Plug-in Reference
Cristina Bachmann, Heiko Bischoff, Marion Bröer, Sabine Pfeifer Thanks to: Georg Bruns 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. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement.
Table of Contents
5 The included effect plug-ins 88 MIDI effects 6 6 9 11 19 21 25 25 32 34 35 35 41 42 43 Introduction Delay plug-ins Distortion plug-ins Dynamics plug-ins EQ plug-ins Filter plug-ins Mastering – UV 22 HR Modulation plug-ins Other plug-ins PitchShift – Pitch Correct Restoration plug-ins – Grungelizer Reverb plug-ins Spatial plug-ins Surround plug-ins (Cubase only) Tools plug-ins 46 The included VST Instruments 47 47 57 64 72 73 77 81 Introduction Prologue Spector (Cubase only) Mystic (Cubase only) H
1 The included effect plug-ins
Introduction Delay plug-ins This chapter contains descriptions of the included plug-in effects and their parameters. This section contains descriptions of the plug-ins in the “Delay” category. In Cubase, the plug-in effects are arranged in a number of different categories. This chapter is arranged in the same fashion, with the plug-ins listed in separate sections for each effect category.
Parameter Description Parameter Description Tempo sync Rate on/off The button below the Rate knob turns tempo sync for the rate parameter on or off. If set to off, the rate can be set freely with the Rate knob. Range Lo/Hi Width This sets the amount of delay pitch modulation. Note that although the modulation affects the delay time, the sound is mostly perceived as a vibrato or chorus-like effect. These knobs specify the range of filter resonance modulation. Both positive (e.g.
Parameter Description Parameter Description Mix Sets the level balance between the dry signal and the effect. If MonoDelay is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Mix Sets the level balance between the dry signal and the effect. If PingPongDelay is used as a send effect, this should be set to maximum as you can control the dry/ effect balance with the send.
Distortion plug-ins Parameter Description Cabinet Various speaker cabinet models. Click on the currently selected cabinet name to open a pop-up with all the available amplifier models. This section can be bypassed by selecting “No Speaker”. This section contains descriptions of the plug-ins in the “Distortion” category. Damping Lo/Hi Further tone controls for shaping the sound of the selected speaker cabinet. Click on the values, enter a new value and press the [Enter] key.
Distortion SoftClipper (Cubase only) Distortion will add crunch to your tracks. The parameters are as follows: Parameter Description Boost Increases the distortion amount. Feedback This parameter feeds part of the output signal back to the effect input, increasing the distortion effect. This effect adds soft overdrive, with independent control over the second and third harmonic. Tone Lets you select a frequency range to which to apply the distortion effect.
Dynamics plug-ins This section contains descriptions of the plug-ins in the “Dynamics” category. Compressor Compressor reduces the dynamic range of the audio, making softer sounds louder or louder sounds softer, or both. Compressor features separate controls for threshold, ratio, attack, hold, release and make-up gain parameters. Compressor features a separate display that graphically illustrates the compressor curve shaped according to the Threshold and Ratio parameter settings.
EnvelopeShaper (Cubase only) The SPL DeEsser has the following parameters: Parameter Description S-Reduction Controls the intensity of the de-essing effect. We recommend that you start with a value between 4 and 7. Level display Indicates the dB value by which the level of the sibilant or s-frequency is reduced. The display shows values between 0dB (no reduction) and minus 20dB (the s-frequency level is lowered by 20dB). Each segment in the display represents a level reduction of 2dB.
Expander (Cubase only) Parameter Description Live mode (On/Off) When activated, Live mode disengages the look ahead feature of Expander. Look ahead does produce more accurate processing but will add a certain amount of latency as a trade-off. When Live mode is activated, there is no latency. Side-Chain (On/Off) When this is activated, the expansion can be controlled by a signal routed to the Side-Chain input. When the side-chain signal exceeds the threshold, the expansion is triggered.
Parameter Description Q-Factor (0.01–10000) Sets the Resonance of the filter. Monitor (On/Off) Allows you to monitor the filtered signal. Limiter is designed to ensure that the output level never exceeds a certain set output level, to avoid clipping in following devices. Limiter can adjust and optimize the Release parameter automatically according to the audio material, or it can be set manually. Limiter also features separate meters for the input, output and the amount of limiting (middle meters).
MIDI Gate Make sure the MIDI track is selected and start playback. 5. Now play a few notes on your MIDI keyboard. As you can hear, the audio track material is affected by what you play on your MIDI keyboard. The following MIDI Gate parameters are available: Parameter Description Attack This is used for determining how long it should take for the Gate to open after receiving a signal that triggers it.
MultibandCompressor (Cubase only) Bypassing frequency bands Each frequency band can be bypassed using the “B” button in each compressor section. Soloing frequency bands A frequency band can be soloed using the “S” button in each compressor section. Only one band can be soloed at a time. Using the Compressor section By moving breakpoints or using the corresponding knobs, you can specify the Threshold and Ratio.
