User manual
Table Of Contents
- Table of Contents
- Introduction
- Part I: Getting into the details
- Setting up your system
- VST Connections
- The Project window
- Working with projects
- Creating new projects
- Opening projects
- Closing projects
- Saving projects
- The Archive and Backup functions
- The Project Setup dialog
- Zoom and view options
- Audio handling
- Auditioning audio parts and events
- Scrubbing audio
- Editing parts and events
- Range editing
- Region operations
- The Edit History dialog
- The Preferences dialog
- Working with tracks and lanes
- Playback and the Transport panel
- Recording
- Quantizing MIDI and Audio
- Introduction
- Quantizing Audio Event Starts
- AudioWarp Quantize (Cubase Only)
- Quantizing MIDI Event Starts
- Quantizing MIDI Event Lengths
- Quantizing MIDI Event Ends
- Quantizing Multiple Audio Tracks (Cubase Only)
- AudioWarp Quantizing Multiple Audio Tracks (Cubase Only)
- The Quantize Panel
- Additional Quantizing Functions
- Fades, crossfades, and envelopes
- The arranger track
- The transpose functions
- Using markers
- The MixConsole
- Overview
- Configuring the MixConsole
- Keyboard Navigation in the MixConsole
- Working with the Fader Section
- Working with the Channel Racks
- Linking Channels (Cubase only)
- Metering (Cubase only)
- Using Channel Settings
- Saving and Loading Selected Channel Settings
- Resetting MixConsole Channels
- Adding Pictures
- Adding Notes
- The Control Room (Cubase only)
- Audio effects
- VST instruments and instrument tracks
- Surround sound (Cubase only)
- Automation
- Audio processing and functions
- The Sample Editor
- The Audio Part Editor
- The Pool
- The MediaBay
- Introduction
- Working with the MediaBay
- The Define Locations section
- The Locations section
- The Results list
- Previewing files
- The Filters section
- The Attribute Inspector
- The Loop Browser, Sound Browser, and Mini Browser windows
- Preferences
- Key commands
- Working with MediaBay-related windows
- Working with Volume databases
- Working with track presets
- Track Quick Controls
- Remote controlling Cubase
- MIDI realtime parameters and effects
- Using MIDI devices
- MIDI processing
- The MIDI editors
- Introduction
- Opening a MIDI editor
- The Key Editor – Overview
- Key Editor operations
- The In-Place Editor
- The Drum Editor – Overview
- Drum Editor operations
- Working with drum maps
- Using drum name lists
- The List Editor – Overview
- List Editor operations
- Working with SysEx messages
- Recording SysEx parameter changes
- Editing SysEx messages
- The basic Score Editor – Overview
- Score Editor operations
- Working with the Chord Functions
- Introduction
- The Chord Track
- The Chord Track Inspector Section
- The Chord Editor
- The Chord Assistant (Cubase only)
- Creating a Chord Progression from Scratch (Chords to MIDI)
- Extracting Chords from MIDI (Make Chords)
- Controlling MIDI or Audio Playback with the Chord Track (Follow Chords)
- Assigning Chord Events to MIDI Effects or VST Instruments
- Expression maps (Cubase only)
- Note Expression
- The Logical Editor, Transformer, and Input Transformer
- The Project Logical Editor (Cubase only)
- Editing tempo and signature
- The Project Browser (Cubase only)
- Export Audio Mixdown
- Synchronization
- Video
- ReWire
- File handling
- Customizing
- Key commands
- Part II: Score layout and printing (Cubase only)
- How the Score Editor works
- The basics
- About this chapter
- Preparations
- Opening the Score Editor
- The project cursor
- Playing back and recording
- Page Mode
- Changing the zoom factor
- The active staff
- Making page setup settings
- Designing your work space
- About the Score Editor context menus
- About dialogs in the Score Editor
- Setting clef, key, and time signature
- Transposing instruments
- Printing from the Score Editor
- Exporting pages as image files
- Working order
- Force update
- Transcribing MIDI recordings
- Entering and editing notes
- About this chapter
- Score settings
- Note values and positions
- Adding and editing notes
- Selecting notes
- Moving notes
- Duplicating notes
- Cut, copy, and paste
- Editing pitches of individual notes
- Changing the length of notes
- Splitting a note in two
- Working with the Display Quantize tool
- Split (piano) staves
- Strategies: Multiple staves
- Inserting and editing clefs, keys, or time signatures
- Deleting notes
- Staff settings
- Polyphonic voicing
- About this chapter
- Background: Polyphonic voicing
- Setting up the voices
- Strategies: How many voices do I need?
