops. LoopMash provides dozens of possibilities to influence the way the slices are re-assembled, thus giving you full control over the results of your performance.
Included VST Instruments LoopMash Getting Started To give you a first impression of what you can do with LoopMash, open the tutorial preset. PROCEDURE 1. In your host application, create an instrument track with LoopMash as the associated VST instrument. 2. In the Inspector for the new track, click the Edit Instrument button to open the LoopMash panel. 3. At the top of the plug-in panel, click on the icon to the right of the preset field and select Load Preset from the pop-up menu. 4.
Included VST Instruments LoopMash NOTE LoopMash does not categorize the sounds, but looks for overall similarity in the sound. For example, LoopMash might replace a low snare drum sound with a kick drum sound, even though a high snare sound is also available. LoopMash always tries to create a loop acoustically similar to the master loop, but using other sounds.
Included VST Instruments LoopMash LoopMash Parameters You can influence the process of constantly assembling a new loop with the various functions and parameter controls of LoopMash. NOTE Many of LoopMash’s parameters can be automated. The automation of VST instrument parameters is described in the Operation Manual. The Track Section The track section contains the track display with the track controls for setting the track volume and a transposition value to the right of each track.
Included VST Instruments LoopMash Importing and Removing Loops You can import up to eight audio loops onto the eight tracks in the track display. PROCEDURE 1. Locate the audio loop that you want to import in one of the following locations: MediaBay and the MediaBay related browsers (for example, the Mini Browser), Project window, Pool, Sample Editor (regions), Audio Part Editor, or the Explorer/Finder.
Included VST Instruments LoopMash Setting a Loop Range At the top of the track display, a ruler showing bars and beats (using the project’s time signature) is displayed. In the ruler, you also find the loop range selector (the bracket) that defines the play length. PROCEDURE 1. To shorten the play length, click and drag the handles of the loop range selector (the bracket) at the top of the track display.
Included VST Instruments LoopMash LoopMash analysis. As a result, more/less slices from this track are included in the current mash. PROCEDURE 1. Move the slider to the right to select more slices from the corresponding track for playback, and to the left to reduce the number of slices for playback. The vertical lines on the similarity gain slider correspond to the slices in this loop. The changing pattern of slices indicates similarity of each slice, on all tracks, to the current master track slice.
Included VST Instruments LoopMash • You can define a certain rhythmic pattern by combining slices from different loops on a composite track and making this track the master loop. • You can use a composite track as a clipboard, allowing you to include sounds from more than eight loops into your mash. You can use one track for importing and removing the loops that you want to search for sounds, and use the remaining seven tracks as composite tracks.
Included VST Instruments LoopMash Slowdown Applies a slowdown. Tapestart Simulates a tapestart, that is, speeds the slice up. Tapestop 1, 2 Simulates a tapestop, that is, slows the slice down. Slur 4 Stretches the slice over 4 slice lengths. Slur 2 Stretches the slice over 2 slice lengths. Stutter 2, 3, 4, 6, 8 Plays only the initial portion of a slice, and repeats it 2, 3, 4, 6, or 8 times during one slice length, respectively.
Included VST Instruments LoopMash • If sync is deactivated, the current LoopMash tempo (in BPM) is displayed in the tempo field to the left of the master button. To change the local tempo, click in the tempo field, enter a new value, and press Enter. • If sync is deactivated, you can click the master button (to the right of the tempo field) to copy the tempo of the current master loop into the tempo field. The sync on/off parameter can be automated.
Included VST Instruments LoopMash • To recall a scene, click the corresponding scene pad. • To remove a scene from a pad, click the x button and then a pad. • To edit a scene pad label, double-click on the scene pad and enter a name. • To rearrange the scene pads, click on a scene pad and drag it to a new position. IMPORTANT Once you have set up a LoopMash configuration, save it to a scene pad. Changing scenes without saving means discarding any unsaved changes.
Included VST Instruments LoopMash Random Selection Move this slider to the right to allow more variation when selecting slices for playback, adding a more random feel to the selection process. This setting affects all tracks of this scene. Selection Grid Determines how often LoopMash looks for similar slices during playback: always (left position), or only every 2nd, 4th, or 8th (right position) step.
Included VST Instruments LoopMash • Env + Spectrum – this is a combination of the Envelope and Spectrum modes. Adapt Amount Move this slider to the right to increase the adaptation specified with the Adapt Mode parameter. Slice Quantize Move this slider to the right to apply quantizing to the slices, that is, the slices are aligned to an eighth-note grid. If the slider is all the way to the left, the slices follow the rhythmic pattern defined by the original master loop.