VintageCompressor (Cubase only) VSTDynamics Gate Compressor Limiter Routing selector VSTDynamics is an advanced dynamics processor. It combines three separate processors: Gate, Compressor and Limiter, covering a variety of dynamic processing functions. The window is divided into three sections, containing controls and meters for each processor. This is modelled after vintage type compressors. Compressor features separate controls for input gain, attack, release and output gain parameters.
Parameter Description The Limiter section Q-Factor (0.001– 10000) This sets the resonance or width of the filter. Monitor (On/Off) Allows you to monitor the filtered signal. Attack (0.1–100ms) This parameter sets the time it takes for the gate to open after being triggered. Hold (0–2000ms) This determines how long the gate stays open after the signal drops below the threshold level.
EQ plug-ins Apart from the frequency bands, the following parameters are available: This section describes the plug-ins in the “EQ” category. GEQ-10/GEQ-30 (Cubase only) Parameter Description Output This controls the overall gain of the equalizer. Range This allows you to relatively adjust how much a set curve cuts or boosts the signal. If the Range parameter is turned fully clockwise, +/- 12dB is the available range. Flatten button Resets all the frequency bands to 0dB.
StudioEQ (Cubase only) The following parameters are available: This is a high-quality 4-band parametric stereo equalizer with two fully parametric midrange bands. The low and high bands can act as either shelving filters (three types) or as a Peak (bandpass) or Cut (lowpass/highpass) filter. Making settings 1. Click the corresponding On button to the left of the EQ curve display to activate any or all of the Low, Mid 1, Mid 2 or High equalizer bands.
Filter plug-ins StepFilter This section contains descriptions of the plug-ins in the “Filter” category. DualFilter StepFilter is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects. General operation This effect filters out certain frequencies while allowing others to pass through. The following parameters are available: StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer tempo.
• By starting playback and editing the patterns for the cutoff and resonance parameters, you can hear how your filter patterns affect the sound source connected to StepFilter directly. StepFilter parameters Parameter/ Value Description Base Cutoff This sets the base filter cutoff frequency. Cutoff values set in the Cutoff grid window are values relative to the Base Cutoff value. Selecting new patterns Base Resonance This sets the base filter resonance.
Tonic – Analog Modeling Filter (Cubase only) Filter Tonic is a versatile and powerful analog modeling filter plug-in based on the filter design of the Monologue monophonic synthesizer. Its variable characteristics plus the powerful modulation functions make it an excellent choice for all current music styles. Designed to be more a creative tool rather than a tool to fix audio problems, it can add color and punch to your tracks while being light on CPU usage.
WahWah X/Y Pad Parameter Description X Par Sets the parameter to be modulated on the x axis of the XY Pad. All of Tonic’s parameters are available as destinations Y Par Sets the parameter to be modulated on the y axis of the XY Pad. XY Pad Use the mouse to control any two of Tonic’s parameters in combination. By moving the mouse horizontally, you can control the x parameter, by moving it vertically, you can control the y parameter. You can also record controller movements as automation data.
Mastering – UV 22 HR Modulation plug-ins This section contains descriptions of the plug-ins in the “Modulation” category. AutoPan The UV22 HR is a dithering plug-in, based on an advanced algorithm developed by Apogee. For an introduction to the concept of dithering, see the chapter “Audio Effects” in the Operation Manual. The following options can be set in the UV 22 HR control panel: Option Description Hi Try this first, it is the most “all-round” setting. This is a simple autopan effect.
Chorus Cloner (Cubase only) The Cloner plug-in adds up to four detuned and delayed voices to the signal, for rich modulation and chorus effects. The parameters are as follows: This is a single stage chorus effect. It works by doubling whatever is sent into it with a slightly detuned version. See also “StudioChorus” on page 30. Parameter Description Voices This allows you to select the number of voices (up to four).
Flanger Metalizer Flanger is a classic flanger effect with added stereo enhancement. The parameters are as follows: The Metalizer feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control. Parameter Description Parameter Tempo sync on/off The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on. Feedback The higher the value, the more “metallic” the sound.
Phaser Ringmodulator Phaser produces the well-known “swooshing” phasing effect with additional stereo enhancement. The parameters are as follows: Parameter Description Tempo sync on/off The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on. Rate If tempo sync is on, this is where you specify the base note value for tempo syncing the phaser sweep (1/1 to 1/32, straight, triplet or dotted).
Parameter Description Parameter Description LFO Waveform Selects the LFO waveform; square, sine, saw or triangle. Slow Fine adjustment of the high rotor Slow speed. Accel. Fine adjustment of the high rotor acceleration time. Invert Stereo This inverts the LFO waveform for the right channel of the oscillator, which produces a wider stereo perspective for the modulation. Fast Fine adjustment of the high rotor Fast speed. Amp Mod High rotor amplitude modulation.
