Cubase LE Effects Parameters
Manual by Ludvig Carlson, Anders Nordmark, Roger Wiklander Quality Control: C. Bachmann, H. Bischoff, S. Pfeifer, C. Schomburg 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.
DoubleDelay This effect provides two separate delays that can be either tempo based or use freely specified delay time settings. Cubase LE automatically provides the plug-in with the tempo currently used in the project. The parameters are as follows: Parameter Description Mix Sets the level balance between the dry signal and the effect. If DoubleDelay is used as a send effect, this should be set to maximum (100%) as you can control the dry/effect balance with the send.
You can also change parameters in the graphic display window. This works as follows: • If tempo sync is on, you can set the Tempo Sync 1 parameter by dragging the light blue handle left and right. When tempo sync is off, this sets the Delay Time 1 parameter. • You can set the Pan 1 parameter by dragging the light blue handle up and down. • The dark blue handle works in the same way but for the corresponding second delay parameters.
ModDelay This is a delay effect that can either be tempo-based or use freely specified delay time settings. The delay repeats can also be modulated. The parameters are as follows: Parameter Description Mix Sets the level balance between the dry signal and the effect. If ModDelay is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Tempo sync on/off The button above the Delay Time knob is used to turn tempo sync on or off.
DaTube This effect emulates the characteristic warm, lush sound of a tube amplifier. It is usable both as an insert effect and a send effect: Parameter Description Drive Regulates the pre-gain of the “amplifier”. Use high values if you want an overdriven sound just on the verge of distortion. Balance This controls 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.
Distortion The Distortion effect plug-in is capable of producing anything from a soft “crunch” to all-out distortion. The parameters are as follows: Parameter Description Input Sets the Input level. Output Sets the Output level. As distortion generates harmonics, it increases the level of the processed signal. You can use the Output fader to compensate for the level increase. Shapes Determines how much the input signal is affected by the distortion effect.
Overdrive Overdrive is a distortion-type effect, emulating the sound of a guitar amplifier. A selection of factory styles is available. Note that these are not stored parameter settings, but different basic overdrive algorithms, with the style names indicating the basic character of each algorithm. The parameters are as follows: Parameter Description Input Sets the input level. Output Sets the output level. As overdrive generates harmonics, it increases the level of the processed signal.
Dynamics Compress Autogate Limiter Routing selector Dynamics is an advanced dynamics processor. It combines three separate processors: Autogate, Compress and Limit, covering a variety of dynamic processing functions. The window is divided into three sections, containing controls and meters for each processor. Activating the individual Processors You activate the individual processors by clicking on their labels. Activated processors have highlighted labels.
Autogate section Gating, or noise gating, is a method of dynamic processing that silences audio signals below a certain set threshold level. As soon as the signal level exceeds the set threshold, the gate opens to let the signal through. Autogate offers all the features of a standard noise gate, plus some very useful additional features, such as auto-calibration of the threshold setting, a look-ahead predict function, and frequency selective triggering.
Trigger Frequency Range Autogate has a feature that allows the gate to be triggered only by signals within a specified frequency range. This is a most useful feature because it lets you filter out parts of the signal that might otherwise trigger the gate in places you don’t want it to, thus allowing more control over the gate function. The Trigger Frequency Range function is set using the control in the upper part of the Autogate panel, and the buttons located below it.
Calibrate Function This function, activated by using the Calibrate button located below the Threshold knob, is used to automatically set the threshold level. It is especially useful for material with consistent inherent background noise, like tape hiss. This may most of the time be masked by the audio content, but becomes noticeable during silent passages. Use it as follows: 1. Find a part of the audio material, preferably not too short, where only the background noise is heard.
The available parameters have the following functionality: Parameter Values Description Threshold -60 - 0dB This setting determines the level where Compress “kicks in”. Signal levels above the set threshold are affected, but signal levels below are not processed. Ratio 1:1 - 8:1 Ratio determines the amount of gain reduction applied to signals over the set threshold. A ratio of 3:1 means that for every 3 dB the input level increases, the output level will increase by only 1 dB. Attack 0.
Limiter section Limiter is designed to ensure that the output level never exceeds a certain set output level, to avoid clipping in following devices. Conventional limiters usually require very accurate setting up of the attack and release parameters, to totally avoid the possibility of the output level going beyond the set threshold level. Limiter adjusts and optimizes these parameters automatically, according to the audio material. You can also adjust the Release parameter manually.