Included VST Instruments Mystic Cycle 4, 2, 1 Sets up a short cycle over 4, 2, and 1 slices, respectively. This short cycle is always set up within the loop range that is set in the ruler. Setting up a cycle over 1 slice means that this slice is repeated until you release the button. Continue Plays back the tracks of the selected slices continuously until you release the button. NOTE You cannot save global effects in scenes. To apply effects and save them in scenes, use slice effects.
Included VST Instruments Mystic The synthesis method used by Mystic is based on three parallel comb filters with feedback. A comb filter is a filter with a number of notches in its frequency response, with the notch frequencies harmonically related to the frequency of the fundamental (lowest) notch. A typical example of comb filtering occurs if you are using a flanger effect or a delay effect with very short delay time.
Included VST Instruments Mystic • A detune control offsets the fundamental frequencies of the three comb filters, for chorus-like sounds or drastic special effects. Finally you have access to the common synth parameters – two LFOs, four envelopes and an effect section. • By default, envelope 2 controls the level of the impulse sound – this is where you set up the short impulse decay when emulating string sounds, etc.
Included VST Instruments Mystic Waveform Pop-up Menu The pop-up menu at the bottom of the waveform section (the central box at the top of the panel) allows you to select a basic waveform to be sent through filter contour A. The options are especially suited for use with the spectrum filter. Cut Offsets the frequency of the filter contour, working somewhat like a cutoff control on a standard synth filter. To use the filter contour in its full frequency range, set Cut to its maximum value.
Included VST Instruments Mystic Level Determines the level of the impulse sound being fed into the comb filters. By default, this parameter is modulated by envelope 2. That is, you use envelope 2 as a level envelope for the impulse sound. • For a string-type sound, you want an envelope with a quick attack, a very short decay and no sustain (an impulse in other words), but you can also use other envelopes for other types of sounds.
Included VST Instruments Mystic Master Volume and Pan The master Volume knob controls the master volume (amplitude) of the instrument. By default, this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators. The Pan knob controls the position of the instrument in the stereo spectrum. You can use Pan as a modulation destination.
Included VST Instruments Mystic The two LFOs have identical parameters. Speed Governs the rate of the LFO. If the sync mode is set to MIDI, the available rate values are selectable as note values, so the rate is synchronized to the sequencer tempo. Depth Controls the amount of modulation applied by the LFO. If this is set to zero, no modulation is applied. Waveform Sets the LFO waveform. Sync mode (Part/MIDI/Voice/Key) Sets the sync mode for the LFO.
Included VST Instruments Mystic Assigning LFO Modulation Destinations You can assign a modulation destination for an LFO. PROCEDURE 1. Click in the Mod Dest box for one of the LFOs. A pop-up menu appears in which all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations. 2. Select a destination, for example, Cut. The selected modulation destination is now shown in the list.
Included VST Instruments Mystic They are all listed in the Vel Dest box. • To remove a velocity destination, click on its name in the list and select Off from the pop-up menu. LFO modulation velocity control If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: • The harder you strike the key, the more the Cut parameter is modulated by the LFO.
Included VST Instruments Mystic maximum value is reached instantly. If this value is raised, it takes time before the maximum value is reached. Range is from 0.0 milliseconds to 91.1 seconds. Decay After the maximum value has been reached, the value starts to drop. How long this takes is governed by the Decay parameter. The Decay has no effect if the Sustain parameter is set to maximum. Sustain Determines the level for the envelope after the Decay phase.
Included VST Instruments Mystic • To remove a modulation destination, click on its name in the list and select Off from the pop-up menu. Assigning Envelope Velocity Destinations You can also assign velocity-controlled envelope modulation, that is, the modulation is governed by how hard or soft you strike a key. PROCEDURE 1. Click in the Vel Dest box for one of the envelopes. A pop-up menu appears in which all possible velocity destinations are shown. 2. Select a destination.
Included VST Instruments Mystic Velocity Controls parameters according to how hard or soft you play notes on your keyboard. A common application of velocity is to make sounds brighter and louder if you strike the key harder. Aftertouch Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a keyboard after the key has been struck, and while it is being held down or sustained. Aftertouch is often routed to control filter cutoff, volume, and other parameters to add expression.
Included VST Instruments Mystic • Each separate effect section is laid out with a row of buttons that determine the effect type or characteristic and a row of sliders for making parameter settings. • To activate an effect, click the Active button so that a dot appears. Clicking again deactivates the effect. Distortion You can choose between 4 basic distortion characteristics: • Distortion provides hard clipping distortion. • Soft Distortion provides soft clipping distortion.