StudioChorus Tranceformer The StudioChorus plug-in is a two stage chorus effect which adds short delays to the signal and pitch modulates the delayed signals to produce a “doubling” effect. The two separate stages of chorus modulation are completely independent and are processed serially (cascaded). Tranceformer is a ring modulator effect, in which the incoming audio is ring modulated by an internal, variable frequency oscillator, producing new harmonics.
Tremolo Vibrato Tremolo produces amplitude (volume) modulation. The Vibrato plug-in produces pitch modulation. Parameters are as follows: Parameter Description Parameter Description Tempo sync on/off The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on. Tempo sync on/off The button below the Rate knob is used to switch tempo sync on or off. The button is lit when tempo sync is on.
Other plug-ins Chopper This section contains descriptions of the plug-ins in the “Others” category. Bitcrusher Chopper is a combined tremolo and autopan effect. It can use different waveforms to modulate the level (tremolo) or left-right stereo position (pan), either using tempo sync or manual modulation speed settings. The parameters are as follows: If you’re into lo-fi sound, Bitcrusher is the effect for you.
Octaver Tuner This plug-in can generate two additional voices that track the pitch of the input signal one octave and two octaves below the original pitch, respectively. Octaver is best used with monophonic signals. The parameters are as follows: This is a guitar tuner. Simply connect a guitar or other instrument to an audio input and select the Tuner as an insert effect (make sure you deactivate any other effect that alters pitch, like chorus or vibrato).
PitchShift – Pitch Correct Pitch Correct automatically detects, adjusts and fixes slight pitch and intonation inconsistencies in monophonic vocal and instrumental performances in real time. The advanced algorithms of this plug-in preserve the formants of the original sound thus allowing for natural sounding pitch correction without the typical “Micky Mouse” effect. Furthermore, you can use Pitch Correct creatively. You could e.g.
Restoration plug-ins – Grungelizer Reverb plug-ins This section contains descriptions of the plug-ins in the “Reverb” category. REVerence (Cubase only) The Grungelizer adds noise and static to your recordings – kind of like listening to a radio with bad reception, or a worn and scratched vinyl record. The available parameters are as follows: Parameter Description Crackle This adds crackle to create that old vinyl record sound. The farther to the right you turn the dial, the more crackle is added.
Loading programs Changing the reverb settings A program is the combination of an impulse response and its settings. These include reverb settings (see “Changing the reverb settings” on page 36), EQ settings (see “Making EQ settings” on page 37), pictures (see “Loading pictures” on page 38) and output settings (see “Making Output settings” on page 38). The program matrix allows you to load programs and to view the name of the current program, i.e. the impulse response (see “Program handling” on page 39).
Displaying impulse responses Making EQ settings The impulse display section allows you to view the impulse response details and to change the length of the response (trimming). In the equalizer/pictures section you can make equalizer settings to tune the sound of the reverb. The available parameters are as follows: Parameter Description Play button/ Time scaling wheel When clicking the play button to apply the loaded impulse response, a short click is played.
Loading pictures Making Output settings In the equalizer/pictures section you can load or change pictures to illustrate the setting, i.e. the recording location or microphone arrangement of the loaded impulse response. If you import your own impulse response by clicking on the import button in the program matrix, all folders that are located on the same level will automatically be scanned for images. Up to five images can be loaded.
Ö Note that when switching programs, the new program, i.e. impulse response, will not be loaded immediately. Instead the plug-in create a crossfade between the old and the new program. The fade time depends on the length of the impulse responses and your RAM and is displayed by the progress bar to the left of the program matrix. Program handling You can save your REVerence settings as VST presets.
RoomWorks Parameter Description Low Level This affects the decay time of low frequencies. Normal room reverb decays quicker in the high and low frequency range than in the midrange. Lowering the level percentage will cause low frequencies to decay quicker. Values above 100% will cause low frequencies to decay longer than the midrange. High Level RoomWorks is a highly adjustable reverb plug-in for creating realistic room ambience and reverb effects in stereo and surround formats.
Spatial plug-ins Parameter Description Export This button determines if during audio export RoomWorks will use the maximum CPU power for the highest quality reverb or not. You may wish to keep a higher efficiency setting for a desired effect during export. If you want the highest quality reverb during export make sure this is selected (yellow circle around button). This section contains descriptions of the plug-ins in the “Spatial” category.
StereoEnhancer rangement presets that correspond to some default surround formats. The Mix6To2 lets you quickly mix down your surround mix format to stereo, and to include parts of the surround channels in the resulting mix. • Note that Mix6To2 does not simulate a surround mix or add any psycho-acoustical artifacts to the resulting output – it is simply a mixer. Also note that the Mix6To 2 should be placed in one of the post fader insert effect slots for the output bus.