- Entering notes into voices
- Checking which voice a note belongs to
- Moving notes between voices
- Handling rests
- Voices and Display Quantize
- Creating crossed voicings
- Automatic polyphonic voicing – Merge All Staves
- Converting voices to tracks – Extract Voices
- Additional note and rest formatting
- Working with symbols
- Working with chords
- Working with text
- Working with layouts
- Working with MusicXML
- Designing your score: additional techniques
- About this chapter
- Layout settings
- Staff size
- Hiding/showing objects
- Coloring notes
- Multiple rests
- Editing existing bar lines
- Creating upbeats
- Setting the number of bars across the page
- Moving bar lines
- Dragging staves
- Adding brackets and braces
- Displaying the Chord Symbols from the Chord Track
- Auto Layout
- Reset Layout
- Breaking bar lines
- Scoring for drums
- Creating tablature
- The score and MIDI playback
- Tips and Tricks
- Index
453
MIDI realtime parameters and effects
The Inspector sections
Random
The Random settings let you introduce random variations to various properties of MIDI
notes. Anything from very subtle variations to dramatic changes can be applied. There
are two separate “random generators”, set up in the following way:
1. Open the Random pop-up menu and select which note property is randomized.
The options are position, pitch, velocity and length.
Ö Keep in mind that depending on the content of the track, certain parameter changes
might not be immediately noticeable or have any effect at all (as would be the case if
applying random length to a percussion track playing “one-shot” samples for
example). To best audition the random changes, choose a track with clearly defined
rhythm and note content (as opposed to a string pad).
2. Set the desired range of random deviation by entering values in the two number
fields.
The two values govern the limits of the randomization, so that the values will vary
between the left value and the right value (you cannot set the left value higher than
the right value). The maximum random range for each property is listed in the table
below:
Ö You can make independent settings for the two random generators.
• To deactivate the Random function, open the Random pop-up menu(s) and select
“OFF”.
Range
The Range function lets you specify a note (pitch) or velocity range and either force all
notes to fit within this range, or exclude all notes outside this range from playback. As
with the Random function, there are two separate Range settings. Set them up as
follows:
1. Open the Range pop-up menu and select one of the following four modes:
Property Range
Position -500 to +500 ticks
Pitch -120 to +120 semitones
Velocity -120 to +120
Length -500 to +500 ticks
Mode Description
Vel. Limit This function affects all velocity values outside the specified range.
Velocity values below the Min setting (the lower limit of the range) are
set to the Min value, and velocity values above the Max setting are set
to the Max value. Notes with velocity values within the set range are
not affected. Use this if you want to force all velocity values to fit
within a certain range.
Vel. Filter Velocity Filter works by excluding all notes with velocity values
outside the specified range. Notes with velocity values below the Min
setting or above the Max setting will not be played back. Use this to
“isolate” notes with certain velocity values.
Note Limit This function allows you to specify a pitch range, and forces all notes
to fit within this range. Notes outside the specified range are
transposed up or down in octave steps until they fit within the range.
Note: If the range is too “narrow”, so that some notes cannot be fit
within the range by octave-transposing, these notes will get a pitch in
the middle of the range. For example, if you have a note with a pitch of
F3, and the range is C4-E4, that note will be transposed to D4.