Included VST Instruments Mystic Filter A low-pass filter is built into the feedback loop of the delay. This parameter controls the cutoff frequency of this feedback filter. Low settings result in successive echoes sounding darker. Level Controls the output level of the effect. Modulation You can choose between 3 basic modulation characteristics: • Phaser uses an 8-pole all-pass filter to produce the classic phasing effect.
Included VST Instruments Padshop A bonus effect of using lower sample rates is that it reduces the load on the computer CPU, allowing for more simultaneous voices to be played, etc. Padshop Included with Cubase LE Cubase AI Cubase Elements Cubase Artist Cubase Pro Nuendo – – X X X – Padshop is described in detail in a separate PDF document, which can be accessed via the ? button on the plug-in interface.
Included VST Instruments Prologue • Three oscillators, each with 4 standard waveforms plus an assortment of specialized waveforms. • Frequency modulation. • Ring Modulation. • Built-in effects. • Prologue receives MIDI on all MIDI channels. You do not have to select a MIDI channel to direct MIDI to the Prologue.
Included VST Instruments Prologue Sawtooth This waveform contains all harmonics and produces a bright and rich sound. Parabolic This can be described as a rounded sawtooth waveform, producing a softer timbre. Square Square waveforms only contain odd number harmonics, which produces a distinct, hollow sound. Triangle The triangle waveform generates only a few harmonics, spaced at odd harmonic numbers, which produces a slightly hollow sound.
Included VST Instruments Prologue Slope 1–12 This waveform category begins with a complex waveform (Slope 1), with gradually decreasing harmonic complexity the higher the number selected. Slope 12 produces a sine wave (no harmonics). Neg Slope 1–9 This category also begins with a complex waveform (NegSlope 1), but with gradually decreasing low frequency content the higher the number selected.
Included VST Instruments Prologue Waveform pop-up menu Sets the basic waveform for the oscillator. OSC 2 Parameters Osc 2 (0–100) Controls the output level of the oscillator. Coarse (±48semitones) Determines the coarse pitch for Osc 2. If FM is enabled, this determines frequency ratio of the oscillator regarding Osc 1. Fine (±50 cent) Fine-tunes the oscillator pitch in cent increments (100th of a semitone). If FM is activated, this determines the frequency ratio of the oscillator regarding Osc 1.
Included VST Instruments Prologue OSC 3 Parameters Osc 3 (0–100) Controls the output level of the oscillator. Coarse (±48semitones) Determines the coarse pitch for Osc 3. If FM is activated, this determines the frequency ratio of the oscillator regarding Osc 1/2. Fine (±50 cent) Fine-tunes the oscillator pitch in cent increments. If FM is activated, this determines the frequency ratio of the oscillator regarding Osc 1/2. Ratio (1–16) This parameter is only active if the Freq Mod button is activated.
Included VST Instruments Prologue This means that you should turn off the Osc 1 output when using frequency modulation. • The Freq Mod button activates/deactivates frequency modulation. • The Ratio parameter determines the amount of frequency modulation. Portamento This parameter makes the pitch glide between the notes you play. The parameter setting determines the time it takes for the pitch to glide from one note to the next. Turn the knob clockwise for longer glide time.
Included VST Instruments Prologue Filter type Sets the filter type to low-pass, high-pass, band-pass, or notch. Cutoff Controls the filter frequency or cutoff. If a low-pass filter is used, it can control the opening and closing of the filter, producing the classic sweeping synthesizer sound. How this parameter operates is governed by the filter type. Emphasis This is the resonance control for the filter.
Included VST Instruments Prologue 24 dB LP This filter type attenuates frequencies above the cutoff frequency with a 24 dB/ octave slope that produces a warm and fat sound. 24 dB LP II This low-pass filter has a cascade design that attenuates frequencies above the cutoff frequency with a 24 dB/octave slope, which produces a warm and dark sound. 12 dB Band This band-pass filter cuts both high and low frequencies above and below the cutoff frequency with a 12 dB/octave slope, producing a nasal and thin sound.
Included VST Instruments Prologue • The Event page contains the common MIDI controllers (Mod wheel, Aftertouch, etc.) and their assignments. • The EFX page offers three separate effect types: Distortion, Delay, and Modulation. RELATED LINKS Envelope Page on page 218 Event Page on page 220 Effects (EFX) Page on page 221 LFO Page The LFO page is opened by clicking the LFO button at the top of the lower half of the control panel.
Included VST Instruments Prologue About the Sync Modes The Sync modes determine how the LFO cycle affects the notes you play. Part In this mode, the LFO cycle is free running and affects all the voices in sync. Free running means that the LFO cycles continuously, and does not reset when a note is played. MIDI In this mode, the LFO rate is synced in various beat increments to MIDI clock. Voice In this mode, each voice in the Part has its own independent LFO cycle (the LFO is polyphonic).