Tools plug-ins • The “Freeze” button can be used to freeze the display for all three Scope modes. This section describes the plug-ins in the “Tools” category. Click it again to exit freeze mode. Phase Correlator mode MultiScope (Cubase only) The MultiScope can be used for viewing the waveform, phase linearity or frequency content of a signal. There are three different modes: • Oscilloscope (Ampl.) • Phase Correlator (Scope) • Frequency Spectrum analyzer (Freq.
When the MultiScope is used with a surround channel in Scope mode, the pop-up menu to the right of the Scope button determines the result: • By adjusting the Frequency knob, you can divide the frequency spectrum into 8, 15, or 31 bands, or you can select “Spectrum”, which shows a high resolution view. • If “Stereo (Front)” is selected, the display will indicate the phase and amplitude relationship between the front stereo channels.
TestGenerator (Cubase only) • Current Time When Link is on this shows the current position in Cubase. If Link is off it shows the current time of the SMPTE Generator in “free run” mode. This cannot be set manually. • Framerate This defaults to the frame rate set in the Project Setup dialog. If you wish to generate time code in another frame rate than the Project is currently set to (for example to stripe a tape), you can select another format on the Framerate pop-up (provided that “Link” is off).
2 The included VST Instruments
Ö The signal flow of the Prologue synth is illustrated in the section “Diagrams” on page 86. Introduction This chapter contains descriptions of the included VST instruments and their parameters. Sound parameters Ö Most of the included instruments are compatible with VST3, this is indicated by an icon in front of the name (for further information, see the section “About VST 3” in the chapter “Audio Effects” in the Operation Manual).
Waveform Description Parameter Value Description Triangle The Triangle waveform generates only a few harmonics, spaced at odd harmonic numbers, which produces a slightly hollow sound. Wave Mod +/- 50 Sine The sine wave is the simplest possible waveform, with no harmonics (overtones). The sine wave produces a neutral, soft timbre. Formant 1–12 Formant waveforms emphasizes certain frequency bands.
Parameter Value Description Parameter Value Description Wave Mod +/- 50 This parameter dial is only active if the Wave Mod button is activated beside the waveform selection box. Wave modulation works by adding a phase-shifted copy of the oscillator output to itself, which produces waveform variations. For example if a sawtooth waveform is used, activating WM will produce a pulse waveform. By modulating the WM parameter with for example a LFO, classic PWM (pulse width modulation) is produced.
Filter section • 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. The “Mode” switch allows you to apply glide only when you play a legato note (when switch is set to Legato). Legato is when you play a note without releasing the previously played note.
Modulation and controllers About the filter types You select which filter type to use using the buttons around the filter cut off knob. The following filter types are available (listed clockwise from 9 o’clock): Type Description 12db LP This lowpass filter has a gentler slope (12 dB/Octave above the cutoff frequency), leaving more of the harmonics in the filtered sound.
The two LFOs have identical parameters: Assigning LFO modulation destinations Parameter Description Speed This governs the rate of the LFO. If MIDI Sync is activated (see below), the available rate values are selectable as note values, e.g. beat increments of the sequencer tempo in Cubase. To assign a modulation destination for a LFO, proceed as follows: Depth This controls the amount of modulation applied by the LFO. If set to zero, no modulation is applied. Waveform This sets the LFO waveform.
• You switch between the four envelopes in the section to the left. 2. Select a destination. The selected velocity destination is now shown in the list. Beside the destination, a default value (50) has been set. The value represents the modulation amount. See below for an example of how velocity modulation works. Clicking on either of the four mini curve displays 1 to 4 will select it and display the corresponding envelope parameters to the right.
Release Assigning Envelope velocity destinations Release determines the time it takes for the value to fall back to zero after releasing the key. Range is from 0.0 milliseconds to 91.1 seconds. You can also assign Envelope modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows: Punch 1. Click in the “Vel Dest” box for one of the envelopes. A pop-up appears with all possible velocity destinations are shown.
The following controllers are available: Effects (EFX) page Controller Description Modulation Wheel The modulation wheel on your keyboard can be used to modulate parameters. Velocity Velocity is used to control 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. This page features three separate effect units: Distortion, Delay and Modulation (Phaser/Flanger/Chorus).
• In Cross Delay the delayed sound bounces between the stereo channels. SR parameters With these buttons you can change the sample rate. Lower sample rates basically reduces the high frequency content and sound quality, but the pitch isn’t altered. This is a great way to emulate the “lo-fi” sounds of older digital synths! The parameters are as follows: Parameter Description Song Sync This switches tempo sync of the delay times on or off. Delay 1 Sets the delay time ranging from 0ms to 728ms.
