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
663
Synchronization
Activating VST System Link
4. On computer 2, open the MixConsole and locate the corresponding digital input
bus.
The audio being played back should now “appear” in the program running on
computer 2. You should see the input bus level meters moving.
5. Reverse this procedure so that computer 2 plays back and computer 1 “listens”.
Now you have verified that the digital connection works as it should.
Ö From this point on in this chapter, we refer to the busses connected to the digital
inputs and outputs as “VST System Link busses”.
Settings for the audio hardware
When you exchange VST System Link data between computers, it is important that
the digital information is not changed in any way between the programs. Therefore,
you should open the control panel (or additional application) for your audio hardware
and make sure that the following conditions are met:
• If there are additional “format settings” for the digital ports that you use for VST
System Link data, make sure that these are turned off.
For example, if you are using an S/PDIF connection for VST System Link, make
sure that “Professional format”, Emphasis, and Dithering are turned off.
• If your audio hardware has a mixer application allowing you to adjust the levels of
digital inputs and outputs, make sure that this mixer is disabled or that the levels for
the VST System Link channels are set to ±0
dB.
• Similarly, make sure no other forms of DSP (pan, effects, etc.) are applied to the
VST System Link signal.
Notes for Hammerfall DSP users
If you are using RME Audio Hammerfall DSP audio hardware, the Totalmix function
allows for extremely complex signal routing and mixing in the audio hardware. This can
in some situations lead to “signal loops” in which case the VST System Link will not
work. If you want to make absolutely sure this will not cause any problems, select the
default or “plain” preset for the Totalmix function.
Activating VST System Link
Before you proceed, you need to make sure that VST System Link is set as the
timecode source in the Project Synchronization Setup dialog and that the desired
Sync options are activated, see
“Timecode Preferences” on page 655.
After setting up the inputs and outputs, you now need to define which input/output
will carry the actual VST System Link information.
The VST System Link networking signal is carried on only one bit of one channel. This
means that if you have an ADAT-based system which normally carries eight channels
of 24-bit audio, once you activate VST System Link you will have seven channels of
24-bit audio and one channel of 23-bit audio (the least significant bit of this last
channel will be used for networking). In practice this makes no discernible difference
to the audio quality, since you will still have around 138
dB headroom on this channel.