Included VST Instruments Prologue • You can set positive and negative modulation values by clicking on the value in the list, typing in a new value, and pressing Enter. To enter negative values, type a minus sign followed by the value. 3. Select a suitable LFO Waveform, Speed, Depth, and Sync mode. You should now hear the Cut parameter being modulated by the LFO. 4. Using the same basic method, you can add any number of modulation destinations for the LFO. They are all listed in the Mod Dest box.
Included VST Instruments Prologue On the Envelope page, the parameters for one of the four envelope generators is shown at a time. • You switch between the four envelopes in the section to the left. Clicking on either of the four mini curve displays selects it and displays the corresponding envelope parameters to the right. • Envelope generators have four parameters: Attack, Decay, Sustain, and Release (ADSR).
Included VST Instruments Prologue Retrigger If Retrigger is activated, the envelope retriggers each time you play a new note. However, with certain textures/pad sounds and a limited number of voices, it is recommended to leave the button deactivated, due to click noises that might occur. Assigning Envelope Modulation Destinations You can assign a modulation destination for an envelope. PROCEDURE 1. Click in the Mod Dest box for one of the envelopes.
Included VST Instruments Prologue • To remove a velocity destination, click on its name in the list and select Off from the pop-up menu. Envelope modulation velocity control If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: • The harder you strike the key, the more the parameter is modulated by the envelope.
Included VST Instruments Prologue The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount when the controller is at its full range. • You can set positive and negative modulation values by clicking on the value in the list, typing in a new value, and pressing Enter. To enter negative values, type a minus sign followed by the value. 3.
Included VST Instruments Prologue Tone Controls the relative amount of low-pass and high-pass filtered signal. Level Controls the output level of the effect. Delay You can choose between 3 basic delay characteristics: • Stereo Delay has two separate delay lines panned left and right. • In Mono Delay, the two delay lines are connected in series for monophonic dual tap delay effects. • In Cross Delay, the delayed sound bounces between the stereo channels.
Included VST Instruments Retrologue Rate Sets the rate of the LFOs modulating the delay time. If Song Sync is activated, the rate is synchronized to various beat increments. Depth Controls the depth of the delay time modulation. Delay Sets the delay time of the four delay lines. Feedback Controls the amount of positive or negative feedback for all four delay lines. Level Controls the output level of the effect. SR Parameters With these buttons, you can change the sample rate.
Included VST Instruments Spector The synthesis is based around a spectrum filter. This allows you to specify the frequency response by drawing a filter contour in the spectrum display. Slightly simplified, the signal path is the following: • The starting point is the sound generated by up to 6 oscillators. You can choose between different numbers of oscillators in different configurations (in octaves, in unison, etc.). The oscillators can also be detuned for fat sounds or extreme special effects.
Included VST Instruments Spector Sound Parameters Oscillator Section A/B Waveform Pop-up Menus This is where you select basic waveforms for the A and B output of the oscillators. The options are best suited for use with the spectrum filter. Coarse and Fine These parameters provide overall transposition and tuning of the oscillators (common for all oscillators, A and B waveforms).
Included VST Instruments Spector 6 Osc 1:2:3 Three groups of two oscillators with the pitch ratio 1:2:3 (2 oscillators with base pitch, 2 oscillators at half the frequency of the base pitch, and 2 oscillators at a third of the frequency). 6 Osc 1:2:3:4:5:6 6 oscillators tuned with the pitch ratio 1:2:3:4:5:6 (known as the subharmonic series). 4 Osc 1:2 2 oscillators with base pitch and 2 pitched one octave down. 3 Osc 3 oscillators with the same pitch. 2 Osc 2 oscillators with the same pitch.
Included VST Instruments Spector Spectrum Filter Sections This is where you create the contours, that is, frequency response characteristics, for the two 128 pole resonant spectrum filters A and B. • You can use the Preset pop-up menu to select a preset contour. • To change the contour, click and draw with the mouse. • If you want to calculate a random spectrum filter curve, select Randomize from the Preset pop-up menu. Each time you choose this function, a new randomized spectrum is calculated.
Included VST Instruments Spector The master Volume knob controls the master volume (amplitude) of the instrument. By default, this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators. The Pan knob controls the position of the instrument in the stereo spectrum. You can use Pan as a modulation destination. Modulation and Controllers The lower half of the control panel displays the various modulation and controller assignment pages available, as well as the EFX page.