Ö The signal flow of the Spector synth is illustrated in the section “Diagrams” on page 86. Spector (Cubase only) Sound parameters Oscillator section A/B waveform pop-ups The synthesis in this synthesizer is based around a “spectrum filter”, which allows you to specify the frequency response by drawing a filter contour in the spectrum display. Slightly simplified, the signal path is the following: This is where you select basic waveforms for the A and B output of the oscillators.
Spectrum filter section The pop-up has the following oscillator configurations to choose between: Option Description 6 Osc 6 oscillators with the same pitch. 6 Osc 1:2 3 oscillators with base pitch and 3 pitched one octave down. 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).
Morph LFO page This controls the mix between the sound of spectrum filters A and B. When the Morph knob is turned fully left, only the “A” sound will be heard; when it’s turned right only the “B” sound will be heard. This allows you to seamlessly morph (manually or using an LFO or an envelope) between two totally different sounds. This is opened by clicking the LFO button at the top of the lower half of the control panel.
About the waveforms • You can set positive and negative modulation values by clicking on the value in the list, typing in a new value and pressing the Enter key. Most standard LFO waveforms are available for LFO modulation. You use Sine and Triangle waveforms for smooth modulation cycles, Square and Ramp up/down for different types of stepped modulation cycles and Random or Sample for random modulation. The Sample waveform is different: To enter negative values type a minus sign followed by the value.
Envelope page The Envelope parameters are as follows: The Envelope page is opened by clicking the ENV button at the top of the lower half of the control panel. The page contains all parameters and the modulation and velocity destinations for the four independent envelope generators. Attack The attack phase is the time it takes from zero to the maximum value. How long this should take, depends on the Attack setting. If the Attack is set to “0”, the maximum value is reached instantly.
Assigning Envelope modulation destinations • To remove a modulation destination click on its name in the list and select “Off” from the pop-up. To assign a modulation destination for an Envelope, proceed as follows: Envelope modulation velocity control – an example: 1. Click in the “Mod Dest” box for one of the Envelopes. If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: A pop-up appears with all possible modulation destinations are shown.
2. Select a destination. Delay 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 select 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.
Mystic (Cubase only) Parameter Description Feedback The feedback parameter controls the amount of positive or negative feedback for all four delay lines. The adjustable range is from -1 to 1. Level This controls the output level of the effect. SR parameters With these buttons you can change the sample rate. Lower sample rates basically reduces the high frequency content and sound quality, but the pitch isn’t altered.
• When the signal is fed back into the comb filter, it goes via a separate, variable lowpass filter. Spectrum displays This filter corresponds to the damping of high frequencies in a physical instrument – when set to a low cutoff frequency it will cause high harmonics to decay faster than the lower harmonics (as when plucking a string on a guitar, for example). • The level of the feedback signal is governed by a feedback control.
Morph Crackle Adjusts the mix between the two signal paths: waveform A spectrum contour A and waveform B spectrum contour B. This allows you to send noise directly into the comb filters. Small amounts of noise will produce a “crackling”, erratic effect; higher amounts will give a more pronounced noise sound. Coarse This offsets the pitch for the impulse sound. In a typical “string setup”, when the impulse sound is very short, this will not change the pitch of the final sound, but the tonal color.
Master Volume and Pan A low frequency oscillator (LFO) is used for modulating parameters, for example the pitch of an oscillator (to produce vibrato), or for any parameter where cyclic modulation is desired. The two LFOs have identical parameters: The master Volume controls the master volume (amplitude) of the instrument. By default this parameter is controlled by Envelope 1, to generate an amplitude envelope for the oscillators. Parameter Description Speed This governs the rate of the LFO.
Assigning LFO modulation destinations Assigning LFO velocity destinations To assign a modulation destination for a LFO, proceed as follows: You can also assign LFO modulation that is velocity controlled (i.e. governed by how hard or soft you strike a key). This is done as follows: 1. Click in the “Mod Dest” box for one of the LFOs. 1. Click in the “Vel Dest” box for one of the LFOs. A pop-up appears with all possible modulation destinations are shown.
Envelope page The Envelope parameters are as follows: The Envelope page is opened by clicking the ENV button at the top of the lower half of the control panel. The page contains all parameters and the modulation and velocity destinations for the four independent envelope generators. Attack The attack phase is the time it takes from zero to the maximum value. How long this should take, depends on the Attack setting. If the Attack is set to “0”, the maximum value is reached instantly.
Assigning Envelope modulation destinations • To remove a modulation destination click on its name in the list and select “Off” from the pop-up. To assign a modulation destination for an Envelope, proceed as follows: Envelope modulation velocity control – an example: 1. Click in the “Mod Dest” box for one of the Envelopes. If you follow the steps above and select the Cut parameter as a Velocity destination, the following happens: A pop-up appears with all possible modulation destinations are shown.