MIDI Gate Gating, in its fundamental form, silences audio signals below a certain set threshold level. I.e. when a signal rises above the set level, the Gate opens to let the signal through while signals below the set level are cut off. MIDI Gate however, is a Gate effect that is not triggered by threshold levels, but instead by MIDI notes. Hence it needs both audio and MIDI data to function. Setting up MIDI Gate requires both an audio signal and a MIDI input to function.
What to do next depends on whether you are using live or recorded audio and whether you are using real-time or recorded MIDI. We will assume for the purposes of this manual that you are using recorded audio, and play the MIDI in real-time. 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.
StepFilter StepFilter is a pattern-controlled multimode filter that can create rhythmic, pulsating filter effects. General operation StepFilter can produce two simultaneous 16-step patterns for the filter cutoff and resonance parameters, synchronized to the sequencer tempo. Setting step values • Setting step values is done by clicking in the pattern grid windows. • Individual step entries can be freely dragged up or down the vertical axis, or directly set by clicking in an empty grid box.
• The horizontal axis shows the pattern steps 1-16 from left to right, and the vertical axis determines the (relative) filter cutoff frequency and resonance setting. The higher up on the vertical axis a step value is entered, the higher the relative filter cutoff frequency or filter resonance setting. • 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. Base Resonance This sets the base filter resonance. Resonance values set in the Resonance grid window are values relative to the Base Resonance value. Note that very high Base Resonance settings can produce loud ringing effects at certain frequencies.
Chorus The Chorus plug-in adds short delays to the signal, and pitch modulates the delayed signals to produce a “doubling” effect. The parameters are as follows: • Parameter Description Mix Sets the level balance between the dry signal and the effect. If Chorus is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Shapes This sets the modulation waveform.
Flanger Flanger is a classic flanger effect with stereo enhancement. Parameters are as follows: Parameter Description Mix Sets the level balance between the dry signal and the effect. If the Flanger is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Tempo sync on/off The button above the Rate knob is used to switch tempo sync on or off. The button is blue when tempo sync is on, and white when it is off.
You can also change parameters in the graphic display window. This works as follows: • If tempo sync is on, you can set the base note value by clicking the waveform and dragging left and right. When tempo sync is off, this sets the Rate parameter. • You can set the Depth parameter by clicking the waveform and dragging up and down. This means you can freely adjust Rate and Depth at the same time by clicking and dragging.
Metalizer The Metalizer feeds the audio signal through a variable frequency filter, with tempo sync or time modulation and feedback control. • Parameter Description Mix Sets the level balance between the dry signal and the effect. If Metalizer is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Tempo sync on/off The button above the Speed knob is used to switch tempo sync on or off.
Phaser The Phaser plug-in produces the classic “swooshing” sound that characterizes phasing. It works by shifting the phase of the signal and adding it back to the original signal, causing partial cancellation of the frequency spectrum. Parameter Description Mix Sets the level balance between the dry signal and the effect. If the Phaser is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.
• You can set the Feedback parameter by clicking the waveform and dragging up and down. This means you can freely adjust the Rate and Feedback at the same time by clicking and dragging. • By click-dragging the blue/green line in the display left or right you can change the Stereo Basis parameter.
Ringmodulator The Ringmodulator can produce complex, bell-like enharmonic sounds. Ring modulators work by multiplying two audio signals. The ring modulated output contains added frequencies generated by the sum of, and the difference between, the frequencies of the two signals. The Ringmodulator has a built-in oscillator that is multiplied with the input signal to produce the effect.
Parameter Description LFO Waveform Selects the LFO waveform; square, sine, saw or triangle. LFO Speed Sets the LFO Speed. LFO Env. Amount Controls how much the input signal level – via the envelope generator – affects the LFO speed. Positive and negative values can be set, with center position representing no modulation. Left of center, a loud input signal will slow down the LFO, whereas right of center a loud input signal will speed it up.
Rotary The Rotary plug-in simulates the classic effect of a rotary speaker. A rotary speaker cabinet features variable speed rotating speakers to produce a swirling chorus effect, commonly used with organs. Rotary features all the parameters associated with the real thing. The included presets provide good starting points for further tweaking of the numerous parameters. The parameters are as follows: Parameter Description Speed This controls the speed of the Rotary: Stop/Slow/Fast.
Parameter Description Low Rotor Mix Level Adjusts overall bass level. Hi Rotor Amp Mod. High rotor amplitude modulation. Hi Rotor Freq. Mod. High rotor frequency modulation. Phasing Adjusts the amount of phasing in the sound of the high rotor. Hi Slow Fine adjustment of the high rotor SLOW speed. Hi Rate Fine adjustment of the high rotor acceleration time. Hi Fast Fine adjustment of the high rotor FAST speed. Lo Slow Fine adjustment of the low rotor SLOW speed.