Included VST Instruments Spector Depth Controls the amount of modulation applied by the LFO. If this is set to zero, no modulation is applied. Waveform Sets the LFO waveform. Sync mode (Part/MIDI/Voice/Key) Sets the sync mode for the LFO. RELATED LINKS Assigning LFO Modulation Destinations on page 217 About the Sync Modes The Sync modes determine how the LFO cycle affects the notes you play. Part In this mode, the LFO cycle is free running and affects all the voices in sync.
Included VST Instruments Spector A pop-up menu appears in which all possible modulation destinations are shown. All Sound parameters as well as most LFO and Envelope parameters are available as destinations. 2. Select a destination, for example, Cut. The selected modulation destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount.
Included VST Instruments Spector LFO modulation velocity control If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: • The harder you strike the key, the more the Cut parameter is modulated by the LFO. • If you enter a negative value for the velocity modulation amount, the opposite happens: the harder you play, the less the Cut parameter is modulated by the LFO.
Included VST Instruments Spector Decay After the maximum value has been reached, the value starts to drop. How long this takes is governed by the Decay parameter. The Decay has no effect if the Sustain parameter is set to maximum. Sustain Determines the level for the envelope after the Decay phase. Note that Sustain represents a level, whereas the other envelope parameters represent times. Release Determines the time it takes for the value to fall back to zero after releasing the key. Range is from 0.
Included VST Instruments Spector Assigning Envelope Velocity Destinations You can also assign velocity-controlled envelope modulation, that is, the modulation is governed by how hard or soft you strike a key. PROCEDURE 1. Click in the Vel Dest box for one of the envelopes. A pop-up menu appears in which all possible velocity destinations are shown. 2. Select a destination. The selected velocity destination is now shown in the list. Beside the destination, a default value (50) has been set.
Included VST Instruments Spector Aftertouch Aftertouch, or channel pressure, is MIDI data sent when pressure is applied to a keyboard after the key has been struck, and while it is being held down or sustained. Aftertouch is often routed to control filter cutoff, volume, and other parameters to add expression. Key Pitch Tracking This can change parameter values linearly according to where on the keyboard you play. Assign a Controller to a Parameter PROCEDURE 1.
Included VST Instruments Spector Distortion You can choose between 4 basic distortion characteristics: • Distortion provides hard clipping distortion. • Soft Distortion provides soft clipping distortion. • Tape Emulation produces distortion similar to magnetic tape saturation. • Tube Emulation produces distortion similar to valve amplifiers. Drive Sets the amount of distortion by amplifying the input signal. Filter Sets the crossover frequency of the distortion filter.
Included VST Instruments Spector Level Controls the output level of the effect. Modulation You can choose between 3 basic modulation characteristics: • Phaser uses an 8-pole all-pass filter to produce the classic phasing effect. • Flanger is composed of two independent delay lines with feedback for the left and the right channel. The delay time of both delays is modulated by one LFO with adjustable frequency. • Chorus produces a rich chorus effect with 4 delays modulated by four independent LFOs.
Included VST Instruments Functional Diagrams Functional Diagrams Prologue Diagram Mystic Diagram 255
Included VST Instruments Functional Diagrams Spector Diagram 256
Index A MonoDelay 7 PingPongDelay 8 Quadrafuzz v2 16 StereoDelay 9 Density 180 Distortion 13 Dithering UV22HR 81 DJ-EQ 64 DualFilter 73 Amp Simulation AmpSimulator 10 Quadrafuzz v2 16 VST Amp Rack 20 VST Bass Rack 27 AmpSimulator 10 Anymix Pro 127 Arpache 5 160 Arpache SX 162 Auto LFO 165 AutoPan 82 E Envelope Shapers EnvelopeShaper 42 MultibandEnvelopeShaper 53 Expanders Expander 43 MultibandExpander 55 B Bass Manager 140 Beat Designer 166 BitCrusher 11 Brickwall Limiter 36 F C Flanger 87 Frequency
Index M S Magneto II 14 MatrixDecoder 145 MatrixEncoder 142 Maximizer 48 Metalizer 89 Micro Tuner 185 MIDI Control 181 MIDI Echo 181 MIDI Gate 49 MIDI Modifiers 184 MIDI Monitor 184 Mix6to2 146 Mix8to2 147 MixConvert V6 148 MixerDelay 150 ModMachine 4 MonoDelay 7 MonoToStereo 138 MorphFilter 73 MultibandCompressor 51 MultibandEnvelopeShaper 53 MultibandExpander 55 MultiScope 151 Mystic 210 Functional Diagram 255 Saturation DaTube 12 Magneto II 14 Quadrafuzz v2 16 SMPTEGenerator 155 SoftClipper 20 Specto