2. Select a destination. Delay 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 select 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.
Parameter Description HALionOne parameters Feedback The feedback parameter controls the amount of positive or negative feedback for all four delay lines. The adjustable range is from -1 to 1. Level This controls the output level of the effect. The HALionOne differs from other VST Instruments in that the panel parameters shown can vary according to which parameters are stored in the HSB file.
Groove Agent ONE Efficiency slider The Efficiency slider provides a way of balancing audio quality vs. conservation of computer power. The lower the setting, the more voices are available. As a trade-off, sound quality is reduced. Voices allocated • The Voices field dynamically displays the number of voices currently used. MIDI and Disk activity LEDs The MIDI activity LED indicates received MIDI input.
Pad functions Resetting pads • The pads show the associated MIDI note in the top right corner. You will find a Reset button in the Global section in the top right corner of the Groove Agent ONE panel. It allows you to clear all pad assignments of the current instance of Groove Agent ONE. You can change the MIDI note by right-clicking it and selecting a different note from the pop-up menu. • You can assign up to eight samples to a pad. As a safety precaution, the Reset button is locked by default.
How many samples can be dropped to several pads depends on the number of pads available in your current instance of Groove Agent ONE. If Groove Agent ONE cannot supply a sufficient number of free pads for the number of dropped samples, a dialog is displayed in which you can confirm or cancel the operation. 2. Enter a name for the new preset and click OK. Slicing a loop and triggering individual sounds via MIDI The Presets browser is opened. Drag&drop to several pads has a number of uses.
Parameter Description Voice parameters MIDI input off When the MIDI symbol button in the top right corner of the LCD display is activated, the LCD display will show the waveform and parameter values of the currently playing sample. When this button is deactivated, the display will show only the data for the currently edit selected sample.
LoopMash (Cubase only) Parameter Description Release Controls the amplifier envelope release time. Reduce the release time to shorten the decay of sounds played in one-shot mode. Amp Mod This parameter determines the influence that velocity has on the pad volume setting. When set to 100%, the pad will sound louder the higher the velocity. When set to 0%, velocity will have no effect on the pad volume. Attack Mod This parameter determines the influence that velocity has on the Attack setting.
In the LoopMash panel, you can see a sliced loop waveform in the top (red) track. This track is selected (which is indicated by the track’s background color and the lit button to the left of the waveform display). The similarity is shown by the brightness of each slice on each track, and also by the position of each slice on the similarity gain slider to the left of each track.
LoopMash parameters • The Similarity Gain slider (to the left on each track) determines how important a particular track is for the “mashing up” of the master loop. You can influence the process of constantly assembling a new loop with the various functions and parameter controls of LoopMash. Move the slider to the right to select more slices from the current track for playback, and to the left to reduce the number of slices for playback (set to middle position by default).
Setting the LoopMash tempo Option Description During playback, LoopMash can be synchronized to the tempo set in Cubase, or can follow its own tempo setting: Slice Timestretch Use this option to apply realtime timestretching to the slices, filling gaps or avoiding overlaps between slices not played back at their original tempo, or when combining slices with different original tempos. Applying timestretch will increase the CPU load and may affect the sound quality.
Embracer – Surround Pad Synthesizer (Cubase only) Saving and loading VST presets You can save all current scenes as a VST preset. Proceed as follows: Embracer is a simple but powerful polyphonic synthesizer designed entirely for producing pads and accompaniment sounds. With its easy-to-use envelope and tone controls, it gives you fast access to the sounds you need without having to search through thousands of presets. However, the most powerful feature of Embracer is its surround output.
Osc 1 and 2 Parameter Description Wave Selects the waveform for each oscillator. Available waveforms are: Carpet, DigiPad, Choir, Ensemble, Metal Phaze, Phase Strings, Sing Sing, Soft Wave, Spit Strynx, Stepfloor, Submerged, Wave Bellz. Note: If you want to use only one oscillator, set the waveform to OFF. In this case only one voice per key will be used. Tone Width Coarse (Oscillator 2 only) Embracer offers a high pass and low pass filter for each oscillator.
Monologue – Monophonic Analog Modeling Synthesizer (Cubase only) Using Embracer in Surround Mode When you want to enjoy Embracer in 3D, set it up in surround mode and listen to it on a surround system. Let’s assume you have a surround monitoring system set up with your VST mixer and your VST output connections are properly set up. Monologue is a monophonic analog synthesizer based on physical modeling technology. It offers full, rich and colorful sounds without consuming a lot of CPU power.
Parameter Description Parameter Depth Controls the pitch modulation depth for the mod source defined in the “mod src” field. The available range is +/one octave. R – (Release) Sets the release time. Mod Src (A+B) Defines the envelope modulation source. You can select: Modwheel, Aftertouch, Pitchbend, Velocity, LFO and Mod Env. Depth (A+B) Controls the envelope modulation depth for the mod source defined in the “mod src” field. Mod Src Defines the pitch modulation source.