Symphonic The Symphonic plug-in combines a stereo enhancer, an auto-panner synchronized to tempo and a chorus-type effect. For best results, apply the Symphonic effect to stereo signals. The parameters are as follows: Parameter Description Mix Sets the level balance between the dry signal and the effect. If Symphonic is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send.
• • Parameter Description Stereo Basis When the Auto-panner is activated, this sets the stereo width of the panning. When the Auto-panner is deactivated (Tempo sync off), this determines the depth of the stereo enhancer effect. 0% is mono, 50% original stereo, and 100% maximum stereo enhancement. You can also change parameters in the graphic display window. This works as follows: You can set the Rate parameter by clicking the waveform and dragging left and right.
Tranceformer Tranceformer is a ring modulator effect, in which 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, synchronized to the Song tempo if you wish. The parameters are as follows: • Parameter Description Mix Sets the level balance between the dry signal and the effect. Tone Sets the frequency (pitch) of the modulating oscillator (1 to 5000 Hz).
Bitcrusher If you’re into lo-fi sound, Bitcrusher is the effect for you. It offers the possibility of decimating and truncating the input audio signal by bit reduction, to get a noisy, distorted sound. You can for example make a 24 bit audio signal sound like an 8 or 4 bit signal, or even render it completely garbled and unrecognizable. Bitcrusher can be used as an insert effect or a send effect. You can of course also use it as a master effect, should you so wish.
Chopper 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. Parameters are as follows: Parameter Description Mix Sets the level balance between the dry signal and the effect. If Chopper is used as a send effect, this should be set to maximum.
Grungelizer 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. 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. RPM switch When emulating the sound of a vinyl record, this switch lets you set the RPM (revolutions per minute) speed of the record (33/45/78 RPM).
Vocoder The Vocoder can apply sound/voice characteristics taken from one signal source, called the “modulator” and apply this to another source, called the “carrier”. A typical application of a vocoder is to use a voice as a modulator and an instrument as a carrier, making the instrument “talk”. A vocoder works by dividing the source signal (modulator) into a number of frequency bands. The audio attributes of these frequency bands can then be used to modulate the carrier.
Setting up – using MIDI In this mode, the Vocoder is set up slightly differently than other plugin effects. This is because this setup requires both an audio signal (as the modulator source) and a MIDI input (to play the carrier) to function. To set up for using an external carrier, see page 38. To set up for use, proceed as follows: 1. Select a source for the modulator.
Setting up – using an external carrier There are two modes for using an external carrier: • “Ext” mode is when the carrier and the modulator can be any two audio sources. The synth section is disabled and grayed out when this mode is selected. MIDI input and the Gap Thru Vocoder parameter are also disabled. • “Ext+MIDI” mode mixes the audio carrier with the Vocoder’s synth sound. This is described on page 39.
Setting up – using an external carrier plus MIDI Setting up is the same as for using an external carrier, except that a MIDI track with its output routed to the Vocoder should also be present. The MIDI track can either play the Vocoder synth in real time or from prerecorded parts. Make sure that monitoring (or record enable) is activated for the track so that the Vocoder synth will receive MIDI played in real time. • Set up as described, and activate “MIDI+Ext.” mode on the Vocoder panel.
Parameter Description Talk Thru Adjusts the level of the original input signal passed to the Vocoder output while notes are played. Gap Thru Gap Thru (only available in MIDI mode) sets the level of the original input signal that is passed to the Vocoder output when no MIDI notes are being played. This lets you apply the Vocoder to a vocal track adding vocoded parts just where you want them. Output This controls the output level of the Vocoder.
Vocoder synth parameters If the built-in synthesizer is the carrier, it is the sound of this instrument that the modulator source is applied to. The synth is polyphonic with up to 8 voices and features 2 oscillators per voice. The synth has the following parameters: Parameter Description Voices This sets the number of voices for the synth (1-8). Fine Tune Tunes the oscillators in cent (100th of a semitone) steps. Pitch Bend Sets the up/down range of the Pitch Bend in semitone steps (1-12).
Reverb B Reverb is used to add ambience and “space” to recordings. The Reverb B effect features the following parameters: Parameter Description Mix Sets the level balance between the dry signal and the effect. If Reverb B is used as a send effect, this should be set to maximum as you can control the dry/effect balance with the send. Room Size Governs the “size” of the simulated room environment. Predelay This parameter sets a delay between the direct sound and the reverb effect output.