Parameter Description Overdrive Controls the amount of overdrive (distortion) added to the signal. A slight amount of overdrive will create punch and bottom. Higher amounts will add distortion. Delay Sets the delay time in musical values. The delay effect is always in sync with the song tempo. Spread Controls the stereo spread of the delay signal. If you set this to 0, the delay will be centered mono. Higher amounts of spread will shift the left and right delay channels.
Diagrams Prologue Mystic 86 The included VST Instruments
Spector 87 The included VST Instruments
3 MIDI effects
Introduction 4. Use the Gate setting to set the length of the arpeggio notes. This chapter describes the included MIDI realtime effects and their parameters. This allows you to create staccato arpeggios (Gate value smaller than the Quantize setting) or arpeggio notes that overlap each other (Gate value greater than Quantize). How to apply and handle MIDI effects is described in the chapter “MIDI realtime parameters and effects” in the Operation Manual. 5. Set the Key Range parameter to 12.
Arpache SX Setting Description Play Order slots If the User play order is selected, you can use these “slots” to specify a custom playback order for the arpeggio notes: Each of the 12 slots corresponds to a position in the arpeggio pattern. For each slot, you specify which note should be played on that position by selecting a number. The numbers correspond to the keys you play, counted from the lowest pressed key.
Parameter Description Step Size Determines the resolution of the arpeggio, i.e. its “speed” (in fixed note values or PPQ, if the PPQ button is activated). In Sequence mode you can also activate the “from sequence” option, see below. Length Determines the length of the arpeggio notes (in fixed note values or PPQ, if the PPQ button is activated). In Sequence mode you can also activate the “from sequence” option, see below. Max. Polyphony Determines how many notes should be accepted in the input chord.
Auto LFO Density This determines the density of the controller curves sent out. The value can be set to “small”, “medium”, or “large”, or to rhythmically exact note values (by choosing from the pop-up menu). The higher the note value, the smoother the controller curve. For example, if you set this to “1/16”, a new controller event will be sent out at every 1/16 note position. Value Range These two sliders are used to determine the range of controller values sent out, i.e.
Beat Designer Patterns and subbanks The Beat Designer patterns are saved as pattern banks. One pattern bank contains 4 subbanks which in turn contain 12 patterns each. The 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.
Ö If you change the velocity for several steps at the same time, the relative velocity differences will be kept for as long as possible (until the minimum or maximum setting is reached). Entering drum steps To enter a drum step, click on the step field where you want to add a beat. You could e.g. add a snare drum on each downbeat for a lane and a bass drum on a second lane. When you click in an empty field, it becomes “filled”, indicating that you will hear a drum beat on this step.
The Edit menu The Swing setting This parameter can be used to create a swing or shuffle rhythm, which allows you to add a more human feel to drum patterns that might otherwise be too static. This is done by offsetting every second drum step for a lane. If a triplet step resolution is used, every third drum step will be offset instead. In the lower right section of the Beat Designer panel, you can find two Swing sliders.
Adding flams Offsetting lanes The Flam parameter lets you add flams (short secondary drum hits just before or after the actual main drum beat). To the right of the step display, you can find the Offset sliders for the lanes. These allow you to offset all drum steps on this lane. Drag a slider to the left to make the drum steps start a little earlier and to the right to let them start later. You can add up to three flams for each pattern step: 1.
Ö Once a pattern is converted into a MIDI part, it cannot be opened in the Beat Designer again. 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. Triggering patterns When you want to be able to modify your drum patterns in the Beat Designer while working on the project, you cannot convert them into parts, as these cannot be opened again in the Beat Designer.
2. Create a MIDI part and enter notes at the positions in the project where you want to switch patterns. Chorder Depending on the Jump mode setting, the new pattern will be played directly or start at the following bar. The Chorder is a MIDI chord processor, allowing you to assign complete chords to single keys in a multitude of variations. These can then be played back live or using recorded notes on a MIDI track.
Global Key 2. Select the key to which you want to assign a chord by clicking on it on the piano roll display, or by pressing the key on a connected MIDI keyboard. In Global Key mode, you can set up chords for a single key only. These chords (that you recorded on C-3) are then played by all keys on the keyboard, but transposed according to the note you play. The red bar will now move to the first layer, indicating that you are ready to record the first chord.
4. Now you can play the keyboard and trigger the variations according to the selected layer mode. Resetting layers In Learn mode, you can use the “Reset layers” button at the top left of the Chorder window to delete all notes in the different layers for the selected trigger key. The layer modes work as follows: Trigger mode Description Velocity Interval Single Mode The full velocity range (1–127) is divided into “zones”, according to the number of layers you specified.
Compressor Context Gate This MIDI compressor is used for evening out or expanding differences in velocity. Though the result is similar to what you get with the Velocity Compression track parameter, the Compress plug-in presents the controls in a manner more like regular audio compressors. The parameters are: Parameter Description Threshold Only notes with velocities above this value will be affected by the compression/expansion.
Mono Mode – Channel Gate Application examples When this is activated, only single note events in a specified MIDI channel are let through, which can be used with MIDI controllers that can send MIDI over several channels simultaneously, for example guitar controllers which send data for each string over a separate channel. Poly Mode In Poly mode, you could use the Context Gate to accompany yourself during a live guitar performance using a VST instrument.
Density MIDI Control This generic control panel affects the “density” of the notes being played from (or thru) the track. When this is set to 100%, the notes are not affected. Lowering the Density setting below 100% will randomly filter out or “mute” notes. Raising the setting above 100% will instead randomly add notes that have been played before.
MIDI Echo Beat Align During playback, the Beat Align parameter quantizes the position of the first echo note. You can either set this to “rhythmically exact” values (displayed as note values – see the table below) or activate the PPQ button and choose a PPQ value. Setting this to “1/8”, for example, will cause the first echo note to sound on the first eighth position after the original note. Ö The echo time can also be affected by the Delay Decay parameter.
Length Decay MIDI Modifiers This parameter lets you adjust how the length of the echoed notes should change with each successive repeat. The higher the setting (25–100), the longer the echoed notes will be, compared to their original notes. 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.
Ö The larger the buffer, the more processing resources are required. To avoid a negative impact on your system’s performance, make sure to use the smallest possible buffer size. MIDI Monitor Export function Click the Export button to export the monitoring data as a simple text file. Record events button Use this button to the left of the Inputs section to start or stop the monitoring of MIDI events.
Note to CC Quantizer This effect will generate a MIDI continuous controller event for each incoming MIDI note. The value of the controller event corresponds to the velocity of the MIDI note, which is then used to control the selected MIDI controller (by default CC 7, Main Volume). For each note end, another controller event with the value 0 is sent. The incoming MIDI notes pass through the effect unaffected.
Step Designer Shift octave up/down Shift steps left/right Number of steps Step size • The display spans one octave (as indicated by the pitch list to the left). You can scroll the displayed octave up or down by clicking in the pitch list and dragging up or down. Swing This way you can insert notes at any pitch. Note that each step can contain one note only – the Step Designer is monophonic. Click and drag to view other octaves. • To remove a note from the pattern, click on it again.
Adding controller curves Automating pattern changes The Controller pop-up menu has two more items: two controller types. You can create up to 200 different patterns in each Step Designer – just select a new pattern and add notes and controllers as described above. • You can select which two controller types (filter cutoff, resonance, volume, etc.) should be available on the popup menu by clicking the Setup button and selecting controllers from the lists that appears.
Track Control About the Reset and Off buttons Regardless of the selected mode, you will find two buttons labelled “Off” and “Reset” at the top of the control panel: • Clicking the Off button will set all controls to their lowest value, without sending out any MIDI messages. • Clicking the Reset button will set all parameters to their default values, and send out the corresponding MIDI messages. For most parameters, the default values will be zero or “no adjustment”, but there are exceptions to this.
Transformer XG 1 The following controls are available when the XG 1 mode is selected: Control Description Send 1 Send level for the reverb effect. Send 2 Send level for the chorus effect. Send 3 Send level for the “variation” effect. Attack Adjusts the attack time of the sound. Lowering this value shortens the attack, while raising it gives a slower attack. Middle position means no adjustment is made. Release Adjusts the release time of the sound.
Index
A L R AmpSimulator 9 Apogee UV22 HR 25 Arpache 5 89 Arpache SX 90 Arpeggiator 89, 90 Auto LFO (MIDI effect) 92 AutoPan 25 Limiter 14 LoopMash 77 Restoration plug-ins 35 Reverb plug-ins 35 REVerence 35 Ringmodulator 28 Roland GS Control Panel 110 RoomWorks 40 RoomWorks SE 41 Rotary 29 B Beat Designer (MIDI effect) 93 Bitcrusher 32 C Chopper 32 Chorder (MIDI effect) 98 Chorus 26 Cloner 26 Compressor 11 Compressor (MIDI effect) 101 D DaTube 9 DeEsser 11 Delay plug-ins 6 Density (MIDI Effect) 103 Distor
V Vibrato 31 Vintage compressor 17 VST Instruments Groove Agent ONE 73 HALionOne 72 LoopMash 77 Mystic 64 Prologue 47, 64 Spector 57 VSTDynamics 17 W WahWah 24 X XG Control Panel 110 Y Yamaha XG Control Panel 110 114 Index
